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It’s an interesting and complicated look at both the biased judicial system – and the way it’s perceived – as well as a lesson in adaptation: How to stretch a 300 page novel into multiple seasons of a TV series?Īs we get further and further into the series, it’s becoming less beholden to the original text, and becoming its own creation, taking full advantage of the medium of television, most visibly in the new season’s most striking difference: flashbacks.
Piper is a privileged white lady, doing a fairly short sentence (a “short timer”, in prison lingo), but still gobbling up most of the screen time.
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It also avoids the hyped-up expectations of following on a widely successful series, by dropping us in during the everyday, mundane rituals and routines that make up prison life.īeginning the series with this exchange lets us know, right off the bat, that we’re in for a very different beast, focusing WAY, WAY less on Piper and her miniature dramas, correcting one of the main criticisms leveled at the first two seasons. It’s a meaningless exchange, meant to amuse and kill time, which is exactly the way inmates spend their time in prison, with nowhere to go and nothing to do.
It starts off with a banal and hilarious exchange between Penn and the two guards, as she tries to teach them how to talk dirty, on their way to pick up party decorations for the upcoming Mother’s Day celebration. Season 3 of Jenji Kohan’s prison drama starts off right where the end of Season 2 left off, with Pennsatucky taking over Morello’s van driving position, after she let Rosa escape during Season 2’s pyrotechnic finale. It’s a time for reflection, for remembering, which serves as an excellent re-introduction to the complex, convoluted world of Litchfield Penitentiary, in the brand new season of Jenji Kohan’s Orange Is The New Black. Inmates with children get to see how much their kids have grown, while also being reminded how powerless and trapped they are behind razor wire. Mother’s Day can be one of the hardest, as well as most exciting, days of the year in a women’s penitentiary. In which old friends return, people move on, plots are hatched and parties are planned, as Caputo’s “kinder, gentler regime” struggles to take hold.