Which it seems is the correct response that a mother gives to her son when her son expresses concern that perhaps she should not be handling alcohol....
In any case, this is not a social situation that you would have been prepared for by watching, for example, THE WALTONS.
I remain in awe of this series. In this episode the writers perform a theatrical feat that other series would kill for ... they rotate the "dramatic characters." That is, every series, every story, every arc, contains characters that are written to be more explosive and unpredictable than others, that forms the DNA of every successful drama.
But to be able to rotate the roles as effortlessly as they did in this episode is truly awesome.
Jay, originally drawn as an unruly and violent party animal (so much so his dad won't talk to him) suddenly becomes the voice of reason, wants to wear a suit, wants to have family events with his (formerly addicted, on the street) mother. When a road rage driver almost hits his mother, and Nate wants to rip the guy's arm off, it is Jay who calms things down...? (The same Jay who almost beat his mother's pimp to death in an earlier episode).
His mother -- I have never seen this arc before in any series -- an ex hooker now having gone cold turkey, wants to try to settle in with her two sons, but gets a little twitchy at the thought that the bars from her windows (meant to keep her IN) will not be removed, as promised.
And Nate, formerly the good son, the normal one, the only one to earn his dad's favor, suddenly becomes a time bomb.
In fact the whole episode is like a coiled spring that finally snaps near the end, and not in the way the viewer expects.
Great series.
In any case, this is not a social situation that you would have been prepared for by watching, for example, THE WALTONS.
I remain in awe of this series. In this episode the writers perform a theatrical feat that other series would kill for ... they rotate the "dramatic characters." That is, every series, every story, every arc, contains characters that are written to be more explosive and unpredictable than others, that forms the DNA of every successful drama.
But to be able to rotate the roles as effortlessly as they did in this episode is truly awesome.
Jay, originally drawn as an unruly and violent party animal (so much so his dad won't talk to him) suddenly becomes the voice of reason, wants to wear a suit, wants to have family events with his (formerly addicted, on the street) mother. When a road rage driver almost hits his mother, and Nate wants to rip the guy's arm off, it is Jay who calms things down...? (The same Jay who almost beat his mother's pimp to death in an earlier episode).
His mother -- I have never seen this arc before in any series -- an ex hooker now having gone cold turkey, wants to try to settle in with her two sons, but gets a little twitchy at the thought that the bars from her windows (meant to keep her IN) will not be removed, as promised.
And Nate, formerly the good son, the normal one, the only one to earn his dad's favor, suddenly becomes a time bomb.
In fact the whole episode is like a coiled spring that finally snaps near the end, and not in the way the viewer expects.
Great series.
