Critique
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Still just as destabilizing, the third season of Donald Glover’s series continues, by digging the furrow of dreamlike, his disillusioned portrait of America and its racism.
«What the… ?» Atlanta, summer night, in the parking lot of a fast food restaurant. A parked car with three men in it. A couple passes in the street. The guy knocks in the rear view mirror. One of the three passengers, the heaviest, storms out. The case will degenerate. The incipit ofAtlanta, one of the most impressive in the history of the series, begins from the first millisecond, bluntly. In medias res, headlong rush, guns out. Atlanta will talk to us regarding urban ultraviolence? «Hold up», would say Earn (Donald Glover) or his rapper cousin, Paper Boi (Brian Tyree Henry) – “wait a minute”. The mess is ridiculous. The chaos is burlesque. There is dada in the air. Atlanta is not intended to become a The Wire southern lands, nor a portrait of the city of trap music and traps (“stashes”) where dope is buried; or if it is, it’s to honor the strangeness that crosses it and defines it, above and below the clichés. It would rather be a portrait of Atlanta, which has become a city of entertainment with the creative explosion of rap – which has never ceased to tell regarding it and has redrawn it in the collective imagination – and also, therefore, with this series, who knows everything in advance, what she wants to do as well as what she is going to do in her image.
The capital…
