Warning: ‘Orange is the new Black’ season six spoilers ahead.
Last week, when reviewing season six of Orange Is The New Black, I hinted that the series looks like it’s beginning to wrap everything up — which is clearly the right decision. The season featured major changes for mainstay characters (ranging from longer sentences to surprise releases to everything in between), most of which ultimately culminated in the pretty good 90-minute finale.
Although season six was a marked improvement over five, there was still plenty that didn’t work, and largely because of how hard it is to juggle so many characters and storylines. Granted, Orange generally handles this better than any other show would, but it’s hard to shake the feeling that it’s drowning in simply too much. Some storylines don’t get the attention they deserve, while others are pointlessly drawn out.
There was the continued emphasis on the Litchfield guards — an emphasis that too often pulled the focus away from the Litchfield inmates. Orange has often struggled with how exactly to approach the correction officers (starting from the gross way they painted Bennett and Daya as a romantic love affair, mostly ignoring the power dynamics) because it wants to both humanize and demonize them, but has never been able to find the correct balance.
This season further attempts to depict how abusive the prison system can be, with multiple episodes showing the guards violently punishing some of the women for their roles in the riot, especially Daya (Dascha Polanco) and Taystee (Danielle Brooks). There’s also the “Fantasy Inmate” game running throughout the season, in which the Max guards mimic fantasy football by “drafting” inmates. Throughout the “season,” they gain points when their picks are involved in everything from minor prison infractions to suicide. And, of course, the guards can goad them along even if that’s against the rules. (The major result of this game? Gloria (Selenis Leyva) discovered it, tried and failed to expose them — in a pretty great monologue — but just ended up in the SHU.)
Part of why they play the game, one guard explains, is because “when they’re swinging at each other, they’re not looking at us.” This theme — the guards’ fear while working in a prison — is also seen in McCullough’s PTSD plot, which is interesting on paper but never really went anywhere. We see her disproportionately reacting to what she perceives as danger (the kickball popping, for example) and we see her coping strategy: self-harm in the form of burning herself with lit cigarettes. Then there’s the speech she gives CO Ward (Susan Heyward), about how the inmates are “horrible people who have hurt me” but also “regular people who just want to play a game.” It’s fine, but it doesn’t seem wholly necessary — Orange has already explored this dichotomy time and time again. Really, it just serves to push Ward to reevaluate her own words and actions against her former friend, Taystee, and to go attend the trial.