Callbacks aside, Atlanta’s latest incarnation has otherwise eschewed one of the show’s prior hallmarks: spotlight episodes that focus on a single character, whether Earn (“The Jacket”) or his coparent Van (“Value”) or, most often, Al (“B.A.N.,” “Barbershop,” and now “New Jazz”). “New Jazz” marks his return, and it’s a fitting one. Atlanta loves its ambiguity, so the answer is likely a little of both.ĭespite starring as Earn, Al’s cousin and manager, and directing “Trini 2 De Bone,” a New York–set story about a Black nanny’s lasting impact on her white clients, Glover has been surprisingly absent from Season 3’s script credits. Maybe that tactic is how Glover and his creative team want to weave their deliberately scattered parts into a cohesive whole maybe it’s a structural nod to how our past haunts our present, from the childhood trauma of “Teddy Perkins” to the uneven playing field “The Big Payback,” before full-blown reparations smooth it out. “The Old Man and the Tree” is set entirely at a wealthy man’s house party, just like “Champagne Papi” “Sinterklaas Is Coming to Town” played on the creepy, racist feel of old European iconography, just like “Helen.” “New Jazz” is only the most extreme example of Atlanta echoing its former self. The season has the feel of a thought experiment: What’s Atlanta without Atlanta?Īt the same time, Atlanta has never seemed more self-reflexive, constantly referencing its own past even as it pointedly breaks from it. The episodes that do follow Al’s rap career, the ostensible core of the show, take place thousands of miles from the city that gives Atlanta its name. Several episodes are completely stand-alone, eschewing the main cast entirely for isolated vignettes about race, family, and the weight of history. Still, the episode is clearly meant to evoke an earlier entry in Atlanta’s canon, right down to its place toward the end of the season.Īfter a four-year absence, Atlanta’s third outing is a radical departure for a show that already allowed itself near-total freedom. The order of events is slightly scrambled Al flees a menacing crew of British hooligans before he meets Lorraine (Ava Grey), a gregarious font of unsolicited advice. Al is in Amsterdam now, having left his hometown behind for a headlining tour in Europe. “New Jazz,” the latest chapter of Donald Glover’s shape-shifting half-hour, is not a beat-for-beat remake of “Woods,” its clear predecessor. In the eighth episode of Atlanta’s third season, history repeats itself.
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In the eighth episode of Atlanta’s second season, Paper Boi, née Alfred, gets advice from a female friend has a violent encounter with young male fans and experiences an existential breakthrough while lost and alone, a series of events obliquely linked to the memory of his late mother.
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