The second season of Tig Notaro’s intensely autobiographical One Mississippi, which just went up today on Amazon Prime, is proof that portmanteaus like “dramedy” or “tragicomedy” aren’t always going to cut it in the current TV landscape, with many new perspectives and styles making it to our screens that defy the usual labels. In the second part of my top shows of 2016 article I described this show as an example of a “comedy-in-theory”, getting its laughs from the nature of situations rather than typical jokes, yet in its second season even these largely retreated into the background as the show delved into a variety of tough topics extremely incisively.
I wasn’t totally sure how this show would deal with a second series, to be honest. The first season followed Tig as she moved back to her childhood home following her mother’s death, dealing with mourning, her relationship with closed-off stepfather Bill, and the aftermath of cancer and a double mastectomy — all storylines which came to a satisfying resolution in the finale. The follow-up shifted its focus largely to the romantic lives of its leads — Tig, Bill, and Tig’s brother Remy — using these as a lens to examine and observe a multitude of powerful themes.
Tig’s storyline involved the potential evolution of her relationship with radio co-host Kate, played by Notaro’s real-life wife and OM story editor Stephanie Allynne. The chemistry between the two is, as can be expected, incredibly strong, with Kate’s tranquil zest blending perfectly with Tig’s usual deadpan style. This — along with Tig’s other attempts at dating — leads to some strong material about the perception of same-sex relationships in the American South, with an undercurrent, only stated outright a couple of times, of the idea that the election of Trump has made bigots more comfortable with showing their stripes. The show also notably covers sexual assault, in a case clearly designed to resemble repeated allegations against EP-in-name-only Louis CK, and the way perpetrators are given precedence over victims in such situations.
Bill, although as uptight as ever, manages to form a romantic bond with a WOC — fellow office elevator traveller Felicia — who is his female counterpart in many ways. So much of this storyline is extremely charming, revolving around the way these two withdrawn people gradually open themselves to each other, with John Rothman and Sheryl Lee Ralph finding the warmth behind their characters. Yet there’s also some poignant ideas in there as Bill learns more about the persecution of the black community throughout the centuries and becomes aware of his own lack of understanding. At this point the show seems to be saying quite clearly that just because someone is aged doesn’t mean they’re unable to change their hearts and minds — perhaps urging younger viewers to challenge their parents more than they may do currently?
Finally, Remy embarks on a relationship with Desiree, a friendly and bubbly Bible Belter who is the antithesis of so much of the show’s beliefs. At first, I thought this was going to be a storyline about how Remy doesn’t like to be challenged, yet by the end it is clear that his love for Desiree is real, and it ends up subverting things and calling the other characters out on their superiority. After all, just because someone thinks of dinosaurs the same way they do of Santa Claus (in admittedly one of the season’s biggest laughs), doesn’t mean they’re inherently hateful and not still a human being with feelings and love in their heart. The character never really stops being played for laughs — and rightfully so, says smug-ass liberal me — but is also meant to be accepted instead of met with scorn.
One Mississippi may not be the funniest half-hour show around, but it’s one of the most brave, admirable, and downright necessary (I dislike the current overusage of that last term, but it truly applies here). The best thing about peak TV is the sheer amount of perspectives and viewpoints that can now make it to series, and Notaro’s unflinching stare is one of the most essential. I know this season is likely going to be largely ignored premiering on the same day as new BoJack Horseman, but I seriously urge anyone with the time to give it a shot. It deserves your attention.
