Of course we start back with Noah Solloway. Partially because he is the one who has blown his life up at the end of each season and we need to see how he’s putting it together this time. Partially because he’s an instigator of the titular affair. Partially because the last thing we heard spoken was him confessing to a crime we know he didn’t commit in order to protect the women he loves. And partially because of course we start with Noah.
We’re clued in almost immediately that time has passed thanks to his beard, and we soon learn his father has died, he’s living with his sister, and it’s been three years since he went to prison. His kids are older, they’re not sure how to be around him, and Noah is more mopey than ever.
The Affair‘s hat trick with its perspective adjustments and replays never fully delivered on the premise, but in episodes like these—where the focus lies with just one person, never showing anyone else’s point of view—it’s more about how things are being said and what is left unspoken.
Noah and Helen, for instance, are definitely not on the same wavelength. At the funeral she is confused and he has his blockades up. She’s distant, asking questions but seemingly never answering his honestly. It’s frustrating, but it’s more likely a reflection of how Noah himself is coming off to others than it is about how Helen is communicating. As we see in a flashback to the beginning of his sentence, he was once light on his feet about his time, feeling invigorated, and telling Helen to “just wait” for him. Now he pushes her into pulling back.
His students are young to him. Their worldview is simple, black and white, something he brushes over without really engaging with it. We see it when he eviscerates Audrey’s piece in his class (for really no other purpose than that he needs an outlet), and we see it at the “salon” at his new French Love Interest’s house. Audrey is skittish and then righteous; the boys at the table simplistic to his distinguished, nuanced take on sexual consent. He’s not wrong, and his answer may be more jargon-filled and enlightened than the other men at the table (“I’m afraid to touch a woman at a party” blow me), but it’s not anymore respectful of women. Their political rhetoric is tedious, sure, but it’s all being filtered through Noah—who, as we know, has trouble with consent and power in conversations and sexual relationships.
His new lady love is relatively uncomplicated; her lecture is (as is The Affair‘s style) on the nose as hell with all its bluster about “a shadow of a shadow, desperate to be destroyed by its creator,” and being “tainted by his infernal paternity.” By the time they’re walking outside the church she’s the literary equivalent of a silver platter, a character who “calls things like it is,” and draws connections between adultery and Lancelot (who is one of the most famous adulterers of all time—doesn’t make it more or less romantic to those who oppose adultery, like the women at the salon dinner).
And all that is tied up with a couple new avenues for the show to open up this season: What did he forgive his sister for, once upon a time? What’s up with all this rape rhetoric on campus; is anyone else getting Veronica Mars season 3 flashbacks? What the hell happened in that prison that we’re flashbacking to, and is it driving him mad or is he really in danger?
For now all we have is Noah’s perspective. Next week, the world will broaden a bit.
- “Thank you Mr. Solloway, for those…words,” is the funeral director hitting it on the head the best, until Noah’s son observes Grandpa would’ve liked his disjointed eulogy because it was “short, sweet—no bullshit.”
- Any guesses as to what’s up with his deal with trains?
- I’m not sure how much I like the “flashbacks” here. Granted it’s playing around with time similarly to how it’s always done as a show, but there was something a bit more respectably pulpy back when it was an end we were working towards. Now that it’s building to where we are it feels a bit like we’re betraying the show’s actual low-brow masquerading as high-brow game.
- Jennifer Esposito, continually underutilized by The Affair and the universe, may have a bigger role this season.
- I know it’s supposed to read as that way, but what the fuck was his tirade in class about? He’s clearly frustrated with his place and lot in life, but still came off as wildly inappropriate and smug—even in his own reality.
- “Asking isn’t sexy.” These college boys are completely horrendous.
- “I started noticing the change after 9/11” was the moment when I knew that this show was going to be harder to take seriously this season.
- Welcome back, y’all!