by Jack Grimme, Contributing Writer
Whenever I reminisce on some of my favorite and most surprising television shows of the past decade, I am always shocked to remember how many FX original series come to mind. Looking for a comedy that will leave you in stitches while still engaging you mentally and emotionally? FX has you covered with options like Atlanta, What We Do in the Shadows or Reservation Dogs. Are you a fan of character rich, crime-based mystery series? Fargo and Under the Banner of Heaven should be right up your alley. Perhaps you are looking for thought-provoking science fiction that explores various worlds where human capability far exceeds our expectations or understanding. If that’s the case you should check out Devs, a criminally underseen entry in writer/director Alex Garland’s catalogue. Legion, a psychological thriller based on a lesser-known Marvel property, could also fit that niche. Or maybe you are the perfect person to try out FX’s latest original series, Class of ’09. The decade-spanning program follows the lives of several prospective FBI agents as they wrestle with the implications of powerful technology in the reconstruction of a corrupt justice system. It certainly caught my attention!
The series primarily follows as agents Ashley Poet (Kate Mara) and Tayo Michaels (Brian Tyree Henry). Poet is new to the field of criminal investigation, but devoted nonetheless. Her primary goal is to help everyone around her, regardless of the toll it may take on herself. Agent Michaels is equally ambitious, but substantially more focused on the future, more specifically, complete systemic reform. We follow the pair and their classmates at three different times: the past, the present, and the future. Each episode spends about a third of the time in each of these time periods. The past is focused on their journey through academy. The present finds the group at the heart of a technological and ethical dilemma that could change the FBI, and the world, as they know it. The future reunites the agents to face the ramifications of their actions head on.
Nonlinear storytelling is a practice that is becoming more and more common, to varying degrees of success. I think, for the most part, it works here. This approach to storytelling can be a tad bit more confusing and complicated than a traditional linear path. So it is important that the writers keep the story comprehensible, stage payoffs and conclusions with intent, and justify the nonlinear timeline. If people do not understand the plot or the purpose of the show, they may abandon it and opt for something more digestible. Combining three different stories without any tact can lead to boring stretches lacking progression or engagement. And if the story works just as well in a completely linear fashion, the added twist can end up feeling unnecessary or even distracting.
There are a handful of moments where I found myself a little mixed up with Class of ’09. I never felt completely lost, but I occasionally got lost in the weeds while trying to plot a moment on the larger timeline. And excluding a dry moment or two, I generally felt like the culminations and realizations were plotted well. Most importantly, the nonlinear model does prove useful for character development. I genuinely enjoyed jumping back to crucial turning points in their academic careers during larger developments in the present and future. It contextualizes the characters’ actions in a way that justifies the risks and implications their choices have on those around them. You get to see exactly how certain conflicts in their past craft the hardened professionals they become in the future. This tangible cause-and-effect feeling makes the world come to life, which tends to be challenging for miniseries.
Another aspect of this show that makes the journey worthwhile are the performances. I mentioned Mara and Henry earlier, partially because they are the primary leads, but also because they are two standouts. The bulk of my time at SiftPop so far has been spent raving about the work of Brian Tyree Henry. Atlanta, his first outing with FX, put him on the map, and he has been on fire ever since. Admittedly, Class of ‘09 isn’t his most flashy or impressive performance to date. However, he is still a joy to watch every time he steps on screen; he has a charisma that makes all of his performances watchable at the bare minimum. Mara also does some solid work here. She works well as the green rookie with clear goals and an admirable eye for justice. And she pleasantly surprised me as the cold, isolated vet she is tasked with playing during the second half of the timeline. Sepideh Moafi and Brian J. Smith round out the core cast with some equally commendable performances, Moafi being a personal favorite of mine due to her intelligent and capable yet troubled portrayal of Agent Hour Nazari.
The final key strength of this show is the complicated questions and themes being explored. I will admit these ideas aren’t necessarily new. You have seen technology like this in projects like Minority Report or Captain America: The Winter Soldier. However, they definitely add a little bit of depth and nuance to the conversation. Honestly, if I had to give a soft pitch for this show, I would probably describe it as a Black Mirror episode stretched over a whole season of television. It asks if radical technological advancements are inherently treacherous, or if the danger is only introduced when human intervention is involved. It pushes this topic even further by pondering if the danger is worth it, given the fundamentally damaged nature of the system it would be replacing. It adds some spice to the police/detective drama genre that has become a little saturated.
There are two primary flaws that hold this show back from greatness for me: the mishandling of some relationships and slight lack or originality. Class of ‘09 does a great job of making me understand the internal motivations and intentions of its characters. Unfortunately, the interpersonal relationships aren’t as sharp. One of the primary romantic relationships of the show just doesn’t land at all for me. Maybe it’s due to the brief runtime of the series limiting my exposure to the pair, or my general apathy towards one of the characters, but it just feels like checking a box, and doesn’t serve the plot in many ways. There are also several moments and dynamics that hinge on the titular class feeling like a family. Unfortunately, excluding a few strong one on one relationships, the group doesn’t feel very connected. This lack of development during the past portion of the story leads to some key reunions feeling forced and disjointed.
The other drawback, lack of originality, largely speaks for itself. Many beats, dynamics, and scenes will leave you with a sense of déjà vu. There certainly is enough here to keep you engaged, but it does lead to an unfortunate level of predictability. Television is so saturated with shows and plots surrounding law enforcement that retreading is essentially inevitable. Aside from those two points, there are a handful of other nitpicks and issues — some cliché dialogue, rushed beats, and underdeveloped characters — but nothing that ruins the series.
I respect Class of ‘09 for evading the all-too-common genre of “copaganda,” a portmanteau of “cop” and “propaganda,” which refers to a piece of media that paints the criminal justice system as a flawless execution of the will of the people. The show intentionally shines light on injustice and advocates for a system that treats people equally. It also acknowledges the immense challenge associated with achieving this goal, without claiming that the effort and sacrifice are not worth the potential results. It is a refreshing message that helps it stand out from its contemporaries, and which engaged me throughout.
Score: 7/10
Class of ’09 is currently streaming on Hulu
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