Atlanta’s “Big Payback”: A Bold Take on Reparations
A great TV show at its peak can introduce captivating characters, craft unique settings, and explore complex emotions amidst global turmoil. “Big Payback,” the fourth episode of Atlanta‘s third season, achieves all of this while establishing a legal framework for reparations and injecting humor into unexpected topics.
The episode, penned by Francesca Sloane, presents an open-ended morality tale that devastates and charms in equal measure. Director Hiro Murai masterfully orchestrates a delicate tonal chaos, while Justin Bartha delivers a career-defining performance. Notably, “Big Payback” marks a significant departure for Atlanta, with no regular cast members appearing. The only recurring element is a nondescript dream avatar representing American whiteness.
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The plot centers on a landmark court case that could reshape history or fade into obscurity. This breakaway narrative showcases Atlanta‘s exceptional storytelling prowess without definitively answering the question of the show’s current identity, other than wonderfully unique. Bartha portrays Marshall Johnson, the epitome of “Caucasian,” amicably separated from his wife and life in general. The episode opens with him blissfully unaware of a racially charged incident at a café, where a Black customer is sent to the back of the line by a White barista.
Marshall’s seemingly insignificant act of pocketing a madeleine foreshadows the episode’s exploration of larger societal issues. News breaks of a Black man successfully suing a wealthy descendant of a slave owner, arguing that the defendant’s current wealth stems from the criminal labor of his ancestors. This legal precedent sends shockwaves throughout society, forcing individuals to confront their ancestral past.
Marshall’s life unravels as he becomes a target of the new reparations law. Sheniqua Johnson, a descendant of slaves owned by Marshall’s ancestors, lays claim to his apartment and publicly shames him.
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Marshall’s attempts to navigate this new reality are met with indifference from his wife and confusion from his colleagues. He becomes a symbol of white American male fragility, grappling with the consequences of a history he didn’t personally create. Bartha’s nuanced performance captures the character’s internal conflict, showcasing a blend of naiveté and desperation.
The episode raises complex questions about the practicality and morality of reparations. While the legal precedent in “Big Payback” might face real-world challenges, it aligns with Atlanta‘s broader themes of value and commodification. The show explores the idea of history having a monetary value and the potential consequences of such a reckoning.
“Big Payback” culminates in a poignant conversation between Marshall and Earnest, another man facing the repercussions of restorative justice. Earnest draws a connection between Marshall’s suffering and generations of Black oppression, expressing a fleeting sense of optimism before tragically taking his own life. The scene is underscored by a powerful musical shift from Roberta Flack’s “The First Time Ever I Saw Your Face” to Miles Davis’ “It Never Entered My Mind.”
The episode leaves viewers pondering the implications of Earnest’s suicide and the ambiguous ending. Marshall finds himself working as a waiter, subject to a restitution tax, and seemingly more engaged with the world around him. The final shot of a restaurant filled predominantly with people of color raises further questions about the episode’s message. “Big Payback” is a thought-provoking exploration of race, history, and the complexities of justice, showcasing Atlanta‘s ability to blend humor and social commentary with masterful storytelling.
