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Under The Big Top was a Sara Gran script, with her distinctive brand of humor and sharp, on the spot character moments.
Behind the camera, Felix Alcala brought his aggressive, restless visual style, aided by Dana Gonzales’ impeccable lighting.
It was pure poetry as she listened to Missick, then pulled out her phone when he left the car, and made her call.
He had happy moments, tender moments, lonely moments, self-reflective moments, courtesy of Gran’s lovely and understated script.
It was a great emotional episode for Cudlitz, who just crushed it in every scene with so much nuance and gravitas and soul. “Maybe the right one stays.” On the opposite end of the emotional spectrum, Sherman was still busy shedding his humanity and switching off his ability to care about anyone he deals with on the job (unless that person is Annie Monroe playing a teacher with a pleasing amount of snark, holding her own in every scene).
It was a particularly great episode for locations that added new dimensions to the scenes, something excels at.
The scene where Cooper and Lucero find a murder suspect and his girl, shot on the other side of the 101 from the Capitol Records building, with the downtown skyscrapers behind them: the light, the traffic, the architecture — it was a passing moment in the script (and a great character moment between Cooper and Lucero), given a kinetic depth by the shooting, framing and editing.
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This show carves its truths out of the LA landscape with ease.