It’s an original composition by a low-key music duo called Folk Uke, two strummers whose oeuvre also includes tunes with names like “Knock Me Up” and “Shit Makes the Flowers Grow.” But while Folk Uke is below-the-radar, its members aren’t, exactly: they’re Amy Nelson and Cathy Guthrie, whose respective fathers ( Willie Nelson and Arlo Guthrie) are both folk-music royalty. You can be forgiven for having no idea where this song came from. Which would be funny enough, but gets even better when two voices begin to harmonize so sweetly it’ll take you a moment to realize exactly what they’re saying: It’s a visceral gut punch of a finish-and as the screen cuts to orange, then black, it’s immediately undercut by the cheery sound of ukuleles being strummed. (Another win for O.I.N.T.B.'s music supervisor: the horrifying montage in which they hack apart the corpse is scored by Papa Roach’s “Last Resort.” You know, “Cut my life into pieces. Then there’s the season’s opener, which- spoiler alert!-ends with a trio of inmates conspiring to conceal a murder by chopping up the body and burying the pieces in Litchfield’s garden. An hour that ends with a guard committing an inmate he likes to a terrible fate ends with an incongruously upbeat, dancehall-ready song called “Bloody Monster” one that finishes with another character realizing, with growing horror, that she’s allied herself with a group of white supremacists concludes with “Tomorrow Belongs to Me,” the Nazi anthem from Cabaret. Among the season’s most standout elements, though, are the carefully selected songs that close out each episode, chosen in the name of emotional resonance or wry irony (or both!). Her fractured relationships from within prison do not mean much anymore, but her life outside, and what she can influence has become the cornerstone of her existence.There are a lot of great things about the fourth season of Orange Is the New Black-across-the-board powerful performances, a beautifully calibrated tone that strikes a tricky balance between comedy and tragedy, an abundance of shocking, “holy shit!” moments that nonetheless feel wholly appropriate and earned. Tasha has found a new life within the prison to teach people, to give love rather than expecting love back - that’s her happiness now.Īs for Cindy her homeless journey is devastating, but in the end, at least she stood up and decided to take responsibility for her daughter. “Here’s Where We Get Off” is not entirely following the rulebooks of how the prison has worked so far, but how could they not provide a send-off?īut the damning moment comes when Tasha is about to kill herself, but then she sees the certificates of her students she has tutored - the gut-wrenching moment comes when we see Tiffany’s certificate - she passed. “Why do you always feel so inevitable to me?” was not throw away line - it was the blueprint for the inevitable ending, and it’s much stronger than Ross and Rachel.īut there are a few moments that force you to well up Suzanne’s memorial for Tiffany was brilliant - getting the character to stand in the middle of the prison with her eyes closed and sing for her deceased friend was the kind of fan service I was talking about. This was never meant to be a tear-jerker - it was a sensible end to Piper’s journey. We also get to see Piper and Alex challenged for one final moment but did any fan ever believe that these two would give up on each other? The ending is refreshing - Piper deciding to leave her old life behind entirely, to live in Ohio, to study and work hard, while she waits for the one person she can never get out of her head. For one last time, we see the change of Warden, as Tamika’s time ends after the latest overdose was one final blow to the company. “Here’s Where We Get Off” was all about moving on for the characters it presented us the confirmation of Tiffany’s death and the drug sweep that followed. I questioned back in Season 2 whether the story had longevity, even with Jenji Kohan‘s mastery with story concepts and character building, surely it would die out after three seasons.īut here we are, after seven long seasons we say goodbye and while it was less emotional than I expected, I think the fans will appreciate the little things Episode 13 opens up with a different rendition of the famous intro song, that I’ve skipped so many times, but this time I listened, as I may never hear it again. The first season catapulted Netflix into a whole new dynamic of content, and what it meant to produce original series’. Orange Is the New Black has been a success.
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