Chicago Power Plays and Jarmusch’s Return: A Study in Family Ties
The latest developments in the Windy City are keeping everyone on their toes, as the latest episode of The Chi, titled “Oh Girl,” brings unexpected pivots for our main players. From the streets of South Side Chicago to the nuanced lens of independent cinema, the theme of the week seems to focus heavily on the complicated dynamics between parents, children, and the legacies they carry.
A New Game in Chicago
The power vacuum in the city is sparking some very dangerous conversations. Quentin is making it crystal clear to Tracy that he intends to reclaim control, and his vision for the city is a far cry from political reform. He openly mocks Douda’s past mayoral attempts, suggesting that the old-school way of bribing authorities—rather than defunding them—is the only way to let gangs rule the roost again. The revelation that Quentin was the shadow financier behind ROCK and Trinity House all along was a proper sting, punctuated by his rather nasty taunt to Tracy: “Who’s your daddy now?”
Amidst this, Victor—formerly known as Trig—is being pushed into a corner. Despite his reservations about his criminal record, Tracy and Douda are insistent on him running for City Council. Douda has even gone as far as arranging a “fake girlfriend” to polish Victor’s public image. It is quite a mess, honestly. Victor is trying to walk the straight path, but with Tracy threatening to pull funding for their community projects if he doesn’t comply, he is caught between a rock and a hard place. He refused to sign Douda’s NDA for now, but the tension is definitely brewing.
Emmett’s Uphill Battle
On the personal front, Emmett is attempting a total lifestyle overhaul. For the first time, we see him managing all three of his boys simultaneously, while also swearing off sex and all such things. He’s been following some online “self-help” guru who preaches celibacy as a path to self-worth. Tiff, understandably, finds the whole thing quite hilarious and doesn’t think he has the discipline to pull it off. To make matters worse for his mental peace, Emmett had to swallow the bitter pill of learning that Tiff and EJ are now living with Rob. It remains to be seen how long this “new” Emmett will last before the old one returns.
Family Reunions and School Days
The younger lot is also facing their own music. Kevin and Lynae managed to turn a disciplinary issue over gaming equipment into a legitimate after-school club, which is quite a clever move. Kevin also seems to have been completely struck by a new girl, Simone. However, the real shocker came for Jake, whose long-absent mother suddenly reappeared at the school office. While she claims she is clean and sober, Victor is rightly skeptical, warning her not to ruin the stability they have worked so hard to build.
Jim Jarmusch Explores the Mundane
Shifting gears to the silver screen, veteran US independent filmmaker Jim Jarmusch is back with his 14th feature, Father Mother Sister Brother. It is a quintessential Jarmusch piece—an episodic film that feels very much like a spiritual successor to his 1991 work, Night on Earth. The movie dives deep into the awkward, often silent spaces between adult children and their aging parents.
The Dynamics of Discomfort
The film is split into distinct chapters, starting with a father played by Tom Waits. He lives in a crumbling, isolated shack, and as his children Jeff and Emily visit, there is a palpable sense of life simply slipping through his fingers. It is easily the most humorous yet poignant segment of the film.
From there, Jarmusch takes us into “Mother,” a segment that feels very Woody Allen-esque in its execution. It is packed with passive-aggressive energy. Charlotte Rampling is absolutely formidable here as the matriarch; her silent, judgmental glares are enough to make the audience feel as uncomfortable as the daughters on screen who can’t even enjoy their tea under her scrutiny.
A Study in Claustrophobia
The final chapter takes a more haunting turn, focusing on twin siblings dealing with the absence of their parents. What makes this film so relevant today is Jarmusch’s choice of setting. By trapping his characters in indoor spaces, he creates a sense of claustrophobia that makes the “safety” of home feel quite unsettled. It’s a brilliant look at the banality of life and the secrets families keep, showing us that sometimes the people we are related to are the ones we know the least.