Scandal Review: “Where’s the Black Lady?” (4×11)

Perhaps inevitably, “Where’s the Black Lady?” does not quite reach the fever pitch of last week’s “Run,” though it sure tries like hell to. That said, Scandal packs in some really great scenes this week, and guest director Debbie Allen does some uncommonly great work here, as does Tony Goldwyn in what is one of Fitz’s greatest episodes to date.

Where the episode unequivocally succeeds is in its many smaller (at least, by Scandal standards) scenes and character moments, which are heightened by Allen’s lovely camera work. It is impossible not to marvel at the magnificent shots of Fitz and Mellie at the residence, tight shots of their tense conversation as Mellie airs their dirty laundry left and right and Fitz fears that their every word is recorded. (It’s equally impossible not to marvel at Goldwyn’s acting here, as Fitz’s silencing of Mellie is equal parts anger with her and desperation to get her to shut up for their own safety; Mellie takes it as the former, the audience as the latter, and either [or both] interpretations are valid.) Ditto Allen’s canny use of flashback, along with some spectacular sound mixing, during Fitz’s meeting Abby, Cyrus and David. In other words this is an exceptionally stylish episode of an already pretty stylish show.

The plot isn’t shabby either, even if it is a little bit shoe-leathery. That’s owing as much to the episode’s placement in the season as it is to any particular aspect of the script. After the rip-roaring yet withholding premiere, “Where’s the Black Lady?” is a veritable info-dump, obligated to catch us up with the rest of the cast and to give greater context to Olivia’s current plight. It’s fairly thankless work, and the episode tends to do it in a circuitous, repetitive manner. Multiple scenes of Huck torturing Liz, for instance, make the same point they could in half the time. There’s a real sense of padding here, of over-explaining, which is never more apparent than in Andrew Nichols’ scenes with Fitz. The Vice President has seemingly overnight become Dick Dastardly, but his constant explication of his Improbable Plot to Kidnap Olivia Pope, And Thereby Ignite War, doesn’t make the plot any less improbable, or any more engaging.

We already have the emotional stakes necessary for this story, and while this episode does a stellar job of filling in the blanks on Fitz’s side, deceptively little else of import happens here—we end in much the same place as before, save a war in West Angola, of course. In fact I’m not even sure that “too little happens” is the criticism I’m seeking. Ultimately this feels like half an episode, giving information that is necessary in parallel with “Run,” but that can’t help but feel superfluous a week after the fact.

I’m nitpicking, though—especially considering how very high octane “Run” was. At the end of the day this is solid episode that does a particularly excellent job of tying the more tedious aspects of the conspiracy plot (i.e. most of them) to tangible character moments and conflicts—Cyrus feels boxed out, but really Fitz is shielding him; Fitz is truly in love with Olivia, and will absolutely ignite war if it means saving her; Mellie learns that truth and continues to assert herself accordingly; and so on. Ridiculous things continue to happen, as they always will in this funhouse mirror version of Washington, but it’s all anchored in the very real drama between these characters, which keeps everything with at least one foot firmly planted in reality, and which helps the stakes really land as a result.

Plus it’s gorgeous to look at. Can we please keep Debbie Allen?

Stray Observations:

• We can officially lay this Helen of Troy metaphor to rest. I’m beginning to think that The Iliad is the only thing Tom has ever read.
• Further potential Helen of Troy inferences: Fitz and Jake cooperating to save Helen? Surely bound to be a lasting partnership.
• Though Huck’s scenes are largely plot filler, Guillermo Diaz does a nice job portraying Huck’s singular obsession with protecting/avenging Olivia, and does so in a more measured way than he usually performs the more extreme aspects of Huck’s character. (Which, let’s face it, all aspect’s of Huck’s characters are extreme.)
• How bizarre was that scene of the Secret Service telling Fitz what’s up? On the one hand it almost crossed the line into silliness, but on the other, it starts the episode on truly shaky, uncertain ground, which is a nice touch.
• Pretty sure Huck repeats the exact line about breadcrumbs twice in this episode, vis a vis the repetitive nature of same.
• Mellie’s invocation that she “took care of anything” will surely end well for all involved, yes?