Jeff Bridges and John Lithgow in Season 2 Episode 1 of The Old Man
FX's The Old Man can pretend to be a political, military, spy drama all it wants, and I suppose in many ways it is. Secretly, though, this series is a soap opera pure and simple, and frankly, it thrives when it really leans into those elements. Give me the melodrama, give me the long-buried secrets. Luckily, the end of Season 1 left us poised for the most beautiful of soap opera payoffs.
Their relatively smooth trip doesn't stay smooth for long as the truck is stopped by a group of armed men who kill their drivers, but who are also killed in turn. Chase suggests that Harper call "her" to help get them out, but Harper refuses — at least for now. Instead, he finds their driver's GPS and suggests Chase take them to the rendezvous point himself.
He invites Chase and Harper back inside to catch them up and tells them there are few units like theirs left fighting back against the government, adding that they'd all heard an FBI agent was taken, but were surprised at the lack of official American response. Harper tells them that their contact has agreed to fund the unit that helps them, and that combined with the promise of getting to cause trouble for Hamzad is enough to get Omar on board.
They arrive at the camp to find a body hanging from a tree, and the residents of the camp massacred. It's finally at this point Harold agrees to call "her," namely his first wife, Marion . He catches her up on their progress, and asks if she's able to help them further. She tells him to give her some time to sort something out, but tells him to ask Ali for advice on a safe place to hide. Who's Ali, you ask? The man they were supposed to meet.
I can appreciate that the past few decades have been rough on Chase, but I wonder at what point he lost so much perspective that he decided that a man would fight to get back the daughter who was stolen from him when she was a baby, only to kill her a few days later. I'm not questioning the fact that Chase loves his daughter or the fact that for all Hamzad is her "father," Chase is definitely her "dad.
Eventually, three women enter, but they only stay long enough to set up an old projector before leaving again. The three don't even switch it on, trusting Emily's curiosity to get the better of her, which it immediately does. Whatever she might be expecting, what she gets instead is a home movie of the village, bustling and busy, with a young Hamzad sitting front and center, singing a lullaby to his baby daughter.
Khadija walks in on this sorry sight and decides a new strategy is needed — never doubt who it is that really runs things around here — and takes Emily to stay with the other young women in the house. One of them, Faruza takes point on patching Emily up, and introduces herself as her cousin — technically, they're related through Khadija, who's Emily's paternal aunt, and Faruza's maternal uncle's wife, but hey, I've called people cousin for less.
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