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A gawky, bespectacled young man directs the violence.
Wee Gerry has come a long way since debate club, Dolourss sister, Marian, notes.
Evening, child, he says, striding up to the much smaller Dolours.
Dont call me child, you jumped-up wee prick, she retorts, not missing a beat.
Youre a year older than I am.
Arms crossed, Dolours locks her gaze and keeps her chin high in defiance of the towering Adams.
But even within the excitement of its opening half,Say Nothings highs are conditional.
Some stay resolute to the cause, others are haunted by their actions in the past.
Still others disavow their histories in a bid to seek political power.
But the show ultimately weaponizes that claustrophobia to its benefit.
The passing of time is central to the grand effect ofSay Nothing.
But by this point inSay Nothings timeline, the weight of Dolourss history has left its mark.
The old revolutionary delights her chronicler with wit and charm, yet a wary distance never leaves her eyes.
And yet, theres nothing exceptionally timely aboutSay Nothings subject matter.
Questions about the nature of political violence are as universal and timeless as those of truth and justice.
Would the Good Friday Agreement ever have come to pass without the violence the IRA precipitated?
Was the IRAs fight a just one?
A Hollywood-produced television show is not the right platform to engage with these questions.
