Although the David Tate storyline essentially ended back in the eleventh episode of the first season, it was inevitable that as long as he was still breathing, his presence would continue to linger over the show, over Marco Ruiz. In “Eye of the Deep”, it’s exactly what we see; Marco has to grapple with his inner self, with a side of him that wants to embrace his darker nature and end the life of his son’s killer once and for all. As we’ve seen thus far in season 2, this is a conflicted man, one who’s perpetually strung between various inner and outer forces, and the questions of morality that have been swirling around his head ramp up here.

He eventually chooses not to rid the world of David Tate, instead electing to stick a thumb into the guy’s eye socket and to remind him that he isn’t getting off that easy. Tate’s going to suffer for the rest of his life, and now it becomes a question of whether this is more in line with Marco’s character or if simply offing him is. When you get down to it, there really are no answers, no predetermined or predictable ways that resentment and sadness and disappointment will manifest in a person. Marco can’t bring himself to kill his son’s killer, but maybe he’s truly killing him by keeping him alive.

Of course, even given the fact that this must bring Ruiz some satisfaction, it doesn’t take away from the pain of losing Gus. As Galvan says, even if you have the head of your son’s killer–without eyebrows–in a jar, it’s still overwhelmed by the crushing sense of loss, by the empty space in your life once occupied by someone you adored. In the end, that death will follow you wherever you go, and you know that it might’ve been a byproduct of the environment you chose to place yourself in.

This environment is one of death and destruction, of the teenage thieves getting gunned down by Galvan’s men or Tate getting stabbed in the eye with a spoon or a Juarez cop being tortured. It’s one in which violence is utilized at every chance to accomplish the goals set out by the various sides that have a hand in the game. Yet, from all this perceived simplicity arises ambiguity, and as the writers continue to craft the season’s arcs, we see lawmen in cahoots with criminals and a DEA agent as Frye’s source and Charlotte and Ray in charge of housing developments. Everything’s beginning to come together, and the situation’s a lot more complicated than it may seem.

GRADE: B+

OTHER THOUGHTS:

-Demian Bichir is fantastic throughout, especially in those quiet moments in which he’s just sitting there, the emotional conflicts playing out across his face, the weight of the world on his shoulders.

-The question for the audience with David Tate is: Do we care? Personally, I hope we never see him again, but I’m fine with the way the episode handles this storyline. Rather than it being all about Tate, it’s now about Marco’s journey; however, even if this will continue to have lingering effects on his psyche, I don’t want it to consume the show again.

-It’s revealed that Cerisola has a junkie daughter, Romina, and here’s another example of the environment corrupting and the implications of the older generations’ decisions reverberating throughout the rest of the tree.

-Lots of eye stuff in this episode. *shudders*

-Very quick review, I know. Apologies. After Wilfred is done next week, I’m sure I’ll have more time on Wednesday nights.

Photo credit: The Bridge, FX