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Even as Guantanamo faded as a topic of national discussion, we kept thinking about it, she narrates.
We even tried writing a TV show about it, a fictionalized version of Guantanamo.
The latest season, then, is an effort coming full circle.
If theres a clearer symbol for Americas War on Terror boondoggle, its hard to think of one.
The U.S. pulled out of Afghanistan, but the forever war persists.
It shares the same construct asSerials third season, which documented the banal goings-on in a Cleveland courthouse.
The purpose isnt to solve a mystery but to piece together the sense experience of a place.
That permeable line between perverse surreality and inevitable normality runs through the season.
Across these stories, the individuals in charge take a stab at make meaning out of their power.
Meanwhile, former detainees attempt to process the horrors, physical and psychological, they endured.
What isSerialsupposed to be, anyway?
At the time, the second installment inspired feverish anticipation.
toward a larger idea (What does it mean for us to keep sending young people to war?)
felt, for many listeners, like a dramatic deflation.
narrates Koenig, referring to Syeds story.
Pointing out the remarkable nature of oft-overlooked systems has turned out to beSerials underlying project.
In the scope of who gets incarcerated in the U.S., Syeds excruciatingly drawn-out case isnt all that notable.
Bergdahls might be extraordinary, but the blindly accepted notion we send kids to war isnt.
What happens in a courthouse is banal, even if it destroys lives.
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