Television Review: Carnivores (The Shield, S1X11, 2002)

Carnivores (S01E11)

Airdate: May 21st 2002

Written by: Scott Rosenbaum & Kurt Sutter
Directed by: Scott Brazil

Running Time: 45 minutes

The Carnivores episode of The Shield is a compelling yet uneven exploration of the tensions inherent in a multiethnic, multiracial environment, particularly in Los Angeles, a city where immigration has long been a contentious issue in American society. The episode’s partial focus on immigration—specifically, the struggles of Korean immigrants in a rapidly changing socio-political landscape—resonates with the current debates in the United States, where immigration remains a polarising topic.

The episode opens with a harrowing incident that immediately highlights the stakes of the immigration theme. Police officers Danny and Julien are called to the home of an elderly Korean couple, where a violent attack has left the wife dead and her husband, Yung-Ho (Ralph Anh), alive but critically injured. Yung-Ho, a man who has clung to his cultural traditions and financial independence, is found with his foot nailed to the floor. Julien helps him only to see how Yung-Ho, in his grief and shame, reaches for a hidden gun and shoots himself. This act of self-destruction is a stark commentary on the psychological toll of isolation and the weight of cultural expectations. The episode then shifts to the investigation led by Dutch and Claudette, who face immediate obstacles in communicating with the couple’s daughter, Rhee Soo (June Kyoto Lu), who refuses to speak English. The detectives’ struggle to find a Korean translator, Donna Kim (Esther K. Chae), underscores the systemic barriers faced by immigrant communities, as Yung-Ho’s reliance on cash and his distrust of banks make him an easy target. This storyline reveals how economic insecurity and cultural alienation can create a cycle of vulnerability, where individuals are exploited by those within their own community. The resolution of the case—through a robbery involving three Korean teenagers and the arrest of victim's own grandson Nam Yung (Tung Ha), who confesses to his crimes with a chilling “I only wanted what others had”—serves as a grim reminder of the intersection between personal ambition and systemic inequality.

Meanwhile, the episode’s main storyline in Farmington explores the volatile dynamics of a drug empire in decline. Rondell Robinson, a key figure in the drug trade, is attacked, an event that disrupts his operations and threatens the stability of the Strike Team. The attack is attributed by Xavier Salam (Marlon Rivera), a leader of the Nation of Islam, but later revealed to be the work of Theodore “T.O.” Osmond (Cedric Pendleton), one of Rondell’s lieutenants. T.O.’s motives are clear: he seeks to take over Rondell’s organization, using the Rondell's addiction to drugs as opportunity and escalating conflict with activists as a cover for his own ambitions. The episode delves into the psychological and moral complexities of this power struggle, as Vic, the protagonist, grapples with the ethical implications of his decisions. T.O.’s plan to replace Rondell with himself as more “business-like” and “responsible” leader is portrayed as a pragmatic solution. The resolution, where Vic chooses to strike a deal with T.O. rather than continue with increasingly erratic Rondell, is a calculated move that underscores the show’s themes of compromise and survival.

The episode also delves into the personal struggles of its characters, particularly Julien, whose trauma and repressed homosexuality lead to a moment of crisis. Julien’s encounter with a gun-wielding young offender, where he dares the boy to shoot him, is a harrowing moment that exposes the internal conflicts of the protagonist. This incident, though seemingly harmless, leaves Danny deeply unsettled, raising questions about the mental toll of the job and the fragility of personal relationships.

The subplot involving Captain Aceveda further complicates the narrative. When allegations of rape—accused by his ex-girlfriend Maureen Wilmore (Katy Boyer)—threaten to derail his political career, the episode reveals the personal and professional consequences of such accusations. Aceveda’s attempt to retract the claims, only to discover that Maureen was indeed raped by his college friends, adds a layer of moral ambiguity. The resolution, where Aceveda apologizes and is thrown out of Maureen’s home, is a melodramatic twist that mirrors the soap opera-like pacing of some of the show’s later episodes. While this storyline serves as a critique of the media’s role in shaping public perception, it is ultimately a predictable and somewhat clichéd resolution.

Written by Scott Rosenbaum and Kurt Sutter, Carnivores is the first episode directed by Scott Brazil, a director who would later die during the production of later seasons. While the episode is solid in execution, it is not particularly memorable, with some plot twists—such as Vic’s decision to bribe Matthew into a special needs school—feeling overly predictable. The episode’s strengths lie in its exploration of immigration and generational conflict, particularly in the contrast between Yung-Ho’s traditionalist adherence to cultural norms and the more assimilated, yet alienated, younger generation represented by Yun Dae (Jane Cho), a California-born policewoman who refuses to learn Korean. This generational divide is further emphasized by the young robbers, who are driven by a warped vision of the American Dream, seeking “good things” that they believe are beyond their reach. The episode’s most compelling aspect is its nuanced portrayal of immigration, highlighting how different generations adapt to their new realities, often at the expense of their own survival.

At the end, Carnivores is a multifaceted episode that uses its setting to explore the tensions of a multicultural society. While it is not without flaws—its melodramatic twists and predictable plot points are occasionally jarring—the episode’s treatment of immigration and generational conflict is a standout. The show’s ability to weave personal and political narratives into a single episode is a testament to its enduring relevance, even as it occasionally falters in its execution.

RATING: 6/10 (++)

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