In season two of UnPrisoned, Paige (Kerry Washington) and Edwin (Delroy Lindo) find their efforts to mend their fragile father-daughter relationship overshadowed by concerns about Finn (Faly Rakotohavana).
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| Kerry Washington and Delroy Lindo in the "Trigger Happy" episode of 'UnPrisoned' season two. Disney/Kelsey McNeal |
The impact of being the son of a mother whose father was incarcerated for most of her life — and who has no relationship with his own biological father — becomes a central theme.
“I think that maybe the perception last year was that it was a show about a single woman whose father had spent the bulk of her life in prison, and a lot of the narrative did fuel that. But it is a show about a woman, her father and his grandson,” showrunner Yvette Lee Bowser tells Morfeli Reporter. “It is a multi-generational family, and we have a multi-generational story.”
With that comes the possibility of generational curses, a fear that drives Paige to not only let her father move back in with her and Finn but also to start family therapy with her psychotherapeutic nemesis, Murphy, played by John Stamos.
In episode five, "Trigger Happy," the family has a breakthrough when Edwin's girlfriend, Nadine (Brenda Strong), who raised Paige while Edwin was in prison, joins a session. The immediate tension between Paige and Nadine prompts Murphy to quip, “We’re going to have to really wrestle through some emotions today,” leading to a fantasy “smackdown” sequence where the Alexander family faces off in the ring.
“I love the entire series of episodes we so painstakingly crafted this season, but this episode stands out as a favorite not only for its creativity but for its execution and potential impact,” says Bowser. “We wanted to find a fun, clever way to externalize therapy, especially for those who may be unfamiliar with the process. After going back and forth on different pitches, we landed on professional wrestling since it’s inherently heightened, theatrical and, quite frankly, un-serious.
By depicting this family in the real work of therapy, we’re providing cover, or a safe space. We’re opening up the conversation for everyone to explore things about themselves and their families that they might not have otherwise.”
The episode marks a significant emotional turning point for the family, Bowser notes. “The Alexander Family Smackdown dives deep into their core issues.
We examine how family troubles echo through generations, revealing Finn’s social anxiety, Paige’s relationship struggles affecting her son, and Edwin’s absence impacting everyone. This episode brings all the season's conflicts to a climax, fundamentally changing the family forever.”
Bowser also talks with Morfeli about the episode, the current TV landscape, and her conviction that, “If we openly depict and discuss our problems, we can ultimately find freedom.”
Why did you decide to join UnPrisoned?
ABC Signature reached out to me because I'm under an overall deal with them. Tara Duncan, who created Onyx, recognized my ability to lead a successful show. We had previously collaborated on Dear White People at Netflix, and she knew I had a personal connection to the topic.
My father, while not imprisoned, was a career criminal who always joked that his intelligence kept him from being caught. Tara’s charm and compassion reminded me of my father, James Edward Lee, who had many nicknames like Eddie, Edwin, Jim, and Fast Eddie due to his diverse and colorful experiences.
Is that why Delroy Lindo’s character is named Edwin?
No, that’s just a coincidence. The character is inspired by Tracy McMillan's father and reflects the complexities of all our fathers.
The series has a comedic tone that sets it apart from other shows dealing with incarceration and family issues. How do you maintain the right balance in the writers' room?
We focus on authenticity because life has its humorous moments. As a dramedy, we emphasize the comedic elements of life because humor aids in healing and helps reveal our humanity. We take pride in telling our stories genuinely while infusing them with humor.
Eva Longoria mentioned to Morfeli that she finds much of today’s TV to be depressing. What’s your view on the current television landscape?
I think television could benefit from more humor. We need to remember how laughter can heal and help us not take ourselves too seriously. The current polarization often comes from forgetting how to laugh at ourselves and our imperfections.
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| Jordyn McIntosh and Kerry Washington during The Alexander Family Smackdown. Disney/Kelsey McNeal |
Humor makes it easier to navigate challenges. UnPrisoned stands out because it allows audiences to see themselves and laugh while staying true to authenticity and truth.
How did you feel about the response to the first season? Were there any particular reactions that stood out to you?
We received exactly the reaction we hoped for—people saw themselves in the show. We managed to broaden the perspective on human experiences and modern nuclear families, which has been incredibly gratifying. It’s a privilege to use my career to amplify unheard voices and influence cultural shifts.
When did you learn about the renewal for a second season, and were you expecting it?
I’d like to think we deserved the renewal. We were hoping for the pickup before the strike, but it came afterward. We were eagerly awaiting the news, and when it came, we were thrilled. Our show was the most-watched on Hulu during its first quarter, which shows that the audience wanted more.
I’m grateful that the network responded positively and didn’t make us wait two years between seasons, despite the strike. A shorter gap helps maintain the story’s momentum and strengthens the audience’s connection with the characters.
You mentioned during last year’s press tour that progress is being made in Black storytelling. However, there are still only a few Black women showrunners, especially for long-running series. What are your thoughts on the opportunities available in this area?
I believe the opportunities are present, but we need to keep pushing for them. A lack of representation on screen often reflects a similar shortage in executive roles and writers' rooms. It’s crucial for us to place ourselves in these positions and to keep the door open for others who wish to follow.
This commitment is central to my purpose and motivates me to continue my work. I’m dedicated to amplifying others’ voices and ensuring that they don’t have to enter through the back door or window as I did. Being on the inside means I have a responsibility to help others gain access and create more inclusive opportunities.
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