Amidst the unrelenting vulgarity that permeates each episode of The Righteous Gemstones—the lavish swearing, the blatant greed and avarice, the myriad of petty and significant criminal endeavors, and those chaotic Sunday brunches—it's captivating to observe the fleeting moments when moral qualms surface or when solemn religious sentiments are echoed. Whenever it appears that the Gemstones have descended into a bottomless pit of sinfulness and venality, something inevitably sticks in their craw, prompting introspection into the who, why, and just how far they've strayed down this treacherous path.
This element is particularly crucial in "Interlude II," just as it was in "Interlude," the standalone episode strategically placed mid-season last year. Both "Interlude" and "Interlude II" forgo the cliffhangers to present an episode-long flashback, enriching the Gemstone backstory and shedding light on the family's internal tensions and the specific corrosive forces that have eroded their decency. While "Interlude" transported us to 1989 and delved into Eli's contentious relationship with Baby Billy, who was perpetually debt-ridden and furious when Aimee-Leigh's unexpected pregnancy (with Kelvin) derailed his plans for a lucrative tour with his sister, "Interlude II" advances to Christmas 1993. Here, Kelvin sports a "bland haircut," and Aimee-Leigh once again finds herself as the mediator between Eli and Baby Billy, who is crashing at their house for the holidays.
It's pivotal to recall that the late, lamented, award-winning Brooklyn reporter Thaniel Block was probing into a story about Aimee-Leigh when he met his untimely death. On a show as meticulously plotted as The Righteous Gemstones, which seamlessly blends a stylish, Coen Brothers-influenced thriller with satire aimed at America's grotesque excesses, this cannot be dismissed as inconsequential. What's intriguing about "Interlude II" is that rather than tarnishing Aimee-Leigh's image, it actually enhances it. She emerges as the lone individual attempting to restrain Eli from plummeting into the abyss. Perhaps the only other person who tries to curb his excesses is his accountant, whom he summarily dismisses for not telling him what he wants to hear and for resembling Jim Henson.
Aimee-Leigh endures the crude banter that has become the cacophony of everyday life for the Gemstones with a cringe-worthy smile. Amid the magnificent Christmas tree at Gemstone Studios in 1993, she leaves Eli to mediate a squabble between young Judy and Jesse over whether "pussy" constitutes a curse word. ("A pussy ain't a cuss," insists Jesse. "It's a type of person—one who shies away from challenges and is scared of everything.") She believes in Eli and their mission, and would undoubtedly side with him in his dispute with his accountant about why the Gemstones must "go big" because, as she argues, "Jesus's message was more than just life-sized." Unlike her husband and brother, she isn't driven by vanity; she genuinely believes that amplifying God's message through the loudest megaphone possible is a noble endeavor.
Yet, Aimee-Leigh possesses her boundaries. When Eli arrives with the stellar news that an acquaintance from his past, Glendon Marsh Sr., is bestowing upon them a generous donation of $1 million to alleviate their financial strain, she does not raise a single eyebrow. The Gemstones are accustomed to such fortuitous interventions. Even when this overtly wicked and repulsive individual materializes for dinner, her suspicions remain dormant—until he divulges the details of his vending machine enterprise and mentions video poker machines. Illegal gambling? She can overlook this sinister wrestling promoter from her husband's history and refrain from pondering why this sinner seeks redemption with quarters. However, gambling crosses a line she dare not traverse.
Aimee-Leigh's objections at the dinner table ignite a chain of events that ultimately culminates in Glendon's murder, although Thaniel struggles to implicate her in the crime. She believes Eli shouldn't accept tainted money, regardless of his attempts to justify it, and Eli himself becomes uneasy with the notion of laundering $3 million of Glendon's cash to pocket a third. (Would he have declined the money if Martin, his new accountant, hadn't appeared so disheartened by the opportunity? Perhaps not.) However, these are the kinds of rationalizations that Eli and his ilk must concoct: Not all the money collected in the Gemstones' donation plate is pristine, he informs Aimee-Leigh, who responds with a dismissive roll of her eyes. If you aim to construct a grander house of worship, perhaps God will forgive you for taking shortcuts to achieve your goal.
Covering up a homicide is an entirely different scenario. When Eli's deranged father shoots Glendon with his shotgun and Eli proceeds to entomb the body in the foundation of Righteous Park, this is definitely a matter that Aimee-Leigh does not need to be privy to. Suddenly, several puzzle pieces from the season fit together: We understand why BJ found Eli on an existential rollercoaster ride at Exodus that fateful morning. We now have a deeper insight into the bond between Eli and Martin, who has become his most steadfast confidant. And we worry even more about Glendon's son Junior and his motives for dropping by to see Eli.
In the midst of this chaotic narrative, we find good ol' Baby Billy, who happens to be spending this pivotal Christmas with the Gemstones after abandoning his wife and child and lying about it. On balance, he had the most delightful Christmas of all. He got to serenade on stage with his sister for money and received a boom box with a bass equalizer for his "gospel jams." This year, he gets to sleep in the top bunk, the zenith of happiness for all the Gemstone children.
