Orange Is the New Black Season Finale Recap: She Was a Person. Watch Tab Hunter Confidential Online Tab Hunter Confidential Full Movie Online. Uzo Aduba as Suzanne. Photo: Jo. Jo Whilden/Netflix. Toast Can’t Never Be Bread Again. Season 4. Episode 1. Editor's Rating. 5 stars. Throughout this season, Orange Is the New Black has told stories about wistfulness and regret and time travel.

Lolly builds a potato- powered time machine out of cardboard and foil, then she and Healy talk about what they would change if they could. In episode eight, members of the Construction 1. Hapakuka says that rather than kill baby Hitler, she’d go back and raise him better, encouraging his artistic side. As part of the same conversation, Doggett gives Coates an opportunity to say whether or not he regrets raping her — an opportunity he doesn’t even recognize until later. In episode 1. 1, Piper and Alex talk about whether they’d want to change the past. Alex’s opinion is fatalistic; their choices don’t matter, she tells Piper. They are “doomed to be together.”This idea — that regret is real, but time only moves in one direction — is threaded across season four, and it’s also implicit in OITNB’s flashback structure.

Orange is the New Black, season 4 episode 13 recap: 'The mother of all finales'. Go back to our recap of episode 12. Orange Is the New Black Season Finale Recap. Toast Can’t Never Be Bread Again Season 4 Episode 13. Throughout this season, Orange Is the New Black has told. Orange Is the New Black type: TV.

We can jump back to watch what happened in the past, but we can’t change anything. As Doggett tells Coates, in what is my favorite episode title of the season, “Toast can’t never be bread again.”The finale uses OITNB’s season- long meditation on regret to painful, pointed, lovely effect. In the aftermath of Poussey’s death, we get an extensive flashback that paints a portrait of who she was before her imprisonment.

Check out the latest recaps about Orange is the New Black Season 4 Episode 13. 2016/06/21/orange-is-the-new-black-season-4-finale-recap-episode-12-13-poussey-dies. This recap for the “Toast Can’t Never Be Bread Again” episode of Orange Is the New Black.

She’s visiting New York City for the first time, and after she gets separated from her friends, she has a magical, surreal, sparkling experience of the city. Poussey gets pulled into some kind of performance- art club in her quest to borrow someone’s phone, she gazes warmly at the diverse humanity on the subway, and she hitches a ride with a group of Improv Everywhere performers dressed as bicycle- riding Buddhist monks. She’s young, embodying that potent mixture of worldly desires and na. Lolly’s time machine does not work; we cannot go back and undo what Bayley, Piscatella, Caputo’s neglect, and MCC’s corporate greed did. It’s fitting that the finale shows us such gorgeous, maddening scenes of Poussey’s past, only to return to the present day, where Angie and Leanne decide the time machine is cursed and tear it to pieces.

Time travel and regret also play into MCC’s corporate response, although the crisis management team would never describe it in such suggestive terms. They do nothing that’s actually helpful, of course.

They’re there to find an angle, a way to spin the situation to protect MCC. In macabre parallel, while Poussey dances happily in that charmingly odd nightclub, these men sort through every image they can find from her past, searching for something that will transform her into a villain.

When they can’t find anything, they move on to Bayley. They’re doing exactly what Lolly tried to do in her time machine.

They’re trying to rewrite the past. And because they are white, privileged, male corporate monkeys, rather than disadvantaged inmates who have been stripped of their humanity, they can almost get away with it. Caputo’s last- minute script change prevents MCC from functionally rewriting past — but even then, he’s only stepping in to save Bayley. He has nothing to say about the woman who died. The MCC crisis- management team aren’t dressed in overtly threatening uniforms.

They don’t drag anyone off a table, torture them, or kill them. But their effort to turn back time is, at its heart, an extension of the dehumanizing work Piscatella does at Litchfield. Watch Deal 4Shared. Their efforts to force Poussey’s life into their own narrative, to redefine her as a cookie- cutter- shaped villain who will serve their own purposes, is brutal. It’s identical to the kinds of dehumanizing narratives written by institutionally racist cultures, which eliminate individuality and reshape stories to fit prescribed narratives of criminality, animalism, and worthlessness. The corporation seeks to write Litchfield’s inmates into a story that ignores their individuality, which means the inmates are the only ones left to stand up for their own selfhood and for the selfhood of others. Piper realizes that Alex has been leaving notes all over Litchfield with the name of Kubra’s hitman written on them. Alex, who was pursued by a man trying to kill her, is still able to recognize and try to mourn him.

Soso drinks herself into a stupor. Judy King, brought face- to- face with the dehumanizing effects of imprisonment for the first time, grabs her corporation- granted opportunity to leave and runs with it.

She reads to them from Anne Lamott’s Bird by Bird, a book Poussey gave her when she first started the garden. Poussey’s friends are left to sit shiva, alternately raging and weeping and laughing at the surprising reveal of Alison Abdullah’s shockingly red hair. And in yet another classically OITNB move, the subplot I laughed at and loved, the one that provided lightness all season — Taystee as Caputo’s administrative assistant — ultimately slices to the core of things.

Tentatively, and because he truly doesn’t know, Caputo asks Taystee to describe what happened in the cafeteria. She did not act aggressively in any way. But even if she did, how could that ever justify her murder?

Taystee is furious. While Piper and Alex burn the Aydin Bayat notes (and Linda From Purchasing sits cluelessly in a bathroom stall), Litchfield rises up from each of its racially segregated dorms and goes marching into a full riot. The COs are helpless to stop it. The gun that CO Humphrey brought to prison skitters across the floor, ends up in Daya’s hands, and she aims it at his head. They riot when MCC tries to erase her from the story. The story that OITNB tells about Poussey’s death is not just about Poussey, or about Litchfield. It’s about the way institutions everywhere are capable of overwriting and undervaluing individual human life — most often on the basis of race and gender.

But this finale does a beautiful, humane, generous thing: It refuses to reenact that same erasure in its own narrative. It would have been easy to lose Poussey’s individuality in the larger story about what imprisonment does and how institutions behave. It would have been even easier to let Poussey simply become a martyr to the cause.

Orange Is the New Black does no such thing. Far from allowing Poussey to be lost, “Toast Can’t Never Be Bread Again” forces us to remember her as the person she was, both in its flashbacks and in her friends’ remembrances of all the ways she was unique and loved. Just as “The Animals” ends with the representation of an eye, this finale ends with a matching visual. As we reel with the massive injustices and the huge body of people clustering in Litchfield’s halls, rising up against the faceless evil of a corporate prison determined to see them as mere bodies, the final thing we see is Poussey, in all her loving, irreducible humanity, looking directly at the camera.

Toast Can't Never Be Bread Again. As much as we’d love for Lolly’s time machine to actually work, the fact is that it doesn’t. We can’t go back in time, and we can’t come back from this. It’s like the episode title says — toast can never be bread again.

It’s past the point of no return. Is Litchfield toast? Smallville Season 9 Episode 7 Gorillavid. It certainly seems that way.

The prison was never meant to be warm and fuzzy, but the place we entered in season 1 is definitely not the place we’re leaving in season 4, where Poussey’s heartbreaking death is made even more heartbreaking in how she’s treated afterwards. Her body is left on the floor of the cafeteria as a pair of MCC corporate suits scramble to figure out how to spin what happened. They search her medical records to try and find an underlying health condition (nope). They search her prison records for a history of violent behavior (none).

Caputo is told not to call the police, or even Poussey’s father, until they can craft a narrative that excuses MCC from any blame. Piscatella, too, tries to reframe what happened by spinning Poussey as a violent inmate who attacked a guard. This is not about race.”Through all this, as Poussey is dead and everyone grapples with that loss, we also get to see her very much alive. We get a flashback of her visiting New York City with her friends and, after getting separated from them, having one of those epic, magical nights while trying to find them again. A pair of drag queens take her dancing after she asks to borrow one of their phones. She hitches a ride with a troupe of bicycle- riding monks who turn out to be part of an Improv Everywhere stunt. At one point, she even crosses paths with Bayley on the street, neither knowing their fates will soon collide in such a tragic way.

It makes the present- day timeline feel that much more cruel. Her friends sit shiva in the yard. Soso drinks to numb her pain, and Suzanne tries to understand Poussey’s suffering by weighing herself down with books and then an entire library bookshelf (the latter move sends her to medical, where she’s placed next to Kukudio, her face still beaten and bruised from their fight).

Judy King packs her stuff to be released; her paperwork backdated — hello, celebrity treatment! Red gathers her girls by the garden, reads to them from a book Poussey gave her, and gives them tasks to keep them busy and away from the riot she knows is looming.

And Alex admits she’s been hiding notes around the prison with Aydin’s name, so his body can be identified. He asks her what she saw in the cafeteria that night. She cuts right to the heart of it: “What are you asking me, if she deserved to die?!” Poussey wasn’t aggressive, and she didn’t have a knife, she adds, but even if she did that doesn’t justify her murder. That doesn’t stop Caputo from giving a statement to the press where he doesn’t paint Bayley as a monster like MCC wanted him to, but still essentially defends him (he’ll be temporarily suspended but can return to work) and doesn’t ever mention Poussey by name, thereby erasing her from the story. The other women are on lockdown in their dorms, but the outside world sees it on the news — Aleida on her couch, Healy in his mental health facility — and Taystee overhears while listening from the desk area she used as Caputo’s administrative assistant.

Furious, she sets back to her dorm to call for action and the other dorms follow suit, each group arming themselves and pouring out into the halls ready to riot. Piper and Alex get caught in it while burning the notes with Kubra’s name, and the same with Judy King just as she’s about to get out for good. CO Humphrey pulls the gun he illegally snuck into the prison but Maritza pushes him and it slides across the floor, ending up in Daya’s hands. She aims at his head, everyone yells as the camera spins around her, but we don’t see if she pulls the trigger.

Instead, we end with a final look at Poussey on that night in New York City, smiling directly at the camera — youthful, happy, and full of life.