Epoch is the story of DeYarmond Edison: Brad Cook, Phil Cook, Justin Vernon and Joe Westerlund, told as never before. It’s a tale of community, vision, family, and a quartet that wanted to be too good to last. Rendered in maximalist detail, Epoch explores their saga while also telling a more universal tale: it explores and celebrates what everyone else is doing, making and building outside those cities that live under a microscope. It treats “small town shit” with the canonical care it deserves.
Scenes, especially the so-called small ones, are stitched together by the friendships and relationships that lock arms to build it. In this way, Epoch is also a friendship fable; “There’s a coming of age when it comes together,” describes Executive Producer Grayson Haver Currin, “and a coming of age when it breaks apart.” The epilogue is nice-to-have – where are they now, and so on – but it’s not the story. The story is the moment, which is the people, which is the friendships, which is the scene, which is the moment.
