Category Archives: Shameless

Cultural Interview: Shameless executive producer Nancy M. Pimental

shameless_s7_beerwall_group_196_12cmyk

Shameless (Season 7) – Photo: SHOWTIME

When Showtime’s Shameless returned last week (which I continue to cover for The A.V. Club), it was months earlier than normal, the second season to air this calendar year. It meant a lot of Shameless in a short period, which reinforced that Shameless has quickly become one of Showtime’s longest-running hour-long series, now entering its seventh season

I had the chance to speak with Shameless executive producer Nancy M. Pimental, who’s been with the show since its first season, earlier this summer, and was mostly interested in how the show is looking to age into its final seasons, however many they may be. The conversation starts with a moment from last season that, for me, could have easily been a part of a theoretical series finale, and moves from there to cover topics related to upcoming character arcs, keeping storylines fresh after seven seasons, and how much they’ve thought about where they want each character to end up when the parties involved decide there’s been enough shamelessness for one lifetime.

Cultural Learnings: In the middle of last season, Fiona walked into the empty Gallagher house after it was auctioned out from under them, and my first thought was that this could have been the very last scene of the series.

Nancy M. Pimental: Really?

Yeah, the house has seemed so crucial to the show, and so the idea of it being a symbol of the end made a lot of sense to me—of course, then they ended up getting the house back, and the storytelling reverted to the status quo, but did you ever think of it as carrying the weight of finality at all?

Wow, no, but that’s interesting. I like seeing things through other people’s eyes, how it landed on them. We did not think it was final—what we wanted to show was just the kind of reality of living where they live, and how everything is a juggling act. So, you’re getting one ball in the air and paying one bill, and then something else ends up creeping up on you. Living in that socioeconomic environment you’re not planning for the future or anything—if anything we were just trying to show reality, as opposed to closure.

Was there any point where you considered abandoning the house, or is the standing set element of it too substantial?

Yeah, I think it’s too substantial. As writers we explore every option—“Oh, would it be interesting if everybody moves into the Milkovich house,” or “What if everybody splits up and goes to live with their respective partners?” I think we definitely explore every idea.

The season did end up playing with that latter idea, dividing up the characters while the house was in jeopardy. It actually made me wonder if you might go through with it, but eventually you did bring everyone back to the house.

You know, the truth is it’s such a fine line, as just practically and realistically as people get older they move away from their houses. I have friends who have kids that are that 16 and 17, and they’re never around anymore, and I think it’s natural and normal. And so we want to tell the truth, but sometimes it’s not great for storytelling, because you do want to see a family unit conquering or overcoming some obstacle.

Continue reading

5 Comments

Filed under Shameless

Season Premiere: Shameless – “Summertime” and Televisual Space

“Summertime” and Televisual Space

January 8th, 2012

After rewatching the entire first season over the holidays with my parents, I found myself enjoying Shameless more than when it premiered (as I wrote about soon after), and I looked forward to checking out the second season. What I wasn’t expecting, though, was to find it so disarmingly different from what we saw last year.

This isn’t to say that the show has dramatically changed its approach to storytelling, although there is evidence to suggest that they are finding better ways of balancing the different character dynamics based on reviews from critics who have seen beyond tonight’s premiere. Rather, the fast-forward to the dog days of summer has created both a temporal shift and, more importantly, a spatial shift in terms of the characters and the world they live in. More generally, though, the long summer days offer a plethora of sunlight, dramatically transforming the aesthetic of the show and signaling a new season in a very direct, meaningful fashion.

I realize that this is not particularly evaluative, and if we were to speak exclusively on those terms I found the premiere promising but uneven, but I want to spend a bit of time discussing these changes relative to the question of space, an increasingly important factor as worlds begin to converge in a new spatial dynamic within the series.

Continue reading

Leave a comment

Filed under Shameless

Season Finale: Shameless – “Father Frank, Full of Grace”

“Father Frank, Full of Grace”

March 27th, 2011

By the conclusion of its first season, I would argue that Showtime’s Shameless found something of an identity independent of its British predecessor. This is not to say that the show is better or worse, something I can’t judge given that I’ve seen only brief glimpses of the British series, but I felt as though the first season seemed driven by characters more than versions of characters. Between the work of Emmy Rossum, Jeremy Allen White, Cameron Monaghan and Emma Kenney, the Gallagher siblings feel as though they (if not necessarily the world they inhabit) are real people who I want to see face the challenges that result from their position. Their story never felt like we were seeing someone else’s story transposed onto these characters, as each performer seemed to be driving the characterization as much as any sort of influence from across the pond.

That is a testament to the strength of the cast, and the writers for working with them, but it is only one component of the series’ future. The other side, the part where we consider the world that John Wells and Paul Abbott have created in Shameless’ Chicago, seems problematic as the show heads into an extended hiatus before a second season. “Father Frank, Full of Grace” has some strong moments, but it has already put into motion an enormously problematic return to the status quo which threatens to undermine whatever strong character work might be done.

Or, to put it in other words, it’s already threatening to be just like every other problematic Showtime series.

Continue reading

3 Comments

Filed under Shameless

Ch-Ch-Changes: Thoughts on January’s British TV Invasion

Ch-Ch-Changes: January’s British TV Invasion

January 19th, 2011

While television in general has become inundated with adaptations of British series, or shows about adaptations of British series, or shows which have been imported from Britain, the past few days have been particularly overwhelming for me. Having put off watching Showtime’s Shameless (a British series being adapted for American television) and Episodes (a show about a British series being adapted for American television) the week before, and then pairing them with a marathon of PBS’ Downton Abbey and Monday’s premieres of MTV’s Skins and SyFy’s Being Human, I gave myself what has to constitute an overdose of transatlantic television.

And, unsurprisingly, I ended up with quite a few things to say about it. The process of adaptation is hardly a consistent one, and its function in these various texts is wide-ranging: It is the subject of satire for Episodes, a topic of debate for Shameless, Skins and Being Human, and a complete non-starter (albeit not without a controversy of sorts, as I’ll get to in a moment) for Downton Abbey.

The response to these various shows has been diverse, but beyond the legitimate concern that the industry has become creatively bankrupt there lies a shifting understanding of change and how we respond to it. Do we want adaptations to be “true” to the original, or do we want them to change in order to find a distinct identity? What, precisely, makes a good adaptation, and does the degree to which a series changes from the original alter our critical focus beyond how we would consider original pilots? And, if it does, should it?

The following is my attempt at answering these questions.

Continue reading

16 Comments

Filed under Being Human, Downton Abbey, Episodes, Shameless, Skins