“Shame, Shame, Shame”
May 9th, 2010
There is a certain familiarity within Treme that has seemed a little bit foreign in the early stages of the series – community is obviously a key theme for the series, but it seems like everyone knows everyone else, or at least seem to know everyone who they need to know in order to allow Simon and Overmeyer to make the arguments they want to make. It just so happens that Lambreaux knows a city councilor, and it turns out that Ladonna’s brother worked at Janette’s restaurant, and it seems Toni Bernette represents just about everyone in this city. There’s a point where we start to wonder just how all of these connections could be possible, moments that pull us out of the sense of “realism” and authenticity the show seems to be trying to capture (and which Christopher Cwynar wrote about here).
And yet, “Shame, Shame, Shame” opens with a dream sequence, which is precisely the opposite of realistic and yet which sort of places everything into perspective. There is a certain level of spiritual fantasy to New Orleans, a lyricism which the show wants to be able to capture: it wants to show people struggling in the wake of the storm, certainly, but it also wants to emphasize that they are always part of a community, and what better way to capture that than by having them know one another, or at the very least having their paths intersect more than we could have imagined. The show’s various cameos are not so much meant to overwhelm us with star power (although tonight’s got to me for reasons I’ll get into after the jump) as they are to place these characters within “real” communities, providing them a sense of hope within a situation that isn’t going to be getting better anytime soon.
Sure, there are occasionally moments when things seem a bit too serendipitous, but there are enough moments where this episode nicely delineates between hope and reality that I think I’m along for the ride.
October 13th, 2009
The Good Wife is a solid show, and a lot of this has to do with a very solid premise. What works about the show is how versatile it can be, even within each of its various elements. As a legal workplace drama, the show covers an extensive range of potential cases, and because Alicia is a junior associate it means she could end up doing a variety of jobs (like digging through files, or second chairing a bigger case) whether they’re representing the plaintiff or the defendant.
The show is ultimately a procedural, but it’s managed to be quite the chameleon. This week’s episode follows the basic formula, presenting a legal case that dominates the episode while Alicia is similarly burdened by her husband’s indiscretions. However, they’ve done an impressive job of providing variety in both of these departments, to the point that the twists and turns in either storyline are still effective.
The show is never going to blow me away, per se, but it’s nonetheless impressed me so far.
“This is America or Fifty Bucks”
August 30th, 2009
More than any episode before it, “This is America or Fifty Bucks” lives and dies by the show’s timeliness in the midst of an economic crisis. With Jessica struggling to adapt to Ron’s newfound money problems, and Ray struggling to make money in order to rebuild his house, the show has always been dealing with the reality of the current economic situation.
But there has always been a problem central to Ray’s struggle: in dealing with such a high end prostitution ring, he’s trapped at a point where their clientele is shrinking. Lenore’s clients are rich women with no real sense of the value of money, but once you move beyond them we’re beginning to see the business of Happiness Consulting falling apart in the midst of these circumstances. In this week’s episode, we find both Ray and Jessica at a crossroads, and they find the exact same temptress waiting for them at the roadsign, beckoning towards a sense of luxury and self-worth while Tonya struggles to maintain a sense of normalcy in the midst of an almost absurd (when you step back) business relationship as best she can.
But America is changing, and normalcy is changing, and the status quo of the series is starting to fall out from underneath our characters as they start to fall in on one another – the result is a really intriguing leadup to the end of the show’s first season.
“Trust and Consequence”
July 13th, 2009
The truth of the matter is that Better Off Ted’s summer ratings have been less than impressive, and that the consequence is that the show likely isn’t making much of an impression heading into its second season in the fall. However, right now, I don’t care. The real truth of the matter is that the show remains absolutely fantastic, with a laugh ratio that most comedies can only dream of.
“Trust and Consequence” was another example of the show’s ability to take one idea and run with it. This wasn’t an episode that was about a particular series of plotlines, but rather one event that creates logical consequences that are all quite humorous, with jokes piling onto jokes in a way that makes the conclusion where everything comes to a speedy end feel both clever and like leaving a great story while its quality is still high.
I don’t have too much to say, but some thoughts after the jump.