Tag Archives: Eric Overmeyer

Season Finale: Treme – “I’ll Fly Away”

“I’ll Fly Away”

June 20th, 2010

“I’m just a player.”

I’ve fallen into an unfortunate trap over the past month or so with Treme, and it’s quite a common one: with a show this dense and devoid of traditional plot development, and where the professional critics are receiving screeners and I am, well, not, I haven’t been able to work up the drive to write about the episodes when I’ve been seeing them a few days late every week (as a result of the conflict with Breaking Bad, which was so great this season). I’d hate for this to be read as a slight on the series as a whole, but I do think that I’ve avoided writing about it because I’ve felt uncomfortable offering a verdict on how the series has progressed.

I think what I’ve discovered is that Treme is constantly defined by fallout, both in terms of the overarching impact of Hurricane Katrina and the individual tragedies and events which define each character’s journey. When something happens on Treme, like the conclusion of last week’s penultimate episode, the real interest for David Simon and Eric Overmeyer seems to be the consequences. The Wire’s finales were always denouements, but Treme has been one long denouement from the destruction caused by Hurricane Katrina, and living within that space has taken these characters to some dangerous places and created consequences that will not end with tonight’s season finale. While The Wire was interested in how one small decision or one bureaucratic inefficiency could snowball into tragedy, Treme captures the spirit of a city fighting to overcome inescapable tragedy, and the result has been some great television.

“I’ll Fly Away” is a powerful and riveting finale, one which emphasizes the central notion of how these individuals fit into the world around them. Treme is filled with characters who either struggle against the script they’re given (the creators) or who simply play the sheet music placed before them (the players), and after Katrina hit New Orleans everyone was forced to ask how far they would follow their desire to take control of their own future, and at what point they would simply let themselves be washed away by the storm’s aftermath towards a new path in life. At the conclusion of Treme’s first season, we see numerous characters reach the point where they’re forced to make a choice, and yet it is never presented as a judgment (either positive or negative) on New Orleans culture.

Regardless of whether these characters choose to fly away or stay in New Orleans until the bitter end, they will always love this city, and that infectious love is so apparent in the production of this series that no amount of tragedy can outweigh the strength of spirit shown in these opening episodes. While the series’ highly recognizable subject matter could have overwhelmed the individual characters that Simon and Overmeyer have created to populate their historical fiction, these characters have instead become a powerful way in which we as an audience come to understand the life of New Orleans, and the sheer weight that they were forced to carry once Katrina hit the Gulf Coast and the levees broke.

And Treme is that much more accomplished for carrying that weight with such confidence.

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Treme – “Right Place, Wrong Time”

“Right Place, Wrong Time”

April 25th, 2010

One of the challenges of watching television while engaged with (but not wholly part of) the critical community is that you can’t help but have certain expectations from others critics having already seen future episodes of a series. The end of “Right Place, Wrong Time” is something I’ve known about for a few weeks now, so I spent the episode expecting it, knowing that things would eventually get to the point when the tourists would happen upon the funeral service in the 9th Ward and in the process turn ritual into spectacle. In the end, of course, the (problematic, which I’ll get to) scene isn’t ruined by this expectation, but some of the intended effect is lost in the process.

What I think the well-made and compelling Treme is struggling with right now is that we have certain expectations: history has already written its own story of what happened in the months after Hurricane Katrina hit New Orleans, and to some degree Treme is in the process of checking off a list of things that they “have to” cover rather than revealing new stories that head in unexpected directions. With the weight of this expectation, the show feels like certain stories are moving towards inevitability, designed to get to a particular point about post-Katrina New Orleans rather than unfolding in a way which speaks to that particular concern.

It’s as if the show is always in the right place at the right time, a situation which makes “Right Place, Wrong Time” struggle to feel quite as organic as we may want the show to feel at this stage of its development. The drama remains extremely compelling, and many of the individual scenes within these stories are as evocative and worthwhile as we expect from Simon, but there is something about the way things are unfolding which fails to embrace, even while capturing, the uncertainty of reality.

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Series Premiere: Treme – “Do You Know What It Means”

“Do You Know What It Means”

April 11th, 2010

I’m in the middle of a fairly chaotic week (that will continue to be pretty chaotic until at least the weekend), and so I only today got a chance to sit down with David Simon and Eric Overmeyer’s Treme. As a fan of The Wire, and a fan of good television, I can objectively say that this is a very engaging television program that I look forward to watching for the remainder of the Spring.

As a critic, I don’t know if I quite have time to delve into it with the depth that I might in different circumstances – I’m going to offer a few brief thoughts on a couple of stories, and probably talk a bit about the show’s depiction of New Orleans, but full-detailed thoughts might have to wait until later in the miniseries.

Of course, I’m writing this before I start writing the review in earnest, so you could look beneath the fold and find something as long as you’d normally expect.

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