“To Have and To Hold”
May 31st, 2010
“Is every single thing just lurking beneath the surface?”
United States of Tara isn’t a mystery show, per se, but there is a central search for answers at its core which we seem to be returning to once a season. After reaching out to her college rapist in an effort to discover the truth behind her condition only to discover that it went far deeper than that particular trauma, Tara stepped away from trying to find the source of her problems and instead tried to medicate and try to continue living life without that knowledge. However, as the second season has progressed, it’s clear that her condition is creating more strain in her life now than ever before, and through the help of a new alter (Shoshannah) and whatever it is that the Hubbard house brings out in her.
I recently caught up with the past three episodes of Tara (the end of the season turned out to be too busy to get to it live), and I’m on record as suggesting that Tara’s second season is perhaps the most confident on TV this year outside of Parks and Recreation and perhaps Sons of Anarchy. “To Have and to Hold” is another strong episode which speaks to both the mysteries of Tara’s past (which I think we have enough information to sort out, if not entirely comprehend) and the damage of Tara’s present, emphasizing the long-term ramifications of the former while reminding us that the gravity of the latter has yet to be determined.
“The Department of F*cked Up Family Services”
May 3rd, 2010
The challenge of the half-hour series intent on eroding the boundaries between comedy and drama is that a half-hour is not a lot of time. While hour-long series have the benefit of 40-50 minutes in which to draw out key themes or lay the groundwork for exciting climaxes, a show like United States of Tara has roughly 23-26 minutes in which to effectively accomplish the same thing.
In some cases, shows settle with telling less story, accepting that they can’t deal with issues as complicated as series with longer running times, but what’s struck me about Tara this year is that they’re not holding back. Not unlike the second season of Sons of Anarchy, it doesn’t feel like the show is saving stories for future seasons, or drawing things out. They know they don’t have time to waste, and they know the stories they want to tell, so Diablo Cody and Co. are just barreling on through with some pretty substantial success.
In the process, though, the show hasn’t been entirely transformed: the show has a much faster pace than last season, with more sources of conflict and a less predictable central protagonist, but the stories still come from someplace honest, and there are still scenes which feel like quiet ruminations amidst the chaos of it all. “The Department of F*cked Up Family Services” deals with a lot of pent up frustration from previous episodes, but it does so within a structure which manages to tell its own story at the same time – it’s not rocket science, really, but the show has a really strong hold on it this season.
April 19th, 2010
Last season, I managed to watch and enjoy an entire season of United States of Tara without writing about it beyond a preview, which seems like the sort of oversight which shouldn’t happen: sure, I don’t get paid to do this, and there are plenty of shows that I watch but don’t blog about (for various reasons), but this is a compelling and intriguing show featuring some great performances that seems like it would lend itself to the sort of analysis I like to do. And yet, here I am again this season – after writing about the premiere, I’ve fallen off the wagon for the past three weeks, and I still don’t really know why.
I think it happened last season because the show is admittedly paced a little bit slowly, and it seemed to be in a largely contemplative mood in regards to Tara’s conditions: if the show is going to do all the contemplation for me, largely playing out the paces of the stories we’d expect to see given its premise, then why do I need to write a thousand words about it? However, this season the show has switched gears: the show’s pacing has completely gone off the rails, and yet the characters continue to want to try to live as if things are normal, to ignore the chaos and try to sort of power their way through.
“Doin’ Time” manages to debrief a fairly substantial, and potentially show-breaking, development with an ease which reminds us that this show is on some really strong creative footing this year: while it remains at times slow and contemplative, it is applying those traits to situations that we couldn’t have imagined a season ago and making some damn fine television in the process.