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Cultural Interview: Shameless executive producer Nancy M. Pimental

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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.

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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.

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