“The Birds are After Her”
June 16th, 2008
If I were to make a list of the things I enjoy about Weeds, which began its fourth season tonight on Showtime, at the end of last season, it would have included a number of things. It would have included the most infectious theme song since The O.C., the no-nonsense attitude of drug maven Heylia James, the foul-mouthed criticism and blind romanticism of her nephew Conrad, and the narrative potential of a series set within the depths of American suburbia.
As Season Four begins, let’s take inventory: the theme song is played for one last time before being replaced by a new credits sequence, Heylia and Conrad are no longer series regulars and will rarely if ever appear, and the show has moved from its original setting to an oceanside border town. The end of the third season foretold these changes, in a way, but seeing them all happen is a whole other story. Yes, the show was perhaps getting complacent in its current setting, but such a drastic set of changes needs to be justified.
The course correction, however, comes with its benefits, including the introduction of Albert Brooks (Who rarely does television) as Nancy’s father-in-law, so the show is certainly surrounding itself with the right people to gain its footing. It also means that Silas, who got a bit of a short straw in the third season in that his love interest was a barely-used Mary-Kate Olsen, will slowly be able to emerge as a leading player in his own right, and it will also mean more screentime for the criminally underused Justin Kirk whose Andy has a new lease on life himself.
The premiere, like all episodes of Weeds is a total tease, barely even poking at whatever potential they’re creating for themselves. The result is that while I think the change will be for the best in the end, at this point it’s hard to know how all of the pieces will come together.