March 22nd, 2010
When I watched the season premiere of the United States of Tara, the “Previously On…” segment reminded me of the intriguing plot developments that had defined the show’s first season, but it did little to capture the nuances that made the show work so well. The strength of Toni Colette’s performance, for example, was not evident in the brief scenes, and so it didn’t entirely represent the defining qualities of the show.
However, compared to the “Previously On…” segment for Nurse Jackie, the thing was bloody brilliant. If Tara’s recap failed to capture the nuances that I most enjoyed about the show, Nurse Jackie’s recap manages to capture every single thing I despised about the show’s uneven first season (except for the opening credits, which unfortunately appeared right after the recap was over). The show was always at its best when it focused on the humanity of its characters, or when it allowed a character like Merritt Wever’s Zoey charm us to death. The promo, by comparison, sold the show based on its high-stakes serialized elements which felt simultaneously undercooked and overblown.
Perhaps, though, I should be happy that the recap revealed these elements, because it meant I had no false pretenses heading into “Comfort Food;” this is the same show that it was in its first season, for better and (most certainly) for worse, and while parts of the show continue to present some subtle and effective work both in front of and behind the camera, the part of the show that’s most designed to draw us into this world remains a mess.
June 8th, 2009
There’s a pretty common element in nearly every review of Showtime’s new “comedy” (I’ll get to that distinction in a second), and it’s something that I can’t really speak to. Sepinwall and Fienberg both have thoughts on how Edie Falco, who earned numerous accolades for her role as Carmela Soprano on HBO’s hit drama series The Sopranos, adapts to a very different role, but I don’t really know how different it is. As I’ve blogged about before, The Sopranos remains my biggest and perhaps most detrimental blind spot in terms of the television in the last decade: not willing to shell out for the expensive DVDs, I’ve been left not quite understanding what David Chase’s show really meant outside of being able to know that his training did Matthew Weiner well (Mad Men). And now, with Falco moving on to star in Nurse Jackie, it’s quite a similar situation: I don’t precisely understand what Falco did before, but certainly that experience hasn’t lessened her ability as an actress.
This isn’t a comedy by traditional standards, but for Showtime it’s pretty well par for the course: debuting after Weeds (a show that has become more and more dramatic as time’s gone by) and in the wake of United States of Tara (which always veered closer to drama than comedy), the show is nonetheless a viable comic vehicle while maintaining a more dramatic core. The reason is that either in comedy or in drama, both of which we see in the premiere, the show remains starkly human. Jackie is ultimately driven by saving people, and perhaps her greatest fault is that her efforts to save herself take the form of far more destructive behaviour than and other her unethical practices done within the context of her job.
It’s the right recipe for the series, placing a conflicted and complicated protagonist in a situation where both her cynicism and her optimism are continually tested, although I don’t think anyone could argue it is a particularly unique one. That said, the pilot demonstrates a keen sense of this character, brought to life with strength by Falco, and the universe she inhabits, which is what any pilot is supposed to do.