“Shame, Shame, Shame”
May 9th, 2010
There is a certain familiarity within Treme that has seemed a little bit foreign in the early stages of the series – community is obviously a key theme for the series, but it seems like everyone knows everyone else, or at least seem to know everyone who they need to know in order to allow Simon and Overmeyer to make the arguments they want to make. It just so happens that Lambreaux knows a city councilor, and it turns out that Ladonna’s brother worked at Janette’s restaurant, and it seems Toni Bernette represents just about everyone in this city. There’s a point where we start to wonder just how all of these connections could be possible, moments that pull us out of the sense of “realism” and authenticity the show seems to be trying to capture (and which Christopher Cwynar wrote about here).
And yet, “Shame, Shame, Shame” opens with a dream sequence, which is precisely the opposite of realistic and yet which sort of places everything into perspective. There is a certain level of spiritual fantasy to New Orleans, a lyricism which the show wants to be able to capture: it wants to show people struggling in the wake of the storm, certainly, but it also wants to emphasize that they are always part of a community, and what better way to capture that than by having them know one another, or at the very least having their paths intersect more than we could have imagined. The show’s various cameos are not so much meant to overwhelm us with star power (although tonight’s got to me for reasons I’ll get into after the jump) as they are to place these characters within “real” communities, providing them a sense of hope within a situation that isn’t going to be getting better anytime soon.
Sure, there are occasionally moments when things seem a bit too serendipitous, but there are enough moments where this episode nicely delineates between hope and reality that I think I’m along for the ride.
“The Lights of Carroll Park”
January 13th, 2010
The problem with episodes of Friday Night Lights which feel overrun by homicide or criminal elements is not that those stories are inherently terrible, but rather that they feel incongruous with the show’s world. This is purposeful, meant to manufacture tension, but I don’t think it’s entirely necessary. It’s entirely possible to confront these types of issues within the show’s particular worldview, demonstrating the consequences of crime in ways which feel less contrived and disruptive of the show’s natural order. The show can be about the conflict between the criminal and law-abiding without the show becoming defined by that conflict (or by characters flirting dangerously between the two worlds), and “The Lights of Carroll Park” is a good example of how that can be accomplished.
It’s a slightly more problematic example, however, of how the show can confront the question of abortion. While I am not judging that storyline too quickly, as I’m sure it will be given more time to develop over the weeks to come (and perhaps into next season), the show sort of stretched the believability of its characters’ maturity in dealing with the situation. While I’m all for level-headed approaches to these kinds of storylines, as it’s one of the show’s strongest qualities, I also feel as if there are certain character who should be responding in ways that aren’t mature, and in ways that reflect how challenging these kinds of moments can be.
I guess me distinction is that I want the show to be challenging as opposed to challenged, and while the revonation of Carroll Park naturally fit into the first category I think the teen pregnancy sort of forced its way into the same position.
October 25th, 2009
When “Dirty Harry” begins, the problems start before the episode even does. After the exciting finale to “Dex Takes a Holiday,” which was a strong episode which really connected with the qualities that make the show work and which ended on that cliffhanger of Deb and Lundy bleeding on the pavement, things seemed exciting in a way that the show was struggling with early on.
However, the lengthy “Previously on Dexter” sequence reminded us that the things that made that episode great were an exclusion (of Rita and the kids) and a shock (that won’t be recreated in the next episode), which means that “Dirty Harry” is immediately handicapped. And while there are some stories that seem legitimately compelling, those seem to be at a standstill while the “drama” comes from conflicts that are either entirely uninteresting or which feel like the sort of simple “Dexter meets Suburbia” type stories the show has been dealing with this season.
It proves once and for all that Dexter is a series best watched in extended bursts on DVD, because the hype is going to create expectations that this season isn’t able to live up to.
“Dex Takes a Holiday”
October 18th, 2009
After missing one episode while I was in New York, and having another one delayed by a DVR failure, I’ve finally caught up with Dexter’s fourth season. Ultimately, both episodes were an improvement over the premiere, although they suffered from similar problems. The show’s decision to place Dexter into the suburbs and into a family life has made for an odd shift in tone. In some ways, it’s a return to first season storylines, with Harry Morgan recurring to remind Dexter that he’s deranged and that he can’t truly have a family. However, the show spent two seasons largely ignoring that story, and something about the way the show played them in a comic light early on has robbed the show of some of its teeth. Just as we see a legitimately intriguing new serial killer who creeps us out, Dexter’s storylines have felt like bad thrillers (the vandal scenario) by comparison.
What “Dex Takes a Holiday” does better is to marry Dexter’s predicament with less of an awkward identity crisis and more of a profound identity crisis – whereas consequences before have been a teenage girl thinking Dexter is being lame, and for Dexter’s suburban dream to suddenly turn into something less than Cleaver-esque, this week posed a far more extreme question in a direct fashion which lacked in subtlety but connected thematically. The episode had its problems, but by literally shipping off Rita and letting Dexter act burdened by inner emotions and not halogen flood lights it really brings into stark contrast the potential of this character.
The problem is that it required sending the family away, a luxury that not every episode will have, and a factor which even an intriguing twist at episode’s end can’t exactly overcome.