tv shows

Lunchtable TV Talk: Treme

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It’s hard to characterize Treme, a little-watched, slow and critically praised show that sometimes felt like it lost its way, even if it never had one. It meandered, and in many ways, that felt quite intentional. Much more like real life than the way television moves forward with unrealistic plot points and devices that are thrown in not to serve the story but to keep drama churning. But do you need non-stop drama to keep you caring?

Treme never had the slow-burning intensity or high stakes that its creator’s masterpiece predecessor, The Wire, did but it was also an entirely different story, a different kind of story. Could a collection of loosely interwoven tales of people’s lives in post-Katrina (I struggle with the fact that this was already more than ten years ago – it seems like yesterday, and I imagine it feels recent for people dealing with its ongoing aftermath) New Orleans hold together tightly enough to make people watch? Perhaps not – but Treme gave us a reminder that there still are serious after-effects of the storm as well as memorable characters from all walks of life who live with those after-effects day in and day out.

Perhaps that is the characterization: the show is about characters a lot more than it is about stories. Very gritty and real-seeming characters whose lives are in no way tidy or “decided”. Everyone is as ambiguous as real people are. There are no moral epiphanies and black-and-white rights and wrongs here (in that sense it is very much the rightful successor to The Wire, which brought us moral and legal ambiguity in a host of different shades).

Lunchtable TV Talk: Wilfred

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A long time ago I saw the first season of Wilfred and although I liked it, I forgot all about it. Recently I binged my way through the subsequent seasons during an equally all-encompassing baking binge and was surprised by how poignant a show it turned out to be. Questioning our sometimes tenuous links with reality, the quality of our relationships and the very meaning of existence at times, Wilfred never delivers answers and seems only to pose more questions. Its absurdity drives its stories and is its engine while its heart is as cruel, as manipulative, as misleading, as deceptive, as multilayered but ultimately as soft as … humanity. And that seems to be the point.Humanity and our relationships with other humans (or humanized canines!) is cruel and manipulative, among other things. And perhaps worst of all, our own minds can be playing tricks on us – and as Wilfred asks more than once, how can you tell the difference?

Given that answers are all left open to interpretation, Wilfred leaves you with a few laughs, some frustration and a lot of triggers for emotional response and analysis.

The premise – depressive and suicidal young man begins having conversations with his neighbor’s anthropomorphized dog, Wilfred. No one else can see the dog in this form. And from this basic and frankly silly idea, there is a lot more under the surface – and continuing the awkward and ill-formed analogy – a lot of bones to dig up and chew on.

It’s no masterpiece, but Wilfred felt like a quiet but powerful wave. I was easily sucked in, never once felt taxed or bored and was left with a lot to think about.

Lunchtable TV Talk – The Best at Year End

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Call me crazy, call me lazy, call me ambitious… but whatever you call me, I have seriously seen all of 30 of 35 of the shows in this best-of-2015 rundown. And the writer is right on the money about everything in the list – at least of the things I have seen. I’m not big on animation, which is ultimately why I haven’t seen stuff like Bob’s Burgers (it is in my Netflix queue) or Rick and Morty. I tried to watch Review but could never find it to see. And I had never really thought of The 100. I admit that I don’t even know what it’s about.

Unfortunately I am too tired to dream up a list of what else is out there that didn’t make the list … nothing likely tops the Vox list – it includes some of my favorites, even the almost-never-watched stuff like Manhattan (which came into its own in a big way in the second season), The Knick, You’re the Worst, The Leftovers, and Rectify. Even Justified made the list.

What strikes me as weird is that I somehow managed to watch all 30 shows, and that is not even the tip of the iceberg in terms of the things I have watched this year. It’s usually on in the background, but still… so.much.tv.

Lunchtable TV Talk: Master of None

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Where can you hear Townes van Zandt, Bobby McFerrin, Lou Reed, “Cool It Now” from New Edition, Father John Misty, a Chinese song “Yue yuan hua hao“, Bollywood “Jap Chaye” and about a thousand other eclectic, off-the-wall, past and present hits and obscurities? Including “Africa” by Toto, which seems to be the anthem of millennial bar-goers – they freaking go nuts over this song (on TV and in real). Hmm.

Aziz Ansari‘s ace Master of None on Netflix. I am not sure I have ever experienced such a diverse and rich soundtrack in any TV show. Who is responsible for this magic?

And maybe the only TV show I’ve watched in which they mention boba/bubble tea! Haha.

I could ramble about how the show is slightly genius in its random observations and is also really funny, sweet and pleasant. I’ve loved it, even down to the background music.

baubles, babble, bubbles and liquidation

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Another early-to-bed, who-knows-when-to-rise Friday sliding into Saturday. Finally watching the accumulated episodes of season 2 of Fargo. I’m liking it, but every season has its actor who needs more time and training with a dialect coach (this time it’s Jeffrey Donovan and Kirsten Dunst, who are both overdoing it, and last year it was Martin Freeman, at least the first few episodes. For him, there was a better excuse).

The day was full of work and phone calls and annoying things like the engine on my not-old-enough-to-give-out treadmill blowing out, which also tripped the breaker for the entire house. Disappointing, and worthy of complaint.

But there were nice things, even if they weren’t earth shattering. Chains of events that unfolded in a funny way… I saw a recipe that is basically a “nest” of julienned sweet potato hashbrowns into which you break eggs and let them cook, sent it to Mr Firewall (who is obsessed with sweet potatoes), and when he joked that he’d need a bigger pan (paraphrasing Chief Brody, of course) I realized I could use this unused Tesco voucher to get him a new pan. When I signed in on Tesco’s website, I found that I had even more vouchers than I thought. And then was able to double the value with some kind of voucher “boosts” and got 10 GBP off and ended up spending a total of 10 GBP for 60 GBP worth of merchandise).

Topping off the good stuff, I had good news that my intervention/assistance led to someone getting an unexpected job interview. If anything, that turned my day around. Just in time for bed.

Lunchtable TV Talk: You’re the Worst – Don’t Give Up

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Surprised by the first season of You’re the Worst, in which two unpleasant people – but still somehow, sometimes, likable in their vulnerability – fall in love, I looked forward to the second season. It began a few weeks ago, and at first, I was a bit disappointed. There were episodes that seemed to try too hard, in which things were neither funny nor thoughtful. The only thread that seemed to be woven, subtly, through the season was Gretchen’s increasingly irregular behavior. This is revealed to be a downward spiral into clinical depression, and this is where the story came together once again. Oddly, the seemingly disconnected nature of the story to the point that Gretchen’s behavior was explained all led somewhere – but so subtly.

The most recent week’s episode, in which Gretchen starts stalking a couple that looks perfect and idyllic to her from the outside, and insinuates herself into their life, only to discover that she’d bought into an illusion, was sublime. Gretchen is almost manic in her shift from elation at witnessing this couple and connecting with them (she seems to find a naive hope in what she perceives as their happiness) to being visibly crestfallen when the man in the couple (played by an always amazing Justin Kirk) starts confessing – spewing, even – his discontent. The look on Gretchen’s face, expressing this dawning and deepening disappointment, is bewitching in its reality and relatability. As Gretchen and Jimmy leave, Jimmy totally oblivious, rambling in his careless and carefree way, he does not even notice as Gretchen silently falls apart.

It was unbelievably touching in the sense that… well, I think we’ve all been there if we’ve ever found ourselves depressed on any level. And as much as I don’t like Gretchen most of the time, she made me feel for her.

Lunchtable TV Talk: Premature cancellation

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Do shows fail to find an audience because of (lack of or bad) marketing? Because today there is too much to choose from or just because the masses have questionable taste? (I know this to be true, and this is why I don’t much buy into the “wisdom of the crowd” or focus groups or anything that relies on tipping point-pleasing everyone logic. I, and most of my friends, are not the mass in the middle that wants to see lame singing contests on TV every night of the week or who once wanted more and more stuff like Fear Factor or Survivor or Big Brother. We’re not the ones who thought the title/concept of Big Brother was conceived with the reality show debacle that reality show “moment” spawned. We know exactly where Big Brother came from – and we know that Big Brother like tactics are exactly what are used to inform network decisions on TV cancellation.

So yeah… what about all those pleasant and sometimes fantastic shows that never found their audience, despite finding a voice?

I am sure there is a long list of television shows that I have loved – that you have loved – that saw a premature end. Then there are shows aplenty that started but could not end soon enough because they sucked that much.

Quite a few shows from past seasons were cancelled but were lovely: The Bridge, Better Off Ted, Lone Star, Party Down, Terriers. I still miss them sometimes when I think of them. And then there are some, like the hilarious The Brink on HBO. It was renewed during the first season’s run and sometime before the second season would have happened… HBO pulled the plug! I am miffed about that one and may yet be for a good while.

Somewhere in the middle were shows that were average and entertaining without being must-see. Or shows that glimmered with flashes of promise. And some things were just steadily decent.

I lament the loss of some of these – Gang Related had people like Cliff Curtis (a veteran of film of TV, who is currently a lead in Fear the Walking Dead); Terry O’Quinn (who will always make a sandwich of the bread-and-butter law enforcement style roles he commands); Jay Karnes (who is just the coolest guy in usually uncool roles). Most of these people will work no matter what. But it’s a shame when a cast comes together and works well but does not get a chance to see where it might go.

About a Boy is another similar show. Minnie Driver was sweet. Al Madrigal was silly. And overall it might have been a little mushy, but it was a mush not unlike a slightly sweet applesauce – easy to swallow and pleasant. Yes, I know – I seriously compared a TV show to applesauce.

And then I reflect on other show that I don’t miss but am not sure they would not have turned out okay – Monday Mornings, Taxi Brooklyn?

And then some, like Happy Endings, was vocally mourned by a lot of critics, who felt it was underrated – but I found it only rarely funny, often irritating and a lot less clever, funny or endearing than the aforementioned About a Boy. But still, it too might have been cancelled too soon.

But most of the actors involved in these undertakings landed on their feet elsewhere or already had well-established bearings.

Do we lose out on some of these things because we’ve hit peak TV? There’s too much to choose from or we have slow and poor attention spans? If that were true, the losses of some of these things would not still linger so many months and years after their demise.

Lunchtable TV Talk warmed over: The Affair

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I am still not really liking The Affair, but for the first time this week I actually felt a stirring of interest in my brain. Generally speaking, I like Maura Tierney. Her role in this seems a bit strange because she is meant to come off as some ultra-privileged and almost clueless woman – also the woman scorned and hurt (by her husband having an affair). But she has spent the 20+ years of their marriage blithely unaware, undercutting her husband and his confidence, seeming to revel in having the upper hand. She never saw it, and maybe it never really existed except in his mind, but as Tierney plays it, you get the sense that her entitled nature and habitual getting her own way have made her blind to the slow erosion and eventual disappearance of the relationship she believed she had.

It’s interesting that I saw this episode today. I had been thinking a lot about how relationships end, and how it happens that one person can be completely blindsided by a breakup. Of course it is normal that one person may plan the breakup and want it for some time before setting it into motion. But are there not signs? Things, that if one were paying attention and not, as I wrote above, blithely unaware (or willfully ignoring, hoping against hope that one is wrong?), that would be bright red flags? The tragedy of relationships that end, particularly for the person who is “dumped” is that it so rarely ends up in the kind of self-reflection it should, that would benefit. It often turns into a victim/self-pity party (which of course is fine for a while because it hurts. The pain is real). But how often do we – any of us – use a breakup as a genuine opportunity for real self-reflection and introspection?

I know that there is a phase in the breakup/heartache cycle during which the “dumped” asks him/herself, on a very superficial level, “What did I do wrong?” But this is not the kind of self-questioning that I think would help. No, instead, it’s a true assessment of what did I contribute (or not) to the relationship over time that led to this. Sure, sometimes people just grow apart. But in these cases where one person is just *dumbfounded* by being broken up with, I imagine the signs were there, and it’s not all one person’s fault (not that it is a fault-based thing). How can one look at the whole picture and find the places on the path that they stumbled or tripped but got back up again and kept walking without addressing the underlying symptoms?

These thoughts were swirling around in my mind today as I watched Tierney’s character. Even as she committed the ultimate fuck-up, she still was not honest enough with herself to start looking at the pitfalls and stumbles that put her marriage where it ended up. No, it is not all on her, and obviously, her husband had an affair and they split up. But that is never the whole story.

I was also struck by the fact that it is so rare, in all likelihood, that Tierney’s character would ever in a million years break away from the kind of rigid, taut life she had formed. A dose of divorce proceedings going south and a dash of pressure from a would-be suitor/longtime family friend and the general discord of her family life, I am sure she was worn down, and as the episode depicted, she got wildly drunk, consumed some edible marijuana … and realized only after she was swarmed by the multiple forms of inebriation that she had to go pick up her kids at camp. As soon as you see her rush off to get them, you know this spells trouble because, as the always responsible one, the one who holds things together, who never breaks rules, she will never catch a break. In the chaos that ensued in that storyline, I came to really feel for her character in ways that none of the other parts of the story had ever allowed for.

Lunchtable TV Talk: Granite Flats

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“Holy smokes!” Yes, this is a “golly gee” exclamation that a couple of Granite Flats characters utter throughout its three-season run. I hoovered up all three, eight-episode seasons recently, and did not expect much. I was pleasantly surprised.

Some time ago, I read about the show but never quite got around to watching. It got some coverage after the first two seasons were over – suddenly when Parker Posey joined the cast, the show got a bit more attention. Christopher Lloyd had joined in the second season. Otherwise mostly stocked with virtual unknowns, the show came from nowhere. Or rather, it came from Brigham Young University productions (BYUtv). I suppose these two things made it more noteworthy in a sea awash with content, both good and bad.

The show at first comes off as ABC family, but less racy. Can you imagine? It’s a really wholesome production from the creative team at BYU. Yes, the Mormons.

It’s the dawn of the 1960s in small-town Colorado, and while the show starts by focusing on a group of three kids (who continue to form the core of the show throughout its run), it eventually unfolds to reveal the inner lives of several adults as well. Granite Flats invites you into its small-town atmosphere, and while it starts off a bit awkward and stilted, it hits its stride in the second season. The third season, though, is where things actually feel like they have gelled into place. It could easily have continued. The story was solid, could actually help you build your vocabulary (I do believe the word “mendacious” was used in one of the last episodes, and most treated us to words we don’t normally hear), entertained and was actually substantial family-oriented fare but without overt moralizing or creating something that felt as though it was “dumbed down” for family audiences. Created by BYU, of course, it lacks a lot of the darker, more salacious aspects that one might expect from modern television – no drinking (allusions to it, mostly), no smoking, no swearing, no sex. Its drama comes from other sources – mystery, intrigue, the “Red Scare” paranoia of the time and family relationships. And it comes off as surprisingly engaging.

It does shine through in the performances as well that this is something of a passion piece for the people involved. As the article cited above explains, someone like Christopher Lloyd can cash in in so many other ways, and this show was not really going to line his pockets. Clearly, it was a show that many people believed in.

A well-done period piece – and well-done enough overall to make you realize that you don’t miss the salacious bits. That’s no small feat. Sadly, though, BYUtv decided to channel its resources into other projects and ended the show after season three (all of which are up for streaming on Netflix and other sources).

Lunchtable TV Talk: Wayward Pines

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Ages ago, as Wayward Pines neared its end, I had planned to write about my thoughts about the show. I never got around to it, and was waiting to see if the show would be renewed (it was kind of designed to be a standalone miniseries season or go on if renewed) – it wasn’t, but by then, I did not care much any more.

Far from perfect, the show – a bit overdramatic, somewhat stupid and uneven, and not entirely clear – was still entertaining. Mostly it was good to see some of the actors (Carla Gugino, Justin Kirk and Melissa Leo, for example) in these roles, and sort of funny to see Matt Dillon. Dillon has had a long career, but I do recall a time when my mom and I were joking about how Inside the Actors Studio with James Lipton features “serious actors, not ones like… Matt Dillon” – only to see Dillon on the show a few weeks later. Haha.

So yeah, I have nothing to say about this but think it was a good decision not to continue the show.