More OUTSIDERS

Article first published as OUTSIDERS Season 2 Premiere Review on Seat42F.

WGN America’s OUTSIDERS is back this week! The drama about the Farrell clan who live up on a mountain, apart from society, and those in the town below, including a businesswoman (Francie Swift) who wants the resources the Farrells are sitting on, begins its second season. The action picks up right where the freshman year left off, and I dare say, there are a few surprises in the first hour alone.

The premiere picks up on the mountain, where the police have come to confront the clansmen and women. It’s chaos and battle and everything you want, which I don’t feel like it’s much of a spoiler to say. What is interesting is that immediate aftermath of the fight, the scene we see right after it, and the result of it, which does change the course of season two. How far it shifts direction, that remains to be seen, though it seems like quality and style will be maintained.

Up on the mountain, G’Winveer (Gillian Alexy) is having trouble settling into her role as Brennan. This isn’t surprising if you remember the way she got the chief position, by poisoning Big Foster (David Morse) and then getting Asa (Joe Anderson) to shoot him. That Big Foster is a bad man in his own right, having murdered the previous Brennan, his own mother, is not known by any other characters, and so doesn’t help G’Win’s soul rest easy.

I like that OUTSIDERS has kept the murder a secret. Often on television shows, there’s a piece of information that only certain characters are privy to, and then it inevitably comes out at a dramatic moment. Since Big Foster was the only one in the room when he committed the act, while others may have suspicions about him, there is no way for anything to ‘come to light’ short of Big Foster confessing. That’s an interesting scenario, the Farrells having neither video cameras nor forensic science, and it sets the series apart.

G’Win, who is mainly a character to root for, did some nasty things in season one. While I like that she is a bit haunted by them, because it makes her more sympathetic, I also applaud OUTSIDERS for not totally excusing her actions. The Farrells may be willing to fall in line behind her, for the most part, but she is not a black-and-white hero, which makes her more fascinating.

By the same token, Sherriff Wade Houghton (Thomas M. Wright), who should be in the right, is not a likeable person. It’s not necessarily any specific action Wade takes that makes my opinion of him go down (though he does do something pretty cowardly in the premiere that doesn’t help). Yet, while he is a non-corrupt cop, viewers won’t necessarily want him to win, which is a cool element that most television shows don’t have.

The closest thing OUTSIDERS has to a truly good person is Li’l Foster (Ryan Hurst), and I can’t help but admire that man. As naïve as he can be at times, and while he has fallen for tricks and lies, he is still someone who seems noble. Part of the warm feelings toward him are not dissimilar from wanting to protect a little brother, yet I can’t help but hope he will come to be great in his own right, and I hope he doesn’t lose himself along the way. Who he is now is terrific, and he’s easily my favorite character.

I won’t spoil anything, but I will say there is a not wholly unexpected, but still very exciting, development in the Sally-Ann (Christina Jackson) / Hasil (Kyle Gallner) relationship. The premiere also ends with a shocking thing happening to one of our main players that I kind of hope sticks, not because I want ill to befall this particular person, but just because I find it interesting and a neat story twist.

Get ready for OUTSIDERS, which returns Tuesday, January 24^th at 9/8c.

OUTSIDERS Interviews!

Article first published on Seat42F.

I had the good fortune to be invited to New York City recently to sit down with the cast and producers of WGN America’s Outsiders, who were filming their second season. Set in rural America, the show tells the story of an isolated mountain clan and the near by townspeople, with political intrigue and clashing cultures. Season one was very exciting, and with season two premiering in January, I was very excited to interview some of those involved in the show. I hope you enjoy our conversations!

Click below to watch the interviews.

OUTSIDERS RETURNS TUESDAY, JANUARY 24 AT 9:00 PM ET/PT

David Morse and Ryan Hurst

Christina Jackson and Kyle Gallner

Gillian Alexy and Francie Swift

Rebecca Harris and Thomas M. Wright

Peter Mattei and Peter Tolan

Inside OUTSIDERS

Article originally published as OUTSIDERS Review on Seat42F.

Not quite a year after the excellent Justified left the air, a new drama takes us back into the hollers and wilds of Kentucky. OUTSIDERS, which premiered last night on WGN America, is the story of a small town and the feral Farrells who inhabit the mountain beside it. While civilization and tribal culture have existed peacefully beside one another for two centuries, modernity is moving in from the outside, which threatens to shake up everything.

The Farrells themselves have an interesting culture. Led by the current “Brennan,” Lady Ray (Phyllis Somerville, The Big C), they brew their own moonshine, abhor money, marry cousins, and yet seem to get along pretty well. Sure, they go into town and steal things occasionally, but the locals have learned to put up with it, partially out of fear, and partially because the clan knows the limits of what they can get away with. A few, like Hasil (Kyle Gallner, Veronica Mars), push boundaries from time to time, such as when he tries to take up with a non-Farrell, Sally Ann (Christina Jackson, Boardwalk Empire), but mostly, they know their place. So it has been for two hundred years, and so it shall continue, or so some hope.

But the status quo is shifting as Big Foster (David Morse, Treme) seeks to take the leadership mantle from his mother, even after Lady Ray is reluctant to give it to him. When one of their own, Asa (Joe Anderson, Hannibal), returns from the outside with new knowledge and skills, there becomes a choice as to who the Farrells should be listening to. Events conspire to shift loyalties of some one way and some the other, and suddenly there’s a decision to make instead of a guaranteed line of succession.

This is where OUTSIDERS begins, with a people on the precipice of change. It will take someone strong to usher then into a new era, someone who understands the parties involved, but can see beyond petty feuds and backward traditions. It could be Asa, who has shunned the rest of the world after living apart from his family for unknown reasons. But if it’s not him, it’s not certain who else it could be.

In Justified, there was a lawman who kept the hill people in line enough. OUTSIDERS has its own deputy, Wade Houghton (Thomas M. Wright, The Bridge), but he’s far from another Raylan Givens. Instead, Wade is beset by his own demons, and may just be the person in town most terrified of confronting the Farrells. Which is too bad because, pushed to do so by the coal companies, Wade’s boss assigns him the unenviable task of evacuating the mountain.

OUTSIDERS is fascinating because of the various personalities it portrays, some of which will seem rooted in folklore more than reality to potential viewers. Yet, even with the superstitions present, the series is pretty solidly grounded by terrific performances and an interesting, natural story (more reality-driven than the network’s Salem). Perhaps most of those displaced by industry aren’t as violently resistant as the Farrells are bound to be, but it’s certainly a scenario that has played out in some form or another in numerous areas of the country.

I find little to complain about this show. WGN America is getting a reputation of shining a spotlight into dark corners of American culture and doing it well, and OUTSIDERS is a part of that proud tradition. It won’t appeal to everyone, to be sure, but it makes for good, quality television that many will enjoy if they just know where to look for it, WGN America not being a channel the majority of viewers typically keep an eye on. I recommend making the effort to check this one out.

OUTSIDERS airs Tuesdays at 10 p.m. on WGN America. If you missed the first episode, it repeats numerous times throughout the week. Check your listings.

TRUE DETECTIVE Still True

Article originally written for Seat42F.

HBO’s TRUE DETECTIVE wowed audiences in its inaugural season last year, so as season two premieres this week with a different cast and story, it has a lot to live up to, and will surely evoke comparisons (as happens in this article). In order to do the title proud, the new run doesn’t seek to copy its predecessor, but instead uses a different structure and approach, while keeping the same dark, gritty, authentic, complex types of characters. Even early in the premiere, “The Western Book of the Dead,” I feel that it is succeeding.

In “The Western Book of the Dead,” we are introduced to three officials in law enforcement. Detective Ray Velcoro (Colin Farrell, Total Recall) went off the rails after the rape of his wife, and now is a dirty cop who gets violent to protect the son (Trevor Larcom, Fresh Off the Boat) he raised but may not have fathered, biologically speaking. Knife-wielding Ani Bezzerides (Rachel McAdams, Midnight in Paris) is a cop who doesn’t agree with the lifestyle choices of her family, sister, Athena (Leven Rambin, Grey’s Anatomy), being a solo porn actor, and her father (Treme’s David Morse) being a free-spirited hippie lecturer. Paul Woodrugh (Taylor Kitsch, Friday Night Lights) loves riding his motorcycle with a death wish, and is unhappy to be suspended (with pay) after an improper behavior accusation is lobbied against him.

None of these are heroes, at least not yet. Like last year’s Rust, they are deeply flawed. Except, unlike last year’s Rust, there’s no Marty to balance them out. Sure, Ani has a partner, Elvis (Michael Irby, Almost Human), but the scenes we see of the trio in the premiere are focused on showing us their bad behavior and it doesn’t look like any of them have anyone in their lives to pull them back from the brinks they are all rocketing towards.

In fact, the most stable character in this year’s TRUE DETECTIVE is not a cop, but a criminal, Frank Semyon (Vince Vaughn, The Internship), who, along with his wife, Jordan (Kelly Reilly, Black Box), join the three above in the main cast. Frank is trying to go legit, having found a scheme that will make him lots of money above-board. Unlike the other leads, Frank seems to behave logically, not emotionally, and is trying to better himself, not self-destruct. Ironic, no?

Of course, there is a story that brings all five of these people (Jordan to a lesser extent, but definitely the other four) together. This isn’t done at the start of the hour, as happened last year, but is the ending climax of “The Western Book of the Dead,” and will surely lead to a lot more interaction, of which there is barely any between the leads here, over the next seven weeks (this season being another eight-installment run).

I like this delayed beginning, though. Because there are more characters, it takes a little longer to get to know them. Without the partner dynamic, it’s not as easy for TRUE DETECTIVE to let viewers be introduced through a single relationship. Since the entire make up has more complexity, meaning more moving parts, taking time with each individually in “The Western Book of the Dead” does much to prepare us for the rest of the season.

I really enjoyed this premiere. Is it as good as season one? I think it’s too early to make that call, as season one was a twisty, slow burn that started great and continued to be so week after week. This first episode back seems to have the same qualities as its predecessor, and it is easy to be fully engaged in this new story with these new characters, which is a hopeful sign. The next couple of months will show us whether that can be maintained or not.

TRUE DETECTIVE airs Sundays at 9 p.m. ET on HBO.

TREME "...To Miss New Orleans"

Article first published as TREME "...To Miss New Orleans" on TheTVKing.

HBO's Treme brings its truncated fourth and final season to a close this week with "...To Miss New Orleans." It's Mardi Gras time once more. As 2009 is underway, things have returned to mostly normal for the city, allowing its residents to redirect their thoughts towards the future. Though, a few effects from Hurricane Katrina and the aftermath still linger, with long-reaching consequences.

I adore Treme. It's an authentic look at a specific place and time with compelling, intelligent characters. It's a celebration of the music and the spirit of New Orleans, and viewers are likely to learn a lot about the culture and lifestyle of its citizens. The writing is smart, the performers are excellent, and it's always entertaining to watch.

But it doesn't exactly tell a story in the traditional sense, meaning there is no real beginning or end for many plots. These installments have brought us events in various lives, but the people existed before Katrina hit, and will go on after, with Treme only giving us a small snippet of their tales. This isn't a complaint, but is is important to keep in mind when viewing "...To Miss New Orleans" because, unlike most TV series, there isn't a huge capper to tie up loose ends. It's just an illustration of where everyone is now.

About the most final thing that happens in "...To Miss New Orleans" is Chief Albert Lambreaux (Clarke Peters) is laid to rest. Suffering from cancer, the old man does not survive into the last hour, and his son, Delmond (Rob Brown), buries him. The Chief is sent off in the tradition of his people, as is appropriate, and he will be missed.

This section of the episode is not really about Albert, though. His time is done. The focus is on his son, and how he will live his life and honor his father. Delmond is still called to New York, as that's where his career is. He's reluctant to leave behind New Orleans, though, with its family legacy and the style of music he loves, something he wants his infant child to experience. These split desires make him feel unfit to replace his father in the eyes of their people, though his father wants him to do so, at least temporarily, making for a difficult decision.

Delmond finds a compromise. That's what people do. Nothing will ever be perfect, and one can't please everyone. But staying true to oneself is important, as is respecting one's ancestors. Delmond makes the best choice he can.

Annie (Lucia Micarelli) comes to a similar conclusion. Her manager, Marvin (Michael Cerveris, Fringe), wants to make her more marketable, but she fights back, insistent on retaining the integrity of her music. This threatens her career, but thankfully Marvin is wise enough to make a deal with Annie, allowing her some creative control if he gets to do everything else his way. It's an arrangement Annie can live with, even if it means missing Mardi Gras one year for a photoshoot.

When Treme begins, everyone is focused on New Orleans. They understand the role of the setting in their own lives, and celebrating the holiday becomes super important to them, more so than in the past, because they are holding on to what they've lost. Annie's choices in "...To Miss New Orleans" demonstrate a change, as the world continues to spin and individuals adapt to circumstance. Priorities shift, as sad as that can sometimes be.

Sofia (India Ennenga), on the other hand, holds onto New Orleans on this week of celebration, returning early from college to partake. She's only the latest to miss her home and come back, even if only for a visit. Apparently, it's a place that sticks with people, and beckons them back.

Sonny (Michiel Huisman), who has not been seen much in these last five episodes, doesn't play his instrument much anymore, sad, as that was all he used to do. Luckily, he has a wife who understands him and encourages him to get back to the music, making sure new focuses don't erase the old ones.

Davis (Steve Zahn) turns 40 and struggles in a big way to pick his new priorities. Can he continue through life as he has been, leaving no legacy behind him? He's at the age where he has to consider what his accomplishments are or will be. Only Davis can decide what that is, and he experiments a bit outside of his comfort zone in "...To Miss New Orleans."

I absolutely love that Davis and Janette (Kim Dickens) are together at the end, as they were at the start. In some ways they've undergone some big transformations, and in other ways, they are still the same people they started as. But they are good for one another in that they're both nice, supportive people, and they each deserve someone else like that in their lives.

Not every couple gets a happy ending. Terry (David Morse) takes voluntary retirement from the force after testifying about the evidence he falsified, and so decides to move to where his kids are. That means he leaves Toni (Melissa Leo). But as depressing as that may be, it's what's right for Terry, and Toni understands that. They'll both be OK.

Antoine (Wendell Pierce) has already done what Davis needs to do, growing up and acting responsible. He's found great love in teaching, and he still makes time for gigs to keep up his own chops and fulfill his passion as a performer. The next piece of that puzzle is doing right by his family, something Antoine has never been good at. In "...To Miss New Orleans," his sons come to live with him, and as in other parts of his life, he finds satisfaction in sharing his knowledge and love with his kids. He may have started down this path kicking and screaming, but it's the one he should be on, and I think he realizes and appreciates that.

Nelson's (Jon Seda) maturation is more accidental. It's time for him to move on from New Orleans, and he finds himself having difficulty in doing so. He's someone who has floated from place to place, following the money, but New Orleans clearly means something different to him. He attempts to leave a bit of himself, helping Jeanette with her business, and by the end, he belongs there just as much as those who dwell within. Surely, he'll visit over and over again.

There are a lot of characters in Treme, and while the review above hits most of the major ones, "...To Miss New Orleans" not only serves the remaining central players, including LaDonna (Khandi Alexander), but many of the recurring, supporting ones as well, sprinkled with actual New Orleans musicians. It's a big place, and all these various viewpoints give us access to a good chunk of it, not just the narrow vision a handful of cast members would provide. It's a very full installment, one true to the rest of the show.

I am sad Treme is done now and will miss it. However, it's nice to look back and appreciate the body of work that this series is. As the episode ends, the music plays, a funeral for the program itself, and we catch a final glimpse of most of the characters, giving just the right feeling for the send off. The emotions evoked in those moments echo those felt throughout the series, and the ones coming now that it's ended. It's a wonderful finale, even if it doesn't seem like the end.

TREME Stands Up and Declares "Yes We Can"

Article first published as TREME Stands Up and Declares "Yes We Can" on TheTVKing.

HBO's Treme, which tells the story of individuals in post-Katrina New Orleans, begins its final five episodes this week with "Yes We Can." The series deserves better than to be canceled after less than four years, but at least they've been granted the opportunity to wrap the story up right. The first episode back is true to form, and represents the start of a new chapter.

After years of struggle, New Orleans is finally returning to normal, if not coming back triumphant. "Yes We Can Can" begins with the election of President Barack Obama in 2008, and finds the citizens of the city celebrating. The leaders who did them wrong are gone, and African Americans are proud to see someone that looks like them in the White House. All around, it's a victory.

This sort of mirrors the lives of those in the story. Antoine (Wendell Pierce) has a job he likes, feeling like a father figure to the students to whom he teaches music. Albert Lambreaux's (Clarke Peters) cancer is in remission. LaDonna's (Khandi Alexander) new bar is almost ready to open, and she and Albert are very happy together.

These people deserve this peace of mind and comfort. They have struggled, rebuilding themseleves in the wreckage of their homes, and it's about time they feel like they're not just living day-to-day anymore. It's been a long road to get back to normality, but one can recognize that that's exactly what has happened in a major way.

Which is not to say that everything is perfect again. LaDonna misses her kids and wishes to bring them home with her, which isn't possible yet. Terry (David Morse) is still fighting corruption and seeking justice, even as his own bosses have turned against him. Sonny (Michiel Huisman) discovers first-hand how bad the police stations are working, or rather, not working. These are real problems that can be attributed to the Katrina chaos.

But notice, that doesn't describe everyone in the cast. Those are just a few characters still battling, and even their lives are not completely focused on such things. Terry's job sucks and is difficult, but he gets to go home to Toni (Melissa Leo) and her warm house at the end of the day. Circumstances are improving for everyone.

Now, real life isn't always easy and smooth, so there are still, and always will be, challenges. Janette (Kim Dickens) is trying to make a go of a new restaurant after her old partner drove her away. Davis's (Steve Zahn) music career is collapsing. Delmond (Rob Brown) isn't sure if he can leave his father yet and get his career back on track. Annie (Lucia Micarelli) has hit a ceiling in her own advancement.

Yet, these seem like the type of issues the characters would face even if their hometown hadn't been destroyed. This represents movement and vitality. These are the types of obstacles they only dreamed about in the aftermath of Katrina. New Orleans is alive once more.

Of course, besides the great characters, there is plenty of authentic music and guest stars from the area dropping in as themselves. Treme has always been realistic to the scene, and "Yes We Can" is no different in that regard. As much as growth and development furthers everyone's stories, Treme remains the same basic tale it started out as: one of strong, determined people who will survive, no matter what, bolstered by their melodies. Their spirit, while relatable, is also unique, much like their jazz clubs will never turn into a large hall, no matter what Nelson (Jon Seda) and his ilk try to do.

The one thing that feels different is that there seems to be much more interaction between the main players all of a sudden. Treme has usually told many different stories that weave together more because of the setting than because these lives are interwined, with paths only occasionally crossing. Four seasons in, the tiny encounters and interactions have begun to build into something more cohesive. Viewers have always seen the cast as a family, bound together by the series; now the characters actually are relating to one another. What a great, feel-good way to end the show!

Treme airs Sundays at 9 p.m. ET on HBO.

Treme ends at "Tipitina"

The third season of Treme comes to a close this week in "Tipitina," and with only an abbreviated run next year left before the series bows out forever, there is a lot of closure. It's been some time since the storm now, and everyone is trying to resume a normal life. This means that there are ups and downs, as most people experience, but the catastrophe figures less and less into the residents' every day lives.

Many of the characters are at great peaks, doing very well, having persevered, despite the odds. Toni (Melissa Leo) is probably the happiest. It has take her a long time to get over her husband, who killed himself in season one, but now she has a new romance with Terry Colson (David Morse), one of the few good cops in New Orleans, and even her daughter, Sofia (India Ennenga) can't complain about that. Add to this, Toni is close to getting movement on the case she's been working since just after Katrina, and she is in a great place.

Antoine (Wendell Pierce) is also doing well, but not in the way that he had expected. He has truly found teaching to be a rewarding experience, and through that, he has reconnected with music in ways that he didn't even consider before. He gets to devote himself to the craft, share it with others, and expand his own knowledge. He may not have made it professionally, but he is moving in that direction with a different bend.

That's not all. Sonny (Michiel Huisman) marries Linh (Hong Chau), Annie (Lucia Micarelli) puts out a hit record, Desiree (Phyllis Montana LeBlanc) brings attention to an important cause, and Davis (Steve Zahn) becomes a viral sensation, thanks to his friends.

All of this is inspiring. Hurricane Katrina was so devastating, it's a wonder that so many characters are doing so well only a few years later. This is the kind of stuff viewers hunger to see, triumphs over the worst that life has to offer, people managing to move on, and make something worthwhile of themselves. They probably won't stay on top forever, but seeing them reach these heights proves that working hard and diligently pays off. Some spirits cannot be broken.

Even LaDonna (Khandi Alexander) sort of belongs in the positive column. Her bar has been burned down, and the guy who wronged her goes free because of a hung jury. But the community rallies around her. She has supporters and people who care about her, as evidenced by the benefit concert conducted in her honor. She can't help but be a bit upbeat in "Tipitina," no matter what else is going on.

Actually, "Tipitina" brings together most of the main characters at LaDonna's party. Usually, their paths cross only rarely, and while Treme tells the stories of lots of individuals, their separate paths are not closely intertwined. Yet, choosing this particular occurrence to bring them all together is really cool, and I would definitely like to see more scenes like this before the series ends.

Now, that's not to say that everything is perfect, by any means. Albert (Clarke Peters) has cancer. Janette (Kim Dickens) thought she had her dream job, only to be railroaded by her business partner, who has different ideas about the restaurant. Davis' smash success comes because his pals wanted to help after seeing just how frustrated he had become with the music industry, and his inability to accomplish what he set out to do. Terry's department is hostile towards him because he stood up for justice, as several fellow officers' expense. None of these can be dismissed lightly.

However, the sun always comes out. Each of these characters have had good days and bad. They continue from those points, and they will have more ups and downs. Hopefully, with the final season looming, the last handful of episodes will see even more positive changes. But not everyone can live happily ever after; that only happens in fairy tales. Instead, Treme remains the story of a strong-willed population that doesn't lose hope. If we take that message to heart, it has done its job.

One quick concern: I am digging the vibe that has sprung up between LaDonna and Albert, but LaDonna's husband, Larry (Lance E. Nichols), is a good man. He does not deserve to be cheated on. I find myself hoping that LaDonna is only interested in Albert platonically, but that really doesn't seem to be the case. True, Larry doesn't always seem to understand LaDonna's suffering, while Albert can relate, but is that a good enough reason to break up a marriage?

Treme will return to HBO next year for a fourth, shortened, final season.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter! First published on TheTVKing

Treme proclaims "Do Watcha Wanna"

     Named for a famous song featured heavily in the episode, HBO's Treme second season finale is called "Do Watcha Wanna." It's been a long year, as the citizens of the once proud city continue to pick themselves up, even as federal aid disappoints, and help leaves. The nation turns its eyes away. Some parts of New Orleans begin to thrive again, while others continue to rot, both literally, and figuratively. There isn't much that can be done by most folks besides to persevere and hope for the best. Which is what the characters do, unable to abandon their homes. Some find accomplishment and satisfaction, while others are disappointed. But their love of the city ties them together and keeps them moving on.


     Some characters find themselves in better places than when the season begins. Sonny (Michiel Huisman) is clean and sober. This is quite a journey for him. Sonny is a hero, who rescues children during Katrina's immediate aftermath. But struggling as a musician, and losing girlfriend, Annie (Lucia Micarelli), Sonny goes to a very dark place, slipping further and further into illegal substance abuse, which certainly does not help his lack of income problem. Band mate Cornell Williams (a version of himself) likely saves Sonny's life, getting him back on the right track. It's a relief, because Sonny's story is potentially as tragic as it is touching. Sonny still has a ways to go, but he's on the right track, which is more than can said for everyone in New Orleans circa 2007.

     Delmond (Rob Brown) moves back to New Orleans to help his father, Albert (Clarke Peters). While Delmond has not lived in New Orleans since before the series begins, Albert is one of the first to return. Albert plays by the rules when trying to rebuild his house, but is repeatedly let down by the system. Luckily, son Delmond tricks him into accepting money after they cut an album together, lying and saying the money came from advance sales. Albert is a proud man who will not willingly accept financial help, but thinking he earns it, Albert now has the funds needed to make his home liveable again. Not only is Delmond giving money, but he's providing labor, too, being the best son possible. Considering the issues this pair have, it's a supremely generous act.

     After many bad choices, Sofia (India Ennenga) begins to get over her father's death. Sofia's mother, Toni (Melissa Leo), lies about how Sofia's dad committed suicide, and when Sofia learns this, she acts out in worse and worse ways. Finally, Toni, who pours most of her effort into her nearly thankless job, slams the hammer down. It's what the teenage girl needs, and it's enough to get Sofia back on track. When a man they both respect, city councilman Oliver Thomas (himself), has to resign after he takes bribes, they bond over the shared loss, and are able to connect when discussing him.

     It's very unexpected to see Thomas play himself in this fictional series. Thomas hasn't ridden to success, but instead, loses his position. Yet, he agrees to come on Treme and portray the events he'd gone through in real life. Thomas, despite his flaws, is treated with respect as a character. He comes across as a decent man who makes a mistake, and not everyone loses all faith in him for it. It's a complex character, and one welcome on a great series like Treme, especially with the authenticity that Thomas lends.

     Some characters find themselves in a holding pattern. Davis (Steve Zahn) is back to being a DJ. He has his share of developments as he builds a band, a record label, and a new musical style, much of it with the help of his Aunt Mimi (Elizabeth Ashley). But it isn't long before it all disappears, and he is forced to return to employment he is fired from on numerous occasions, working for a boss who does not understand him at all.

     Davis is used to disappointments, but he seems to weather the latest bouts better than previously. This may have something to do with his successful romantic relationship with Annie, who, despite her own grief after a close friend is murdered, is happy to be with Davis, and surely deserves credit for his happiness. The couple provide a realistic look at how some people are built to overcome many a trial, and stay optimistic. So even as Davis goes back to where he was, he is still looking for the next thing to try again to better his life. Davis and Annie provide some heartening stories when things get bad for others.

     After a stint as a chef in New York City, Janette (Kim Dickens) considers returning to New Orleans and once more running her own restaurant. Janette really struggles, bouncing through a few different eateries in the Big Apple, after losing her place down south. But, in fact, she shows little signs of home sickness, even enjoying her latest gig, until, during a visit to New Orleans, she sleeps with her sous chef, Jacques (Ntare Guma Mbaho Mwine). While this is pretty much forbidden in Janette's field, their pairing is as sweet as it is unexpected. It makes sense for Janette to go back home now, as the series follows her even while she's away, and it's good that such happy news may be the reason she returns.

     LaDonna (Khandi Alexander) realizes she wants to return to her bar, despite what had happened to her there. Her husband, Larry (Lance E. Nichols), had tried getting LaDonna to sell her establishment, and when LaDonna is sexually assaulted there late one night, she shows little interest in going back to her bar. Larry takes that as a omen that she'll finally ready to move on. But then LaDonna gives an impassioned speech in "Do Watcha Wanna" that reveals just how much her life in New Orleans means to her, and how much she is suffering. It echoes the sentiments of so many people at that time and place. It's a moving moment that will most probably earn Alexander another Emmy nomination, and it sparks a change in Larry. Seeing her passion renewed, he insists on keeping the bar and moving the family back to the city. For LaDonna, getting back to normal is a feat, not just status quo.

     And then other characters end up worse off. Antoine (Wendell Pierce) loses the band he'd created. But is that such a bad thing? While Antoine has plenty of problems with the musical gigs he lines up as a player, things get much more difficult when he forms his own group. Even after shoving some of the responsibility off on someone else, keeping a bunch of artistic types together is a challenge that gives him more headaches than its worth. However, Antoine is also working at a school, and seems to be finding his niche in music education. The students have a desire to be there, and to learn from the many things experience has taught Antoine. It is a job he resists, but one that may end up being his true calling.

     Terry (David Morse) has tried to drive away Toni to better do his job. The two are getting so close, it had become almost  inevitable that romance would soon bloom. And then it doesn't, as they find themselves on opposite sides of some very tricky legals issues.

     With the police force in tatters and facing major public humiliation, Terry is the one who makes the decision to go down a separate path, quietly seeking FBI help, while Toni strikes out with the Department of Justice. Many cops will soon lose their jobs, and that will be thanks to Terry. But for him to make it happen, and try to keep some dignity for the office for which he works, he is forced to make a choice, and he picks against Toni. Any chance of a reconciliation in season three is simply a pipe dream as this point. But without that hope, there isn't a lot for Terry to look forward to when not on the job.

     Hidalgo (Jon Seda), who arrives in New Orleans full of piss and vinegar at the season's start, finds his dreams dashed. Always a bit sleazy as he makes his money in "deals," and don't ask him to get more specific, Hidalgo is looking to make his fortune. Sure, he enjoys the culture of New Orleans, but that is not his main goal. In "Do Watcha Wanna," things flop for the would-be tycoon, and he ends up loosing all the personal capital he had been building. Hidalgo is advised to lay low, but that's just not in his nature. The question is, will Hidalgo still be around for season three with new schemes, or has this swindler been driven out of town for good? The latter would be nice for the characters in Treme, but Seda keeps Hidalgo mostly inoffensive, and his acting talent would be missed.

     So maybe claiming these three are worse off is overstating the problem. There is not a single character on Treme who has it easy, but two seasons in, their tenacity is heroic, and certainly bears repeating through multiple seasons to come. One of the finest hours of drama currently running on television, infused with a sense of realness and bursting with authentic music, aided by using actual residents, Treme is must-see. If you haven't seen it yet, please do so before season three comes around. It could use better ratings.


     Treme will return for a third season on HBO, expected to begin in the spring of 2012.

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Article first published as TV Review: Treme - "Do Watcha Wanna" on Blogcritics.

Treme likes to "Accentuate the Positive"

     HBO's Treme begins its second season with "Accentuate the Positive." This episode is set fourteen months after Hurricane Katrina ravaged New Orleans, and about seven months after the end of season one. The sprawling cast of characters continue to try to rebuild their city and lives, while new people arrive in town. Other New Orleans residents, who have left the city for various reasons, try to forge new identities outside of their beloved home, but find themselves unable to escape its haunting cry. And of course, the authentic New Orldeans music, certainly one of the best elements of the series, is back!

     Toni (Academy Award Winner Melissa Leo) has not told her daughter, Sofia (India Ennenga), that Sofia's father Creighton (John Goodman) committed suicide. Instead, Toni insists that his death is an accident. It is impossible to tell if Sofia believes her mother or not, but their relationship is certainly strained, be it by lie or blame placement. Toni cannot get Sofia to open up about anything, only to respond angrily. Yet, Sofia does have feelings, as she takes to the web to continue Creighton's rants against the things continuing to go wrong in New Orleans.

     Goodman's presence is missed. Creighton is a larger than life character, and dominates much of the first season. While his death is not a tragedy on the scale of the hurricane that devastated the city, it does have a very large impact on his family. Both wife and daughter deal with the loss in very different ways, but that could be because of the differing information they have been given. Toni is beginning to recover, but Sofia still has a long way to go.

     Toni is helped along with her recovery because of the many battles she still has to wage. Her latest cause is fighting the city to reverse the enormous fees they have put against parades. Citing the high crime rate and costs associated with protecting citizens during any events, New Orleans is now asking far more than its residents can afford to carry on its rich cultural traditions. Toni is fighting for a way of life. It's a David versus Goliath story, and so she is supremely sympathetic.

     Also becoming sympathetic is Lieutenant Colson (David Morse, now a series regular), tasked with stopping the growing peril criminals have brought to the neighborhoods. In this first episode alone, there is a shootout at a bar and a woman is murdered for her purse in the street, not to mention the events only discussed, but never seen. New Orleans has suffered enough, and yet, some people can't help but take advantage of the situation. Colson is doing everything he can, but to no avail. The struggle calls into question basic human nature, and whether man is inherently good or evil.

     Pressure mounts on both Antoine (Wendell Pierce) and Ladonna (Khandi Alexander) to give up their way of life. Desiree (Phyllis Montana LeBlanc) wants Antoine to get a "real" job, but considering that playing his trombone is his greatest joy, it would be unthinkable for him to trade in the instrument for a desk. He might as well leave the city if he does that, because its biggest draw will have been taken from him. Larry (Lance E. Nichols) tries to talk Ladonna into following her family north, but she refuses to give up her bar or her home. It is a wonder that Ladonna and Antoine can't reconnect, as surely they would be able to relate about love ones not understanding their basic needs.

     Another similar pair are Janette (Kim Dickens) and Delmond (Rob Brown), who have traded in new Orleans for New York City. Janette works for a verbally-abusive chef, while Delmond has stuck with his music career, having just released a new album. A couple of guys tell Delmond he has "transcended" New Orleans, earning his ire. Delmond is allowed to criticize New Orleans, but doesn't want anyone else doing it. While Delmond does not live in Louisiana in season one, he still cares a great deal for it. Janette just does not seem happy at all, and while not explicitly stated, it is certain she longs to returns home. It is likely both characters will be back in the South sometime later this season.

     Albert (Clarke Peters) is forced out of the building he has called home since the storm ended when its rightful owner returns. This echoes a problem among many New Orleans residents. Property owners didn't immediately return, but when they have, they want their belongings returned. Albert, on the other hand, never left, and feels like he has more right to the place than the man who abandoned it. While Albert leaves without much of a fight, knowing it's one he cannot win, there are ill feelings that will not be resvoled anytime soon.

     When Albert took over the place, it was in sorry shape. He has worked hard to rebuild it, and find a suitable living space within the ravaged city. Doesn't that give him some claim to the building? After all, not only did the owner not come back for it until over a year has passed, but he did nothing to start to restore his property. While the legal terms must be taken into account, there is something to say for survivors who stuck it out in their home, and it makes the question of who deserves the land more of a sticky question, morally speaking,

     The love triangle between Davis (Steve Zahn), Annie (Lucia Micarelli), and Sonny (Michiel Huisman) is far from over. Davis and Annie have gotten pretty serious over the hiatus, but Sonny is back, looking cleaned up and sane. In fact, Sonny gets to perform with Annie in a local club, and is nothing but gracious to both her and Davis. Sonny and Annie feel more right than Annie and Davis, so it's quite possible that the new relationship will be short lived. Which is fine, as long as Janette comes back to Davis.

     Poor Davis is the nice guy who can't ever win. He loves music, but is much more an admirer than a performer. He is currently working once more as a radio DJ, but clashes with his boss, per uual. Davis deserves a steady job he is passionate about and a nice woman in the same vein. While Annie is into music and Janette is more about cooking, both are artists authentic to the city, making either a suitable mate for Davis. With everything Davis and the place he loves have gone through, it's time that he is happy, whether that is completely realistic or not.

     There is a new man in town in the form of Nelson Hidalgo (Jon Seda, The Pacific, Close to Home). At first, it appears that Nelson has come to New Orleans from Dallas, Texas just to make money, having been assured by his cousin there is plenty of opportunity here. But Nelson quickly falls in love with the city, its people, its cuisine, and its music. It's not just an act, as Nelson drags his reluctant cousin, who is more concerned with working than enjoying himself, anywhere he can soak up the culture. Granted, this is a new experience for Nelson, but it looks like love at first sight.

     The question is, how will Nelson's arc develop? Will he be a heartless speculator who puts the almighty dollar first? Sure, he plans on staying because of the aforementioned attraction, but that doesn't mean he is loyal to anyone who gets in the way of his profit. Or he may be, as he witnesses the hardships the locals have gone through and begins to feel sorry for them. One episode in, with only scant minutes of screen time because of so many characters he must share the show with, it is impossible to know what kind of man Nelson really is. Inevitable, we will find out.


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     Treme airs Sunday nights at 10 p.m. ET. Do yourself a favor and be sure to tune in.

Article first published as TV Review: Treme - "Accentuate the Positive" on Blogcritics.