CHICAGO PD Rescues Crime Genre From Procedural

Article first published as CHICAGO P.D. Review on Seat42F.

For those of you who read my reviews even semi-regularly, you likely know that I am against procedural dramas, and have often railed at the overstuffed crime genre. So it may surprise you to learn that I enjoy NBC’s CHICAGO P.D. A lot, and am looking forward to watching it on a regular basis.

CHICAGO P.D. is a spin-off of Chicago Fire, and features several recurring characters from the mother ship, now in a main cast member role. Sergeant Hank Voight (Jason Behge), Detective Antonio Dawson (Jon Seda), and Detective Jay Halstead (Jesse Lee Soffer) are already very familiar to viewers, having appeared in sizable arcs and many installments. Other cops that were in Chicago Fire only once or twice are included, too, although not every police officer in that series is in CHICAGO PD. In fact, some people set up for this spin-off are no longer involved, which one doesn’t really notice because the cast that is present is full and enjoyable.

Besides those mentioned above, the pilot introduces us to Detective Erin Lindsay (Sophia Bush, One Tree Hill), who has a past with Voight, Adam Ruzak (Patrick John Flueger, The 4400), an eager newcomer, Alvin Olinsky (Elias Koteas, The Killing), who can get things done, Officer Kim Burgess (Marina Squerciati, Gossip Girl), who may not be as much of a pushover as she first seems, Sheldon Jin (Archie Kao, CSI), the tech guy, and others.

Like Chicago Fire, CHICAGO P.D. is must more focused on the characters than the crimes, which is the key thing that sets it apart from its peers, and the main reason I am tuning in. The first episode immediately sets about fleshing out all of the people above (plus other characters), giving them varied personalities and backgrounds. These should clash in interesting ways as the series goes on.

CHICAGO P.D. is not quite a soapy as Chicago Fire (which my wife fittingly refers to as Grey’s Anatomy: Firefighter Style). In the initial hour, there is a major crime lord who the good guys are after. But while he is being hunted, there are lots of great interactions between characters, setting up the overall dynamic, and these overwhelm connecting clues in screen time. It’s this mixture that is so important to making the show interesting.

The Intelligence team is bound to be one rife with drama. We know Voight crosses the line a lot, and may just be evil. Even if you haven’t watched Chicago Fire, that much is evident right away. And we know Antonio is a good guy, someone concerned with what is right, and a man who is not afraid to stand up to those who are selfish or crooked. Add a bunch of other ingredients to the mix, and it’s unlikely the main group will be stagnant, as is often the case in other cop shows.

There’s also an incredibly cool twist late in the episode that kind of sets the tone of what CHICAGO P.D. will be. It is a similar plot device to what Chicago Fire had in its pilot, but carried out in a different manner to make an even bigger impact, and one sure to have lasting consequences. In fact, I dare predict that this show will have many long arcs, and a criminal will not be brought to justice every week. At least, that’s the hope, and the early signs are good.

If you are a Chicago Fire fan, the connections are present very strongly in the pilot, which should help CHICAGO P.D. retain the same audience, at minimum. Gabriela (Monica Raymund) is there, of course, being Antonio’s sister, but so are Shay (Lauren German), Otis (Yuri Sardarov), and Hermann (David Eigenberg), as well as Molly’s, the bar. I hope more of these cross overs occur frequently, since both series are set in the same place and time, giving more opportunity for such things than other spin-offs usually have.

In short, the first hour is excellent. It’s got enticing performances, a terrific cast, and an interesting story, with hints of good things to come. CHICAGO P.D. premieres Wednesday at 10 p.m. ET on NBC.

I like CHICAGO FIRE "In My Face"

Article first published as I like CHICAGO FIRE "In My Face" on TheTVKing.

Just ahead of its spinoff debut, NBC's Chicago Fire returns for the back half of its second season with "Shoved in My Face." Some time has passed since the fall finale, though how much is not clear. As the episode begins, Casey (Jesse Spencer) is able to resume work, healed from the incident. But has he fully recovered?

Casey is one of the most central players, so fans had to have known he wasn't dead, despite the cliffhanger we were left on. However, some might not expect the consequences of the injuries. Casey seems fine to most of his friends, but there's something a little off and unstable about him that begins to rear its head.

For most jobs, making mistakes is no big deal. For a firefighter, where lives are on the line every day, this isn't good. Mouch (Christian Stolte), who witnesses the danger Casey poses first hand, hasn't told on Casey yet, out of loyalty, but if Casey doesn't figure out how to fix the problem, there will be further ramifications, and none of them will be good.

Casey is trying to move on by asking Dawson (Monica Raymund) to live with him. It's about time the two were officially an item. They dance around each other for a season and a half before this comes about, and viewers and characters alike are happy that they have gotten together. But it's not a good sign that Casey isn't even confiding his issues with Dawson, beginning their relationship on a rocky path.

Dawson can be forgiven for not hounding Casey too hard about how he's feeling as she's now quite busy as a cadet in the firefighter school. She doesn't have the easiest start to classes, especially when she is around 51, as her instinct is to act like a member of the team. There will definitely be some adjustment time for her to step back and move away. But that should only be temporary, so it's all good.

Shay (Lauren German) also has to adjust to the new arrangement, as a new woman, Allison Rafferty (Christine Evangelista, Lucky 7), takes over Dawson's spot as Shay's partner and boss. This dynamic is very shaky at first, and there's a point in "Shoved in My Face" where it doesn't look like things are going to work out. Then Shay breaks through the new woman's armor, and they seem to get along.

Rafferty comes across as a homophobe initially. She says she has no problems with lesbians, she just doesn't want the behavior shoved in her face. This is usually an excuse for those who are small-minded and trying not to appear as full of gross hate as they are. In this particular case, though, it looks like one person just did over share with Rafferty, and while its unfair to employ stereotyping, Rafferty doesn't really appear to be a bigot at her core. Thank goodness!

There's plenty of conflict without bringing a jerk into the firehouse. Molly's might be lost, as Otis (Yuri Sardarov) and Herrmann (David Eigenberg) learn about a lien on the building, Mills (Charlie Barnett) has to push Clarke (Jeff Hephner) to stop protecting his gal from a serious crime, and Severide's (Taylor Kinney) teaching career starts off bad when he tries to kick out the daughter of one of the brass, Rebecca Jones (Daisy Betts, Last Resort). That's quite enough without more discord creeping in.

Of course, there are good things in "Shoved in My Face," too. Mills is finally accepted into Squad 3, Otis has a love connection with Severide's sister, Katie (Brittany Curran), Antonio (Jon Seda) finds evidence that could clear Clarke, and most of the main characters are getting along with one another, no internal spats disrupting the tone of the house right now. That's a relief.

Chicago Fire is a prime time soap opera, along the lines of Grey's Anatomy, so the personal drama will always be a focus. But that doesn't mean everyone has to be at everyone's throats all the time, and the shift in "Shoved in My Face," from internal conflict to external, is one that will hopefully stick around for awhile.

Chicago Fire airs Tuesdays at 10 p.m. ET on NBC, and the spin-off, Chicago PD, well worth watching, premieres tonight at 10 p.m. EST.

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 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.

     If you like my reviews, please follow me on Twitter!

     To buy Treme DVDs, music, and streaming episodes, please click here.

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.

The battle for The Pacific has ended

     HBO's latest miniseries, The Pacific, has come to an end.  As I commented on my twitter feed, once the bullets started flying, I had trouble telling the characters apart.  However, that did not hold true for all characters.  Some stood out.  And even if I didn't remember a good many of them as the ending credits rolled and told their stories, I was still plenty moved by the sequence.  I dare someone not to be.  Most of the soldiers depicted, as most soldiers who fought in the war, are now deceased.  But films like this one will surely keep the memory going.

     My favorite character was Robert Leckie (James Badge Dale).  I do have to say, I was sad that he didn't return to Australia and find the girl he was in love with there.  Sure, that would be more realistic in the movies than real life, but one of the other soldiers did it.  Leckie instead returned home, to continue writing for the local paper and marry the girl next door.  Very sweet, though not as sweet as my alternate ending.  Especially considering how his family treated him.  Oh, well.  It's hard to rewrite reality.

     I never did care very much for Eugene Sledge (Joe Mazzello), though he was most prominently featured at the end of the run.  I wonder what the real Eugene thinks of the show, assuming he's seen it.  I don't know why he wouldn't have, as his book was one of the source materials.  I am sure I will never understand his pain and what he went through, but he came off as kind of a jerk, before, during, and after the war, so it can't just be blamed on the experience.  He can be forgiven for his behavior at the end, then, but what about who he was in the first place?  I did feel bad for him, though, and his family, in particular, his father, was super supportive in the end.

     The third main character, and this one I didn't expect, so it hit me hard, was John Basilone (Jon Seda).  He was also a little bit too cocky for awhile, but he matured, and grew into an amazing soldier.  His quick courting and wedding was so wonderfully done.  When he died in combat, it was a shock, and a heart wrenching one at that.  I felt worst for his widow, of course, but I'm sure his entire unit took his death personally.  He was definitely a hero, re-enlisting and going back when he didn't have to.

     Kudos to HBO, and of course Tom Hanks and Steven Spielberg, for bringing us this awesome story.

The battle for The Pacific has begun

      In 2001, Tom Hanks and Steven Spielberg created a very popular ten part mini-series called Band of Brothers for HBO, which told the story of a group of American soldiers during World War II in Europe.  Now they've teamed up again to tackle the Pacific theater of conflict in The Pacific.  The story centers on three real life marines, and is based on books by two of them, as well as other true source material.  The marines are Sgt. John Basilone (Jon Seda, Close to Home), Pfc. Robert Leckie (James Badge Dale, 24), and Pfc. Eugene Sledge (Joseph Mazzello, Jurassic Park, The Lost World).
     In the first part of a ten week saga, it was hard to keep track of exactly who the main characters were.  Quite a few soldiers were featured, and as most of them were in one group that the bulk of the episode followed, they all sort of blended together for me.  In fact, a second group was introduced early in the story, and I looked for them repeatedly until they finally showed up again at the end.  However, even without being able to accurately track all of the people, it was still an intriguing show.
     The realism, tone, and pacing make this mini-series.  Right from the start, the men are getting ready to go off to war, and in fact, much of the first part is set in the battlefield.  The look is spectacular, and the emotions feel real.  Some soldiers were torturing a Japanese soldier they caught, shooting him over and over so that he kept suffering.  When one brave man stood up and shot him through the heart, it certainly made the point that the enemy would not be a one-note , stereotypical villain, but treated as people, too.
     I can't exactly say why I enjoyed The Pacific so much.  It was more the overall feeling it gave than a few characteristics that I can easily pinpoint.  Suffice it to say, it appears there is something really great here, definitely worth watching.
     The Pacific will air for nine more Sundays on HBO at 9pm.