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 knocks and rocks

96%

HBO’s TREME returns this week, more than a year after the last season finale, taking us back to the music district of New Orleans, this time beginning twenty-five months after the flood. It’s a city that is starting to look rebuilt, but still has a long way to go. Some of its residents continue to live in FEMA trailers that are making them sick, while greedy contractors restore only the fronts of homes. The police clash with musicians, not allowing them to play for a funeral.

TREME is about a lot and nothing, all at the same time. Most episodes, including the season three premiere, “Knock With Me – Rock With Me,” don’t have a ton of plot. A few things will happen, but most don’t matter all that much on a large scale. On the other hand, it beautifully paints vivid pictures of specific individuals, and through them, we get a larger impression of the community. It’s case-study history set near the present time, and is done extremely well. Which is why it doesn’t matter if not a lot happens; we keep tuning back in to it.

Let’s start with a positive. Chief Lambreaux (Clarke Peters) has his groove back thanks to his son, Delmond’s (Rob Brown), new album. It’s a completely new style of melody that clearly comes from an area steeped in musical history. It isn’t universally adored, but it gets some praise from those who understand what an innovation it is. Lambreaux doesn’t really care about any of that. He just loves hearing his people’s songs on the radio. He is full of a happiness we don’t often see in him, and that’s heartening after two years of suffering. In this case, the individual is more important than the masses. What TREME fan cares if the record does well or not after seeing Lambreaux brag to his co-workers?

Davis (Steve Zahn) is also in a good place. He’s making things happen, starting concerts, recruiting legends, and he gets to play whatever he wants on the radio. He may not have as much time as he’d like for girlfriend Annie (Lucia Micarelli), but she seems to understand, busy with her own debuts. Are they the new power couple, that will become infamous in their city? Or will the pressures of being pulled in so many different directions split them up? The latter is what we’d expect, but in this first episode, at least, it seems the former is more likely. They are the faces and voices of new New Orleans.

These tales of promise are needed, considering the other, troubling things going on around them. Not everyone has bounced back as solidly as these people have. The world at large seems to have forgotten about New Orleans. This is made crystal clear when Davis leads a tour of great music sites, almost none of which actually exist anymore. Even a park has its gates locked, unable to be fixed up twenty-five months after the destruction. No one is in there working on it. It’s been given up on, like so many other places and people.

This kind of treatment of New Orleans is why some of its residents have moved on. Janette (Kim Dickens) sells her home down south, fully committing to her life in New York. She is doing very well in the Big Apple, so it seems like a logical decision to make. But as she falls into bed with Jacques (Ntare Fuma Mbaho Mwine) and happily reunites with Davis, one begins to wonder just how weak the siren call of her hometown has actually gotten. She has a good life elsewhere. But there’s no place like home.

Sometimes home has changed, though, and one can never go back to the way things were. The police certainly have something to say about that, arresting a couple of horn players for trying to honor their fallen comrade with a traditional street memorial. This is something that would have been unthinkable a short time ago, especially in the Treme district. They have all the power, and there’s little the musicians can do besides shame them.

Yet, shame can be a powerful motivator, especially when public favor turns against the cops, and it isn’t long before this particular tradition is restored.

Batiste (Wendell Pierce) would once have been a part of the protest. Instead, he holds his tongue, but not his finger, which leads to a totally wasted (for his reputation) arrest. After the smoke clears on that, viewers are left with a different Batiste than we’re used to seeing. He has matured. He has other considerations besides his pride. And as much as it might upset him that he is not quite what he wants to be, or not recognized for his accomplishments, he also understands the wisdom in keeping his mouth shut.

Is this growth for him, or, once again, a microcosm of the larger landscape, with residents returning to their lives, not able to keep fighting if they want to have a relatively peaceful existence?

There are a lot of characters in TREME, and this episode manages to check in with just about all of them. Many of the ones I haven’t mentioned are no less important than the ones I have. Yet, like the series, it’s daunting to try to tell the whole story, so I’ll let representatives stand for everyone else. Suffice it to say, the show is still in top form, and as compelling as ever.

TREME returns to HBO this Sunday.

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.

Down in the Treme

     Ah, Treme.  HBO's series, set in New Orleans six months after Hurricane Katrina devastated it, is a breath of fresh air.  It's unique and original.  The characters are believable, and have so many layers.  Last night's hour and a half season finale, "I'll Fly Away", was moving.  It wasn't an extraordinary episode, measured against any other.  It was like real life, continuing in it's twists and turns.  The only really stand out part was the ten minute or so sequence where we got to see all of the characters just before the storm.  But the fact that no part of Treme does stand out as especially more dramatic as any other is why the series works so well.  Sure, there are ups and downs, but everything flows along like a Second Line parade.

     The most heart breaking plot involved the suicide of Creighton Bernette (John Goodman, an actual resident of the city).  It was so nice to see him in the before the storm segment, acting normally with his family.  Damn imdb.com teases us, listing him as full time for the upcoming second season, but surely that is not to be.  His writer / activist was certainly one of the most fascinating characters, and while it was obvious from the beginning of the penultimate episode that he intended to take his life, suddenly cheery after all his frustrations  Yet, it made no sense, in that he had plenty to live for.  His family certainly didn't see it coming, and while I did, I still don't know why he did it.  My heart goes out to his wife Toni (Melissa Leo) and daughter Sofia (India Ennenga).  That's a testament to how un-fictional the family seemed.

     Elswhere, it appears that Davis (Steve Zahn) failed to stop Janette (Kim Dickens) from leaving town.  If her character doesn't return for the second season, she will be sorely missed, but I suspect she may soon be back in the south.  She just doesn't seem like a New York City gal.  However, the hints of a love interest for Davis in Annie (Lucia Micarelli, a real musician) make much more sense, and I would like to see that blossom.  It was clear that Davis and Janette weren't meant for each other, even to the characters themselves, but Annie seems a perfect match.  And Davis for her, much more so than her jerk of an ex-boyfriend, Sonny (Michiel Huisman).  I was gratified that she left him, and hope she never does back.

     Antoine (Wendell Pierce) needs to clean up his act.  Gambling away most of the money he made at his latest gig won't support his family.  How many kids does he have, anyhow?  I kept thinking he could find someone more attractive than the woman he is currently with, but he certainly doesn't deserve better.  I kind of root for him to get back with ex Ladonna (Khandi Alexander) because he actually seems to care about her, but she certainly deserves a good man, and seems to have found one.  I hope that she doesn't let past chemistry screw up what she has any more than it already has.

     Finally, is Delmond (Rob Brown) ever going to listen to his father, Indian Chief Albert (Clarke Peters) and return to his home?  He should.  He's the character that seems most disposable to me, so much more than John Goodman was.  In contrast, his father is part of the heart of New Orleans.  Between his civil disobedience and gathering back his tribute, Albert is a pillar of the community.  I hope things start going better for him soon.