The Next JACK RYAN

Article first published as TV Review: JACK RYAN on Seat42F.

Amazon now has the latest version of Tom Clancy’s Jack Ryan character in a series entitled, appropriately enough, TOM CLANCY’S JACK RYAN. In this drama, the first adaptation of the role in an ongoing series, not just a film or two, Ryan is a financial analyst for the CIA, out of the Marines, but before he holds public office. Of course, the everyman gets drawn into major terrorist activities and turns into action hero, which is what the show will mainly be about.

John Krasinski (The Office) is the fifth actor to portray Ryan, and despite a light resume of action flicks, he handles the role well. Krasinski is as believable as the soft-spoken nerd as he is the desperate man thrust into a situation he’s not prepared for. Ryan’s past service explains how he can handle himself in a battle situation, even if he doesn’t seem the type that will be fist fighting anytime soon. This is some solid casting.

Just as solid is the supporting cast, which includes Treme’s Wendell Pierce as Jack’s boss, James Greer, Abbie Cornish (Klondike) as Cathy Mueller, Jack’s love interest, Ali Suliman (The Looming Tower) as Mousa Bin Suleiman, the main terrorist, and Dina Shihabi (BKPI) as Hanin Ali, Sleiman’s wife. I know I often say the casts of these shows are strong, but this one is, too. With a smaller group, more is on these few players, and they all are up to the task.

JACK RYAN feels like a pretty quality production. It was developed by Carlton Cuse (Lost) and Graham Roland (Fringe). Roland’s background certainly helps make the military stuff work, and Cuse has plenty of experience on other good shows. Michael Bay is among the long list of producers on the project, and that might have come in to play when developing the action, which is big and intense.

In fact, that will likely be the main reason some will complain about this show. It contains a lot of action and special effects, ridiculously big attack sequences, and plenty of explosions. This is entertaining, obviously, elements common in tentpole blockbuster films. But there is a simplicity to the story, a bit of two dimension us vs. them stuff, that does drag down JACK RYAN. However, it’s less than 24 had, at least for now, so it’s not an unprecedented amount. There are also slower scenes that help balance things out, so I wouldn’t consider the action a disqualifying factor.

The plot in the CIA is welcome, with plenty for Pierce to do. The romantic stuff, where Ryan falls for his ex-boss’s daughter, is a little less interesting. To start with, it seems a predictable, uninspired relationship. However, I’ll admit to not having ready any of the Ryan novels, so there may be a faithfulness or importance here that I’m not seeing in the first few episodes of the series.

Despite the danger of blatant blind patriotism, and there is definitely a danger to such a thing, especially in the current political climate, I think most Americans won’t have any trouble rooting for the thoughtful, noble Ryan. It’s a fun series, and sometimes it even gets a little better than that description. I certainly think it’s ripe for a continuation over many years in which we see Ryan grow into the president of the United States, a post Jack Bauer did not, and could never, achieve. It’s nice to see a bit of restraint in the midst of such a glaring viewpoint.

In summation, I like JACK RYAN, I think most people will like Jack Ryan, and while it’s not a perfect show, it is definitely an entertaining one.

The entire first season of TOM CLANCY’S JACK RYAN is available streaming now on Amazon Prime.

CONFIRMATION Of Belief

Article first published as Blu-ray Review: 'Confirmation' on Blogcritics.

HBO’s recent television movie, Confirmation, will be available on Blu-ray and DVD August 2nd, and has already been released for digital download and streaming. It’s the story of Anita Hill accusing Clarence Thomas of sexual harassment during his Supreme Court nomination hearing in 1991. Or, it tells a relatively one-sided, focused version of a small part of the story with a clear message and point that the film’s producers are trying to get across.

That may sound like a condemnation of the movie, but it is not. I merely want to state what this is before moving forward to talk about it. It is completely fair for someone to make a movie with a specific purpose in mind; many movies fall into that category. What is unusual is for a piece like this to come out when public opinion is still divided, at a time when our country has rarely been more partisan, with racism having been brought back to the forefront yet again, and many of the players involved are still in positions of power. Confirmation itself is a narrow story, but the issues it brings up are many, varied, and still very relevant.

Played by Scandal‘s Kerry Washington, Anita Hill is a sympathetic woman who did what she had to do in order to pursue a career in her chosen field, but who also has strong principles she cannot ignore when this man she was harassed by is given the chance to join the highest court in the land. She takes a little urging to come forward, but she refuses to lie even before that, and she does believe Clarence Thomas (Wendell Pierce, Treme, The Odd Couple) doesn’t deserve a job on the Supreme Court and should be stopped.

Despite it being clear where the writers think the truth lies, Confirmation does a pretty decent job of showing the different viewpoints various individuals involved have, providing a more complex story than the above description indicates. There are the female staffers like Ricki Seidman (Grace Gummer, Mr. Robot, The Newsroom) and Carolyn Hart (Zoe Lister-Jones, Life in Pieces) who are frustrated at the limitations their bosses follow. There are the white men on the judiciary committee like Joe Biden (Greg Kinnear, Little Miss Sunshine), Ted Kennedy (Treat Williams, Chicago Fire), Jack Danforth (Bill Irwin,Interstellar), Orrin Hatch (Dylan Baker, The Good Wife), and Alan Simpson (Peter McRobbie, Lincoln) whose own actions and political positions color how they see the situation, and whose race and class makes it hard for them to fully understand all sides. We see Thomas’ wife, Ginni (Alison Wright, The Americans), and how she believes what she has to. And there are others, played by the likes of Eric Stonestreet (Modern Family), Jeffrey Wright (Boardwalk Empire), Malcolm Gets (Caroline in the City), Erika Christensen (Parenthood), Kimberly Elise (Close to Home), and Jennifer Hudson (Dreamgirls) that each bring a little something to add to the overall picture, too.

So while the movie itself is, at its core, quite biased, because of a very strong cast and good writing, the characters make the world seem more complex. It isn’t quite as straight forward as it might be. Add to that a very strong message of gender equality, how the race card can be misused, good historical context, and an empowered hero, and the result is something that, while not the most entertaining film made by this network, feels important and engaging. Because of what this movie says about our society, past and present, it is worthy of our attention.

The extras are sadly few and shallow. There are one-minute interviews with Kerry Washington and Wendell Pierce, and a thirteen-minute series of quick bios about each of the major players. That’s it. I really wish some documentary-style featurette were present to talk about the real events and the consequences of them, but that is left to a sequence in the end credits that, while satisfying for the viewing of the feature, is disappointing in fully fleshing out what Confirmation is. What’s missing most is a discussion about the angle that the movie takes and why that choice was made, as well as why other directions were not gone in.

Still, it’s a good film, so check it out. Confirmation can be bought digitally now, and will be out on disc on August 2nd.

An Odd ODD COUPLE

Article first published as THE ODD COUPLE Review on Seat42F.

Matthew Perry and Thomas Lennon | THE ODD COUPLE

 

 

Many have said that CBS’s new remake of THE ODD COUPLE, premiering this week, is unnecessary. Those people are absolutely correct. THE ODD COUPLE is a classic play, a classic movie, a classic television show, and is still performed on stages across the country (I, myself, was Felix in high school), so why does it need yet another on-screen version? Well, the key here would be were the series to be updated to reflect modern sensibilities. But it hasn’t been long enough since it was written to need even that.

CBS’s THE ODD COUPLE stars Matthew Perry (Friends, Go On) as Oscar Madison, a sloppy sportscaster who isn’t dealing with the emotional heft of his divorce. When Oscar’s friend, neat freak Felix (Thomas Lennon, Reno 911!, Night at the Museum), is similarly dumped, Felix comes to stay with Oscar. They quickly get on each other’s nerves.

Now, this will sound familiar because the basic story has not been changed in any way. Some of the lines of dialogue in the pilot come straight out of the original source, and the leading characters are essentially the exact same as their earlier counterparts. There is nothing distinguishing about this version, except perhaps that Felix makes vegetarian cuisine.

Everything else about this ODD COUPLE is sanitized and dated. Oscar’s mess is purely surface-level, a clearly staged disaster that is easily cleaned. The dialogue is hokey for 2015, and the story is not edgy enough. This feels like a sitcom from another era, which it is.

The first major mistake The Odd Couple makes is condensing the entire plot of the play into twenty minutes. From the poker night spoiled, to the awkward double date, the pilot of this show rockets right on through everything fans of the play or movie remember, condensed incredibly. This is really bad because the emotional arc between Oscar and Felix is similarly compacted, meaning Felix gets on Oscar’s nerves before he really has time to, and they come to an understanding way too early. I wasn’t a viewer of the old series, which aired long before my time, so I don’t know if they made the same error, but it feels very strange here, as if they should have taken a minimum of two half-hours, or preferably more, to cover this.

Interestingly, it’s actually emotional depth that makes THE ODD COUPLE work, though. Yes, the initial arc is too quick, but I like that Felix is determined to make Oscar face his feelings and Oscar realizes he needs that help. Felix also understands he needs Oscar to help him loosen up. Now that the pilot is out of the way, I’m interested to see where they build their relationship over time, and if they can make it evolve, rather than staying stagnant.

The supporting cast may help with that. Oscar’s assistant, Dani (Yvette Nicole Brown, Community), is only in the early bit of the first episode, so we don’t know what her reaction will be to Felix’s interference, but by her disgusted looks, she should approve. Oscar’s friend, Teddy (Wendell Pierce, Treme), must have his loyalties divided, not enjoying having the poker night ruined, but certainly glad for the assistance in getting Oscar back on track. Felix’s love interest, Emily (Lindsay Sloane, Horrible Bosses), is very much like Felix, so could hinder his growth. Guest star Casey (Leslie Bibb, About a Boy) could do the same for Oscar.

But in order for this to work, a lot must be overcome. Lennon and Perry are hilarious, to be sure, but THE ODD COUPLE makes me wish they’d created original characters instead of trying to use Felix and Oscar, as I’d be curious to see what they could do together without being boxed in by history. As it is, their considerable talents seem wasted, at least for now.

THE ODD COUPLE premieres Thursday at 8:30 p.m. ET on CBS.

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.

MICHAEL J. FOX Has a SHOW Again

Article first published as THE MICHAEL J. FOX SHOW Review on Seat42F.

Michael J. Fox (Back to the Future, Spin City) is such a beloved star whom viewers have so long yearned to see return to television in a regular series role that this fall’s THE MICHAEL J. FOX SHOW on NBC may just be the year’s most anticipated new comedy. In it, Michael plays Mike, a newscaster with Parkinson’s disease who leaves his job as a popular newscaster, but then decides to return to work, much to the relief of his family. It’s semi-biographical.

Most people don’t know a lot about Parkinson’s, but the obvious symptom is the incessant shaking. Like Fox himself, Mike suffers from this ailment, which makes it easier for the actor to inhabit the role. It takes very little time, though, to see Mike as any other person, and get past the disease. In the twenty-two minute “Pilot,” this is possible early on, a credit to Fox.

The character should please those looking for the comeback, as Mike has the wit and charm we’re accustomed to seeing from Fox. It’s easy to see why everyone loves him so much, both the actor and the character, and not just because of the bravery he has at fighting his illness.

The Parkinson’s is not ignored. Quite the opposite, really. THE MICHAEL J. FOX SHOW plays on the perception others have of Fox, and the things they think about him or say to him. People on the street feel empowered enough to make comments and share stories of their own afflicted relations, and his boss at news network, Harris (Wendell Pierce, Treme), is happy to take advantage of the situation when advertising for Mike’s triumphant comeback. All of this makes Mike uncomfortable, but it’s just something he has to deal with, which he does with grace.

Inside his home, however, he is not worshipped and fawned over. Like most families, Mike’s doesn’t see him as anything special, though they love him. Daughter Eve (Juliette Goglia, Easy A) thinks nothing wrong with milking Mike’s condition for a school project, which thankfully the teacher sees right through. Mike’s sister, Leigh (Katie Finneran, Wonderfalls), mooches off of him for an apartment, then complains when it’s in the basement. No one will sit down and eat together as a family. Everyone wants Mike out of the house during the day.

And that’s actually the problem with THE MICHAEL J. FOX SHOW: it’s just a normal family sitcom. There isn’t any special or notable about their interactions. School assignments, avoiding college, a broken dishwasher, sparring (then bonding) siblings, kids who thinks their father is lame; these are things faced in many others shows on the air, and this one handles them in much the same, familiar manner. It’s just like beloved classics like Everybody Loves Raymond, Full House, and Home Improvement.

I understand it is hard to find a fresh take on this genre at the moment, which so few have managed to do, but if it can’t be done, it shouldn’t be attempted. Fox is an accomplished performer with many great credits to his name, but this seems to be a waste of his talent. Perhaps the type of show he is most familiar with, Spin City and Family Ties, has just grown stale, and he needs to make a bigger departure, like he has during his recurring stint on The Good Wife these past years. The writing is just way too mediocre here.

Which is not to say that people won’t watch it. It does feel quite good to see Fox back in my living room, doing what he does best, even if the material is lackluster. He deserves a good show, and even if this isn’t it, perhaps it’s a stepping stone to something better. In the meantime, the novelty of his comeback combined with the sympathy many feel for him may just be enough to keep THE MICHAEL J. FOX SHOW going.

I would like to say I was impressed with what Betsy Brandt brings to the role of Mike’s wife, Annie, not necessarily because she stands out among the others, but because she blends in so well. Annie is nothing like Brandt’s recent role of Marie in the extremely popular series Breaking Bad, and so it’s cool to see that she can differentiate herself even in two characters that could potentially be very similar. She melds well with Fox and their television children.

THE MICHAEL J. FOX SHOW premieres Thursday, September 26^th on NBC.

Not "Bad Faith" to Recommend SUITS

Article first published as Not "Bad Faith" to Recommend SUITS on TheTVKing.

This week's penultimate Suits of the summer, "Bad Faith," is an excellent installment. I say that not because of the backstabbing, brinksmanship, romantic drama, funny moments, and triumphant victories, of which there are plenty, but because of the way it serves nearly all of the major characters. This is an ensemble piece, and with each member of the cast fully able to pull their own weight, it's always gratifying when they get the chance to do so.

Right away, we have a magic scene between Donna (Sarah Rafferty) and Harvey (Gabriel Macht) discussing handbags. They've had a rough few weeks, and to witness the two getting back to what they are, seeing their relationship repaired, and the equal footing they really do stand on, is great.

The champion of "Bad Faith," though, is Louis (Rick Hoffman). The sometimes-despised man has both highs and lows, first screwing up a deal horribly, losing his cool when goaded by Nigel (Adam Godley), then saving the day, seemingly, when he not only swallows his pride in asking Harvey for help, but finds a way to land the firm a whale. This is Louis at his worst and his finest, and thank goodness the finest comes second.

Hoffman handles both ends of the spectrum in a sympathetic and layered way. Even when Louis screws up, fans root for him because we know why he does what he does, how often he is overlooked by his superiors, peers, and even inferiors, and we also know his heart is in the right place. This is a familiar type of person, someone who can work their hardest and try their best and still not be good enough. Yet, because he dusts himself off and does it again, he is noble and laudable.

Louis may be the most popular character on the show, and that is owed to both the material given him and the actor that brings him to life. While others are good or bad, sometimes both, depending on circumstance, Louis is only ever a typical man, neither evil nor perfect, his flaws realistically fleshed out. Whenever he is brought front and center, the result is rewarding, and "Bad Faith" hits those notes.

The fact that Darby (Conleth Hill) sends Nigel to negotiate, knowing the Jessica (Gina Torres) and Harvey are smart enough not to attend themselves, given their emotional investment in the process, shows just how intelligent Darby is. He is multiple steps ahead of our main players. They have met their match, even more so than in Hardman (David Constabile), with Darby.

Funnily enough, though, they may have defeated Darby if not for Harvey's own mistakes, proving that no matter great the foe, one is often one's own worst enemy. Because of how Harvey handled Ava Hessington (Michelle Fairley), Ava takes away her business, leading to misunderstandings and betrayal. It's a blow out of left field, one unexpected. There are too many pieces in play to keep track of them all at once, and a single oversight has huge ramifications.

This leaves negotiations between Darby and Jessica's firms at an impasse, with Scottie (Abigail Spencer) announcing the divorce is off. This leaves one wondering whether Pearson Darby Specter can somehow make a Hail Mary play that works at the last second, or sets up a fourth season even more embroiled in the serials arcs that make Suits so good.

Other great moments in "Bad Faith" are Mike (Patrick J. Adams) not realizing that his playing hardball with Robert Zane (Wendell Pierce) will hurt Mike's relationship with Robert's daughter Rachel (Meghan Markle), Mike asking Rachel to move into the apartment with him, Louis finally getting in on a Harvey / Jessica scheme, Harvey complimenting Louis sincerely, Katrina (Amanda Schull) playing cheerleader for Louis, and Donna pretending she just knows what's going on between Rachel and Mike. Excellent hour, all around.

Suits' season finale will air this Thursday at 10 p.m. ET on USA.

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 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.


     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     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.