Monday, December 09, 2013
Treme No. 33: This City
BLOGGER'S NOTE: This recap contains spoilers, so if you haven't seen the episode yet, move along.
Albert (Clarke Peters) seems unusually upbeat, pacing about his doctor's office, glancing out his window and commenting upon the unusually warm December day. He even tells Dr. Powell (Cordell Moore) that he feels as if he's overflowing with energy, but the doctor insists Lambreaux sit down. He describes Albert's mood as the "Indian Summer" effect and reports that the latest scans indicate that his cancer has spread to his liver. Albert shuffles out to the lobby where Davina (Edwina Findley) waits for him. She senses that her father didn't get good news, but Albert stays silent and gives his daughter a pat and a grin as the leave the building. (The credits give the first onscreen indication of the final season's cost-cutting measures as India Ennenga who plays Sofia and Michiel Huisman who portrays Sonny don't have their names present in the credits since they don't appear in this episode.)
Antoine (Wendell Pierce) to find all the students gathered in a circle and chattering. Robert (Jaron Williams) informs him that Cherise's boyfriend was shot and the teen girl (Camryn Jackson) was with him at the time. Batiste asks if her boyfriend had been involved in anything bad, but Jennifer (Jazz Henry) tells him that Cherise said no. Cherise isn't in class, hiding at home and frightened. Antoine urges the class to take their seats.
After the trip to the doctor's, Albert makes Davina drive him to some of his old haunts from growing up, beginning with the Seventh Ward, though he tells his daughter that no one called it that. "Some called it Creoleville…There were whites here, blacks too. Folks with Choctaw Indian in 'em, French blood too. High yellows," he tells her. Davina asks if this preceded segregation and he answers in the affirmative, explaining it really got bad in the 1960s when a white friend sat with them at the back of the bus and set off the driver who threw them all off. In the middle of Albert's tour, the show interrupts the flow with Toni (Melissa Leo) arriving at the home of the Gildays, the parents of
the man who died in the Orleans Parish jail. A short scene of Toni at the door before returning to Albert and Davina. We do return to the Gilday home where Toni convinces Mr. and Mrs. Gilday (John Joly, Julie Ann Doan) to let her launch a wrongful death inquiry, including bringing in an outside coroner for an outside coroner. "We can't rely on the coroner's office, not in Orleans Parish," Toni tells the Gildays. This episode, "This City" (written by George Pelecanos, directed by Anthony Hemingway), repeats the exact bizarre cutting technique in the sequence that follows. We see Antoine knocking on Cherise's door, but — instead of just going in and seeing the scene where he talks to the girl and warns her to be aware of her surroundings — we cut to the shortest of scenes where Janette (Kim Dickens) and Jacques (Ntare Guma Mbaho Mwine) shop for produce at a cart and Janette gets served a cease-and-desist order from Tim Feeny, ordering her not to use Desautel's in the name of her new restaurant. (Granted, drive time might have been needed to account for the different sites Albert points out to Davina, but it's pointless to show both Toni and then Antoine at separate doors and then play the short scenes in the entirety later. The Janette scene really sticks out. She could have been served anywhere, anytime. In fact, the scene isn't even necessary. The information gets conveyed completely in a scene at the restaurant with Davis later. These quick, separated scenes occur a lot in this outing but I'm ignoring them here on out in this no-frills recap. Thankfully, of the final five episodes, "This City" happens to be the only one reminiscent of the worst of Season Two.)Delmond (Rob Brown) travels to New York and records with Terence Blanchard, who offers the younger Lambreaux more upcoming work on his tour for the album, but Del hedges, given the latest news on Albert's health and his impending fatherhood.
Annie (Lucia Micarelli) attends the Best of the Beat Awards held at the House of Blues on Decatur Street and wins best song. Marvin (Michael Cerveris) congratulates her, but Annie brushes it off as being fortunate while Frey tells her hard work earned her that honor. He also brings up the subject of dumping Bayou Cadillac for his Nashville musicians, insisting that Annie's band will understand. "I'm gonna make this record my way. That's why you hired me," Frey declares when Annie resists firing the musicians before taking the stage to perform "This City" in memory of Harley.
In that scene I referred to, Janette informs Davis (Steve Zahn) of Feeny's legal move and the two (mostly McAlary) unleash new, creative vulgar phrases for the businessman. They also discuss the costs with removing Janette's last name from the restaurant's sign, its menu and even her chef's uniform. Janette makes Davis smile though when she informs him that she's going home with him that night.
When Del returns to New Orleans, he finds his sister quite upset. Albert won't take any more chemotherapy, intent instead on concentrating on his outfit for Mardi Gras and the impending birth of his grandchild, which he insists will be a boy. Davina can't understand why Del isn't more upset, but he tells her that the doctor told them further
chemo might not help much and they should honor Albert's wishes. "We should start preparing for what's inevitable," Delmond says as he takes his sobbing sister in his arms. Antoine stops by GiGi's to give her some child support for Randall and Alcide, but asks LaDonna (Khandi Alexander) why she still gives him that suspicious look now that he holds a regular job. "I've had a habit of doubting you for a long time. Maybe too long," LaDonna admits. As they talk about overcharges for the wiring, a tune playing by Gary Walker and the Boogie Kings and how Larry has carried the load for far too long when it comes to caring for the boys, LaDonna confesses to Antoine, "I like you better now than when we were married." Antoine smiles. "I had a growth spurt, I guess," he responds as the two do a little dance to the "Who Needs You So Bad?" with the bar separating them. During another meeting with LaFouchette (James DuMont) about the high amount of deaths in the Orleans Parish jail, Officer Billy Wilson (Lucky Johnson) stops by to taunt Toni (Melissa Leo) over her inability to nail him in the death of Joey Abreu.
(One thing I love is when series with disparate casts — or castes — create situations where these characters interact. My So-Called Life and Freaks and Geeks stand as just two examples of shows that do this well as does Treme, which creates one of the best in the scene that follows.) Nelson (Jon Seda) takes C.J. (Dan Ziskie) to lunch to meet Davis, proposing he might make a good liaison for them between the local music scene and the jazz center project, though he admits he's rough around the ages. McAlary does his best to be on his best behavior, citing his record label, disc jockey job and musical heritage tour as qualifications. He warns Liguori that he speaks his mind, but C.J. tells him he would expect nothing less. The banker then recalls McAlary's quixotic political campaign (in Season 1) when Davis planned to renamed the New Orleans Hornets the New Orleans Mormon Tabernacle Choir to shame Utah into returning the name Jazz back to the team. Davis also reminds him of his plan of Pot for Pot Holes. Unfortunately, Davis remembers who C.J. Liguori is as well — the banker who is one of the biggest GOP fund-raisers in the state and was involved in the Greendot program. Davis admits to boycotting his bank for 10 years. "I was wondering where that three hundred dollars went," C.J. comments drily while continuing to eat.
Nelson finds Janette's new place, where Davis happens to be, and remarks how much better her food is than what's being served at her old place. She fills him in on the Feeny details and how she's going to try to appeal to his humanity to use her name. McAlary asks Hidalgo how he thinks his chances for being a community liaison for C.J went, but Nelson admits that he thinks Liguori plans to go another way. Davis gulps when realizing he lost a $30,000 job.
Murder never stops in New Orleans and when Colson (David Morse) arrives at another crime scene to discover his men fiddling about he also learns the victim is Cherise.
Toni tries to get FBI Special Agent Collington (Colin Walker) interested in the Orleans Parish in-custody deaths, but he admits to a full plate. Toni can't contain her anger since no movement has happened on the Abreu case she gave them. "Sphinx move faster than you fucking feds," she spits.
No humanity can be found in Tim Feeny (Sam Robards) who tells Janette that he plans to sue over a Times-Picayune article where she extolled fine cuisine over chain-style dining. She can forget about getting her name back as well. He even lets her pick up the tab.
"That sweet girl," Antoine says when Colson and Detective Nikolich (Yul Vazquez) question him about his meeting with Cherise two days prior. It turns out her boyfriend had been wearing one of his older brother's shirts and was killed by thugs he had a beef with from the Iberville projects. Nikolich offers the visibly shaken and upset Antoine that if it's any comfort, they've identified the killers and just have to locate them to arrest them for the crimes. "No sir, that's no comfort at all," Antoine responds. (Pierce brings to the table whatever is needed, even if that mostly ends up being Antoine's more comical side, but when he shows us Batiste's other layers, especially in this dramatic scene of devastation, he's even more of a wonder to behold. While so many members of this talented ensemble deserve award recognition, this scene reminds me that Pierce might be the most glaring Emmy oversight in addition to the series itself. Perhaps next year a going-away present.) LaDonna cooks Albert a dinner at his house as the share a dinner date alone. Later, the talk turns to mortality as Albert reminisces about many of his old friends, all gone, and even his late wife, who he admits LaDonna reminds him of in many ways. "When you get right down to it, death is an ordinary thing," Lambreaux admits while lying on his sofa, his head resting in LaDonna's lap.
Terry returns to Toni's house to find her doing the dishes. He tries to ask about her day, but she brushes it off, though he tells her about Cherise's murder and tells her they know the killer, but just have to find her. Toni erupts, asking if they'll lose the evidence and screw it up. She finally admits being shaken up by Officer Wilson's taunt and the snail-like crawl of the feds to take any action on the Abreu murder among other cases she gave them. She brings up the Orleans Parish in-custody deaths, but Colson trying to keep the situation calm says precisely the wrong thing by explaining that's the sheriff's department and not under his department's supervision. She blows up and storms up. (After all these years, even when Toni felt scared enough to send Sofia away when the NOPD harassed them, she still maintained her optimistic faith in justice winning out. Toni appears broken. (In the 33 episodes of Treme so far, Melissa Leo always has proved spectacular, but in this brief scene, seeing that tireless champion Toni Bernette break down and admits she feels the system is rigged beyond repair, Leo delivers another amazing piece of work. Morse, who stands calmly and lets her vent without trying to quell her fears or say she's wrong, performs at her level as the sounding board who knows to stay out of her way. One other note: The school Antoine teaches at, Theophile Jones Elie, was called an elementary school when introduced in the second season. The school still bears that name, but I wondered about how the school systems break down in New Orleans, since it seemed odd that 14- and 15-year-olds still would attend an elementary, but Colson describes Cherise as a middle school student. Still unclear, but who knows?)
Larry (Lance E. Nichols) carries a below-freezing demeanor when LaDonna shows up to give him Antoine's money for the boys. He balks when she suggests taking Randall and Alcide with her. Larry asks if she means to the Residence Inn or the room above the bar. They're best with him and unless she wants to talk about coming home. LaDonna asks him to tell the boys she was there and leaves.
That night, outside Theophile Jones Elie, a candlelight vigil takes place for Cherise and all the other young people slain on the streets of New Orleans. Young Jennifer even speaks on behalf of Cherise and all the other young people. "We love this city, but it hasn't loved us back," the teen tells the crowd.
BLOGGER'S NOTE: I almost got this no-frills update up last night, but my stamina and fingers failed me. Health circumstances this week make a recap of this season's third episode unlikely, but I'll try to return for the fourth episode and the finale.
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Labels: Clarke Peters, D. Morse, HBO, Kim Dickens, M. Cerveris, Melissa Leo, Treme, TV Recap, Twin Peaks, Wendell Pierce, Zahn
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Sunday, December 01, 2013
Treme No. 32: Yes We Can Can Part II
BLOGGER'S NOTE: This recap contains spoilers, so if you haven't seen the episode yet, move along.
We finally see Annie (Lucia Micarelli) doing what she does best — playing the hell out of the fiddle with her band Bayou Cadillac on “Do You Wanna Dance” (with French lyrics, no less) on a Lafayette, Louisiana stage. When the set ends, Annie gets a big bear hug from Michael Doucet, founder of the band BeauSoleil, whose group had an album that bore the name Bayou Cadillac. He tells her he loves the name of the band and while Annie worries that he might take offense, Doucet assures her he takes it as a compliment. She tries to spread her exuberance to her manager Marvin Frey (Michael Cerveris), insisting it’s the best show ever and wishing they taped it or the concert in Mobile for a live album. “You might even sell a few copies in Lafayette or Mobile or even New Orleans,” Frey responds unenthusiastically. As Frey and Annie watch Doucet take the stage and Annie imagines being that big in a few years, Frey walks away. “Why do I get the sense that you are trying to tell me something?” Annie asks her manager. Frey tells her that in the music industry, it’s getting harder to survive on the margins. Her album did what it did but once they get north of a certain point geographically, it goes nowhere. “Doing rock ‘n’ roll dance hall tunes en francais in Lafayette?” Frey poses. “What the fuck Marvin? We’re in Lafayette,” Annie replies. “That’s right. You’re in Lafayette. I just thought you were hungrier than that,” Frey tells his client.
Terry (David Morse) looks quite comfortable reading the Times-Picayune sports section in Toni’s living room as he complains about the Atlanta Falcons who will face off against the hometown Saints with a 4-4 record. He fears he’s boring Toni with the football talk, but she surprises him with her pigskin player knowledge. Sofia breezes through the room, as she prepares to return east to school, and notes how comfy Colson seems in the house, asking if the living arrangement is permanent. Her mom informs Sofia that the city demolished Terry’s house. “I was too late getting started. Mold and rot had its way with everything,” Terry tells Sofia, who asks what she should call him now — Terry? Detective Colson? Colson suggests The Tall Guy. Colson inquires of Toni if she’d mind if he’d spend Thanksgiving with her and Sofia in New Orleans. He’d already asked his sons in Indianapolis and they approved, though Colson realizes he should’ve broached the subject with Toni first. Toni insists that both she and Sofia would love to have him there. (Morse has been so great in so many roles since his first splash on St. Elsewhere, that he truly was a welcome sight in his recurring role in the first season, even more so once he became a regular in Season Two) Annie seeks advice from ex-boyfriend Davis about Marvin’s advice that she dump Bayou Cadillac in favor of Nashville studio musicians. “I should tell him to go fuck himself, right? Isn’t that what I’m supposed to say?” Annie asks McAlary. While Davis agrees with her problems with Frey, he also admits that his relationship with the Lost Highway record label beats any local label, including his own. Annie thanks him for lending her his ear. “What else are psychically wounded ex-lovers for?” Davis replies before hopping on a bicycle and heading to his own label. He asks Don B. if his Aunt Mimi might be on the premises, but Don says between the two of them, most days he feels as if he’s holding down the fort by himself. He then gives Davis his paycheck, which McAlary complains will go to more than $800 in repairs for the pothole debacle. He also asks Don to admit that most days Bartholomew would pay to keep Davis out of the office. Before McAlary scampers off, Don gives him a demo of “the next big thing” that will come out of New Orleans, which turns out to be a new work by Trombone Shorty.
(Micarelli, the only regular cast member who came to the show with no acting experience, truly grew in her acting prowess over the course of these 36 episodes. Her musical abilities always were present. I wonder if she’ll return exclusively to the world of music or she’ll continue to pursue acting work. I hope she does.) Nelson returns to the Big Easy to check on his remaining investments there and to see if any opportunities remain that might help him rebuild his losses. He checks in with banker and business partner C.J. Liguori (Dan Ziskie) to see if he took a hit, but Liguori admits that most New Orleans businessmen always act more conservatively. In fact, he appears to be channeling the late, Creighton Bernette (John Goodman), despite the vast differences in Toni's late husband and C.J.'s political leanings, when he responds, "Hold the Corps accountable. Down here in New Orleans, we've lost our naiveté. We're several years past believing anything but spit, chewing gum and dumb luck keeps anyone high and dry." Liguori tells Hidalgo to relax and reminds him that most Mid-City properties should turn over soon and he holds pieces of that and that he wouldn't bet against the jazz center, the plans for which sit on Mayor Ray Nagin's desk. C.J. suggests Nelson get a good meal and a few drinks, but Hidalgo asks if there is anything immediate he could do for Liguori. C.J. informs him of a community meeting in the Treme about the jazz center that he could monitor for them since he'd be less likely to be recognized.Colson arrives at a crime scene where a man lies shot dead in his front yard. He summons one of his detectives, Cappell (Dexter Tillis), to discern what they know. He isn’t happy to learn that neither the young detective nor the
silent Detective Silby (JD Evermore), seen at a distance, have bothered to canvass the neighborhood for potential witnesses. Terry notices a surveillance camera above the street. Cappell tells him that it’s unlikely the camera even works. Colson orders Cappell to start knocking on doors while he checks in on any possible security footage. When Colson gets to the office that monitors the cameras, the officer on duty watching them (Carl Palmer) confirms that the camera in question no longer works, as is the case with most of the surveillance equipment in the 6th District. “Why am I not surprised?” Terry sighs. The officer suggests that even though the cameras don’t work, they still serve as a deterrent, adding that even if all the security cameras worked, understaffing would prevent monitoring all of them. Colson asks how many continued to function. The officer guessed that in the 6th District, perhaps 10 to 12. “Out of how many?” Terry inquires. The officer gives him the total of 38. He suggests that Colson talk to the head of IT in Nagin’s office, if he wants to make any progress, but he thanks him for dropping by. He doesn’t get many visitors apparently.Albert works as part of the team rebuilding GiGi’s for LaDonna. She also allows the Guardians of the Flame to practice there, which they do when the rest of the tribe arrives. LaDonna asks Big Chief Lambreaux how late they
plan to rehearse, hinting that she’s thinking of other activities, though both she and Delmond watch the Indians go through their paces. Antoine arrives home and tells Desiree about Robert’s STD and Cherise’s boyfriend. Batiste admits that he didn’t sign up to be a father figure when he took the job. Sonny stopped for a quick drink at B.J.’s but when he has to take a leak, he finds the bar’s bathroom out of order. He steps outside to relieve himself but gets promptly greeted by the flashing lights of a patrol car. Sonny insists he consumed a single drink, but that doesn’t concern NOPD Capt. Jack Malatesta (Tony Senzamici). “Son, you can flash your titties if you have ‘em. You can lie down in the street in your own vomit, but one thing you cannot do in the City of New Orleans is pull out your pecker and piss on our hallowed ground,” the officer declares as he shuts the patrol car’s door on Sonny. (One of the great pleasures of Treme always has been its dialogue, especially when it allowed itself longer speeches. I don’t know if David Simon, Eric Overmyer or George Pelecanos gets the credit for that line, but I love it.) Shortly after his arrival in lockup. another man (Garrett Kruithof) get shoved in the holding cell, promptly collapsing, asking for help or a doctor and telling Sonny that he needs his inhaler for his asthma. Sonny calls a deputy for help, saying the man needs a doctor. The law enforcement official asks Sonny if he is a doctor, which Sonny obviously replies in the negative. “Then what the fuck do you know about it?” he spits before walking away, leaving the man writhing on the cell floor.Nelson visits Desautel’s on the Avenue, disappointed that his favorite dishes prove M.I.A. Tim Feeny stops by and glad-hands him and Hidalgo pretends he’s enjoying the pork loin he’s consuming. He asks Feeny if “chef” might be available for a brief chat and Feeny says “he” is. Nelson inquires about Janette, but Feeny just mentions the new chef being a great hire from Atlanta. When Feeny asks the woman serving behind the bar about how long Janette has been absent and she tells him about two months. Nelson pushes the rest of his meal aside and finishes his drink. Colson goes to Deputy Chief of Operations Marsden (Terence Rosemore) and demands a transfer, which Marsden refuses. Terry’s anger grows and he tells Marsden that he’s documented all the attempts to screw him over and jack him up, but he’s not going to quit. Marsden suggests that Colson take his pension and retire. He also reminds him that for all the years Colson served in the 6th District, he can’t quite call himself a virgin.
When Toni gets Sonny out of jail the next morning, she senses something happened. Sonny tells him that nothing to him but shares the tale of the neglected asthmatic. He tells her EMTs eventually showed up after he wasn’t breathing and was blue and tried to revive him, but they were too late — the man was dead. Davis brings a box bearing gifts of liquor to Janette for that night’s opening. “How many times will I get to see you open a new place in my lifetime — six, seven tops,” McAlary proclaims. Janette welcomes the present. She can’t obtain credit from any liquor distributors to make running a full bar possible. She offers Davis a free opening night meal, but McAlary opts for a rain check citing his interest in the community meeting concerning closing the live clubs on Rampart in order to make way for the jazz center followed by Trombone Shorty’s big show at the Howlin’ Wolf. Toni makes a date to talk with sheriff’s department Capt. Richard LaFouchette (James DuMont) to learn more about the man, whose name she learned was William Gilday, who died in his department’s cell. LaFouchette shares the list of in-custody deaths, but Gilday’s name doesn’t appear. Toni asks what the hell is going on over there. “It’s jail, Toni. Shit happens,” LaFouchette responds. (It’s always easier to play a villain, but Melissa Leo amazes with her ability to play such a force of good as Toni as spectacularly as Leo throughout the run of Treme. Of course, as with the rest of the talented cast and show itself, she received no Emmy recognition just as she failed ever to be nominated for her great work on Homicide: Life on the Street. Perhaps that Oscar win for The Fighter and her recent Emmy win for her great guest spot on the hysterical Louie takes the sting out, despite entertainment awards being honors and pointless simultaneously. Speaking of Louie, while Dan Ziskie always displays a dry wit as C.J. Liguori, since I started watching Louie late I can’t help but picture C.J. as the Southern lawman who requests Louis C.K. reward him with a kiss on the lips for saving him from some thugs.)
Not all characters know each other in the Treme universe, but eventually some do cross paths. In the final season’s premiere, Nelson Hidalgo meets Davis McAlary at the community meeting concerning the idea of shutting down the live clubs on Rampart to make way for the jazz center. After Nelson makes a few comments, Davis realizes that Hidalgo plays for “the other team.” McAlary determines that Hidalgo needs re-education that only D.J. Davis can provide. He takes the Texas businessman into the crowd outside the Howlin’ Wolf awaiting Shorty’s show, where he introduces him to Antoine as “a corporate succubus who has set up shop in our quaint little village with the intent of harnessing its essence for fun and profit.” Davis attempts to begin his work on Nelson by offering him a joint, but Hidalgo declines and instead offers to get drinks for Antoine and Davis, who kindly oblige. “Why’d you go and call that man a suck-your butt?” Antoine asks McAlary. “He seemed alright to me.” (As I said earlier, Pierce’s Antoine always has served as the heart and soul of the series, but it’s great to see him and Zahn in comic routines with each other or anyone else. It’s not exactly true to the spirit of the definition, but Antoine and Davis function in a way as the yin and the yang of Treme, except neither truly exudes pure darkness or negativity.)
After a gig with Ellis Marsalis, Delmond’s agent James Woodrow (Jim True-Frost) inquires about Albert’s health. Del informs him that the Big Chief’s cancer has gone into remission, so Woodrow asks if Del plans to return to New York anytime soon. Del expresses hesitancy, since Albert needs to remain cancer free for three years. Woodrow balks at the idea of that long an absence, but asks if he’s free to travel to NYC for a few days. Terence Blanchard wants to use him on a recording. When Del gets home, he greets his girlfriend Brandi (Brandi Coleman), who presses Del as to when he plans to tell Albert about his impending grandchild. Delmond admits to being superstitious — “circle of life and all that,” Del says.
Antoine greets Troy Andrews aka Trombone Shorty backstage following his final set with Orleans Ave. Andrews asks Batiste how he’s been and Antoine replies, “Fine until after this last set.” Shorty interprets this as Antoine disliking the direction in which Andrews’ music is heading, but Batiste clarifies. Andrews’ new music makes him uncertain where Antoine Batiste is going and considering whether he should pawn his bone right now since he’ll never catch up. Shorty tells Antoine he might have some upcoming gigs he could toss his way, including one on an upcoming film set to film in New Orleans about old-time jazz pioneers. In the club itself, Davis shows Nelson photos on the wall of when Trombone Shorty was a child prodigy. Hidalgo admits to wondering about the name, but misses the larger point of McAlary’s visual illustration. “He is who he is because he comes from where he comes from, not some
conservatory of music or performing arts center. He comes from the streets, the second lines, from the funerals and later those shithole three sets-a-night clubs. Music lives where it lives. You can’t fuck with that. You don’t want to fuck with that,” McAlary imparts to Nelson. (Another great piece of dialogue.) As hinted in the last episode of Season 3 when Albert and LaDonna went AWOL during the fund-raiser for GiGi’s, the two definitely became involved and the relationship proves to be the catalyst behind Larry and LaDonna’s impending divorce. LaDonna starts to put on her coat, ready to return to the Residence Inn, but Lambreaux urges her to stay since Davina took a trip out of town for a few days, so LaDonna accepts. She asks Albert if he’s tired, but Lambreaux admits to only being tired of people inquiring if he’s tired or how he’s doing. (Khandi Alexander and Clarke Peters prove to be such a great pairing that it’s a shame it didn’t occur earlier. Alexander plays every range of emotion well, but few do fiery and pissed off as well as she does. In contrast, Peters says so much simply with his face. Albert raises his voice from time to time, but it’s his stoic stubbornness that makes the character so fascinating.) Janette bids Jacques good night and she prepares to lock up Desautel’s on the Dauphine. She has managed to keep Jacques as a faithful sous chef, despite Eric Ripert’s advice, but you see the sadness in her eyes as Jacques climbs into a woman’s convertible and gives her a big kiss before they drive away. Janette pours herself a drink and sadly imbibes alone, reminiscent of her early days in New York. (Kim Dickens stands as another in this series’ ridiculously talented ensemble who conveys so much without saying a word. The humor and pathos she’s milked so brilliantly from this chef’s journey truly stands as a remarkable achievement.)BLOGGER'S NOTE: Full recaps of the remaining four episodes seem unlikely, so I'm aiming for an overall appreciation to run after the finale.
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Labels: Awards, Clarke Peters, D. Morse, David Simon, John Goodman, Kim Dickens, M. Cerveris, Melissa Leo, Oscars, Overmyer, Treme, TV Recap, Wendell Pierce, Zahn
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Saturday, November 30, 2013
Harder to survive on the margins
BLOGGER'S NOTE: This preview of the fourth and final season of Treme contains mild spoilers for the last five episodes, but nothing too serious. If you fear knowing ANYTHING ahead of time, move along. Also, health problems and other interruptions have put timely recaps in jeopardy. At least part of the first episode will be up in time Sunday, but I can't make promises about timeliness going forward.
The headline that I used for this preview of the truncated fourth and final season of HBO's Treme paraphrases something Marvin Frey (Michael Cerveris), manager of Annie Tee aka Talarico (Lucia Micarelli), says to his client in the Sunday season premiere after she finishes a set with her band. Frey advises Annie that her album has peaked and, if she wishes to continue her ascent to stardom, her act requires big changes. While Frey's statement specifically
pertains to Annie, it also applies to the unforgivable final season HBO allowed for this great series created by David Simon and Eric Overmyer. Yes, even in the commercial-free universe of pay cable, where subscribers should matter more than ratings, the various TV ratings systems (which grow more imperfect and outmoded by the day as the methods by which viewers watch TV evolve in ways A.C. Nielsen never could have envisioned) still capture the attention of channels such as HBO and Treme never drew an audience comparable to shows such as The Sopranos, Game of Thrones or even Boardwalk Empire. I suppose I should commend them for sticking with Treme as long as they did, but that doesn't excuse HBO for the scraps that it threw the series' way for a final season. Despite the burdens of a season half the size of a traditional one (and they received an 11-episode order for season 2) and steep cuts to staff and crew, the people remaining at Treme manage to go out well with few signs on the screen of the behind-the-scenes austerity measures imposed upon them in order to complete the story they never intended to run past four seasons. When I first learned of what HBO gave Treme for Season 3.5, my thoughts went to the citizens of New Orleans and the city itself, whose economy benefited from the series' filming there each year. Hasn't that city suffered enough? I digress. Five episodes remain to spend with the great characters we've met over the previous 31 episodes. We'll join the second line after the last episode airs Dec. 29. As the card shown above from Sunday's premiere indicates, the final season of Treme picks up 38 months after Hurricane Katrina and the federal flood that followed and devastated New Orleans and neighboring regions. More specifically, the day on which season 3.5 chooses to begin happens to be Nov. 4, 2008 — that historic day that saw Barack Obama elected the first African-American president of the United States. While the U.S. started the process of transition from one president to another, we learn of changes to most of the characters in the Treme universe in the premiere, “Yes We Can Can” (written by Simon, Overmyer & George Pelecanos, directed by Anthony
Hemingway), in terms of relationships started and ended, both personal and professional. For those forgetting where we left our friends more than a year ago, LaDonna Batiste-Williams (Khandi Alexander) struggled after her bar GiGi’s got torched in a suspicious, presumed revenge fire; Delmond Lambreaux (Rob Brown) found himself more torn than ever between his New York jazz career and his New Orleans roots, especially after his father Albert (Clarke Peters) began treatment for cancer; Janette Desautel (Kim Dickens) continued to butt heads with Tim Feeny (Sam Robards), the moneyman behind her new restaurant, Desautel’s on the Avenue; Sofia Bernette (India Ennenga) headed east for college as her mom Toni (Melissa Leo) continued to fight the good fight and began a relationship with Lt. Terry Colson (David Morse), who attempted to do the same within his police department; Sonny Schilder* (Michiel Huisman) wore down Tran (Lee Nguyen), the father of Linh (Hong Chau), and made her his bride; Nelson Hidalgo (Jon Seda), back in the good graces of C.J. Liguori (Dan Ziskie) and friends after exile for association with Oliver Thomas, worked on various projects, including a New Orleans city jazz center, a project that Del and Albert already decided not to take part in despite a possible lucrative end; Annie’s burgeoning career led to her breakup with Davis McAlary (Steve Zahn), who gave a “final” performance announcing he was quitting the music industry; and Antoine Batiste (Wendell Pierce) found himself getting into the groove in his job as the assistant band instructor at Theophile Jones Elie Elementary. My return to recapping Treme episodes comes after sitting out Season 3 (and post-episode summaries/reviews of Boardwalk Empire as well) due to worsening aspects of the physical limitations associated with my primary progressive multiple sclerosis. A major impediment to me continuing the recaps stemmed from the fact that my recaps of both series grew so insanely ambitious with research and links supplementing the general summary and assessment of each individual episode. In fact, I got so detailed when referring to neighborhoods and sections of New Orleans that some readers assumed that I either hailed from there or had lived in the city for a sizable portion of my life when I never got the chance to visit the Crescent City back when I was mobile. Thankfully, no one thought I was old enough that I acquired my knowledge of 1920s Atlantic City from first-hand experience. My recaps
for the final five episodes of Treme won't approach the detail or ambition of my season 2 efforts. (Look at my recap of Treme's season two episode "Carnival Time" or my recap of Boardwalk Empire's season 2 episode "To the Lost" to see how overboard I went.) I regret not being able to recap season 3 of Treme because I felt it turned out to be its best season, especially following season two, which contained individual episodes that proved great and contained truly memorable moments, but had too many episodes undermined by an editing style that seemed geared for children with ADD. In season three, the series largely corrected its flow problems and managed even to find use for some of its characters who had been annoying and pointless such as Sonny. It also introduced a new character in young enterprising reporter L.P. Everett (Chris Coy), a writer for ProPublica, who arrived in New Orleans to investigate the possible murder of a man by police following Hurricane Katrina. Everett's work brought him into contact with a natural ally in Toni and paralleled the internal frustration of Terry trying to delve into the culture of cover-up and corruption throughout the city's police department. While the entire ensemble managed to get their moments in season three, in my eyes, the season really belonged to Morse's stellar work as Colson. As a point of personal pride, when in season two Janette toured the kitchens of various New York restaurants, she began at the marvelous fictional creation Brulard’s, named for its owner and chef Enrico Brulard (a magnificent invention of a character by actor Victor Slezak — I still dream of spin-off where Brulard and Dr. John decide to open a restaurant and club together). Janette bonded best in Brulard's kitchen with actor Paul Fitzgerald's character, who never received a name, referred in credit lists simply by job title as Le poissonnier. In my recap of one of season two's best episodes, "Santa Claus, Do You Ever Get the Blues?" (written by Lolis Eric Elie, directed by Alex Zakrzewski), I decided to christen Fitzgerald's character as Paul. To my delight, when he turned up in New Orleans at Janette's new restaurant, he had a name and it happened to be Paul. I'd love to think I had a hand in that, but I'm not deluded enough to assume such a thing. It pleased me nonetheless and I wish I'd been able to note it when it occurred.What makes this final stretch of Treme particularly interesting are how some episodes seem to have an overlying theme in a way that previous installments didn't. While episodes might revolve around a common event or day such as Mardi Gras or Thanksgiving, a couple of these final five delve specifically, though subtly, into overarching topics. As I referred to earlier, few signs on-screen indicate the steep cuts made for the final season. You spot them when some regulars' names only appear in episodes in which they appear and in the relative absence of bigger names such as Elizabeth Ashley's wonderful Aunt Mimi, who appears but once and briefly.
Whenever I try to describe Treme to nonviewers, a pat description defies me. No television antecedent that's not really dependent on plot springs to mind as a comparison. Treme proves to be neither about the journey nor the destination while telling its tale of a community and its culture in the aftermath of a disaster, but, in the end, Katrina really isn't its point either. Miraculously, Treme works and, this late in the game, I finally realized the closest comparison to its type of storytelling. It came not from television, but a movie: Robert Altman's Nashville. It also focused on a musical community with a large cast of characters, some of whom met, some who didn't, and didn't contain what anyone could call a conventional plot, yet it's one of Altman's masterpieces. Of course, Nashville comes to a climax of sorts and covers a very specific period of time. That thought prompted memories of another essentially plotless, though quite different, great film that by coincidence took place in our bicentennial year: Richard Linklater's Dazed and Confused, only it contained no big finish. As for television, I still can't think of a Treme antecedent and that's probably a good thing. I expect someone to correct me in comments and come up with a similar TV example and I'll be suitably red-faced for that series not occurring to me, but until then I welcome that in my mind Treme stands as one-of-a-kind.
Treme premieres on Sunday night on HBO at 9 p.m. Eastern/8 p.m. Central.
*As far as I recall, Sonny's last name never was mentioned or seen on the show itself, but a book solved that mystery. Treme: Stories and Recipes from the Heart of New Orleans by Lolis Eric Elie, former story editor for the series, presents recipes belonging to various characters from Treme and it reveals Sonny's last name as Schilder when providing his dishes.
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Labels: Altman, Boardwalk Empire, Clarke Peters, D. Morse, David Simon, E. Ashley, HBO, Kim Dickens, Linklater, M. Cerveris, Melissa Leo, Overmyer, Television, The Sopranos, Treme, TV Recap, Wendell Pierce, Zahn
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Sunday, June 03, 2012
"My standards of fun are not the norm."
I thought I'd drop a few final thoughts that I failed to fit in the main tribute post before I actually listed my 10 favorite episodes, which turned out to be a bear of an assignment — first narrowing the list to 10, then trying to determine rankings. Even in the later, weaker
seasons, the show still managed to come up with some winners or — if nothing else — moments and lines that made you feel that your time wasn't completely wasted. I almost could do a list of favorite lines. When I attempted to prune the list, some episodes stayed in the running longer than they otherwise would have simply by virtue of priceless moments. For example, I toyed with including the Season 2 episode "Safe," a good episode about a teen (Michelle Trachtenberg) who had a heart transplant six months earlier, but has been driven nuts by her overprotective mom (Mel Harris) who keeps her in a clean room at home. When her boyfriend sneaks in for some sex, before they even kiss he notices something on he arm and she appears to go into
anaphylactic shock. Eventually, she gets worse and gets sent to Princeton-Plainsboro where one theory after another fails and she begins to become paralyzed. House becomes convinced that the boyfriend brought a tick in with him and the bug caused the infection that's paralyzing her, but no one can find it, so Cuddy hslts the search. Wilson says they must get her to ICU. Foreman wheels her into an elevator, though House blocks Cuddy's entrance with his cane. Foreman gives her an injection to buy House three more minutes of tick searching and he locates the nasty bug in her pubic hair — leading to the priceless moment where the elevator doors open and her parents and Cuddy witness House's head rising from between the girl's legs. They obviously think the worst until he shows them the tick. One of my favorite moments, but just not enough for the favorite list. It helps explain why I think Season 2 easily wins the title as the best overall season. The show's most memorable moments could break your heart as well. It didn't make my list either but as far as touching installments go, Season 4's "97 Seconds" about the paraplegic man (Brian Klugman) and his extremely faithful service dog, an English shepherd named Hoover, gets me every time. 
House nearly hit a home run with each of the 24 episodes produced for its second season. I easily could have filled all 10 spots on my favorite list from this season alone, but in an attempt to spread the wealth I succeeded in limiting Season 2 episodes on the list to a total of three. That means, in addition to "Safe," I couldn't make room for other great ones such as "The Mistake," where House and Chase face a disciplinary board hearing over a patient's death because Chase got distracted by news of his
father's death; "Deception" with guest star Cynthia Nixon as a mentally unstable woman with a difficult-to diagnose ailment that, with Foreman temporarily in charge of the diagnostics department, leads both House and Cameron to play sneaky games to try to prove their diagnoses; "Sex Kills" (another one that came very close to making the final list) with guest star Howard Hesseman as a man in desperate need of a heart transplant but deemed "too old" by the transplant committee to be approved for the procedure, prompting House to go on a scavenger hunt for a freshly dead body that wouldn't be deemed suitable for transplant. When they find a somewhat overweight
woman declared brain dead after a car wreck but suffers from another ailment, House vows to cure her so her heart would be safe for transplant. "We're going to cure death?" Cameron asks incredulously. House cackles like a mad scientist before answering normally, "Doubt it." The storyline perfectly blends the pathos of the man who just lost his wife and a daughter worried that her father will die with humorous elements stemming from both storylines that end up running on parallel tracks. On top of that, the episode tosses in one of the funniest clinic episodes with a young man (Adam Busch) who seeks help because he claims he's fallen in love with a cow, though that isn't his whole story. "So I have to wonder what could be more humiliating then someone calling your girlfriend a cow and not being metaphorical?" House asks him. "Sex Kills" would have made a Top 20; Season 2 also includes "Clueless," which I referred to in the first half of the tribute, about the husband with the devoted wife who grows sicker and sicker and that House figures out she's been poisoning him with gold; "All In," where a sick boy shows all the signs of a case that has haunted House for years because of his inability to solve it while he's simultaneously coaching Wilson by phone in a hospital Texas Hold 'Em benefit; "Forever," the tragic tale of a sick woman and her young baby; and "No Reason" where guest star Elias Koteas, the husband of one of House's former patient's, walks into the conference room and shoots him prompting an episode that mixes dreams and reality as they work to save House.
Another aspect of House that worked incredibly well lay in its ability to attract talented and well-known performers to play all levels of parts, whether it be recurring roles such as Sela Ward as Stacy, House's ex-girlfriend and Princeton-Plainsboro's main lawyer
whose arc lasted throughout Season 1 and most of Season 2; Chi McBride as Edward Vogler, the billionaire pharmaceutical magnste who becomes chairman of the board of the teaching hospital with promises of a blank check for research only to spend most of his time trying to get rid of House instead; Michael Weston as Lucas Douglas, who starts out as House's goofy private eye and pseudo-friend before he becomes Cuddy's unlikely boyfriend; and David Morse as Michael Tritter, the wrong guy for House to treat the way he usually treats clinic patients as he turns out to be a cop. That incident launches the third season storyline of Tritter pursuing House on drug charges — Tritter acting as Javert to House's Jean Valjean. Tritter even puts the financial and professional squeeze on Wilson and others in an attempt to force them to cooperate and turn against House. In other cases, Oscar nominees (past and future) and even a couple
of winners popped up as patients of the week including Shohreh Aghdashloo, Candice Bergen (though as Cuddy's mom she appeared twice when she wasn't a patient), Joel Grey, Taraji P. Henson, Amy Irving, James Earl Jones, Michael O'Keefe, Kathleen Quinlan, Jeremy Renner, Mira Sorvino and David Strathairn. Sometimes, familiar
faces would turn up as mere clinic patients such as Peter Graves, Shirley Knight and Carl Reiner. Those names just scratch the surface because — let's be honest — unless you were a super medical diagnostician yourself, most of the terms that House and his team bandied about came off as gobbledy gook. In actuality, each week's case merely served as the episode's MacGuffin and that's why that part of the show grew tiresome the fastest. The same thing that made the regulars stand out and brought us back each week happened to be the trait in the most interesting cases: Less the illness than the characters who suffered from them. If the patient bored us, so did the case. However, even a late episode such as Season 5's "The Social Contract" can score on that level when Jay Karnes (Dutch from The Shield) played Nick Greenwald, a book editor who suddenly loses the ability to prevent himself from saying whatever comes into his mind. 
Perhaps I've conditioned my memory to remember it this way, but I believe "House Vs. God" was the first House episode I watched while stuck in the hospital. It proved to be a damn good way to start. Pitting the doctor, whom I would soon discover, served as the most
outspoken atheist on primetime television against an ill teenage faith healer named Boyd (Thomas Dekker) made for a natural clash in the teleplay by Doris Egan. To its credit, the show didn't take the easy way out and make Boyd and his father Walter (William Katt) obvious frauds. It also threw in a subplot involving Wilson trying desperately to get in on one of House's home poker games, which leads to the revelation that the good oncologist has been dating one of his cancer patients (Tamara Braun), who becomes involved with Boyd's story. The episode offers a bounty of memorable House lines. I can't recall if the YouTube clip includes either of these two: "You talk to God, you're religious. God talks to you, you're psychotic" or "Isn't it interesting…religious behavior is so close to being crazy that we can't tell them apart." Then, comes the inevitable first meeting between House and Boyd. "So, you're a faith healer. Or is that a pejorative? Do you prefer something like 'divine health management'?" House asks. Of course, it inevitably leads to dialogue between House and his colleagues (Chase, not a murderer at this point, briefly attended seminary, so it's his idea to keep score on case developments on the board).CHASE: You're gonna talk to a patient?
HOUSE: God talks to him. It'd be arrogant of me to assume that I'm better than God.
WILSON: And that's why religious belief annoys you. Because if the universe operates by abstract rules you can learn them, you can protect yourself. If a Supreme Being exists, he can squash you any time he wants.
HOUSE: He knows where I am.
Robert Sean Leonard gets to wrap the show with a great delivery of Wilson's final line, sighing, "House, you are…as God made you."
If I had to present a legal case proving my assertion that the actors who portrayed the patients of the week were more important to the strength of House than the medical mysteries were, I'd submit John Larroquette and this episode as Exhibit A. Actually, Larroquette's character, Gabe Wozniak, wasn't the patient of the week. The real case involves his son Kyle (Zeb Newman). The episode plays off the running gag that House, to hide out from everyone, tends to have lunch in rooms with coma patients. This time, he throws Wilson —
hunting for him after being upset by a visit from Tritter (David Morse) — a curve because he's eating in Gabe's room — and technically he's in a vegetative state, one he's resided in for 10 years. When the team gets stumped for answers about what's causing Kyle's seizures and other problems and Kyle can't provide much in the way of family history, House defies Cuddy's orders and pulls the Awakenings trick of a shot of L-dopa and wakes Gabe up, who sits straight up in bed, longing for a steak. The problem is that Gabe doesn't seem terribly interested in his son's plight, so House makes a deal that takes Gabe, himself and Wilson to Atlantic City in search of a sandwich that Gabe loved and the elder Wozniak agrees to answer one question in exchange for every question that House answers to him. Occasionally, we get cuts back to Princeton-Plainsboro for updates on Kyle, but the trio of Larroquette, Laurie and Leonard make this episode, written by Doris Egan, a true standout. As you'd expect, lots of jokes stem from 10 years of unconsciousness such as when Gabe picks up an iPod and asks, "What's this? It says 'ip od.'" It even manages to wrap up with touching moments that involve not only the episode's storyline, but House and Wilson's relationship as well. The episode also contains many movie references, not just to Awakenings but to The Silence of the Lambs and Sleeper as well. 
The most recent episode to make the top 10 lands here simply for giving Robert Sean Leonard an episode that truly focuses on Wilson in a way that no other installment had done before. (For the same reason, the similarly Cuddy-centric "5 to 9" from Season 6 almost made the cut as well.) Written by David Foster and directed by the great Lesli Linka Glatter whose résumé includes standout episodes of other great
shows such as Mad Men ("Guy Walks Into an Advertising Agency"), Freaks and Geeks ("Kim Kelly Is My Friend," "Boyfriends and Girlfriends") and several episodes of Twin Peaks. "Wilson" tells the story of a former patient, Tucker (Joshua Malina), who developed a friendship with Wilson and takes his former oncologist on an outing each year on the anniversary of being cancer-free. House declares Tucker "a self-important jerk." Wilson insists he's his friend and House forcefully reiterates his description. "Seems to be what I'm attracted to," Wilson replies. While Tucker and Wilson (whom Tucker calls "Jimmy") try hunting, Tucker mysteriously collapses and ends up in Princeton-Plainsboro again. Wilson learns that Tucker left his wife for a younger woman when he mistakes the girlfriend for Tucker's daughter. Wilson experiences what he believes to be a "House" moment when he notices that the girlfriend has a cold sore and diagnoses transverse myelitis. House, barely passing by, tells Wilson it's cancer. Meanwhile, Cuddy asks Wilson if it's OK to call his ex-wife Bonnie about a condo that she and
Lucas want to move into together. Wilson calls her on it, saying she's Bonnie's friend and only asked him to test House's reaction. As for Tucker, Wilson's diagnosis wasn't right and, indeed, it was cancer, causing him to try to act more like House, doing a double shot of chemo. House warns him that he can't handle it if it goes wrong the way he could, but Wilson tries anyway and it ends up degrading Tucker's liver to the point he needs an immediate transplant. Tucker, already confirming House's original diagnosis that he's a self-important jerk by bringing his wife and daughter back in his time of need because the young girlfriend can't deal with it, starts blaming Wilson and suggests he donate part of his liver. Even Cuddy tells Wilson he's crazy when he informs her that he plans to do it. "You're a doctor, not a donor," she reminds him. The most touching moment comes when Wilson asks House to be present at the operation and House says no. "What? Why?" Wilson asks. "Because if you die, I'm alone," House replies. In the end, when Tucker turns out OK, he again dumps his wife and brings back the young girlfriend. Wilson finally corrects him when he again calls him Jimmy. "It's James." Then, in the best payoff, Wilson steals the condo out from under Cuddy as a new place for he and House to live. "She hurt my friend. She should be punished," Wilson tells him. "You got mad? I'm proud of you," House says. As the finale showed, the real love story of House occurred between those two men, even if it wasn't sexual.
The most distinctive episode of House in the show's history. They attempted to replicate it with Season 8's "Twenty Vicodin" set entirely with House in prison, but that didn't come close to approaching what the writers, actors and director accomplished here. After House
agreed that his hallucinations of Amber might signal a need for a serious time out, he agreed to check himself to the Mayfield Mental Hospital to attempt to free himself of his addiction and his demons. The two-hour season premiere written by Russel Friend, Garret Lerner, David Foster and David Shore, truly allowed Hugh Laurie to shine. While House went willingly, once admitted, his usual desire to be pulling the strings couldn't be stopped right away as he sought to leave almost as soon as he arrived. It wasn't quite that easy if he ever wanted to practice medicine again, explained the hospital's chief psychiatrist, Dr. Darryl Nolan, our first introduction to the character played by
the always welcome Andre Braugher. If he didn't sign off, House wouldn't get his license back. The episode, directed by Katie Jacobs, not only placed House in a different setting, but with an entirely different cast of characters, save for one brief phone conversation with Wilson. In addition to Dr. Nolan, he formed a begrudging and unlikely kinship with his hyperactive roommate Alvie, played by Tony Award-winner Lin-Manuel Miranda (as House tells Alvie, "You're my only friend. And I hate you.") and an attraction to a secretive woman named Lydia (Franka Potente, who first caught attention as the title character in Tom Tykwer's Run Lola Run.) The episode really comes alive when it's Laurie and Braugher going at it one-on-one. "Seriously, is that your strategy? Give everybody what they want, except me?" House asks the psychiatrist. "You're a natural leader. You could something useful down here…for them…definitely for you. Or you could keep fighting. If you think you could break me. If you think I'm not every bit as stubborn as you," Nolan responds. It made for quite an interesting start to the sixth season where House made a true attempt at changing his ways, but somewhere it just sort of got lost, which is a shame.
The best of the episodes dealing with House's hallucinations in that the teleplay by Matthew V. Lewis & Liz Friedman manages to blend deftly the humor and seriousness of the situation as House realizes that his imaginary Amber (Anne Dudek, wonderful again) has a side
that's more malevolent than the real Amber. Running concurrently, the patient of the week, a deaf high school wrestler, makes a good candidate for a cochlear implant but he'd prefer to stay deaf. "My Patient is opting into a handicap; he's an insult to every other gimp out there," House complains. "I'll blind him too, if he wants to experience that culture." Meanwhile, Chase and Cameron's wedding approaches and Wilson tries to warn Chase not to let House throw him a bachelor party. "The main reason my third wife and I eloped was to avoid House's bachelor party… Have you seen Caligula?" Wilson asks Chase as House approaches, inquiring if Wilson is trying to scare him away from the party. "I took an oath to do no harm," Wilson declares, adding that he won't be attending. "Uh, I'm not going to the bachelor party. Every time I go to one of your parties, I end up embarrassing myself in some new and unexpected way," Wilson insists. House begs to differ. "The thing with the duck was hardly unexpected." After he gives Chase a long speech about how his marriage won't truly mean something without wanton depravity the night before, Chase agrees to go, though he doesn't know that Cameron will be
crazy about the idea — so he asks House to make it look as if he's been kidnapped. Imaginary Amber keeps toying with House, trying to get him to remember the name of a stripper from Wilson's party. "Why go back to that well? In the nine years since Wilson's party, a whole new generation of hot girls have been abused by their stepfathers," House tells his hallucination, who also gets him to implant the cochlear implant in the high school wrestler without his permission. He expects Wilson to chastise him, but he sees it as a kind act. However, when Wilson arrives home to finds all his furniture in the yard and the bachelor party being held in his apartment, that doesn't please him as much. Imaginary Amber finally got the name of the stripper dislodged from House's mind, so he hired her for the party and Chase opted to taste her body butter, only she uses strawberry to which Chase is allergic, sending him into anaphylactic shock. They rush Chase to the hospital where they've received word that the wrestler has taken a turn for the worse as well. "I knew about her body butter, and his strawberry allergy. I tried to kill Chase. Why would I do that? I don't want Cameron," House says to Amber. "You're not a big fan of other people's happiness," Amber replies. After he ignores whatever she says to him, he manages to save the wrestler. He then admits to Cuddy that he hasn't slept since Kutner's suicide. That night, he goes home and actually sleeps the whole night. When he wakes the next morning, he thinks he's conquered the hallucinations but when he rolls over, Amber lies next to him grinning. Labels: Braugher, C. Reiner, Cynthia Nixon, D. Morse, House, J.E. Jones, Lists, Mad Men, TV Tribute, Twin Peaks
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Sunday, July 03, 2011
Treme No. 21: Do Whatcha Wanna Part I
BLOGGER'S NOTE: This recap contains spoilers, so if you haven't seen the episode yet, move along.
By Edward Copeland
While I watched the second season finale of Treme, a song I doubt you'd ever hear on the show kept running through my head in relation to a lot of the developments: Neil Sedaka's "Breaking Up Is Hard to Do." Now on a few other occasions, a different song popped into my mind that probably wouldn't show up but is at least more likely: Peaches and Herb's "Reunited." Now that I have the whole season done, I have to stand by the assessment I made a few episodes ago. Treme contains moments of brilliance and can be a great show at times, but decisions they made this season definitely left us with a weaker season overall and the finale contains nothing that matches the brilliance of the first season's ending flashback showing all the characters as Katrina approached. There isn't a payoff. Treme seems to be searching. I hope it regains its footing and finds its way again in season three. Its actors are too great and it can be such outstanding television, it really needs someone who can help show them what's working and what isn't. One note of correction: Last week, I had read that Agnieszka Holland would be directing this episode. That was wrong. This episode was directed by Ernest Dickerson. David Simon wrote the teleplay from a story by Simon and Anthony Bourdain. It also ran about 30 minutes longer than a usual episode. Since this episode is longer than normal and I'm working in comments on the second season as a whole, I have to divide this recap into THREE parts. My commentary will be italicized for the rest of the post while straight recapping portions will be in plain face. Also, I apologize in advance for any and all spelling, grammar or other types of errors. I've been running behind on projects all week and haven't had time to give this the proper second read it deserves.
Antoine's self-destructive splintering of His Soul Apostles continues as he checks his voicemails. The first comes from Thaddeus informing Antoine that he's fining Mario because he's playing a gig with Shannon Powell that night and he only found out when he ran into Shannon at Dizzy's. Antoine smiles and gets milk out of his fridge. Message No. 2 comes from Herman complaining that his hi-hat got stolen out of the back of the van and Cornell was supposed to lock it up when they went back in the bar. Herman tells the machine he's had enough. "I'm out!" Mario's voice plays on the third voicemail, reminding Antoine that he'd told him about the gig with Shannon Powell last week. "You remember? What the fuck? You gonna fine me because you didn't tell Thad? Great" Mario's voice says while Antoine brushes his teeth. We hear from Cornell next. "Yo Batiste. You tell Herman Jackson my heart bleeds first piss for him cause I locked that goddamned van. He probably left that kit in the club, man." Antoine looks to the heavens when he hears who the fifth message is from. "This is Wanda, Antoine and you ain't got no business even thinkin' about askin' me back in that band," she says as Antoine tosses the phone on the kitchen counter and it does a few spins, "not the way you carry on. I'm out." It stops spinning just as the phone says, "Next message." It's Tim Green informing him that he's going on tour with Irma Thomas for really good money and Antoine will need to find a sub. Wanda continues on the next voicemail. "And another thing if I was to come back and sing somethin', you need to shut your hole while I'm doin' it. And if Cornell is there doin' background horn with me on 'Do Right Woman,' then they gonna have to pick one key and stick with it, I mean —" Antoine flops on the couch, sighs and closes the phone in the middle of Wanda's message.
Janette is back in New Orleans again. It seems she remembered about Jacques and she's flown down for a bail hearing. This episode has several instances of this idiotic tendency to have a short scene of a storyline, break for another, then go right back. I'm not pulling the clock out this time but I am going to group scenes together that belong together and indicate where they cut by putting a # symbol at the end of the scene (That one didn't count.)
First, as we wrap this season, I have to make some commentary about the complete fantasyland element of Janette's storyline this season. Part of that feeling stemmed from the portrayal of Eric Ripert as an unbelievably generous boss: Letting her off to fly to New Orleans to help Jacques, giving her a day off for Mardi Gras and letting her dine at his restaurant, sensing her unhappiness and getting her a job at David Chang's restaurant while promising if it didn't work out, she could come back and work there. I believe there also was a scene that had to be cut where he established a rich trust fund to pay for the education of any
children she might eventually have. Anyway, the true part of the story is that all chefs at Le Bernardin start at that lowest station, garde manger. Last year, she was so debtridden that she had to close her restaurant. Even this season, she was seeking Road Home money for her house yet in this episode we learn that she put whatever its assessed value is now up for a surety bond for Jacques' release.
More importantly, she moved to New York, a city with one of the highest costs-of-living in the world where she worked at the lower levels of fine restaurants. Thanks to Twitter, I was able to ask chef/owners of those kinds of N.Y. eateries, about how much would someone such as Janette make at that sort of position. According to my knowledgeable Twitter sources, someone working at the garde manger level at a restaurant such as Le Bernardin would only be making in the range of $10-$12 an hour for an 8-10 hour shift. If we assume she only works five days a week at the high end, that's only $600 a week — in New York — before federal, state AND city income taxes — where she moved already saddled with debt. Yet not once did we hear Janette talk money problems. On top of that, she's paid for four (two are in this episode) flights to New Orleans, at least three of which were scheduled on short notice. On top of that, all her bosses, even Brulard, let her have the days off. He only differed in that he complained about her character when he let her go anyway. This is what Bourdain, explaining what this storyline was supposed to accomplish, considers it takes to "rough her up" a little bit. We all should be so fortunate to be roughed up so harshly. At least during the fictional Brulard scenes, it gave the talented Kim Dickens fun material so she could display her talent. Chang turned out to be more of a natural than the stiff Ripert, but after she tossed that Sazerac, she hasn't been given much to show what she can do. Here's hoping season three rectifies that.Janette walks with Chef Susan Spicer, owner of Bayona restaurant where Jacques was working when he was arrested. The two women are heading to Jacques' bail hearing. Janette asks Susan if she likes the lawyer and she says she does and thinks she knows what she's doing. Janette inquires on the state of business in New Orleans and Susan reports that it's picking up with the approach of Jazz Fest, but it's still not up to pre-storm levels. Susan asks about New York. "It's crazy. Not bad crazy. Lately, it's been good," Janette tells her, adding that she's cooking for David Chang and sings his praises. "New York has been good for me I think," Janette says when suddenly hears the sound of bells. "What the fuck! They're back! When did they come back?" Janette's excitement refers to the streetcars which Susan tells her returned in December. "But just from here on Canal up to Lee Circle. The rest of the line is still closed." They decide they have enough time so they hop aboard for a ride.
Toni meets with her lawyer friend Andrea at her office, complaining about her need to see what's in the Seals and Abreu files — or what's not. Andrea wisely warns her that if she files a public records request, not only would it be denied it would telegraph what's she's up to and give them a chance to sanitize everything. Toni admits she may have already done that, showing that she has her own doubts about Terry. "Maybe I'll go see Judge Prieur," Toni says, causing Andrea to laugh. "The man mentored me from a pup. If there's a move to be made…" Andrea then springs a surprise on Toni. She wants her to take some of her cases, at least the civil rights ones. Her husband has managed a transfer to Birmingham. "We're leaving. Two more houses on our street were burglarized last week," Andrea tells her. "If it was just Barry and me, but with the kids. We can't live like this. Not anymore." She says they've thought about it since Helen Hill, but after last week they knew they had to go. "You do what's right for you," Toni tells her.
The immigration bail hearing is called to order and the judge (Doc Whitney) asks if the defendant is present and both Susan and Janette look taken aback as they bring Jacques into the courtroom shackled, with handcuffs with chains and leg irons forcing Janette's former sous chef to shuffle his way into the proceeding even with his escort's help, though he still manages to smile at the sight of the women in his life.# So this is our first example. They set up the hearing then cut to Colson in ballistics and then we return to the street where Jacques is a free man. They did the same thing when Sofia had her bail hearing. Why bother to show us the preliminaries, which in essence are the least interesting part, but deny us the opportunity of seeing how one of these hearings actually works? That would be more interesting? Really, there was no need to show us the set up of the hearing at all. We could have had the earlier scene of Janette and Susan Spicer preparing to go and then later gone to this one with the news that it went well and that Jacques is out on bail. Same way with Sofia. Though at least in that case we skipped to one of the season's best scenes and perhaps Melissa Leo's finest moment when she and Sofia finally had the confrontation about Creighton's death being a suicide in the Jefferson Parish parking lot. Jacques' lawyer (Latricia Huston) tells him as well as Susan and Janette to make sure to call her the day before any court date. "We don't want to mess up and have them issue a retake warrant. If that happens, you're gonna lose that house you put up for the surety bond and you gonna lose a grill man. "I will be careful," Jacques promises. The lawyer warns Jacques to stay out of trouble until the next hearing and keep in touch with her office. Susan hugs him and says, "Welcome home, Jacques." He asks if he still has a job. She tells him he's on the grill the next night and then leaves. "You offered your house?" Jacques asks Janette with surprise. "Why not? It's an empty wreck," she replies. He thanks his former boss and asks when she returns to New York. She tells him she has a morning flight so she can be back for service tomorrow. "Hey, I'm in New Orleans now. What do you want to do? It's your first day back in the world."
Colson gets a lesson in ballistics from one of the department's ballistics examiners (Mike Kimmel) "Nine lands and grooves with a left twist on a 380 slug. You're lookin' for a Highpoint, model CF380 manufactured after 2000," the examiner tells Colson. "That's pretty specific," Terry replies. "A nine L&G with a left twist — kind of rare," the examiner says. Colson apologizes for asking a dumb question, telling the examiner he's new to homicide. "Any way to compare that bullet to casings, if we had casings?" The examiner explains that he can't compare slugs to casings and tell that they are from the same gun. The closest he could do is say if they are from the same model. "To say it's the same gun, I would need to compare slug to slug or casing to casing," Colson says. "Exactly," the examiner responds, "and that other bullet is too mutilated, sorry to say."
Sonny washes down the deck of Don's boat when he notices that Linh's father has dropped by to speak with Don. He can tell they are talking about him because both men keep shooting glances in his direction. "What the fuck did I do?" Sonny asks Don. "You tell me. He wants you on his shrimp boat tomorrow morning. 6 a.m. out of Chalmette," Don replies. Sonny says that he's there with Don. "No, you ain't. I just trade you away — for a week anyway," Don tells Sonny with a laugh. Sonny asks what Don got in return. "Two new air hose, a half-dozen crab traps and a player-to-be-named-later," Cornell's uncle bursts out laughing again.
Terry paces in the lobby of Toni's office while Alison stays busy at her computer. Alison keeps looking toward Toni's back office until Terry's stare gets to her and she gets up and retrieves her boss. Toni comes out and tells him that she's really busy. "We need the casings that you have — the ones from the Seals' crime scene," Terry tells her. "I'm workin' the case, Toni." Toni crosses her arm and coldly says, "Oh, you are, huh? Shouldn't
I worry that they're gonna disappear like every piece of evidence handed over to you people?" Terry reaches inside his suit jacket and removes a piece of paper. "This is a receipt for evidence, two casings, signed and dated. You're covered. I'm responsible," he tells her, adding that if the receipt isn't enough, Alison is a witness to anything Toni hands him. He also reminds Toni that she is "withholding evidence in an ongoing homicide investigation and you're an officer of the court. And more than that, you're fuckin' up whatever weak-ass chain of custody those casings might have. Are you really gonna make me call for a warrant on this fucking office?" Terry's anger shows fully now. Toni starts to say something, but his demeanor leaves her speechless. "Is that where we're going, Toni?" She retreats to her office and returns with an envelope bearing the casings, which Terry transfers to an official evidence bag. Terry exits giving Toni an icy cold stare, but Toni's look seems more regretful, as if she lost any chance for the future relationship with that man she's been putting off. As usual, Melissa Leo excels, though this time with few words. The scene really belonged to David Morse who without question remains the best decision the makers of Treme made about the second season by bumping him up to a regular. The real estate agent (Robert J. Antoine) who has listed GiGi's for sale takes a potential buyer (Antonio Mitchell) on a tour while LaDonna is behind the bar working on some papers. The agent emphasizes the relatively low taxes while the man who is looking tells him the real value is the liquor license along as you can mix. The potential buyer compliments the shelf work behind the bar. "My father built those. In '67 I think," LaDonna says, before returning to her paperwork. "Right before he went off to Vietnam." The real estate agent takes the men out to show them "the new roof," which Arnie finished last year after all.
"Motherfuckers! Wanda, Derrick, Herman, all of 'em. What have we next with excuses and bitchin'?" Antoine rails in front of The Bottom Line, where they are scheduled to play a gig. "And Thaddeus the fuckin' straw boss." Cornell asks if he can't get any of them on the phone. Antoine, still yelling, tells him that they're all ducking him. "Most of 'em making more money elsewhere though," Mario says. Antoine tells him to shut up.. Alison, who showed up with Cornell, seems almost as uncomfortable as she did when Colson was staring her down. "Trombone, trumpet, guitar, bass — we can't do a gig like that, man," Cornell comments. "Yeah, I know that," Antoine shouts. "We got a good crowd, too." Davis Rogan appears behind Antoine and asks if this is the gig. Antoine's confused. "Thad called and asked me to sub for keyboards tonight because he was feeling sick," Rogan says. Antoine asks where his equipment is and Rogan says it's set up at the Hi-Ho because he has a later gig there, so he can give them an early set. "You don't have Thad's keyboards, do you?" Davis says. "Hell no!" Antoine yells. "Fuck! See, that's it. This has got to end right here. I'm sick of this shit, all of it. So fuck all of y'all. Fuck bein' the sad ass in charge. Dealin' with this shit is like raking leaves on a windy fuckin' day, but ya know what, the motherfuckin' leaves are always throwin' shit back to ya. So fuck it. I'm done. We done. I
quit," after Antoine finishes his outburst, he does manage to lower his tone somewhat and addresses Alison directly. "Miss, you need to get that law degree cause this here — it's for suckers, chumps." "And a law degree isn't?" Alison says. Antoine holds up his trombone and replies, "When I can start charging for this in billable hours, we can talk. Until then baby, you gotta better future elsewhere. See y'all around." Antoine turns and heads toward The Bottom Line's door alone when Mario asks if they're still meeting at the school tomorrow so Abney can consider teaching Robert. Antoine stops long enough to tell Mario that that is still a go. "So, no gig?" Rogan asks the others to confirm. Sonny shakes his head no as he realizes his venue days just ended, but life harvesting seafood from the Gulf remains. First, I have to say that though they have many talented writers who turn in scripts for Treme, no one can put that crisp, quotable dialogue together the way David Simon does. On a show where so much focuses on music and musicians, his words have a distinct rhythm all their own. It's what makes those short little scenes so frustrating. There's no time for the actors to build up a head of steam when Simon or someone else writes a good, punchy piece and the writers can't write those pieces if there's a clock cutting them down to less than the length of a commercial. Second, I know I've praised Wendell Pierce's performance as Antoine a lot (I don't know how many times in how many different places I've referred to Antoine as the heart and soul of Treme), but the man deserves it. He's always been good, but he's the element that's held this show together this year. I can't think of a scene he was in that wasn't necessary — maybe some were placed in the wrong spot, but they were all necessary. Actually, I can't say that. It's not that they were necessary or pivotal, it's that Pierce's presence was so welcome that he made you glad the scene was there. He also never dropped the ball on any assignment he was given, be it comic, dramatic, straight-faced or straight-laced, playing or singing or just being an ass for no good reason. This was Antoine's season. I believe his storyline may be the only one that worked completely from start to finish. Pierce also got that great scene in bed where he expressed his regret to Desiree that he didn't insist that his sons with LaDonna become musicians. Pierce just scored with every assignment given him. I do hope with the inevitable implosion of Antoine's band and his newfound commitment to teaching, it doesn't mean we won't hear him sing again.Janette and Jacques catch The Rebirth Brass Band at the Maple Leaf for some beer and dancing.
Woodrow chows down with Delmond and his sisters Davina and Cheri (Tameka Bob) at Albert's unfinished house when Woodrow asks where Albert happens to be. "Using my hotel room. Probably ordering room service for two," Del says. "He's gonna work with the documentary lady tonight?" Davina asks. "Yeah — they're gonna be up late editing," her sister Cheri jokes. Delmond's agent asks how long his father has been living like this in that house. Davina tells him since the fall and before that the bar, but Del doesn't go into the details of that story. The Lambreaux siblings hand over their checks to Woodrow who wonders if $14,000 will be enough to fix the house. "Now I know where me and Cheri got our part from, but where'd you get five thousand from Delmond?" Davina asks. Del tells them that he's packing up his New York apartment and planning on saving money by living there and he can help Albert fix the house. "I'd like to kick in some of my own," Woodrow announces. "Take it up to an even twenty." The Lambreaux sisters thank him effusively, but he says to Del, "Don't tell anybody or I'll get laughed out of the music industry."
Davis McAlary getting taken down a few notches wasn't restricted to last week's episode. It continues as he arrives at the Hi-Ho for the band's set and finds that Alex McMurray has taken his spot on guitar. The other members decided to add McMurray to the band, but no one thought to tell Davis. Rogan tells him he's still fronting with Calliope. McAlary is close to exploding when he rattles off a song order and Calliope tells him that they are saving "The True" for the second set and that he and Tyrus Chapman worked up something new. "Any more surprises?" McAlary asks the band loudly. "Anybody fucking my girlfriend?" Despite his anger, DJ Davis & the Brassy Knoll manage to start the show, but Tyrus even steps in on vocals with Davis and Calliope.
Cornell drives Sonny to Chalmette and reminds that he told him not to ask Linh out. "You told me I was hopeless too," Sonny says. "That's true, but at least you be hopeless and livin'. Now you gettin' ready to go out with this Vietnamese captain, you might not come back," Cornell replies. "Shrimp boat, baby. Ain't oystering. They go way the fuck out in the Gulf. Gone for three, four days usually." Linh's father suddenly starts yelling. "Where the hell you been? You late." Sonny climbs aboard and the ship named Capt. Paul starts pulling away.
Janette sleeps soundly with shoulders bare. Her eyes start to open and she looks next to her to see a bare-chested Jacques asleep beside her. She turns back and sighs and closes her eyes again.# "Bad. Bad. Bad," Janette says now that they are both awake. "I was bad?" Jacques asks, thinking she means the sex itself. "No, you were good, really good. It was good, but it was bad," she tells him. Janette shares with Jacques what Ripert told her that friends and lovers come and go, but your sous chef is a lifelong relationship. "If I own a restaurant again," she says, "I've fucked myself here. OK. It's a one-off." Jacques continues kissing her all over. "If we work together again and I know that we will, you promise to act like this never happened," Janette tells him.
Antoine watches as Mario listens to Robert's technique in the band classroom. Robert plays the scale and Mario says, "Better." Antoine asks Mario what he thinks. "I can work with him if he's willing to work," Mario answers. "Antoine, for you, forty." Antoine counters with $30. Mario hikes his price to $45. "Two lessons in advance," Antoine says as he gets the money out. "Thanks, Mr. Batiste," Robert says. "Y'all playin' anywhere this week? I'm gonna come see ya if I can." Neither Antoine nor Mario feel like telling Robert that their band no longer exists. Robert talks again about how he and Denard want to start their own band like the one they have. "Who the bandleader?" Antoine asks. "Me," Robert replies. "You don't know what you're gettin' into," Antoine says as Mario tries to hide his laughter.
Now we know why Andrea laughed when Toni said she might seek advice from her former mentor Judge Prieur (Patrick Collins): He is a guest of the prison system. She still addresses him as "Your Honor" and they hug when they meet, so whatever prison he's serving time in allows more personal visits. None of that talking on phones and seeing each other through glass. I'm guessing Prieur is a federal inmate based on parts of the conversation and an entry in the not always reliable Wikipedia which states that federal prisoners still wear khaki shirts and pants which is what the former judge wears in this scene. He tells Toni how sorry he was to hear about Creighton. "How are they treating you?" Toni asks. "Oh, what does it matter? I'm bustin' out of this place night after next. This tinhorn joint can't hold me," he declares, making Toni laugh. He suggests that he get started for her since they'll only allow them an hour or so. Prieur puts on his reading glasses and takes the file Toni brought. "That's all we got on the one and that's what we have on the other, Toni tells him.# The buzzer goes off and the judge closes the file. "I'm thinking you call the federales," he tells Toni. "DOJ isn't gonna do shit about this," Toni says. "It's a Republican White House. There isn't a U.S. attorney in the country
who will bring a civil rights case to save his life. You read the papers? They're firing everyone who won't toe the line." Prieur agrees. "That's true enough but I think if you got the right FBI agent interested, I think somebody will do the legwork here. Should Hillary or somebody win this next year, that changes the game. Try Collington, Squad Six, though he's probably up to his ass in the Morial stuff. Seems all the Feds give a shit about these days is running down Morial's people. And you heard they got Pampy Barre, They flipped his ass." Toni asks where he heard that and Prieur tells her it was the prison grapevine of course. Some Feds came and talked to others to check out what he was giving them. "Like what?" Toni inquires. "Oh, Oliver Thomas for one," he tells her. Toni can't believe what she's hearing. "No way," she says. "What do you mean 'No way?' Are we talking about the same Oliver Thomas who came up under the Singleton machine." Toni defends Oliver and all he's done since the storm, saying he's a good man. "Well, we're all good men. We all love our mamas. We all root for the Saints. Toni, this is still Louisiana. Oliver likes the ponies. What does a councilman make — forty thou a year? Oliver isn't rich to begin with like some of them on the council, right? I can see you think well of the guy but Toni, you haven't always been a great judge of character." The guard taps Prieur on the back and he wishes Toni luck with the case as he heads back to his cell. Now I understand that they needed a time lapse to explain the time the judge was examining the file, but why just put a single scene between them? No universe has time measured in units that would make us believe that the Nelson-Robinette scene lasted nearly an hour. Also, I hope we see Judge Prieur again. I hate when a character that instantly fascinating gets introduced but we don't know the backstory of why he's in jail or what work Toni used to do for him.Debris continues to be cleared at a site that Robinette oversees when Nelson stops by for a visit. "Son, you take care of my business so well, I sometimes forget you exist," Nelson tells Robinette as he shakes his hand. No kidding. I'd about forgotten about him as well. I think the last time we saw him might have been as far back as Episode No. 14. "What's left on the current contract?" Robinette tells him not more than a day, but he has other news of a more disturbing variety. "That's why I called. There's a problem. I called P&J in Florida eight times and I'm expecting more of the same. They sayin' we ain't on the list of approve contractors no more," Robinette informs Nelson. "Who you piss off, boss man?" Hidalgo looks puzzled and concerned. "Nobody. I love everybody and everybody loves me. I'll sort it out. Don't worry," he assures Robinette. After Nelson leaves, Robinette says to himself, "I don't worry. Worry's above my motherfuckin' pay grade." While I've been open about my dislike of Jon Seda as an actor, he thankfully has not ruined Treme the way his character of Falsone acclerated the downward spiral of Homicide: Life on the Street. I think it helps that Nelson Hidalgo is a character we aren't necessarily supposed to like and the storyline is vital in the telling of post-Katrina New Orleans (unlike a journey through the kitchens of celebrity chefs in Manhattan). Seda hasn't changed my mind about him, but I'm more indifferent to him than anything else except when he does some of his bits that get on my nerves. Don't let him dance or do impressions anymore!
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Labels: D. Morse, David Simon, HBO, Homicide, Kim Dickens, Melissa Leo, Treme, TV Recap, Wendell Pierce
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