My first pass through this series this weekend moves the first season of Treme toward the top of my list of favorite entertainments, for all of the reasons enumerated elsewhere:
- Powerful, ringing, ferocious performances by a brilliant ensemble cast;
- Vibrant, engaging music created and performed with an authenticity that comes directly from and goes directly to the heart;
- An intimate immersion in the soul of a profoundly alien culture;
- Interlocking stories about interlocking, deeply-engaging people, woven from miniature realities that encapsularize and vivify enormous, abidingly-human, irresolute real problems…
My first pass through the first season of Treme has generated an insatiable, immediate hankering for one hell of a whole lot more! I recognize in myself a degree of need I haven’t felt since discovering-and-losing Firefly — which, upon reflection, I realize was ABOUT things, like;
- the intimate presentation of the personal lives of people caught in the negligent and incompetent machineries of a corrupt and interfering complex of bureaucracies;
- the literal preservation/restoration/creation of Traditional American Values in absolute spite of the obscene abuses that subverted phrase has been used to justify;
- and We, The fuckin’ People, Jack.
I’ve always suspected that the continuing mission of the tramp freighter, Serenity, a vessel desperately dedicated to enterprise, was to boldly go (with fathomless stores of humor and character) to explore the future of inequality in sex, finance, influence and race; projecting present-day pathologies forward through centuries of morally-degenerate tomorrows. And I truly believe that in Treme, I’ve found the logical/emotional/spiritual successor to Firefly. It’s primary interest is in (its and us) people; leaving ratings, political correctness, sociopolitical issues and universal popularity to sort themselves out in the fullness of time. Or not. I love these show. They nourish conscience (by example).