Tag Archives: LOST

True Blood – 3×08: A Nip/Tuck Effect?

True Blood is the new Nip/Tuck. Remember that show? It finally got canceled this year right? Who knows… not like anyone watched it to the end or very long past the Carver anyway. Same formula as True Blood, really: extreme sex + extreme violence – any plausibility = ratings! Nip/Tuck was quite good in the beginning, kind of the way True Blood was (yeah, kind of). As the series went on, though, it got more and more ridiculous, but somehow it still managed to get in a few truly touching moments for a while, like towards the end of Season 1 when (SPOILER ALERT) Sean Macnamara fell in love with a dying woman named Megan O’Hara and helped to euthanize her as Elton John’s Rocket Man played in the background.

Excluding any moment on LOST or Buffy or the Season 4 finale of House (Wilson! Amber!) that particular scene sticks out in my mind as one of the most tragic television moments of all time. They were few and far between, but even with all the similarities between the two shows I still can’t think of just ONE moment on True Blood that I, or anyone I know, has ever connected with or been touched by in a similar way. I’ve never felt true elation for a triumph of these characters, and I’ve also never felt that pang of worry or heart-breaking lament for them either. The closest I’ve come to connecting are some “awwww’s” here and there between Jessica and Hoyt, or Lafayette and Jesus. True Blood is an endless string of empty stories with no heart. As for Nip/Tuck, I would go on to become disgusted by the show for its way way waaaaaay over-the-top and repulsive content done purely for shock value which helped to make it lose near any semblance of heart it had left, and to this day I advise people not to watch it as there is no chance of a swift resolution to these unlikeable characters aside from their demise.

Sounding familiar?

Christian Troy as Jason Stackhouse (FX)

This is a result of the slippery-slope of a relatively new monster known as the “Cable Drama”: they can discuss heavier themes, curse, show people having wild and crazy sex, hack each others’ heads off clean, masturbate to horse porn, you name it. But its easy for the writers to get lost in all that freedom, too, and apparently tempting to throw it all into one show just so audiences think you’re daring and different! Sometimes its not whole shows which overuse the privilege just because they can, for example, Debra Morgan on Dexter. Her incessant usage of the word “fuck” makes me cringe near every time she utters it. They are trying to be [fucking] funny with it, and it does [fucking all] but make her sound like a [fucking] retard. (See what I mean?)

Oh yeah, the episode…

I’ll be brief about the analysis-and-review portion of the latest episode of True Blood because I’ve gone on long enough. I know the episode was suppose to be some big deal with all these crazy twists and spins that affect the rest of the season but… meh. Well, it started off on a good foot with the refreshingly mutual break-up of Sookie and Bill which, truth be told, is a rarer occurrence on television than it is in real life. This is totally understandable being that mutual break-ups are low on the conflict scale and pretty damn anti-climactic, however, I enjoyed seeing two people tearfully agree that, despite loving each other, some things just aren’t meant to work out. I guess it was a sense of realism otherwise non-existent amidst the absurdity that is True Blood which I appreciated. But of course, the break up didn’t even last past the episode it took place in, which really lowers the stakes of any conflict moving forward between Sookie and Bill, as if it wasn’t low enough already. It’s like in the real world, you know, those people who always come to you after their on-again/off-again significant other have broken up for the 283472 time and they crying to you about it and promising its the last time. I’m sure they think its the end of the world each and every time, but you’re exhausted from having to pretend you care anymore because you know its all bullshit and all their own fault and this won’t end until one of them (A) dies, or (B) moves away. That’s how I feel watching all these idiots run around in circles most of the time, and that goes beyond Sookie and Bill.

"If I weren't so stupid I'd have fallen in love with someone like you." - Sookie (HBO)

Alright. The moment you were all waiting for: the sex is back! We’ve seen how relatively subdued sex has been in Season 3 in comparison to the disastrous Season 2 orgyfest (not in intensity but in frequency). I’ve welcomed the change, call it a little television abstinence. Well, it made its comeback in a huge way on Sunday night when we were reminded why God invented Premium Cable. Personally, neither Stephen Moyer or gay bunk-ups do it for me, but if Sookie or Eric are involved, the sexiness factor amps up anyone with a heartbeat and half a libido. (Yes, I’m still holding out for the moment when both their worlds collide and my screen melts!) Even the non-sex was hot: Alcide and Sookie. One of the few good lines of the episode is captioned above. There was a promise of a raunchy reunion in that goodbye which I would welcome, gladly.

One act I was not pleased with, however, was Eric’s decision to kill Talbot as vengeance on Russell — particularly if that’s in fact his only plan. If the show really wanted the audience to flip their shit at the killing of Talbot, they wouldn’t have made Russell so annoyed and dismissive of him all along. They should have made the two inseparable and fleshed out their bond, or made Russell as obsessive over Talbot as Talbot was of him. I mean, of course all hell is going to break lose now anyway, but its unjustified and only vaguely reasonable. Who cares about a situation that yesterday appeared to mean next to nothing to Russell? Just another McGuffin as far as I’m concerned. They could have done a lot more with that story, as with most everything else. That being said, I repeat, this better not be the only thing up Eric’s sleeve because it sucks!

Here are some of my usual riddle of bullets from the episode…

  • LOL'ed hard at Bill's post-Tony Manero ensemble (HBO)

    Turns out that, yup, Sookie screamed that blood-curdling scream at the sight of Bill for no real rational reason. Just to scare you into another episode. What a joke!

  • WTF was that 1995 zip-up windbreaker Bill was wearing in the opener all about?
  • Talbot: “Franklin’s brains won’t wash off the bed linens!” Yessss he’s dead, he’s dead, he’s really dead!
  • Arlene is totally freaking about about Rene being the baby’s father. Whatever. I think she’s going to abort out of the fear that the baby will have that “serial killer blood” or some ridiculous and predictable excuse like that.
  • Tara wants to live more than ever = I want to die more than ever.
  • Tommy steps to Hoyt. FAIL.
  • Jessica and Bill’s relationship is actually pretty sweet. I’m all about these platonic male/female relationships, so I at least enjoyed their exchange a bit.
  • How brain-dead would someone have to be to have the following reaction: “OMG Jason and Crystal are sooooooooo awesome and exciting! I love them! What’s going to happen next?!?!? They had sex! How cool!!! They are totally in love. Can’t you see it in their eyes? Jason has to save her, she’s just such an amazing person with so many admirable qualities. Crystal Meth is getting some screen time outside of Breaking Bad? Awesome! People should totally hear more about it!” Honestly, what are the writers smoking when they come up with this crap? My 94 year-old grandmother comes up with better stories about the Lebanese neighbors!
  • Lafayette and Jesus together again? I hope so…
  • What will be the consequences and/or outcome of Jessica’s killing sprees? She tries to fight the urges, but is it Bill’s fault for not caring for her the way a maker should? Then again a maker is suppose to teach to hunt, not teach you how not be a vampire, right?
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True Blood – 3×07: Final ‘Authority’

Uh oh. That cannot be good. (HBO)

A much deserved round of applause for last night’s True Blood is in order! I wish I could welcome them back to some kind of awesomeness but, sorry, they’ve never been there. Not to say True Blood has never had a really good episode in the past but, it was way in the past, like Season 1 past. Furthermore, it has never lasted longer than a couple of episodes, so I can’t say that this is a symbol of a radical change to come consisting of unique twists, more intense dramatic build, more internal conflict, and a deeper mythology. What I can say is that Sunday night’s episode, “A New Authority”, skillfully contained and improved on all of the above. That being said, I’d like to start off with some simple ‘Thank You’s’ to the writing staff that I’ve pleaded to all season. Not like they ever read my thoughts on their failures, but I put the energy out there and I’d like to think that they replied…

  • Thank you for the semi-unpredictableness of Tara and Alcide not being the ones to save Sookie from Lorena! Of course they still helped her escape another impending doom at the hands of Cooter and Debbie, but hey, someone had to, and it was done fantastically. Relatively minimal Tara whining and moaning… check! Brooding Alcide realizing that its time to lock his whore of an ex-girlfriend up and shoot her boyfriend… check! Exploding vampire guts… err, check?
  • Thank you for the significantly high lack-of-nudity episode count this season. I can hear the dissenters booing, but I think its a great move… for now. We haven’t had some good old raunchy, sweaty, naked, bloody, tie-me-up-fuck-me-down sex on the show since… Franklin and Tara about four episodes back, which wasn’t even hot because of the parties involved. There was the flashback massacre between Lorena and Bill but, still no nudity. Oh yes, Eric and the Fangtasia stripper chained to the ceiling in 4×01! Now that was a bang up time. Who doesn’t enjoy most of these gorgeous people tearing their clothes off the way they do? But, how about playing hard to get, eh? I’m enjoying the less-sex thing because, aside from giving the conflict time to unravel, by the time we get some again it’ll be like a great romp after a long drought (;
  • Thank you for the minimal “Bleeding Heart” or “Andy-Griffith” Jason Stackhouse storylines. Can we pretty pretty please just pretend none of that ever happened? I’ll even forgive the writers a couple of retcons if they can do that for me. Seeing him between a rock and a hard place, having to make decisions on behalf of his sister while her life is on the line… it finally gave him some substantial external conflict with which to struggle instead of the usual self-induced bullshit. Great! Also, I finally got real laugh out loud Jason-is-dumb joke (!!):

    “I never thought I was smart enough to get depressed but… here I am.” – Jason

  • Thank you for sending the Mickens packing and giving Sam some much-deserved action time — particularly of the shirtless variety. Seeing him care for his brother warms my heart because Sam is such a lonely and forgotten resident of Bon Temps. Sure, everyone “loves” him because he’s Sam Merlotte of “Merlotte’s”, but they forget him as soon as they’ve got their own problems. He doesn’t have a best friend or a girlfriend or even a pet (whatever happened to that dog?). Hopefully, caring for Tommy will add some much-deserved stability and companionship to his life. I don’t think this is the last we’ll see of the Mickens (remember, Momma is a shapeshifter too and who knows what tricks she’s got up her sleeve) but, you tell ’em just the same, Sam:

    “Sorry? Great! Duly noted!” – Sam

  • Thank you for Summer! I know, coming from a Jessica fan this is surprising, but I got such a kick from this adorable little Southern thing who wants to have Hoyt’s babies. (Note, this is exactly what Jessica cannot provide and why she broke up with him.) The actress who plays her did a fantastic job of being just the right amount of adorable and annoying. I don’t want her for Hoyt but can they keep her around? Maybe Jason will take her once that amnesiac hooker dies.

    “I woke up this morning and it hit me. Summer, I said, why play games? And then I decided I was going to declare my feelings for you and let the chips fall where they may. And if you don’t feel the same way about me then that will be your loss. So, here goes… I like you Hoyt. I want to be your girlfriend. And I really want you to taste my biscuits.” – Summer

  • Thank you for finally starting to discuss the issue of Vampire Law and Order, mythology, and origins, with the “authority” argument between Russell and the Magistral in the final scene! After all, I still had no clue who the Magistral really was or who he was taking orders from. In fact, they’ve barely explained the significance of Vampire Queens or Kings. The first I heard of such a thing was in the S3 finale when Bill goes to see Queen Sophie-Anne for help on how to kill Mary Anne. As I’ve said before, I’m still completely in the dark as to how they’ve got ‘sheriffs’ in the mix with ‘royalty’ under the same chain of command structure. Perhaps we’ll finally get some backstory on all that, as well. Who do you think the Authority is? The Magistral talks a lot about ‘blasphemy’ and ‘sin’ and ‘sacrilegious’ acts, so it appears to me he is a Pope-like figure on his own crusade in the name of a vampiric religious-like belief. Just like the Pope, the Magistral only has power over those who give it to him, and King Russell took advantage of this. But what are the repercussions to separating oneself from that authority? It can’t be that easy.
  • He was not expecting WHAT? (HBO)

  • Thank you for the backstory on Sookie and her family! What we learned: No blood type. Born on the dining room table. Her cousin, Halle, knows the secret about what Sookie is, which appears not to have come from the Queen but from her own knowledge as part of the family (Eric has now been made aware). Jason does indeed have a blood type so he seems to be unconnected to whatever supernatural (yet hereditary) powers Sookie possesses. Claudine tells us “it wasn’t the water that killed [her] parents” through Sookie’s dream, which I think we can all agree was more than a dream. What I found more interesting than anything else in that magical coma world, was the sparkling pond water which Sookie drank from Claudine’s chalice and Claudine’s reply that “you’ve had it before“. Is there a life which Sookie does not recall? Is she a reincarnation of someone or something? WAIT, IS THIS THE SAME WATER FROM JACOB’S CAVE ON ‘LOST’?
  • Thank you for saving (and bringing back) Pam! ‘Nuff said.

Would you look at that? Puh-lenty of good things to say! See, I’m not a close-minded hater, after all. But don’t get excited, TB-Lovers, I have not gotten my hopes up for next week just yet and I won’t for a while. It’s better that way though. I enjoy lowering the bar for True Blood, because if I didn’t I’d really go crazy. Here are just a couple of observations and one stupid bit that I’m not so thankful for.

  • Debbie’s revelation that she broke up with Alcide because he wouldn’t give her a baby. Really? Your skank ass wanted a baby? Sounded like quite a bit of a cop out. I understand Alcide for not wanting to bring another werewolf into the world but to go from a supposedly “normal girl” to a werewolf whore over your boyfriend not wanting children is a little far-fetched. Some quotable giggles:

    “It’s that V talking, I know who you are.” – Alcide, to Debbie
    “Alcide, I’ve been listening in and she ain’t exactly misrepresenting herself.” – Sookie

  • Alcide is leaving a trail of dead and wounded vampires in the dust. This is baaaaaad news and its going to catch up with him, literally. There must be some werewolf code about this which is going to fuck him out of any pack-related bond he’s got, and what will he do then? Hopefully he’ll join the Bon Temps family! Or will he sacrifice himself for Russell’s war to come?
  • NO JESSICA. NO TERRY. NO ARLENE. Actually, I’m very okay with this because they’ve gotten plenty of screen-time lately and we needed to delve into the meat and potatoes of the series. I brought up last week how after all the shit that happened (or didn’t happen) to all the supporting characters, the episodes were giving too little importance to Sookie and Bill, our protagonists. So this was a plus.
  • Did the Magic Juice trip Sookie out? (HBO)

  • Did Sookie’s coma world and Claudine’s warnings about vampires change something within her which made her scream the way she did upon seeing Bill? I’m thrown by this but I hope it turns into something more than shock. I’d love to see her mind just flipped and a sudden phobia or hatred for vampires begin to fester inside her. Perhaps it was the Sparkle Water! I mentioned earlier she may have lived a life she’s now forgotten, so is it possible that she’s remembering and that Vampires didn’t play a very positive role in it? Something epic and strange and conflictual like this is just what True Blood needs.

What’s in store next week: Will Eric finally let us in on what he’s been plotting for his vengeance on Russell? Will we find out what in the world Sookie is? Will we discover why Bill didn’t burn up in the sun or why he nearly killed Sookie? Will the newlywed King and Queen, ahem, consummate their marriage? Is Franklin really gone? (After all, he never exploded into goo like Lorena, so now I fear we sadly haven’t seen the last of him.)

Dear Mad Men: Stay great. We need it.

With LOST now gone, anticipation for the July 25th, season 4 premiere of Mad Men has become my little saving grace. One by one, quality soaps have disappeared on primetime within the last couple of years (Battlestar Galactica, The Sopranos, The Wire, etc.) and we’ve been left with a small handful of gems. AMC is on the map big time. HBO has got three very odd contenders (Vampires, Trombones, and Psychologists, oh my!). But Showtime could use another hour long drama, no? Dexter aside, The Tudors is ending… Weeds and Nurse Jackie doesn’t qualify, so we’re left with United States of Tara. And where is Network television? Desperate HousewivesSmallville? The Vampire Diaries? Supernatural? I’ve tried watching those shows and, while I won’t say they are ALL horrible, they are your basic drama-for-the-sake-of-drama serials. I get far more character development from an episode of Bones than that! (No, seriously. I love Bones.) Most network serials are just good looking people with “powers” getting themselves into trouble but never resolving anything or growing because the show must go on… I miss the network drama days of Lost, Buffy, Angel, Gilmore Girls, Felicity, and Alias. It’s like, “V and Gossip Girls. Really?!” Le sigh.

So, back to Mad Men. If you’ve never seen this show PLEASE, with confectioner sugar on top, do so now! The DVD box sets are beautiful additions to your collection and not a purchase you’d soon regret. Yes, it’s a bit “cryptic” at times, riddled with innuendo and implication instead of the constant BOOMS and BAMS (i.e. you have to think a little), but then its sprinkled with moments of shock so sudden that they’ll grab you tight and quickly, leaving you gasping for air. (Remember the lawnmower incident? Hahaha. Or the last scene in the pilot? Whoa, family!) The whole series is kind of nerve-wracking in how secretive and creepy the characters can be, while wrapped up in their beautiful, tailored lies… and suits. It’s the advertising industry AND the 60’s — these people are professional liars! But mainly it’s just the 60’s…

So what can we expect this coming season? Bigger things for Betty, I hope. I’m a sucker for dramatic and illicit love affairs on film. It’s a horrible, immoral addiction to have and I try to curb it but I can’t help myself. I love the politician with Betty!  She has slowly begun to shed that fear and insecurity she carried around with her all throughout her marriage to Don, and I hope she finishes coming into her own before we lose the bit of sympathy we had for her throughout the first three seasons. I’m not complaining, though: so far so good. Leaving him was huge and had she stayed that’s when it would have been difficult to tolerate her.

Speaking of female empowerment, one of the things I’m most excited about is the return of the vivacious and voluptuous Joanie Holloway (played by the amazing Christina Hendricks from my favorite Firefly episode: Our Dear Mrs. Reynolds)! When she left Sterling Cooper for married life last season I was confused as to how they were going to handle her character, moving forward. Would we just follow her around playing Happily-Ever-After Housewife? And, if not, she’d certainly be too dignified to go back to work at the office with a failing marriage excuse — Joanie doesn’t look back! I was scared because neither option seemed right, but after the events that unfolded in the S3 finale, I re-learned to trust Matthew Weiner & Co. forever and ever, Amen. They had to call her back? Perfect!

I’m intrigued and excited to see how Don will handle the new Sterling Cooper Draper Pryce as a newly single man. Will he become more of whore or less so because there is no restraint to make him feel he must? Do we all agree that we can forget him getting Betty back? I truly believe her love for him is gone, and that he meant it when he told her he wouldn’t “fight [her]” but… his kids! My heart breaks for him and for them. I couldn’t hold back a few tears when his young son wraps his little arms and legs around him after the announcement that he and Betty were separating. And sassy young Sally storming out… poor thing is going to have some issues. Perhaps she’ll blame Betty for the failing marriage which would be easy from a child’s perspective to do.

So what did we learn last season? Those final flashbacks with Don’s father’s death at the barn added such a deeper level of understanding and sympathy to Don’s character. We were finally able to link his self-alienation from both family and co-workers to an experience, and a very traumatic one at that. As a crop farmer, his father relied on a “co-op”, on the weather, and on the government in order to provide for his family and in the end it destroyed him. He was literally kicked while he was down by that horse. Takes the saying “bought the farm” to a whole new level, eh? So now Don is a self-made man who thinks that needing or counting on any person but himself will ruin him. I think that’s why his most meaningful extra-marital relationships have been with highly independent women: Midge, Ms. Menken, and even Peggy. Sadly, Don simply never respected Betty because he saw her loyalty as a weakness instead of a privilege. But is Don learning? Is he growing? That’s the difference between serialized drama and procedurals or sitcoms: growth and change towards a grand resolution. We need Don to either become a better man, or try and fail.

And Sal. I try not to spoil myself as far as whose been re-casted or what the writers are leaking (which isn’t hard with Mad Men since Matthew Weiner is so tight-lipped) but I don’t think Sal will be making a swift return. While new accounts mean that those Sal “offended” in the past may not be present (did they re-sign Lucky Strike?) and they don’t have an art department, I don’t think its the time to accept homosexuality yet. It would be quite anachronistic of the series if all the characters did. Unless, it stays a secret (?)

What are YOU hoping for?

Treme – S1 Finale: ‘Hey. Who died?’

I write this with a little jazz playing in the background. Ooh yeah. All three of you who follow these blogs may have read last week’s post regarding my lack of initiative towards catching up with Treme. Well I did it, and it was sweet.

I watched episodes 1×05 thru 1×09 in a couple of days and, you know what? I finally got a solid understanding of the show. Actually that’s a lie. More like I got a solid feeling from the show and what it is. Yes, that’s it. Treme is about a very specific moment in time and a very specific place. The music and the food and the politics. The old people, young people, white people, black people, natives, tourists, etc… they all have their own lives but they also give their lives to that city and the city gives back. It’s a symbiotic relationship that exisits in every city in the world but is only recognized AND openly cherished by it’s dwellers in a few rare cases. New Orleans is one of those cases.

Having lived in at least two very “personable” cities myself — Miami and New York City — I can relate to that feeling of give-and-take, but of course no two cities are the same. For example, one could argue that a similar story could have been told of NYC post-9/11 but I don’t think so. It would be very different. New York is too big and, while it has a personality, it suffers from a case of geographic schizophrenia, as well, because so few “New Yorkers” are actually from here. Meanwhile New Orleans seems to be firmly rooted in specific traditions which bind it’s people to each other and to New Orleans itself.

In episode 1×09, “Wish Someone Would Care”, Davis discusses those moments which make up the feeling of New Orleans (and downright slaps New York down in the proccess) to which he gets a reality check response from Janette: “Those are moments, Davis. They’re not a life.” I loved that line for two reasons: (1) It made me think, “Is life just made of moments? Or is it something bigger?” and, (2) it really captured the format and concept behind the show. My problem with Treme was that it just felt like small moments inside one big moment, and most of those moments consisted of people just feeling things and of looking at things in a reactionary way to the storm and the flood. At first, the format felt scattered and not enough like a “life”, which is what I would like a show to feel like: like I’m being privy to another life.

With a little time, however, those moments began to form a life around these characters and in a very unique way I might add. I certainly don’t believe this show is everybody’s cup of tea, because I must admit I struggle with it myself since its such a different way of approaching serialized drama. However, I’m very intrigued by it and think I may get something a little different from watching it. For example, I’m sold on the characters now more than ever and I’m clueless as to how it happened. Most shows have make-it-or-break it moments that define whether I’m going to despise this character or love them forever. Often, I’ll even go back and forth between love and hate in inexplicable ways (I hated Jack Shephard on LOST about 5 times, and loved him about 6). On Treme I just get them, the way I get people I love and so I try not to judge them too harshly, and that’s pretty cool for a show to do.

I haven’t spoken about the finale directly because I really don’t have much to say, except it was awesome, but I’ll try:

  • CONFESSION: I cried at Damo’s second line. When LaDonna (played by the fabulous Khandi Alexander of CSI:Miami fame) started dancing with her white handkerchief, those were tears of joy my friends… I think. I mean, it was a bittersweet moment of acceptance and realization that the city is great enough and joyful enough in their spirit to get through it
  • Poor Toni and Sofia. I honestly still cannot believe Creighton jumped into the bay. No really, it didn’t hit me for his sake yet, only for his family’s sake. I probably feel much worse for them because, like them, I don’t understand. Sure, he was sad and angry and slipping into depression but I would in no way have guessed he was suicidal until the beginning of the episode where he did it. Did you?
  • I said it last week and you’re hopefully going to hear a lot from me on this next seasons as well but, the women on this show are FANTASTIC. I criticized David Simon a bit for his treatment of women (mainly for his lack of them) in The Wire and I wasn’t alone in that, I later learned. I don’t think he meant to but if I had to guess he listened to that criticism out there and made sure this time around he would do that right. It’s one of the things I love about television: you learn from those that came before, always.
  • And speaking of women: Annie. Pffft… I love this girl. She’s making real decisions and although they aren’t perfect they are sound and I respect her so much for them. Perhaps because she’s my age and she’s in a new city and all but as someone who can relate, who better to say: you got it right! Right? Even if she ends up with Davis, who I still don’t love but he’s aiiiiight and they could be good for each other.
  • It’s odd, but I don’t hate Sonny, although he really fucked up with the drugs, and hitting Annie, and then sleeping around on her. He’s lost but not like a hippie bum, there’s something more to him in his respect for a culture that’s not even his which really grounds him for me. He’s a bit judgmental and selfish but, it is what it is and I hope he grows. Annie did right by leaving him, and that line: “I wasn’t going to leave you.” Gold! I could feel his heart breaking.
  • Antoine Batiste. This man is probably my least favorite of them all but I still got love for him. He really hasn’t had much conflict this season aside from looking for a job as a musician and trying to feed his kids. His relationship with LaDonna does wonders for his character though because you can see how he still loves her and it makes him extra likable because, I love her, too.
  • And the Indian Chief. I still don’t know his name because everyone just calls him “chief” (or “dad”) and I’d like to keep it that way. He’s a father and he’s a chief, enough said. I had no idea this St. Joseph’s Day thing with the Indians existed and I’ve yet to do my research on it, but I’m amazed at how intense it is. I would have actually liked a little more back-story and explanation within the show in regards to it, but whatever… exposition can often be quite the burden. His son, Delmond (aka the kid from Finding Forrester, in case you were wondering) really came full circle for me and I hope to see him a bit next season (from what I hear, he’s filming the second season already)!
  • You too, Janette! We miss your restaurant!

In the final moments of the episode (after that eerie flashback of all our characters on the day Katrina hit), we see Damo’s second line hit the streets with people singing and dancing and playing music in the Treme. One man, who we’ve seen before, looks out at it and asks another, “Hey. Who died?” The guy shrugs, and they both chuckle as they bop back and forth to the beat. A city that knows its crazy, but it works! Love it. See ya’ll next year. I’m looking forward to it!

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