Showing posts with label Six Feet Under. Show all posts
Showing posts with label Six Feet Under. Show all posts

Thursday, December 24, 2009

Best of the Decade: TV

Here’s the ten best TV shows of the decade. This was by far the best decade for TV in the medium’s history, and this list is pretty close to my best series all time list. There's a lot of great shows that didn't make it, these are the elite.

10. Angel
Best Season: Five
Best Episode: ‘A Hole in the World’

The most uneven show on the list, Angel veered from the boring standalones of season one and the endless, at times nonsensical season four arc to the morally ambiguous challenging heights of the Darla arc in season two, Wesley’s arc in season three and in particular the entire final season were fantastic enough for it to merit a spot on the list. What makes the show shine above its inconsistencies were the fantastic character development work done on Angel, Cordelia and Wesley. All three of those characters were fantastic, and anchored the show in a very real way. It’s a shame the show was cancelled at the height of its powers, but at least we got one of the all time best series finales.



9. Freaks and Geeks
Best Season: One
Best Episode: ‘Discos and Dragons’

Like its ‘cancelled too soon’ brethren Arrested Development and Firefly, Freaks and Geeks has become a legend of TV, and the massive success of virtually all its actors and creative team only enhanced the legend. But, despite the team’s massive success, nobody involved has topped their work here. The performances were fantastic, and the show did a great job of world building as it went on, and letting you watch the people grow and change in subtle ways. It’s the best depiction of high school life ever captured on film, and, as with Angel, even though it was cancelled too soon, it went out on a fantastic high note.



8. Doctor Who
Best Season: Four
Best Episode: ‘Parting of the Ways’

Far from the most consistent show, Who had probably more weak episodes than any other show on the list, but at its best, it hit me emotionally like nothing else out there. The thing I love so much about Who is the core of optimism about humanity’s potential and our place in the world. The Doctor sees excitement and joy everywhere he goes, and even when the show got dark, as it often did to great effect, it’s about him struggling to make things better and having to deal with the fact that he can’t. I particularly like the show’s reinterpretation of the hero’s journey, as we see that just being chosen and taken to a world of adventure doesn’t make all your problems go away. The show is spectacle on a scale never before attempted on TV, and when it succeeds, it blows your mind and breaks your heart at the same time. I’m excited to see the story resolve itself in the two part finale over the course of the next week.



7. Mad Men
Best Season: Two
Best Episode: ‘The Jet Set’

Mad Men is probably the best example of the new kind of shows that became possible thanks to shifts in the perception and consumption of the TV medium. The Sopranos pushed the boundaries of art in TV, but even as it plunged into subjective artiness and de-dramatized character stories in its later years, it still was based around action stories and had violence as the dramatic hook for viewers. Mad Men has no violence or action, but it’s still riveting in its precise exploration of a set of characters trying to survive or thrive in the 1960s. Visually, the show is unparalleled in its gorgeous production design and costuming, capturing all the glamour and narrative ambiguity of 60s European art cinema. It’s great to watch something on TV that feels like Fellini or Bergman, that uses our familiarity with the characters to explore complex issues and new storytelling methods. I’d be shocked if this show isn’t here when I do the best of the decade list ten years from now.



6. The Office (UK)
Best Season: Two
Best Episode: Season 2, Episode 6

The Office is the only comedy on the list, largely because it’s so much more than just funny, it’s got a core of sadness that is shockingly overturned by the show’s joyous Christmas finale. It’s also the most influential comedy on the list, pioneering the comedy of awkwardness that was widely adopted later in the decade, and influencing the documentary aesthetic of shows like Arrested Development, as well as obvious descendents like the American Office and Parks and Recreation. But, thanks to its short running time, the series makes no compromises, and is true to its characters and world. Thanks to the overall sense of hopelessness, the final scene between Tim and Dawn is one of the most romantic and beautiful in all of film. And, on top of all that, it’s the funniest show of all time.



5. John From Cincinnati
Best Season: One
Best Episode: ‘His Visit, Day Five’

I’ve seen John mentioned in a lot of decade writeups, usually in the context of the erroneous idea that Milch allowed Deadwood to be cancelled in favor of doing this show. One, that’s not at all true. Two, JFC was in many ways the continuation of Deadwood that they wanted, but for me, it refined all the things that worked about Deadwood and brought the dormant themes to the fore for a fascinating exploration of the way that communities form and what spirituality and the extraordinary mean in a contemporary context. The series blend of mysticism and verite was hard for people to take, but I loved it, few series had the religious awe this one carried, and moments like John’s sermon in the parking lot or the descent from the clouds that opened the final episode are among the most profound ever captured on film. I don’t consider this a qualified success, it’s outright one of the best series of all time.



4. The Wire
Best Season: Three
Best Episode: ‘Final Grades’

One of the most important and ambitious series of all time, The Wire has been praised extensively, and virtually no compliment about the series is hyperbole. It really is as good as people claim, both in terms of social relevance and in simple story construction. The show built an elaborate world and by the end of the series had nearly 50 regular characters floating through at any given time. And, it’s the characters who linger for me, particularly moments like the apocalyptic fourth season finale, or the operatic Avon and Stringer stuff at the end of season three. People will watch and analyze this series for years to come, it’s one of the most important documents of the aspects of our society that no one else is talking about. You need look no further than the fact that Crash won a best picture Oscar the same year as The Wire aired on TV to see where the real cultural dialogue was taking place this decade.



3. Six Feet Under
Best Season: Five
Best Episode: ‘I’m Sorry, I’m Lost’

Six Feet Under is a show that on the surface lacks the ambition of something like The Sopranos or The Wire, but it’s so brilliant in its character work, and its exploration of the search for meaning in everyday middle class life in the 2000s. All the characters were looking for definition, for a way to give their lives purpose and to find love and fulfillment in a world that often makes it hard to believe in anything. In a decade of irony and distance, this show forced its characters to confront their true selves, and the performances and writing crafted some of the most well rounded characters in literary history, Nate and Brenda in particular. By the end of the series, the accumulated experiences of all the characters led to a devastating series of events, and ultimately transcendence in the final montage that took us outside time to show that everything ends, but we all have to live first.



2. Buffy the Vampire Slayer
Best Season: Six
Best Episode: ‘Restless’

The 00s featured the series’ best episodes, the two season arc that spanned seasons five and six, as well as my personal favorite season of any show all time, season six. But, it also featured some shakier stuff in season four and season seven. Still, take everything I said about Six Feet Under above and add it an epic hero’s journey and you’ve got what makes Buffy so special. The character work was phenomenal, and I’ve never been as completely addicted to a series as I was watching the later seasons of the show. New characters like Tara and Anya, as well as Spike’s rise to prominence kept the series fresh, and Whedon’s auteurial experiments pushed the show to new heights of visual greatness, particularly in ‘Restless’ and the dazzling ‘Once More With Feeling,’ which managed to simultaneously be a great original musical, and forward the overall season plot. I still love the show so much.



1. The Sopranos
Best Season: Five
Best Episode: ‘Long Term Parking’

The show that redefined what a TV series can be, The Sopranos is the greatest sustained examination of a single character in cinema history, and is also a fascinating look at the priorities and concerns of everyday people in a post WWII, post 9/11 world. While the show drew attention for its mob storylines, what jumped out to me was how much the characters’ world reminded me of my life, and how the relatability of what was happening. It was an intellectually riveting series, full of internal patterns and long reaching character arcs and symbol tracks, but it was also intensely addictive. Watching the last couple of seasons, I was desperate to see the next episodes, and upon rewatch, the series reveals more and more layers. If The Wire functions as a portrait of the poor and downtrodden in society, The Sopranos explores the troubles of people struggling to maintain their hold on the middle class, to continue living their lives in a world where the country slips into financial ruin and loses its status in the world. Tony Soprano is America, and his dream is ours. The instantly iconic finale only adds to the series status as fascinating, endlessly debatable entertainment.

Sunday, September 09, 2007

Top 20 TV Shows: Updated for 2007

In the midst of a golden age of television, it's time to update the list of my top 20 TV shows, made a year ago. There's been some changes, here's the new list:

1. Buffy the Vampire Slayer (Up 1)
2. Twin Peaks
3. Six Feet Under
4. The Sopranos
5. Cowboy Bebop
6. John From Cincinnati (New)
7. The Office (UK)
8. Angel
9. The X-Files
10. Freaks and Geeks
11. Arrested Development
12. Gilmore Girls
13. Battlestar Galactica
14. Babylon 5 (Up 2)
15. Friday Night Lights (New)
16. Seinfeld
17. Samurai Champloo
18. Deadwood (New)
19. 24
20. The Prisoner

Now, let me tell you why things have changed.

Bufy over Twin Peaks

I rewatched the whole of Twin Peaks after the second season DVD box set came out. It's still a brilliant show, with moments that are better than anything else to ever air on television. However, there were also some weak moments, and my overall impression of the series didn't match the feelings I had for Buffy. Buffy was the perfect blend of challenging intellectual content and just plain addictive storytelling. The best TV shows are like an addiction, you just need more, and never did I need more more than when I was watching Buffy seasons five and six. So, it ascends to position of best TV show of all time.

John From Cincinnati

Is it too soon to call it the sixth greatest show of all time? Perhaps, but right now, that's the way I feel. The show challenged me to think in new ways like no other show ever did before, and it also had wonderful character arcs. Great moments from the show, like John and Shaun's return from heaven in the last episode, were among the best TV moments of all time. I loved each episode so much, and watching it unfold was a joy.

Other New Shows

Friday Night Lights easily earned a spot, with a debut season that ranks among the best all time. It could easily go up another couple spots if the second seasons matches the first's quality. Already, I was debating putting it over B5, however, for now, B5 gets the edge. One of the tricky things about a list like this is choosing the criteria. Should I base the ranking on the show at its best, or an average of its whole run. Right now, I decided to go with my feeling about the show, which can be hurt by late season screwups. An average episode of Friday Night Lights is much better than an average B5, however, B5 has the scope of a five season story that FNL can't match just yet. The other new show is Deadwood, which is great, but not quite up there with the all time best shows.

So, that's the update for this year. Next year, I'll return and see what new shows are worthy of the list, and whether there's some shift among the old ones.

Wednesday, August 29, 2007

The Ever Expanding Spider-Man Narrative

I saw Superbad last night, a really hilarious movie, and another fantastic piece of work from the Apatow comedy machine. His recent run of films is virtually unparalleled in comedy history, both Knocked Up and Superbad had me laughing through the entire film, in a smart way, not the idiotic way of way too many mainstream comedies today.

But, Apatow’s films are symptomatic of a larger trend in films right now that’s gotten rather annoying. Grant Morrison talks a lot about superhero narratives as our modern myths, their archetypal journeys serving as templates for other narratives. Almost all superhero narratives hew pretty closely to the classic hero’s journey template, but there’s a world of difference between the Superman narrative and the Batman narrative. However, the narrative that’s dominating our culture right now is the Spiderman narrative. In almost all the mainstream movies I’ve seen this summer, with the ironic exception of the third Spiderman film, I’ve seen a replaying of the Spiderman origin story.

So, what is this story? Geeky guy wants attractive popular girl, but she’s in a relationship with a shallow attractive, popular guy. If only he could show her the real him, she’d fall in love with him and ditch that guy. Luckily, an inciting incident occurs that gives him the chance to prove his merit, and by the end of things, the geeky guy has proven himself worthy of the popular girl and won her affections. Adjust the details slightly and you’ve got the basic story of Knocked Up, Superbad, Stardust and various other contemporary movies.

There’s no problem with this narrative, it clearly has social resonance, there’s a reason that Spiderman was much more successful than Superman Returns at the box office, people want a hero they can relate to. However, I feel like the relating has crossed a line, and we’ve now reached the point where we’re glorifying the qualities that are actually these guys’ weaknesses, while at the same time reducing women to prizes to be won. The problem I have with the genre is that it’s always if only the pretty girl could see the real me, it’s never let me see something worthwhile in the girl who isn’t popular or pretty, but probably has a lot more depth.

It’s that element of the genre that makes it feel a lot like male fantasy. The female characters in Superbad have very little depth. While this is admittedly appropriate for the story they’re telling, it does reduce the characters’ entire motivation to I want to get with her because she’s hot. With Seth’s character in particular this was an issue. We’ve watched him do all kinds of awful selfish, but very funny and somewhat endearing things over the course of the film, but I don’t think we’ve seen any reason why Jules would actually want to be with him. It’s one thing to have this kind of logic gap in the McLovin storyline, but I felt like the Seth part of the film was meant to be a bit more reality based.

Knocked Up got a lot of criticism for similar issues, but I feel like that movie is actually a bit more honest about the incongruity of their relationship, and the entire film hinges on the fact that they really don’t belong together, but are put in this situation where they have to work together. Ultimately, that movie works because it engages in the drama of the situation, not just the fantasy of it. Superbad has much less emotional reality, it may be funnier, but it winds up playing as more of a fantasy, that you can have it all, not through sneaking it drunk, but through actual personal interaction.

Apatow’s work has always walked the line between hard edged reality and indulgent geek fantasy, never more so than in Freaks and Geeks. There, his guys hanging out milieu was balanced by Paul Feig’s dramatic sense. Never in the rest of Apatow’s work have we seen a female character anywhere near as well realized as Lindsay Weir. The more Apatow makes, the more it feels like he was mainly responsible for the lighter stuff on the show, mainly the geek side, while Feig lorded over the heavier dramatic stuff, particularly Lindsay’s arc.

I don’t think there’s a problem with having some films like this, where the schlubby guy is the hero and gets the girl, but I hope it doesn’t mean the disappearance of the ultra competent slick hero. Coming out of Star Wars, no one wanted to be like Luke Skywalker, the ultra sincere farmboy, they wanted to be like Han Solo, the badass morally ambiguous anti-hero. I’d much rather see heroes in the Han Solo mode, or the Batman mode, conflicted, uncertain, but always able to do the job. There’s more conflict there, and the characters have more agency. In Superbad, the characters ultimately don’t have to do anything to get what they want, they just had to show up. For me, it’s more interesting to wonder if an ambiguous character will choose to help someone than wonder whether a heroic character will be able to save someone.

Ultimately, both kind of heroes are a kind of wish fulfillment. One is presenting the audience as they are and showing them that it’s cool to be like that. The other is showing them what they could be. My taste in film runs towards the more out there and removed from reality. I like an emotionally real basis, but I’d rather see my world on screen through metaphors and surrealism than just straight up recreation. So, I don’t feel the need for the protagonist to be exactly like me. But, I guess a lot of people do, and that’s probably a big part of the success of a film like Superbad.

I think the change in type of hero is a big part of what soured a lot of people on the later years of Buffy. The first three seasons were all about wish fulfillment, taking these high school outsiders and showing that they were doing so much more than the popular kids. People complained that by season six the characters had become insiders, and the outsiders were the villains. I think that is a valid complaint, but it ignores the fact that the characters were much more interesting when removed from the strict social hierarchy of high school and placed into the nebulous “real world,” Buffy herself in particular.

Buffy began on the same journey as Spiderman, gifted with powers, uncertain how to deal with them, and constantly beset by troubles. By season six, she was on a much darker Batman style journey, identifying more with her enemies than the ‘normal life’ she once envied so. In general, TV allows for much more complex stories, and even something like the Sam/Cindy Sanders relationship on Freaks and Geeks had a harsh dose of reality, where the film would have ended with the clinch.

My favorite high school character in recent media was Claire from Six Feet Under, who dealt with the same issues as your classic geek characters, but actually had agency and an identity. She was the person she wanted to be, and just had to move on to a different social environment to get it.

So, I’m not sure there’s really a point here. I loved all the movies I’ve been criticizing here, it just bothers me that this fantasy is so prevalent for a number of reasons. One is I think it’s on some level pretty misogynistic, reducing women to an object to be one, and second, it’s just getting a bit tired. Let’s see a new narrative.

Friday, June 15, 2007

Why HBO Needs Preacher

While I thoroughly enjoyed the first episode of John From Cincinnati, I think it’s also pretty clear that this show isn’t going to become HBO’s next big smash. The channel has a reputation as the home of quality shows, and I think it consistently delivers stuff that you just could not see on a broadcast network. Regardless of the premise, I’m willing to give any HBO show a chance because I’ve had such good experiences with them in the past. But, it’s no secret that they’re at something of a crossroads following the cancellation of The Sopranos. But, there is one show they have in development that could provide everything they’d need for another breakthrough hit, and that is Preacher.

When I first heard that HBO was developing a Preacher series, I was happy, but a bit confused as well. It’s one of those dream projects I’d thrown around in my head, but never actually expected to see come to fruition. A few days ago, I saw a video interview with Garth Ennis where he said the project was moving forward, it just needed HBO’s approval to go to pilot. Hearing that, I realized that Preacher is exactly the show that HBO needs to make, and they’d be fools not to put this show into action. They wouldn’t be doing it for the comics community, they’d be doing it for themselves.

The Sopranos was a huge hit for a number of reasons, but what separated it from virtually every other HBO series was that it’s simultaneously elitist and fully accessible. Thinking of the show’s audience, the hyper intelligent urban elite can co-exist with working class guys who idolize Tony and his crew. This was one of the central issues Chase had to deal with, that a section of his audience pretty much wanted to be Tony, while he thought of the audience as Doctor Melfi and her social circle. Chase may have had issues with the whack ‘em all segment of the viewing public, but it’s precisely that group of people that made the show a hit far beyond the elite that is HBO’s normal target audience. And don’t think they’re not all about the elite, they proudly boast the tagline “It’s not TV, It’s HBO.”

A lot of what made The Sopranos a success was its controversial elements. The violence had people talking, and ultimately, that’s what makes a show a success. HBO’s business model pretty much relies on a show becoming watercooler fodder. Networks offer people shows for free and still struggle to get viewers. HBO doesn’t get the sampling that networks have, their shows have to be must see. The Sopranos was a cultural phenomenon, I didn’t even like to go on the internet until I’d seen the latest episode that aired, it was what people talked about, and consequently, helped to build the HBO brand.

While I like most of the shows they have, I think HBO made a bunch of mistakes in its recent programming choices. A show like Big Love is good, but isn’t as far beyond network TV as something like The Sopranos or Six Feet Under. The polygamy stuff attracted some initial press, but it’s not the kind of show where you’re going to be aghast upon hearing what happened on the latest Big Love. Now, a show doesn’t need to be that kind of show to work. Six Feet Under usually wasn’t, but SFU was also just so good that it became must see by virtue of our attachment to the characters.

The thing that a lot of recent HBO shows are lacking is that character attachment. Carnivale, Rome and Big Love just don’t allow for the same kind of engagement as a Six Feet Under or The Sopranos. I think a big part of this is the fact that they’re set in worlds that aren’t familiar to us. The Sopranos had elements of this, but also had ordinary suburbia to anchor the mob stories. On TV, it’s harder to pull off a long term story in a world that isn’t our own. TV is all about engagement with the characters, so unless it’s a massive singular narrative like Babylon 5, it’s tough to engage with the goings on. I respect them for making shows that are so ambitious and different, but it also makes it tough to become hooked on them. The best TV shows are addictive, you don’t want to respect a show, you want to need a show, and I never really needed to see the next Carnivale or Big Love.

The Sopranos and Six Feet Under are both very sophisticated character dramas, a genre that TV can do better than any other. They both have overarching narrative arcs, but also enjoyable in each moment along the way. I fear that shows like John From Cincinnati and Carnivale fail because they rely too much on mystery instead of character substance. I like mysteries, but a lot of viewers don’t have the patience for anything but certain fact. And, mystery should exist as the hook to get us into the characters’ world, not the substance of the entire show.

So, what HBO needs is a show that would be controversial, provoke discussion, and be different from network TV, but at the same time provide us with compelling character arcs in a relatable setting. Preacher would do all this, be the exact kind of show that they need right now. Reading Preacher, I was hooked by the over the top violence and grotesquerie, but what kept me coming back was the story of Jesse and Tulip, as well as the development of their relationship with Cassidy. The series has a strong character hook that will make viewers need to see the next episode once they get started. There are very few works that are just as compulsively readable as Preacher. I remember sitting down and reading entire trades in one sitting, it hits that perfect addictive place. When I started watching Buffy, the closest thing I could compare it to was reading Preacher.

The other thing Preacher has is a lot of controversial material. There’s going to be a lot of articles asking whether this show goes too far, in both the level of its violence and its not exactly reverential take on religion. There’s going to protests, there’s going to be debate, and all that is good for ratings. People will know this show is debuting and that’s half the battle. Plus, you’ve got the entire comic series fanbase who will be likely to tune in and give the show heavy internet support. Plus, the violence and sex would be something a network show couldn’t do.

The one potential issue I see with the show is its appeal to both women and the liberal elite audience that makes up a lot of the channel’s audience. The beauty of The Sopranos was that it offered really strong female stories, and the female hook to capture the female audience. Tulip is a strong female protagonist, and her relationship with Jesse would surely inspire some fanfic, but the stereotypical female viewer would likely be put off by both the ridiculous amount of violence and the macho posturing in the series. That essentially conservative attitude would also be troubling for much of the audience. But, I think it’s better to push people than just give them something that gets no reaction.

So, I think HBO needs to get Preacher in production stat. It’s the kind of show that will have people talking, and the built in comic book appeal will give it an immediate boost. If this show is a huge success, it could lead to more Vertigo based TV shows. I’d love to see a Sandman series, and in particular, an Invisibles series, preferably with me as the show runner on that one. Hopefully Alan Ball’s True Blood won’t preclude HBO from greenlighting another show with vampire content.

Friday, January 05, 2007

2007 Movie Preview

2006 was a pretty good year for cinema, a lot of my favorite directors had projects coming out, and most of them turned out quite good. And next year looks like it should have an equally exciting plethora of new films to delight and enthrall.

10. Electroma - This is Daft Punk's film about a robot's quest to be human. It's supposedly very experimental, and seems like the kind of thing that could be either great or tedious depending on your mood. But, I love the trailer and I'm very curious to see what they do as film directors. I'm not sure what the status of this is, it showed at Cannes back in May, but I havent' seen much since. Hopefully it will re-emerge and get a 2007 release.

9. Smiley Face - This year, Gregg Arkai became one of my favorite directors, and I'm eager to see some new work from him. that said, this one sounds like a much more straight ahead mainstream comedy than he's done in the past. There's nothing necessarily wrong with that, as long as he maintains his own voice in there. The plot, surrounding a woman who eats some pot brownies and has a crazy day offers the potential for some Doom Generation or Nowhere style craziness. After the intense drama of Mysterious Skin, he's earned a lighter film.

8. Be Kind Rewind - Another director's lightening up for a more accessible mainstream comedy. However, with Gondry at the helm, it's sure to be idiosyncratic and full of weird, wonderful images. The premise, that a guy who work sat a video store gets zapped with a magnet, erases all the tapes, and has to remake them himself, is absolutely ridiculous, but full of comic potential. Jack Black is great in the right role, and this sounds like it has the potential to harness that School of Rock go getterness. The combination of him and Gondry should be brilliant.

7. Grindhouse - Tarantino has never made a film that's less than great, and he's only gotten better as time passed. So, I'm going to check out anything he does. That said, I feel like this film will allow him to indulge all his worst instincts, and the premise, a slasher film with a car as the killer, is pretty inane. Without considering the director, the Robert Rodriguez side of the project looks a lot more interesting, Rose McGowan with the machine gun leg is genius and we've even got Freddy Rodriguez, Six Feet Under's Rico, in the film. Ultimately, I think this will be a joycore film, full of so much love from the creators, you can't help but get caught up in it.

6. Sweeney Todd - Burton made a virtually unmatched run of quality films from 1988-1994, but since then he's been a bit underwhelming. After the good, but not great Charlie and the Chocolate Factory, I said that he should do a musical, so I was excited to hear he'll be adapting Sweeney Todd. I haven't seen the show, but the subject matter fits perfectly into his visual world. Rarely do you see a musical that fully uses the possibilities of cinema, I'm really excited to see what Tim brings to it. On top of that, there's a fantastic cast, Johnny Depp, Alan Rickman, Sacha Baron Cohen and even Anthony Head. This has the potential to be Burton's best film in a long time.

5. I'm Not There - Normally, I would be disgruntled that we're seeing yet another musician biopic. These films are usually boring reenactments of culturally iconic moments that give no real insight into the person they're interrogating. The only two musician biopics that really worked were Superstar: The Karen Carpenter Story and Velvet Goldmine, both directed by Todd Haynes, and what do you know, he's directing this film as well. Haynes is a conniseur of pop culture, using cultural trends to examine the direction of society as a whole. Superstar and Velvet Goldmine are more about a time and place than specific people and I'd imagine this film will be the same. The fact that there's seven actors playing Dylan could potentially be gimmicky, but it makes me think this'll be a crazy, surreal film and that's a good sign. He's never made a bad film and I doubt he'll go wrong here. Plus, the cast is just fantastic: Julianne Moore, Cate Blanchett, Christian Bale, Charlotte Gainsbourg and Heath Ledger to name just a few.

4. There Will Be Blood - Finally we're getting a new Paul Thomas Anderson film. Magnolia is the best film of the past twenty-five years, PTA the rare person who's equally adept at writing and directing. Paul himself said he didn't think he'd ever top Magnolia, and I'd agree, but I'm still eager to see new work. There's not too many details out on the project, but I've got to say, a period piece of this nature is not what I'd really want to see from him. Still, all his films are amazing in their own way, and someone with his talent is going to make films that are full of compelling details even if the whole doesn't work. I'm eager to see some stills or a trailer because right now I really have no idea that this movie will be like. It's just PTA's name that earned it this place on the list.

3. I'm a Cyborg (But That's OK) - After wrapping up the Vengeance Trilogy in spectacular fashion, Park Chanwook moves on to a lighter, but still odd, comedy. The premise of this one is great and I think it has the potential to be that rare kind of movie that is simultaneously very funny and very touching. It's difficult territory, but the hard edged sensibility of Park means we won't drift too far into melodrama. And, as the trailer shows, virtually no one working today can make images as striking as Park's.

2. Southland Tales - Many of my favorite films have been described as self-indulgent messes, so I wasn't too wary when Southland Tales got savaged at Cannes. I'm increasingly less concerned with narrative coherence, instead interested in seeing moments of cinematic transcendence, and even the bad reviews concede this film offers those. Kelly's Donnie Darko is one of the best films ever, even though every re-edit and comment he makes about the film makes it sound like he has no idea why it worked in the first place. But, I still believe in him, this one sounds so over the top weird, I can't wait to see it. If Inland Empire showed us anything, it's that a three hour, barely narrative piece of directorial self indulgence can be utterly satisfying. Of course, Kelly isn't Lynch, so this one could really just be bad, but there's only one way to find out.

1. My Blueberry Nights - Wong Kar-Wai is the best film director of all time, he has redefined the way the medium can be used, inventing a totally different, more emotional, language for cinema. No one works like he does, and no one makes films like his. So, a new Wong Kar-Wai movie is an event. 2046 was a great closer to one part of his career, and My Blueberry Nights offers a lot of changes. The major one is that he's shooting in America, in English, with an American cast. I love the Hong Kong cityscapes his characters usually inhabit, but Happy Together worked well in Argentina, pushing WKW to even more visual experimentation. Perhaps shooting in America will do the same. An article I read about the shooting made it sound like this will have plenty of classic Wong Kar-Wai moments, though they're taking place in a Midwestern diner instead of a Hong Kong fastfood stand. He's got a fantastic cast, and the way he works, he seems to push people to their best work. And, it'll be great to have my first viewing of this movie in a theater instead of on an import DVD.

In addition to films, there's a few other things I'm eagerly awaiting.

True Blood - Alan Ball's work on Six Feet Under is some of the best writing ever, and I was thrilled to hear he's doing another HBO series. This one involves vampires. A supernatural conceit like this should allow him to mix things up a bit from Six Feet Under. Rarely do you see a TV auteur like Ball do a second series, primarily because a series uses up so much story, how much can one man have left? Clearly, SFU was very personal, and I'll be curious to see how the way he reimagines his trademark themes to fit in this new genre context. I'm not sure if the show will actually premiere this year, but whenever it starts up, I'll be there.

The Sopranos - More HBO, we're going to finally see the end of The Sopranos in April. There are a select group of TV shows that I consider to be in the pantheon, the absolute best series, and The Sopranos is the only one is still on the air. I'm really curious to see what happens in the final season, will Chase continue the lethargic, introspective style of the second half of the sixth season or will things rev up and end in fire? I'd guess it'll be more of a fade away than a burn out, but we'll see. Even when it's frustrating, there's no current show that can match it.

New Babylon 5 - I've still got a lot of material to go through, but I'm happy that JMS is doing some new stuff in the Babylon 5 universe. The direct to DVD format has been much discussed as an option for continuing cult shows with a small, but devoted fanbase. I would love to see the movies become wildly successful, and possibly open the door for the Buffyverse direct to DVD movies Joss wanted to do. He claimed it came down to a budget issue, so maybe some success here would inspire Fox to do an about face and fund those movies. Maybe it's been too long, but if Babylon 5 can return after eight years, why can't Buffy after only three?

Buffy Season Eight Comics - Speaking of Buffy, if we can't get DVD movies, at least there's something coming in. I'll be picking up a monthly comic again for the first time in a while. It's been too long since I spent time with these characters and I'm eager to see what they're up to. The preview pages indicate we're still in a season seven millieu, which doesn't thrill me, but I'm sure there'll be some great stuff in there as well. I don't know that a project like this has ever been attempted, a canon continuation of a series in comic book form by the original creators. I'm excited to see how it works.

Morrison/JH Williams Vertigo series - This one is the most hypothetical. In a recent interview, Grant said he was working on an original series for Vertigo with JH Williams on art. The two of them did amazing work on the two Seven Soldiers bookends, in the first creating an entire universe of believable characters and then destroying it in only thirty pages. The second was a hypercompressed pop speed pill, one of the most dizzying, awe inspiring single issues I've ever read. Morrison's projects are frequently riddled with artist problems, the few times all has gone well on art, as with Flex Mentallo, We3 or Kill Your Boyfriend, he's made masterpieces. The thought of JH on a long term project with Morrison is almost too much to handle, I just hope that it happens.

Wednesday, September 20, 2006

Top 20 TV Shows

Picking up on another blog trend, here's my top twenty TV shows of all time.

1. Twin Peaks
Best Episode: Finale (2x22)
Best Season: 1


Nothing ever made can match the moody weirdness of the first fifteen episodes of this series. Most shows you remember good characters or an interesting storyline, but with Twin Peaks, it's the atmosphere that lingers with you. After I finished the show, I remember missing the town, like it was a real place, and even now, just hearing the theme song puts me back in that mindset.

2. Buffy the Vampire Slayer
Best Episode: Restless (4x22)
Best Season: 6


I've never been as hooked on a show as I was on Buffy during the fifth and sixth seasons. This show is the perfect example of something that's simultaneously thought provoking, demanding of analysis and thoroughly entertaining. Once you get hooked, the show will define your life for a while.

3. Six Feet Under
Best Episode: 'I'm Sorry, I'm Lost' (3x13)
Best Season: 3


Six Feet Under has my favorite TV character of all time, conflicted lead Nate, as well as the most consistently sharp writing and cinematography on TV. I think the show hangs together perfectly as one 63 episode long story, with the perfect finale.

4. The Sopranos
Best Episode: 'D-Girl' (2x08)
Best Season: 5


The most consistently frustrating show on TV, watching these characters struggle through their lives is sometimes funny, sometimes painful. More than any other show on TV, this one feels like the writers had perfect control of what they're doing, creating a many layered narrative.

5. Cowboy Bebop
Best Episode: 'The Real Folk Blues' (2x13)
Best Season: 2


The moodiest show I've ever seen, this was like Wong Kar-Wai making a series. No other show has used music as well as this, to create singular moments that define the characters. There's subtle evolution of the arc through a series of seemingly unrelated episodes, it's only when you reach the end that you realize how every single piece of the show was building to the catastrophic finale.

6. The Office (UK)
Best Episode: 'Christmas Special II' (3x02)
Best Season: 2


It's simultaneously the funniest show in TV history, and one of the saddest. That's quite an accomplishment, in only twelve episodes, Gervais and Merchant sketch an entire world, then tear it down. The final moments of the Christmas special are some of the most emotionally rewarding in any work of fiction.

7. Angel
Best Episode: 'A Hole in the World' (5x15)
Best Season: 5


The show had a couple of off seasons, that's the only thing keeping it from being ranked higher, because at its best, season five in particular, this stood with the best of Buffy. And, unlike Buffy, they went out at the absolute top of their game, with a final episode that perfectly captures what made the title character so unique.

This makes the end of the shows I would consider masterpieces. After this, there's some really great shows, but they don't quite match up to the preceding shows, which represent the medium at its absoulte best.

8. The X-Files
Best Episode: 'Jose Chung's From Outer Space' (3x20)
Best Season: 3


At its best, The X-Files is my favorite show of all time. There's moments that have a scope and grandeur that eclipse anything else in TV history, but the show will always be flawed by its total disregard for plot and character continuity, and the fact that there were way too many uneven standalone episodes next to the brilliant mythology stuff. But, the show had enough good stuff to remain one of my favorite shows.

9. Freaks and Geeks
Best Episode: 'Discos and Dragons' (1x18)
Best Season: 1


The most accurate depiction of the highs and lows of high school life in any medium. The subtle character development and consistent growth over the season was great to observe, and each of the episodes works wonderfully on its own. If this had kept going, it would probably be much higher on the list.

10. Gilmore Girls
Best Episode: 'A House is Not a Home' (5x22)
Best Season: 5


Like Buffy and Six Feet Under, this show is notable for the way it tracks characters on the journey of life, covering a vast period of time that you just couldn't do in film. The show has gotten slightly darer as it's gone on, sharpening into a still funny, but more poignant exploration of Lorelai's loneliness in the fifth and sixth seasons. Lauren Graham is one of the best leading ladies in TV history, totally carrying the show.

And 11-20...

11. Arrested Development
12. Battlestar Galactica
13. 24
14. Seinfeld
15. Samurai Champloo
16. Babylon 5
17. Spaced
18. The Prisoner
19. Carnivale
20. Trigun

Tuesday, August 22, 2006

Top 25 TV Characters

This one's been going around. They're in alphabetical order by character name. Look out for spoilers for the characters' fate.

Adriana La Cerva (The Sopranos) - She was the one character on the show who was able to remain uncorrupted by organized crime, right up to her exit. That was a huge turning point for the show and it's been missing something ever since.

Angel (Buffy/Angel) - On Buffy he was one of the best villains the show ever had, but other than that rather uninteresting. However, the longer his own show went on, the more complex he got, culminating in a finale where he makes a series of incredible sacrifices to try and save the world. It's heartbreaking stuff. And this occurs in the same season in which he turns into a puppet. That's range.

Anya (Buffy) - She started out as a fantastic comedy character, drawing attention to the absurdities of human behavior. However, that naivete was wrenching in "The Body," and her ultimate choice to fight in Buffy's final battle is full of such mixed feelings. Is she embracing her human side, or has she been so messed up by recent events she doesn't care if she dies? Regardless, the final shot of Xander looking for her dead body is the most haunting moment of the series finale. Plus, her solo episode, 'Selfless' perfectly encompasses the way that Buffy can mix really broad comedy with heartbreaking tragedy.

Brenda Chenowith (Six Feet Under) - One of my favorite moments in the series, when Brenda yells at Nate not throw his engagement ring at her because "it's so cliche, I'll fucking barf" encompasses everything great and flawed about her character. This is someone who's so worried about not being normal and boring she's trying to preserve her originality rather than engage in the emotion of that moment. Her growth in the final season was astonishing and I love the way things ended up for her. Rachel Griffiths' work here is one of the all time great performances.

Christopher Moltisanti (The Sopranos) - Christopher is an endlessly frustrating character, someone who has dreams outside of the mob world, but can never quite make it. It's painful to watch him continutally fail, never more so than in the series' best episode, 'D-Girl,' in which he comes so close to getting out, but winds up retreating back into the family at the end.

Dale Cooper (Twin Peaks) - From his very first scene, Cooper is a fully formed personality, totally unique. I love his blend of rationality and mysticism, never better realized than in the early episodes, where his quest to save Tibet and throwing of rocks at bottles provides great entertainment. His mad run through the black lodge is another character highlight, pushing the best TV episode ever forward on the back of his personal tragedy.

David Brent (The Office) - He's absolutely hilarious throughout the series, but what makes Brent special is the few moments of humanity, his crying when he's fired and his sadness throughout the Christmas special. The "Fuck off" to Chris Finch is such a satisfying moment of character growth.

Faye Valentine (Cowboy Bebop) - When she joins the crew, they start to become a family and it's that uneasy family connection that makes for most of the emotionally powerful moments in the show. My three favorite Faye moments are the older her watching her younger self cheering for her on video and realizing that her life is nothing like what she expected. Then, the heartbreaking moment where she runs to find her childhood home and finds nothing but an empty lot, and finally, her tearful request to Spike not to go after Vicious, one of the saddest moments in all of TV.

Gob Bluth (Arrested Development) - The funniest character on a show stocked with hilarious characters. His ridiculous level of sleziness, the "Final Countdown" dance, Franklin. Some bizarre and great comedy.

Jack Bauer (24) - The Jack Bauer Power Hour is called that for a reason. At first it seemed implausible that Jack could do so much, but it's become a conceit of the show and now you just accept that this guy can do anything. I love the way that an entire military division could fail, but you send in Bauer and you get the job done. There's such an underlying sadness to the character, as he is forced to sacrifice all personal connection to get his job done. The last hour of the show has to end with Jack's death.

Jet Black (Cowboy Bebop) - The gruff on the surface, but big hearted father figure to the Bebop crew, the thing I love about Jet is the way that he never says how much he cares about them, but we know that he'd do anything for his friends. His two best moments are when he rescues Faye in "Jupiter Jazz," and his quiet request to Spike not to go after Vicious. He loves them so much, but he can't save Spike.

Lindsay Weir (Freaks and Geeks) - She's someone who's looking for a higher purpose for life, but finds nothing in her suburban environment to match her lofty ambitions. I love her search for personal identity as she moves uneasily between social worlds.

Lorelai Gilmore (Gilmore Girls) - Another woman in search of her place, though this one's a lot older. Lorelai is one of the funniest characters on TV, but it's her tragic side that appeals to me. She desperately wants something more from life, but feels like she'll never be able to find it. I loved her sad journey through the sixth season, particularly the painfully awkward speech at Lane's wedding. But, it's not all bad, her enthusiasm and quirks are always entertaining, she's someone you'd want to hang out with.

Fox Mulder (The X-Files) - His total devotion to finding the truth was the fuel behind the entire series, but what made Mulder so endearing was his quick wit and ability to move from deeply serious stuff to really goofy quipping. The character took on a life of his own and made the series what it was. Just look at the post Mulder episodes to see how crucial he was.

Nate Fisher (Six Feet Under) - Nate is someone who always wanted more, he was looking for a higher purpose in life, a more fulfilling relationship, a more meaningful existence. This quest is what propelled him forward, but it's also what doomed all his relationships. Nate's story is a tragedy, but you can still respect him because he never settled. The other Fishers may have been built for ordinary life, but that existence was toxic to Nate. He was the soul of the show and my favorite TV character of all time.

Nick Andopolis (Freaks and Geeks) - Yet another character in search of something more than his everyday life, Nick was undermined by his lack of initiative and work ethic. His work in the final episode is brilliant, the character still clinging to the hope of a relationship with Lindsay throws himself into an apocalyptic disco dancing contest. I don't see good things in his future.

Dana Scully (The X-Files) - I don't think it was either Mulder or Scully who was crucial to The X-Files, it was the combo. They had such perfect chemistry, it could enliven even the stupidest monster of the week episode. However, when they did get the emotional mythology stuff, Scully went to many intense emotional places, always remaining relatable. She went through so much awful stuff, but remained strong through it all. Their relationship was the show by the end, and it was great.

Sharon Valeri (Battlestar Galactica) - The ultimate questioning of purpose, Sharon had to deal with the revelation that she wasn't actually human, while simultaneously another Sharon was dealing with the fact that she was a cylon, but could have human feelings. I love the line between artifical and human life and this character is like a TV version of Roy Batty. Her appearances kept the middle chunk of season two watchable.

Spike (Buffy the Vampire Slayer/Angel) - Here's a character who totally owned every scene he's in. It's no coincidence that the show started to get good when he first appeared, and Angel had its best season during the time he was on. Spike was such a charismatic character that he made everyone he interacted with more interesting. Buffy was the most interesting during his season six trysts with Spike and Angel was at his best when the two of them worked together. I love the way Spike tries to project this really cool image, but is a sappy romantic at heart. He's full of endless complexities and there's no character who's more interesting to watch.

Spike (Cowboy Bebop - Another complex Spike, he's the cool image of Bebop, totally above emotion and feeling. At first this is his attraction, but as time goes by, we see that it's his greatest flaw. The end of Cowboy Bebop, and Spike's role in it, is totally frustrating, but it's the only way he could have went out. Rarely do you see such a tragic character depicted on TV, someone who just can't move beyond his past.

The Smoking Man (The X-Files) - Whenever I saw William B. Davis in the opening credits, I knew that we were in for a good episode. Davis owned every scene he was in, and is the ultimate representative of conspiracy in fiction. As time went on, he became more complex, and his tragic nature was never better expressed than in 'Musings of a Cigarette Smoking Man,' or particularly in 'En Ami,' where we saw a man whose whole life has been squandered consigning himself to death. He's a very compex antagonist and despite Carter's best efforts, the character never lost his cool.

Tim Canterbury (The Office) - The ultimate everyman, he hates his job, but can't get it together to move beyond it. His facial expressions are priceless, look at Hat FM, or any scene with him and Gareth. His quiet "She said no by the way" in the second season finale is one of the saddest moments in the show, and his joy when Dawn returns is the best moment in the whole series. It's difficult to make a really ordinary character and not make him boring, but they pull it off with Tim.

Tony Soprano (The Sopranos) - The most complex TV character of all time? Maybe, he's certainly one of the most interesting. Tony is at a slight remove from the mob world, aware of his moral transgressions, but endlessly justifying them, blaming them on his mother or claiming that every white collar businessman is doing the same thing. He's a distinctly early 21st century guy, caught between alpha male tradition and the need to be more sensitive today. He's never been more interesting than post coma when his new moral code forces him to break out of traditional patterns.

Wesley Wyndham Price (Angel) - Wesley's journey is what makes the character so interesting. He starts out as a hopelessly inept guy not suited for the real world and ends up a hardened warrior so emotionally numb he has to die. And, that journey is totally organic, there's no one moment of change, it just happens as time passes and then you look back and realize how far he's gone.

Willow Rosenberg (Buffy) - Much the same, Willow has a huge evolution over the course of the series and is almost always more interesting than Buffy herself. I love Willow and Oz and I love Willow and Tara. Hannigan can do comedy and drama with equal skill and I hope that she does some serious work soon and doesn't just get typecast in a sitcom nitch.

Friday, June 30, 2006

My Emmy Nominations

Back in March, I did a post with all my Oscar nominations,and now it's time to do the same for the Emmys. The actual nominations are out next week, but here's what I think they should be. Now, I'm a bit handicapped because I can only put down people who are on shows that I actually watch, but there's a pretty solid mix of shows. In some cases, I chose to combine comedy and drama, just because I don't watch that many shows and I wanted to put people down who actually have done good work. And, rather than doing seperate writing and directing catergories, I combined them into a Best Episode catergory. And one final note, the eligibility period was June 1, 2005 to May 31, 2006, which means that a couple of shows that are now gone are making the return here. On to the awards...

Supporting Actor (Comedy):
Will Arnette - 'Gob' on Arrested Development
Michael Cera - 'George Michael' on Arrested Development
David Cross - 'Tobias' on Arrested Development
Kevin Dillon - 'Johnny Drama' on Entourage
David Sutcliffe - 'Christopher' on Gilmore Girls


Arrested clearly had a lot of fantastic performances, but the most consistently funny one on the show is Michael Cera as George Michael. His bizarre relationship with Maebe in the final few episodes of the series gave him some of his best material and he managed to get huge laughs by underplaying the material.

Supporting Actress (Comedy):
Kelly Bishop - 'Emily' on Gilmore Girls
Alexis Bledel - 'Rory' on Gilmore Girls
Portia De Rossi - 'Lindsay' on Arrested Development
Alia Shawkat - 'Maebe' on Arrested Development
Jessica Walter - 'Lucille' on Arrested Development


Two of the people in this category are basically playing the same character, Kelly Bishop and Jessica Walter, the only difference is that one lives in a relatively real world and the other lives in a crazy cartoon world. However, I think the best performance here is by Portia de Rossi who went to such weird places in the final few episodes of the series.

Supporting Actor (Drama):
James Callis - 'Gaius Baltar' on Battlestar Galactica
Michael Imperioli - 'Christopher' on The Sopranos
Chris Messina - 'Ted' on Six Feet Under
Tony Sirico - 'Paulie' on The Sopranos
Jeremy Sisto - 'Billy' on Six Feet Under


This is a category with a ton of worthy people, you could easily get five from the cast of The Sopranos alone. However, the winner here is Michael Imperioli, who always remained emotionally intense even when the show started to drift towards the end of the season. His lingering issues about Adrianna's death and the direction of his life provided some of the season's best material.

Supporting Actress (Drama):
Tricia Helfer - 'Six' on Battlestar Galactica
Tina Holmes - 'Maggie' on Six Feet Under
Grace Park - 'Sharon' on Battlestar Galactica
Katie Sackhoff - 'Kara' on Battlestar Galactica
Grace Zabriskie - 'Lois' on Big Love


Another catergory with a surplus of great performances, however the best is Grace Park, who had to create two seperate, but very similar characters and pulled it off entirely. She provided the best moments in the weak run during the second half of the season and her work at the end of the year, particularly in Downloaded was fantastic. She's one of those people who makes every scene they're in great.

Actor:
James Gandolfini - 'Tony' on The Sopranos
Michael C. Hall - 'David' on Six Feet Under
Peter Krause - 'Nate' on Six Feet Under
Julian McMahon - 'Christian' on Nip/Tuck
Kiefer Sutherland - 'Jack Bauer' on 24


For me, Peter Krause is Nate, I don't watch him and say "That's a great performance," I just see it as someone who exists and is living his life. While the Oscars usually reward stuff like Ray or Capote, where you're always aware of watching a 'great performance,' I think the best acting is like Krause's, where there is no apparent line between the character and the person. His angst during the early part of the season leads to the absolutely brutal breakup with Brenda on his death bed. He went through a lot this season, and I would consider Krause's work as Nate over the course of the series the greatest television performance of all time.

Actress:
Lauren Ambrose - 'Claire' on Six Feet Under
Kristen Bell - 'Veronica' on Veronica Mars
Edie Falco - 'Carmela' on The Sopranos
Lauren Graham - 'Lorelai' on Gilmore Girls
Rachel Griffiths - 'Brenda' on Six Feet Under


This is the best bunch of performances of any of the acting categories, and if you compare it to the best actress nominations at the Oscars, it's pretty clear that women are getting much more to do on TV. Falco and Graham did some of their best work this year, but no one can top Rachel Griffiths, and her work as Brenda. Take everything I said about Krause above and repeat it, because she does the same level of brilliant work. The thought of her going through this extended story about miscarriages and possible genetic disease while actually pregnant is crazy, but she takes it and does some of her best work. The one scene that stands out for me is the dream where she and Billy are about to have sex, it's such a creepy scene, but she handles it perfectly. Brilliant work.

Episode (Comedy):
Arrested Development – ‘Development Arrested’
Entourage – ‘I Love You Too’
Gilmore Girls – ‘I Get a Sidekick Out of You’
Gilmore Girls – ‘Partings’
Gilmore Girls – ‘The New and Improved Lorelai’


Obviously, Gilmore Girls had a lot of great stuff, but the best comedy episode of the season was the insanity of Development Arrested, which saw the series spin further into craziness then it had gone before. They knew they were cancelled, so Hurwitz and co. took this as the opportunity to break down all the taboos and go to a very odd place. It's very satisfying as a series finale, with the biggest highlight being the return of Anyong. It was a great way to go out.

Episode (Drama):
Battlestar Galactica – ‘Downloaded’
Six Feet Under – ‘Ecotone’
Six Feet Under – ‘Everyone’s Waiting’
The Sopranos – ‘Join the Club’
The Sopranos – Mr. and Mrs. Sacrimoni Request…’


The final five minutes of the series were its best, but the best episode of Six Feet Under's final season, and the best episode of the year, was Ecotone, one of the most intense and brutal episodes of any series. This went to a lot of the same territory as Buffy's The Body, but with its glimpse into a parallel universe and dream ending, it goes to a uniquely Six Feet Under place. Nate breaking up wtih Brenda and the dream were both highlights, but it was that final white screen that left me totally overwhelmed. Nate had quite a journey, and this was an incredible way to go out.

Series (Comedy):
Arrested Development
Curb Your Enthusiasm
Entourage
Gilmore Girls
Weeds


It's odd to give the best comedy award to Gilmore Girls, because this season went to a very dark place and stayed there, culminating in an all falls apart finale, but the show's in the comedy category, so content be damned, it shall win. This season saw the best work from Lauren Graham, taking Lorelai in a darker direction, first with the strain between Rory and Lorelai, then with the strain between Lorelai and Luke. This is a great example of a show staying fresh by exploring new territory, and even if the show loses something wtih the Palladinos, at least they went out on a high note.

Series (Drama):
Battlestar Galactica
Big Love
Six Feet Under
The Sopranos
24


For the final five minutes alone, Six Feet Under deserves this award. No show provided has ever provided as satisfying a conclusion as the jump into the future. But, the entire season took those kind of creative risks, Nate and Brenda's arc, Claire's time in the office, the chaos 'Static' and the sadness of 'Ecotone.' All fantastic stuff. When this was airing, Sunday night became the highlight of my week. It was the second strongest season of the show's run and a perfect conclusion for one of the greatest series of all time.

Total (Wins)
Six Feet Under - 10 (4)
Arrested Development - 8 (3)
Gilmore Girls - 7 (1)
The Sopranos - 7 (1)
Battlestar Galactica - 6 (1)
Entourage - 3
24 - 2
Big Love - 2
Nip/Tuck - 1
Veronica Mars - 1
Weeds - 1
Curb Your Enthusiasm - 1

Related Posts
My 2004 Oscar Nominations (1/26/2005)
My 2005 Oscar Nominations (1/31/2006)

Thursday, December 01, 2005

Six Feet Under: Nate

In my last post, I covered one of the series' more insignificant characters. Maggie, while she does have some intriuging characteristics, is most interesting in the context of her relationship to Nate and what she tells us about him. So, rather than continuing this elliptical analysis, I shall go straight to the source and discuss the show's central character, its tragic hero, Nate Fisher.

The first time we see Nate is on a plane going home for Christmas, and in that scene, he meets the person who will dominate his life for the next five years, Brenda. However, the series gives us glimpses of what Nate's life was like before this. As a child, he seemed to have a deep fear of death, whether it be his dead dog, or the bodies his father was working on, Nate had an understandable fear of the dead. Living in a funeral home, this caused a problem, and is likely one of the major reasons that he left home. He didn't want to live in that atmosphere, bound by the restrictive rules governing behavior in the Fisher family. The person who most like was his father, however Nathaniel always maintained a distance from his family, so Nate was never able to get close to him. He learns more about his father in the first few episodes of season one, most notably 'The Room,' than he did in all his childhood.

So, Nate runs away and winds up in Seattle, where he apparently lives a life devoted to his own pleasure. He doesn't expend himself to get a great job or a committed relationship, instead he takes easy work, at the food co-op and drifts from person to person, with Lisa serving as a frequent stop along the way. Nate had moved away from the rules and regulations of family and made a new life for himself, literally, a life that would provide him with the greatest pleasure for the least expense of effort. He had always vowed never to become his father, and this seemed to be the biggest move he could make from the funeral business.

However, when he goes home on Christmas after his father's death, Nate will never again really leave his family and the life he ran away from once. At the end of the first episode, after realizing his skill for counseling the bereaved, Nate agrees to stay and help with the business temporarily. However, considering his name comes first in the credits of the show, we know that this is not a temporary arrangement.

Nate at first enthusiastically embraces the role of funeral director, even stopping David from selling the home to Kroener. Had he allowed the sale to go through, his whole life would have been different, he may have returned to Seattle or at least found a job that was less taxing. However, he stopped the sale and as a result, wound up drawn further and further into a life he never really wanted in the first place.

I would argue that it's largely Brenda who's responsible for him agreeing to stay in L.A. They have an instant connection, and there's a fire between them. This same fire that first attracts them is ultimately what makes it impossible for them to stay together. But in the early years, Nate is the responsible one, apparently seeking a long term, committed relationship with this woman he'd just met, and he continues to pursue her even after the peculiar events with Billy and the naked Australian guy.

Two years later, Nate would blame Ruth for keeping in L.A. He says it was her fault that he stayed and as a result, she was responsible for the awful events that befell him in year three. I think right to the end, Nate longed for his old life, even as he knew that it was impossible. Once Maya was born, there was no way he could go back to living solely for himself, and he accepted that.

Season two sees Nate once again placed in close proximity to death, as a result of his AVM. 'In the Game' ends with Nate sitting on the beach with his father, who asks him if he's in the game. Nate imagines walking out into the water, disappearing into the waves, but we flash back to him on the beach, deciding that he will make that journey later, for now, he is in the game. This is another trying season for Nate, as he attempts to work a relationship with Brenda that she is rebelling against through her sexual escapades. Nate here is seen as the one who wants to settle down and get married, but Brenda distances herself from him, and in one of my favorite scenes from the series, he throws the ring at her, the passion that fueled them now turned on each other in a vicious emotional assault.

Nate ends season two getting on a bus, and at the start of season three, we see him wandering through a variety of parallel universes, each one holding a different vision of what his life could be. I think this sequence is stunning, but it's illuminating in the way it reveals Nate's fears. None of these lives are good. He has the choice of being mentally ill, struggling to relearn basic language, a white trash middle aged guy with a big gut watching TV, married to Brenda with kids, smoking up before visiting Ruth, or married to Lisa with Maya, or dead.

Now, this episode is rather ambiguous in that it is unclear whether Nate is given a survey of all the lifes he could lead and chooses the life with Lisa, or if he just peeks into some alternate universes and winds up on the path he would have been anyway. The way the episode is structured implies that in one reality, Nate did die. However, he passes into some kind of nexus between worlds and winds up with Lisa. Considering the state of things at the end of season two, it makes sense that he would go with Lisa. Nate always had a strong sense of moral obligation, he wants to do the right thing, and that's what makes him initially agree to help Lisa with Maya. Considering the other realities, the only potentially appealing one is life with Brenda, but at the end of season two he was very unhappy with her, and would not likely want to go through with marrying her, and in the process give up his commitment to Lisa.

At this point, the series splits off into a parallel universe, this is just one direction that could have been taken. I suppose you could say that about every choice, in both reality and fiction, but the start of 'Perfect Circles' is what makes it even more apparent. Regardless of the parallel universe stuff, we can still consider Nate's choice to marry Lisa. This is a classic example of Nate wanting to do the right thing. He gives Lisa what she wants, and though he may not really love her then, I think he figures that he'll eventually get used to this life.

Here is when Nate takes another step on the road to exactly what he didn't want to be, his father. Clearly, this was a major thing for him, Tom Wheeler mentions it in season five, the irony of Nate of how Nate ended up being exactly what he claimed to not want to be when he was in high school. Much like Nathaniel, Nate impregnated a woman and married her because it was his obligation. And now he finds himself trapped in a marriage that he finds imprisoning, and as the season progresses, he starts to recede from Lisa and have his own secrets, much like his father did. This comparison is made most apparent in 'Nobody Sleeps,' when Lisa throws Ruth a birthday party and the two of them bond, blending in Nate's mind. He removes himself from the festivities and stands outside alone, hearing his father remark on how similar to the two of them are.

I think season three is the best of the series, largely because of how Nate struggles to preserve his self identity against the overwhelming pressure that is Lisa's desire to be very close. Lisa too is living something of a lie. She used her pregnancy as a way of finally locking Nate into a committed relationship, and in light of what happens later, it's quite possible that Nate is not even the father of Maya. However, she saw an opportunity to get what she wanted, and assumed that Nate would learn to love her like she loved him. Nate finds himself being smothered in a life he didn't really want, unable to live up to what Lisa expects of him.

At this point in season three, Brenda re-emerges and causes some major jealousy issues with Nate and Lisa. She seems to be giving him a way out, but Nate rethinks things, likely still stung by the way that he and Brenda parted. this lead to perhaps the best chance Nate ever had for a viable relationship is after he meets with Lisa in the pyramid at Claire's art show. They both acknowledge that they are never going to be a perfect couple, and instead choose to just embrace what they do have. I think this is pretty much what Nate wants, someone who will be there when he needs her, but will also give him the space to do his own thing. A large part of why he resents Lisa early in season three and Brenda in season five is the fact that they both are trying to make him conform to the role of traditional husband, to subordinate his individuality to the family unit, and he's not ready to do that.

If I had to guess, at some point when Lisa was angry with Nate, she restarted the relationship with Hoyt, and this would be where the conversation he refers to in 'Untitled' occurs, where Hoyt says that Lisa told him how hard it was being with Nate. Most likely after he was drawn to Brenda, Lisa went up to Hoyt for a chance to get out her anger. However, after the pyramid discussion, I think she went to break things off, she wanted to come clean so that she and Nate could move forward from a good place, but Hoyt didn't like this and as a result, he kills her.

What this does for Nate is set up an incredible three episode journey, as he goes closer and closer to the edge, consumed by guilt that his wish that he would be free of Lisa has led to her going missing and eventually winding up dead. Nate has got what he wanted, but it destroys him. This is when the conversation I referred to earlier occurs and Nate lashses out at Ruth for keeping him in L.A. and leading him down the path to this pain. Nate seeks comfort from a customer at the funeral home, then lashes out at her when she asks to see him again. He inflicts similar pain on Brenda and his family, pushing them all away and isolating himself. He uses his pain as something distance himself, as if they are not worthy of interacting with him, their problems all petty in comparison to the pain that he is going through. The cycle of degrading events leads to the bar hookup with a woman at her dingy apartment, and ultimately culminates in Nate allowing himself to be beaten by one of the bar patrons, and ends up taunting him, asking for more pain to make up for the guilt he has about Lisa. Only by suffering himself can he be absolved of his sins.

This leads to the astonishing car scene, where Nate drives with Nathaniel and Lisa in the car, urging him to kill himself. His guilt is manifested in Lisa, who says the least he can do is kill himself. However, Nate survives and winds up back at Brenda, once again drawn to her at a moment of extreme grief. These two characters are inexorably drawn to her, and the return of Brenda in mid season three helps to make Nate's marriage more tolerable. It gives him an out. Anyway, he winds up at her door because there's nowhere else he can go, no one else who understands him, and though it is degrading for her, she still willingly goes along with helping Nate.

Season four sees things inverted for Brenda and Nate, as Nate is now the one who has to deal with issues, tempting Brenda from a stable, potentially workable relationship. For Nate, the entire season is about overcoming his guilt about secretly being happy that Lisa is gone. This is a vulnerable, broken Nate, in a way we haven't seen before, most notably when he is rejected and recedes into the Arctic in 'Parallel Play,' and in his psychic dog episode in 'Can I Come Up Now.' He definitely seems to be losing it, however, by midway through the season, he gets things together and gets on the road to getting back with Brenda.

As I mentioned before, Nate and Brenda have a very passionate relationship, and this passion can be destructive. Brenda has casual sex with Nate, but they both know that between them, there is no such thing as meaningless, casual sex. They have been through too much and are too deeply emotionally committed for that. So, Brenda begins to distance herself from Joe and they break up in a great scene where Joe calls Nate "a cripple."

Is this characterization accurate? In light of what happens in season five, it does seem prescient. Nate is unable to make the emotional commitments he would need to maintain a long term relationship. He cannot give of himself in that way, and that probably does make him a cripple. His greatest flaw is that he constantly finds something to distance himself from emotional involvement. With Lisa, it was the fact that he was more attracted to Brenda, and in season four, it is his need to mourn Lisa that prevents him from fully embracing the new relationship.

This conflict is particularly evident in 'The Black Forest,' when Nate, Maya and Brenda travel to Idaho to inter Lisa's ashes. Nate keeps Brenda seperate from the events, as if her presence there will somehow surry the proper mourning. This is not an entirely bad idea, and when Barb and Brenda cross paths, it's evident that they feel that Nate has not mourned Lisa for long enough.

This all comes to a head at the end of the season. In light of Nate's improper burial of Lisa, Barb is attempting to take Maya away from him. Considering his character, I'd imagine if Maya actually were to be taken away, on some level, he would view it as a blessing, because that would allow him to live for himself again. However, I think he genuinely does love Maya, and for all his flaws, he was a great father to her. Maya is the only person he always values over himself.

But what Barb's effort does do is force Nate to confront the direction of his own life. He continually pushes Brenda away, even as it becomes more and more apparent that she can be a mother to Maya. So, he leaves Maya with Brenda and goes North to confront Hoyt about the picture of Lisa.

This scene provides the emotional closure that finally allows him to get over Lisa. When he finds out she was having an affair, it essentially absolves him of the guilt over wanting Lisa gone. It was not his fault at all, Lisa was flawed, and it was her bad choices that led to her death. When Hoyt shoots himself, what really happened that day is resigned to mystery. Nate can never know for sure, and at that point he can either dwell on the mystery or move on. So, echoing the end of season three, Nate once again returns to Brenda, this time deciding that is time for them to get married and have kids.

When I first watched the show, I thought that the Lisa arc was primarily designed to show that Nate really belongs with Brenda, and that the reason he was unhappy with Lisa was that he loved Brenda more and actually wanted a life with her. This would imply that things would go well in the last season. That was not the case.


'A Coat of White Primer' is the first in a series of brutal emotional assaults in this final season. In this episode, Nate has to be a rock to Brenda, who is emotionally distraught over her miscarriage and fear that she can never live up to Lisa in Nate's head. Nate remains cool throughout the episode, telling David that he wants to give Brenda a baby because it will make her happy and he seems to have things worked out. Here we get flashes of the charismatic, together Nate from seasons one and two. However, at the end of the wedding, we're left with the ominous image of a bird eating their wedding cake. And in the final scene of the episode, we finally see Nate break down, his facade of strength crumbling when he's finally left alone. The thought of all the pain they will go through on the road to parenthood and the loss he has already experienced is too much.

'Dancing for Me' sees Nate is confronted with memories of his youth and a reminder of his own mortality. His friend Tom Wheeler talks about how seeing his daughter's friends awakens some lost youth within him. Justifiabily, Nate is disgusted by this and tells him it's wrong. Here, Nate claims that his life is right where he wants it to be and that he's not worried about turning forty. So, Nate is still keeping up this facade of everything's fine. I would argue that the reason Nate cannot relate to Tom's feelings is that Tom is locked into an apparently stable, boring relationship, and has consigned himself to that life. Nate still does not see himself in that role, he never did when he was with Lisa and he doesn't this time. It's evident when he imagines yelling at Brenda that she's a rebel and shouldn't conform to this role. He doesn't need to imagine being young, because in his mind, he still hasn't grown up.

The next major event for Nate is the breakdown at his fortieth birthday party. This is when the facade starts to crack, when he gets angry at Brenda because she gets angry at him. She is starting to sense that he doesn't really want another kid, he's just doing it for her, and this bothers her, and Nate doesn't really have a defense. As he told David, he is giving her this baby, and though it is his child, I don't think he has any particular desire to have a second kid, which is a bit ironic in light of the fact that Maya may not even be his. Nate keeps up the facade throughout the party, except for when he talks to Maggie.

Nate sees his homelife as something that's chaotic and troubled, and he can never seem to live up to Brenda's image of what he should be. However, Maggie is a sanctuary for him, she can share his pain and because she's alone in L.A., she demands nothing of him but companionship. Nate, though he is an understanding person who usually tries to do the right thing, seems to want relationships where nothing is expected of him. That's why he and Brenda work the first time, because they were both so self conscious about not wanting to conform to expected social ideals that they could remained distanced from each other. Asking for real commitment would be 'so cliche.' With Maggie, it is her calm demeanor and willingness to listen that makes her an essential outlet during this troubled period in his life.

Another outlet is beating a bird to death with a broom, and that's what Nate does at the end of the episode, his resolve finally cracking and his rage getting fully expressed. In the series' symbiology, birds are synonymous with death, so after staring down death at his wedding, Nate fights back and destroys this bird before it can destroy him.

The next episode sees Nate make a logical decision and fully embrace Brenda as Maya's mother. This is crucial in light of the events that happen later. However, this brief peace does not last, and in the next episode, Nate is making overtures to Maggie, telling her that Brenda and Maya are out at his mom's house and he's home alone. Nothing comes of it, but things come crashing down in the next episode when Nate finds out that their baby could be born with Downs or another genetic disorder.

Nate has so far managed to maintain a modicum of independence, kept his free spirit despite being married and a father. In Brenda, he hoped to find someone who would strive to be a rebel, unlike Lisa who was an entirely traditional mother, much like his own. Yet, Brenda neglects her old ways and fully embraces the new life she has leading. This means that Nate is left out as the one who's doing things wrong and unable to commit. Back in their first go around, she was always the one screwing things up, he was morally in the right, but here, he's the one unwilling to commit. The prospect of a 'special needs' child strikes fear into Nate's heart. This would completely alter his life, and he's seen in Maggie the pain that such an experience could cause. At this point, Nate is about seeking peace in his life, and he seems reluctant to go through all that potential pain. He doesn't want to suffer any more, while Brenda is ready to suffer whatever it takes to ensure that she has a child.

One of the notable scenes here is when Maggie tells Nate that, though it was hard, she never regrets having her son. Yet, Nate skews the information, telling Brenda that Maggie said it was very difficult and trying. Nate sees Maggie as a pure soul, someone who seeks the same peace that he is after, largely because she is the only on who has been through comprable suffering. The fact that he thinks so highly of Maggie, and speaks of her as an authority, is what bothers Brenda and causes her to lash out at Nate for the relationship they have. Maggie has the purity that she is so self conscious about lacking.

This leads to 'Singing for Our Lives,' where Nate is drawn to Quaker spirituality, the quiet, introspective moments he spends in the Quaker church a refuge from the troubles he has at home. Even though he brings Brenda with him to the church, he is more engaged with Maggie while he is there. This irks Brenda, and causes her and Nate to discuss her views on spirituality. Her confirmed atheism seems so hollow next to Maggie's deep spiritual commitment, and with his new peace-seeking incarnation, Nate cannot respond to the negativity inherent in a view of the world where nothing we do matters. Nate is always searching for a higher purpose, that's what drives him away from home, and it's what makes him unable to sustain longterm relationships.

In 'All Alone,' Brenda tells Maggie that Nate wanted someone who would make him feel like a better man than he was, and that's a large part of what draws him to her. He idealizes her, much like he idealized Brenda when he was with Lisa. Maggie is peaceful, giving not demanding, and seems to genuinely like him, whereas Brenda seems only to demand things from him. When Nate finally does sleep with Maggie, they both see it as a sacred union. It's not tawdry adultery, it's the merging of two souls in a peaceful place. However, Nate's decision to sleep with Maggie is another example of him running away from problems. Even though Brenda had nothing but disdain for the Quaker church, she saw how important it was to Nate and decided to make a sacrifice and go to the service for him. Nate is unable to make a similar sacrifice for her, he acts on his own selfish impulses, never content with where he is, always searching for a better, more fulfilling life.

Nate's collapse at Maggie's is timed such that it seems to punish him for what he's done. In breaking his bond with Brenda, he has been struck down. However, he survives and with this second chance, he would have the opportunity for redemption, to apologize to Brenda and heal his life.

However, in one of the most controversial things surrounding the character, even as he lies in a coma, Nate imagines another alternate life, one where he and Maggie are together and he breaks up with Brenda, deciding to move to a place of peace. I think Nate genuinely believes that he and Maggie are perfect for each other, even more so than he once thought Brenda a perfect partner. However, in both cases, he has constructed idealized images to suit what he needed at the time. In seasons one and two, Nate was getting drawn into a more and more conventional life and it is Brenda who provides the rebellious fire that keeps the drifting part of his soul alive. By the fifth season, Nate has been through so many awful occurrences and is continually confronted with strife at home, so he turns Maggie into this peaceful sanctuary. In the long term, it's likely her own insecurities would come to the surface and cause Nate to seek someone else, however, part of me wants to believe if Nate did survive, he and Maggie would have made it. They are both at a similar place in their lives and want the same thing.

The events of 'Ecotone' clearly demonstrate that Nate is not sorry for what he's done. He flirts with Maggie in his hospital bed, and then, in a very cutting scene, breaks up with Brenda, his pregnant wife. His points are logical, they have been through so much trauma, maybe they aren't right for each other. Brenda tells him that he's just a narcissist, and will never be happy with anyone but himself. In light of past experience, this is probably true. His two long term relationships have failed miserably, all because Nate was unwilling to give of himself to make them work.

So, this brings us to the inevitable, this show's driving force, death. The final scene of Ecotone is one of my favorites in the whole series. Continuing the birds as death motif, we see David and Nate watching a nature documentary about bird migration. From there, they enter into an odd shared dream sequence. The meaning of this dream is rather unclear, but I'll give my interpretation of it. The world we see is another parallel universe, but like in Perfect Circles, Nate has memory of the 'real world,' in which he lived during the series. However, the Nate of this world seems to be one who hasn't been through all the traumas that Nate has been throughout the series, it's a fantasy of a world where he and David have no problems and can go surfing.

He's wearing the running clothes that he wore a lot at the beginning of the series, and very rarely in the later years. So, this indicates a younger, freer Nate. Perhaps this is the life he always really wanted. The version of David here is a bit tougher to figure out, I think he's partially meant to be a composite of David and Claire. The orange hair and weed smoking indicate Claire, though she's not quite that surfer. So, perhaps this is David's fantasy as well, that he could be freed of the inhibitions and guardedness that locks him during the series.

These characters actually seem to belong to a younger David and Nate. Despite all that's happened to them, I don't think that David or Nate would actually want to undo the past five years, Nate for Maya and David for Keith. But at the same time, they can relax into these old fantasies, visions of a simpler life, and together in the back of the van, they're happier than we've ever seen them. I'm pretty sure the van they're driving in is the same van from 'That's My Dog,' and the reconfiguration of it here as a tricked out hippie van indicates more revisionism, undoing the dark events of recent years, replacing it with this idealized fantasy version.

They reach the ocean and here we return to the metaphor of 'In the Game.' Land is the life they live, their world, the ocean is the great unknown that is death where "there might be sharks." This time, Nate cannot return to reality, he is done with that and instead moves beyond, into what they've been waiting their whole lives for. In this moment, Nate consciously chooses not to hold onto the pain and suffering. While I wouldn't say that Nate is happy to die, I do think that at this moment he is at peace. He is no longer trying to live through the conflict with Brenda, he has freed himself from that relationship, and no longer has the energy to fight.

It's sad, but Nate is really worn down over the course of the series. The person who feared death so much early in the series, because he had so much to live for, has been reduced to someone who runs from the fire. That is why he goes off into the water. The implications of this are made clear when we see regular David return and get offered crack by Nathaniel. So, refusing to go into the water, he's again confronted with the pain of this world, the worst thing he ever experienced. I think it's this moment that causes him to have a whole bunch of problems in the next couple of episodes rather than the pain caused by Nate's death.

But, that's for another post. So, it would seem that Nate's journey has reached an end, he's willing to accept death and goes off into the great unknown. A critical character point is revealed in 'All Alone,' when Maggie goes to apologize to Brenda, but Brenda tells her "He didn't really love you, he only loved himself." I'd consider this central to the character's failings, he was enchanted with her becuase she was everything he didn't have, but once he did have it, then he would want something else. He was always searching, never content to compromise and live with what was given to him.

I don't think this is such a bad trait, and even though what he does to Brenda at the end is extremely harsh, it's the first time he's really being honest, he's telling her what he could never tell Lisa, honestly expressing his feelings about their relationship in a peaceful manner, rather than a shouting match.

As the series ends, we see everyone making compromises to create relationships that work. George may not be perfect, but Ruth finds love with him. Brenda has to give up some of herself to raise Maya and Willa, but she does it. At the end of the series, we see a new family constructed. Nathaniel's absence cast a shadow over the entire series, and Nate was continually being forced into the role of patriarch, a role he did not want. He was not a family man, he was an idealist, always searching to better himself, and that meant he could not make a relationship or family work. He needed more. In his absence, a new family is built, and only when Nate died could that happen. Ruth and Brenda connected in his absence, and the Chenowiths and Fishers finally really came together.

While Peter Krause does appear a whole bunch of times in those final episodes, there are only two appearances I would consider to be the real Nate. One is the scene where we see Nate holding Willa, and telling Brenda how much he loves her. Because Nathaniel is there, and specifically mentions that Brenda had never seen him, it implies that this isn't her mental projection, it's a visit from the spirit of Nate, telling her what she really wanted to know, that he loved Willa and was glad that Brenda had the baby. Telling her this, Nate assuages her fears and allows her to mvoe forward.

The final appearance of Nate is in Claire's rearview mirror, when once again we see the young Nate, running. This is the crucial image of the character, encompassing his flaws and attributes. He was never content to stand still, he ran from his family when he was young, he ran from Lisa and he ran from Brenda, and while this running hurt him, it also shows that he was never content to stay with what was known, he wanted to move forward into the unknown, and wading into the water, that's what he did.

Wednesday, November 30, 2005

Six Feet Under: Maggie

I'm going to do a couple of posts about some specific elements of Six Feet Under that I find interesting, and this one is about the character of Maggie. Maggie is someone who's full of contradictions and mystery, and even after spending a season with her, we have a better idea of what Nate sees her as than who she really is. So, what does our limited time with her tell us about Maggie and who she is?

The primary trauma in Maggie's life was George abandoning her and Brian when they were children. Clearly, they were close, as evidenced by their song in 'Untitled,' but in 'Static,' we get an idea of what has really lingered from her childhood. Maggie was abandoned by George and that scarred her deeper than she'd like to admit.

Maggie turned out ok though, got married and had a son. Here is where her life once again goes bad, her son died and she is once again deeply scarred. This is the kind of traumatic event that can destroy a life and what it seems to lead to is Maggie distancing herself from her emotions and immersing herself in a job that keeps her travelling all over. With no real home, she's never forced to reflect on her life, instead she runs from her problems, and has an essentially meaningless relationship with a doctor in Phoenix that dissolves by the time she makes it to L.A.

The start of season five sees George getting worse and Maggie drawn to a permanent residence for the first time in a while. George's mental illness has pushed Ruth to the edge and that means that Maggie has to stay in L.A. to ensure that George is ok. It's what she has to do and once again responsibility is forced on her. She's forced to care for the man who abandoned her, all the while keeping up a happy exterior to keep her dad feeling okay. He's so proud of her, she feels unwilling to let him see her flaws.



As the season continues, Maggie is drawn closer and closer to Nate. In Nate she sees a kindred spirit, someone who has also suffered misfortune at every turn. With Nate at a crisis point in his life, getting drawn more and more into a life he doesn't really want, he sees an out in Maggie, someone who shares his desire to move past the problems of the past and find some peace.

What is it that drawns Maggie to this damaged soul? It's primarily her loneliness in L.A. She knows no one there, except for George, and that means she's very alone. You can see this in the extremely sad scene in 'The Rainbow of Her Reasons,' where Maggie is sitting in her car alone, calling Nate because he's the only person she can relate to. The two of them are drawn closer together and though she knows it's a dangerous path, her loneliness draws her closer and closer to Nate.

To Nate, Maggie peace, someone who has life figured out. She can counsel him on the prospect of having a disabled child, though he alters his advice when he conveys it to Brenda. Part of the attraction for Nate is that Maggie has no other responsibilities, she can be solely devoted to him, demanding nothing but companionship. This is a stark contrast to Brenda, who is increasingly demanding of Nate.

So, her loneliness draws them to the fateful night where her car breaks down and Nate agress to give her a ride to the service. I wouldn't be shocked if the car breakdown was just an excuse to draw Nate closer to her. I think Maggie felt guilty about what she was doing, but also wanted more from Nate. He's the only person she has. When he kisses her, she initially resists it, but quickly that resistance fades and she sleeps with him. She doesn't really know Brenda, she has almost always seen Nate without her and without Maya. That's part of what allows Maggie to go through with what she does.

And when Nate collapses, she winds up at the hospital and is forced to acknowledge what she's done to everyone, most notably Brenda. There's the brilliant exchange where Maggie says they were talking and Brenda replies "About what, his daughter and pregnant wife?" Maggie, who has always presented herself as a moral person, it is her strong morality that draws Nate to her, is now forced to sit there, the guilt of the adultry mixing with guilt about apparently killing him.

However, while she is sorry, I think she does have strong feelings for Nate. This is one of the few people who can understand what she's been through, and her final scene with Nate, I think she imagines a future with him, the life of peace he's been seeking. They've found each other in the same place, just with the unfortunate fact that Nate is married to Brenda. Maggie never apologizes for what she's done because she knows that it's what Nate wanted at that moment. Would it have worked long term? I don't know, but at that time, Maggie acted on what she wanted.

With Nate dead, Maggie finds herself completely alone, and goes to Brenda seeking some absolution for what she did. She wants Brenda to say that it's ok, and forgive her, but instead receives only harsh words and the promise that Nate didn't really love her. Brenda refuses to grant Maggie clemency and instead brings to light the fact that Maggie has broken up a home, the same thing she could never forgive George for. She has become that which she hated most.



That's why in 'Static' she rails at George. When she criticizes him she is actually criticizing herself for becoming George. And the scene also reveals that the peaceful character we've seen over the season is a facade that has broken down in light of the horrific events. She won't lie to George anymore, smooth over the past, instead she confronts him with the impact of his actions, much like she just had to face the impact of what she had done to Brenda.

When last we see Maggie, she has again moved on, back to the solitary drifter life she lived before the brief stopover in L.A. Her final scene raises the question of whether she is pregnant with Nate's child. She is a pharmacutical rep so there's certainly logical reason for being in a doctor's office, however, the way she's called indicates that she's a patient. It's left ambiguous, but I would say it's quite possible she is pregnant, which would mean that Nate has given her what she lost years before, and another chance at being a mother.

Watching the drama with Maggie unfold was harrowing because it seems that Nate has finally found the perfect person, except that it means betraying his wife. She becomes a sanctuary for Nate, someone who he can share his problems with, and he becomes her only companion. They both make a bad choice, because even if they should be together, that wasn't the way to do it, and seeing the two of them together juxtaposed with Brenda alone in the Quaker church is heartbreaking. These are two people who strive to be good people, yet continually stumble. I really liked Nate and Maggie together, and part of me wanted them to get together, but seeing it actually happened, I hated Nate in that moment, and that's the problem. Maggie wants something she knows she shouldn't have, and the fact that she never steps back and looks at what she's doing is what dooms her.

Would Nate and Maggie have made it? Probably not, as Brenda said, Nate was always looking to the next thing, and Maggie's darker side would eventually well up, destroying the peace. But as Maggie tells Ruth, in that moment, Nate was happy, they both were happy. They were at peace.