Rollin’ back on into town.
We’re six months on from the end of last season, twenty-five from Katrina, and as the new credits demonstrate, there’s a lick of paint brightening things up in New Orleans. This made for a relatively light tone to a lot of the episodes, as things seem to be going well for many of our cast, with only a few cloudy horizons being delved into initially.
Those for whom gloom is developing are Antoine, LaDonna and Terry Colson. And Nelson hidalgo’s still on the outside and looking for a way back in that isn’t opening as quickly as he would like. Our main trombonist is feeling hemmed in by his job, by being a houseowner, by having a wife who expects him to start acting like a damned grown-up. Particularly galling is how he gets arrested at the start for throwing the Police a finger when they bust up a night session honouring a dead musician, yet two guys whose charges are dismissed at the station become the ‘Treme Two’ and get all the publicity, and the gigs.
But all it takes is the length of one opening episode and the next night the Police turn up to escort the parade. Go figure.
LaDonna and Larry are staying with in-laws whilst they find a place in New Orleans to double as home and his Practice and that is not going to last. LaDonna’s sister-in-law looks down on her from a great height and you know LaDonna will always piss up. The tension is rife.
And Terry’s feeling the blues. He’s on his own out there in Homicide, the corrupt Captain’s gone, the detectives all hate him, the Deputy Chief won’t transfer him back, he hasn’t got Toni’s friendship any more, and his ex-wife ain’t letting the boys come visit whilst he still lives in a trailer. Colson is in isolation.
And Nelson still isn’t being let back in the game of FEMA money, not whilst the erstwhile Councilman Thomas is in Federal Prison and can yet drop a dime on him. So he tries to find another way in but his fresh-faced, boyish charm cuts no ice with the steely Mrs Mortensen, who cuts him off at the balls.
So these are our current losers. Everyone else looks like they’re on the up. Annie T. has her own band, is going down a storm, and she’s so gleeful she’s jumping Davis at 6.00am in a seriously shortie nightie which makes me seriously jealous (and I mean jealous, not envious) of Steve Zahn, who’s composing a Poverty Opera and getting Clarence ‘Frogman’ Henry involved.
Janette’s going down big in New York and jumping Jacques’ bones in New Orleans, whilst breaking with the grand television tradition of women having sex by not keeping her bra on.
Toni and Sofia are on a much more even keel. Mom is still working the Arbrea case, and is finding a new ally in investigative journalist L.P. Everett (Chris Coy, new to this year’s cast). Sofia’s got a boyfriend, the musician guy outside the coffee shop whereshe works, and Toni’s cool about not having met him yet.
Delmond’s CD has been released to good reviews and decent advance sales. Albert’s proud of it, he’s even smiling, but he’s coughing a bit too.
Sonny’s going out with Linh, though her father still isn’t give in them enough leeway for much more than, say, half an hour’s kissing. He’s cut his hair, looks clean too.
Have I left anyone out? No, the show’s back on the road, the lives have resumed, but we are now nearer to the end than the beginning. There is now a time limit on what I am watching and I was oddly conscious of that from the beginning. Rock with me.