I haven’t, exactly, been critical about season 3 of Treme so far because I have been enjoying it, but the first two episodes have felt a bit soft focus, lacking in any narrative bite. That comes to the fore in episode 3, which felt sharper and a lot more energetic from the outset.
Things feel like they’re starting to move now, the characters not just living their lives but actually set in motion towards things that will play out. For instance: Janette’s down in New Orleans, looking over the generous restaurant space her would-be partner’s eager to put up, whilst Annie’s gone for a meal with the guy who manages Shawn Colvin and who’s interested in managing her. There’s an unusually telecinematic sequence where, instead of letting each scene play out, the episode cuts back and forth, making the two strands intertwined when they have nothing to do with each other except thematically.
Both go for it, with differing aftermaths. Janette re-hires Jacques as her sous-chef, moves out of Brooklyn with a farewell hot dog blow out with her housemates, Annie goes on the road with her band for an overnight gig.
There’s a third negotiation in town too. Davis is utterly committed to his opera and is hiring old musicians left right and centre, guys who played on classic recordings but never saw a penny from them. So now he’s up on his great big ethical high horse, determined to give them payment, at the expense of not just himself but Aunt Mimi, both of then foregoing their percentages and expenses. Poor Davis. He’s still the same clown he always was, though Annie has rubbed some of the sharper edges off; I can tolerate him now because there are some tiny indications that he may be growing up, not that he ever will, completely.
Elsewhere, some more of the characters are interacting. Antoine and Delmond are playing in a gig and talk afterwards about Albert. Delmond’s taking an increasing role in organising the tribe but they need rehearsal space. So Antoine puts in a word and Delmond turns up at LaDonna’s, very clearly out of his depth with a woman like her (I loved the scene, which was a gross mis-match: when has Khandi Alexander ever not dazzled in Treme. But Rob Brown sinks it as well with a finely judged piece of underplaying).
Terry Colson and his partner, Detective Nikolich, catch up with the potential killer of Jay Cardello. Terry’s getting tired, thinking of handing in his papers. He gets a boost, and Nikolich a cynical surprise, when they stop for coffee where Sofia Bernette works and she passes on to Terry the words of praise her mother, Toni, had for him.
And the girl has a definite streak of the little minx in her, dropping onto her mother’s shoulders that she’d seen Terry and that, oh yes, he’s very tall.
Not that Toni’s interested right now. Toni is precipitating something that will run through this last full-length season. We’ve seen in the open a black Police Officer in uniform walk into a crowded bar where the music is playing and Delmond is watching along with his current girl, Alison, Toni’s assistant, collect a crate of Bud at the bar, then beat a kid who stepped in his way. Wilson is Toni’s suspect for the Arbrea murder. Now she’s throwing the cat among the pigeons by taking out a newspaper ad inviting people assaulted, brutalised and browbeaten by Wilson to contact her. There’s going to be a lot of shit coming her way, and she’s warning Sofia to be squeaky clean, because she’ll be a target if the Police can get her on anything.
Meanwhile, Nelson’s still trying to build his Empire. This NOAH thing is going to blow up in people’s faces, sooner rather than later, and if he and Robinette’s firm have done it right, even at no-profit, they’ll be first in line when the real tap opens and gushes money. There are signs that something’s starting to crumble: Antoine’s wife, Desiree, has found a NOAH sign outside her family home, she’s see Nelson, she’s started digging, along with others, into what’s going on. Nelson don’t mind, Nelson’s taking out Cindy who wanted a job but who settles for an evening’s wining and dining and getting all her kit off in Treme‘s most comprehensive and gratuitous nude scene so far.
In fact, Nelson’s not the only one getting his end away. As the episode slows down towards the end, it’s in the air. Antoine’s on a five night tour in Texas, the suspicious Desiree is phoning him every night and, what do you know, the pone rings unanswered whilst Antoine is screwing this fat, bouncy bird.
And Sonny and Linh are finally grated an hour away from her chaperoning father, which they use to finally get it on, in a scene that, for all its sordid setting in the back of a car, is a delicate, gentle and touching counterpoint to Antoine’s crude thrusting.
Which makes all the more effective the transition to a Doctor’s surgery, where Albert Lambreaux is being told he has Non-Hodgkin’s Lymphoma. There is a treatment, with a 50% survival rate. I’m betting he doesn’t tell Delmond any time soon.
It’s a closing scene to its roots, which is why I was surprised, and a bit shocked, that the actual closing scene was the relatively unimportant one of L.P. Everett following up the death he’s investigating, by being taken to see the overturned, burnt-out car, down by the river. It’s a morning scene, and it couldn’t have gone anywhere else, chronologically, nor could it have been placed between the Life of sex and the Death of Albert, but I wouldn’t have finished with that.