I don’t know if it was me or the episode but I found it hard to get engaged with this week’s Treme. In many ways it was simply how the series operates, a disparate group of people, each representing strands in the afterlife of a city of distinctive cultural heritage after a massive disaster, with only minimal and most often passing links between them. And as usual it was distinguished by superb acting, some of it overt, as in the case of Khandi Alexander: brittle and angry in the search for a house, confident and strong negotiating with Big Chief Albert over space for the Tribe to practice and play, then slipping into the background as they do their thing.
But I couldn’t engage properly. I think that, more so than in its predecessors, third season Treme is taking more time to just simply witness lives being lived than in sharpening stories towards any kind of dramatic point. Lives are just going on, everybody is in the middle but without any better aim than tomorrow.
I know that’s unfair. Several of the cast are building towards things: Annie T., over in Austin again, working towards the successful music career that is hers by the right of abundant talent, Davis feeling lonely without her in New Orleans, hitting an obstacle in building towards this Jazz Opera of his.
We intercut again, like last week, between Janette interviewing chefs for her restaurant whilst her business partner Tim interviews pretty but not necessarily skillful girls as ‘waitresses’, and Toni trying to get potential witnesses against Officer Wilson to testify.
Melissa Leo deserves mention in the acting stakes for a typically aggressive performance rounded out by firstly inviting L.P. Everett to dinner and then going along with Sofia (whose boyfriend is turning into a right little shit, refusing to go with her too anything she wants to do that doesn’t tickle his fancy) to a street performance of ‘Waiting for Godot’, rewritten for black voices, that brings Toni to barely restrained tears.
The harrassment of the Bernettes, and its potential spread to L.P. (this initials affectation has quickly become irritating) becomes more than a shadow, and a Police car following Sofia giving the reporter a lift to a gig by Goatwhore (I am not googling that because I know they won’t have been made up and I’d rather not find out any more) is the closing scene.
Going back to Toni, and keeping in with the Police, there was another neat little juxtaposition. Terry Colson’s having a downbeat thing. He’s getting nowhere trying to clean anything up in Homicide, his FBI contact can do nothing with the files Terry handed over and, when he books a room at a decent hotel so his boys can stay with him, they dump him for dates. On the other hand, manageress Megan, clearly an old friend, upgrades him to a suite free, persuades him to use it anyway and the two jump each others bones enthusiastically.
Which contrasts with Janette and Jacques when she summons’ him to the walk-in store, except that, unlike his expectation, it’s not to jump his bones but to discuss a planned local recipe.
Returning to Albert, he’s revealed his lymphoma to Delmond, but wants it kept from his daughters, thus far. It’s a mark that a shift has taken place in their relationship, which has been closer to equals this season already, that when Delmond says he’s going to get medical assistance for his Pop, Albert doesn’t argue, or resist.
And Antoine engages in a bit of a fiddle over a bill to get money to his favourite marching band pupil Cherise to get her family’s electric bill paid, whilst Nelson’s growing disenchanted about his limited participation in the money game and talking about finding a better (i.e., more easily monetized) disaster to move on to.
Bits and pieces: either I or they are not quite cohering, and next week is halfway.
There is one thing I do want to record, and I’ve been wracking my brain to try to remember if it’s happened before in Treme: the Indians are in LaDonna’s bar, Albert and Delmond, and Antoine’s at the bar, watching, and I think that’s the first time, in the twenty-fifth episode, that we have had as many as four cast members appearing in the same scene. Three at a time, like Toni, Sofia and L.P., often. But i can’t remember four simultaneously.
It’s almost like an ensemble show…