On the fence about HBO's "Treme"

As a die-hard fan of David Simon's brilliant and blistering HBO drama series "The Wire," I desperately wanted to love his newest series for the network, "Treme," debuting Sunday at 10 p.m. And, for a while, it seemed that I might indeed love it.
Not only did it have Simon involved, but the head writer was frequent Simon collaborator David Mills (who, sadly, passed away on the show's set just last week). The series also utilizes two of my favorite "Wire" actors, the bracingly warm Wendell Pierce and wry, sad-eyed Clarke Peters. The rest of the cast is packed with a who's who of character actors, from the always-welcome John Goodman (above), to Oscar-nominee and "Homicide" regular Melissa Leo to lovable goofball Steve Zahn.
On top of all that, there's the subject matter. The show picks up three months after Hurricane Katrina devastated New Orleans, and follows the city's residents as they bravely attempt to put their lives back together. Clearly, this is rich subject matter and Simon -- who painted such an evocative portrait of Baltimore in "The Wire" -- has a gift for heart-breaking, but affectionate, stories about troubled cities.
Yet, after watching the three episodes sent to press, I'm sad to report that I don't love "Treme." I like it. Sometimes I like it a lot. But I feel like the series might be trying to do too much, at least at the outset.
On the one hand, the series wants to show us the toll Katrina took on New Orleans's citizens, from a bar owner (Khandi Alexander) whose brother still hasn't come home following the storm to a Mardi Gras Indian chief (Peters) who has effectively lost both his home and much of his tribe to the hurricane.
But that's not all. "Treme" also wants to be a celebration of New Orleans culture -- specifically New Orleans music. There's wall-to-wall tunes here, from the tracks played by Zahn's funky DJ to the trombone music performed by Pierce's struggling musician to performances by real life musicians, such as Dr. John, Kermit Ruffins, and classical violinist Lucia Micarelli.
But wait -- there's more. "Treme" also wants to talk at us, and remind us of the importance of honoring our big cities, even in their toughest times. This thread is mainly executed by Goodman's rage-filled college professor, who delivers profanity-riddled tirades against all who challenge the validity of rebuilding New Orleans. His speeches range from preachy to galvanizing, and garner little reaction beyond bewildered stares from other characters (though, admittedly, no one bellows like Goodman).
With so much going on in "Treme," it's often messy and disorganized. The musical numbers (thought uniformly excellent) sometimes feel shoe-horned in and the wonderful cast often isn't given enough room to breathe. There are so many characters jammed up against each other, it's difficult for the actors to create flesh and blood humans. I understand that chaos might be Simon's intent; that there might not be a way to tell this story neatly. But it makes the show hard to latch onto.
Yet there is a lot of great stuff lurking in "Treme," and if the show ever settles and finds its rhythm (which it starts to by the third episode), it could be really special. The series is visually stunning and its illustration of a ravaged New Orleans, with its literally broken, mold-splattered homes, is breath-taking.
A few of the performances also manage to poke through the mosaic of humanity and become genuinely affecting. Goodman, at this point, need only to show up to make an impression. But Pierce is truly excellent playing a man a million miles away from the good-natured Bunk. His broken trombone player, Antoine, is carnal, angry and knows no other way to make a living than by playing his "bone." He's undeniably screwed up, but also lovable and talented.
One of my favorite musical moments so far is when a drunken Antoine stumbles out of a gig to find two street musicians, one of whom is a violinist played by Micarelli. Pierce's Antoine sings along, lending his boozy growl to "A Ghost of Chance." As he croons, the violinist is taken with him, and seems to be playing just for this broken man.
It's lovely.
I also liked the story about a restaurant owner (played by another reliable character actor, Kim Dickens) struggling to keep her business afloat amid mounting bills and an ever-scarce supply of money. Dickens, so great on "Deadwood," is an engaging presence and her character's pluckiness means we remember her even in those long stretches when we don't see her.
All in all, "Treme" is complicated and hard to love. But I want to try to love it. Despite its mess, this is a show with something to say. Yes, "Treme" doesn't always deliver that message clearly. But, in a world of procedural cop dramas and reality shows, maybe we should just celebrate that something as ambitious as "Treme" exists.

0! 0! The best TV shows of the past 10 years

Say what you want about the 00's, the past decade has been a pivotal one in the world of TV. Over the past 10 years, the way we watched TV changed dramatically. It seems odd to think of a time when, if you weren't home to watch your favorite show, your only option was to tape it with your VCR. Today, we can still tape a show, using a DVR that allows us to tape two shows at once (at least). We can also watch shows online or on DVD. The old methods of viewing are dead. A new age of TV has begun.
If our methods of watching TV changed, so did TV itself. Yes, we saw the rise of the reality show, but we also saw a change in story-telling style. Many shows (most of them on cable) offered rich, complex serialized stories, told through complicated (and not always heroic) characters. This decade offered some of the best TV shows of my lifetime, including such iconic efforts as "The Shield," "The Wire" and "The Sopranos" (yes, the last one started in the 90's, but most seasons aired this decade -- which also lays claim to the show's polarizing finale).
Below is my list of the best shows of the past 10 years. Yes, I'm sure most of the choices will be the same as those found on other "Best of the Decade" lists, but that doesn't negate their quality. Nearly every show on this list was revolutionary in some way, offering something new to the medium. They're also all extremely entertaining.
Take a look.
1. "The Shield," FX: Most folks think Tony Soprano is the anti-hero of the decade, and he's all right. But for my money, Vic Mackey (Michael Chiklis), the arrogant corrupt cop at the dark heart of FX's "The Shield" is the one to beat. Vic and his "strike team" of thug cops killed, stole and lied their way through the ravaged community they patrolled. They also caught a lot of bad guys, so it was hard to totally hate Vic and co. "The Shield" re-invented Chiklis's career and backed him with what remains the best acting ensemble of the decade. CCH Pounder was subtly moving as Mackey's polar opposite, the principled Claudette Wyms, and Jay Karnes was a wry treat as Claudette's partner, the goofy Dutch Wagenbach. But possibly the show's best character was Vic's mad dog sidekick Shane Vendrell, played with absolute perfection by Walton Goggins, whose lack of an Emmy is nothing short of a sin.
The series had a slew of memorable moments, but my vote for the best was this one, in the show's last season, when Vic finally confesses to all the evil crap he's done over the years. Note the prolonged closeup of Chiklis's face. It's uncomfortable, raw and devastating. Like this whole show.

2. "Freaks and Geeks," NBC: Yes, roughly half the episodes of this single-season series ran in 1999. So what? Enough ran in this decade for it to qualify. And, frankly, what decade wouldn't want to claim this brilliant show, about students at a Michigan high school in the 1980s? The show beautifully captured the pain, awkwardness and humiliation of growing up. That's probably why it only lasted a season. But it's a gem, featuring brave, honest performances from its young cast, including Linda Cardellini as conflicted brainiac Lindsay Weir, John Francis Daley as her brother, Sam, and future stars James Franco, Seth Rogen and Jason Segel as Lindsay's friends. Bonus: "SCTV's" Joe Flaherty played Sam and Lindsay's dad. And yes, he was AWESOME.

3. The Wire, HBO: After all the praise heaped on this brilliant portrait of life in urban Baltimore, it's hard to think of anything else to say. So why not let the show speak for itself?

4. "The Sopranos," HBO: The fade to black. After years of operatic characters, brilliant writing and star-making performances, the moment that will forever define "The Sopranos" is the fade to black. Creator David Chase, instead of giving fans a neat, tidy ending to the saga of New Jersey mobster Tony Soprano (James Gandolfini), cut abruptly to black at the close of the show's final episode. Many fans thought they had neglected to pay the cable bill. Others were plain angry about what they saw as a flip of the bird to a loyal fan base. But, eventually, it's been revealed for what it was: a bold, uncompromising and totally fitting end to one of the decade's most daring shows.

5. "Deadwood," HBO: There's a lot of talk about the "Three Davids" of HBO -- "Sopranos" creator David Chase, "Wire" auteur David Simon and "Deadwood" mastermind David Milch. Milch might get lost in the shuffle occasionally, because his show is so dense and strange. It's a Western loaded with violence, profanity, poetic dialogue, a star-making performance by Ian McShane as anti-hero Al Swearengen. It's hard to describe and even harder to forget. Here's one of the more under-stated scenes from this series. Yes, there's a lot of cursing, but it's pretty much impossible to find a profanity-free "Deadwood" clip.

6. "Lost," ABC: Maybe the strangest show of the decade and definitely one of the most gripping. A disparate group of people board a plan that crashes on a mysterious island. Smoke monsters, mysterious natives called "Others," polar bears and time travel all follow. It's a mind-boggling show, made watchable by some of the most compelling characters on TV. My favorites include mysterious Other Benjamin Linus (Michael Emerson), serene -- if nutty -- lottery winner Hugo "Hurley" Reyes (Jorge Garcia, playing one of the decade's most engaging characters), and the baffling John Locke (Terry O'Quinn). It's smart, funny, moving and vastly entertaining.
Plus, it has some of the coolest visual, most eye-catching set pieces of any show on TV. Behold -- the frozen donkey wheel!

7. "Arrested Development," Fox: This quirky sitcom about a crazy spoiled family lasted only three seasons. But let's be honest -- we're lucky this show managed to stay on the air that long. This intricate character-based comedy dared viewers to work for their laughs. It rewarded us for paying attention, being well-versed in pop culture and current events, and for being just a little bit sick. All this, plus Jeffrey Tambor and Jessica Walter as the best bad parents of all time. (Note: Hulu clips look weird when I imbed them, so I can only link. Sorry!).
8. "Mad Men," AMC: True, it might be a bit too early in the show's run to bestow the mantle of greatness upon it. Still, in just three seasons, its accomplishments have been astonishing. This period drama about New York ad men (and women) not only revived 60s style, it made a star of the incredibly gifted Jon Hamm, launched AMC as a home for original program and won buckets of Emmys. It's also provided some of the most memorable TV moments of the best 10 years, including this one.
9. "Veronia Mars," UPN/the CW: A lot of people thought "Veronica Mars," a drama about a teen detective, was just a perky Nancy Drew update. Oh how wrong they were. In the first episode alone, we learned that Veronica (Kristen Bell, in a star-making role) had been raped, that her best friend had been murdered and that her mom had abandoned her. Nancy Drew never had such problems. Of course, it wasn't all darkness in Veronica's world. This was one of the quickest-witted shows on TV and full of zippy moments, like this one:

And this one:

Aaaand this one:

10. "Everybody Loves Raymond," CBS/ "30 Rock," NBC: On the surface, these two comedies seem to have nothing in common. "Raymond" is a conventional family sitcom, with a laugh track, cute kids and a lot of bickering. "30 Rock" meanwhile is a zany workplace comedy with no laugh track, a gag-a-minute pace and no kids to speak of. Yet they have more in common than you'd think. The stars of both shows came from fields other than acting. Ray Romano was a standup comic with little acting experience. Tina Fey was a comedy writer whose acting experience was limited co-hosting "SNL's" Weekend Update and a small supporting role in "Mean Girls," which she wrote.
Both seemed unlikely choices to carry a sitcom. But both succeeded, due mainly to sharp writing and excellent supporting casts.
On "Raymond," that cast was epitomized by Peter Boyle, as Ray's dad Frank.

And, on "30 Rock," the supporting cast was headed up by none other than Alec Baldwin. Here is my favorite Baldwin clip, in which his Jack Donaghy helps Tracy Jordan (Tracy Morgan) with some therapy:

Top 10 shows of the 2000s: I want your vote!

The end of the year is when TV geeks like myself start compiling lists of the best shows of the year. But this year is special. The end of this year also marks the end of the first decade of the 21st century.
With that in mind, I'm compiling a list not only of the 10 best shows of 2009, but the 10 best shows of the 2000s. Sure, I have my favorites ("The Wire," "The Shield," "Lost"), but I also want to hear from you.
What shows made this decade special for you? When the decade ends, what series will stick in your head as standouts?
I want to know!
So please, feel free to put your suggestions below -- or, e-mail me personally at iscreenyouscreen@gmail.com (you can also use the "Click here to e-mail me" feature on the "contact iscreen" link on the right).
I want to hear from you!

Mulling the new "Rockford Files"

Sigh. I'm torn. Seriously torn. This week, Variety reported that NBC has tapped "House" mastermind David Shore to helm a remake of the classic James Garner series "The Rockford Files" (you can read the Variety article here). I really don't know what to think. On the one hand, I think this is an awful idea. "Rockford" was lightning in a bottle, combining the talent of TV auteurs Stephen J. Cannell and Roy Huggins with Garner's laid back charisma to create something truly special. You can't recapture that. To me, Garner will ALWAYS be Rockford. Always. Plus, it's disheartening to see TV execs mulling yet another remake when they should be focusing their energies on creating fresh new properties.
Still...once I heard about the proposed remake, I began considering the possibilities. If NBC did somehow come up with something as good as the original (unlikely, but maybe not as impossible as I think), it would be really exciting. I also started wondering who would play the shaggy, stubborn PI. Ken Tucker of Entertainment Weekly, and others, have named "Castle" star Nathan Fillion as their ideal Rockford, and Fillion does have a rakish, Garner-like way about him. Other names that have been dropped include Bruce Campbell of "Burn Notice" and Damian Lewis of the canceled NBC drama "Life." I have developed my own list of potential Rockfords. Here's my top 5.
1. Dominic West: My first choice. West, so good as the wily-but-dysfunctional Jimmy McNulty on HBO's "The Wire," would be a perfect fit as Rockford. After all, Rockford and McNulty share a lot of characteristics (and a first name). Both are stubborn, independent-minded guy's guys who rely on their charm to get them out of tough spots. Plus, like Garner, West has a great smile -- a key Rockford component in my book.
2. Adrian Pasdar: I stopped watching "Heroes" mid-season, and have no idea if Pasdar's character, Nathan, is still on the show. I hope not. Like many of the "Heroes" cast members, Pasdar is wasted in a skimpy role. Anyone who saw him on the creepy, short-lived Fox series "Profit" knows how good he can be, and I'd love to see him in another starring vehicle. And, if you doubt he has the charm to pull off Rockford, check out his work as a caddish attorney on the otherwise unremarkable second season of "Desperate Housewives."
3. Josh Holloway: As the new Rockford is only in the planning stages, it probably won't hit the air until "Lost" has completed its run, meaning Josh "Sawyer" Holloway could be free to do it. Like West, he's already shown he can play a complex charmer. Side note: wouldn't Holloway's "Lost" co-star Michael Emerson make a great Angel Martin?
4. Dean Winters: Not a household name, but Winters is an established character actor who has worked his cranky, gravelly-voiced magic on a slew of series, from "30 Rock" to "Rescue Me" to "Oz" to "Life on Mars." He has a nice every-man quality, and I'd really like to see him get a central role.
5. Jay Karnes: Dutch wasn't the flashiest character on the excellent FX drama "The Shield" but, thanks to the talented Karnes, he was every bit as interesting as Vic Mackey and Shane Vendrell. Karnes's dry delivery coupled with a surprising vulnerability could make him a fine choice for Rockford.

Those are my choices. What do you think?