In the end...

Well tonight (or tomorrow morning for those of us across the pond) is it: the end of Lost. The end of polar bears and time travel (on the same island), and an end to a particular-type of WTF moments. For me personally, so much has changed in the 5.5 years since lost debuted in 2004, it is amazing to think that I went from De Soto, MO to Leavenworth, KS, to Kingston, Jamaica, and London, England. From Cingular, to Saint Mary, to Big Brothers Big Sisters, to UTech & Roehampton, Starbucks, and the National Union of Students. Wow. Lost has truly been my 'constant' for a whole lot of change and jumping around the world (and even and island or two). It's the one show that I never miss, that I have to see as soon as I can. I'm probably more than just a little unreasonably sad about it ending, but when a show has been with you for all that change, when it's helped me make new friends, and when I've spent some great evenings watching it with old ones, it's sad to see it go.

I have high hopes for the finale, that in the end it will be fantastic and fun and yes, I really hope we'll get some answers (they really need to mention Walt). I know they can't possibly answer everything I want, but if it's done well, that's okay. So, instead of focussing on what they better show me, I just want to briefly reflect on what they already have, in my favorite epsiodes.

1) Walkabout--I've mentioned in on the blog before, but the episode where we learn that John Locke was a wheelchair user before they crashed on the island, was the first big moment of Lost for me. It also showed us a powerful and confident Locke on the island, my first favorite character. It was this episode that the flashback device was really used well, and brought suspense.

2) Flashes Before Your Eyes--My current favourite character is Desmond, something that started in this episode. He gets drunk with Charlie and Hurley and tells them what happened when he turned the key and the hatch imploded. It was our first taste of time travel, we met Eloise Hawking for the first time, and we get a hint of the growing importance of Desmond.

3) Greatest Hits--I loved the Desmond and Charlie interactions, and how hard Desmond fought to save Charlie's life. When Charlie finally comes to the realisation that his time is over, he is given once last episode. This one uses the flashback device to show what Charlie considers his 'Greatest Hits.' They are: learning to swim, saving a woman's life (who happened to be Sayid's Nadia), hearing "She's all everybody' for the first time on the radio, getting, his brother giving him a family ring, and meeting Claire. It was a sweet and poignant good-bye, and although Charlie didn't die until the season finale a few episodes later (remember, Not Penny's Boat), it was the perfect ending to a loved character.

4) The Constant--This is my all time favourite episode, and if you have noticed a theme, you will now: this is the one where Desmond keeps switching consciousnesses between the present and the past. If he doesn't find someone to be his 'constant,' someone to anchor him to a reality, he will die. Well, he realises that Penny must be his constant, and the ending where he calls her (like he told her he would) is one of the sweetest endings endings to an episode ever.

So that's it. All that's left is to watch and enjoy and say good bye!

Treme: A closer look at Post-Katrina New Orleans

Treme, the new HBO series, takes a look at New Orleans shortly after Hurricane Katrina. The name of the series comes from the neighborhood of the same name which has been home to many musicians that helped make New Orleans so famous. Treme comes from David Simon and Eric Overmyer, who both worked on Homicide: Life on the Streets (one of my favorite shows ever) and The Wire. Both of those shows were critically acclaimed in their time and known for their diverse casts and strong writing. In the first five episodes, I'd say Treme fits right in.

Treme Trailer:

Treme is a slowly unfolding story giving the viewers increasingly deeper glimpses into a large number of characters lives, from (in no particular order) a down-on-his-luck trombone player and his ex-wife and bar owner, a Mardi Gras Indian leader and his son, a lawyer and her Tulane professor/writer husband, a chef, a musical transplant couple, to a hyperactive DJ/musician. It is a large cast, with some big names and Homicide/Wire alums (John Goodman, Khandi Alexander, Steve Zahn, Melissa Leo, Wendall Pierce, and Clarke Peters to name a few). For the most part Treme has done a great job of building each characters story and making you care about them.

A show set in New Orleans, especially after Katrina, will necessarily have to deal with race and class issues. Since the whole show is slowly paced, this has come in fits and starts. We certainly see different classes and different races portrayed in the show--frankly the show would feel false if this weren't the case. There have been hints of commentary about it, mainly through John Goodman's character (the Tulane professor) who posts rants on YouTube about the many failings of the Federal, State, and Local Governments before, during and after Katrina. The show doesn't shy away from showing and commenting on the many racist and classist decisions that were made, from not re-opening some projects that were never flooded, to the pure chaos of the prison system that housed (and still houses) a predominately black male population. As of now, there has been very little tension between the classes and colors in Treme, but I hope that as the show grows, that is shown. Not because I wish tension to be dramatised, but because that tension does exist, but is not generally shown on mainstream television. If the most recent episode is an indicator, I'm confident this will be explored.

Music is used throughout the series, and gives a great excuse to hire local musicians, such as Kermit Ruffins. Music is used to underscore one of the biggest themes in Treme, the idea of 'real' New Orleans. Steve Zahn's character, Davis, is the biggest proponent of this 'real' New Orleans. His hyperactive and often times obnoxious character hits you over the head with it, constantly talking about 'authentic' New Orleans. This is the one area where I think Treme could improve. The idea of what it means to be 'real' New Orleanian is an interesting one to explore--is it the Mardi Gras chief, the Tulane professor, the black trombone player, the white DJ, the bar owner, the chef, the lawyer, or the music playing couple? Is it all of them, or do anyone them actually capture 'real' New Orleans. I suspect the answer is yes and no. A scene early on sees the male member of the music couple berating some church volunteers for going to the French Quarter and coming into his city. In later episodes, we learn he himself is not from New Orleans, originally. This nuanced idea of authenticity is interesting, but Davis yelling at everyone he thinks doesn't cuts it, isn't. I'm hopeful that Davis can show some growth, and I'm optimistic after watching the fifth episode.

Treme is beautifully shot and anytime a television show leaves New York or L.A. its going to get a look-see from me. The fact that is has a strong cast with actual black actors in lead roles with real stories and true character development, just like its white characters, keeps me around. Case in point: Treme takes what could be a sterotypical black character, played by Wendell Pierce, the guy who has three baby mamas, and gives him depth. He not a caricature, but a character. It reminds me of Homicide in that it revels in concentrating on a small detail, or lingers on a scene longer than one would expect a show to do. Treme has already been picked up for a second season, which I think is well-deserved. I know I'll be sticking around, and I hope you decide to give the show, and New Orleans, a chance.