Treme Season 1 Episode 10- "I'll Fly Away" review

Written by David Simon
Directed by Agnieszka Holland


"He fucking quit. Whole goddamn city down on its ass- all of us, one day after the next. Can't dance for him when he quit."- Toni

The season finale of TREME was a nice bookend to the pilot episode (which I will elaborate on more later), but in many ways, this episode belonged to the character of Toni, as she struggled with the repercussions of Creighton's suicide from the last episode. Melissa Leo (who I was thrilled was cast after being a fan of hers from HOMICIDE: LIFE ON THE STREET) was electric in every scene that she was in, whether it was from the news of Creighton's death, to the realization that his death was not a mere accident, to her outrage of him choosing a water demise over life with her and Sofia. In many ways, I can relate and understand Toni's anger. Creighton was undoubtedly weighed down by outside forces (other than Katrina), however, instead of discussing things with Toni, he choose another route that would be devastating for his family. That decision makes his request for a second line parade for his funeral pretty hard to swallow.

I think another scene that stood out to me was the detectives confirming that Creighton was dead, and a shot of them exiting the house and leaving with Sofia screaming off-screen, as she finds out that her father is gone. Having been in the same type of situation beforehand, it makes me feel a little sad for those detectives- as breaking news like this to families is an everyday thing for them.

On the Toni story-front, I did enjoy that Lt. Colson- subtly, but still in a business manner, gives Toni the permission to gather any evidence to cover up the fact that Creighton's death was a suicide. The end of the episode, where Toni allows herself to be caught up in the jubilation of the second line for Daymo's funeral, before the grief of her loss hits her again, is amazing. Again, Melissa Leo is simply riveting.

Other than Toni, plenty of other things were happening. Davis did his part as an advocate of all things New Orleans to try to convince Janette to stay by giving her one perfect day- from the music of John Boutte, good food, a nap by the river and one pretty slick move of romanticism. I think Davis grew a lot as a character this season. However, despite his best efforts, Janette still left for New York because New Orleans completely defeated her. In any other tv show, Davis' hard work would have swayed her opinion or there would have been some "Can't Hardly Wait"-esque (or dozens of Hollywood movies) scene where Davis would have convinced Janette to stay, but thankfully, none of that happened here. Once, I saw Janette look at the flight she booked online, I knew there was no turning back for Janette. Well, she back in season 2? Perhaps, however, Davis was rewarded with Annie on his doorstep, who is seeking some place to stay after the disastrous ending with Sonny. Even though Davis is clearly attracted to Annie, he does seem to understand that she is an incredibly fragile person who just needs someone to treat her good. It's remarkable how much Davis has grown as a character considering the shrapnel the character caught in the first few episodes by fans. Right now, Davis is one of my favorite characters.

Speaking of Annie and Sonny, the final death blow to their relationship occurred as Annie caught Paige (the girl Sonny had sex with during Mardi Gras) was in their bed, post-coitus. And while Annie seems to have finally had with Sonny's bullshit, and is trying to advance herself musically (and personally by moving in with Davis- who will encourage and help her), Sonny seems to have descended into his own hell. At the end, by smashing his keyboard and snorting a line, it seems that Sonny has just given up and realized that his skill level as a musician is not quite up to par.

It seems that in the end of the season, Albert was able to bring his family together and the playful bickering back and forth between Albert and Delmond seems to be something that has happened many times in the past. Love Albert's line about rap sounding like "Chinese shit". Also, I loved Albert's love of Count Basie as well. But, no matter what, Delmond still was heading to New York in the end (a nice quiet scene as Delmond and Janette were on the same flight to New York). I loved the scenes of the parade as Albert's feathers stand out in the darkness- and how trouble nearly arises with the police, until the near confrontation is quickly squashed by Sgt. Thompson, the community relations officer. It's nice to see Thompson step up on the Big Chief's behalf.

Nice to see character development with Arnie the bouncer from Texas, who worked on Delonna's roof, as a means to start up his own contracting business under Riley's license. Nice to see character development from a seemingly minor character such as Arnie. I like that character's work ethic.

Antoine has also made some slight progression this season, as he still is hustling for work (and blew most of his money made from his well-paying gig by gambling most of the money away- particularly in hilarious segments with Irma Thomas, as she destroys him in card games), but he was there for his family (Delonna and his children) not for any personal gain, but because it's the right thing to do. I look forward to seeing what he does next season.

Great moment of levity, as Delonna makes a crack about her dead relatives spinning in their graves at the cost of the cemetery director's bill. In a moment of outright pain, humor is much appreciated.

Now, I see fully why there was that dream sequence of Daymo earlier on this season, as the ringing of a cell phone brings Delonna and the audience back to life before Katrina hit. Daymo, was indeed the good-hearted and responsible person that Janette and Jacques recall, as he happened to be at the worst place during an even worse time. We see Annie and Sonny- still together, and seemingly happy, enjoying the empty city, Davis chiding his neighbors for evacuating (before in a hilarious reveal, that he left as well when realizing that Katrina was going to hit). We also see Antoine, in a much better position (and with a car of his own) ready to leave New Orleans, and Toni and Sofia watching the news of the hurricane with a still very much-alive Creighton.

I did enjoy that the first season ended where the first began- with the parade during the funeral. Whereas, the pilot showed the more somber aspect of the parade, the finale showed the more celebratory nature of the second half of that parade. Also, we see Antoine being reunited with the cab driver he shorted in the pilot episode. The two meet each other, and playfully trade good-natured barbs back and forth. And I have to say Khandi Alexander was superb as she works through the death of Daymo's death by getting lost in dancing during the parade.

Here is an interestingarticle where John Sinclair offers some details on the St. Joseph's Night tradition:

“St. Joseph's Night with the Wild Indians is not an experience to be taken lightly in any measure. It's the living manifestation of an age-old ritual, preserved and practiced by the descendants of the African slaves, which goes back to the perambulating societies of West Africa and their call-and-response chants, the secret societies of masked warriors which are common to both African and native American cultures, and the unsanctioned moonlight ceremonies conducted by African slaves under pain of death on the plantations of the American South.

“It's a ritual which continues to live in the mean streets of fin-de-siecle New Orleans and in the hearts of the people of the most run-down, destitute, stripped-bare-and-left-for-dead underclass neighborhoods of the city, where the Wild Indians of Mardi Gras and St. Joseph's Night perennially represent the triumph of spirit, creativity, and beauty of song and dance over every obstacle the oppressor class can place in their way.”
Dan Baum of The New Yorker filed this dispatch about St. Joseph’s Night 2007, in which he describes Darryl Montana, son of Tootie Montana, emerging from his father’s house:

“At the stroke of six, the door opened and her son Darryl stepped out in a radiant gold-and-silver suit. The small crowd waiting outside gasped and cheered. They agreed that Darryl, who is fifty-one, has taken the Mardi Gras Indian suit ‘to the next level.’ Darryl appeared to stand ten feet tall and five feet wide. His suit included eleven ‘umbrella crowns’ made of quail and pheasant feathers—Tootie had never envisioned more than one—and its front was coated with a portrait of Tootie fashioned out of thousands of tiny sequins and beads. When the sun’s low, reddish rays struck the hundreds of glass jewels sewn onto the suit, Darryl seemed to explode.”

The David Mills tribute was particularly touching as well. It feels very final, but it is disheartening that he won't be offering another TREME episode next season (or for that matter contributing anymore to his superb "Undercover Black Man" blog). Goodbye David.

With the first season wrapped up, I must say that TREME is a show that has to be appreciated as a whole. Much like THE WIRE where at the end of the season you have an understanding of what David Simon was going for thematically, I think with TREME, you have even more of an understanding. It is a true love letter to New Orleans, to the culture, community, the people- in all of their flawed beauty. As opposed to THE WIRE, TREME is a show that is character first as opposed to heavy plotting like it's predecessor.

Despite some complaints about TREME is not focused on plot, I have to disagree. There is plenty of plot- but it is not THE WIRE version 2.0 or THE WIRE: NEW ORLEANS. THE WIRE was modeled after a Greek tragedy and is thematically different than TREME. Plenty happened this season on TREME with the characters we have come to know. In a way, I think people should watch TREME as one would watch Robert Altman's "Nashville". TREME is not THE WIRE, but I wouldn't want that. They are both separate beasts but TREME feels more optimistic despite the overwhelming darkness that the characters are facing. It's engrossing television and a wonderful television experience. Like all things David Simon, it's requires several viewings to appreciate all the nuances and subtle touches, but upon finishing a season (like you would a novel), you feel completely satisfied with the time you invested in following this story. I can't wait for season two.

For a great read, check out David Simon's interview with Alan Sepinwall here:

http://www.hitfix.com/blogs/whats-alan-watching/posts/interview-treme-co-creator-david-simon-post-mortems-season-one

Treme Season 1 Episode 9- "Wish Someone Would Care" review

Teleplay by George Pelecanos
Story by David Simon & George Pelecanos
Directed by Dan Attias

"There is no closure in real life. Not really..."- Creighton Bernette



We're at the penultimate episode of the first season and when I read that George Pelecanos was penning the episode (as he did with all penultimate episodes of every season of THE WIRE), I was elated and worried that the axe would fall on one of our beloved characters. After all, Pelecanos is the talented but heartless scribe who has killed some of the most characters on THE WIRE- including Wallace, Frank Sabotka, Snoop and Stringer Bell. As brilliant as the man, George Pelecanos can be cruel in the way he just snatches the life of a character you've grown to care deeply about. However, since TREME is less dark thematically than THE WIRE (which was modeled after a Greek tragedy to begin with), I was beginning to think that the Pelecanos tradition might not carry over to TREME.

In the end, the tradition did carry over that made this still feel like Pelecanos but tailored for TREME as Creighton, deep in his post-Katrina depression, finally succumbs and jumps from the railing on the ferry, to the water below. I wish I had known when I watched the episode that the book that Creighton was having his class read ("The Awakening" by Kate Chopin) ended with the heroine, Edna Pontellier, allowing herself to by engulfed by the water of the Gulf of Mexico. Another clever piece of foreshadowing. But in the end, Creighton was absolutely despondent- seeing him with that blank screen was heartbreaking (I think him typing enthusiastic gibberish in order to feign productivity to his daughter may have been even more painful now that I think about it).

I read somewhere that although the character of Creighton is based on late blogger Ashley Morris who died in 2008 due to a heartache and also loosely based on filmmaker, Stevenson Palfi, who committed suicide after the storm. I didn't realize how many suicides and the post-Katrina depression that plagued people afterwards. I'll miss John Goodman's portrayal of Creighton, which made it painful to watch the things that led up to his death. When, he was so cheerful in the morning and told his daughter she was beautiful (and told Toni to, "Kick a lil' ass today."), I knew he was saying goodbye. And watching him request for Annie to play, "Do You Know What It Means To Miss New Orleans" was also tough- because even though, the audience was aware of what was going to happen, you were captive and following Creighton around on his last day on Earth. And what could we as the audience do about it? Absolutely nothing but brace for the moment where he takes his own life.

Damn you George Pelecanos, you've done it again. I can't imagine what will happen with Toni and her daughter now. I can only guess that the "work in the office" that Creighton was talking to Toni about was his suicide note.

Other than Creighton, there was plenty going on in this episode. The Annie/Sonny storyline has come to a head with Annie asking Sonny if she could play with other musicians, which Sonny did not take too well. In Sonny's mind, that is the biggest slap in the face, which leads to Annie leaving Sonny's apartment. When Annie meets up with her saxophonist friend, I love her friend's understanding of Sonny's anger at Annie wanting to play with others: "Fucking is fucking but music...that's personal."

And, I must say, I think I felt empathy towards Sonny for once. The whole blow-up with Annie might have opened his eyes finally. He's now trying to original songs and trying to focus on the music as opposed to getting high. Now, how long that lasts, I am not sure. But, it was good to see more layers to this character.

As the season has progressed, we are witnessing how the pressure of trying to regroup after this calamity is making people drown (Creighton literally and Janette figuratively). The pain on Janette's face as she realizes her guerilla cooking on the road is just a gig- no different than Antoine's gigs as he tries to live hand to mouth. When there was a downpour, you could see the defeat in Janette's face as she now is ready to leave for the cozy confines of New York. Davis, being the advocate of New Orleans, desperately tries to plead for her to stay, reminding her of all the beauty that New Orleans has to offer.

Dejected Janette can only respond, "They're just moments. They're not a life."

I sincerely hope that Davis can convince Janette to stay. She's been fighting this whole season to not only keep her restaurant but the thing she loves the most afloat. You can tell that it's overwhelming her, but I hope she can hang in there.

Davis, has completely won me over. I love that his requirements for his bash at his place were "musicians" and "hot women". Davis, you are a man after my own heart. And, also nice bit of continuity in having Davis encounter the stripper neighbors of his- which one of them ( Tara Brewer, a local New Orleans native) sung a wonderful rendition of, "Wish Someone Would Care". I also liked the brief scene with Davis' gay neighbors- where one of them admitted that he did call the police on Davis earlier in the season over the music. To which, his partner was appalled at how anyone can call the police on anyone playing music in the Treme. Vindicated and full of jubilation, Davis tells them not to worry and that it's all water under the bridge.

Nice to see Antoine being the father figure as he brings his daughter along with him to his gig (love Davis' line of the daughter being "Done up like a porkchop"). I really do like Antoine's baby mama now. In the first few episodes, she came across as a user in ways- but now, I can see that she is supportive of Antoine and quite frankly, he's not the easiest man to love.

Picking up from last week's episode, Antoine and LaDonna did have sex which leads to one of my favorite lines of the episode: "That nonsense last week between you and me, that was a Mardi Gras fuck, that's all. We in Lent now. The legs are closed." I feel that even Antoine is doing the right thing in trying to help LaDonna in trying to bury her brother, that somehow this is going to bite him in the ass if his current girlfriend finds out where the money is going to. Nice to see Arnie the Texas bouncer assist in fixing the roof and in delivering a great line in, "No, disrespect, but ya'll got a defective work ethic down here." Khandi and Wendell's expressions after that line is comedic gold.

Albert is also bracing himself (and his people) for a possible collision with law enforcement following Albert's arrest. When Lieutenant Colson tries to convince Albert to diffuse the situation fast before police officers try to take potshots on Albert, you could see the wheels turning in his head.

"They gonna do, what they gonna do. Me? I'm going to be heard," Albert assures. It looks like there is going to be some confrontation between the Indians and police. I also enjoy the continuing development between Albert and Darius. In many ways, the boy is becoming a surrogate son to Albert.

One more episode left this season but this last episode has knocked me for a loop. I cannot wait to see how Toni is going to respond to Creighton's death, and I'm curious to see if these characters can try to keep their head above water, as things seem so hopeless.

Treme Season 1 Episode 8- "All on Mardi Gras Day" review

Written by Eric Overmyer
Directed by Anthony Hemingway

It was nice to see the episode begin with a musical segment as the various characters are all spending time together (Davis and Janette, Antoine and his baby momma) or stuck in a pit of depression (Creighton). With, "Treme", David Simon is at least being a bit more flexible on things that he didn't do on "The Wire". So far, so good. I just hope that David Simon keeps walking that fine line of realistic storytelling- and I have no worries that he will be able to maintain that balance. It was a tad sobering with the one spectator telling Annie and Sonny about losing his home and some neighbors to Katrina, but coming home for Mardi Gras. Annie's words of comfort: "Happy Mardi Gras, honey," as she tears up was a great way to open the episode.

In any other show, Albert Lambreaux would have been able to get out of jail for Mardi Gras- but nope, not here. Standing up the police, prompted Albert not only do receive a beat-down but also for the department to send a message by making him miss Mardi Gras. I did love the moment where Delmond mimicked Albert's line to him earlier in the season about standing up to cops, when Delmond was arrested. Nice to see that type of symmetry that I'm used to in David Simon's work.

I think one of the breakthroughs in this episode, was Delmond. He was hesitant about New Orleans and very put-off to the whole Mardi Gras festival, but by the end of the episode, he was won over. He sees the passion of the people of New Orleans and knows that there is plenty worth saving. He may have been converted.

Sonny remains the most vile character in the series. Not only does he leave Annie to herself on Mardi Gras, but he betrays her in his behavior- from the drug use and then to having sex with the girl he picked up at the bar. I was a tad shocked that the tale Sonny told about saving someone during Katrina- turned out to be true. What I found interesting is that Sonny himself seemed to be completely ambivalent to the whole thing. Perhaps, he doesn't even truly remember it himself because he was so high when this occurred. But, this moment of heroism notwithstanding, Sonny still is a deplorable person. Definitely not worthy of someone as talented and good-hearted as Annie.

"Fucking asshole."- Annie about Sonny

Yes, he is. Glad that Annie is finally seeing it. And what a truly superb evolution Davis is going through. Not only was a great guide for Annie, and showed her a wonderful time on Mardi Gras- but he was a complete gentleman to her, and resisted the urge to kiss her. Why is that? Because I think that Davis truly enjoys her friendship and doesn't want to take advantage of that and also because maybe Davis wants to be with Janette only. Davis has come a long way from being the prick he was at the beginning of the show. I think after eating that humble pie from the bar beating, Davis has come a long way.

Creighton right now is in the depths of depression- from his scene where he reminisced about the way things were with his daughter, to his sadness from the parade, he is in a dark place right now. It will be interesting to see in what direction this takes Toni and Creighton's relationship. It does seem like it's beginning to take a strain- since Toni was livid with Creighton sleeping outside.

Delonna is carrying a lot of weight on her shoulders right now. And once again, Khandi Alexander does a masterful job at showing the pressure nearly consuming her- and barely holding it together. The moment with the ADA was meaningless to Delonna at this point, considering everything that is on her plate. And I'm amazed that Delonna didn't take her anger out on Riley, the contractor who didn't finish the roof, who made it a point to curse her out before Antoine came to her rescue.

And speaking of Antoine, I knew it would only be a matter of time before Delonna and Antoine reunited in some type of way- the chemistry between Wendell and Khandi is electric. Even if it was for one day, at least Antoine was able to comfort Delonna in her time of need. I'm curious to see where this goes in the future.

I could watch Kim Dickens singing intoxicated in the street all day. Very endearing scene.

The reunion between Antoine and his Japanese benefactor from a few episodes back was also a good touch. It was yet another chance to see how two men from seemingly different worlds and practices- can share a mutual love and understand the importance of spreading music to the younger generations.

Two episodes left and we're at the homestretch now. The next episode is written by George Pelecanos who always writes the penultimate episodes (since "The Wire), so something major will happen in the next episode. I can't wait to see what happens with these characters.

Treme Season 1 Episode 7- "Smoke My Peace Pipe" review

Story by Eric Overmyer & David Mills
Teleplay by David Mills & Davis Rogan
Directed by Simon Cellan Jones


"Man you could hide a dead hooker in here and no one would know."

That quote from Jacques Morial may by favorite line in the episode. It was just so well-timed and perfect in its execution.

The title of the episode comes from a song by the Wild Magnolias, and things in the credits that I noticed was that the late great David Mills was involved in the writing of this episode (RIP Undercover Black Man). Also, the director of this episode is Simon Cellan Jones who did amazing work for David Simon on "Generation Kill". Also, Davis Rogan was involved in the writing of this episode- who happens to be the basis for the Davis McAlary character.

Having Tim Reid (from "Frank's Place" fame) reprise his role as Judge John Gatling- and deliver a scathing criticism on how the Department of Corrections were relying on the flood aftermath as an excuse for losing track of Daymo, was perfect. In that rant, you could hear a lot of David Simon's frustrations and I see another connection to "The Wire" (that carried over into "Generation Kill" as well), in the ineptness and failures of institutions.

Albert Lambreaux was a central character to this episode and Clarke Peters was as remarkable as he always is. I think Albert is probably one of the strongest characters in the series. I think what I love the most about this character is his strength and his determination to not bow down to others. He has a strong moral compass guiding him- and taking up residence in the projects sends a message. And perhaps, the most moving thing was the other squatter- following the Chief's defiant stand- and placing the "My Home" sign outside. Even though the representative of the Community Relations Division tried, his words had no effect on Albert. The man is proud and it was painful to watch Albert get beat down by the police, upon refusing to leave the home.

As a writer, the scenes with Creighton hit incredibly close to home. Watching him become so frustrated with what he writes is pretty damn accurate and I think my favorite scene with him was telling Toni that what he has written is complete shit, and upon her asking to read what he wrote, his exasperated query, "Why would you read it if I just told you it's shit?" is something I have said several times to friends who are just trying to offer encouragement.

Nice to see Steve Earle again as Harley Watt. I really have come to love Steve Earle's music at the insistence of my aunt- and also learning about him after I saw him as Waylon on "The Wire". And he definitely is a positive influence in Annie's life right now- and the support she needs, because she's not getting it from Sonny. I think of all the David Simon characters he's created throughout the years, Sonny might be one of the most deplorable. Even though Sonny gives Annie the okay to play with the Cajun musicians, he does begrudgingly. He's just a truly miserable wretch, and incredibly destructive. I hope before this season ends, Annie wakes up and finds a supportive person in her life, because she is going to be stuck in the same quagmire with Sonny. I enjoyed Harley's look to Annie when she was trying to insist that she couldn't play on the Cajun musicians' level. It was one of those looks stating, "You could...if you have more faith in yourself."

It's good to see Davis still growing as a character. Even though he was not on the same page with Jacques Morial ("Nothing really rhymes with infrastructure..."), it was nice to see the evolution of Davis with his generosity he displayed to Janette. After seeing her restaurant closed, he brings gifts to try to brighten her up. When she states that they are friends with benefits, I love McAlary's response:

"With or without."

And after witnessing Davis help Janette out as she cooks- what can I say? I'm a solid member of Team McAlary now. The man has won me over. Davis is a guy who is learning, he might not always say the right thing, but he means well.

Wendell Pierce did a magnificent job showing the sadness that Antoine felt losing his mentor and I love the brief scene in the hospital with him playing "I Thought I Heard Buddy Bolden Say" in the earbuds so, he (and Danny) could just have a moment to enjoy the music. And, it's nice that Antoine was insistent on Danny's son keeping the trombone.

And definitely the most painful part of this episode that was full of pain- was the resolution to the Daymo storyline with LaDonna. Khandi Alexander knocked this episode out of the park- and I have said this once, and I will say this again, I'm glad that Khandi has a role this well-written that she can sink her teeth into. She is that damn good of an actress. The moment where she recognizes that it is Daymo in the body bag is heart-wrenching. And, also I have to give credit to Melissa Leo's performance as Toni, as she expresses her bewilderment at how Daymo could die in custody and not be identified properly in the morgue. Again, there was a lot of David Simon's anger in those lines.

Right now, LaDonna has a lot of weight on her shoulders. She doesn't want to deliver the news to her mother right now- especially considering her mother's failing health and wants to wait after Carnival to deliver the news. At the end of the episode, you can tell the grief and pain is eating LaDonna up and she seems that she might crack from any moment from the stress- but LaDonna is somehow holding it together.

A stellar episode and with only three more episodes left in the first season, "Treme" is hitting on all cylinders. All the storylines are moving towards their conclusion and I am very excited to see how this season wraps up.

Treme Season 1 Episode 6- "Shallow Water, Oh Mama" review

Story by David Simon & Eric Overmyer and Tom Piazza
Teleplay by Tom Piazza
Directed by Brad Anderson




I've been a tad behind with my Treme reviews for a variety of reasons. I've been busy with work, working on personal projects, and catching up with Breaking Bad- which may be one of the best dramas on television right now. But, I wanted to catch up and do my Treme reviews as a devotee of all things David Simon.

"Davis can save us..."

Leave it to Davis to make his election bid a complete spectacle. I thought it was a nice way to open the episode up, and it's cool to see that he's making strides with his gay neighbors- that took him in from the last episode.

Whereas, Davis is warming up to me as a character and I am liking him, I still cannot stand Sonny. He's just so toxic in many ways- and I can only hope that Annie wises up and leaves him. I was reading a review who referred to Sonny slapping Annie as a "cliche tv trick", I don't know when domestic violence ever became a cliche, but it makes sense why he is deteriorating. Sonny is frustrated, using again and jealous of Annie's potential. It's almost as if he knows she is too good for him. It's a very jarring moment, when he slaps her, and my heart broke as she realized she had nowhere to go, and returned to him.

Do I think that Sonny will continue this downward spiral? I can pretty much guarantee it.

Nice to see Toni continue her work in helping out LaDonna find out what happened with Daymo. Whereas everyone else didn't want to pursue this, it's good that LaDonna has someone on her side like Toni. And with LaDonna's mother's ailing health, it won't get any easier for her (the next episode is particularly jarring).

It's good to see the relationship Antoine has with his former mentor and giving him the trombone that he got from the previous episode. And it was hilarious to see the exasperated look that Wendell Pierce delivered when he found out that Desiree put his tux in the washing machine. And to watch the disapproved glares of the bassist band leader as he adds his own touch on "Take the A Train" is terrific.

I can sense Creighton's frustration on how he may eventually become a parody of himself after the youtube video, which is what the publishers want now- and could butcher the novel he wants to do about the flood of 1927.

"Davis McAlary, our Davis who's teaching you boogie-woogie, that bozo's running for City Council?"

Love that line by Creighton. :)

And that final shot of the episode speaks for itself. Fucking hilarious and great political satire by Creighton. Glad to see Toni change her mind, and join her husband and daughter in dressing like sperm.

Again, it has to be seen to be believed.

Treme Season 1 Episode 5- "Shame, Shame, Shame" review

Teleplay by Lolis Eric Elie
Story by David Simon & Eric Overmyer and Lolis Eric Elie
Directed by Christine Moore


The opening sequence of this episode caught me a tad off-guard with LaDonna dreaming about meeting Daymo in his cell (with Keevon hovering above him) as the cell begins to flood with dirty water. Every David Simon production I’ve seen beforehand has never used a dream sequence before and maintains utmost realism. So, I was thrown for a loop but I liked the visual of the dream, and I see how it propels LaDonna forward. I just hope that the show’s writers continue to walk that fine line and not make a habit out of using that technique very often. But, being a David Simon devotee, I have the most faith in him.

LaDonna continues to be one of the most fascinating characters on the show as her mission to find her brother, leads to her court, to where she finds a seemingly dead end, as the ADA argues that there is no viable evidence to suggest whether or not Daymo was in custody at the time or after Katrina. And also, there is another reference to Daymo’s alleged drug use, which may not be true, given the information she finds out from Janette and Jacques. For some reason, I don’t believe that David has been using. I also did enjoy LaDonna’s moment of vengeance as she hires a process server to serve the roofer who has dodged his responsibility to Gigi’s. It was short but it was very sweet.

I think my favorite moment of this episode may have been the scenes between Antoine and Koichi Toyama, who may seem like polar opposites on the surface, but both have a shared love of music. In many ways, Toyama, knows more about music than Antoine. It was great watching Antoine and Koichi discuss music back and forth, to the point where it becomes almost a passionate heated debate. I’m like that with movies so I can definitely understand where the passion is derived from. So, that scene with the two almost coming to blows over a piece of jazz trivia is incredibly realistic. But, I did love that scene (after Toyama purchased a new trombone for Antoine) where Antoine plays for him. It’s so magical and touching in many ways- to see what music can do to make someone happy and create these emotions in them, it was very powerful. I did like that Desiree did get to see this moment as well. There was a look on her face where you can tell why she fell for Antoine to begin with and why she has feelings for him. He’s a talented- yet incredibly flawed human being.

The Annie/Sonny relationship is definitely on shaky ground right now. I can definitely understand why Annie feels so uncomfortable in this relationship right now. You have Sonny bringing in strangers (the bouncer from Houston) to stay with them without consulting her, and then he’s getting high again, and there’s just this bitterness that is brewing inside Sonny. He’s just so chaotic that he is ultimately not good or healthy for her. And the only reason, Arnie the bouncer gets the heave-ho at the end of the episode, is because Sonny is angry at him for sheltering Annie during the shooting.

I think I finally have a grasp on Davis as well. I know he is probably the least-liked of all the Treme characters but I had faith that Simon & Company would flesh this character out. I remember the backlash to Ziggy during the second season of The Wire, and he inevitably became one of the more well-liked and tragic characters of the series. I still think Davis has a long way to go, but the scenes of the musicians being enamored and impressed with his passion and enthusiasm, and also his understanding that his gay neighbors are not the enemy (after they took him in while he was drunk and laying in the street). It may be baby steps at first, but it seems that he is growing.

I think another stellar scene was Davina running into a friend during the parade. It’s a quick scene but beautifully played with raw emotion. It’s one of those moments where you run into a friend who you haven’t seen in forever and Davina’s case, thought was most likely dead. It’s simple but just a very memorable moment.

Treme Season 1 Episode 4- “At the Foot of Canal Street” review

Story by Eric Overmyer & George Pelecanos
Teleplay by George Pelecanos
Directed by Anthony Hemingway

First and foremost, this is a George Pelecanos episode which means that this will be a stellar episode filled with tight plotting and great dialogue. George wrote many of my favorite episodes (usually the penultimate episodes of each season) of The Wire and is also a great novelist.

I enjoyed the scene with Antoine waiting to have his stitches examined at the ER. It felt incredibly real with the insufferable delay and Antoine entertaining everyone with his singing. What else can you do when you’re trapped with a room full of people restless and impatient from sitting forever?

Albert is by far one of the most captivating characters on the series. From his disgust at how his insurance agent cut him off from any type of payout due to the fact that Albert didn’t have any flood insurance (the “I drink” line from the agent when Albert asked how he sleeps at night is sublime) to his scenes with Darius, Clarke Peters fleshes this character out so well. On one hand, he’s a passionate strong man with good sensibilities but underneath the surface, there’s a great anger simmering. I wonder as well, if Darius is how Albert may atone for his beating of the young thief earlier in the season. I must say, I do like how Darius was drawn in to the Mardi Gras practice. It seems like he’s taking this kid under his wing- it’ll be interesting to see how this relationship develops now that Albert is bedding Darius’ mother. By the way, that dinner flirtation between the two was masterfully played. To quote Shakima Greggs:

“Cool Lester smooth.”

Speaking of flirtations and chemistry, I did love the scene between LaDonna and Antoine at Gigi’s. Those two are just magical together, and it appears in a sense that LaDonna cannot help but resist Antoine’s charms. But, I did enjoy that LaDonna seized the opportunity of Antoine’s dental problems- as a means of getting him up to Baton Rouge to see his children. There is a great moment where Antoine is trying to bond with his kids and you can tell there is a bit of disconnect. Antoine has been away for so long but you could tell that he is trying to make amends. I also enjoyed the relationship between Larry and Antoine. Any other show would have Antoine jealous of Larry- yet meanwhile, Antoine realizes that Larry is a good man and surrogate father than his children. In his own way, Antoine realizes that Larry has been more of a father to his kids than he has been.

And on the Khandi Alexander note, her scene with Keevon White (played again by Anwan Glover aka Slim Charles of The Wire fame) was well-played. I think my favorite part of that was when LaDonna slammed her hand on the table exclaiming, “You look at us goddammit! This is my mother! This is David’s mother!” So, it’ll be intriguing to see what has become of her brother now with the implications from Keevon that Daymo was using perhaps. I did love the line from Keevon, “Respectfully ma’am, I know how to jail, your boy don’t.”

Nice to see Steve Earle again. And it’s interesting to see how the Sonny/Annie relationship is going to inevitably implode. It seems that there is a great anger/bitterness inside Sonny. We learned that he dragged Annie to New Orleans where he always wanted to go and live, and not it seems that he is becoming jealous of how Annie is garnering more attention and accolades than him. That look he gave her when he noticed the piano player (earlier he told her not to work with other piano players because he would consider it cheating) told a lot.

Speaking of nice, it’s good to see Jim True-Frost as Delmond’s agent. Any chance to see Prez is good with me. And speaking of Delmond’s story, I rather enjoyed the “Monogamy with Exceptions” game.

Last but not least, Creighton Bernette’s YouTube rant is nothing short of extraordinary. John Goodman can take the profane and make it downright poetic.

Treme Season 1 Episode 3- "Right Place, Wrong Time" review

Story by David Simon and David Mills
Teleplay by David Mills


"Without that horn, I can't make a living."- Antoine

The third episode of Treme is setting things in motion beautifully and first and foremost, I saw the opening credits and felt sadness when I saw that this episode was written by the late and great David Mills. RIP David.

LaDonna is still one of the most fascinating and strong characters on the show. With all the things that she has had to juggle simultaneously, it's a miracle, the woman is even able to stand upright. She has to deal with keeping her bar afloat (not to mention the roofer still refusing to finish the work she paid him to do), finding her brother, taking care of her mother, and being a mother for her own children- it's just a miracle that the woman keeps going. And Khandi can portray that toughness beautifully whether it be a look (which she gave the secretary at Bernard's office) or through the bitterness in her voice when she called Bernard (I love how she was able to play up her sugary side on the phone, then without missing a beat, hangs up the phone and mutters, "Motherfucker!"). So far, the search for her brother, Daymo, has been fruitless, but she at least, can trust that Toni is trying to help her.

For whatever reason, Larry seems hesitant to help his wife out. LaDonna states that Larry's family (including Bernard) looks down on her. Could Larry be trying to save face for his family? Does he share in their sentiment? More than likely, he's trying to avoid any possible shitstorm being created by having LaDonna keep distance from Bernard. But, LaDonna is persistent to say the least. And next week, it seems like Anwan Glover (aka Slim Charles from THE WIRE) is in another episode of TREME, so perhaps, he is going to be recurring in this world somehow. I look forward to seeing how he is connected to this storyline with her missing brother.

The women of Treme are very compelling and in many ways stronger than the men on the series (quite a contrast to the male-dominated world of The Wire). I am really enjoying the storyline with Janette, who like LaDonna, is trying to survive after the devastation. First, her meat supplier, has heard that she is on tough times financially, and is cutting her back to week-to-week payments, and then, Janette (after a beautifully played moment of deliberation by Kim Dickens) decides to have sex with Davis again. Whether it was the dinner or the pain forcing her to fill the void (I would say it was a little of A and lots of B), Davis reaped the benefits of spending his check on Janette.

It was nice to see Davis have a one on one with his neighbors regarding his treatment of them. He discovers that his assessment of them is off-base- they are as steeped in the history of Treme as he is. And as natives, they know about the music and culture. But, Davis, can't accept it- and in a moment of pomposity, refuses to mend the fence. He alleges that they are calling the police about his music, which they deny. I believe the neighbors, and I think it's someone else who is tipping the cops off.

Although, I do think Davis' arrest was completely justified. As Albert said in the last episode to Delmond, it's about how you to talk to people. Davis' main problem is that he has no semblance of tact whatsoever. Like Toni stated, you don't tell the National Guard to fuck off. And, it was nice to note that Toni informed him, that they busted David but let his black friend go. So, it's not a simple clear-cut and cliche case of race or class bias.

However, Antoine's arrest was completely unwarranted. Speaking of Antoine, it was nice to see Wendell Pierce open the episode up being the charming Lothario he is, showing the stripper at the club he's playing at, why the refer to his musical instrument as "the bone". And I guess, Antoine had a little left in his tank when Desiree called him out to prove his fidelity by forcing him into another tryst. The look on Antoine's face was comedic gold.

But, there is a beautiful moment when Antoine runs into Sonny and Annie and starts to sing with them. Antoine, in a moment of drunken clumsiness, accidentally bumps into the NOPD squad car with his trumbone, and gets a pummeling for it.

The quote from Antoine about finding and needing that trumbone resonated in me. That instrument is a part of him. It in fact, makes him who he is. Without that trumbone, he won't be able to survive or have an identity. Sounds dramatic perhaps, but I really connected with Antoine's sense of desperation and sense of urgency.

Again, this episode draws the line beautifully of the people who want to stay away from New Orleans (Larry, Delmond) and those who pride themselves in their home and refuse to leave (Albert, LaDonna's mother, LaDonna).

Speaking of Albert, it was nice to see the beating he administered to the kid in the previous episode was referenced through his conversation with Robinette. He seemed concerned for a second about the boy's condition- before turning his focus back to finding a member of his tribe ("Wild Man" Jesse Hurd) and not revealing that he was the one who beat the kid like that.

I knew that Albert and Lorenzo would stumble across Jesse's body. For a second, I had a flashback to the murders in the vacants in season 4 of The Wire. Thankfully, no Chris or Snoop where to be seen. And, I also thought we were going to watch another Albert beatdown on a kid, but sends the boy away after seeing that he was using the place to have sex with his girlfriend. There is a great Clarke Peters moment, when the boy's mother comes to him asking if he can work for Albert. The look Albert gives the boy when his mother isn't looking is priceless.

Sonny and Annie show that their relationship is on very fragile ground with Tom McDermott taking an interest in Annie, and inviting her (and not Sonny) to play at a charity gig. The image of Sonny chugging down the birthday bottle of wine by himself is incredibly painful. And I also like Sonny continuing to entertain anyone within an earshot with false tales of heroism during the hurricane to the easily impressed.

I cannot begin to describe the greatness of Creighton delivering the eyefuck of the century to Davis. Both men seemingly have so much in common, yet are so opposed to each other. Although, I can understand why Creighton doesn't want Davis in his daughter's company.

Speaking of his daughter, I have to remind myself that the series takes place around 2005, when YouTube was in its infancy. Toni's embarrassment over her daughter's obscenity-laced rant of Baton Rouge, is perfectly balanced by Creighton's pride and joy of his daughter embracing her hometown.

The ending was definitely tied to the title of the episode, "Right Place, Wrong Time" (which is from a Dr. John song I believe). The tourist bus wanting to see the homes and tragedy of those ravaged by Katrina interrupt the farewell ceremony to Jesse. Before the bus driver, apologizes and drives away, the passengers are able to snap some photos for their own curiosity. I wonder is that how Simon and company felt that most Americans (not from New Orleans) were when Katrina happened? We as the audience witness the entire event, but the joy and beauty of the ritual is ruined by the invasion of the tour bus. Everything was completely soured.

Next week, not just one but two Wire alums, Anwan Glover and Jim True-Frost. I'm there next Sunday.

Treme Season 1 Episode 2: "Meet De Boys on the Battlefront" review

Synopsis from HBO.com

Story by David Simon and Eric Overmyer
Teleplay by Eric Overmyer
Directed by Jim McKay

Davis McAlary hosts a live performance of the legendary Coco Robicheaux at WWOZ during which Coco attempts to bring the old Congo Square vibe to the radio station’s relocated “faux French Market” environs by summoning the spirit of Erzulie Dantor. “the beautiful mulattress whose earthly incarnation was Marie Laveau,” explains Coco. “Voodoo Queen of New Orleans…” notes McAlary. As proof of their devotion, Coco sacrifices, off camera, a live chicken.

Antoinette “Toni” Bernette discusses with fellow attorneys Andrea Cazayoux and John Moss how to locate LaDonna Batiste-Williams’ missing brother Daymo in the O.P.P. system. Meanwhile, LaDonna gives her contractor Riley a hard time about not making the roof of Gigi’s his number one priority. She grudgingly hands over more money and warns that the new shingles better be in place by the time she gets back from Baton Rouge the next day.

Albert Lambreaux discusses repairs with a homeowner, urging him to pleaster rather than just sheet rock over the damage. The owner has no flood insurance and is worried about costs. “People do a lot a dumb shit, ‘cause it’s easier,” Lambreaux warns.

Street musicians Sonny (on keyboard) and Annie (on fiddle) play a stirring version of ‘Careless Love’ as three church volunteers, in town to help with rebuilding efforts, look on. Sonny gives them a hard time about only being “fired up” about the Ninth Ward after the storm, and charges them $20 to play ‘Saints’ when they request “something authentic.” “Saints’ is extra,” Annie explains.

McAlary says goodbye to DJ Jeffy Jeff as he leaves with belongings, having been fired for Coco’s on-air antics. He heads to his parents for a loan but his father hooks him up with a new job instead- at a hotel in the quarter.

“Big Chief” Lambreaux goes door to door in the Seventh Ward, trying to round up members of his tribe for practice.

Creighton Bernette bemoans to his grad student the cuts being announced at the University in the engineering departments: “Sure, why would the university train people who know how to build things like, oh say, computer systems? Power grids? Levees? Hey, who needs them?” He wonders whether it’s time to tackle his shelved novel about the 1927 flood: “Couldn’t be more topical.”

Desiree rides Antoine Batiste about the bills piling up, insisting there’s a difference between a “gig” and a “job.” She doesn’t like him “coming home smelling like cigarettes” and strange women. He claims her olfactory sense is wrong- that’s BBQ she’s picking up. “Kermit’s BBQ tastes right, but not that right,” she tells him.

Over family dinner in Baton Rouge, LaDonna’s husband Larry Williams broaches the idea of moving her mother up to Baton Rouge and selling Gigi’s once the roof is repaired. She refuses, not willing to give up on the idea of returning to New Orleans some day.

Delmond Lambreaux tries to talk his father into joining the family in Houston for the holidays, but Albert brushes him off, wanting to stay put. Delmond tells him he’s actually staying in town for a few extra days- for a recording session for Allen Toussaint. “You deigning to play local?” his father ribs. But after that, he’s headed back to New York where there’s a lot of work because of the renewed love for New Orleans music.

Sonny regales a skeptical bar patron with tales of his heroic rescue efforts during Katrina. Out of ear shot, Annie tells the guy she wasn’t there to be able to confirm Sonny’s version of events.

Antoine finds out about a gig on Bourbon Street. “Nothing to be ashamed of… pride on Bourbon Street!” folks assure him. He runs into his old music teacher, Danny Nelson, who lost all his instruments in the flood.

LaDonna shows up at Antoine’s place with a ceramic elephant that their son Alcide made and meets Desiree- and Antoine’s new baby girl. “I’ll tell your sons they have a new half sister…another one,” she says as she leaves. Desiree questions Antoine: “What she mean by ‘another one’?”

At his new job at the Inn on Bourbon, McAlary is coached to refer any questions about dinner reservations to the concierge but he can’t resist and sends the trio of church volunteers off the beaten path to “Bullet’s.” He assures them it’s safe: “Crime’s all gone to Houston.”

LaDonna is furious to see her roof still in disrepair when she returns to Gigi’s but her anger is quickly forgotten when Toni shows up to tell LaDonna they’ve located Daymo. She explains the process for getting him released, warning that because the parishes get FEMA money for every O.P.P. prisoner housed, some of them drag their feet so it may take a few days.

Lambreaux wonders at the security costs associated with keeping squatters out of the habitable projects over in Central City: “Makes no sense.” When he returns to the house he’s working on, he discovers his tools have been stolen. He asks Robinette to ask around.

As Delmond and the musicians wrap up their recording session, they make a plan to head to d.b.a’s to see the funk group Galactic, urging Elvis Costello to join them. But he protests the late hour, citing the difficulties of being a middle-aged rock star. At d.b.a’s , Delmond gets summoned to the stage to sit in. Smoking a joint outside after the set, he gets busted by NOPD and taken in.

A chagrined Benny returns Lambreaux’s tools and reveals he bought them of a kid named Skinny over in Gert town.

After his gig at the Bourbon Street strip club, Antoine heads to Bullet’s for some barbecue and befriends the church workers who are soaking up the authentic atmosphere. Kermit calls Antoine to the stage and a scary looking patron takes his seat and offers to buy the girls a drink.

The next morning, McAlary gets fired for sending the church group kids to the Seventh Ward- they never came back to their hotel and now their parents are flying in and the NOPD are involved.

Janette Desautel has prepared a deluxe meal at her restaurant for her parents, visiting from Huntsville. She asks for a loan of twenty-five grand to tide her over until the insurance money comes in; her father promises six. Later, Desautel goes over the growing pile of bills with Jacques, looking for ways to cut corners.

Lambreaux bails Delmond out and drives his son to the airport. Delmond promises to pay him back for the bond and apologizes for having to leave before Sunday’s practice: “I loved growing up with the tradition but the Indians- that’s your thing. Always was.” Later that night, Lambreaux tracks down Skinny to confront him about taking his tools and finds him ripping out the new copper wiring from a house undergoing renovation. When the boy refuses to take responsibility, Albert beats him senseless and washes the blood from his hands at an outdoor spigot.

The next morning, McAlary runs into the church kids who’ve been for two nights. They thank him for pointing them to the real New Orleans and promise to check in with the hotel staff- after they get some breakfast for their hangovers.

As Creighton heads out with Sofia to drive her back to the boarding school in Baton Rouge, he tries to cheer his moping daughter after her options for returning to a reopened high school in New Orleans.

Waiting eagerly in the visitor’s room at the parish prison, Toni, LaDonna and her mother are devastated when the David Brooks the guard brings out is not their David “Daymo” Brooks.

Alone at Poke’s, Lambreaux is pleased when one member of his tribe, George Cotrell, shows up for practice. “You gotta start somewhere,” notes Cottrell. The two men grab their tambourines and start punching out ‘Shallow Water.’




“I can build a house from scratch- roof to foundation. What can you do? Tear it down? That’s easy.”- Albert Lambreaux

First things first, never take Albert’s tools. If you do, there will be dire consequences as Skinny experienced in this episode. I watched this scene and couldn’t help but think of Lester Freamon delivering a similar beatdown to Chris and Snoop if he happened to catch them in the vacants during season four of THE WIRE.

I think what’s so great about that scene is the sheer release of all of Albert’s anger and frustration. Clarke Peters does such a great job showing how Albert bottles his feelings up. This episode had all of the disappointment released in a vitriolic fit of violence. Albert is a man of great faith and love for his home- but do not disrespect him. Albert’s line of the police having no choice but to lock up Delmond after he disrespected them, was a nice foreshadowing to the violence that Albert would commit later. And not only can Albert build a house from scratch but he is powerful enough to nearly kill someone with his own bare hands.

And Albert’s line about people doing dumb shit ‘cause it’s easier, sounds like something that you could easily imagine Lester Freamon saying as well.

I haven’t seen Khandi Alexander sink her teeth into a role like this since her performance as Fran Boyd on THE CORNER. To watch her verbally bully Riley was great, and you see that LaDonna is not a woman that you want to cross. And you also get a feeling that this woman is working her ass of to trying to stay afloat. There’s an interview with Khandi were she stated that he explained the LaDonna character to her as a woman who has fought tooth and nail to get to the middle class status. I can definitely see that.

This episode did a great job showing how some people are trying their hardest to leave (Delmond, LaDonna’s husband), there are still those fighting their hardest to preserve the home that they know (Albert and LaDonna are two examples).

Antoine has A LOT of the Bunk in him. I think if Wendell Pierce gets work on a David Simon production, you can rest assured that the character will not be monogamous. We learned in this episode that there are other women scattered about that Antoine was with who have his children. The scene at the strip club where Antoine was playing his trombone and giving flirty glances to the stripper were just hilariously charming.

After seeing LaDonna with her new husband, there is a great deal of disconnect between those two- so it doesn’t shock me that she is trying to maintain some connection with Antoine. There is still a great spark between the two, but Antoine blew his opportunity to maybe get back with LaDonna, after she finds out their sons have a new half-sister that he neglected to tell her about.

Wendell Pierce remains the most smooth cad on television. No one is in his league.

I’m liking McAlary more and more. We get to see that yes, he is a douche, but a very well-meaning one who doesn’t make the right decisions. His moment at the front desk where he gave the kids directions was great. He just can’t catch a break right now because he can’t help himself.

Sonny and Annie are an interesting couple- definitely an odd couple. Annie seems to be the more pragmatic of the two. Like everything around them, it seems their relationship is barely hanging together. I don’t see the relationship being able to sustain itself for a long period of time.

Apparently, according to things I’ve read online, it IS more expensive for musicians to play, ‘Saints’.

Elvis Costello’s brief appearance was again very inspired and I loved Elvis’ comedic moment where he was able to wiggle himself out of hanging out with the other musicians.

Nice to see Anwan Glover aka Slim Charles very briefly as the convict who was mistakenly identified as Daymo. Too bad that Anwan’s role won’t be recurring, but it’s always good to hear his gravely voice again.

The ending of the episode with the two man rehearsal seems to be very hopeful- it’s not a huge turnout, but it’s somewhere to start. And that is good enough.

Treme Season 1 Episode 1, "Do You Know What It Means" review

Synopsis from HBO.com:

Written By David Simon and Eric Overmyer
Directed by Agnieszka Holland





New Orleans, LA
Three Months After

A small crowd gathers around a battered edifice amidst the wreckage of a post- Katrina street in the Upper Ninth Ward to witness the first second line since the storm. A few white bohemians, police offers, National Guardsmen, Habitat for Humanity workers and church volunteers are scattered throughout the mostly black group of musicians and locals (many of whom have driven back from Houston or Baton Rouge for the parade.)

Inside the Social Aid and Pleasure Club, leaders of the Rebirth band negotiate their fee with the dancers from the half dozen clubs who have pooled their resources for this event. “Less than two hundred a man? That shit ain’t right.” Hungry to play, the musicians eventually agree to the fee. The music starts and the musicians and crowd blend into a celebratory parade.

Late to the party, Antoine Batiste argues with his cab driver, accusing him of taking a more costly route. Handing over a twenty and promising he’ll find him with the balance later, Batiste takes off, trombone in hand, to join the second line.

Hearing the approaching parade, DJ Davis McAlary wakes, fighting for the first shower with Janette Desautel, who, facing another morning-after blast of cold water, wonders why she didn’t go home the night before. She takes off to tend her restaurant and McAlary joins the parade. Arriving at Desautel’s, Janette discusses options for the night’s menu with her sous chef Jacques, given their limited provisions and a distracted staff.

Albert Lambreaux’s daughter gives him a ride back to New Orleans from Houston. Returning to his ruined home, Lambreaux and Davina survey the destruction. He demands that his daughter take him to “Poke’s.”

As the second liners approach Gigi’s Lounge, their final destination, the bar’s owner LaDonna Batiste-Williams watches from the doorway, surprised to see her ex-husband Antoine amidst the players.

On the levee, Creighton Bernette is interviewed by a British TV crew while his teen-aged daughter Sofia watches. Bernette shoots down the interviewer’s suggestion that what happened to New Orleans during Katrina was a natural disaster. “What hit the Mississippi Gulf Coast was a natural disaster,” he says. “The flooding of New Orleans was a man-made catastrophe, a Federal fuckup of epic proportions and decades in the making.” When the reporter presses him about what whether New Orleans is worth rebuilding he grabs the man’s microphone and hurls it in the river and tries to throw the camera in as well.

McAlary returns home and antagonizes his neighbors, a gay male couple, by aiming his stereo speakers at the garden of their Creole cottage. His neighbors retaliate against his loud Nawlins rap music with their own blast of public radio classic fare.

Back home, Sofia Bernette fills her mother Antoinette “Toni” Bernette in on the number of F-bombs in her father’s levee interview. Creighton starts to defend himself but has to take a call: “NPR…it’ll be fine,” he assures his wife. “The ‘N’ stands for ‘nuance.” Sofia complains about having to go back to her Catholic boarding school in Baton Rouge and her mother assures her she should be able to return by Carnival. From the other room, Creighton’s voice grows louder: “The old city is not below sea level. It never has been,” he explains, unraveling as he realizes the interviewer’s grasp of the situation is not as nuanced as he hoped.

After the crowd has cleared out of Gigi’s, LaDonna feeds Antoine a plate of rice and beans and they discuss her dentist husband who commutes down to see her weekends from their home in Baton Rouge and her brother Daymo, missing since the storm. She chastises her ex for not visiting their sons, Alcide and Randall, more often.

Desautel and Jacques race to keep pace with their patrons. The place is crowded with locals looking for good food and companionship. “I could stay open ‘til midnight every night if I had the staff,” Desautel tells Creighton and Toni Bernette.

Davina calls her brother Delmond Lambreaux, who’s playing a gig in New York City, telling him it’s his turn to come down to try to talk sense into their father, who is now living in Poke’s bar, and cleaning it out.

Demetrius Bray shows up at LaDonna’s bar late, having missed the second line because his car broke down on his way back from Memphis. He asks after her brother Daymo, and tells her he was locked up with him in the storm.

Showing up to take over the late shift at WWOZ Radio, the evening DJ gives him the station’s play list for the upcoming pledge drive, over McAlary’s objections: “One in every three songs from a pledge drive compilation?”

As dawn breaks, Lambreaux, who has worked through the night to clear the debris from Poke’s unpacks a change of clothes and makes his way up the desolate block to his friend Robinette, in search of a bath. “Seem Poke need t’pay his water bill,” he explains. Robinette invites him in.

Antoine wakes to find his cash from the second line gig has already been taken by his live-in girlfriend Desiree for groceries.

McAlary, strolling through the French Quarter, sees that Tower Records is liquidating and storms the store demanding the consigned copies of his brand’s CD, but the security guard throws him out.

A cleaned-up Lambreaux asks Robinette to haul away the debris from Poke’s so he can use the bar for Mardi Gras Indian practice. “I’m asking as a chief, here,” he says. But Robinette refuses, pointing out Lambreaux isn’t his chief- and none of Albert’s gang is even around.

At Lil’ Dizzy’s restaurant, Toni Bernette meets LaDonna, who arrives to fill Toni in on the new lead on Daymo. Toni promises to look into it. LaDonna leaves, and Toni enlists the help of a sheriff’s department captain, LaFouchette, who is also having lunch there.

Antoine promises yet another cab driver he’ll be back with his money and heads into musician Kermit Ruffins’ house to get in on his gig at Vaughan’s that night- and begs for an advance so he can retrieve his trombone from the waiting taxi.

At Vaughan’s, McAlary spots Elvis Costello in the audience and tries to get Kermit to talk to him after the gig, but Kermit doesn’t care. “You’re just standing there telling me that all you wanna do is get high, play some trumpet, and barbecue in New Orleans your whole damn life?” demands McAlary. “That’ll work,” laughs Kermit.

Lambreaux, in the full regalia of a Big Chief of Mardi Gras Indian tribe, comes to chant in front of Robinette’s house. Robinette and his wife emerge from their home to watch. Moved by Lambreaux’s determination, Robinette agrees to haul away the debris.

Toni Bernette waits outside the temporary parish jail for LaFouchette who brings her an up-to-date list of prisoners the parish had in its custody at the time of the storm- no Daymo. She takes the list and head to the Times-Picayune to search their archives for photos of prisoners who were on the overpass when the storm hit.

Antoine returns home with his payment from Kermit’s gig- Desiree says it’ll cover gas and electric. This time he keeps enough to get him to the next gig.

McAlary gets an old friend to let him into Tower Records after hours so he can retrieve his CDs- plus an out-of-print collection of Dave Bartholomew that is “karmatically” his- since his was stolen. He heads to Desautel’s and opens a ’98 Conterno- a $350 bottle of wine- offering the stolen Dave Bartholomew CD as payment. Furious, Desautel has Jacques throw her “kind-of” boyfriend out.

Toni brings two grainy prints she found at the paper to LaDonna, pictures that look like Daymo. Toni heads next to the sheriff’s, willing to wait until he can answer her questions about the missing boy. She gets no answers from the sheriff.

Delmond shows up to try to talk his father out of staying in New Orleans. But Lambreaux orders him to either help clean out the bar or pay the water bill.
Antoine stiffs a cabbie once again as he arrives just in time for a gig with a band playing a funeral procession. “Forty to the graveyard, and forty to cakewalk back, right? Play for that money boys. Play for it,” he says as the band begins its slow step to the cemetery.




I anxiously awaited for this show to debut because not only was David Simon responsible for the greatest television show ever, THE WIRE, but I am a huge fan of the superb GENERATION KILL and THE CORNER. The teaser sequence set up the mood and feel of this series brilliantly. Even though the series is steeped in tragedy- it seems a bit more optimistic than THE WIRE. That could be because of the fact that THE WIRE thematically was modeled after a Greek tragedy- but this show has so much soul and life, even in the wake of the devastation of Katrina.

It was great to see Wendell Pierce introduced as Antoine, who is already becoming one of my favorite characters. The recurring gag with not having enough for the cab driver was hilarious, and you get an idea of what a smooth talker Antoine is. Although, his smoothness cannot help his situation of living hand to mouth- with children from two different women. But, there are few who can spout David Simon scripted dialogue and make it seem downright poetic.

Khandi Alexander, who plays Antoine's ex wife, LaDonna, is shaping up to be one of the strongest characters on the series. For too long her amazing acting talents have been squandered on the CSI franchise she was working on (there's like a million of them). This is Khandi's finest role since her role as Fran Boyd on THE CORNER. You see the strength of this woman as she struggles to keep her bar afloat- but you see the strength wither as she realizes that her brother may be dead. And I enjoyed the one scene where she talks with Antoine, and you get the idea that there is still something there.

The McAlary/Janette relationship reminds me very much of the disastrous McNulty/Pearlman hookups on THE WIRE where it seemed like casual sex on a train to nowhere. Now, what Janette gets out of the sex with McAlary, is unknown- but she doesn't seem to be pining for him since she had no problem kicking him out of her restaurant.

McAlary, is the type of character who some could rally against like I remember certain WIRE fans hated Ziggy originally before his story arc was allowed to play out. But, personally, I love McAlary. Steve Zahn somehow makes this asshole character very likeable. His scenes with Elvis Costello and trying to convince Elvis that he taught Kermit Ruffins everything he knows was absolutely hysterical. And McAlary had that great passionate moment when he tries to convince Kermit (who is completely unaware on who Elvis Costello is) to talk to Elvis because he can be a bigger star. But, Kermit is content with where he is. It reminds me a bit of THE WIRE where no one can think past Baltimore and outside that world.

By the way, thank you David Simon for the Kermit Ruffins love- I have been playing a few Kermit albums all this week. Amazing music. Not to mention the Dave Bartholomew I've been playing at work non-stop. Thanks to this show, I'm going to be playing New Orleans music all week.

I got a bit teared up when I saw David Mills in the opening credits listed as co-executive producer. That guy was one of a kind and is still being missed. RIP Dave.

I always thought Clarke Peters is the type of actor who could have thrived in silent movies. He's an actor who just seemed to be of another era because he does much by saying so little. His role of Lester Freamon on THE WIRE was one of my faves, and his portrayal of Albert is already captivating. He's so dedicated to returning home and fixing his environment- it's very inspirational. Whereas, his kids see nothing to salvage, Albert sees something that is worth saving. This differing of opinions has to deal with the generation gaps between Albert and his kids.

It sort of reminds me of a scene with Proposition Joe and Cheese in the final season of THE WIRE where Joe told his nephew how community meant so much, and how his generation "lost".



Speaking of Albert's kids, it was nice seeing Edwina Findley cast as Davina. The last time I saw her was catching a stray in season 3 of THE WIRE when her character, Tosha, got killed in a stashhouse shoot-out.

But, that scene with Albert cleaning that bar- some of the most compelling tv, just because Clarke does so much with no dialogue. You see the determination in his face, and that determination continues when he dresses up in full Chief regalia, when he implored Robinette to help him. It was such a moment of pride and admiration.

I'm looking forward to seeing where the Albert storyline is going to go.

Also, Robinette's voice is just awesome. We're just talking Keith David type of awesome.

It's interesting how this show seems very character driven so far. I have no clue how Simon modeled the feel of this show, but it still feels more hopeful than THE WIRE.

The music itself is a huge character in this show and every musical moment pulsates with vibrancy and life. You see what is worth saving. The question of, "Who cares?", seems to be the thing David Simon poses and answers throughout the entire opening episode. I have never watched a show that made me just feel so good when I hear a music and the sense of euphoria that can wash over me.

McAlary playing "Shake that Ass" in his window to his gay neighbors were just twenty-four shades of awesome.

It's good to see how this show begins with the Rebirth Band and ends with the funeral procession. There's a certain symmetry to how the episode unfolded- and I cannot wait until next week.

From the superb writing and skilled direction- this is a television show that audiences beg for but rarely ever get. I read that a second season has already been greenlit- which is great news as a fan of David Simon and already of this show. I read something where David wants to get Dominic West to direct an episode next season (Dominic did a great job with THE WIRE episode he directed).

Here's the opening theme song, "Treme Song" by John Boutté. I'm used to "Way Down in the Hole" after all these years, but this opening is very catchy.

HBO's 'Treme' creator David Simon explains it all for you

HBO's 'Treme' creator David Simon explains it all for you
By The Times-Picayune
April 11, 2010, 5:40AM




In the first episode of "Treme," to be broadcast tonight on HBO, a character will reach into her purse and produce an apple-flavored Hubig's pie. She will do this in late November 2005. With the rest of her dessert menu no longer available, the character, a local chef, will then serve the local delicacy to a patron of her restaurant.

We offer this bit of information freely, as Exhibit A in what will surely become a long list of cited inaccuracies, anachronisms and equivocations through which New Orleanians reassure themselves that not only is our little drama a fiction, but that those who have perpetrated this fiction are indifferent to facts, chronologies, historical possibilities.

True, the Hubig's bakery in the Marigny did not reopen until February 2006, and true therefore, any such pastry found in a woman's purse should by rights be a pre-Katrina artifact and therefore unsuitable for anyone's dessert.

But what you fact-grounded literalists clearly fail to understand is that the pie in Janette DeSautel's purse is a Magic Hubig's. Much in the manner of certain loaves and fishes in the New Testament, or several days worth of sacramental oil in the Old, this Hubig's somehow survives months of post-Katrina tumult and remains tasty and intact for our small, winking moment of light comedy. We know this because we, the writers, imbued the pie with its special powers. We created it. We stuck it in the purse -- or more precisely, the propmaster did. We left it there, waiting for its special moment.

And here's the thing: It won't end with one chunk of pie.

We have trespassed throughout our narrative. And soon enough, the true nature of our many slights and affronts, our intentional frauds and unthinking miscalculations will be subject to the judgment of you whom we have trespassed against.

This is altogether right. Our television drama is taking liberties with a profound, unforgettable period in this city's history. It depicts day-to-day life in New Orleans in the aftermath of Katrina, referencing certain real events, real people and places, real cultural reference points known to many, if not most of those who call this city home.

That we will be held to certain standards by New Orleanians goes with the territory. Beginning tonight, you are the ultimate arbiters -- the only ones we really care about -- on the question of whether our storytelling alchemy has managed to make anything precious or worthy from the baser elements of fact.

Your sensibilities matter to us because we have tried to be honest with that extraordinary time -- not journalistically true, but thematically so. We have depicted certain things that happened, and others that didn't happen, and then still others that didn't happen but truly should have happened.

This is a nice way of saying we have lied.

Why? Why not depict a precise truth, down to the very Hubig's?

Well, Pablo Picasso famously said that art is the lie that shows us the truth. Such might be the case of a celebrated artist claiming more for himself and his work than he ought, or perhaps, this Picasso fella was on to something.

By referencing what is real, or historical, a fictional narrative can speak in a powerful, full-throated way to the problems and issues of our time. And a wholly imagined tale, set amid the intricate and accurate details of a real place and time, can resonate with readers in profound ways. In short, drama is its own argument.

Much of our previous work in this regard was set in Baltimore, where we took pains to incorporate many people, places and events that existed and occurred, and where we made equal efforts to imagine a good deal that never happened.

With "The Wire, " we tried our best to be responsible, of course -- to choose carefully where we would cheat and where we would not.

In a given episode of "The Wire, " if we wrote that the police department, for example, was cooking the stats -- an accusation that goes to the heart of that institution's credibility -- we did so only after being provided with ample evidence that this was, in fact, the case.

On the other hand, if we laid dead homicide detectives out on the green felt of a pool table for drunken wakes in an Irish bar, we did so knowing that such a thing never happened -- although, frankly, upon imagining and filming such ceremonial rites, we came to believe that it damn well ought to be the tradition in Baltimore.

If we are true to ourselves as dramatists, we will cheat and lie and pile one fraud upon the next, given that with every scene, we make fictional characters say and do things that were never said and done. And yet, if we are respectful of the historical reality of post-Katrina New Orleans, there are facts that must be referenced accurately as well. Some things, you just don't make up.

Admittedly, it's delicate. And we are likely to be at our best in those instances in which we are entirely aware of our deceits, just as we are likely to fail when we proceed in ignorance of the facts. Technically speaking, when we cheat and know it, we are "taking creative liberties, " and when we cheat and don't know it, we are "screwing up."

But "Treme" is drama, and therefore artifice. It is not journalism. It is not documentary. It is a fictional representation set in a real time and place, replete with moments of inside humor, local celebrity and galloping, unrestrained meta. At moments, if we do our jobs correctly, it may feel real.

Even then, it is important to understand that the writers, directors, cast and crew are not in any way trying to supplant the historical record, or, for that matter, the personal memories and experiences of real New Orleanians. To the extent actual individuals have inspired or informed a character or a moment, we acknowledge that these characters are nonetheless make-believe. Real folks are entitled to real lives, and to have those lives considered distinct from any and all moments in a television drama.

In Baltimore, most sensible viewers figured all of the above out by episode three, though admittedly, a few politicians and high-ranking police commanders struggled with the concept until the very end. No doubt, it may take at least a few episodes of "Treme" for all of us to figure each other out, and in the event the drama lasts no more than a season, any confusion will scarcely matter.

But going forward, unless otherwise instructed, our suggested rule for watching "Treme," should you choose to watch, is to assume in every instance that someone, somewhere sat in a room and made all of this mess up.

Except for the band that is seen playing good, live music in a Bourbon Street strip joint in episode two. That is, of course, a Magical Strip Joint, of no fixed address.

David Simon, New Orleans, April 2010