An unfortunate misconception that plagued Treme when it came on last summer comes from both the laudable creator and the near-past period it is recreating. David Simon’s famous works from Homicide to The Corner and especially The Wire, tend to veer into the criminal aspects of urban life, while the context of post-Katrina New Orleans brings a certain political expectation, including a racial one. It doesn’t help either that the show is named after an off-the-Spring Break-path, predominantly African-American neighborhood. It proves unsatisfying to more than a few, apparently, for a TV show to forgo a more obvious dramatic impetus—like the way The Wire had Det. McNulty trying to bring down drug lords—and instead slows movements to a halt to savor local flavor. In New Orleans, that means music, food and neverending parades. It also means constant disappointments for its municipal well-being following the flood. It’s a show about a city—more about its atmosphere than any obligatory “plot” fiction can provide. It tests its audience’s patience that way, but rewards the diligent with an amazing sense of understanding.
Naturally, it’s impossible to do a show about post-Katrina New Orleans without being dominated by feelings of desolation and despair, especially when it’s set only three months after the storm, chronicling its citizens’ return and the days counting down to the first Mardi Gras since; but the show manages to convey the daily exuberance of that place that makes it worthwhile to return to a disaster site with no pot to piss on, through instantly likable characters and an even more likable culture.
The number of people spouting kinship for Baltimore despite having never visited, let alone lived in the infamous city, all because of The Wire is a testament to David Simon and co.’s commitment to detail that comes alive on the screen. They do the same to New Orleans, and before long you start sharing the characters’ frustation with gas and electric companies you’ve never received a single bill from, to say nothing of the politicians. The irony grows thick when the show teaches non-residents a certain breed of contempt for French Quarter-visiting, Bourbon Street-partying tourists. Even the well-meaning kind.
“Let me ask you something. Have you even heard of the 9th Ward before the storm? So why are you so fired up about it now?” A street musician asks a band of fresh-faced church volunteers.
Far from exploiting a tragedy by making a sappy squeaky clean NOLA love letter like everything in media and pop culture was in 2006, the show actually deals with the kind of Katrina exploitation that Treme had the potential of being. Episode 3 closes with an extended portrayal of an Indian Mardi Gras rehearsal (if you don’t know what that is, the show will school you) being interrupted by a “Katrina Tour” bus insensitively stopping nearby so its passengers can snap a few pictures and express casual pity. You have to wonder if we, too, are guilty of the same vulturic curiosity.
The strength of the show is in its diverse point of view. We see one character endure despite tragic developments in the family that comes out of Katrina, and another passionate soul gradually losing hope that the city will ever return to normal (providing the show’s most heartbreaking sub-story). We see a wandering character learn to appreciate his home, while a mainstay learns to let go and leave the city. It's also complex in its depiction of social interactions, with one character ardently against Treme's gentrification having to reach an understanding with his new, non-gritty neighbors. All of it comes with a sense of authenticity that’s helped by the casting of real locals and honest-to-gumbo musicians to round out the stellar cast of Wendell Pierce, John Goodman, Melissa Leo, Steve Zahn and so on. Even with just this one season, it feels like a complete snapshot, but the show is returning this year to explore more in its second season, and is sure to capture more of this particular slice of modern American history.
The show isn’t specifically about Treme, mind. The neighborhood, one of the city’s oldest, was one of the first places in the United States to have free people of color, with homes owned by African-Americans who were not slaves. While the main characters reside in it, the show eventually becomes about the entire city, with the neighborhood as a symbol of the city’s spirit of perseverance. New Orleans was underwater, but Treme is only one of many examples of why it’ll never sink.
Blu-ray Bonus Features
The set comes with two featurettes. One is 15-minute introductory video that prepares the viewer for what the show will be like, while the longer 30-minute one goes more in-depth with New Orleans’ rich heritage. In addition, every episode comes with one or more audio commentary—either from the cast and creators, or from music critics Josh Jackson and Patrick Jarenwattananon discussing the importance of the sounds featured in the episode.
What makes the show worth getting on Blu-ray (aside from the pristine picture quality, needless to say) is an in-episode pop-up feature that gives an explanation on the various New Orleans music, cuisine, locations and lingo for those unfamiliar. If you know David Simon’s work, you know that he tends to dispense with wide accessibility for the sake of credibility, often going over the laymen’s heads. You don’t have to catch all the references and slang, but it’s cool to be able to. If and when The Wire goes on Blu-ray, this would be a nice feature.
"Treme: The Complete First Season" is on sale March 29, 2011 and is not rated. Drama. Written by David Simon & Eric Overmyer. Starring John Goodman, Kim Dickens, Melissa Leo, Steve Zahn, Wendell Pierce, Clarke Peters.
