Archive | October, 2012

The Trouble With Politics on Homeland

3 Oct

Homeland’s great; the new season has just started, but based just on the first season alone, it’s one of my top four hour long programs on TV (along with Mad Men, Breaking Bad, and Game of Thrones), a very prestigious group.  However, no show is completely perfect and it’s always fun to slightly pick at the ones we love, in good fun, of course.

There’s something that rings false about talking about politics in a serious way on a television show or movie and trying to keep everything non-partisan.  With a show like Veep, it’s mostly doable, because it’s a comedy, and because the show is short on policy and long on silliness – the whole show is based around the idea that the Vice President essentially has no real power.  It’s still not ideal, but it’s simply less important – it still feels false that party never comes up, but it’s less of a big deal that it feels false, because of the above reasons, and because the stakes are so low.

As long as politics is on the fringes, like it was in most of the first season of Homeland,  this isn’t an issue.  The Vice President was mostly important because of his being a target, and his relationship with CIA director David Estes.  In this limited role, where the Vice President was mostly acting as a particularly political figure, it didn’t feel like party was necessarily relevant.  However, once Brody’s name was brought up as a Congressional candidate, Homeland veered into the trouble area.  There is simply no way you go into a congressional campaign, and the meetings and parties which Brody attended, without party coming up.

This season, with Brody a congressman, and being talked up in the first episode as a potential vice presidential candidate, already looks to be entering the more political sphere of Washington D.C.  Party is so wrapped up in today’s political scene that it feels false to have meetings with the Vice President talking about political matters without it ever coming up, even offhand.  Homeland tries to skirt this by only dealing with the Vice President, rather than the President or other prominent political figures, but now that the Vice President is clearly revving up his Presidential campaign, honestly avoiding parties just feels forced.  It feels like the otherwise natural conversations were jury-rigged to remove any natural hints of political party.

Sure, I understand the benefits of avoiding mention of political parties – choose the wrong one, and you immediately alienate half of your audience.  That’s a problem for TV sure, and it’s a calculation weighed against the negative lack of lack of naturalism, and as for the limited relationship with the CIA, in the first season of Homeland, it’s not really important.

Several other shows have had this issue.  Boss, in which I assumed from the get go that the mayor was Democratic, because there hasn’t been a Republican mayor of Chicago since the Great Depression.  Particularly in that situation, such a one-party system, not mentioning parties at any point seems to make even less sense than it does in other instances – the benefits to be gained by keeping out partisanship are lessened when everyone will just assume it’s Democratic anyway.  24 went back and forth; initial presidential candidate (and later president) David Palmer was clearly labeled a Democrat which made sense, and even though of course 24 wasn’t really about politics, it made a lot more sense to name the party, especially in the second and third season when he dealt with his cabinet, and his reelection campaign, and had a specific opponent.  However, 24 seems to stop talking about it as the show goes on, and by the time of the final president (there’s an insane number of Presidents in 24, but that’s a story for another day) party stops being mentioned entirely and it can only really be back engineered by figuring out the timeline of 24 that Allison Taylor is a Republican (or the very nature of American two party politics have drastically changed in the fictional 24 world).

In The Wire, which features a very Boss-like situation of a one party city, there’s no shying away from mentioning party.  David Simon, whose aim is to provide as realistic portrayals as possible, clearly labels Carcetti and essentially every other important political figure in the show as Democrats; to go throughout a campaign without party mention would break that naturalism.  The single most politics based show in recent memory is of course The West Wing, and the main characters are basically all Democrats; it would be ludicrous to imagine that show without party identity.  In a recent failed show which heavily revolved around politics, Commander in Chief, which starred Joan Allen as a Vice President, who ascends to President when the President dies, the creators partially cop out by having Allen play an independent (a Republican nominating an independent as his vice presidential candidate in this decade’s political climate?  ha), but at least labels her as a former moderate Republican, and the President she was elected with as a Republican.

Simply put, the fact is that it seems ridiculous to showcase a presidential election campaign nowadays without mentioning party, far and away the most important identifier of a candidate.  I’m not sure how close Homeland is going to take us into a potential Brody run in a presidential campaign as the vice presidential nominee, but the closer it decides to take us, the more limiting it feels to not label the party.

While I find this issue minorly troubling,  clearly it doesn’t deal with the very fabric of Homeland, and thus the show can and will still be excellent without it.  Still, I’m sure they won’t deal with it unless they absolutely have to, otherwise they would have by now.  For a show in which nearly every other interaction and scene feels true (even if it isn’t, what the hell do I know about the CIA, but that’s not really the point),  the political scenes feel off with the deliberate aversion of party.

Fall 2012 Review: The Mob Doctor

2 Oct

The hardest shows to write about aren’t the worst or the best, but the most, well, blah. That’s the level of wordsmithery I’m consigned to. The Mob Doctor isn’t very good, but it’s hardly horrible.  Jordana Spiro plays a young doctor, Grace Devlin, who wants to progress in her medical career, but who is also in debt to the mob. That’s essentially the long and short of it; it’s two different shows that connect at a nexus in an attempt to put a twist on either of those genres, medical and mob, but mostly end up as a generic show that spans two genres rather than one.

Here’s the medical show: Grace is a classic doctor-who-cares-too-much who is trying to move up in the cuthroat world of surgery with a boss she doesn’t like, and who doesn’t like her, and an even higher boss that she both likes and is liked by, played my all-time blog favorite Zeljko Ivanek. She’s got a boyfriend (played by Zach Gilford, Friday Night Lights’s QB1, Matty Saracen), a rival, and angers both by her willingness to break the rules and the law to help someone out of a jam, and by her tendency to whistle blow on her boss, which makes a viewer want to yell a classic The Wire “Chain of command!”  She’s clearly good at what she does but she risks alienating her coworkers with her attitudes and her recklessness.

Here’s the mob show: Spiro agreed to take on her brother’s debt to prevent him from being gunned down by mobster Morretti (The War at Home’s Michael Rappaport). She’s also buddy buddy with allegedly retired mobster Constantine (mob character veteran William Forsythe, who just played Manny Horvitz in Boardwalk Empire), having known him since childhood.  In the first episode, Moretti threatens Grace’s family if she doesn’t kill a patient in witness protection for him.  When she doesn’t, she makes a beeline to her friend Constantine’s house.  It turns out the witness was all part of a set up to take Moretti down so Constantine can reclaim his rightful position as Head of Mob.  He offers Grace a choice; get the hell out of Dodge (Chicago) or if she decides to say, she owes him now, with unspecified mob medical favors.  She, not wanting to leave her life and family, takes the latter. So, she’s torn between the two worlds, and you’ve got what’s likely twin procedural action.  She’ll have to do a surgery for the hospital, and do a surgery for the mob, all while avoiding on stepping on many sets of toes.

Note:  Two characters got to tell Spiro alternately, “we’re done here,” and “this isn’t over,” two phrases I would kill to have a chance to properly roll off in a nautral conversation and then walk away, authoratitvely but smoothly.

Will you watch it again? Nope. Honestly, it was much more blah (that’s that non-word again) than out and out bad, but there’s so many other shows to watch that one has to make their viewing choices carefully, and affirmatively;  when choosing, it makes sense to watch shows that you excited to see the next episode of rather than shows which you finish and merely say, “you know, that really was watchable,” and mean that as a backhand compliment.