User reviews

As a local who lived here during Katrina, I find this show particularly moving and powerful.

There have been so many films, documentaries, novels, etc. about New Orleans, and most tend to sensationalize or to give non-locals what they want or expect to see. This is the most real portrait of the city I've seen, and it does justice to the spirit of the city. Living here is a strange experience because it feels like a small town: you run into the same people again and again; people are always eager to show newcomers where to eat or drink or listen to music; people are very friendly; people do tend to cringe when visitors never stray from Bourbon (even though Bourbon is fun); people do have a fierce loyalty to local bars, restaurants, etc. Simon really captures all of this in the show.

I never saw The Wire, but I'm impressed with the style of giving snapshots of the city or characters to build portraits of the people and the atmosphere - particularly the second line parade, John Goodman's character reading the Tulane renewal plan (brought back some painful memories for me personally), the Mardi Gras Indian practice, the reaction of people walking into a house or bar for the first time since the storm and surveying the damage.

My main concern for this show: I have no idea how non-New Orleanians will feel about it. So much of my enjoyment of the show is rooted in seeing people I know and finally seeing a director do justice to some of the most wonderful things about this city. But I'm not sure how I would feel if I weren't so emotionally invested in it.

Treme is definitely not a show for everyone. And that is fine. Most likely, if you're a fan of David Simon's The Wire, you will probably have the utmost patience with this carefully and skillfully constructed character drama, realizing there will be a payoff down the line.

In the mean time, the viewer slowly, yes slowly, gets to know a wide array of characters as well as become totally engulfed in a post-Katrina New Orleans. It is often depressing and saddening. It is true that the first 3-4 episodes are slow. The viewer does wonder where the story is going, where the intrigue will come from, and what exactly is Simon going for. There are several scenes each episode where the music seems to go on too long and is filmed just for the sake of the music, not necessarily because it helps the story. In this way, it is not quite the equal of The Wire. Things are sometimes too slow and meandering.

But....please....if you're a fan of well planned character studies, if you appreciate the art and skill in a form of film that is unique and original, stick with Treme for the entire season. If The Wire was a "slow burn", Treme is a long smoldering fire left to burn after midnight, just to still be there in the morning. You think it's going to go out, but instead it just continues to build and draw you in. By episode 5 or 6, the contemplative & intelligent viewer will be won over. By the end, you are completely riveted to the fortunes of the central 7-8 characters.

I cannot say enough for David Simon's ability to create something that is so different than 95% of what passes for drama and TV on the current airwaves. Every scene is crafted for a reason, every character is painstakingly created. Nothing is wrapped up in 55 (or 41) minutes, there are no shallow, one sided caricatures (other than maybe Sonny) that is the absolute norm on most network TV shows. CSI? Law and Order? The Mentalist? Child please....

Such episodic creations like CSI are for the average viewer who wants no challenge, wants a tidy ending tied in a bow, and who can care less for an artfully executed show. Treme attempts to reflect, and represent, true life as much as possible. Real life has an ebb and flow, very little is tidy, minimally is it black & white. There are gray areas. Sometimes you do the right thing, sometimes you cut corners. If you require ease and tidiness to be entertained, please don't attempt this show....instead stick with David Caruso's Horatio on CSI: Miami, an absolute farce rife with simple and obvious one-liners that exist no where except in the festering pool of prime-time network TV written for the average viewer who is incapable of deeper thought, critical thinking, and patience.

To call these characters one-dimensional must mean that you've watched with one eye or "didn't get it". Almost everyone in the show exhibits admirable traits but also some traits that may be annoying, irresponsible, or questionable. I can say the same things about almost everyone I know in real life. No one is perfect, but most people strive to be the best they can. Wendell Pierce's Antoine Batiste changes and fluctuates throughout the 10 episodes, turning into a well-rounded human being with depth. The same can be said for Steve Zahn's Davis, who starts very clownish, but who slowly turns into a real person with a serious and sensitive side. I could go on and on, referring to The Chief, his son, LaDonna, Annie, Creighton, Toni, etc. Nevermind Kim Dickens' Janette, probably the most well-liked character that the viewer pulls for the most. She is incredibly multi-dimensional and deep, from her struggle as restaurant owner to her relationship with Davis. Also, shame on some posters that seemingly have ZERO knowledge about suicide, why it happens, how it effects the survivors, and how it often occurs with little warning, committed by an individual with a "fine and normal" life. There was nothing wrong with how Simon portrayed this un-named characters' suicide which served to represent the many people that took this route in the aftermath of such trauma.

As far as New Orleans itself, it seems to be a believable and life-like portrayal of it. I've been there 3 times ('04, '05, '09) for a week each time and can say its a place I want to return to often. The food, the music, the history, the people...are all unique and quite a National treasure. Any vitriol for the city or its people completely makes ZERO sense to me and probably reflects ignorance and close mindedness. What the city and its people have had to go through is amazing and something that 99.9% of us will never have to experience. This show attempts to capture this feel, this struggle, the identity of a city and it's attempt to resurrect itself. The characters all reflect, seemingly realistically, an aspect of this struggle, the effects of such trauma, what happened to its citizens, and what it takes to come back, and who/what may be in the way of such recovery. Obviously, if you've never experienced New Orleans, "don't get" the city, care nothing about music, you may indeed be behind the 8 ball when it comes to the patience and focus needed for this show.

Once again, it is not for everyone. It takes focus, it takes time, and it takes faith. Many people may need more explosions, more "gotcha" moments, more spoon fed explanations, and more clichés.

Bravo to Simon for another wonderfully and painstakingly created drama that only HBO would have the courage to stick with. The art, skill, and vision inherent in what he has done with this show, and The Wire, is truly an American treasure worthy of all the praise that may come its way.

The Wire was a great show. Rather than imitating the backdrop that made The Wire tick....homicide, drugs, corruption, David Simon has created a program with the same reality, different circumstances. I have enjoyed both episodes and am already a fan. Treme showcases the people of New Orleans. Not as victims but simply as a community that has taken a very hard hit and are attempting to move forward. As a side story, it also focuses on the musicians that provide the soundtrack for the city and their own ways of balancing life with art and trying to give the impression that, on the outside, they care as much about family as they do about feeding their primary goal, playing. There is a lot going on but there are a lot of characters, back stories and lives interconnecting. Eric and David are doing a very good job at the set up, providing glimpses at personal lives to act as puzzle pieces for the whole picture.

My first impression, from watching episode one, was that the writing did not have the flow of "The Wire" it was trying too hard to register the many characters and to quickly tick off the various "types" that make up New Orleans society. Bunk and Freeman were too firmly placed in my memory for me to make the leap to Antoine and Albert. As for the Steve Zahn character, I instantly took a dislike to him and found him unrealistic in the extreme.

By the time we had reached the scene with the Big Chief emerging from the dark, I had become hooked. The characters started to make sense. The generous helping of musical scenes produced what must be the finest portrayal of live music and musicians I have ever seen. I could not wait to catch episode two.

I have now watched the first two episodes twice and all my first impressions have been blown away. Once you get to know the characters and can watch their introduction again, things start to make sense. Steve Zahn? What a brilliant comic creation. Just watch the intro to episode two, his creeping around Elvis Costello, his first day on the job. Absolutely first rate, The shocking introduction of violence, suddenly alters ones perceptions of a major character. Bunk, still lingers in the memory, but Antoine's blowing is going to change all that. I was not familiar with Khandi Alexander, but am now a major fan. Her performance is charismatic in the extreme.

I know that this series is not going to be to everyone's liking, but then neither is Shakespeare or Dickens. However, for those who enjoy a multi-faceted piece of work that can examine society in minute detail whilst never failing to entertain, this will surely rank as a major piece of American art.

The intense drama series "Treme" is one of the best shows out there.

And there is a good reason why some of the best dramas on television end up on HBO.

This is an endlessly rich series coming from the genius of David Simon,who has re-team with "The Wire" writer-producer Eric Overmyer to re-create New Orleans,a city in chaos three months after it was nearly washed away by Hurricane Katrina. Like his previous efforts on "The Wire",Simon's brilliant five-year epic about Baltimore was told mainly through the eyes of its most beleaguered(and beleaguering)citizens,"Treme" teems with authentic life.

Simon doesn't coddle an audience,and landing in "Treme" is the artistic equivalent of landing in New Orleans itself. You're surrounded by people who know this city.....who talk about some of it's places, foods and culture and people without providing any background information to help you follow the discussion. They know the ups and downs of this city. And "Treme" delivers. As you'd expect from a Katrina story,the characters in "Treme" face myriad problems. But they have a sense of hope and resilience and a good-times-roll embrace of great food,great conversation,and so forth.

If the strong writing is a Simon hallmark,so is an impeccable ensemble that includes Wendell Pierce("The Wire"),Clarke Peters("The Wire"), Khandi Alexander("The Corner"),Melissa Leo("Homicide:Life On The Street"),and Nick Gomez("Oz"),along with such widely known actors as John Goodman("Roseanne"),and Steve Zahn. "Treme" sets up the characters and tells its story incredibly well and this maybe one of the best dramas on television,and it delivers. A Must See.

Yes, if you're a fan of David Simon you probably will be disappointed, but hold judgment until you've experienced both episode 1 and episode 2. In the first hour of the pilot there is a sense of the surreal. We feel a disconnect with the city and its characters. We catch glimpses of former New Orleans life but try as we might there is nothing drawing us in. New Orleans and its people are in a catatonic state. The city no longer has a soul. An hour doesn't seem that long but I must admit after sixty dreary minutes I was ready to pack it in, and then in the second hour the magic of Simon began creeping out of the cracks and crevices. It wasn't enough to convince me a compelling story would emerge, but it was enough for me to give it a second chance. A great story requires more of a setup than audiences are willing to give a writer these days. Thank god Simon never lets that influence him.

About a third of the way into episode two Simon had me. If you saw The Wire, that's probably the only criticism I had left. I can still see Bunk and Freamon. They were incredibly powerful characters and it's hard to dissociate Pierce and Peters from those parts. Wendell Pierce fills up a honky tonk stage as Antoine Batiste but aside from his trombone playing, I still expect him to wake up the next morning and head off to investigate another homicide. Same with Clarke Peters as the Indian. He's embraced his new role and already put his stamp on it, but in my mind he's still the recalcitrant Baltimore detective. I guess you could say that's pretty petty stuff. The new ensemble took over in the second episode and I can't wait for more. This is shaping up to be as good as The Wire.

That wasn't an attempt at being snide, in case you were wondering. I'm not from America so I have no idea what this series is to people who are from the States but not from New Orleans, but for me it was as fascinating look into a place and people I didn't know anything about going in. And while there can be said a lot of good about the narrative trope of having an outsider who works as a link to the audience by asking all the questions that they want the answers to, I personally enjoy once in a while being thrown in at the deep and watching characters going about their daily lives and routines and if there's something I don't understand I will have to infer the meaning or else just live with the mystery. Of course it isn't all colourful costumes and plastic beards. Most of the characters and themes like the story arch of the chef or the violinist could be told with any place as a background, but since it takes place here, we learn about New Orleans food and music through them. The stories of police brutality and corruption could also, sadly, have happened anywhere, but the hurricane made everything worse and more chaotic. In the end, this is a slice of life, where we follow a group of people in their home town, until we leave them, partly changed, partly the same, without any special conclusion or wrap-up. Some doors are closed other are opened and we could easily have followed them for four more years. New Orleans might be a special place, but the people in it are just people; human, fragile and endearing even with all their flaws.

Treme is an absorbing viewing experience. It is thought provoking and on occasion it works on your deepest emotions. But Treme, first and foremost, is a story of modern-day New Orleans, its incredible music and the magical characters who inhabit that unique town. If you love music – from Cajun to blues to bluegrass to 'bounce' to every kind of imaginable jazz and God only knows what else, then just relax and luxuriate in a wonderfully stimulating and very special TV series.

The makers of 'The Wire' have come up with a TV series that is quite unlike any other drama series you will ever watch. More often than not, the myriad plots and lives of the inhabitants seem to go nowhere – but it just doesn't seem to matter. Because that is the true nature of life, especially in places like New Orleans. A city where most of the folk are dirt poor, where the crime rate is going through the roof; and despite all the earlier promises of aid made to them following the devastation of their city by Hurricane Katrina, they have effectively been deserted by the Federal government. At its core, Treme is about its music and the people who make it and love it. Music is at the heart of this incredible show. If music is in your soul, then seek out 'Treme'.

I finally finished the show. It became such a hard show to really judge because I was so invested in these characters that it just felt like I was really watching their lives play out and not exactly watching a piece of written fiction. It has many of the same tendencies and stylistic choices of The Wire, but never "thrilling" in that sense so I get why it's such an underrated show. It should, in fact, be in the same all-time conversations as some of HBO's most acclaimed (Sopranos, Wire, Six Feet Under). Just a masterful series, and one that became such an easy watch and one that could brighten my day in the best possible ways. There's so much positivity and energy radiating from it, even if the subject matter sounds like the bleakest, most depressing on TV. Guys, if you haven't seen it yet, please do. I highly, highly recommend it

I've now watched quite a few episodes of this show, and I though it would be fun to give you a Swede perspective of it. Oddly enough, my own home town of Gothenburg has some things in common with New Orleans. In Sweden, Gothenburg is known as the place that is more relaxed than the rest of the country, and the inhabitants are thought to be different - almost a breed apart.

Luckily we haven't had the misfortune of nearly getting our town flattened out by a hurricane flood. I really admire the people of New Orleans for surviving this and beginning to rebuild their great city. They have a lot of spirit - that's for certain.

Treme contains a lot of music. This is both a blessing and a curse, in my opinion. My grandfather has a huge (I really mean this - its HUGE!) collection of jazz records - a lot of it is trad jazz. So in my family we have a kind of tradition of listening to jazz records. There's a lot of other evolutions of Jazz in the show like soul, funk etc. but even if I'm used to all these genres from New Orleans I don't find all the performances in the show enjoyable. During some episodes it becomes a drag to sit through music you just don't like that much. But I have to say I especially enjoy almost all of the second line, soul/funk and bounce stuff. Actually, this show led to my discovery of bounce - a style I really enjoy.

The story of Treme feels a lot like The Wire - it focuses on different aspects of life in the recovering city. I thought the video-blogging professor and the struggling chef were the most engaging story lines. Especially the restaurant business, in fact; it made me really want to try New Orleans cuisine. I think HBO should push for exporting this show to many other countries to bring probably much needed food tourism to New Orleans.

The Mardi gras indians remain inexplicable to me as a Swede. Are they some kind of mock indians? According to Wikipedia, they are... But I feel the whole thing feels stupid somehow - like a Swede dressing up in a freaky Same costume for some special holidays. I just don't get it. One also wonders what the Big Chief is actually doing for a living when he is not sewing on his costume. This whole Indian thing is of course a depiction of a certain expression of culture in New Orleans - I know this. But it seems a little too odd. what's the point? Mostly the indians remind me of lion fish.

It's a little unfortunate that both Det. Lester Freamon of The Wire and the Big Chief are heavily into handicrafts because it makes you associate the two... which brings me to Antoine Batiste - the trombonist. He is too much like "The Bunk" from The Wire in both appearance and demeanor, sometimes. But as the show wears on this gets better, I feel.

Despite the few negative things I have to say about the show, I have thoroughly enjoyed watching it. Don't be surprised if I show up looking for a special Treme-based tour of the city and the New Orleans people end up ignoring/tiredly staring at my stupidly gawking and sun-baked Nordic face as I am herded about by some tired guide...

I am a New Orleanian and I typically hate when they make movies or shows about my city. The accents are usually awful, the stereotypes are overdone and no one. I repeat NO ONE says "Nawlins" that lives here.

The creators of Treme did their homework. They infused great actors with local actors. They used local restaurants and bars, they named real politicians, and real musicians like Trombone Shorty, Kermit Ruffins and even the great Dr John!

The plot is that of post Katrina New Orleans and the rebuild, struggles, political corruption and resurgence of my wonderful city. They dramatized real events like the buying up of storm damaged houses at cheap rates knowing the government was going to build a hospital there and they'd pay a pretty penny for those lots. They referenced things like the Danzinger bridge shootings and other real events as well. The show culminates with the end of Mardi Gras 2009 and a rendition of " What is means to miss New Orleans"

Wonderful show!

Let me start by saying that I don't hate this show. It just bores me to tears. I loved The Wire and it's pacing. This show tries so hard to duplicate it but falls painfully short.

Treme is not without its good moments and charm, but at least 20 minutes per 50 minute episode is just music with no content. Listening to Jazz music, dancing, and having a good time is awesome... especially in New Orleans. Watching people do it on TV gets old after about the 3rd episode.

Also, this show has an incredibly real feeling to it. You believe that all these characters really exist and they are superbly cast. There is one problem. Reality, for the most part, is mind numbingly dull. There are very few really dramatic moments contained in the show. Almost every story takes no figuring out. They all run the most boring and realistic course that you can think of.

Again, I don't hate it. I just think people need to be honest about how good a piece of work is before they start giving it a free pass because of who made it and that it's different from most of the garbage out there.

This is definitely one of the best shows on HBO. It shows how New Orleans is coping with the disaster of Katrina with not only great scripts but with great characters such as Davis (Steve Zahn), Ladonna (Khandi Alexander), Antoine (Wendell Pierce) and "Big Chief" Albert (Clarke Peters). In fact, the character of Davis is truly a one of a kind character. He is both passionate and manic and you can truly feel his passion as well as his anger over the disaster that destroyed his adopted hometown. Also, this definitely captures the spirit of New Orleans, both good and bad and the true star of the show is the city of New Orleans itself with This definitely has a chance of becoming a true classic and hopefully the audience will continue to grow for this wonderful show.

I was a kid when The Wire was out, and needless to say my parents didn't like the idea of me watching HBO. I had caught a few episodes here and there and was immediately drawn in, obviously it was a great show. But in just a couple of episodes I find myself entirely drawn to this show. The depth and lengths they went to capture the true essence of New Orleans post Katrina is awe inspiring and goes without saying, eye opening. Steve Zahn and Wendell Pierce are their characters. They are standouts, but every character has a lot of depth to them, reeling from the different effects the hurricane brought to them individually and the city as a whole. And not to mention the music!! If you're a jazz or blues lover, the music alone is worth the watch. It's amazing. 10/10, HBO scores again.

A drama show that's written in the most remarkable way with a high focus on realism and getting the culture right. It's a show for music lovers, drama lovers and fans of David Simon he's a genius in creating a world that's filled with realism and culture. From the great written characters and story arcs for them to the actors portraying them is just impressive and magnificent, you grow to love all of them, even characters I disliked, David Simon and his writers does as always a fantastic job at bringing us fleshed out characters that aren't black or white. I have actually never been that interested in New Orleans or it's culture but after experiencing the city with this show as I feel that you get a good feel of what the city is supposed to be and it made me fall in love with the city and culture, the music and parades, just amazing. I want to experience it in person someday.

The ensemble cast is superb and has numerous of well known actors from different shows like Kim Dickens, Melissa Leo, Clarke Peter's, Wendell Pierce, Michiel Huisman, David Morse, Jon Seda and other great unknown ones like Rob Brown, Lucia Micarelli and Steve Zahn. Great hand picked cast, I liked them all. There were also real artists like Steve Earle, Dr John and Elvis Costello with lots of more that brought us some superb live music that.

It took me a while to find this show, so I am a little late to the party, but THE TREME exemplifies top quality drama and acting at its best.

THE PREMISE - It's a slow burner, in many ways reminiscent of the late Robert Altmans short cuts, depicting the lives of several characters living in Post-Katrina New Orleans. Set largely around people who inhabit (or did Inhabit) the Music and 9th quarters, we follow the lives of several ordinary folk, many of whom are part of the cities vibrant Jazz scene, each with their own definition and opinion's as to what makes their music great and what makes great music. The lives of these characters weave through the debris of the post Katrina narrative, exploring many of the social and financial issues the characters face while attempting to try and re-buld their lives and de-facto their city in a country that all too quickly forgot its obligations to its people. The stories combine with nuermous music interludes in the forms of street concerts, festivals, gigs in bars, and gigs on the corners, as well as the obligatory mardi gras. Although an appreciation of this genre of music is not required to enjoy the series, it certainly bodes well to embrace it as the characters do.

CHARACTERS & CAST - As you would expect, the characters and casting here are first rate, mostly consisting of a number of working class folk trying to make ends meet, while still holding out hope of reaching greater hieghts of ambitions. Among the too many to mention are MELISSA LEO, as Toni a lawyer fight for the forgotten causes, KIM DICKENS as a talented sou chef, who can no longer afford to keep her restaurant open and by season 2 employs her talents elsewhere. WENDELL PIERCE and CALRKE PETERS, play two very different musicians, one former with a stronger interest in pussy and booze, the latter more concerned with keeping up traditions and re-building the community. A past association with both men, comes from KHANDI ALEXANDER giving the performance of a life time as La Donna, a woman whose klds are all grown up and whose brother got arrested during the storm and lost in the system. (She is by far my favourite character in the show) LUCIA MICARELLI as Annie, a violinist way more talented than she knows, STEVE ZAHN as Davis, a musician with black tunes flowing through his veins. (Great actor but his character has the weakest arc of all) added to these are several stand out supporting cast members including PHYLLIS MONTANA LeBLANC, EDWINA FINDLEY DICKERSON (Both of whom just get better every time we see them) the king of the understated performance DAVID MORSE (Season 2) VENDIA EVANS and so the list goes on. All the casting from top to bottom is just an incredible pool of talent in this show with rarely the weak performance among the lot.

PRODUCTION - Shot partly in the wake of Katrina, the show makes the use of realistic New Orleans locations and makes a big statement about gentrification just by virtue of its choices of filming locations. The ability of the production to shoot where it happened combined with superb recreations of the tight bars of New Orleans make for the most realistic depiction of the city and its culture that you will ever see on your television screeens. After watching this there is no question, you will feel like you have visited the city.

OVERALL - Treme is just an incredible show. Listen, I am not even into Jazz Music, but it's the plight of the characters and the story of a city left to rot by its succession of Presidents that really endears you to the show. If the music sequences are not to your liking there is still plenty to enjoy here from the vsiceral depiction of a wounded city, the performances and arcs of the many interesting characters. I highly recommend it.

It is difficult to talk about Treme without talking about The Wire. So, just for clarity: I believe The Wire to be the best TV-shows I have ever seen, something I do not say lightly. And, from the makers of The Wire, comes Treme.

Treme very much follows the rhythm and structure of creators Simon and Overmyer's previous collaboration, focusing on natural and localized dialog with character-actors delivering them. And it delivers, indeed, Treme goes for drama with a capital D.

The people of New Orleans are in the spotlight and the show revolves around particular picks from the walks of life. These people are seen struggling a corrupt and neglecting government as well as other authoritative entities, others very real, others far away, outside the bubble of New Orleans. And this is where the show falters somewhat: Outside the handful of people and families the show concentrates on, we see very little life from the city itself: the cops are crooked, teachers kind-hearted, but powerless. Thugs, addicts and the homeless fill the streets at night. Even the main characters seem single minded and unable to break free from whatever oppression they suffer by their own means. But the characters are good, regardless. There are things to learn here as well. Of music (It is a rather LARGE part of the show), journalism, after-effects of a disaster, how the Big Man is always trying to get you, Indians. Music.

I'd recommend it for anyone who likes character-driven drama (there's a bit of concentration involved here, the show expects you to pay attention). And if you like the overall theme, this one is perfect for marathoning during a couple weekends. There just isn't a lot of "gray areas" in Treme, something that can seem even a bit childish at times.

On an end note, I'd like to present my concern considering the fact that the shows biggest driving point is New Orleans after Hurricane Katrina (Indeed, the show would not have existed had it not happened), still, the show continually accuses and condemns others who are exploiting and profiting from the situation. Something about glass houses.

I had no expectations going in with this show, as I'd seen no reviews or promo. What I encountered is a raw depiction of New Orleans with the good and bad so intertwined you'll never tear them apart. You sometimes can't even tell them apart!

I haven't enjoyed a drama series this much since "Homicide: Life on the Street." Baltimore was laid out for all to see in the same way, even though the editing style is completely different. I like the characters and actors, and they have a place on my DVR.

And NO COMMERCIALS!!! The ONLY reason I'm withholding one star is the overuse of profanity. Yes, I use it myself (albeit not as much as these characters), and I understand the rationale for it. There's just too much of it, in my opinion, for 10 stars. Then again, I'm really f@#*ing old! ("feeling!" what did YOU think?)

Loved The Wire and was enjoying this as it slowly built the characters and the story lines but the music did my head in so I binned it. If you like trumpets give it a go you will probably love it.

What a pointless, glacially slow piece of rubbish. There is nothing of interest to justify watching this. Save yourself rather trying to pointless two minute diologues.

I've enjoyed this series from the start. Of course it's been difficult to see the destruction of perhaps the country's greatest city reflected in the characters' lives. In spite of the effective use of music as the continual pulse of the show, I felt most of the middle episodes lagged. But the season finale catapulted the series, in my estimation, to the stratosphere. Incredibly moving and richly metaphorical, this is one of the greatest hours of television I've ever seen. Now,I can't wait for Season 2.

ALL of the actors are terrific, but Melissa Leo stands out. She's likely the greatest "mature" American actress working today.

But Khandi Alexander's scary plastic surgery froze her ability to express. Faces are the essential instruments of actors, and when you do facelift or botox or whatever she had, they no longer register as human. Is it just me?