You know, Showtime is giving HBO a run for its money in the high-production-value TV serial department. Since I heard Duchovny won some award, and I'd already been impressed with the quality of Dexter and Weeds, I figured I'd see what Californicaion had to offer. I find that I like it.

Firstly, I do enjoy David Duchovny. As a teenage fan of The X-Files, I always thought it was kind of a bummer that his and Gillian Anderson's careers never took off. Seemed like a lot of talent there in their brainy personai. Duchovny seems quite at home in the role of a self-destructive down and out (though still living quite well) New York City author moved to Hollywood. It's not easy to pull off the intricate mix of sour self-loathing and towering hubris, peppered through with the occasional flashes of authentic charismatic genius that the character requires to not read as a total douchebag. Indeed the actor may be cribbing from his own life more than a little, but regardless it's highly watchable.

Secondly, Natascha McElhone is captivating as the leading lady, which is essential for the whole formula to work. If we don't love her, the whole thing falls apart. Thankfully, we do. Or at least I do, and so I buy the essential premise hook line and sinker. The narrative revolves around this on/off relationship, and it's through this that we see the characters' redeeming aspects as well as their deepest flaws. It's from this love story that the show draws its power. There's an awful lot of fucking, yes, but because at the center of it all is a heartbreakingly jilted romance, the whole achieves a level of emotional sincerity that saves it from the gratuitous precipice on which it sometimes teeters.

One of the shows I've been enjoying over the past couple months (thanks eztv!) is AMC's Mad Men, a stylish serial drama full of moral ambiguity set in the NYC advertising industry (Madison Avenue, hence the title) circa 1960. Aside from just generally being smart and well-executed, I'm occasionally actually inspired by the marketing presentations that the protagonist Don Draper gives.

They remind me of the best of Larry Lessig's powerpoints, but because the whole point is that Draper is being brutally emotionally manipulative -- both in the context of presenting a modern marketing strategy, and also in the sense that he's closing the deal with a client -- they resonate with my artistic side even more. Truly the greatest performance work I've done has been essentially along the same lines: stacking up rhetoric with music and stage-imagery to seduce the audience in one way or another.

There's something you can definitely feel as a performer when this is working, when the crowd is in your pocket. I've felt the same thing in business meetings and selling vacuum cleaners door to door, the energy of control when another human will folds itself into your own. It's probably the rawest power I've ever experienced, and mostly since I've used it for good, it's been a good thing. Lot of responsibility though.

Anyway, the season finale of the show had a particularly great sequence like this, and it's got me mentally cutting up the music I listen to, looking for theme-clips, thinking of images, ways of explaining. Explaining what exactly is an open question. Hopefully we'll find out.

This show is getting predictably mixed reviews, but I am loving it. I'm not yr typical viewer: comfortable with ambiguity and mystery, and thirsty drama that rewards close attention. This definitely fits that description. The most recent episode (number six) reminds me of David Lynch at his best, but maybe better.

I'll admit I'm partial to David Milch's use of language, which is significantly more obtuse -- my housemates call it Shakespearian -- than anything you'd get on The Sopranos, so I can see why people are scratching their head about this. It's somewhat weirder and more jarring placed in a contemporary setting without the period drama of Deadwood. This show is a lot less realistic, but that's not necessarily a bad thing. If you're interested, don't buy the negative reviews without watching the first two episodes for yourself.

It's fun seeing actors from Deadwood turn up again, especially Dayton Callie (aka Charlie Utter), who plays Steady Freddie, the Hawaiian Drug kingpin. "I took more acid... than you ate fruit loops for breakfast... in... inside a volcano!" Oh man. There are a bunch of others too.

It's kind of cool how HBO has a little talent pool rolling. You get to see range. For instance, Paul Ben-Victor who plays Palaka, Steady Freddie's stooge, has also been on The Wire and Entourage. Palaka is a real character, a shuffling simpleton thug, and a real contrast to the big studio exec Ben-Victor played on Entourage, and with the Greek gangster he did on The Wire.

And the acting is key. Anything as strange as this, with language this artistic, is going to rise or fall on the basis of the performances and direction. Luckily, the cast seems up to the job, and the direction and use of music are strong.

GD it, these bastards sure know how to leave an unresolved ending. I just caught up on the last few episodes, and the next isn't for a month with a pretty solid "to be continued" close.

Overall I dig the mystical developments more than the romantic. Not that there's anything wrong with romance, but they way they're playing this just sheds negative light on all parties. It's not very much fun, and it makes me not like some of my favorite characters as much.

Also, I finished up season four of The Wire, which is really just an incredible piece of artwork. If you have not checked it out, do yourself a favor and Netflix, on-demand, bittorrent or blockbuster that shit. They ended that one without much conclusion too, and apparently will wrap it all up in one last season next year. Sigh.