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 have just finished the 2nd season but overall I do like the show. I felt the suicide of John Goodman's character was a bit forced. His daughter going off on a bit of a wild streak was a bit typical and I felt unnecessary. I don't really see the point of always having to have the young and naive girl who gets into trouble. I felt the character Sonny was just random and pointless. Chances are in New Orleans you will not meet someone from the Netherlands who is a struggling musician who obviously has undertones of yellow fever. The show should be about the locals and the main demographic that constitutes New Orleans which is not a Netherlands transplant. His random infatuation with the Vietnamese shrimper's daughter was out of nowhere and her returned interest was random. Most people would be uncomfortable when a random ex-dope fiend/ musician/fisherman is giving them a stare. She does not know how good of musician he is, at most possibly knows he is a helper on an oyster-boat and a dope fiend. The Vietnamese community is still shown as a foreign and reclusive element barely featured in the show but somehow the one shrimper's daughter is so enamored and interested in Sonny. Really?! Everyone is like that except for one girl?! The only element as mentioned earlier is the shrimper's daughter who randomly seems to have been hit by cupid's arrow for a dope fiend musician. LaDonna's character and the Chief were very inspirational and well played. Should have been less Sofia Bernette and less Netherlands ex-junkie and more of an inside look at the Vietnamese community and their stories. I mean the show is supposed to be about New Orleans. I don't know maybe they inserted Sofia's character and Sonny for demographic audience or something. NOLA has plenty of music, culture, history and struggles which all by the way is unique to that city! I love the show don't get me wrong but they could of done a better job representing NOLA. (Sidenote) just got through the episode after Sonny gets acquainted with the shrimper and then meets the daughter. I still get a very karate kid feel to it. Works for him one day then all of sudden he is cool and okay to date the guy's daughter. He was made to look like a jerk but he's really just like any other protective father. By the way I can't finish the series. I stopped I mean it has great potential but it's becoming filled with too much nonsense drama and too many musical performances. Don't get me wrong the performers are great but it ruins the mood of the show. Like they are trying to crack down on city corruption like in "The Wire" but then they try to also do its culture within the music and food. A lot of the episodes are also fettered with unnecessary drama. I feel there needs to be more of a connection between the culture and city with the government. It was obviously apparent in Season 1 but now its like three mini shows in one. "Kitchen Confidential" with some of "The Wire" and then like NOLA version of ACL with live performances. They need to connect everything together not just to have them coincidentally being in the same scene.

I like David Simon, Wendell Pierce and Clarke Peters a lot. Very talented men. However, maybe its a good idea for these men to get their heads examined. What an awful TV-series Treme is.Treme is one big Jazz music commercial. The only thing happening in the series, aside the few very thin other stories, is parties, music. Its like Fame revisited. A few minutes blablablabla, and off it goes again.I used to like jazz. Now I wont play it for a decade, thanks to this overkill. Always wondered whether to visit new Orleans, but now im sure I wont. Ever. One episode of Mardi Gras is already very hard to stomach, but each and every season an entire episode devoted to carnival?And Michiel Huisman? Why on earth is his wooden acting in anything TV related? And, like in The Wire, why does a uber fit, well groomed guy play a junkie? David Simon shame on you. Go home and do nothing for a year. In the dungeon, together with that idiot Werner Herzog.

It took me a while to warm up to Treme, but after watching all but the final episode, I must confess that it grows on you as you begin to care about the characters. Sure the annoying, but expected, meme about the disaster being Bush's fault is there, but Nagin and the rest of the endemically corrupt politicians and citizens do not get much of a pass. I even like Davis, though Steve Zahn's (does he play any other kinds of roles) arrested adolescent can be tiresome and is pretty much the epitome of the best and worst of NO. Love of fun and music, but no desire to do the unpleasant work necessary to pay for the party. The only character I detest is the greasy, selfish,no-talent Eurotrash Sonny. Every week I yell at Annie to kick his arrogant butt to the curb. I never thought I would love a David Simon character more than Lester Freamon in "The Wire" but Clarke Peters has made Albert Lambreaux an iconic American figure. A completely different man than Freamon, which proves how talented Peters is, Albert has the same core of integrity that forces him to take risks solely to stay true to himself. I hate summer and humidity, but I would go to the tavern and sew beads and feathers on his Chief suit in a heartbeat. Khandi Alexander, Melissa Leo and Kim Dickens play strong Southern women who would be cliché except that the writing and acting is so fine, they are real and will break your heart and make you yell, "Go, girl" at least once per show. Wendell Pierce exudes the charm of a scoundrel who would like to be a better man, but just gets distracted along the way. And John Goodman, a native of the city, does not seem to be acting at all. His profane rant that goes viral on Youtube is now a popular phrase in our house (we have no children). The music is sublime, and the NO Convention Bureau should include DVDs of the series when it comes out because the music and spirit that make the city the legend that it is are celebrated in every scene. The story can be extremely enraging, as the devastation and chaos and corruption keep thwarting the rebirth of this magical city, and the frustration of its citizens is palpable. But Simon does not let them off the hook, either. A contractor from Texas who comes to fix a roof that has been under construction for months with a local guy articulates the main problem in a nutshell when he says, "no, offense ma'am, but y'all have a defective work ethic."