Post by affrosponge88 on Jun 13, 2013 16:06:39 GMT -6
In Treatment is quite possibly the most underrated television show of all time. It's a bold statement, I know. But hear me out. First of all, I agree with the people who have been complaining about the overuse of the terms: "overrated" and "underrated" in modern film/TV criticism. I get it. We shouldn't get hung up on what other people think about it when we're trying to review these things ourselves. Just let it speak for itself. And I can't think of a better show that is the embodiment of that phrase: "speaks for itself." I'm merely using this term "underrated" to stress the ridiculous disconnect between the extremely high quality of the show, and the unseen fans. It wasn't until I started watching season one, and tweeting about it that I actually had people replying to me about how much they love the show. Not a single person had a bad thing to say about it, but none of them have ever mentioned the show outside of this context, either. Having just finished the first season, I am stunned. This isn't the best show of all time, I fully admit, but the fact that it's damn near been lost in the shuffle of other acclaimed dramas baffles me, and I want to give it its moment in the spotlight, however brief.
First, it's important to applaud its structure. This past month, we've been talking a lot about Arrested Development's Season Four (a season of television I admittedly love) and while the consensus regarding the quality of that season of television is more mixed, one thing that's been universally agreed upon is that its structure is ambitious and unique. In Treatment may not be as complex and intricate, but it predates Netflix's model in trying to push the medium of television a little further. The fact that it made it to cable television at all, almost makes it even more daring, since Netflix is much more suited for experimentation. In case, you're unfamiliar with the series, let me explain the central concept of its structure. In Treatment is a scripted half-hour drama series that aired on HBO from 2008-2010. When it originally aired, it showed 5 episodes a week Monday through Friday, for 9 weeks straight (in its first season at least). Each episode is a different day of the week, as Paul Weston (played terrifically by Gabriel Byrne) meets with his various patients week to week. Monday through Thursday were reserved for four recurring patients, and the fifth session on Friday is when Paul sees his own therapist as he is dealing with some issues himself. The first season is comprised of 43 episodes, a staggering feat, but much more manageable than you would think once you really get into the series. (If you're wondering why there's only 43 episodes when there's 5 sessions a week, than I suggest you watch the season and find out. It's worth it, trust me.)
Each episode is essentially a one-act play. The patient arrives for their session, talks to Paul for just under a half hour, and leaves when they're out of time. The direction is sparse, and the setting is minimal, and it's all in service of the actors. Byrne isn't the only powerhouse on display. Blair Underwood and Mia Wasikowska give two of the best performances I've ever seen on a television series as two of Paul's patients (Underwood a repressed fighter pilot dealing with an unspeakable tragedy, and Wasikoska as your typical precocious teenager dealing with her own inner issues that may or may not stem from her parents). These two are the standout patients of season one, but the other two are more than fine as well. What makes the show so compelling is that, despite its setting and structure, the show is not about therapy. It knows that it's a television series first, and delivers some of the most enthralling episodes of television I have ever seen. It may not be the most "realistic" show either, but that's a good thing. The acting and the dialogue is naturalistic enough, that when drama does occur, it's fully believable in the moment. I could recommend this show just based off the notion that watching these actors talk for a half hour is entertaining enough, but thankfully the show goes further than that.
Characters in the series have real character arcs, and satisfying payoffs to complement them, Paul included. In this sense, it's just like any other prestigious television drama, but there's nothing wrong with that. The beauty in In Treatment is in its subtlety. Yes, there's a lot of psychoanalyzing going on with Paul explaining to his patients "what it all means," etc. But we never get the impression that Paul's word is gospel. This is a show that does not worship its main character, and is all the better for it. In fact, one of the central themes of the show is how needing therapy goes in both directions, and how being authorized to provide it doesn't exclude you from the same flaws your patients will exhibit. Paul is incredibly flawed at times, but in a believable and particularly nuanced way, and not in a way where you fear for the people that are getting treated by him. His role would be nothing however, if it wasn't so wonderfully brought to life by Gabriel Byrne, who deservedly won a Golden Globe for his performance. It's even more astounding when you think of the production schedule: each episode took roughly two days to shoot, and Byrne has to be present for every scene of the series, while remaining thoroughly engaged with the material non-stop. The show is just as much about what people don't say as much as what they do say, so his reactions always had to be on point, as well.
Finally, if you're thinking that a show that's the same thing week to week sounds boring, then I also feel the need to explain (without spoiling anything) that as the series progresses, it figures out clever ways to shake the structure up from session to session and you won't always know what you're getting when you start an episode. For example, being as vague as possible, sometimes patients don't show up. But the show still sticks to its guns and shows you what happens during those "appointment slots," that usually are utilized to further humanize Paul and his issues. It's a welcome change of pace when it happens, but the series shows a lot of restraint in using it too, because it doesn't happen as often as you would think.
If you're still reading this, then hopefully I've at either raised your awareness of the show, or made you look back on what made it so great. It's a superb series, and just because nobody still talks about it, doesn't mean I won't. And hell, I've only seen the first season. The general consensus tells me the second and third are even better.
First, it's important to applaud its structure. This past month, we've been talking a lot about Arrested Development's Season Four (a season of television I admittedly love) and while the consensus regarding the quality of that season of television is more mixed, one thing that's been universally agreed upon is that its structure is ambitious and unique. In Treatment may not be as complex and intricate, but it predates Netflix's model in trying to push the medium of television a little further. The fact that it made it to cable television at all, almost makes it even more daring, since Netflix is much more suited for experimentation. In case, you're unfamiliar with the series, let me explain the central concept of its structure. In Treatment is a scripted half-hour drama series that aired on HBO from 2008-2010. When it originally aired, it showed 5 episodes a week Monday through Friday, for 9 weeks straight (in its first season at least). Each episode is a different day of the week, as Paul Weston (played terrifically by Gabriel Byrne) meets with his various patients week to week. Monday through Thursday were reserved for four recurring patients, and the fifth session on Friday is when Paul sees his own therapist as he is dealing with some issues himself. The first season is comprised of 43 episodes, a staggering feat, but much more manageable than you would think once you really get into the series. (If you're wondering why there's only 43 episodes when there's 5 sessions a week, than I suggest you watch the season and find out. It's worth it, trust me.)
Each episode is essentially a one-act play. The patient arrives for their session, talks to Paul for just under a half hour, and leaves when they're out of time. The direction is sparse, and the setting is minimal, and it's all in service of the actors. Byrne isn't the only powerhouse on display. Blair Underwood and Mia Wasikowska give two of the best performances I've ever seen on a television series as two of Paul's patients (Underwood a repressed fighter pilot dealing with an unspeakable tragedy, and Wasikoska as your typical precocious teenager dealing with her own inner issues that may or may not stem from her parents). These two are the standout patients of season one, but the other two are more than fine as well. What makes the show so compelling is that, despite its setting and structure, the show is not about therapy. It knows that it's a television series first, and delivers some of the most enthralling episodes of television I have ever seen. It may not be the most "realistic" show either, but that's a good thing. The acting and the dialogue is naturalistic enough, that when drama does occur, it's fully believable in the moment. I could recommend this show just based off the notion that watching these actors talk for a half hour is entertaining enough, but thankfully the show goes further than that.
Characters in the series have real character arcs, and satisfying payoffs to complement them, Paul included. In this sense, it's just like any other prestigious television drama, but there's nothing wrong with that. The beauty in In Treatment is in its subtlety. Yes, there's a lot of psychoanalyzing going on with Paul explaining to his patients "what it all means," etc. But we never get the impression that Paul's word is gospel. This is a show that does not worship its main character, and is all the better for it. In fact, one of the central themes of the show is how needing therapy goes in both directions, and how being authorized to provide it doesn't exclude you from the same flaws your patients will exhibit. Paul is incredibly flawed at times, but in a believable and particularly nuanced way, and not in a way where you fear for the people that are getting treated by him. His role would be nothing however, if it wasn't so wonderfully brought to life by Gabriel Byrne, who deservedly won a Golden Globe for his performance. It's even more astounding when you think of the production schedule: each episode took roughly two days to shoot, and Byrne has to be present for every scene of the series, while remaining thoroughly engaged with the material non-stop. The show is just as much about what people don't say as much as what they do say, so his reactions always had to be on point, as well.
Finally, if you're thinking that a show that's the same thing week to week sounds boring, then I also feel the need to explain (without spoiling anything) that as the series progresses, it figures out clever ways to shake the structure up from session to session and you won't always know what you're getting when you start an episode. For example, being as vague as possible, sometimes patients don't show up. But the show still sticks to its guns and shows you what happens during those "appointment slots," that usually are utilized to further humanize Paul and his issues. It's a welcome change of pace when it happens, but the series shows a lot of restraint in using it too, because it doesn't happen as often as you would think.
If you're still reading this, then hopefully I've at either raised your awareness of the show, or made you look back on what made it so great. It's a superb series, and just because nobody still talks about it, doesn't mean I won't. And hell, I've only seen the first season. The general consensus tells me the second and third are even better.
