One reason we don't have a TV - and the reason I wouldn't watch it if we did have one - is that I find too great a fascination in the mundane, and if there's one thing to which television and film are increasingly allergic, it's the mundane. For instance, I was quite enjoying
I Am Legend - the Will Smith vehicle of last winter - until the zombies showed up. Absent these monsters, I could have happily passed two hours watching Smith survive in Manhattan as the last human alive in a post-apocalyptic world, a prospect that by itself probably scares the evolutionary bejeezus out of everyone at a very molecular level. But no, blockbuster convention calls for zombies and so we got zombies.
The same was true for
The Sopranos, one of the many HBO series that have become classics on par with some of the memorable films of our time. I once heard Roger Ebert remark that a film is never about its subject, but rather, a film is about
how it's about its subject. Owing to their cinematic qualities, Ebert's words can rightly be said of the best HBO shows, such that
The Sopranos, despite being set amidst the New Jersey mob, is no more about the mafia than
Raging Bull is about boxing. Instead, the show is the story of a man trying his damnedest to be a decent, if not exactly stellar, father and husband in a fast-changing world...while also being a kingpin in the local mafia. As with the zombies in
I Am Legend, this mafia angle of
The Sopranos ends up being the least interesting, though not an
uninteresting, element of its narrative arc.
I suppose I'd broaden Ebert's observation, then: a
good story is never about its subject; that story is about how it's about its subject. And for me, a story's success - particularly in TV and film - hinges on the degree to which it finds the splendor and the spark in the mundane particulars of the daily life portrayed.
All of which brings me, in a circuitous sort of way, to
Six Feet Under, HBO's five-season series 'about' - tread carefully, Aaron: there's that dangerous word again - the Fisher family and their mortuary business. But of course, as I said, the story goes beyond this. To be worth its airtime, any show which deals so explicitly with death must be more fundamentally about life, and in this regard,
SFU succeeds, at times even going to excess in its dosage of life. There are plenty of funerals, embalmings, wakes and viewings throughout the series, and every such scene reminded me that, as the poet and undertaker
Thomas Lynch said in the excellent documentary
The Undertaking, "a good funeral is one that gets the dead where they need to go and the living where they need to be."
I won't be spoiling much of the show by saying that it starts with a death, ends with a death and is pocked by death throughout. Interwoven into all this mortality, however, is the life of the Fisher family, which - and this is a testament to the show's production team - is probably the first TV family with whom I felt like I was living in closer and closer quarters as the show progressed. This, as you might imagine, is a mixed blessing: the characters are developed to a degree seldom seen on television (outside of, perhaps,
The Sopranos and
The Wire), and as a result, there are times when you feel like you've added another family's drama to your own. But if this familiarity can at times make you as exasperated with and tired of the Fishers as you are of your own kinfolk, there will also be times where you are drawn into the Fisher's lives and, afterward, can only marvel at the writer's knack for creating such finely drawn and complex characters.
It's unfortunate, then, that the conventions of television seemed to take over the series, dictating from on high that the Fishers cannot simply be a normal family with troubles here and there like everyone else. No, they have to be the most trouble-prone family in Los Angeles: addicted, compelled, always getting knocked around in bouts of angst and clobbered by existential this-or-that, and just plain pussywhipped by their own neuroses. And that's only what each person does to him- or herself. I won't even get into the rotten hand that God seems intent on dealing them at every turn, as though the Good Lord was looking to revisit his time with Job. The mundane, I guess, just didn't pass muster win the test audiences. Watching this series, in fact, I occasionally wondered if I hadn't accidentally downloaded
The Amityville Horror, or if the Fishers might not be living in a haunted house - which, given that this is a funeral home with dead bodies in the basement, they are in a sense.
On a more personal level, I enjoyed watching my Korean wife, Na Young, watch
Six Feet Under. If there are two things with which Koreans, by and large, are unfamiliar and which thus put a fright into them, it's illicit drugs and homosexuality. By the standards of this peninsula, Na Young is quite a liberal-minded person, but she is the product of a Korean society that still has very draconian drug laws and which, to a unbelievable degree, still doubts - or at a minimum rages against - the existence of homosexuality amongst Koreans. There is drug-use aplenty in
SFU, but of these two issues, the show's portrayal of gay relationships as no more or less dysfunctional than and drama-ridden than heterosexual relationships, and my wife's reaction to those portrayals, has been the most intriguing. As well, it's been interesting to watch her ponder the notion that sexuality is a far more fluid notion than most people - again, especially in Korea- would care to admit. You might, therefore, consider a viewing of
Six Feet Under for no other reason than that it makes for an excellent conversation piece, particularly in intercultural marriages.