[Update 12-14-2015: there were minor errors in my first impressions of this series, which got a Golden Globes award for Drama after the first season. 1. The murder victim is Cole’s brother, Scottie, a junkie. 2. Alison’s baby died of drowning (hence the pervasive water images). 3. Alison has become a symbol of the persistent attraction of small town life, and has gone darker, as has Noah. 4. Oscar (the red-headed Jew (?) is apparently the father of Alison’s baby owing to an impulsive one-night stand. 4. The most favorable characters are now the discarded spouses, Helen and Cole. Indeed, Maura Tierney (Helen) has been nominated for a Golden Globes Award, which she will probably win. To conclude: the 1960s turn to primitivism (in emotion, hence in closeness to “Nature” is probably the most obvious theme of this (anti-modern) series.]
Showtime has a new drama series about two married persons living in Montauk (one is vacationing there) that I would thought would be no more than the usual soft porn directed at a middle class cable audience, but it is more interesting than that.
Here are the features that I find indicative of current politics:
First, the hero (“Noah Soloway,” played by Dominic West), a writer with one published work of fiction to his name, has married above his socio-economic class and must cope with bourgeois, success-driven in-laws, an intelligent wife (Maura Tierney) and four children. His successful father-in-law is also a writer, but a best seller author who taunts him. His mother-in-law, also outspoken and nasty, calls him a [loony] “idealist” in front of the protagonist’s family.
Second, the anti-hero has a meeting with his wife’s father’s agent (arranged by dad), in which he telegraphs the theme of the series: it will about the decline of “the American pastoral” and the struggle to preserve small town values in the face of modernization and urbanization. In the end, the married protagonist will kill his small-town lover. That alone interests the agent.
Third, there is a mystery: the female lover’s boss wants to put a bowling alley next to his diner; “Cole” (played by Joshua Jackson) the husband of the Ruth Wilson character (“Alison Lockhart,” a bereaved parent whose son has recently died, perhaps of cancer), makes a substantial speech at a town meeting that is considering the over-commercialization of Montauk and the subsequent loss of “community.” At this point, we suspect that someone has murdered Cole (probably the upwardly mobile avatar of “progress”), for the two lovers are being interrogated by a detective, and a male murder victim is mentioned. Since Alison is present, and mentions missing “him” the suspense does not lie in who killed whom.
Fourth, each episode is divided in half. The first half describes events mostly from “Noah’s recollection, while the second half is told from the woman’s perspective. They are drastically different, with Noah recalling the sexual aggressiveness of his partner in deception, while Alison has much more on her mind, namely politics and her grief. (http://en.wikipedia.org/wiki/The_Affair_(TV_series).
Clearly, Showtime is run by progressives, who demonstrate their postmodern, hip commitments by criticizing the intact heterosexual family and showing the subjectivity of “perspectivism.” In addition to class and gender struggle, some nudity and forbidden sex, we have the critique of progress. Indeed, one of the characters sneers at the thought of Montauk turning into Easthampton.
And are not these identical themes being played out in our current political struggle for the US Senate? And it will be the redneck diner owner (“Oscar” played by Darren Goldstein) who probably did the dirty deed: how dare he strive for “development?”