John From Cincinnati Concludes...and Milch Speaks!

Variety's Cynthia Littleton had a chance to chat with creator David Milch about John From Cincinnati and specifically the first season finale...here's some snippets:

We talked a lot about how at its core "JFC" has a hopeful message of salvation and even redemption. It may have seemed gritty on the surface -- you can just smell the fetid-ness of Butchie's motel room, a credit to the show's set designers/decorators -- but it's a tale of the power of community, faith and the ability of even the most seemingly hopeful characters to find something to hang on to as they claw their way back.

Milch set out to challenge the conventions of TV storytelling with "JFC," even more so than he did on his last HBO series, "Deadwood," and in so doing he knew it would not be an easy sell in the climate of the smallscreen today. For sure, there was linear storytelling in "JFC" -- the saga of the Yost clan and their supporting troupe had a beginning, middle and climax in last night's finale, episode 10 -- but within each scene and within each character, there was no convention of having beat A lead neatly to beat B and then beat C and then the next act. Oh no, no, no. This is the hand of Milch, a guy who's thought a lot about the "tactics of fictive argument, generally." To wit, he explained, sounding very much like the Yale university lit lecturer that he once was in a previous life:

"My understanding of the way the mechanism of storytelling works is ...whether or not the audience is conscious of the process, apart from the audience awareness that there is a process, any story is constantly appending specific values to the meanings of words, and of the actions of characters. And the fact that story uses as its building blocks words or characters that the audience believes it has some prior recognition or understanding of, is really simply the beginning of the story, but not its end.

For example, to take a less controversial instance of stuff that I've worked on before: ("NYPD Blue" protagonist Andy) Sipowicz. We know him in the first episode (of "Blue") to be a racist, alcoholic. A slob and a fat bastard. Over the course of time, we come to attach different associations to him, based on our experiences....I think that's the case at every level of storytelling. Not just in terms of character but literally with every word, every sound that's made in a story."

He goes on and on...I'm still trying to find an interpreter.

JFC's done I think. And although I enjoyed the experience, that's all that it was...an experience.

Moving on.


UPDATE: Hollywood Reporter makes it official. JFC dunso.

John From Cincinnati...The End Is Nigh

...it's big and huge with lots of stick man figures...

The ninth of ten episodes aired this past Sunday --- and I say the end is imminent because I don't see John From Cincinnati getting renewed. It's not that kind of 'series' --- more of a long movie or miniseries. It's intriguing and entertaining viewing to be sure, but I am now of the opin that JFC's not very good TV (though one could argue 'It's not TV, it's HBO').

TV and TV series are built on formula, convention, consistency, coherency, meeting expectations and providing resolutions. That's not to say there can't be exceptions to the rule, but we generally want our shows clearly explained, and neatly tied up. John From Cincinnati does none of those things...which is okay, if in a limited format.

Problem is, JFC wasn't designed to be a limited series. If it does get cancelled after this weekend, will we get some closure? Or just be left hanging. No idea.

Nevertheless, JFC still reminds me of Twin Peaks (shortish run, quirky characters, unique 'place', spirographing mystery), but the more I mull it also reminds me a little bit of the six part limited series Angels in America...a show that was about AIDS but wasn't about AIDS at all.

JFC is about a mysterious stranger (alien? angel? schizophrenic?) arrives to a small surfing community and through a series of small 'miracles' seems to be a catalyst for change in the local characters. On one site it was described as a sci-surfamedy. Another called it a sci-fi drama. At any rate, there's a underlying sense of something quietly supernatural or otherworldly at work.

But Surf Whisperer or Medium Wave it's not.

While there is the ongoing conundrum of 'John' (and that's part of the appeal...trying to decipher the scenes and the dialogue in order to unravel that mystery), at it's core JFC seems to be about the importance of community while acknowledging the necessity for individuals to change when most would prefer things stay as they are.

Furthermore, like from whence 'Angels' came, JFC also feels like theatre...the way it's written, staged, performed...a metaphorical morality play driven by concepts and themes that almost seems more suited for the stage and the safety of the Proscenium Arch. There it can be observed from one angle, not from all sides --- and interpreted as well as enjoyed, because of audience expectations in the theatre. JFC's on television, however...where audience expectations are different, and the lens can show everything. But while creator David Milch might let the camera roam, he refuses to let you see everything.

Who is John? Where is Shaun? Who or what is John's father? What does it all mean??!!

So while we viewers search for answers, one person appears with an unusual message; a different way of thinking, like nothing that any of us viewers are used to. No, I don't mean John...but Milch. He's conducting a little experiment in story-telling, and we're the guinea pigs.


Will we get answers to all of our questions this Sunday evening? Will I get the 'ending' or closure I'm looking for?

Well, if we are to take the creator at his word...

"The important point that I'm trying to make is that storytelling has nothing, whatsoever, to do with logic. Logic is a limping stepchild of the true processes of the spirit. It's an illusion. It's a defective little parlor trick. Associations are the way that we perceive. Electrical connections caused by the juxtapositions of experience. That's the way we are really built, and storytelling takes into account that truth." - David Milch

...I highly doubt it.


P.S. Lots of good discussion about the show HERE, but nobody has any answers. Just lots more theories and questions. Go. Melt your brain.

John From Cincinnati...What Have We Learned?

When people say they don’t understand what the show means, or ask what it means, I’ve never understood why that’s an obligation that art has—to be understood.

Going back to that Newsweek interview with creator David Milch, I was struck by how many times he referred to himself as an artist, or his work as art. Can television be art? Does art belong in television? I suppose there's an artistic element in everything that qualifies as a creative endeavor, but "F*** art, let's shoot..." was what I always heard when it came to making TV.

And I realize it's HBO, so it doesn't really count (as in it's not the TV normal), but I asked myself: what can new television writers (or experienced TV writers for that matter) learn from or try to emulate from JFC.

And my answer is...not much.

It's a special treat --- a wonderful and unique viewing experience...but it's doesn't follow any of the rules and requirements of most network drama, or even cable drama for that matter. And its obtuse serialized story arc makes it damn near impossible to parachute in to sample the show and have any idea what is going on --- a problem that generally leads to early cancellation.

So what can you take away...how to write quirky yet complex characters? How to pen cryptic yet colourful dialogue? Theme over plot as driving force? Perhaps...but can you use that knowledge in crafting your new spec of Numbers or Criminal Minds or Bones? In your original pilot maybe, but keeping in mind how noncommercial JFC is, I'd be cautious about how much to to use it as any sort of template.

JFC also appears to be a limited series (10 episodes I think), though I keep hearing it is waiting to find out if it will get picked up for more. But if it is limited (and it does seem 'limited' in that once we find out who John is and what his mission is, the hook is no more...much like who killed Laura Palmer), this is another reason to avoid using it as a model if you're looking to create a long-running series.

Jill at Running With My Eyes Closed likes to analyze TV pilots, and she made this comment about the UK series 'Jekyl':

For that reason it's quite different than many of the other pilots I've posted about. No, it doesn't apply to what most Canadian writers are doing to respond to the demand (?) from our broadcasters. Our marketplace wants stand alone episodes of unarced series. Miniseries are out of fashion here.

But maybe this is what we should be doing. Maybe an intense six part series is exactly what we should be doing. It seems to me that our audience could commit to a whole six hours of programming. And it's certainly the kind of event television that would fulfill cultural mandates (if those still exist under the current government); drawing the audience into a shared experience.

Sort of like Durham County? Or perhaps Across The River To Motor City? These limited series have aired or are about to air here in Canada, and Durham certainly received an enthusiastic reception. But they're both on Movie Central/Movie Network, and aren't targeting the masses. As good as they are (or will be), they either weren't designed or didn't have the premise to support a long successful run.

I'm not advocating creating simplistic twaddle, but network and cable TV series need to be accessible and have legs. Intelligence or The Best Years (or the upcoming The Border) seem more practical and realistic Canadian TV one hour series models to be studying and emulating.

Anyway, I'd be curious to see what Jill has to say about Milch's series (apparently she's working up a post).

John From Cincinnati...fun to watch, wouldn't suggest writing it.

And on a sort of related (but not exactly) note, Lisa Klink at What It's Like took my comment that nobody sets out to make a bad tv show and ran with it. Go. Read. She's good.

Still Thinking About John From Cincinnati...

...and that powerful sixth episode. And though I feel like I am having a conversation with myself, I've finally found another viewing experience to liken it to --- can you say Twin Peaks? A surreal blend of police investigation with small town soap opera told over a classic tale of good vs. evil, when Twin Peaks hit the airwaves in 1990 it steamrolled through most everyones living room generating wave after wave of discussion. I will admit to being obsessed for those first 20 episodes or so, almost counting down the minutes until the airing of each new hour. It burned fast but oh so bright...propelled by the question Who killed Laura Palmer? which dovetailed nicely into Who is Bob?

One of the questions constantly swirling through John From Cincinnati's Imperial Beach surfer community is Who is John? which has led to Why is John here? And though not near as creepy or eerily disturbing as Twin Peaks (remember Agent Cooper's dream?)...



"shivers"

...JFC also scores way high points on the 'friggin' surreal' scale, with plenty o' cryptic dialogue, dreams, miracles, and a sense of something bigger playing out before our eyes with no idea what might happen next. As for the good vs. evil aspect, I sense John is 'the good', though I'm not sure what, if any, the 'evil' is. But like Twin Peaks, I have a growing anticipation for each new episode in the quest for answers to the question of what the heck is going on here?

John From Cincinnati hasn't hit the ground running with the same hype and fanfare as Twin Peaks did, but the viewing experience feels very similar.

It Was, Like...Soothing, You Know?

After TWO viewings, I'm still digesting the sixth episode of David Milch's HBO series John From Cincinnati (seen up here on Movie Central).

I will say up front that I still very much dig this show. It's become one of the few series this summer I cannot miss (although to call it a TV series is a bit of a misnomer...with only an eight episode run, it's more like a very long movie).

But this last episode (entitled: His Visit: Day 5) and its extended climax was quite unlike anything I've ever seen before. I'm finding it very difficult to arrive upon the right words to describe it. Others have tried to encapsulate, and I'm not saying they succeeded brilliantly....but at least they tried.

At South Dakota Dark, here's some of what they had to say:

I thought it really nailed the feeling of religious harmony, the feeling of what it's like to come together with a band of disparate people and feel like you're approaching something higher than yourself. John's literal come to Jesus meeting at the end of the episode is the sort of thing I don't even want to try to bother finding a definite interpretation for (not that there necessarily is one) without having watched the episode 15 times or so, but the general feeling of warmth I got from seeing all of these fascinating players gathered together to listen to John speak to them and listen to an impromptu jazz duet was like nothing I've ever seen on television.

And at the House Next Door, Keith Uhlich comes as close to anybody I've read to nailing it:

The sense of the series as a composition – as an extended ballet of suffering and redemption – was never so strong as in “His Visit: Day Five”, which opens with a brilliantly self-referential scene in which filmmaker Cass (Emily Rose) avoids any direct contemplation of the footage she shot of John in the previous episode. Any artistic type should be able to sympathize with Cass’ plight; the creative process is rarely a straight line – more a formless, engulfing void given as much to intense lulls as to fresh bursts of inspiration.

It would require a separate essay to break down every beat of this episode’s climax, which I will hyperbolically state to be the greatest thing I’ve ever seen in my life. Such greatness, you see, strikes me fanboy dumb, leaves me gasping for air in its wake. I wouldn’t dream of ruining such a potentially profound experience for others with my inadequate words.

Those are some strong statements, but hear me now and believe me later...I kinda know what they're talking about. The best description of my viewing experience I could come up with was that it was like reciting a poem, writing a short story, playing the piano, and performing a ballet all at the same time --- so intense it should be mind-blowing, but instead was, like...soothing, you know?

Oh, and here's Milch from a Newsweek interview explaining a little bit about the series and this episode:

DM: William James once said, and I’m paraphrasing here: if this life be not a real combat, then it is nothing more than a private theatrical from which one is free to resign at will, but it feels like a struggle. What James was suggesting, I think, was: it feels as if life has meaning and that the universe responds somehow to our effort to find it—but that’s a far different thing from saying that we will ever understand what the meaning is. To me, John [played by Austin Nichols] is a living, breathing character who embodies that paradox. He is an intermediate entity between us and the absolute, but he knows as little about himself as we do about ourselves. Somebody’s running him, in other words, and he doesn’t understand who. But he reveals more as it is in his power to reveal it.

NW: I don’t want to ask you to give away much of your story, but based upon what I’ve seen so far, it feels like it’s building to something much bigger than just a family of surfers.

DM: Oh, absolutely. Someone once referred to a spiritual experience as “a slow unfolding,” and to the extent that this story is about a collective spiritual experience, the unfolding is a little slow. John has been sent for some purpose, at a specific time and at a specific place. He doesn’t understand it, and neither does the audience, but it does become clearer. In the sixth episode, John will begin to speak of his father and of 9/11. Everyone around him assumes that he’s talking about the 9/11 we know. But he’s actually talking about a 9/11 to come.

I don't know if it became that much clearer but...Wow.

Committing To John From Cincinnati...

Borrowing a term coined by DMc, for me it was the final scene of the second episode...in a hospital room, friend of the family Bill stands over 13 year old Shaun. The teen lies in a coma, his neck broken from a surfing accident. They're about to pull the plug. Bill withdraws a pet cockatoo from inside his coat and tells it to "...kiss Shaun too while we're being stupid." The bird pecks the lad on the cheek, and Shaun wakes up.

Off Bill's stunned reaction, we go to closing credits as the song 'Staring At The Sun' from TV On The Radio plays underneath (okay, it's not the clip, but as close as I could find)...



Ooooo...the Commit moment.

And best use of a song in a TV show this year.