The finale to Season 3 opens with a slightly long-winded death scene, in which the viewer is led to believe through a series of actions that a man is about to die, only for it to be his wife in a sudden accident completely unrelated to the set-up we just watched. This opening is very appropriate to close this season, which has highlighted themes of chance, luck and time (or the lack thereof) throughout, and of course it draws quite bluntly a parallel to Nate's avoidance of death in Episode 1 and the eventual unforeseen and random death of Lisa - whom was also the biggest change to Season 3 to set it apart from those preceding it.
While definitely darker in tone, and progressively so throughout the season, this episode culminated in a more optimistic outcome for the vast majority of the Fisher clan, and even for Brenda, as each of them comes to an understanding or finds themselves in a new position that helps them to begin moving on from their recent troubles: specifically Claire's abortion, David and Keith's relationship difficulties and Ruth's desire to find a new partner. As they address these issues, they start to emerge from the aura of depression that has consumed the Fisher household, ending the episode in an actually pleasant situation where things seem to be looking up, only with one caveat - Nate cannot move on with them and is forced upon a path of self-destruction that drives a wedge between him and his family and nearly claims his life. All of Nate's actions in the episode are understandable, brought to life with a consistently great performance from Krause that inspires heartache and sorrow, but so too is a wedge placed between the viewer and Nate, whom up to this point has been the most likeable and relatable character. You can't help but wince at Nate in the bar, getting into fights and acting irrationally, but it doesn't change the fact that his wife is dead, a fact that this episode illustrates quite poignantly. Claire's venture into the land of the dead is really not what you would expect for a show like this, because it actually seems something like what Heaven would be like. Everyone is happy and starting new, better lives for themselves - we even see a rejuvenated Gabe Dimas playing with his brother, and finally Lisa herself, who has pledged herself to raise Claire's recently deceased baby boy. This sequence is extremely emotional, and placed with every other heart-wrenching part of this episode I can't say you won't well up.
Six Feet Under has an incredible knack of instantly filling me with severe melancholy no matter what mood I'm up, which is a testament to the quality of the writing. Of course the performances are top-notch from the main cast, but we start also to see the very welcome faces of newcomers James Cromwell as George and Justin Theroux as Joe, whom it seems both will play a large part in things to come. I sense that the same cannot be said for Rainn Wilson's priceless Arthur Martin, but he has been a treasure since his introduction. Richard Jenkins owns every scene he is in, as always.
So, interesting new directions for Season 4, and I'm as much on board as I was after the very first episode. Onward!
While definitely darker in tone, and progressively so throughout the season, this episode culminated in a more optimistic outcome for the vast majority of the Fisher clan, and even for Brenda, as each of them comes to an understanding or finds themselves in a new position that helps them to begin moving on from their recent troubles: specifically Claire's abortion, David and Keith's relationship difficulties and Ruth's desire to find a new partner. As they address these issues, they start to emerge from the aura of depression that has consumed the Fisher household, ending the episode in an actually pleasant situation where things seem to be looking up, only with one caveat - Nate cannot move on with them and is forced upon a path of self-destruction that drives a wedge between him and his family and nearly claims his life. All of Nate's actions in the episode are understandable, brought to life with a consistently great performance from Krause that inspires heartache and sorrow, but so too is a wedge placed between the viewer and Nate, whom up to this point has been the most likeable and relatable character. You can't help but wince at Nate in the bar, getting into fights and acting irrationally, but it doesn't change the fact that his wife is dead, a fact that this episode illustrates quite poignantly. Claire's venture into the land of the dead is really not what you would expect for a show like this, because it actually seems something like what Heaven would be like. Everyone is happy and starting new, better lives for themselves - we even see a rejuvenated Gabe Dimas playing with his brother, and finally Lisa herself, who has pledged herself to raise Claire's recently deceased baby boy. This sequence is extremely emotional, and placed with every other heart-wrenching part of this episode I can't say you won't well up.
Six Feet Under has an incredible knack of instantly filling me with severe melancholy no matter what mood I'm up, which is a testament to the quality of the writing. Of course the performances are top-notch from the main cast, but we start also to see the very welcome faces of newcomers James Cromwell as George and Justin Theroux as Joe, whom it seems both will play a large part in things to come. I sense that the same cannot be said for Rainn Wilson's priceless Arthur Martin, but he has been a treasure since his introduction. Richard Jenkins owns every scene he is in, as always.
So, interesting new directions for Season 4, and I'm as much on board as I was after the very first episode. Onward!
