I'm writing these reviews not having seen the rest of the show, so I can't say that for sure, but it definitely looks that way. The final episodes of "Six Feet Under," as I hear from everyone, including IMDb, starting with the episode after this one, construct the greatest consecutive episodes ever, besides perhaps the legendary final outing of "Breaking Bad." And this episode is decidedly not as strong as the show usually is, and makes for what will likely be the last time this show treads water of any kind.
And that's exactly what this episode does - treads water. But not in the good way, like "Twilight" from season three, which got nothing done, but still was one of the best episodes in the show. It treads water in the way that isn't fun to watch. The episode, as usual, gives a storyline to all the characters, and, as it too often does, gives by far the short end of the stick to Claire, who, after a meaningful moment in the previous episode when she realizes she might not be an artist, this episode, essentially just blabs about it in her workplace, in which people don't have any real character, another thing that the show usually does well. Usually in the show, even the smallest characters have personalities you could spend hours dissecting, but not Claire's new colleagues. Although, maybe that's the point.
Rico's storyline is the worst this episode, getting absolutely nothing done. Early on in the episode, Rico tells Ruth (although its in a vision) that Vanessa doesn't like making love to him, or even looking at him. So we've established that that's happening, and yet we spend a ludicrous amount of time proving it in the episode (time that could be better spend making David's storyling a bit more believable, but I'll get to that in a moment). We know, Vanessa asked Rico to move in but she still doesn't love him. The only thing that happens in his storyline that's new is that he actually confronts her about it, which was a good scene, but not worth the wait.
And that brings me to David's storyline, another weak one. David and Keith have been dealing with their new children for a bit now, and this episode does do one thing effectively with them; it shows progress, at least at the end. Both with the children and with each other, and it's one of the best scenes in the episode because of how nice it is (the rest of the episode is a bit of a downer, so it's refreshing). And yet, we didn't spend nearly enough time with them to explain why that happened. Durell seems to have found a new connection with David and Keith, because they went to his play when he didn't want them to. From what little we've seen of Durell, I think we can assume that that's a bit unrealistic for him. I think that this episode would've greatly benefited if they had cut Rico out completely, and spent that time with David, Keith, and Durell, so they could have more of a transformation process in this episode to get to that nice moment, because as it stands, I'm not really buying it.
And then there's Ruth, who has been shining more than ever this season. Every single episode thus far has featured a stunning acting moment from Frances Conroy, and although many are similar, none are the same, and each require a subtly different approach. And this episode is no exception. I don't have much dissection to do of her story this episode other than that it's quite good, and for fairly obvious reasons that aren't really worth mentioning, because George sums it up eloquently, and angrily, and perfectly, in a line I know I'll get wrong, and therefore won't quote, but he talks about the fact that she wants him gone, but doesn't want to let her go.
And finally, saving the best for last, there is the Brenda/Nate storyline, which, as it often does, shines the brightest. This is largely due to the "Master of None"-worthy chemistry between the two actors (that's the highest compliment I can give chemistry, by the way), and by the way that they're written, so flawed, and perhaps perfect for each other, or perhaps the opposite. But definitely not in the middle. As Nate is the main character, they get the most minutes, usually (a notable exception would be the brilliant, David-centric "That's My Dog"), and this allows them to be wonderfully fleshed out. But whoever ends the episode defines (along with the death in the beginning), the tone of the episode, and this episode ends with a series of cuts between Nate and Brenda, meaningless out of context, yet meaningful because of the fact that it's cutting between them: they aren't in two different places at random moments in time, they're in two different places all the time, which is exactly what Brenda said, that they've been separate for so long, now. And, especially with the closing scene, it's hard to argue with that, despite how much I want them to remain a couple.
And that's it. Keep in mind, that when I say "weak," in an episode of Six Feet Under, I actually mean pretty damn good compared to most of television. But, as this show is challenging the likes of "Breaking Bad" and "Mad Men" for my pick of the best show ever, this episode, unfortunately, fails to meet its incredible standards.
I look forward to the final stretch, and will review any of the coming episodes if I feel that I have something to say that no one on IMDb has mentioned in a review.
And that's exactly what this episode does - treads water. But not in the good way, like "Twilight" from season three, which got nothing done, but still was one of the best episodes in the show. It treads water in the way that isn't fun to watch. The episode, as usual, gives a storyline to all the characters, and, as it too often does, gives by far the short end of the stick to Claire, who, after a meaningful moment in the previous episode when she realizes she might not be an artist, this episode, essentially just blabs about it in her workplace, in which people don't have any real character, another thing that the show usually does well. Usually in the show, even the smallest characters have personalities you could spend hours dissecting, but not Claire's new colleagues. Although, maybe that's the point.
Rico's storyline is the worst this episode, getting absolutely nothing done. Early on in the episode, Rico tells Ruth (although its in a vision) that Vanessa doesn't like making love to him, or even looking at him. So we've established that that's happening, and yet we spend a ludicrous amount of time proving it in the episode (time that could be better spend making David's storyling a bit more believable, but I'll get to that in a moment). We know, Vanessa asked Rico to move in but she still doesn't love him. The only thing that happens in his storyline that's new is that he actually confronts her about it, which was a good scene, but not worth the wait.
And that brings me to David's storyline, another weak one. David and Keith have been dealing with their new children for a bit now, and this episode does do one thing effectively with them; it shows progress, at least at the end. Both with the children and with each other, and it's one of the best scenes in the episode because of how nice it is (the rest of the episode is a bit of a downer, so it's refreshing). And yet, we didn't spend nearly enough time with them to explain why that happened. Durell seems to have found a new connection with David and Keith, because they went to his play when he didn't want them to. From what little we've seen of Durell, I think we can assume that that's a bit unrealistic for him. I think that this episode would've greatly benefited if they had cut Rico out completely, and spent that time with David, Keith, and Durell, so they could have more of a transformation process in this episode to get to that nice moment, because as it stands, I'm not really buying it.
And then there's Ruth, who has been shining more than ever this season. Every single episode thus far has featured a stunning acting moment from Frances Conroy, and although many are similar, none are the same, and each require a subtly different approach. And this episode is no exception. I don't have much dissection to do of her story this episode other than that it's quite good, and for fairly obvious reasons that aren't really worth mentioning, because George sums it up eloquently, and angrily, and perfectly, in a line I know I'll get wrong, and therefore won't quote, but he talks about the fact that she wants him gone, but doesn't want to let her go.
And finally, saving the best for last, there is the Brenda/Nate storyline, which, as it often does, shines the brightest. This is largely due to the "Master of None"-worthy chemistry between the two actors (that's the highest compliment I can give chemistry, by the way), and by the way that they're written, so flawed, and perhaps perfect for each other, or perhaps the opposite. But definitely not in the middle. As Nate is the main character, they get the most minutes, usually (a notable exception would be the brilliant, David-centric "That's My Dog"), and this allows them to be wonderfully fleshed out. But whoever ends the episode defines (along with the death in the beginning), the tone of the episode, and this episode ends with a series of cuts between Nate and Brenda, meaningless out of context, yet meaningful because of the fact that it's cutting between them: they aren't in two different places at random moments in time, they're in two different places all the time, which is exactly what Brenda said, that they've been separate for so long, now. And, especially with the closing scene, it's hard to argue with that, despite how much I want them to remain a couple.
And that's it. Keep in mind, that when I say "weak," in an episode of Six Feet Under, I actually mean pretty damn good compared to most of television. But, as this show is challenging the likes of "Breaking Bad" and "Mad Men" for my pick of the best show ever, this episode, unfortunately, fails to meet its incredible standards.
I look forward to the final stretch, and will review any of the coming episodes if I feel that I have something to say that no one on IMDb has mentioned in a review.
