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Craving Details On The Next HBO Series Created By THE WIRE’s David Simon?? April's Post-Katrina Saga TREME!!
I am – Hercules!!
Turns out it's not strictly about musicians.
Why do they call it “Treme”?
Look! Press release!
For Immediate Release
NEW HBO DRAMA SERIES TREME, CREATED AND EXECUTIVE PRODUCED BY DAVID SIMON AND ERIC OVERMYER, TO DEBUT IN APRIL
LOS ANGELES, Jan. 14, 2010 – The one-hour drama series TREME will launch its ten-episode first season on HBO in April, it was announced today by Sue Naegle, president, HBO Entertainment. From David Simon (“The Wire,” “Generation Kill,” “The Corner”) and Eric Overmyer (“Homicide,” “The Wire”), the show follows musicians, chefs, Mardi Gras Indians and ordinary New Orleanians as they try to rebuild their lives, their homes and their unique culture in the aftermath of the 2005 hurricane and levee failure that caused the near-death of an American city.
“New Orleans is a city which lives in the imagination of the whole world,” says Overmyer. “We wanted to capture something authentic about it, as its people struggle with the after effects of the greatest calamity to befall an American city in the history of this country.”
Simon adds, “What happens in New Orleans matters. An ascendant society rebuilds its great cities.”
TREME begins in fall 2005, three months after Hurricane Katrina and the massive engineering failure in which flood control failed throughout New Orleans, flooding 80 percent of the city and displacing hundreds of thousands of residents. Fictional events depicted in the series will honor the actual chronology of political, economic and cultural events following the storm.
“As much as possible, we’re trying to show fealty to the post-Katrina history,” Overmyer notes. “New Orleanians have had their lives transformed by the storm and its aftermath, and we want to be careful in our presentation of that.”
Simon adds that viewers familiar with “The Wire,” the previous HBO drama on which he, Overmyer and fellow executive producer Nina Noble labored, should not expect a similar drama set in another city.
“In some fundamental ways,” he says, “TREME is centered on the ordinary lives of ordinary people. It is political only in the sense that ordinary people find themselves dealing with politics in their own lives. That said, New Orleanians – those who have been able to return, especially – are passionate about their city.”
The drama unfolds with Antoine Batiste, a smooth-talking trombonist who is struggling to make ends meet, earning cash with any gig he can get, including playing in funeral processions for his former neighbors. His ex-wife, LaDonna Batiste-Williams, owns a bar in the Central City neighborhood and splits her time between New Orleans and Baton Rouge, where her children and new husband have relocated. Concerned over the disappearance of her younger brother David, or Daymo, unseen since the storm, LaDonna has turned to a local civil rights attorney, the overburdened and underpaid Toni Bernette, for help. The government’s inconsistent and ineffectual response to the devastation has spurred Bernette’s husband Creighton, a university professor of English literature and an expert on local history, to become an increasingly outspoken critic of the institutional response.
Tremé resident Davis McAlary, a rebellious radio disc jockey, itinerant musician and general gadfly, is both chronicler of and participant in the city’s vibrant and varied musical culture, which simply refuses to be silent, even in the early months after the storm. His occasional partner, popular chef Janette Desautel, hopes to regain momentum for her small, newly re-opened neighborhood restaurant. Elsewhere in the city, displaced Mardi Gras Indian chief Albert Lambreaux returns to find his home destroyed and his tribe, the Guardians of the Flame, scattered, but Lambreaux is determined to rebuild. His son Delmond, an exile in New York playing modern jazz and looking beyond New Orleans for his future, is less sure of his native city’s future, while violinist Annie and her boyfriend Sonny, young street musicians living hand-to-mouth, seem wholly committed to the battered city.
As the story begins, more than half the population of New Orleans is elsewhere and much of the city is wrecked, muddied and caked in mold, while other neighborhoods remain viable. The tourists have yet to return, the money that follows them is scarce, and residents can take solace only in the fact that the city’s high levels of crime have migrated to Houston and Baton Rouge. And for those returning, housing is hard to come by, with many people waiting on insurance checks that may never arrive.
The ensemble cast of TREME includes Wendell Pierce (“The Wire,” HBO’s documentary “When the Levees Broke”) as Antoine Batiste; Khandi Alexander (“CSI: Miami,” HBO’s Emmy®-winning “The Corner”) as LaDonna Batiste-Williams; Clarke Peters (“Damages,” HBO’s “The Wire” and “The Corner”) as Albert Lambreaux; Rob Brown (“Stop-Loss,” “Finding Forrester”) as Delmond Lambreaux; Steve Zahn (“A Perfect Getaway,” “Sunshine Cleaning”) as Davis McAlary; Kim Dickens (HBO’s “Deadwood”) as Janette Desautel; Melissa Leo (“Homicide: Life on the Street”; Oscar® nominee for “Frozen River”) as Toni Bernette; John Goodman (“The Big Lebowski,” “O Brother, Where Art Thou?”) as Creighton Bernette; Michiel Huisman (“The Young Victoria”) as Sonny; and classical violinist Lucia Micarelli as Annie.
The series will also feature cameos by notable real-life New Orleanians, as well as the talents of many of its extraordinary musicians and other artists associated with the city’s music. Early episodes feature appearances by Allen Toussaint, Dr. John, Elvis Costello, Steve Earle, Kermit Ruffins, Donald Harrison Jr., Galactic, Trombone Shorty Andrews, Deacon John, and the Rebirth and Tremé Brass Bands.
“The disaster impacted people on every possible level – physically, emotionally, and spiritually,” says New Orleans native Wendell Pierce. “The only things people had to hang on to were the rich traditions we knew that survived the test of time before: our music, food and family, family that included anyone who decided to accept the challenge to return. We knew that America was, in the words of Martin Luther King, a ‘ten-day nation.’ We knew our plight wouldn't stay in the spotlight of the world long. But we are exercising our right of self-determination in the darkness with personal resolve. We are accessing the best of the human spirit and bringing light to this difficult time. That’s what TREME is about. We won't bow down.”
Longtime friends and collaborators since they both worked on the network drama “Homicide: Life on the Street,” Simon and Overmyer have wanted to make a series about New Orleans and its culture ever since they learned of each other’s affinity for the city. Overmyer has been a New Orleans resident for 20 years, while Simon has been a frequent visitor since the late 1980s.
“Neither one of us could figure out how to pitch it properly. The problem is that in order to convince anyone to let us depict New Orleans, you have to first explain it,” Simon says, adding, “And until Katrina, the only way to begin to explain it was to shoot the film.”
TREME is named for the Faubourg Tremé (an historic neighborhood just to the lakeside of the more celebrated French Quarter). Jazz itself was said to be born there, created by the slaves of Creole planters who were allowed to drum and chant on Sundays and market days in a public area that came to be known as Congo Square. It was in New Orleans that African rhythms and the pentatonic scale of flatted “blue” notes met European instrumentation and arrangements – a cross-cultural creation that transformed music on a worldwide scale.
The 80-minute pilot episode of TREME was directed by Agnieszka Holland (“The Wire,” “Cold Case”). Additional episodes are directed by Simon Cellan Jones (“Generation Kill”) as well as alumni of “The Wire,” including Jim McKay (HBO’s “In Treatment” and “Big Love”), Ernest Dickerson (“Burn Notice”), Anthony Hemingway (the upcoming film “Redtails”), Christine Moore (“CSI: NY”), Brad Anderson (“Fringe,” “The Machinist”) and Dan Attias (“Big Love,” “House”).
In addition to Simon and Overmyer, TREME is written by David Mills (HBO’s “The Corner” and “The Wire”) and George Pelecanos (“The Wire” and HBO’s upcoming miniseries “The Pacific”). Additional writers include New Orleans natives Lolis Elie (author and columnist for The New Orleans Times-Picayune) and Tom Piazza (author of the novel “City of Refuge” and “Why New Orleans Matters”).
Simon’s most recent HBO project, “Generation Kill,” debuted in July 2008. Based on the award-winning nonfiction book of the same name by journalist Evan Wright, it recounted the early weeks of the U.S. march into Iraq from the point of view of the officers and commanders who led the way to Baghdad. The New York Times called the miniseries “impeccable” and “searingly intense,” and USA Today praised it as “honest” and “painfully vivid.”
Finishing its five-season run in March 2008, “The Wire” examined a dystopic American city in which civic institutions and civic leadership could no longer recognize fundamental problems, much less address those problems. Daily Variety said of the Peabody Award-winning series, “When television history is written, little else will rival ‘The Wire’… extraordinary,” while San Francisco Chronicle hailed it as “a masterpiece” and Entertainment Weekly called the show “a staggering achievement.”
TREME was created by David Simon and Eric Overmyer; executive producers, David Simon, Nina K. Noble, Eric Overmyer, Carolyn Strauss; co-executive producer, David Mills; producer, Anthony Hemingway; directors, Agnieszka Holland, Jim McKay, Ernest Dickerson, Anthony Hemingway, Christine Moore, Brad Anderson, Simon Cellan Jones, Dan Attias; writers, David Simon, Eric Overmyer, David Mills, George Pelecanos, Lolis Elie, Tom Piazza.
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Readers Talkback
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fuck all of them east side bitches
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Sheeeeeeiiit
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Anyone else on talkback a New Orleanian? This sounds amazing, the Wire was a great love-letter to Baltimore (from what Balt residents tell me), and the pitch, I can tell you, hit on a lot of very nuanced New Orleans observations, especially given how shitty and cliched depictions of New Orleans are.
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I am sure
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The Wire was awesome. New Orleans is awesome. David Simon is awesome. HBO is awesome. It isn't in the DNA of this show to be anything other than great.
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how my hair look mike? it look good girl.
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won't be as good as k ville tho....i keed
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I'm not a New Orleanian but I've been to your city several times. I used to work in the oil fields in the Gulf and after I rotated back to dry land, I would almost always stop off in New Orleans. Not just for the night life, mind you. It's just a really interesting place. The look of it is amazing. You can feel the history around you. My first time there, I decided to take a cab and asked the guy to show me around the city. He was a real cool old timer who started giving me an incredibly candid history of the city and it's politics. If David Simon heard half of what I did, the man's got a shitload of material to work with. My last trip there was 3 months before the flood when I moved from Florida to California. I'm glad I took pictures. I still pull them out from time to time. I hope you're all doing better there now, my man.
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sounds boring...but as per the usual HBO standards I'm sure there will be plenty of graphic sex, violence and blood even if it doesn't fit into the story...
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...Herc. April can't get here fast enough.
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It's INCREDIBLE. The version of the Pilot I saw was 1hr and 15 minutes. Wonder if it will be cutdown or if they will split the material across episodes, Didn't feel too long (that's what she said). Trust me, it's just as good as The Wire.
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with a big-ass dick. Fuck yeah son, I'm all over this. The Wire = the best film of the last 30 years (FILM, mond you, not just series) and one of the best novels also.
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truh-may
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sorry, you had it righr: Truh-MAY
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IN my opinion, Simon completely captures the feel of the city. I've been there a few times. THis show makes me want to pack my bags and move there immediately.
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Overworked and tired. 80 minutes. I thought it said 50 minutes. Yes, the version I saw was 80 minutes of AWESOME.
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Signs point to suckitude.
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Have you seen the wire?
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...13 episodes of this: “The disaster impacted people on every possible level – physically, emotionally, and spiritually...We knew our plight wouldn't stay in the spotlight of the world long. But we are exercising our right of self-determination in the darkness with personal resolve...We won't bow down.”
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Believe it or not, the show is actually REALLY, REALLY fun. TOns of music and celebration.
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Yes, I loved it until the final season when it became a lecture on "The Truth According to David Simon." This smells like more of that. I hope Pelecanos is involved. That way it has an outside chance.
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That's the truth.
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oh shiii
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From what I saw has the exact same quality levels as The Wire but with amazing music throughout. The poignancy for me derived from the fact that these people were having such a good time in the face of all of this tragedy. I promise you it's really moving. I've been bothering everyone I know about this since I saw it. Sorry to be such a zealot. Also, Bunk was my favorite character from The Wire, so to have him back makes me very happy. Only now he's sort of the crazy McNulty guy...
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I thought as much. And of course, I'm already sold. And yeah, I loved bunk. But if Omar shows up (in between episodes of Boardwalk Empire) I'll shit myself. To see those two in another scene together would be magical.
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I watched it. Still the greatest show ever though.
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"It brakes my heart to see how far we done fall."
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Treme, Boardwalk Empire, The Pacific, Game of Thrones. HBO is gearing up for the second half of it's television rennaissance. HBOs' new slogan: "This is HBO. And everyone else isn't".
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"It's all in the Game, baby".
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I've been working on a project that requires me to screen A LOT of HBO originals and all I can say is that HBO has SO MUCH amazing content coming in 2010. It blows my mind.
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When Simon realizes this, he's going to throw in Marlo in the picture as the new drug kingpin of post-Katrina New Orleans.
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As long as there aren't too many black people. Black people are scary! Really hurt the quality of "The Wire."
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Really? Sooo.. how's that Game of Thrones comming?
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Hopefully this will be as realistic as the Wire. And by realistic I mean touch on the fact that our modern welfare state has created an entire underclass of people (regardless of color) who are helpless and almost entirely reliant on the government to do things for them. And that reliance was as much to blame for the tragedy as the bungled government response once it became clear that a disaster was taking place.
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...very hard not to expect The Wire. I can't think of anything more unfair than to burden a show with that level of expectation. I am trying to hope for a decent show, set in my favorite American city in which I have not lived, with a number of actors I look forward eagerly to seeing in a quality project. <p> I think I'm failing.
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Sorry, but I actually haven't sen that! I've seen funny or die, Temple Grandin, Treme, Ricky Gervais show, THe Pacific, How to make it in America, Life and Times of Tim.
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I hope it's different and stands on it's own.
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Right on. Just as well. It probably won't premiere 'till 2011 anyway. But once you see that, you'll want more.
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Sorry, but what you're going to see is good people hustling for every dollar, rebuilding their homes and lives, coping with losing people, and persevering in the face of great adversity. And AWESOME music.
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and Lena Heady is suppossed to be amazing in it.
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or i refuse to watch
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I'll forgive you for your Deadwood fuckup if your give Simon carte blanche on this project. After Homicide, The Wire and Generation Kill the guy deserves it.
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Sending my love his way
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just had to
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This is such a wonderful place that has never been well captured on film. Always stereotypical cajun accents and year-round Mardi Gras. K-Ville could have been set anywhere except that they said "gumbo" every now and then. Hope Simon breaks the curse. I trust him.
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HBO were gushing buckets about it and said they'd be shocked if they didn't commission it. Transmission not until March/April 2011 if they do though: http://www.thrfeed.com/2010/01/hbo-games-of-thrones-dailies-look-fantastic.html TREME looks excellent. I'll be checking it out. Somehow missed that John Goodman was going to be in it as well.
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Is far and away the best epic fantasy series ever written, better then LOTR by a large margin. The only ones who might disagree are the ones who havent actually read Song of Ice and Fire, because if you have, you know the deal. Its ridiculously, amazingly, "I cant believe how awesome this is" awesome.
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Curse broken.
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Cannot get here fast enough! I just hope HBO can stick it out and pony up the cash for the full series ... if MARTIN EVER FUCKING FINISHES.
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I hope David & Co. remember that the SUBDUDES did a nice benefit for Katrina victims at SONAR in Baltimore...and maybe use some of their music (Behind the Levee?) in future episodes. This will be depressing as hell, as The Wire often could be, and I am confident that it will also be just as eye opening as The Wire to those not familiar with the city outside of The Quarter. I proposed to my wife at Sammy's Steakhouse on Bourbon St. but, had the time been right, I would have prefered Tip's out in the Garden. And my man George P. is working on this AND the WWII project? Pelecanos is THE MAN, and you are doing yourself a great disservice if you have never read any of his novels. He is a much better speller than I am. I'm so glad Wendell is in the cast...he may not be the Bunk, but he'll always be The Bunk. Good call in not casting Michael K. Williams. Omar is an icon, and Michael deserves (more) movie roles. And if you haven't seen The Wire....what is your excuse?
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Two members of the band lost their homes thanks to Katrina. Just sayin... New Orleans is the city I have visited the most but never lived in, as someone said above. There is soooooo much more than just titties and beads to that magical place.
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HBO were a bit coy, but gave $10 million as the upper band of the money they spent on GAME OF THRONES' pilot. That's $2 million more than they spent on ROME's first episode. If they pick it up, they're going to do it right.
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Wert, shortened link to that article here: http://bit.ly/6taJvD
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Hot damn!
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Take it somebody!...
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The Wire was once of those shows where everyone is telling you it is so awesome and you are thinking yeah yeah sure sure whatever... -and then you see for yourself and GODDAMN!! <p> so then you think well ok surely they can't follow it up with something anywhere near as good, right? -and then you see Generation Kill and GODDAMN!! <p> see where I'm going with this?
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Maybe not so humble...
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Wait... what?
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Plus, the programming director saying locations make it look more expensive than it is means that he's probably fighting for it.
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9 episodes? Fuck you. They had to rush it and the story suffered. Even another hour would have made it much better. That said, it's still better than around 99% of the stuff that was airing at the same time.
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...I guess I should be glad that we got five seasons at all. Even the most ignorant exec couldn't ignore that landslide of critical praise in the face of underwhelming ratings, although Lord knows I'm sure they tried...
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I am extremely excited to see David Simon tackle this city and her problems. And it's TRUH-MAY.
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I agree. I did like the fifth season, but large parts of it didn't measure up to the previous seasons. STILL: There are moments I can't get out of my head. Mike and Snoop in the SUV. Prop Joe, Marlo and Chris in Prop Joe's kitchen. Anything that had to do with Dookie. I guess HBO truncating the season was a more resonant metaphor for what was happening to newspapers than the season one. Big corporate entity guts nuanced, honest work of passion.
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Here's my obligatory Game of Thrones post. We need our own talk back instead of Hijacking any one with HBO in the title.
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Jan. 15, 2010, 8:56 a.m. CST
I've read both and Song of Ice and Fire is NOT better than Lord
by CatoTheCensor
It's totally and completely different. Martin is personally benefitting from half a century of development of the genre that Tolkien invented. Song is more complex, has more characters, and the characters act more like real people in 21st century America; Tolkien is a better writer, and stylistically is much closer to actual medieval quest narrative than 20th century novel. I can't see the point in comparing them. There is no way in hell anyone can convince me that Martin is a greater figure than Tolkien, who was a genius scholar in his own right aside from his literary career. Martin's scholarly background is limited to pizza and football.
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So why does this not sound interesting at all... I dunno, I want so bad to care, but its so ordinary sounding, I just cant. :(
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More sophisticated and engaging in just about every possible way. And it's not really building on ANYTHING Tolkien established. It has a lot more in common with T.H. White's The Once & Future King than it does anything Tolkien ever wrote.
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I judge a book by if I like reading it. And reading ASOIF is much more entertaining than LOTR (and I like LOTR). Who gives a crap about the authors backgrounds.
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He's a titan. Still doesn't mean LOTR is better than ASOIAF.
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New Orleans going underwater was not 'if', it was 'when'. And it will happen again. Tell me again why we're rebuilding this city?
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Jan. 15, 2010, 10:15 a.m. CST
shhhhhhhheeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeiiiiiiiiiiiiiiii
by Kenny_Fucking_Powers
Clay Davis better make a cameo on this mug.
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It blew my mind how many people misunderstood the fake serial killer plot. I even saw one professional television critic, who loved the show, write something like "I'm so disappointed that The Wire has taken such a conventional turn with this serial killer plot." Sheesh. It wasn't a real killer - it was the police, government, and media's reaction to the "killer" that was the whole point.
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There are entire countries below sea level. Should we relocate those, too? <p>We are rebuilding New Orleans because: 1) It is a major port city, 2) It is an enormous piece of America's historical heritage, 3) It's a beautiful city, 4) Only part of it was destroyed, 5) People still live in, play in, work in, and love New Orleans. Feel free to judge when YOUR city is the one destroyed, okay?
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Jan. 15, 2010, 11:19 a.m. CST
Cross pollenation between the Wire and Game of Thrones?
by ebonic_plague
I used to champion The Wire to everyone I knew as the best thing ever, and then a friend of mine gave me the same pitch for the Song of Ice and Fire series, and found out he wasn't kidding either. So when HBO announced that they were optioning Game of Thrones, obviously, my boner was epic. Even more so when I found out that there is creative crossover between the two HBO shows now, with the guy who played Templeton in the 5th season of the Wire actually directing the pilot of Game of Thrones. I've also heard that there are a few other behind-the-scenes people who were involved in the Wire doing work for Game of Thrones, and to me, that's the best combination since peanut butter and chocolate.
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I was hoping for 12 or 13. The quality of Season Five of The Wire dipped a little partly because of the reduced length of the season and so was a bit rushed.
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Was sometimes excellent. I enjoyed the show. Too many dick shots though.
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And my vote for best television show ever goes to Deadwood. Ill never forgive HBO for killing the show. I watch True Blood (but dont really care about it, its a stupid show) but dont really give a crap about HBO shows anymore - after the Deadwood, Carnivale and Rome bullshit.
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A failed city in a failed state, corrupt, violent, and criminal. W was made the scapegoat for the corruption and inefficiency of New Orleans and Louisiana after Katrina, because of political correctness. New Orleans was a rotting decaying slum before Katrina. God, what is it now?
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He namechecks Tolkien as a major influence every other interview and is a big fan of both the books and movies. Don't need to knock down Tolkien to say GRRM is a good writer as well. They're doing somewhat different things with their books. Also, is anyone actually going to pin the blame for DEADWOOD where it deserves, on the show's creator? He got bored and wanted to do some crap surfing show thing and killed DEADWOOD in order to do it. HBO were happy to keep going with it, it was their second-biggest show and got high ratings for not too insane a budget. With CARNIVALE the creator couldn't keep the budget under control once Ron Moore left to do BSG, costs spiralled, HBO told him to sort it out, he told them to get stuffed and could he have another two seasons please, and then the show got cancelled. ROME was definitely HBO's fault though. They listened to the accountants who thought they were going to get curb-stomped in the ratings without THE SOPRANOS as a lead-in and cancelled the show just before it got ratings as good as the first season. Whoops.
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That focuses on various brothels throughout the world.
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also you're a wanker to just bash a major influence like that. Still Game of Thrones is pretty dope. And one of the best fantasy series I've ever read. Much better than Wheel of Time and others. I hope the pilot turns into a series, it's fucking begging for one.
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I'm confident it will be great. David Simon still hasn't let us down.
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HBO often uses the same talent in different projects, especially actors. It's like they have their own stable of character actors, and it works.
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They are completely different. Tolkien was synthesizing his vast knowledge of medieval literature, language, and cultures into a new mythology. For him it was as much about philology as it was about narrative. It's not just that Tolkien is a "great figure" or something like that: you simply can't compare the two men. Martin seems like a cool guy and he is obviously a talented writer but Tolkien was a true and legitimate genius: a scholarly and intellectual giant in his field, and the literary richness of LOTR is directly related to that. Tolkien's prose really approaches what Auerbach described as the sublime paratactic style in Return of the King. That's where Tolkien is really underappreciated: as a prose stylist. There is nothing at all notable about Martin's prose, though I love his books unreservedly.
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I have no problem with someone liking ASOIAF more. It's a perfectly legitimate personal preference to have. But I bristle at the idea that it is some kind of slam dunk or that there isn't a very legitimate reason to prefer Tolkien. You're right: judge it on what you enjoy more. I can reread the Battle of the Pelennor fields over and over and over again and never get tired of it.
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Jan. 15, 2010, 7:20 p.m. CST
I had a feeling that the LOTR comment might stir up something LO
by gooseud
Martin is clearly a more accomplished literary figure. More learned, more scholarly, better educated. LOTR is a great achievement and unquestionably the prototype/template for all that came after, it deserves utmost respect. He also has the added benefit over Martin that Tolkien, at no time in his life, looked like 397 pounds of chewed bubble gum. Having said that......for me, in my opinion, ASOIAF is better. If I was to count the 25 top "Holy Shit" moment in my literary life, ASOIAF would probably have 22 or so. LOTR has one flaw: it has everything going for it, literary, high brow, great world building/mythology, great plot, great heroes, great villains. But......its not cool. It just isnt. ASOIAF.....that's cool. When Syrio Forel dismantles 3 armored knights with nothing but a broomstick, leading to this classic exchange: Knight: "Your pretty fast for a dancing master" Syrio: "Your pretty slow for a knight". Cool. The Hound? Cool. Jaime Lannister jumping back in the pit to save Brienne? Cool. Jon Snow? Completely fucking cool. Just a matter of personal opinion, not an insult to LOTR.
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"You know nothing gooseud." blech...I don't disagree with the rest of your post though.
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late 80's/90's Memory, Sorrow, and Thorn (Dragonbone Chair), which is very Tolkien-esque (but not so much as McKiernan), yet superior storytelling and character development than LOTR. Yet you cannot beat Tolkien's world, language, and mythology building (even if his continent(s) seem devoid of infrastructure and civilization).
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Jan. 16, 2010, 9:21 a.m. CST
Looks interesting but a little perspective on Katrina people
by spike fan
Yes it was bad and the devastation was awful but and its a BIG but it did not kill Hundereds of thousands off people like the 04 TSunami did. As for Rome Such a brilliant show and since Romes history both before and after Caeser was really bloody and interesting there is thousands of potential stories right there and whats more it was real life so they wouldnt even have to make them up. Completely off topic but has anyone read Mark Urbans Fusiliers about a British regiment in the American Revolution from Lexington to Yorktown. Its a Revolution style TV band of brothers series that needs to be made out of that book it could be brilliant.
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Jan. 16, 2010, 1:17 p.m. CST
Hey Wally_West, I'm a New Orleanian too!
by where_are_quints_hobbit_set_reports
I live in the French Quarter. My partner's house is in the ninth ward... it flooded when the levees broke, and she rebuilt as so many did. The flood that destroyed much of New Orleansand killed so many of my people was 100% a man-made disaster. It was a consequence of the Army Corps of Engineers having built shitty levees full of old newspapers, levees that failed disastrously under conditions they were supposedly designed to endure. Katrina MISSED New Orleans. We were barely brushed by the storm itself. Anyone who says anything else about the cause of the great flood is lying, misinformed, or trying to make excuses. But yes, we have some of the worst politicians in the world. As awful as George W Bush was, imagine living in a town where you ALSO had Bush as your mayor and Bush as your state governor, lol. All that aside, I am looking forward greatly to this show... first post by me in many years...
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Count me in. Those guys were gold in THE WIRE. <br> <br> John Goodman is still doing penance for BLUES BROTHER 2000 but I dig the guy anyway.
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Jonathan Demme To Direct
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