MY FAVORITE POST-MILLENNIAL TELEVISION SHOW (Not Quite Random Favorites….In No Particular Order)

Medium (2005-2011)

…or, as I like to call it, Purgatorio.

I mentioned a while back that my favorite television show is The Rockford Files and there’s no real second. On an All-Time basis, that will always be true.

On the narrow basis of the new millennium though, my favorite show is Medium. And, again, there’s no real second.

It should be pretty obvious from those selections that I’m not especially enamored of the “narrative” shows that have come to dominate critically approved television since the dawn of The Sopranos.

Never fear. I’m used to being at odds with my fellow Earthlings. And if there’s one element that lifts Medium well above other recent shows I like, follow and write about (mostly Homeland and The Americans), it’s the unusual and serious degree to which is does not take Civilization for granted.

Even so, Medium should not work. It shouldn’t work in general and it really shouldn’t work on me.

It’s a mix of genres to which, taken individually, I’ve shown a lifetime of indifference, and, taken as a whole, tend to mutually repel each other–horror, paranormal, law and order, family drama, kitchen sink humor. Many of the elements within those genres that normally send me off to do the laundry or plot grisly murders are present in force: holes in logic, normalization of gore, the long-suffering teenager, the inquisitive child, the bickering couple.

And yet….

This time, on this show, it all works.

Some of it is the lead actress, who I prefer to call by her right title: The Unimpeachable Patricia Arquette. I watched a few shows with a friend of mine once and, in about Season One, Episode Three, he pointed at her on the screen and said “She’s frustrating!”

Exactly.

You know, like a real person in your life.

I could have looked at my friend (or any friend) and said “I often feel the same way about you.” And all of my friends could say the same of me. This is the only show I’ve ever watched where the cast (as opposed to a likeable lead, James Garner maybe) feel like friends. Sofia Vassilieva, twelve-playing-ten when the show began, eighteen-playing-sixteen when it ended, got both the teen wannabe and the actual teenager just right. Jake Weber got the put-upon husband just right (and boy, it’s hard to be more put-upon than having three daughters who are all psychics and the mom they got it from constantly awakened by nightmares of brutal murders which she feels compelled to solve in a manner that relies more on relentless will than careful detection). Maria Lark was a flat-out miracle as the inquisitive child. The rest of the cast was spot on as well. High profile guest stars like Arliss Howard and Anjelica Huston (in recurring roles), or Rosanna Arquette and Kelsey Grammer (in inspired one-offs) never felt like stunt casting.

It all worked and it all worked from the first episode.

Throw in better-than-good writing and the consummation of an idea which has dominated television for a decade-and-a-half now–a crazy white woman is what stands between us and chaos!–and you have high quality entertainment guaranteed as a baseline.

But Medium goes a bit beyond that. It poses–by accident or intent I can’t say–interesting questions.

What does it say about us that the best depiction of modern American normalcy on television in the new century, if not the history of the medium (no pun intended), shows a family of psychics (based on a real life model), where Mom spends her nights dreaming of horrible death and her days stalking the killers, while her daughters work out whether its ethical to pick the answers to homework math problems from normal Dad’s temptingly available head?

Nothing entirely good I suspect. But nothing entirely bad either. And a post-millennial show that offers some sort of hope in the madness is no small thing. After all, what really makes Homeland and The Americans (and, I suppose all those other quality shows I’m always hearing about) compelling is that, under all the effort at preservation on display, it’s the real message that resonates.

We’re screwed.

With Medium it’s….more complicated.

Hence Purgatorio.

In this show, the focus is on the living. But the drama resides with the dead.

And what the dead are seeking when they seek out Allison DuBois, is, if not redemption, then at least resolution. She doesn’t get visited by those who pass quietly in their beds. She gets visited by murder victims. And there are an awful lot of them.

Underneath the occasional bows to formula (even this premise can’t be endlessly inventive in an episodic format), and the pressing concerns of every day life, accurately, annoyingly, joyfully portrayed, what never wears smooth over seven seasons is the constant presence of violent death in the most ordinary suburban setting. Allison DuBois’s head is a war-zone.

Phoenix, with it’s built-in dynamics of immigration, drugs, sunlight, desert air, is an inspired setting even if it’s just by virtue of being the real Allison Dubois’s hometown. It’s normalcy with an edge, the kind of edge that has always existed in border towns when the border is in dispute as our southern border has periodically been and certainly is now.

But what makes the show compelling for me whenever I revisit it at length (as I’ve been doing recently) is the nagging conscience of Civilization, the search for order that seems to lean Catholic (I have no idea whether DuBois or the show’s creators are religious, only that religion’s concerns are, for once, represented as human concerns) but can’t quite get a grip in the modern sunlight.

Nor can it be dismissed. Every day in Medium, like every day in the “real” world, the sun goes down. Allison’s crazy dreams haunt a present that has been designed to dispel them. The character’s dogged will is that of a Crusader, a will that could only be produced by a religious impulse–when it annoys us, we call it fanaticism, when it frightens us, we burn people at stakes–even if no particular faith is espoused.

So underneath all the lovely writing and wonderful acting and skillful appropriation of ancient dread for a modern setting, the real heartbeat of Medium is the nagging, frustrating truth that animates all worthwhile art, serious or popular:

Without Meaning, there is no Life.

[NOTE: I have no idea whether the real life Allison Dubois is an actual physic or whether psychics really exist. I also have no interest in knowing. The key to any good show is whether it works on its own terms. By that measure, Medium works wonderfully well.]

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