Showtime shows don't get much respect, and a lot of them deservedly so, but the one series the pay cable network has introduced in recent years that merits attention is The L Word.
Unlike previous niche-appeal offerings at Showtime (Soul Food, Resurrection Blvd., Queer as Folk), The L Word transcends its status as "lesbian soap opera" thanks to clever writing, a strong selection of indie film directors and a highly talented and engaging cast.
If the first season was an unexpected surprise, the second season opted for slightly more conventional storylines spiked with some memorably outrageous details. It was a season with mixed results quality wise, but the good outweighed the bad and the show's status as one of TV's most under-the-radar quality hours is safe for at least another year.
Any show that can transition from a raunchy concert by Peaches to a moving scene of a character on his deathbed (played by Ossie Davis no less) is clearly a force to be reckoned with.
But that moment happened in the second to last episode.
The finale itself had a hard time exceeding the remarkable episode that preceded it, but managed a haunting quality of its own. The episode, which was written and directed by series creator Ilene Chaiken, relied heavily on scenes that played out without dialogue. It felt a bit pretentious, but pretentiousness can bring out the best in this show.
One of the major faults of the second season was an increased emphasis on relationships at the expense of storylines involving work, family, friendship and personal issues. The focus shifted dangerously close to simple "lesbian soap opera," but the quality of the performances and quirky decisions in writing and directing saved the show from going too far afield.
In particular Jennifer Beals, probably the most recognizable actress among the key cast, truly came into her own this season as the star of the show. In the course of 13 episodes her character was put through the emotional ringer in every way. Not only was her romantic relationship threatened but also her work life, her friendships and her family.
Beals brilliantly navigated the emotional roller coaster ride and made each moment feel as painful, bittersweet or exuberant as they would in real life. I've never thought of her as a particularly great actress but the quality of her work this year was undeniable. The show is generally considered too low profile for Emmy attention but not including Beals in the drama actress category this year will be their loss.
Among the rest of the cast, Mia Kirshner and Katherine Moennig also had their share of well played emotional scenes (although Kirshner's year was no match for her journey of self discovery that gave the first season its strongest dramatic arc), while Leisha Hailey and Erin Daniels continued to provide welcome comic relief. Equally welcome is the continued presence of Pam Grier, as Beals' half sister and the show's token straight woman.
Also notable is the way Laurel Holloman's real life pregnancy was seamlessly woven into the fabric of the entire season. This is probably the only show on television where an actress' pregnancy actually opens up storylines and the actress is allowed to be as vital and sexual onscreen as when she wasn't pregnant.
All in all this is a series that remains remarkably original, and that's always worth appreciating.
Finale Grade: B+
Season Grade: B+
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