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Inter os atque offam.

There’s a world worth examining between this particular sentiment

TV cannot hold its own against reality. David Simon gets the closest.

—and this critical apprehension:

Created by Maryland native David Simon and Seattle native Eric Overmyer, the show hasn’t unpacked the received cultural stereotypes of the city so much as fine-tuned those stereotypes through compulsive attention to documentary detail. Treme dedicates itself so totally to showcasing unique local color at the micro-level that it transforms New Orleans into a weirdly hermetic dreamland—a gritty, self-celebratory refuge from the dull forces of mass culture, where characters walk around saying things like, “Po’boys aren’t sandwiches, they’re a way of life!” and “Where else could we ever live, huh?” In Treme’s world, brilliant jazz trumpeters are more interested in barbecue than fame, voodoo-Cajun bluesmen sacrifice live chickens on the radio, and fast-food chains exist only when junkie musicians need a paper sack to camouflage their stash. When Black people die, they’re given rousing jazz funerals; when white people die, their ashes are sprinkled into the Mississippi River during Mardi Gras. Few moments in the show exist outside of its notion of what New Orleans represents in contrast to the rest of the United States.

Every deed must formulate a gesture, but the gesture’s not enough to do the deed. —However delicately the lip might be painted, however intricate the figuring of the cup, it’s all for naught if wine is never sipped. (The trick, of course, is figuring out what’s cup, what’s lip, which the wine, and which the sip. It’s different every time you do it—and there, that’s the clomping foot of the world.)

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