In the last decade, HBO has undoubtedly produced some of the best shows on television. Shows such as "The Sopranos," "Sex and the City" and "Six Feet Under" are just a few that enchanted viewers from the beginning and left many in a hole of depression after their series finales.
The endings of these popular shows have not stopped HBO from cranking out new shows for the public such as "Entourage" and "Big Love." HBO's newest show, "In Treatment," is yet another of the fascinating, original and spellbinding additions for late-night television viewers.
The premise of "In Treatment" is almost unheard of by television buffs. The show runs every weeknight, Monday through Friday, for thirty minutes. Monday through Thursday, the story centers on a different patient of renowned therapist Paul Weston, played by Gabriel Byrne ("Miller's Crossing" (1990), "The Usual Suspects" (1995)). On Friday nights, Weston gets on the couch with his old friend and mentor Gina (played by Dianne Wiest) to vent about his personal life and the difficulties of dealing with his patients.
Monday night features Laura (Melissa George), a beautiful anesthesiologist who has fallen in love with Weston and subsequently destroyed her relationship with her boyfriend. For Tuesday the audience gets Alex, played by Blair Underwood ("Sex and the City," "Dirty Sexy Money"). Alex is a Navy pilot on leave after following orders to bomb what he believed to be a hideout for Iraqi insurgents but turned out to be a madrasa full of children.
Wednesday night presents Sophie (Mia Wasikowska), a prodigy gymnast who comes to Weston for an opinion on her sanity after she crashes her bicycle into a car, ruining her dreams of Olympic gold. Jake (Josh Charles) and Amy (Embeth Davidtz) are the stars of Thursday night.
The two are a couple who come to Weston to decide whether Amy should get an abortion after five years of failed fertility treatments, during which time Amy excelled at her career.
There is no action in the show except the raw tension of a psychoanalyst and his patients, all of whom undoubtedly have issues beyond comprehension. One would think that a show centered on talking would become boring, but that is hardly the case with this show. The abundance of words forces the audience to listen, pay attention and engage with the dialogue, rather than sit back and passively watch.
Another element that makes up for the lack of action is the interaction of Byrne with the other actors, all of whom are phenomenal.
There is a character suited to everyone's liking. Davidtz lights up Thursday night as a woman questioning her need to be a mother against her desire for an independent life and career. Newcomer Wasikowska is charming even in her petulant 16-year-old state.
One thing to note is that the writers don't pretend that these characters are good people. Underwood's character is arrogant and rude, while Charles's Jake is a man in dire need of anger management. Even Byrne portrays Weston as a man who enjoys manipulating his patients into confessing feelings that they don't know themselves. This omniscience Weston thinks he possesses begins to catch up with him when he feels his patients and his life are spinning out of his control.
The question is not whether this show is a good show. It has all the elements of greatness on TV: great writing, good acting, chemistry between the actors and an interesting premise. The question is whether or not the ADD American culture can sit for thirty minutes every weeknight to watch a show that is solely two people engaging in a back-and-forth dialogue.
In order to appreciate a show such as this, the audience must care about the characters and their problems without expecting to see sex, violence or drugs. But after all the drivel that is being put out to avoid losing money due to the writer's strike, it is finally refreshing to see a new kind of show that has long-term potential.
