Topic: The Box Office
I will readily grant you that Showtime’s new series, The Affair, which wrapped up its premiere season in December, is not crafted to appeal to a broad-based audience. Indeed, there are two or three things that I don’t like about it myself—starting with the theme song, written and performed by Fiona Apple. Let’s just say that Cole Porter/Rosemary Clooney she ain’t. But on the whole I really enjoyed The Affair. It has one thing going for it that most TV shows do not: None of the characters are likeable or even sympathetic. Perhaps Breaking Bad came close, but from time one did find one’s self sympathizing with Walter White—even knowing that he was, as his sometime business partner put it, the Devil. But there’s not a single character in The Affair—no, not one!—who attracts the viewer’s sympathy. Imagine a writer with all of Dostoevsky’s talent but one of his humanity and you’ll understand something of this show’s world-view.
The Affair tells the story of an extramarital fling between two sad and not particularly nice people, both of whom for their own reasons are ill content with the trajectory of their lives. Each episode is divided roughly in two, covering more or less the same events but presented first through the eyes of one protagonist and then through the eyes of the other. This is a neat contrivance and very plausible. For instance Noah, the unfaithful husband, sees Ruth as a sexy, seductive flirt; Ruth, the cheating wife, sees Noah as an aggressive horndog. Small details that the viewer learns to watch for signal these and other differing perceptions—of Noah’s wife, of Ruth’s husband, etc. Moreover, the story of their affair is framed within an ongoing murder investigation whose details only gradually become clear. In the final episode past and present converge as you began to suspect that they might two or three episodes earlier. But enough remains unexplained to make the finale a cliffhanger and I was glad to learn that The Affair has been renewed for 2015.
But, as I said, the thing about The Affair that really intrigues me is the unlikeability of the characters. Take Noah. He feels sorry for himself, well, because his life isn’t exactly what he wants it to be. But he’s got a wife and family, a job he enjoys (teaching high-school English), he’s a published novelist. And no matter how hard you try to sympathize with the guy, there’s no escaping the light-minded frivolity of his behavior. Ruth, on the other hand, has a good reason to hate the place she’s in—she and her husband lost their young son in a tragic accident. Okay, fine, but must she constantly display the scarlet V of victimhood?
And as with the protagonists, so with their families and friends. We soon learn to dislike Noah’s whiny wife even though she is a woman scorned. Ruth’s cuckolded husband is, not to put too fine a point on it, a jerk—so it’s hard to sympathize with him either. Ditto down the cast. I found myself reflecting more than once that The Affair communicates some stark truths that are seldom acknowledged: that most men and women are shallow and boring, that most marriages are sad and hollow, that other people’s kids are whiny and unattractive, that sex is a tawdry diversion, that true romance is a sham. Ah, but I admonished myself, such truths only apply to other people’s lives! And that’s The Affair’s real hook: It places the viewer in the role of the Pharisee in the temple crying, “I thank you, Lord, that I am not like other men!” Let me tell you, the realization of that took my self-esteem down a peg.
Be that as it may, The Affair is smartly written, brilliantly acted—compelling from start to finish. To tell the truth, I’m a bit apprehensive about the show’s second season. Remember how they screwed up Twin Peaks? Let’s hope that a similar fate does not befall this estimable show. Anyhow, I highly recommend The Affair.