Meadowlands

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LYNCH MOB
‘Meadowlands’ as dark as David

“Meadowlands” is the second show this year to employ an international cast for a story about a criminal family with a transvestite son and a quick-witted daughter. And also like “The Riches,” on FX, this eight-part Showtime series relocates its family to an isolated suburban neighborhood where their secrets fall prey to nosy neighbors packing guns and souped-up sex drives. But the “Meadowlands” soil is significantly darker and 100 percent more corpse-ridden. Its newly arrived Brogan family, and their awaiting antagonists, are haunted by the kind of violent memories and sociopathic run-ins that dare not stray into the realm of easy laughs. So it is there where the similarities to “The Riches” end and another familiar sensibility takes over.

Duane Clark and Paul Walker direct the series but their inspiration is easy to spot. Spiritually and stylistically, David Lynch is the founder of “Meadowlands” and Twin Peaks its sister city. This is brought to the fore in a grisly second episode rape and murder, which becomes the show’s pivot point. It ultimately pits patriarch Danny Brogan (British TV veteran David Morrissey) against Bernard Wintersgill, a kind of sadistic Inspector Morse charged with getting his man—or at least cuffing and thrashing him. Evil becomes personified and feeds on fear while the lighting turns greenish-yellow and seemingly proper adults do funny dances or masturbate with the shades open.

No one does absurdism and ribald sex quite like the English. When dramatic, straight-laced characters turn daft or horny, while still retaining their proper British accent, the results can be chilling.

Especially disturbing is Harry Treadway’s performance as Mark, the cross-dressing youngster. Mark is Edwardian but the Edward in question is Edward Scissorhands. With the same autistic focus, androgyny and shock of thick black hair—but perpetually wearing rubber gloves instead of blades—he’s a dress-up partner for Jezebel and an irresistible taboo for Jez’s mum, Brenda. As played by the inspired Melanie Hill, lust ebbs and flows through Brenda’s matronly body resulting in the dirtiest performance by a mature woman since Isabella Rossellini scarred moviegoers for life in Lynch’s Blue Velvet.
- Stan Friedman   June 13, 2007