Parenthood: Season 6
There is a genre and entertainment that apparently for extinction; the family drama. Some 60 years that television has been the major contributor to what is chosen to fill programming schedule of the major networks. Imagine the state of the economy social political tribulations in the world, series based on professionals in medicine, law enforcement and the law never experienced any difficulty at all to be fully represented on the schedule any given season. However, shows concerning lives of an eclectic group of people bound together by blood and marriage, a family, seem to be less popular of late been previously. ‘Parenthood’, has been a strong offering for the NBC schedule for respectable length six seasons. The issue that many have with family dramas that it is not conducive to the standards they are used in many popular series. Typically there are no shootings; car chases or any of the standard means of eliciting excitement drive the popularity of the show. Quite the contrary shows within this category need to take a different test to going to the interest of the viewers. Shows such as ‘Parenthood’ are charged to far more arduous task of creating and maintaining conflict and tension within the context of a typical American family. Under usual circumstances this excludes the unusual and intrinsically dysfunctions family dynamics associated with atypical families such as the rich and indifferent or those associated with organized crime. The mandate of this category of television series is to be able to connect to the audience on a very deeply personal level. This is diametrically opposite to the kind of television shows that depend on eliciting the need for vicarious thrills that is exploited by the more action oriented programs.
As a fan of the series from the very start of come to the closing there were two basic types of family members that will be drawn to the show; those who can readily identify with the extended, multi-generation family is exemplified by the Bravermans, and those who wish they could. The patriarch of the clan is Zeek Braverman (Craig T. Nelson), turned 72 in this six season moving to set the stage for the overall storyline driving its episodes and overall story arc. His wife all these decades is Camille (Bonnie Bedelia). Together they were blessed with four children, now adults; Adam (Peter Krause), Sarah (Lauren Graham), Crosby (Erika Christensen, and Julia (Dax Shepard). By the time of the series, each of them have started families of their own so that the frequently convened family get-togethers represent at least three generations of Bravermans. The marriage of Zeek and Camille has demonstrated remarkable resiliency. Zeek was a graduate of West Point, been a hippie activist, and after and a very successful businessman. There have been some rough spots in their marriage most particularly the brief time had an affair with another man. When it was revealed they both cheated they were able to leave the past behind and mend their marriage.
Common pitfall this type of series is the use of plot contrivances keep as much of the original cast as possible together. If any family spending three generations the relatives remain consistently in the children’s lives as understandably and naturally going to change over time. The least creator of the series, Ron Howard, has rather extensive experience dealing with television families having actually growing up in front of the camera first with’ The Andy Griffith Show’ and later as the American teenager in ‘Happy Days’. He has since moved on to become one of the most influential and successful directors in Hollywood, a statement supported by his two Academy Awards for Best Director. President is the head writer a number of highly acclaimed and exceptionally popular television series including ‘Roswell’, ‘Friday Night Lights’ any television show that became a cult classic for how would we define the family drama and put teen angst on the TV landscape, ‘My So-Called Life’. Such experience and creative artisans behind the camera such an amazing assembly of actors in front of it, this series represented a nearly unparalleled assembly of imaginative people ever. Daring to oppose the normal television mindset of keeping a successful cast together people here responsible for the series consistently attempted to place realism above contrivance. When it came time Adam‘s teenage daughter, Haddie Braverman (Sarah Ramos) to leave home to attend college she left. The right is to consider nonexistent as she was mentioned in conversation is any family member would but once again common pitfall was avoided by not trying to force some means to constantly include a scene or two. She came home for the family emergency, when she heard that her mother, Kristina (Monica Potter), was diagnosed with breast cancer. Writers carefully and respect used his character to reflect some social changes that have happened in.
Another situation that is entirely relatable is the grown child leaving home not for college but to take on life on their own. Haddie’s cousin, Amber Holt (Mae Whitman), had always been seen as a bit of a wild child; strong willed and rebellious. Old enough to remember her parent’s breakup, she has carried a sizable amount of emotional baggage. Initially it seemed that she would be a negative influence on the studious and helpful Haddie but once again overriding plot points designed to create sensationalism for a more realistic development, eack young woman emotionally complimented and strengthened the other. Amber became more responsible as Haddie discovered how to live for herself rather than the expectations of her parents and teachers; this emerged particularly in her romantic relationships. First she dated a young man with a criminal record who happened to be African-American. Then she returned from college fir a visit to introduce her parents to her girlfriend. Amber eventually helps pull the story to a close in season six by having a son, named for his great-grand father, starting off the fourth generation of the family.
There have been such an incredible number of emotionally intense and touching moments but the last and among the most moving is the illness and passing of Zeek. There have been many characters who die within the context of their story but few as poignant as this, remaining true to its emotional veracity and the consistently faithful connections created with the audience there was no hint of contrivance or melodrama in how this family once again pulls tightly together to weather this personal tragedy.