TV #27 of 2020:
Shameless, season 7
Although still recognizable, this is a quieter and more thoughtful year of Shameless, with arcs that build gradually to a boil rather than the show’s typical frenetic style. It doesn’t always work with what we know of these characters — Fiona’s new focus on business and disinterest in mothering her siblings is particularly hard to square with her earlier pursuit of custody rights, and the writers can’t seem to decide whether Debbie is a genius who can ace her GED without studying or a hopeless case who might as well beg on the streets — but the slower pace generally serves the narrative well. Frank’s time running a nearby homeless shelter, while absurd, also positions him nicely as a minor antagonistic presence in his children’s lives, a much better use than when the series treats him as a full-fledged antihero.
Shameless’s exploration of transgender issues this season is also more grounded and compassionate than I would have expected/feared (based on how it’s handled race and disability in the past). We do get some hurtful things said in ignorance and one scene that reduces people to their pronouns as an apparent punchline, but Trevor, as played by trans actor Elliot Fletcher, is a nuanced and interesting role. And overall, the program is again messy but effective: maybe not quite back at the heights of season 4, but still a big turnaround from early season 6. Despite a few dropped plot points here and there, the ongoing Gallagher story seems in a relatively stable place for once.
[Content warning for alcoholism, racism, rape, and incest.]
★★★☆☆
The Lesser Joke: book reviews and more 