A second look at “John from Cincinnati”

Jfcdemornay_4More than any TV series in recent memory, “John from Cincinnati” seemed to be nearly done in by bad buzz long before it premiered.

“Why would HBO think people would want to watch this?” one blog poster opined on AOL’s TV Squad site nearly a month before the show premiered June 10, on the coattails of “The Sopranos’” finale.
“One department has a pool going as to when HBO is going to pull the plug and not complete the season at all,” read a post on the popular TelevisionWithoutPity.com site way back in February. (The author of the missive claimed to be someone who worked on the “John” set.)

Sure, all shows endure a fair amount of post-pickup/pre-premiere drama and “oh boy is it in big trouble” rumor-mongering. But “John” endured a surprising amount of early carping, especially for an HBO skein with a solid pedigree as the creation of revered dramatist David Milch and cult-fave novelist Kem Nunn. Milch took a beating from many fans of his previous HBO creation “Deadwood,” who felt that he and HBO decided to drive a stake in “Deadwood” prematurely in order to free Milch up to work on “John.” (Given the tone of “Deadwood,” Milch surely couldn’t have been surprised when its hard-core fans were quick to express their hostile, Jfcgreenwood_2 profanity-laden revenge fantasies.)

The cast that Milch and Nunn put together last fall and winter for “John” was undeniably strong: Rebecca De Mornay (pictured above left), Bruce Greenwood (pictured right), Ed O’Neill, Matt Winston, Luke Perry, Luis Guzman, Willie Garson, and up and comers Brian Van Holt and Austin Nichols. But when the pilot script started to make the rounds, there was a lot of head scratching.

If “Deadwood” was a surrealistic Western, then “John from Cincinnati” was a psycho surf-themed family drama, as inter-preted via a bad acid trip. The talk was that it was not just unconventional, it was unbound, merely an indulgent exercise in how obtuse (with curse words) two talented writers could be if given the chance. The consensus opinion seemed to be that HBO had come to the crossroads and was at a loss at where to go next after its storied run of success.

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  1. D says:

    I would like to thank you for the efforts you have made in writing this article. I am hoping the same best work from you in the future as well

  2. Very nice review there are so many valuable point in your post

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  4. please don’t miss the brand of Canada goose when necessary. (yang)

  5. Kwarner722 says:

    Nice summary of just how JFC also grew on me. I do hope you are wrong about there being nothing more to come after episode 10. This show is just too good to permit it to lapse after an abbreviated season.
    I think if more people (who don’t yet regularly watch the show) interacted with others who love show at a fan website, they would see just how much JFC is a superb television creation. The best fan site I have found so far is:

  6. Lance Lawson says:

    We LOVE “John”. It’s hard to believe real fans of “Deadwood” wouldn’t give it a chance because it resonates with the same kind of poetic dialogue that “Deadwood” did/does.
    You can close your eyes at times when Ed O’Neill is ranting and it could very well be Ian McShane, such is the verbal construction.
    With “Deadwood” and “Rome” passing by the wayside, it is far too much to hope that “John” could ever get serious traction. If you look at the kinda crap that draws the masses on network TV, and listen to the carping that greeted Chase’s near-perfect ending of “The Sopranos”, the only thing you need to know is that challenging, adventurous, out-of-the-ordinary television is usually dead upon arrival in the U.S., sad to say.
    We’ve never seen anything like “John”, and probably never will again. However, we’ve permanently adopted John’s deadpan, “I got my eye on you” as part of our social lexicon.

  7. Howard Burns says:

    As someone else who’s also gotten hooked, here’s hoping the end is not near. See God, “John” fans, see God.

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