Is there a mourning trend in contemporary television? At least on cable, it seems to be a dominant theme, one whose hold is only growing. The Walking Dead and Les Revenants (which will be remade in an English-language version) focus on what happens when the dead won’t stay dead — less an abstract thought experiment than a literalization of the process of mourning — while The Leftovers hyperbolically stages the randomness and incomprehensibility of loss. Recent seasons of True Blood have been dominated by mourning in a literal way, with episode-long funerals in many cases, as might be expected from the creator of one of the most successful “high-quality cable dramas,” Six Feet Under.
Once you notice the theme, it pops up everywhere. Much of the action in The Sopranos stems from the death of the initial boss from cancer, and the elderly mobsters like Uncle Junior could be viewed as something like an undead presence, especially once he develops dementia. The title character in Dexter derives his violent impulses from watching the death of his mother, and inherits his ethical “Code” from a father who feels responsible for her death and who haunts Dexter in the present. Homeland could be viewed as another kind of zombie narrative, as Sgt. Brody unexpectedly turns out not to be dead, disrupting his family’s new life and becoming an obsessive focus of Carrie, who is haunted by the specter of 9/11. Don Draper, like Walter White, is a man who survives his own death again and again, and the most recent season of Mad Men turns him into a kind of zombie haunting the agency. Etc., etc.
Obviously death has an appeal as a “universal human theme,” but I suspect there’s something more going on here. In a moral landscape where love seems like an empty cliche and loyalty is less a moral sentiment than a license for the most immoral possible behavior, the experience of loss seems like one final bastion of something like sincerity — the one unfakeable feeling. Even better, it provides a path toward multi-layered complexity of characterization, which is hard to come by when the assumption is that everyone is motivated by self-seeking pride.
Coming at it from a different direction, the fixation on loss seems to be of a piece with our neoliberal world. The only positive goals that are acknowledged are wealth, power, and prestige, which must be sought in an increasingly narrow range of pursuits by an increasingly narrow range of personality types. In contrast with this zero-sum struggle of individuals, the only space for something like human community or solidarity is loss or the threat of loss. In a weird way, then, there may be something optimistic about the narrative of mourning on television, insofar as it’s a way of gesturing toward connection rather than competition.
(Half-formed thoughts, sure to be dismantled in comments.)