"And so my course is clear: to go through life pretending to have done and seen things that have hardened me -- made me aloof and unreachable. Which works, until I need to ask a stock boy where they keep their corn meal. Then the facade crumbles, and it's clear that I'm not a weathered loner who's seen too much; just a pasty Midwesterner who can't find the flour aisle."
- Mike Nelson, 'Movie Megacheese'
'Once and Again' is about people like this, people who live in America's fly-over country, have never been homeless, are not famous, don't fight crime or work in hospitals, don't shop in SoHo or Beverly Hills. In real life, they vastly outnumber the homicide detectives, criminals, trauma surgeons, and island castaways who comprise such a disproportionate percentage of the central characters on television dramas. Why? Two reasons: (1) Most TV writers think they're boring and lack the insight and skills to write about them in ways that viewers will find interesting. (2) When a show that deals with this kind of material makes it on the air, it depends on large numbers of viewers in order to remain in production. Most television viewers gravitate to sex, violence, and suspense (and combinations thereof), and they are addicted to heightened reality. They do not have the patience for character studies, and that's why 'Once and Again' lasted only three seasons. One imagines that it was able to go that long because small but loyal numbers of viewers are actually bored by explosions, artificial suspense, and mindless exhibitionism.
Now we have 'Once and Again' on DVD. I doubt there's ever been more genuine gratitude among fans of a TV show regarding its release on video. Sure, there are a lot of great shows on DVD, but they're usually high-rated products that stand to do a lot of volume on DVD and are no-brainers from a marketing perspective. (A lot of lousy ones make it to DVD, too, but does anyone really care about those?) We spent a long time wondering if 'O&A' would ever meet polycarbonate, then, later, believing that Season One would remain alone there. That would have been a shame.
As good as the first season is as a stand-alone, it improves dramatically on subsequent viewings after seeing the second and third seasons. In the opening scene of the series, Lily Manning wakes her daughters in a middle-class home in a Chicago suburb. Beautiful morning sunlight streams through the windows. It's probably easy to dismiss it and think, "Okay, so what?" When you watch it after, say, "Won't Someone Please Help George Bailey Tonight?" from Season Two, you'll be prepared to understand. In Episode 5, "There Be Dragons," Jessie slips out of a movie outing with friends to take a walk by herself. She wanders around a mall looking at things, watching people, thinking. There's a wealth of suggestions on what's going through her mind, given the context of events in the episode. Watch it again after seeing "The Sex Show" from Season Three, and you'll find yourself filling in things that could not be suggested on network television in the earlier episode.
What holds it all together and makes it so compelling is that 'Once and Again' isn't afraid to let all the main characters be smart, decent people. There are no moments of convenient stupidity that are allowed only because suspense must be maintained. People sometimes behave questionably or lash out angrily at one another, but it's seldom a surprise, because it usually happens under circumstances under which you'd expect it from the character. It's never a cop-out, either, because not a single main character in the series is one-notish. The strength of the actors is critical, because they are required to render subtle shadings and quick revelations that are necessary to make many scenes work but cannot be written into dialog.
Fiction differs from reality in that it has had a narrative imposed on it by a writer, thus it is usually better able to illuminate human truths that are missing from an episode of 'Fear Factor' or 'Who Wants to be a Millionaire?' When you watch a television series in its original broadcast (or under other circumstances in which each episode is new to you), you can't know the full scope of the narrative that is taking shape in the minds of the writers, and they can do only so much to clue you in -- otherwise it just wouldn't be cool. This is no less true of 'Once and Again.' After you've seen every episode, going back and watching them over is synergistic. You can stand outside the constraints of the moment and understand where it really fits in the arc of the story, an omniscient third person. Would that we could do the same with our own lives. The other function of fictional writing is to provide dialog. (Would you want the contestants on 'Survivor' writing the dialog for the movie about your life?) 'Once and Again' is full of zingers, both dramatic and comedic, especially in the first season. Judy, Grace, and Zoe get most of the funniest lines, but the rest of the cast -- and sometimes even walk-ons -- have their share, too. Funny, ironic, and insightful, dialog like this works in several levels, and seeing them all springing to life at the same time is the real charm of 'Once and Again.'