“Eddie… my home has found me,” the symbiote Venom warns his host Eddie Brock in the first trailer for the third Venom movie, Venom: The Last Dance. For the longest time, that statement wouldn’t make a whole lot of sense. After all, Venom’s “home” was Battleworld, the planet where the Beyonder took a cadre of […]
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Six Feet Under probably doesn’t come to most people’s minds when discussing HBO’s best series because it doesn’t have a controversial, overarching subject matter.
The Sopranos remains appealing to new viewers mainly due to its mafia backdrop. The Wire catches eyes because cop dramas are a known quantity. With Six Feet Under, however, creator Alan Ball (who also helmed HBO’s queer-coded horror spectacle True Blood) crafted a simple drama about a loving yet chaotic family who runs a funeral home. That doesn’t seem all that exciting to an audience member going in with no prior knowledge. Still, all it should take is a few episodes of the show for that viewer to become instantly obsessed with the raw, authentic characters and real life issues that it expertly depicts.
From death anxiety to coping with chronic illness, the series forces the people on screen and off to face some of life’s greatest hardships with their chins up. It set a new standard for HBO’s programming and gained respect from critics without the need for fire-breathing dragons or borderline pornographic romps.
Six Feet Under’s biggest accomplishment, though, was normalizing same-sex relationships in a way that hadn’t yet been seen in prestige dramas. Middle Fisher child, David (Michael C. Hall) and his longtime romantic partner and eventual husband, Keith Charles (Mathew St. Patrick), certainly weren’t television’s first gay couple. But they were the rare gay characters in the early 2000s to empathetically
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