David Milch, the creative force behind the critically acclaimed “Deadwood,” ventured into new territory with “John From Cincinnati,” an HBO drama series that arrived with a wave of anticipation, especially following the iconic finale of “The Sopranos.” While boasting a captivating opening title sequence that is undeniably one of the most memorable on premium television—so much so that Milch himself revisits it in the show’s ambiguous conclusion—the series unfortunately struggles to sustain that initial intrigue. For viewers seeking the sharp writing and compelling narratives Milch is known for, “John From Cincinnati” proves to be a frustrating departure, swapping the lawless Wild West for a paranormal-tinged surf town, but losing much of the narrative momentum in the process.
A Promising Premise Derailed by Execution
The initial concept of “John From Cincinnati” held promise: a dysfunctional family of surfers, the Yosts, find their mundane lives disrupted by the arrival of a mysterious stranger, John (Austin Nichols). This enigmatic figure, who can only communicate by echoing others and possesses unexplained paranormal abilities—levitation, cryptic internet messages, and even causing disappearances—certainly sets an intriguing stage. However, this potential quickly dissipates as the series progresses. Unlike “Deadwood,” where Milch’s signature stylized dialogue and deliberate pacing contributed to a rich and immersive world, in “John From Cincinnati,” these elements become liabilities, contributing to a sense of narrative stagnation rather than development.
Overcrowded and Underdeveloped Ensemble
One of the primary issues plaguing “John From Cincinnati” is its excessively crowded narrative. Milch seems to have overloaded the series with a sprawling cast, extending beyond the central Yost family to include a multitude of guests residing at a rundown motel by the beach. These characters feel like forced attempts at creating a “quirky” ensemble reminiscent of small-town movie tropes, but instead, they come across as aggressively irritating and superficial. The show attempts to establish a distinct atmosphere, contrasting the allure of Southern California beach culture with the bleak reality of a tourist-trap motel, aiming for a sense of barren, self-absorbed isolation. However, this world-building falters as the characters inhabiting it are largely unlikeable and their storylines feel underdeveloped and often pointless.
Narrative Chaos and the Frustration of Unexplained Weirdness
“John From Cincinnati” suffers from a profound lack of narrative focus and structure. While “Deadwood” employed a serial structure akin to “The Sopranos,” allowing for character and plot development over time, “John From Cincinnati” seems to meander aimlessly. Each episode introduces further paranormal occurrences, yet their connection to each other and any overarching plot remains frustratingly obscure. The titular John, with his blank expressions and parrot-like speech, becomes less an intriguing mystery and more of a narrative obstacle, hindering any meaningful progression. The series becomes an exercise in unexplained weirdness, where paranormal events happen without clear purpose or consequence, leaving the audience increasingly bewildered and disengaged.
Annoying Characters and Melodramatic Overtones
Adding to the show’s woes are its characters, who are largely unsympathetic and often behave in ways that are difficult to comprehend or relate to. Many scenes devolve into outbursts of melodrama, with Rebecca De Mornay’s performance being a particularly prominent example of this over-the-top emotionality. Characters frequently act without clear motivation, leaving viewers questioning their decisions and further disconnecting from their experiences. This lack of relatable or even consistently defined character behavior undermines any potential emotional investment in the Yost family or the surrounding ensemble.
Weirdness Devoid of Purpose or Meaning
While embracing the unconventional can be a strength, “John From Cincinnati” exemplifies weirdness for its own sake, lacking the redeeming qualities found in other uniquely strange series. Shows like “Flight of the Conchords” use weirdness for comedic effect, “Lost” integrates it into intelligent storytelling, and “Carnivale” employs a David Lynch-esque visual poetry. In contrast, “John From Cincinnati” fails to imbue its strangeness with any discernible meaning or purpose. It hints at a bizarre blend of “Roswell” and surfing culture, as suggested by the reference to “Step into Liquid,” yet this combination ultimately fails to coalesce into a coherent or engaging narrative. The show leaves viewers wondering what, if anything, it is trying to communicate beyond its surface-level oddities.
In conclusion, “John From Cincinnati” emerges as a self-indulgent and pretentiously enigmatic television experiment that ultimately alienates its audience. It presents itself as a puzzle, demanding continued viewership to decipher its mysteries, but unlike series that have earned audience trust through compelling storytelling, “John From Cincinnati” fails to provide sufficient reason to stay invested. The show’s cancellation after a single season comes as little surprise, as it feels like a narrative treadmill leading nowhere, promising eventual answers that never materialize. Instead of riding a wave of success, “John From Cincinnati” ultimately wipes out, leaving behind a sense of confusion and disappointment.
