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To spend time with the Gallaghers, of Chicago's South Side and Showtime's Sunday night lineup, is to enter a world of unrelenting near chaos. Almost every time the viewer blinks, an eye is blackened or love is made or fraud is committed.
The child abuse — or what would be called child abuse in the region's more pampered districts — is almost as rampant as the substance abuse. And as, apparently, befits folks whose circumstances include being A) impoverished and B) on pay cable, the display of breast and buttock abounds.
It's an extreme vision of what life is like for those known, in our increasingly bifurcated society, as “the working poor.” They are an earthy people, “Shameless,” which returns Sunday for its third season, tells us, but they are (mostly) a loving people.
Is it a little bit exploitative, maybe even condescending, as rich Hollywood writers display How Things Really Are in the lower economic brackets? Sure, it is, even if they will tell you that much of what they are showing is meant, first, to be funny.
But this series has been able to skate artfully past that issue in its first two seasons, thanks largely to a soulful young cast and writing that, in those make-or-break moments, has managed to deliver full heart and good, sometimes great, gallows humor.
For all the extreme ways "Shameless" has chosen to illustrate it, it also nails that dread feeling of perpetual fiscal precipice.
And Chicago viewers have received the added bonus of seeing their city portrayed with a vividness and intelligence belying the fact that only exteriors are shot here.
But much of the goodwill built up over the first two seasons is in danger of being spent at the outset of Season 3. In the first few episodes, you feel the strain of the writers "inventing situations," as a Talking Heads song once described the task of writing for television.