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Particularly when the audience knows (if she doesn't) that ex-beau and con artist Jimmy/Steve is back in Chicago and waiting to drop in on her at the most inopportune moment.įiona isn't the only good thing in Shameless-Jeremy Allen White and Cameron Monaghan are going some great work as middle siblings Lip and Ian-but she's the most undervalued character in the greater TV universe. So an uncomplicated new boyfriend becomes, by the end of last night's episode, an impulsive quickie marriage that will almost surely end in disaster. Mulroney's character recently pinpointed Fiona's addiction, not to drugs or booze, but rather to chaos. But it's not enough just to spend a hazy week in bed with a new beau.
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It's there as she gets caught up in a euphoric new romance with Gus (Steve Kazee), who by all indications is a sweet, kind, gorgeous guy with a beard and a guitar and a conscience.
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It's there as she flirts with her boss at the diner (played by Dermot Mulroney), a recovering addict who seems ready-made to pull Fiona back into the abyss. This season, even though Fiona's out of jail, the danger of backsliding lurks everywhere. For anyone whose investment in the show goes beyond laughing at Frank's drunken antics, it was a devastating storyline, and one handled with the hard gaze of TV's best antihero series. She went to prison for endangering her brother and almost lost her family for good. Her subsequent squandering of all that-through drugs, through infidelity-was played as the character reverting to a hereditary Gallagher appetite for self-destruction. The show rarely asks for much sympathy for its characters, but it's impossible to elude the heartbreak of it all, particularly with characters like Lip and Fiona, who shoulder the burdens of their family while their youth, beauty, and talents threaten to fall victim to lives spent evading disaster.īetween Frank Underwood, Tyrion Lannister, and Rust Cohle, TV is still plenty enamored with the Difficult Man.ĭuring the past season-and-a-half, Fiona came as close as she ever had to a way out, with a burgeoning sales career and a clean-cut boyfriend. Pre-teen Carl sells drugs, sweet Debbie operates an off-the-books daycare service, Fiona slings hash, Ian go-go dances at a gay bar. The whole point of the Gallaghers is that they're unapologetically white-trash Chicagoans scrounging their way through life without regard for law or impropriety, and that there's a kind of charm in the way in which the family doesn't bother to differentiate between moral and immoral means to get by. Still, there's a classiness and a respectability to the women in those shows: Their characters may make incredibly thorny choices, or even be outright villainous at times, but they do so with a veneer of respectability that Shameless has never aspired to.
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So why doesn't Fiona Gallagher get credit for being one of TV's most difficult men? The easy answer is that she's not a man, but simple gender bias doesn't fully explain it-not with Scandal and How to Get Away with Murder as cultural hot-buttons and The Honorable Woman winning critical support and Golden Globes. But old tropes die hard, and between Frank Underwood, Tyrion Lannister, and Rust Cohle, TV is still plenty enamored with the Difficult Man.
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Where prestige TV used to be positively overrun with shows about men with dark sides and questionable (even nonexistent) moral compasses, today for every Ray Donovan we have a show like Fargo or The Good Wife, which allow women with their souls intact a seat at the table-as well as series like Masters of Sex and The Americans, which show men and women navigating tricky ethical waters together. Mad Men, despite its best efforts to linger, is awaiting its final episodes. Some might say that we're in the waning days of the era of Difficult Men on television. Recommended: The Super Bowl's Riskiest Ad It's a shame nobody ever seems to include Fiona Gallagher among their numbers. These so-called "Difficult Men" (a term coined by writer Brett Morgan in his book of the same name) have been among TV's most respected and dissected characters. A diner waitress who spent half the previous season in jail (she endangered the welfare of her toddler brother when he got into the bag of cocaine she left out on the kitchen table), Fiona fits perfectly into one of the dominant television traditions of the past ten years: the morally/ethically ambiguous protagonists who are in many ways their own worst enemy.