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Over the course of my research into the New Orleans film economy, one television series seemed to dominate my discussions with other people about Hollywood South. Though the title Treme (2010–13) refers to a single neighborhood, the HBO program was a valentine to the entire city, according to its auteur David Simon. In particular, Simon and his creative team showered their love on fellow cultural producers in the city: the writers, the musicians, the chefs, those who performed cultural rituals in the city, and their enthusiasts. Charting the stories of these proxies for “creative economy” workers after Katrina, the series heavily promoted New Orleans as an irreplaceable part of the United States with a unique and worthy culture. It ended with an abridged fourth season after it failed to attract sustained national interest, from either pay-TV subscribers or television critics. Locally, however, no other film or television program did as much to represent New Orleans as a special place—one under threat and in need of defenders. In terms of the contemporary film economy, Treme was exceptional. The fact that producers touted the program as one made about and for New Orleans replicated the public rhetoric of filmmakers and their boosters as described in chapter 1. Unlike other high-profile films shot during the same period, such as Green Lantern (2010) or Dallas Buyers Club (2013), in which the city was simply a backlot, Treme was one of the few projects not only set in New Orleans but also created with the city at the center of the narrative. Simon and cocreator Eric Overmyer said they had planned to do a program about musicians in New Orleans before 3

The Place of Treme in the Film Economy: Love and Labor for Hollywood South