Now that the superb first season of Looking has concluded, we can now approach it as a singular, (sort of) complete work. It is so similar in tone and subject matter to Weekend, and of course they are both the brain-children of the brilliant Andrew Haigh, so it’s impossible not to compare the two.
In case you haven’t picked up on it, there’s a great wealth of material to draw on from both these works, so this will likely be the start of a series comparing the two. In order to tether down this can of worms, I’d like to focus first on the love stories these works present.
Weekend is a romantic tragedy due to circumstances beyond the characters’ control. The timing of Russell and Glen’s meeting is simply inopportune, as Glen has already made arrangements to leave the UK for Portland, Oregon to attend art school. Two days wouldn’t be enough time for Russell to drop everything and run away with Glen, nor would it be enough for Glen to justify giving up on his presumed dream.
In contrast, the romantic tragedy between Patrick and Richie of Looking is directly caused by the parties involved. Patrick is at once pushy and uninvolved, and Richie can only take so much of Patrick’s uneasiness. There are no circumstantial, destiny-driven forces at play; this one’s all on them.
It’s important to point out this distinction after the excellent episode “Looking for the Future,” which has been very favorably compared to Weekend; when taken just on their own, Patrick and Richie can make a very convincing couple with real potential. Throw Patrick into the temptations of his everyday life, though, like caving to his friends’ pressure or battling his irresponsible crush on his boss Kevin, and he can’t fight for what he tries to tell himself he wants.
In Weekend, as much as we want the two to find a way to make it work, the looming timeline keeps the clock ticking in the back of our head and we know all along they’ll have to part ways. With Looking, though, without a real time clock (beyond an eight-episode season) and no immediate obstacles in the way, we can’t help but root for Patrick and Richie to make it.
Side by side, this distinct set of circumstances almost makes the failed Looking romance even more heartbreaking. In Weekend, the two men are in love with one another, but it rationally cannot be; in Looking, the two men can be together, and one simply caves out of it.
The romantic tragedies of these works are both moving and thought-provoking in unique ways, simultaneously shaped by their narratives and strengthened when examining them at once.