We’re a little late on the draw on this, but dammit, upfront week was flippin’ tiring and we’re trying to catch up. A&E’s hit summer series from last year The Glades (which we loved) roars back like a hurricane this Sunday night, June 5th, at 10:00 p.m. Good times indeed. Here’s the trailer for the new season and a little sneak peek at what we have to look forward to with Detective Jim Longworth and the rest of the characters:
Via Press Release:
A&E’S HIT SCRIPTED DRAMA “THE GLADES” SEASON 2 PREMIERES
SUNDAY, JUNE 5 AT 10PM ET/PT
SERIES STARS MATT PASSMORE, KIELE SANCHEZ, CARLOS GOMEZ AND MICHELLE HURD
NEW YORK – April 21, 2011 – Season two of the hit A&E original scripted drama series “The Glades,” starring Matt Passmore, Kiele Sanchez, Carlos Gomez and Michelle Hurd premieres Sunday, June 5 at 10PM ET/PT. The second season will feature thirteen one-hour episodes.
In its first season, “The Glades” became the most-watched drama series in network history, averaging 3.1 million total viewers. These ratings propelled A&E to ad-supported cable’s number one network on Sunday nights among total viewers.
In “The Glades,” Passmore stars as Jim Longworth, an attractive and brilliant Chicago homicide detective with a reputation for being difficult. When his captain wrongfully accuses him of sleeping with his wife and shoots him, he is exiled and forced to relocate. He lands in the sleepy, middle-of-nowhere town of Palm Glade, outside of the Florida Everglades, where sunshine and golf are plentiful and crime is seemingly at a minimum. But Longworth soon finds out this town isn’t quite as idyllic as he originally thought, when murders keep piling up. Each case pulls Longworth off the golf course and reluctantly into his element as one of the sharpest homicide detectives to wear a badge.
In the season premiere, the daughter of a notorious Cuban mobster turns up dead in a Little Havana alley, and Longworth and the rest of the Florida Department of Law Enforcement must solve her murder to prevent an all-out war between two rival mob families. Meanwhile, Callie (Sanchez) prepares for her husband’s release from prison.
“The Glades” is produced by Fox Television Studios for A&E Network. The series executive producers are Clifton Campbell (“White Collar,” “Profiler,” “21 Jump Street”) for Innuendo Productions and Gary Randall (“Saving Grace”) for Grand Productions, Inc. The series is created by Clifton Campbell.
About Fox Television Studios
Fox Television Studios produces scripted and unscripted programming for US broadcast and cable networks, and international broadcasters. In addition to “The Glades,” hit series include “Burn Notice” and “White Collar” for USA, and “The Killing” for AMC. The studio also is in production on the pilots “Outlaw Country” for FX, “Three Inches” for SyFy, and “Wild Card” and “Over/Under” for USA. Fox TV Studios also produces the reality hits “The Girls Next Door,” “Kendra and Holly’s World” for E!, and will launch this summer the late-night comedy series “In the Flow with Affion Crockett” for FOX.
About A&E Network
A&E is “Real Life. Drama.” Now reaching 100 million homes, A&E is television that you can’t turn away from; where unscripted shows are dramatic and scripted dramas are authentic. A&E offers a diverse mix of high quality entertainment ranging from the network’s original scripted series, including “The Glades,” to signature non-fiction franchises, including the Emmy-winning “Intervention,” “Dog the Bounty Hunter,” “Hoarders,” “Billy the Exterminator” and “Storage Wars,” and the most successful justice shows on cable, including “The First 48” and “Manhunters.” The A&E website is located at www.aetv.com.
THE CHICAGO CODE, the compelling new police drama from critically acclaimed creator Shawn Ryan (“The Shield”), follows the Windy City’s most powerful and respected cops as they navigate the city’s underbelly to fight crime and expose corruption within Chicago’s notorious political machine.
Set and shot on location in Chicago, THE CHICAGO CODE is a fast-paced series centered on JAREK WYSOCKI (Jason Clarke), a local legend and a larger-than-life veteran of the Chicago Police Department who wields considerable power thanks to his relationship with TERESA COLVIN (Jennifer Beals), his ex-partner and the city’s first female superintendent, now in charge of a 10,000-member police force. While Teresa diplomatically governs amidst the complicated landscape of Chicago politics, Jarek works the streets on a crusade to clean up corruption and crime and avenge his brother’s murder. Along the way, they will stop at nothing to bring down their powerful adversaries, including ALDERMAN RONIN GIBBONS (Delroy Lindo), a building-magnate-turned-politician who has ruled his ward with a velvet glove for over two decades.
Joining Jarek on the street is CALEB EVERS (Matt Lauria), an eager young detective trying desperately to prove himself. Also in Jarek’s charge is his niece, VONDA WYSOCKI (Devin Kelley), a rookie beat cop whose father – Jarek’s brother – was killed in the line of duty when she was young. Jarek keeps close tabs on her and is less than thrilled with the risk-taking ways of her cocky hotshot partner, ISAAC JOINER (Todd Williams). Also in the mix is low-life LIAM HENNESSEY (Billy Lush), an Irish thug who blends in with the gritty world of local crime. – FOX
8 out of 10
So here we are asking ourselves again, why, oh why, do the best scripted dramas always wind up on FOX? They are only going to canceled when FOX inevitably pisses their pants after a couple of episodes. The Chicago Code is eerily similar to Lone Starin that it’s a serialized, well-written, well-casted and well-acted dramatic series… that probably won’t last a single season because FOX has no patience for shows like this. For the sake of this review, though, let’s pretend that FOX won’t cancel it before the end of the first season.
The Chicago Code is everything it claims to be and perhaps a bit more. Jason Clarke (Brotherhood) is brilliantly cast as the down-to-earth, old-school detective who is used to thinking unconventionally and using unorthodox methods in order to effectively do his job. Beals, is his former partner and newly appointed Police Superintendant who has recruited him to help her to clean up the corruption in Chicago. If you think you’ve seen this before, you have. This is almost the exact same scenario as in Brian De Palma’s 1987 classic The Untouchables when Eliot Ness (Kevin Costner) recruits Jim Malone (Sean Connery) to help him take down the corrupt politicians, corrupt police department and Al Capone.
Watch this scene to understand The Chicago Code:
… and THAT’S The Chicago Code. There is no sugar-coating it. This is a modern-day telling of a classic story of crime and corruption and Shawn Ryan (The Shield, The Unit) is not even being subtle with his homage to The Untouchables. Good for him because he’s a brilliant writer and he’s smart enough to know that if you are going to use someone else’s source material for inspiration, use only the good stuff. What made HBO’s Deadwood so good was the fact that it was Shakespeare set in the Old West. It’s no different with any good drama and The Chicago Code excels in exploiting its predecessor.
Ryan’s no slouch, either, when it comes to stories about corruption having been the creator of F/X’s hit The Shield which lasted for six seasons which revolved around a group of corrupt detectives in the L.A.P.D. And like The Shield, The Chicago Code does something that we absolutely love and we praised it before in our review of A & E’s The Glades; it uses the city itself as not just a backdrop, but as a living, breathing character. One gets the feeling that they know Chicago as well as the residents do by watching The Chicago Code and that is a key factor that makes the show compelling and worth investing in for audiences. It’s also beautifully shot and is a visual pleasure to enjoy in high-definition. Unfortunately, though, as previously noted, we don’t think the show has much of a chance at survival.
To be fair to FOX, and as much as we rip on them, there is a big problem with The Chicago Code that has nothing to do with bad management at FOX: it’s a serial. Serialized television has no place in major network schedules any more. It just doesn’t play with this generation of viewers who are inundated with 300 plus channels of cable television, the Internet, and reality television. This generation of television viewers expects everything to be immediate with their entertainment and they simply have no patience for a story that doesn’t effectively conclude itself at the end of the hour. This isn’t a criticism, this is just a fact and if you’re wondering when the end of serialized drama on network television officially occurred, it was May 24, 2010, which is the day of the series finale of 24 and the day after the series finale of Lost. It’s getting more and more difficult to put any effort in writing reviews for serialized drama on network television because we are kind of at the “what’s the point?” stage as we expect every serialized drama on network television to be canceled no later than the end of its first season.
Now, that being said, we believe that FOX has made the same mistake with this show that they did with Lone Star and that is airing it on FOX instead of F/X. F/X has been consistently able to support to serialized dramas and The Chicago Code would be a perfect fit there.
Of course, we certainly hope that we are dead-wrong about the lifespan of The Chicago Code on FOX but the numbers were only OK for the premiere (2.4 rating for 18-49) and the tendency for serialized shows is to lose audience after the premiere, not pick them up. So we’ll keep our fingers crossed but we aren’t very optimistic about any long-term success for this show.
Lights Out, from Executive Producer/Showrunner Warren Leight (In Treatment), stars Holt McCallany (CSI: Miami) as an aging former heavyweight boxing champion who struggles to find his identity and support his wife and three daughters after retiring from the ring. Financial problems leave him at a perilous crossroads – battling the urge to return to boxing or reluctantly accepting a job as a brutal and intimidating debt collector. Catherine McCormack (Braveheart) co-stars as “Theresa Leary,” Lights’ wife who is finishing her medical residency; Pablo Schreiber (Law & Order) as “Johnny Leary,” Lights’ brother and business manager whom Lights put through college; and Stacy Keach (Fat City) as “Pops,” Lights’ father and former trainer who runs the boxing gym owned by Lights. Clark Johnson (The Shield, The Wire) and Norberto Barba (In Treatment, CSI: NY) directed the pilot episode. Series Creator Justin Zackham (The Bucket List), Phillip Noyce (Salt) and Ross Fineman are also Executive Producers. Lights Out is produced by Fox Television Studios and FX Productions. – F/X
10 out of 10
All we can say is that we’re a little punchy after watching that pilot and the second episode of Lights Out. F/X, who we consider the HBO of basic cable, has done it again. Lights Out, without a doubt, is the best new show this spring on television (so far), be it network or cable.
There are so many things good with this show that it’s kind of hard to pin down exactly why we like it in 500 words or less. First, let us warn you that this isn’t the television version of The Fighter or Rocky Balboa and in fact, the boxing aspect of Lights Out, although certainly the foundation of the show, seems more incidental than anything else. Patrick “Lights” Leary could have been a famous baseball player, singer, movie star… whatever… and it wouldn’t really matter as this is a character driven story about the rise and fall of a public hero who’s only goal, now is to take care of his family.
Leary is a very likable and relatable character and reminds us of exactly how we would react if we were the father of three (God, help us) daughters. He would do absolutely anything he could to protect his family which in the pilot includes getting into a street-fight with a loud-mouth former football player behind a bar for cash and acting as an “collection agent” for the local Irish mob boss, Brennan, to deal with a “client” that owes Brennan $500,000. These two situations have very big twists in them and serve as exposition for the man that Leary is and the an he has to be.
Since we’re on the subject of HBO, Lights Out seems like it really would be more appropriate on that network as it feels more in the vein of The Sopranos or The Wire, but then again, this is the network that brought us the raw, hard-hitting epics The Shield and Damages so F/X has proven that it knows how to handle good drama.
***Sigh***
If only Lone Star would have found a home on F/X instead of FOX but, we digress.
Lights out is a TKO and we highly recommend it. If you’re a fan of good serialized drama and complex characters, you will love this show.
Welcome to part three of the mid-season 2010 – 2011 review. In this post we’ll be discussing Tuesday’s programming.
8:00 p.m.
ABC – No Ordinary Family
We’re sad to say that as much as we were excited after the pilot of No Ordinary Family, the show has turned out to be, well, pretty ordinary and it’s suffering in the ratings because of it. In our review, we noted that one of No Ordinary Family’s greatest assets was the focus on the Powells as a family. Well it’s turned out that this aspect of the show is becoming its greatest liability. This is supposed to be a live-action Incredibles which means at the heart of the series, it should be a superhero show first. It hasn’t worked out that way. This show is far more focused on the dysfunctional nature of the family and each character’s individual neurosis than it is in crime-fighting.
To make matters worse, they go through this charade every week about how “it’s too dangerous to use these new powers so we won’t use them” and then they go ahead and use them. That’s getting pretty stale and it’s frustrating for audiences because it’s like they haven’t come up with a premise for the show, yet. Are they crime fighting superheroes or what?
The next problem is Michael Chiklis and not him per se, but the casting of him in this role of police sketch artist, Jim Powell. In the beginning we felt that his talent and presence would carry this show, but again it’s not working out that way because of how the character is written. To put it bluntly, we don’t mind sensitivity in a male character, but Mrs. Powell has more balls than Jim. We can’t remember the last time we saw a protagonist as completely emasculated as Jim Powell and it’s even more striking considering Chiklis’ last lead role on The Shield. Quite simply, Vic Mackey needs to grow a pair.
It’s not looking good for No Ordinary Family in the ratings and based on that alone it would be unlikely that it would be picked up for a second season, however, No Ordinary Family is no ordinary show. It’s an ABC Studios production and is the personal pet-project of Disney. Despite the low ratings, it is entirely conceivable that No Ordinary Family may get at least a second season to sort out its issues.
We still like the show and because it hasn’t had any kind of real serial arc, it is much easier to fix the problems in the show going forward and save it than it is to save a show, for example, like The Event without a massive overhaul.
CBS – NCIS
In its eighth season, NCIS is as good now as it has been in the past several years and it is still one of the highest ranked dramatic series on television for that reason. Not much more to say than that.
FOX – Glee
*Sigh* It pains us to say this, but Glee has become a victim of its own hype. The musical numbers are still wonderful but the show itself has become so exaggerated and unbelievable that we aren’t even watching any more. Prime example: we tuned in on a whim the other night to watch the Christmas episode and here is the premise that we were supposed to buy:
Exceptionally nerdy kid in a wheelchair is dating cute blonde cheerleader, Brittany… who (and I’m not kidding) still believes in Santa. So, the Glee Club takes her to the mall – together… because they can’t take a dump without each other – to sit on black Santa’s lap (and mind you, a black Santa who was wearing his beard off of his face) and Brittany comments on how tan he is and asks him for her boyfriend to be able to walk for Christmas. Santa says, “OK.” Meanwhile, at the Batcave, Sue has rigged the “Secret Santa” event and put her name on every slip of paper in the empty protein shake container. It gets better: We are also treated to an ever-so- slightly creepy rendition of Baby, it’s Cold Outside by the gay kid and another gay kid he’s pining for that is sure to be a hit with the NAMBLA crowd and to top things off, at the end of the episode the aforementioned nerdy kid has a pair of robot legs from Israel waiting under his tree and nobody knows where they came from! Surprise! Surprise! Surprise!
So basically, the show has gotten ridiculous but it doesn’t seem to care because they are walking on water right now after their breakout surprise success last year and can pretty much do what they want. We believe that they have jumped the proverbial shark but via stealth and no one has noticed yet. Although the show is incredibly popular right now (it is FOX’s highest rated scripted show) and will certainly be renewed for a third season, we believe that when it crashes it will crash hard and suddenly because audiences are going realize that they’ve been watching a, if not horrible, at least very silly show for a while.
Glee completely lacks the heart it was known for in its first season and the only really positive aspect of the show in its sophomore season was the GQ photo spread the cast appeared in.
The ‘Tastic would like to say to all of our male readers in advance, “You’re welcome.”
SyFy – Caprica
The Battlestar Galactica prequel failed miserably during the second half of its first season for many reasons and was cancelled with five episodes remaining. It was certainly a show we liked, but we get why it failed. We did an analysis of its demise, here.
9:00 p.m.
CBS – NCIS: Los Angeles
When we’re wrong, we admit it. We started watching NCIS: Los Angeles this season because we promised we would. We’ve watched the first three episodes in the last week and I have the rest on DVR and we are impressed. It’s a lot more compelling and complex than it was in the beginning of last season (when we stopped watching) and the characters have actually become likable. This is good for this franchise because it’s using all of the elements that have made the original NCIS so successful. The audience numbers for this show are phenomenal so you can be sure that there will be a season three.
FOX – Raising Hope
Another case of admitting when we were wrong with this one. As noted in our preview and subsequent review, Raising Hope is a surprisingly funny and charming show. It’s officially a bubble-show at this point so it could go either way for a second season.
SyFy – Stargate Universe
The watered-down version of Battlestar Galactica meets Star Trek: Voyager has also been canceled. SGU wasn’t a particularly bad show, it just wasn’t a particularly good show and it wasn’t nearly as good as the other series in the franchise. Sorry, SGU, but you really won’t be missed.
10:00 p.m.
ABC – Detroit 1-8-7
In yet another example of we here at The ‘Tastic admitting when we were wrong, as noted in our review, Detroit 1-8-7 has been a pleasant, if not completely original, surprise. Yes, it’s a formulaic cop show that rips off its style from every cop procedural that’s aired in the last 20 years and yes there are a handful of cringe-worthy, eye-rolling clichéd moments in every episode but overall, the stories are compelling and the characters are pretty well-written if not all fleshed out yet.
We are particularly impressed with Michael Imperioli (Life On Mars, The Sopranos) as Detective Louis Fitch and although this is an ensemble cast, Imperioli steals the show. We couldn’t be happier as Imperioli is an excellent actor and it’s not only nice to see him in a lead role but it’s particularly nice to see him as something more than a foul-mouthed gangster. Nothing against The Sopranos, but we feel that it’s pigeon-holed a lot of fine actors who have found little success since the series ended in 2007.
Unfortunately, though, Detroit 1-8-7 is on the ropes right now and will probably not be renewed for a second season.
When Steve McGarrett’s father is murdered, he decided to return home to Oahu in order to catch the killer. The governor offers him the opportunity to run a new task force where he is able to call the shots. Detective Steve McGarrett brings together his own team, beginning with Chin Ho Kelly; an ex-Honolulu Police Detective and former protégé of McGarrett’s father. Kelly has been assigned to a federal security patrol after being suspected of corruption. Detective Danny “Danno” Williams is a New Jersey cop who recently moved to the island and is raising his 8-year-old daughter. Kono Kalakaua is Kelly’s cousin and a rookie officer, fresh from the academy. McGarrett’s team is giving full backing from the governor and plays only by their own rules. – CBS
Shawn: Way to go CBS for making this show sound like every other dry, formulaic cop show. Thank God for trailers, eh? I have to say, I was just going to recommend the pilot and only the pilot simply for the sake of novelty (and the great cast). Watch it, know it’s probably going to be crap-tastic and forget about it. Then I saw the trailer below. This isn’t Hawaii Five-O, this is friggin’ Alias in Hawaii with cops and it looks great! Back to that great cast, you’ve got Alex O’Loughlin (The Shield) as McGarrett, Scott Caan (Boiler Room and the Ocean’s Eleven films) as “Danno,” Daniel Dae Kim (Lost, 24) and the smoking hot Grace Park (Battlestar Galactica) as Kono Kalakaua. This one of the best casts of any show this season and I’m really glad to see Kim in a more prominent lead-role where he actually speaks his native language for a change… which of course is Eastern Pennsylvania English. Heck, he didn’t even have to move for this show considering his last gig was on Lost for six seasons which is was of course, also filmed in Hawaii. And, by the way, I am well aware that for a cop show the amount of action looks ridiculous. That’s part of the reason why it appeals to me so much. I mean, crap, if you’re going to go camp, go all the way… and we’d better see Wo Fat, too or I’m writing a letter. This is another definite must-watch show.
The Review:
8 out of 10
Shawn: It’s becoming very easy to write reviews when the trailers really do an excellent job of telling you exactly what a show is all about and you don’t pay any attention to the show description on the network’s website. Hawaii Five-O was exactly what I suggestedit would be. It’s a great fact-paced action show and the premise (albeit absurd but it was absurd for twelve seasons of the original series) of having the “Five-O” task force autonomous and only answering to the governor allows the audience to suspend disbelief to be able to enjoy all of this fantastic, frenetic action that would seem more appropriate in a Michael Bay film than a Monday night cop show.
The show is not all flash and no substance. The pilot presented excellent and well-defined back-stories on all of the characters and really made it clear that even with all of the action involved, they can keep you entertained with a compelling story for an hour. The cast is great and they play well off of each other with the best relationship being between McGarrett (O’Loughlin) and Williams (Caan). It’s a typical straight man/comic routine with Caan’s biting sarcasm propelling the dialog between the two. It’s thoroughly enjoyable all the way around and I highly recommend it.
ABC Studios brings to life “The Incredibles”, the story of the Powells, an every day American family, who are too busy to spend time together. So they decide to take a trip as family as a way to reconnect, but on the way, their plane crashes. Now there’re back to their normal lives, but something seems to be happening to each one of them… they have superpowers. – ABC
First, let’s give credit to ABC for not only acknowledging right off-the-bat the most obvious criticism of this show – that being that it looks like Disney-Pixar’s The Incredibles – but outright OWNING it. That’s the way to beat them at their own game! And why wouldn’t Disney try to capitalize on their property in a prime time, live-action drama (for those of you that are unaware, Disney owns ABC)? Screw the nay-sayers, this show looks like a lot of fun and is my choice for sleeper hit of the season. The concept is great and it’s not just a show for the family but it’s a show focused on the family as much as it is on their super powers. Casting always tells me a lot about a show and No Ordinary Family is no different. You’ve got Michael Chiklis as the dad (The Shield), Julie Benz as the mom (Dexter), Romany Malco (The 40 Year-Old Virgin) as the best friend and sidekick and lo and behold, Stephen Collins (7th Heaven) who appears to be our Lex Luthor-type. I don’t care if I sound like a 10 year-old fanboy, I can’t wait to watch No Ordinary Family and apparently based on the amount of merchandising I saw over at the official site, ABC is pretty confident that they have a hit on their hands as well.
The Review:
8 out of 10
Last night, I was just about to do a review for the new HBO hit, Boardwalk Empire when Mrs. Tastic casually asked me when No Ordinary Family was premiering and I told her September 28th. Needless to say, I was very curious about her interest because she doesn’t like any of the shows that I do so I asked her why she was asking. She then informs me that she received an email offering her the chance to see an exclusive advanced screening of NOF. At this point I began pulling my hair out and I said, “… and you’re just telling me now???” She then said, “Well, what does it matter if it’s going to be on next week, anyway?”
This is when I discovered that apparently my wife is under the impression that I blog about miniature dachshunds.
To make matters worse, it turned out that she received the opportunity for the advance screening on September 14th and it was due to expire 90 minutes from when I learned about it.
Well, here’s the skinny: NOF is EXACTLY as advertised. Now, I know I said that about The CW’s Nikita, but it’s even more so in this case, and in fact a little to its detriment. I’m not saying that it’s not a good show (because, it really is) but that five-minute extended trailer literally gives away the majority of the pilot!
Bad move, ABC, because you took a lot of the fun out of the pilot episode. On the upside, though NOF is EXACTLY as advertised! Seriously, my preview is almost completely spot-on with its peremptory analysis.
As I noted last week, ABC does not hide from the premise of the live-action ‘Incredibles,’ it in fact they embrace it. Oh, and by the way, as an aside, the reason that the fancy wife got the invite for the advance screening to begin with: she’s registered at Disney.com (am I a TV prophet or what?). So, basically, yeah, you’ve got a live-action ‘Incredibles’ but with a bit more of an adult theme.
I have to admit, I think it’s a little borderline for the 8:00 p.m. time slot. 9:00 p.m. is probably a little more appropriate considering the violence and more adult themes than I would have expected. For example, The Powells aren’t just losing touch with each other… they’re REALLY dysfunctional and they are a lot of heavy emotional issues. One of the things I found particularly odd was that Jim Powell (Chiklis) seems OK with the concept of his 16 year-old daughter having sex with her boyfriend… but only if she’s ready. Yeah, that whole sub-plot was particularly awkward for me as a father and thank God the boyfriend was gone halfway through the pilot (yeah, I know that’s a spoiler… don’t worry, he won’t be missed).
So, yes there’s some pretty heavy themes that were kind of unexpected and as you would expect there is some moderate to heavy violence for prime-time television. But don’t get me wrong, it’s not violent like Heroes and in reality I am very thankful that it is nothing like Heroes whatsoever. Nothing against Heroes, which I followed faithfully for three and a half seasons, but in retrospect Heroes was a VERY dark show and I’m very happy that this approach to super heroes is a lot more light-hearted, however, I would definitely not recommend this show for children under twelve or so. Like with anything else, your mileage may vary depending on your kid.
Besides everything that I already knew about this show going into it, there were two things that I picked up on that I really liked. The most obvious was the big twist at the end of the episode that made up for the fact that most of the pilot was given away in the aforementioned five-minute teaser (***grumble, grumble***) and the second thing that was just brilliant was the music. If you pay attention, you’ll notice it’s classic super hero music. Just think of the scores from the Richard Donner Superman films by John Williams and the Ghostbusters score by Elmer Bernstein. It’s a very nice and subtle nod to the genre.
NOF is a very good show and I think it’s going to develop a very strong following. The premise is solid and the cast is fantastic and the characters are very well-conceived (although the kids are a little melodramatic my taste) and it has all the comic-booky goodness you can ask for.
Terriers from Creator/Executive Producer Ted Griffin (Ocean’s Eleven, Matchstick Men) and Executive Producer Shawn Ryan (The Shield), is a comedic drama starring Donal Logue (The Tao of Steve) and Michael Raymond-James (True Blood). It centers on “Hank Dolworth” (Logue), an ex-cop, who partners with his best friend “Britt Pollack” (Raymond-James) in an unlicensed private investigation business. – F/X
7 out of 10
Two weeks ago, my Dad was bemoaning the fact that there weren’t any private eye shows on television any more. He doesn’t have cable any more so he hasn’t seen Monk and he misses shows like Magnum P.I., Simon & Simon, Hardcastle & McCormick, Remington Steele and The Rockford Files (which I’m sure he’ll be happy to know is coming back). Well, if you like original private eye shows ike my Dad does, then Terriers is your type of show.
Terriers, on the surface hearkens back to the by-gone days of the classic buddy-detective shows but once you start getting into it, you realize it’s got a lot more going on with it than the classic procedural who done-its.
Hank Dolworth is a former detective for the Ocean Beach, California Police Department who was “dishonorably discharged” (I put that in quotes because it was mentioned in an episode but I don’t think they use that phrase outside the armed forces… whatever.) for reasons not mentioned as of yet, but one can assume it stems from the same issue that caused his marriage to end: his alcoholism.
This is important to note because Hank being a recovering alcoholic is an integral part of the character. We learn a lot about his personal character because of this skeleton in his closet that as any recovering will tell you, stays with you forever. Hank seems like he’s on a continuous journey of redemption with everything he does.
We see this in his approach to justice, where he often severely bends the rules to see that the right bad guys are put behind bars and it’s obvious that he is trying to make up for what he sees as his failings while he was with the police. From almost the opening scene of the pilot it’s obvious that he still deeply loves his ex-wife, Gretchen (Kimberly Quinn) constant attempts to make things right with his ex-wife , even going so far as not only buying the house they lived in together so that she could move on, but even knocking down the wall between the family room and the dining room that she had asked him to do five years earlier. It was a pointless gesture, because he has just moved into the house and she was moved out but it was obvious that Hank is trying to make amends for everything, even for that.
Now, on to the lighter side: Hank’s partner, Britt, is there for one reason and one reason only as far as I can see it: to provide some kind of balance to Hank and comic relief for the audience. Despite how the show is being billed, it’s not a comedy at all. It’s a decent crime drama but what keeps you coming back is the back-and-forth between Hank and Britt. The dialogue is very clever and all of the characters are very well-written and what’s refreshing is the often “shades of gray” approach to all of them, even some of the bad guys.
All in all, Terriers grew on me by the second episode and it’s the type of show that works perfectly on a network like F/X with only 13 episodes per season.
ABC: No Ordinary Family – September 28, 2010 (NEW SERIES!)(Full Review Here!)
ABC Studios brings to life “The Incredibles”, the story of the Powells, an every day american family, who are too busy to spend time together. So they decide to take a trip as family as a way to reconnect, but on the way, their plane crashes. Now there’re back to their normal lives, but something seems to be happening to each one of them… they have superpowers. – ABC
Shawn: First, let’s give credit to ABC for not only acknowledging right off-the-bat the most obvious criticism of this show – that being that it looks like Disney-Pixar’s The Incredibles – but outright OWNING it. That’s the way to beat them at their own game! And why wouldn’t Disney try to capitalize on their property in a prime time, live-action drama (for those of you that are unaware, Disney owns ABC)? Screw the nay-sayers, this show looks like a lot of fun and is my choice for sleeper hit of the season. The concept is great and it’s not just a show for the family but it’s a show focused on the family as much as it is on their super powers. Casting always tells me a lot about a show and No Ordinary Family is no different. You’ve got Michael Chiklis as the dad (The Shield), Julie Benz as the mom (Dexter), Romany Malco (The 40 Year-Old Virgin) as the best friend and sidekick and lo and behold, Stephen Collins (7th Heaven) who appears to be our Lex Luthor-type. I don’t care if I sound like a 10 year-old fanboy, I can’t wait to watch No Ordinary Family and apparently based on the amount of merchandising I saw over at the official site, ABC is pretty confident that they have a hit on their hands as well.
CBS: NCIS – September 21, 2010
Shawn: NCIS enters its eighth season and is still one of the most watched shows on television and the highest rated drama. I’ve been there from the beginning since it was a spinoff of J.A.G. and the show has gotten increasingly better each season and I don’t see any signs of it jumping the shark any time soon. At first glance, NCIS would appear to be your standard fare, formulaic cop show that I regularly rail against and during the first couple of seasons, that’s exactly what it was. But, the cast and the characters were compelling enough to keep me around until season 4 when it really came into its own with multi-episode, cloak and dagger story arcs and complex character development. You simply can’t go wrong with NCIS.
(Sorry, but no video on this one. I was completely unable to find any trailers for season 8 on YouTube or anywhere else)
FOX: Glee – September 21, 2010
Shawn: Glee is great. Everyone should be watching this. It is funnier than any other sitcom on TV with the exception of Modern Family, has wonderfully heartwarming drama and the musical numbers are creative and fantastic. I challenge you not become moved during the musical numbers on Glee.
9:00 p.m.
CBS: NCIS Los Angeles* – September 21, 2010
Shawn: The only reason I’m putting NCIS Los Angeles (now in its second season) in this preview is to clarify why I recommend NCIS but not its spinoff. Simply put: I just don’t like it. I was very excited last year about the possibility of an NCIS spinoff but I only lasted six episodes into the first season. The show makes no sense at all. The premise is unbelieveable, the plotlines are boring and formulaic, and the characters are clichéd and have absolutely zero chemistry. I like Chris O’Donnell a lot. He’s very talented and I appreciate the fact that he dropped out of the business to raise a family and be a father to his 103 children. There’s nothing more noble than being a father and a husband. Unfortunately, his talents are being wasted on this safe, simplistic and dry show. On principle, I don’t recommend this show, but I may watch the season premiere just to see if they’ve fixed any of the mess that is NCIS Los Angeles. I’m always willing to give a show a season to work out the bugs and if they do, I’ll report back with the good news.
(Again, no trailer for this show either… blame CBS)
FOX: Raising Hope – September 21, 2010 (NEW SERIES!)
Raising Hope is a new single-camera family comedy from Emmy Award winner Greg Garcia that follows the Chance family as they find themselves adding an unexpected new member into their household. At 23 years old, JIMMY CHANCE (Lucas Neff) is going nowhere in life. He skims pools for a living, parties every night and still lives at home with his family, including his MAW MAW (Cloris Leachman); his mother, VIRGINIA (Martha Plimpton) and his father, BURT (Garret Dillahunt). Jimmy’s life takes a drastic turn when a chance romantic encounter with LUCY (guest star Bijou Phillips) goes awry once he discovers she is a wanted felon. Months later, when Jimmy pays a visit to the local prison, he learns Lucy is pregnant with their baby, and after she gives birth, he is charged with raising their daughter. – FOX
Shawn: I didn’t think it was possible but Rasing Hope has given me whole new reason to hate sitcoms. You see, what’s pissed me off thoroughly is the lie perpetuated on show’s Official Page that I posted above. It’s leaving out a crucial detail and the omission is by design. The little baby’s mother, isn’t just a wanted felon, she’s a serial killer and her big joke in the trailer is that they would never execute a mother of a seven month-old baby. Then, they cut to a scene with Jimmy sitting on the other side of the glass with the baby on his lap watching her get electrocuted and about halfway through the process he covers the baby’s eyes. I’m sorry, and you can call me old-fashioned, but a baby being separated from its mother and then forced to watch her get executed in an electric chair is not exactly what I would call charming or endearing. FOX has been doing a very good job of hiding that little piece of information on their website and their regular TV spots for this show. Gee, I wonder why? What I saw is not nearly as bad as the fact that they are trying to hide it.
The latest series for the Stargate franchise has Dr. Nicholas Rush (Robert Carlyle) as part of a group that is transported to Destiny, a self-guided spaceship used to place stargates around the universe.
Shawn: SGU starts its second season and I am loathed to admit it, but I like this show and I really shouldn’t. It is a complete rip-off of Star Trek: Voyager and Battlestar Galactica with the quest to get home and the incessant, holy-crap-we’re all-going-to-die-by-the-end-of-the-episode-but-somehow-we-are-miraculously-saved-at-the-last-minute crisis of the week, but still, somehow, it manages to work. The characters are OK and are becoming more developed every episode and the special effects and action do work well. SGU also succeeds because you don’t get the feeling that you have to know the entire Stargate Anthology in order to get the show. If you like space-based Sci-Fi, this show is definitely for you, if it’s not your thing, you can pass on this and your life won’t be any less fulfilled.
9:30
FOX: Running Wilde – September 21, 2010 (NEW SERIES!)
Will Arnett stars as a Beverly Hills jackass who ends up falling in love with Emmy Kadubic (played by Keri Russell), a charitable tree hugger, who hates his lifestyle and moral code.
Shawn: “What… the… fudge… was that?” You see, those are the words that came to mine when I watched the extended trailer for this show, except for the fact that just like Ralphie from a Christmas Story I didn’t use the word fudge. Unlike Ralphie, however, I didn’t have a bar of Palmolive handy to cleanse my soul from what I had just seen. Obviously, the geniuses at television development at FOX are the same people in charge of player development for the New York Mets. I have it on good authority that the roundtable discussion for filling the 9:30 hole on FOX went something like this:
Writer 1: OK, we want to go with something recycled along the lines of The Nanny and Dharma & Greg and every couple-based sitcom from the last twenty years that involves two people from extremely different worlds.
Writer 2: Well, I brought a hat full of a bunch of paper slips with different subjects on them. Let’s shake it up and pull out the first ten and apply it to your lame-o premise.
Writer 3: Um… I brought pot.
OK, so I completely made that up, but seriously, after watching the trailer below, does it not seem like that’s exactly how they came up with this show? It’s typical FOX suckitude for sit-coms. Running Wilde is a perfect bookend to Raising Hope. Both these shows look awful individually but together they qualify for “making-me-puke-in-my-mouth” status. But, fear not. TV-Tastic predicts that both of these shows will be cancelled before Thanksgiving replaced with re-runs of Bones or House.
10:00 p.m.
ABC: Detroit 1-8-7 – September 21, 2010 (NEW SERIES!)
In this ABC crime drama project, a fictional documentary filmmaking crew goes inside Detroit’s homicide division. – ABC
Shawn: “Once in a generation, a cop show comes along that re-writes the rules.”
That is seriously said in the voice-over at the beginning of this trailer. It may be true, but that show was The Shield, not Detroit 1-8-7 (which sounds more like a the title of an N.W.A. album than it does a dramatic television series). Sorry, but this show re-writes nothing. It’s the epitome of why I don’t watch formulaic cop shows anymore. It’s all the same thing but this one is trying to be clever by combining the rawness and the grittiness of The Wire and to an extent Homicide: Life on the Street and the pseudo-documentary style of… The Office. That’s right, The Office. The difference is that The Office actually is consistently shot like a documentary. The style of this show is all over the place. I’m sorry, but if you want to convince us that the show is being shot by a documentary camera crew, your shots cannot include shots only possible if filmed while a cameraman is sitting on the hood of a moving car (that’s in the trailer).
Beyond, that, though Detroit 1-8-7 doesn’t look awful, it just looks ordinary and typical. I’ve seen this cop show before, and I can tell I’m not alone in thinking this way.
“The detectives are well-developed and easy to follow… There are relationships worth investing in.”
– Mekeisha Madden Toby, Detroit News
“…promises to be a mighty fine ride…smartly cast urban crime drama’s gutsy, gritty allure.”
– Matt Roush, TV Guide
First, notice the ellipses that permeate both quotes like bullet-holes, indicating that ABC cut a lot out. Second, knowing that, this is really the best ABC could come up with to promote critical acclaim for the show? Seriously, that Matt Roush quote is just embarrassing, but honestly, I really don’t expect much from him anymore. I think he just has too much on his plate so unless he really likes something a lot, he just whips out the TV reviewer’s thesaurus and gives us “mighty fine ride,” “smartly cast (which is kind of like sensible shoes),” “gutsy” and “gritty.” As far as Makeisha Madden Toby is concerned, I think she got the memo that if you write for a Detroit Newspaper and live in L.A., it’s in your better interest to be pleasant when discussing a drama set in the city you don’t live in but is responsible for your paychecks. I’m sorry, but, “The detectives are well-developed and easy to follow…” and “There are relationships worth investing in,” isn’t exactly a ringing endorsement.
I’m sorry but there’s just too much good TV this Fall for me to waste my time with this. I may catch the pilot or an occasional episode, but this isn’t appointment television by an 8-mile.
TV-Tastic is proud to bring you an exclusive first look preview review of the new Monday night series on FOX, Lone Star.
ROBERT/BOB ALLEN (James Wolk) is a charismatic and brilliant schemer who has meticulously constructed two lives in two different parts of the state. He’s juggling two identities and two women in two very different worlds – all under one mountain of lies.
As “Bob,” he lives in Houston and is married to CAT (Adrianne Palicki), the beautiful daughter of CLINT THATCHER (Jon Voight), the patriarch of an ultra-wealthy Texas oil family. More than 400 miles away in the suburban west Texas town of Midland, he’s “Robert,” living a second life with his sweet, naive girlfriend, LINDSAY HOLLOWAY (Eloise Mumford). There he plays the perfect boyfriend while secretly bilking local investors of their savings. While in Houston, he’s a devoted husband, charming Cat and her family to cement his position in the rich family business he aims to clean out.
Bob has lived both lives successfully for years without arousing any suspicions..so far. While one brother-in-law, DREW THATCHER (Bryce Johnson), admires Bob, while his other brother-in-law, TRAMMELL THATCHER (Mark Deklin), is growing suspicious of his motives, and along with his wife, BLAKE (guest star Rosa Blasi), threatens to expose Bob. In this world of cons, everyone has ulterior motives. ALEX (guest star Andie MacDowell), a sharp, sexy, sophisticated East Coast transplant has her eye on only one prize: Clint. Eager to stake her claim, she will do and say anything to get what she wants.
With the cons closing in on him, Bob begins to fear his secret lives may unravel as he becomes divided by his love for two women; his loyalty to his father and mentor, JOHN (David Keith); and his respect for his father-in-law, Clint. Now as he tries to hold his two lives together, while fending off angry investors and the growing suspicions of those around him, Bob puts it all on the line hoping he can beat the odds, leave the schemes behind and keep two separate relationships afloat. – FOX
8 out of 10
One of the disadvantages of being an independent review blog is that the networks don’t send advance copies of the first three episodes of new shows to us like they do the mainstream entertainment media. The upside is that I’m under no contractual agreement to withhold a review of a show within a certain period of time before that show has premiered, which brings us to the first ever in-depth review of Lone Star (one other guy did a review but it was like three sentences). If you’re wondering how I was able to get my hands on a copy of the pilot, I will refer you to this:
That’s me and the little man, Harrison playing in the Embassy Suites in San Diego a few weeks ago when the whole family went to San Diego Zoo, Sea World and Wild Animal Park. Harrison is obsessed with remote controls (gee, I wonder where he gets that from) and shortly after that scene he was playing with the remote in the room and he inadvertently turned on the Hotel’s in-room video service. Well, lo and behold if they didn’t have the pilot episode of Lone Star available for FREE! Needless to say, it was a professional imperative that I watch it so I could let all the good folks out there know ahead of time if it’s worth their time. So let the games begin.
Dallas, Part Deux?
First, let me preface this by saying that when I first heard about Lone Star while preparing the forthcoming Fall Preview (coming soon), let’s just say that I was beyond skeptical. The descriptions I saw on various entertainment sites were bland and really made it sound like to was a 2010 version of Dallas using key-phrases such as “Texas,” “oil” and “soap opera.” I can’t imagine at all why someone would come to the conclusion that this show is Dallas: The Next Generation. Speaking of which:
(^^^You’re welcome, by the way.)
After watching the pilot, though, I can say that I was not only pleasantly surprised, but also a little annoyed at the marketing for this show amongst the various media outlets and even by FOX itself. Yes, it’s in Texas, yes it revolves around a family oil company and yes it’s definitely a soap, but there is so much more to this show than this, and unfortunately, it may be its downfall.
I want to apologize for the incredibly long synopsis from the Official Lone Star Page but there really was no way to avoid it. I tried to figure out how I could pare it down and realized that the show has so much going on it that I really couldn’t. Sorry… blame FOX.
Bob
As complicated as that synopsis is, it needs to be corrected. As noted, Bob is a con-man living two separate lives, with two different women. But which one is the real Bob? Well, the answer is both and neither because Bob also has two other alter-egos as well: the man he is when he’s with his father and is actually “himself” and the man he is when he’s actually trying to combine the two lives. The fact is that Bob is struggling to find out what his true identity is, even in the pilot and it’s obvious that this will be a main theme throughout the series. Do you see what I mean about this show being complicated? And that’s just our protagonist.
What I like about this story is Bob, himself. I’m not sure if I’m into the identity struggle and I can definitely do without the “con-man-with-a-heart-of-gold” persona which seems to be contrived exclusively because the writers aren’t brave enough to have a protagonist be a true anti-hero or a villain. This is a very weak decision on the writers part in my opinion (well, it may have been a producer’s decision) because it tells me that they don’t have enough faith in the character or the actor, and I don’t understand why.
I like stories about con-men and so does everyone, whether they admit it or not. Con-men are fun. They’re clever and they have a swagger and a bravado they keeps audiences coming back. They’re like spies who are crooks. If I want to see a transformation from a swine to a knight, I sure as heck don’t want to see it in the pilot. If the producers need advice on how to develop the growth of a con-man, I would simply refer them to this guy:
From what I’ve seen so far, the producers are unnecessarily playing it safe with Bob. The character is well-written enough and James Wolk is talented enough to pull-off the “villain-who-we-hate-to-love” without really breaking much of a sweat. Also, if anyone thinks that writing a villain as protagonist doesn’t work I will simply refer you to this guy:
… who shot a fellow cop in the face during the pilot episode of The Shield and that wasn’t even the worst of his misdeeds over the next six seasons and then there’s of course, this guy:
.. and we all know what he does for the sake of fun and sadism.
The point is that the right actor playing the right character can pull off the villain-protagonist and it’s often quite refreshing when they do, and in this case, ours doesn’t even kill anyone.
The other problem with this “heart-of-gold” scenario as that it doesn’t make any sense. In the opening scene of the pilot we are immediately made aware that Bob’s father, John (played brilliantly by David Keith) has been a con-man his whole life and has been teaching Bob how to do it since he was at least 10 years-old, if not younger. That being said, all Bob has ever known is “The Con” and all of a sudden, when he’s on the verge of the biggest score of his life he suddenly finds religion and wants to not only play it straight with his father-in-law’s oil company but also wants to find a way to get all of those people in Midland their money back that he took from them in a Ponzi Scheme? Sure. It’s very hard to swallow to say the least.
The Playas
The biggest complaint I have about Lone Star is that the plot outside of Bob’s con is very contrived and very clichéd and to be quite honest, so are some of the characters and a lot of it is lazy and does hearken back to Dallas. You’ve got your surly patriarch Jock Ewing-type, Clint Thatcher (even the names are clichéd, for God’s sake) played by Jon Voight (who you can never go wrong with) and Trammell Thatcher (Mark Delkin) the ambitious, scheming son who’s mad that Dad gave the outsider (Bob) the task of turning the family business around and is looking to undermine the new guy and finally, Drew Thatcher (Bryce Johnson), the under-achieving younger brother that no one takes seriously except for the outsider (Bob) and who is desperately seeking approval from both his father and his older, more accomplished brother. Any of this sound familiar? Of course it does because we’ve seen this clichéd family trifecta in 100’s of other films and TV shows over the last 50 years.
Still, although you’re tempted to roll your eyes, the performances carry what is really a simplistic, although compelling subplot. Speaking of performances, thank God for David Keith and Jon Voight. If James Wolk is the engine of this ship, then Keith and Voight are the anchors. Keith’s character is brilliantly written and David Keith was born to play him and yes, I know I criticized the Clint Thatcher character, but Jon Voight saves the character from falling off into the abyss. Honestly, without these two pros in this show it would be an absolute mess, despite the performance of James Wolk.
Now, you’re probably wondering why I didn’t mention Bob’s two love interests, Cat Thatcher (Adrianne Palicki) and Lindsay Holloway (Eloise Mumford) as they are obviously integral parts of this saga. The reason is simple (and unfortunate): they aren’t really worth mentioning. I’m not sure if it’s the characters or the actors or a combination of both but whatever it is, neither one of them comes off as very interesting or sympathetic. I’m inclined to believe that it’s the writing because what it seems like is going on here is that the writers spent an awful lot of time concocting this very complicated story and two really complicated characters in the father and son team of John and Bob, but they simply ignored any kind of real development for the rest of the supporting characters in the hopes that the casting would be strong enough to, shall we say, make chicken salad out of chicken spit. This is effective for the other male characters, but it is not effective with the two female leads.
Final Thoughts
Despite its weaknesses, the pilot of Lone Star is enjoyable and I would recommend it. The main story, though complex, is very compelling, the protagonist and his father are incredibly well-written despite the other characters being rather clichéd and simplistic, and the performances by the supporting cast is excellent for the most part. I do expect that the writers will see how weak the female leads are and will improve the way they are written in the future.
My three major concerns for this show are issues are as follows:
The first is the time slot and the network. This show is the replacement for 24 which just ended after 8 seasons. This is the last show in the world I would have ever expected to replace 24. If there was a show that I would have thought would have gone in the Monday night at 9:00 p.m. slot on FOX, it would have been either Human Target or Fringe. Both are excellent action shows that could easily carry 24’s torch in that slot and to be completely honest, I think this show would be better suited for CBS or ABC. They would seem to have the demographic for it more than FOX.
My second concern is the complexity of this story. I’m sorry, but today’s audiences have pretty short attention-spans and I’m afraid this show may be a little too cerebral for this generation of TV viewers. It’s not a knock on today’s audiences, it’s just a fact. Complex dramas have been on the decline in popularity for the last several years because audiences simply have too much going on with their 300 channels of cable and of course the Internet. A show like this takes dedication and there aren’t that many people willing to dedicate to a serial storyline with a continuous arc anymore. I’m frankly amazed that Lost lasted six seasons and I’m not surprised at all that FlashForward only lasted one (as much as I loved that show).
Finally, the real question I have is, “How long can this show last?” Really, I mean, the show centers around this one con they are running. I’m sorry but I don’t want to see this one con play out for seven seasons and by the same token, if the con plays itself out by the end of the first season, what happens next season… yet, another con? How long can you keep that up? In this regard the show reminds me of Prison Break where we all said at the end of season one, “Well, they’re out. Now what?” and of course the answer for the three seasons that followed was the most convoluted and bizarre twists in a plotline in television history. Now, I liked all 4 seasons of Prison Break, but that was getting nuts at the end and I was glad when they finally put the show out if its misery and I don’t want to see that again with another series… especially one on FOX.
So, I’m going to give this show 6 weeks without any expectation of it surviving the Thanksgiving season cuts. This way I won’t be disappointed if another good show is cancelled which unfortunately, as good as this show is, I do expect to happen.
The Glades stars Australian actor Matt Passmore as Jim Longworth, an attractive, brilliant, yet hard to get along with homicide detective from Chicago who is forced into exile after being wrongfully accused of sleeping with his former captain’s wife. Longworth relocates to the sleepy, middle-of-nowhere town of Palm Glade, Florida, where the sunshine and golf are plentiful and crime is seemingly at a minimum. But this town outside the Florida Everglades isn’t quite as idyllic as he thought, as he finds people keep turning up murdered. Each case pulls Longworth off the golf course and reluctantly into his element as one of the sharpest homicide detectives in the field. (A&E)
8.5 out of 10
I’ve been watching police procedural shows for years and I hate most of them that people seem to drool over. I gave up on the entire Law & Order franchise years go, I was never a fan of NYPD Blue (although I concede that it was occasionally entertaining) and I absolutely hate the inane CSI franchise and question the intelligence of the millions of fans who think that it’s actually any good. I could go into my hatred of CSI all day but I’m reserving that for a separate post. Needless to say, for a police procedural to really get my attention it has to be unique and well-written, but most importantly it has to be character-driven as opposed to event-driven which is what most of the generic police fare is. A few of the shows that really stand out in this genre and meet those standards over the last decade for me are The Wire (HBO), the short-lived but brilliant Boomtown (NBC), The Shield (FX) and most recently, one of my favorite new shows, Justified (FX, review forthcoming). Well, add The Glades to that list.
Like its predecessors, The Glades weaves excellent storytelling around and a well-written group of complex supporting characters with a central character that not only brings it all together but stands out as the reason to come back week-to-week.
Passmore is brilliantly cast as Longworth, which is really no small feat because the truth is that the character could easily come off as the clichéd cocky, big fish/small pond, I’m-smarter-than-all-of-these-small-town-hicks cop who every week learns a little lesson from living in small town America that gives him a greater appreciation for his colleagues. We, of course, have seen this more than once in TV and film and of course we’re bored by it. Instead, though, Longworth, cocky as he is, is cocky for a reason: he’s a really good cop, knows it, but isn’t arrogant about it. It’s just kind of a matter-of-fact deal with him but he respects his fellow colleagues who are competent and though he’s tolerant of his unmotivated colleagues like his partner, he recognizes their weaknesses and just goes about his business to make sure that they don’t impede his work. The point is that unlike other clichéd cops on TV, Longworth isn’t all up in anybody’s face about how good he is and how bad anyone else is, he just does the job and does it well. The character is witty and sarcastic and as a viewer you appreciate his ability to think outside of the box to bring clues together from unexpected sources.
Another reason why I put The Glades into the category of unique police procedurals is because it does something that most cop shows really don’t do: it makes the town of Palm Glades, Florida as important of a supporting character as anyone else in the cast, as opposed to just a backdrop for the drama. All of the other shows I mentioned all have this in common. The Wire with Baltimore, The Shield and Boomtown with Los Angeles and Justified with Leland, Kentucky. I always appreciate shows that understand that the locale is an integral character to any good story. It provides a depth to all of the live characters and their perspectives and it acts as a device to truly engage the audience, giving them a sense that they too, truly know what it’s like to be from Baltimore, L.A. or even Leland, Kentucky, even though they may have never even been there before. This approach has been done in film for decades but it is a relatively new concept in television and almost non-existent on network television. That being said, it’s entirely refreshing that a central character of The Glades is the Glades itself.
The pilot was excellent and the writing near flawless, albeit a bit rushed at the end because it’s obvious that they were trying to cram character development/establishment and a complex plot all into one hour (NOTE TO A&E: If a show is as good as The Glades is, a two-hour pilot will keep our attention). The story takes us on Longworth’s journey to connect clues and if you blink, you might miss something which is of course the true sign of a good mystery. The twist at the end is brilliant and of the quality you would expect from premium channels like HBO or Showtime (again, I just wished it wasn’t so rushed) and believe me, unlike everyone spoiling Shutter Island by telling you there’s a twist and ergo you expected it (and like me, probably figured it within the first 20 minutes), it is highly unlikely you will expect this particular twist even though you know one is coming. I just hope that they keep the twists coming like this every week.
You can watch the entire pilot episode right here on A&E’s website if you missed it or don’t have cable (make sure to scroll down and choose Pilot as the latest episode will automatically play when you click the link) and in fact, it looks like you can catch all of the episodes online (yay!).
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