Who's the BOSCH

Article first published as BOSCH Review on Seat42F.

Amazon’s new drama pilot, their first ordered to series, BOSCH, begs the question: do we need another police procedural? True, BOSCH is also a character study of a tormented man who is on trial for killing an unarmed suspect, so he’s not solely focused on whatever new cases he gets into (against orders, of course), but none of this is very original or groundbreaking. Perhaps the title character in this show takes a things a step further than his broadcast network peers, the writers digging a little deeper, but the first hour feels like yet another retread on very familiar ground.

The thing is, I just can’t jump on the Bosch band wagon. When Luther, Elementary, House, and so many other shows have given us a very similar leading man, there just isn’t enough here that feels fresh or new. Sure, there are cosmetic differences, of course, the quality of this program is at least as high, if not higher, than those others I’ve named. But at the central core, Bosch is lacking originality. And, like nearly half of the shows on television today, it takes place in L.A., a totally uninspired setting.

It’s possible to stay in the crime genre and make something fresh. HBO’s True Detective last year proves that. But BOSH isn’t True Detective, so it fails on an essential level.

The best thing I can say about BOSCH is that it casts Titus Welliver (Lost, Argo, Sons on Anarchy) in the main part. Welliver definitely deserves leading man status, and he easily handles the material, being allowed to show his depth and range in a way he hasn’t yet. From his buried pain over what he did, to the face he has to put forward both for the sake of his profession and so that he can try to live with himself, he’s not a shallow man. Bosch is no House; he is quite likeable. Circumstances have brought him to where he is, not mistakes he made with foreknowledge.

He is joined by an excellent ensemble. The other major characters include Scott Wilson (The Walking Dead), Annie Wesching (24), Lance Reddrick (Fringe), Amy Aquino (Being Human), Abraham Benrubi (ER), Amy Price-Francis (King), Alan Rosenberg (Cybill, Luck), Valerie Cruz (Off the Map), and Jamie Hector (The Wire). So many familiar names, and all of them memorable. One cannot complain about the casting.

What will set BOSCH apart a bit, for those who love the genre so much that they haven’t yet grown tired of it yet, is the dual narratives. Because Bosch is facing his own challenges while working at his job, and his personal story probably won’t only pop up a couple of times per season, as it would on CBS, there’s something interesting in every episode. It’s not enough for me, but it will likely be enough for many viewers.

So, at the end of the day, I don’t think it matters if BOSCH has smart writing, convincing acting, and well-developed characters. All of those things are true, and the series definitely is near the top of its field, but the market is too saturated. With Amazon just trying to break into scripted drama, it may have been a safe path to choose something tried and true, but it’s also a boring one. We didn’t need another show like BOSCH, and while it may make Amazon seem like a legitimate contender in the original content market, it also signals they may not forge their own identity, which is sorely needed to set them apart.

Bosch’s first season is available now on Amazon.com.

Back Across THE BRIDGE

Article first published as THE BRIDGE Review Season 2 on Seat42F.

It’s a little weird to talk about this week’s episode of FX’s THE BRIDGE, entitled “Yankee,” as a season premiere. The major arc of the first year ends a bit early, and Detectives Sonya Cross (Diane Kruger) and Marco Ruiz (Demian Bichir) are already on to a new case hours before the season concludes. Thus, “Yankee” is a continuation of the story already in progress, rather than a fresh batch of subplots.

I like that, though. Life is not so segmented as most television shows seem to portray it, and the approach THE BRIDGE takes, keeping the narrative going without tying up all the threads at once, is more realistic. There are a lot of bad things happening near the U.S. / Mexico border, and Sonya and Marco are likely to investigate several of them, sometimes overlapping, as the show continues.

“Yankee” is a pretty typical hour of THE BRIDGE. Sonya is still having trouble understanding Marco (among other people), though she tries. Daniel Frye (Matthew Lillard) is still struggling with his alcoholism. Adriana’s (Emily Rios) sister is still missing. Hank (Ted Levine) still has sage wisdom to share. Charlotte (Annabeth Gish) is still working to come into her own as a criminal queenpin. There are still many missing girls. And something really brutal and bloody happens that viewers may not quite be expecting, not an uncommon occurrence. Basically, it is consistent in quality, tone, and structure with the other installments that have come before it.

Which is not to say that “Yankee” is without any season premiere hallmarks. While maintaining the ensemble from last year, this fresh episode brings a slew of new faces into the mix, each comfortably slipping in within the established framework. There’s: the chilling Eleanor Nacht (Franka Potente, Copper), who doles out harsh punishment for even the smallest slip up; Gary (Brian Baumgartner, The Office), the skeptical sponsor of Daniel Frye; Jack Dobbs (Nathan Phillips, The Saddle Club), the brother of the man who killed Sonya’s sister; DEA Agent Joe McKenzie (Abraham Benrubi, ER); and Sebastian Cerisola (Bruno Bichir, Demian’s brother), to name a few. Other episodes have introduced a new character or two, but it’s the number of arrivals here that make “Yankee” stand out just a bit.

The best part of THE BRIDGE is the gritty authenticity it uses to portray a certain area of the country. This is a place that many viewers will never have been, and there are quite a few differences in culture and action from elsewhere in the U.S. Heck, there are many variations whenever a character crosses from the United States to Mexico or back, two settings for the price of one. What’s most interesting, though, is the way the people who routinely slip back and forth interact with one another and their environment. It more than a culture clash, it’s a complete melding that is anything but consistent in makeup, leading to some personalities that must be quite versatile to cope.

THE BRIDGE can be a little boring from time to time. It’s not my favorite show on FX, and the pacing will often drag when jumping over to some of the less engaging side stories. This hurts the enjoyment factor, even though the inclusion of all of the different aspects are what fill out the world presented and make it seem so complex and layered.

However, it also has an excellent production and style, and is full of terrific performances. Kruger and Bichir stand out, of course, as the leads, but there is nary a weak link among those that surround them. Studying any one of the roles and how it is handled is sure to impress. In this, THE BRIDGE succeeds quite well.

THE BRIDGE airs Wednesdays at 10 p.m. ET on FX.

He's the BOSCH

Article first published as He's the BOSCH on TheTVKing.

Do we need an other police procedural, even if it's couched in a character study of a tormented man? That's what Amazon is delivering to us in Bosch, one of their first two drama pilots, currently streaming free on their website. The titular detective is simultaneously on trial for the murder of an unarmed suspect, while still digging into fresh cases, against orders. Can he escape jail and find peace?

It's hard to argue that Titus Welliver (The Good Wife, Lost, Sons of Anarchy, Argo) doesn't deserve a leading role. He absolutely does, and he definitely handles the main part of Bosch well. He lets us see the hurt it causes him to know he killed someone, beneath the bravado he must maintain to sleep at night and continue to do his job. He's a good man who accidentally did a bad thing, with cause, and thus a likeable protagonist.

The problem is, we already have plenty of these. Shows from Luther to Elementary to Justified to House have already given us pretty much the same archetype. There are differences of course, but these tend to be only cosmetic, and what sets each apart tends to be the quality of the writing and the ensemble, rather than any real originality in storytelling.

Bosch does lean towards the higher end of the spectrum. Part of this is because of the dual narratives, the court case and the current investigation, balancing each other nicely. Another part is the enjoyable ensemble, which includes Scott Wilson (The Walking Dead), Lance Reddick (Fringe), Amy Aquino (Being Human), Annie Wersching (24), Alan Rosenberg (Cybill, Luck), Valerie Cruz (Off the Map), Abraham Benrubi (ER), Amy Price-Francis (King), and Jamie Hector (The Wire). It's a great group of performers.

Bosch is better than most of the other crime shows. The writing is smart, the acting is convincing, and the characters are well developed. These are adjectives I frequently use to describe good shows, and it applies here, too.

But because the market is inundated with this type of drama, though,, it's not necessary to make another. I don't know if Amazon hopes that by delivering something so familiar, we'll see it as a legitimate television content provider. What is more likely, though, at least for those of us that consume lots of TV, is we'll see it as lazy, yet another clone for an already crowded genre.

What would set Bosch apart from its peers? Well, letting Bosch leave the law enforcement profession behind would be good. Or seeing him actually go to jail, the story following him as his life changes, and then the fight to overcome that. I'd like to see Bosch himself do more than just stay in the structure he's accustomed to. But this seems quite unlikely, as it's a much more challenging type of show to tell. Or, at least they could make the setting somewhere other than L.A., which has been done to death.

Making a brand new crime show worth watching isn't impossible; HBO's True Detective has proven that. Bosch just isn't True Detective-caliber, even as it's a notch above anything on the broadcast networks.

Bosch's first episode is available now on Amazon.com

Memphis Beat premieres tonight

     I am quite fond of Jason Lee.  I loved him in all of the Kevin Smith movies and I was happy for him when he got the title role in My Name Is Earl, though I'm still a bit bitter the show didn't get a proper finale after four seasons.  I celebrate his successes and feel bad when he doesn't do so well.  After watching the first episode of his new show for TNT, Memphis Beat, I am not sure whether to be happy or sad for him.  It's good that he's headlining another cast, and cop shows do pretty well on television.  As far as cop shows go, it's decent.  But it's mostly just a serial crime show, or so it appears from the first episode, and his talent goes beyond such drivel.  Sure, there's a Memphis charm, good music, and he gets to sing in the pilot, "That's Alright, Mama".  It was enough for my to set my TiVo to record the second episode next week, but far short of earning a season pass.

     Other things Memphis Beat have going for it include a couple of the supporting cast.  Alfre Woodard (Desperate Housewives, The Family That Preys, True Blood) is his new boss, Lt. Tanya Rice, who is bringing a motherly quality to the M.P.D., although a brief scene with her calling her daughter proves that she isn't as good a child rearer as she pretends to be.  I love Abraham Benrubi (ER, Men in Trees), but although his name was in the opening credits, he had scant seconds of screen time in the pilot.  The other actors in the show were not memorable, at least in the first episode.

     TNT already has a few crime-based dramas, and they do pretty well on the network.  Memphis Beat will certainly add to that portfolio.  I just wish it had dared to go a little further, like Justified.  Shows in this genre are better if they are about the characters, more than the crimes.  This series has a hint of character drama, mostly in the annoying, uninspired scenes between Dwight (Lee) and his mother, Paula Ann (Celia Weston).  On a side note, will television shows please quite tossing in the mother, as if that makes up for their serial nature?  Although it sometimes work, it's a tired premise, and often doesn't.  It certainly does not here.

     Memphis Blue premieres tonight at 10pm on TNT.