TOMMY Review

Article first published as TV Review: TOMMY on Seat42F.

The new CBS drama TOMMY is about the first female police chief of police in Los Angeles. In this fictional story, the mayor is forced to fire the previous chief after lots of scandal comes to light, from the chief’s own affairs, to officers under his command being involved in illicit sexual activities. Not all of the cops agree with the dismissal, so our hero, Abigail “Tommy” Thomas, has her work cut out for her.

Edie Falco (Nurse Jackie, The Sopranos) stars as the titular character. Falco is amazing in everything she does. She conveys so much subtlety and nuance, and acts the hell out of each scene. Even in the pilot, there are layers to her performance, especially in Tommy’s extremely complicated relationship with estranged daughter Kate Jones (Olivia Lucy Phillip), as well as her interactions with the mayor, Buddy Gray (Thomas Sadoski, The Newsroom), who is careful to avoid taking too firm on a position on anything he doesn’t have to. There is a lot for Falco to work with in those scenes.

There are also some wonderful supporting cast members. Sadoski is a favorite of mine, and Buddy is a terrific role for him. I enjoy Ken Rosey (Michael Chernus, Orange Is the New Black) as lawyer / speechwriter Ken Rosey, who adds a layer of optimism and idealism into the plot. Russell G. Jones (The Americans) is solid as stalwart Donn Cooper. Vladimir Caamano (Runaways) is delightfully playful as Tommy’s protection and unofficial advisor, Abnar Diaz.

I really want to like this show because it is pleasingly political. Tommy and Buddy aren’t enemies in the traditional sense, but in many ways, they’re locked in a struggle. There are interesting turns, like when Buddy’s guy Doug Dudik (Joseph Lyle Taylor, Sneaky Pete) attempts to hurt Tommy while colluding with the former chief, Milt Leakey (Corbin Bernsen, Psych), and instead helps her. Tommy’s dealings with ICE are inspiring, and her scene with Blake Sullivan (Adelaide Clemens, Rectify) about sexism in the work place is touching.

Yet, there’s definitely something missing from TOMMY. Part of it is how manipulative those latter two bits from the paragraph are, feeling designed to play with viewers’ emotions more than tell a fresh story. There’s also a strong element of procedural, as occurs far too often with CBS dramas, which drags it down. Not to mention, there’re a lot of familiar aspects to the story that have shown up in plenty of other programs as of late, which doesn’t help the originality factor. I can’t help but wonder how much better TOMMY would be if it were penned by Aaron Sorkin, as the drama seems to share a bit of DNA with his works, but pales in comparison.

For the record, TOMMY isn’t bad and I haven’t given up on it yet. FOX’s Deputy, which premiered a few weeks earlier, is in the same vein, and I’m watching both to see if either wins out as the better series, or if either earns a season pass on my TiVo. If TOMMY (or Deputy) embraces the character study element in a significant way and puts that at the center most weeks rather than running down this baddie or that on, they could be very good. But if they play to what they think the “common viewer” wants, they’ll never be anything more than easy escapism.

At the moment, TOMMY has a leg up over DEPUTY because of Falco, whom I have to mention again is just so darn good. But she wouldn’t be the first lauded performer to take a role that is beneath her. I’m not saying Tommy is beneath Falco, because on paper, there’s a lot in Tommy’s favor. But I fear that could end up being the case. Only time will tell.

TOMMY airs Thursdays at 10/9c on CBS.

HBO's Parade's End

First published as PARADE'S END Review on Seat42F.

Grade: 91%

HBO will take its turn presenting the miniseries PARADE’S END this week, its partner in the endeavor, the BBC, having already broadcast it last fall. Perhaps HBO saved it so it would have a rich period piece this winter, just as it had Mildred Pierce last year, or perhaps they wish to attract those in the early stages of Downton Abbey-withdrawal. Whatever the reason, now seems an opportune time to air it.

The title PARADE’S END refers to the excising of the British upper-class way of life, the manner in which the elite of society put on certain airs, stay true to traditions, and worry about the way they are perceived. There is a strict social structure in place in the early twentieth century, mostly destroyed during World War I, and this miniseries tells that tale.

Well, it tells a personal take on characters who make that transition. Yes, the piece is somewhat sweeping, and does have a large-ish cast. But there are really three main players in the story who stand about above everyone else, and who are the case study made an example of here.

Benedict Cumberbatch (Sherlock, Star Trek Into Darkness) plays Christopher Tietjens, a noble Englishman who sticks with the way he is brought up, no matter what. This means he goes through with his marriage to the wicked, manipulative Sylvia (Rebecca Hall, The Town, Frost/Nixon), even though he knows she’s been sleeping around on him, and it’s very likely her pregnancy isn’t a result of his actions.

Their union is predictable unhappy, and Sylvia doesn’t even try to stay faithful, spending much time apart from her groom in the company of other men. Christopher, though, keeps up appearances, even as he begins falling for the sweet, strong-willed Valentine Wannop (Adelaide Clemens, Rectify, Vampire).

Looked at through the modern eye, it’s very hard to understand why Christopher doesn’t just leave Sylvia for Valentine, a topic discussed in the series. Why should he show any loyalty to someone who is so nasty to him? But that’s Christopher’s way of life, so I’m not sure it even occurs to him to end his own suffering, at least not for awhile. Part of the beauty of the piece is the illustration of the type of man Christopher represents, a specific guy from a specific period in time in a specific place.

In fact, PARADE’S END succeeds very well artistically. The sets and costumes are made expertly, and the details that set an authentic tone are present. The writing is smart, and the characters are well defined. Presenting World War I as a catalyst is a good idea, executed with much success.

The cast is fantastic, of course, especially the three leads. For those who are familiar with Cumberbatch’s work, this should come as no surprise. The girls’ talent matches hiw, but this is Cumberbatch’s showcase, and he owns every moment he is on screen, conveying much in his sad eyes.

The supporting players also lend both a fuller picture, and some levity to the proceedings. They include Roger Allam (The Thick Of It, The Queen), Rupert Everett (My Best Friend’s Wedding), Miranda Richardson (Rubicon), Janet McTeer (Damages), Clare Higgins (Homefront), Stephen Graham (Boardwalk Empire), and Rufus Sewell (The Pillars of the Earth), each of whom adds a positive element.

My problem with it is that it’s slow and a bit boring. Like Mildred Pierce, it meanders for quite awhile, and there isn’t a lot of movement. Does it really take five hours for a trio to work out their romantic arrangements? Especially when we, the viewer, know right away the decision that Christopher should make. His struggle is interesting, to be sure, but the running time will likely drive some potential watchers away.

PARADE’S END is strongly British, and not completely accessible. One must pay attention to follow the story, and it isn’t very light-hearted. I enjoyed what I’ve watched of it (I haven’t finished it yet), but it’s a miniseries I’d have to be in a certain mood to really appreciate, for sure.

PARADE’S END airs this Tuesday, Wednesday, and Thursday on HBO.