Blu-ray Review: ‘Copper Season Two’

Article first published as Blu-ray Review: ‘Copper Season Two’ on Blogcritics.

BBC America’s original series Copper recently saw its second season released on Blu-ray and DVD. Set in the Five Points neighborhood of New York City in 1865, the show follows some police detectives, nicknamed “coppers,” as they try to keep the peace in the infancy of forensic science, where fists sometimes overrule a just trial, and the country uneasily tries to end and recover from the Civil War. Dealing with race relations, missing persons, and class conflict, it paints a picture of a specific time and place to viewers who likely know little of the period.

Season two starts with “Home, Sweet Home.” A new villain, Buzzie Burke (Noah Danby, Defiance), a psychopath, has been ignored by the community, but has stepped up his mischief, garnering him the attention of the police force. Detective Kevin Corcoran (Tom Weston-Jones) would like to shut Buzzie down, but since he faced a penalty for going after the man before, he hesitates to make a movie. Then Buzzie hurts Eva (Franka Potente), and Kevin, who is fond of Eva, changes his mind.

That ought to tell you a lot about the tone of the series. Filled with sex, drugs, secrets, betrayal, murder, and maiming, there is action, danger, and adventure. Corcoran has a difficult duty, and it’s more about taking out the worst of the bad guys than actually enforcing the letter of the law.

Corcoran isn’t as equipped to deal with the problems as he has been in the first season. His comrade, Francis Maguire (Kevin Ryan), is in jail, awaiting execution. Corcoran has turned his back on Maguire, though many viewers are likely to still root for the man. But his absence is markedly felt on the beat, especially by O’Brien (Dylan Taylor) who, unlike Corcoran, won’t turn his back on a friend. Though, it likely won’t surprise you to learn that Maguire is soon out of prison, albeit serving a different role than he did in season one.

Corcoran is also down his science expert, Dr. Freeman (Ato Essandoh), who has moved to the country for the health of his wife, Sara (Tessa Thompson). Add to that a rocky marriage to newly-found Ellen (Alex Paxton-Beesley), and season two starts out rough for the hero.

Luckily, Corcoran has some help in his new boss, General Donovan (Donal Logue, Terriers). Coming in with a mission to clean house at the precinct, Donovan quickly proves an unpredictable and tough leader, comfortable with the upper crust, but generous to the working man. A former copper himself, his moral code is shady, but he definitely is determined to get the Five Points on the right path, and may just have the ability to do so.

Some villains are less blatant than others. Elizabeth Haverford (Anastasia Griffith) seeks shelter with Robert Morehouse (Kyle Schmid), worried that her devious deeds will come to light. She doesn’t clue Morehouse into this, however, taking advantage of his kindness and manipulating him with sex.

Elizabeth isn’t the only one that defies typical gender roles, and that’s part of the reason to watch Copper. In some ways, it does mirror today, especially as TV audiences cling to the cop procedural, but the differing ethics and values of the 1860s, as well as much weaker technology, provides a nice counterpoint, setting Copper apart from its peers in the current age. And it’s pretty enjoyable on its own, the characters and arcs deepening in the second year as it grows into itself.

After a ten episode first season, which BBC America lauded as highly successful, season two consists of thirteen episodes, after which the show is canceled. The network calls it a natural end point, and while much of the story does seem concluded, there is certainly more that could have been done, had the shown gone on. Though, as someone who frequently complains about BBC America’s lack of British programming, I sincerely hope the budget that previously went to Copper brings us a number of fresh programs from across the ocean, rather than another new show.

Copper looks terrific in high definition. With its dark shadows and grimy streets, one may not want to look too closely at the setting. Yet, there is a sharpness and clarity to the picture that is aided by the Blu-ray release. The colors are often muted, but come across clearly, especially in scenes full of blacks and browns, a frequent occurrence for this show, bound to frustrate those watching in standard definition. The soundtrack is well mixed, with crisp dialogue and full background and score.

In terms of extras, Copper Season Two could do better. All we get are two very short, unnecessary characters profiles, a trio of brief set tours, which are kind of illuminating, but don’t go nearly deep enough, and three “Insiders.” This last bit is what I want more of, but instead are just quick behind-the-scenes focuses on a few elements of the season such as hats and facial hair, less than five minutes total running time.

Still, it’s a pretty good show, and it looks fantastic, so this three-disc set is worth checking out. Copper Season Two is available now.

COPPER Is "Home, Sweet Home"

Article first published as COPPER Season 2 Premiere Review on Seat42F.

Grade: 90%

BBC America’s COPPER begins its second season this week with “Home, Sweet Home,” and it’s quickly clear, despite the pleasing episode title, that things are anything but serene in Five Points. Sex, drug use, waiting for execution, murder, and serious maiming are just a few of the things that occur in the first few scenes of the season. Which indicates that we’re in for another, even rockier ride than last year.

The villain causing much of the trouble is Buzzie Burke (Noah Danby, Defiance). Buzzie has been under the protection of community leaders, but now is causing too much trouble to be ignored. Detective Kevin Corcoran (Tom Weston-Jones) is reluctant to go after him in an official capacity, having been rebuffed in the past for doing so, but considering that Buzzie chooses Eva (Franka Potente) to hurt, someone Kevin is protective of, Kevin has no problem with taking Buzzie down.

What Buzzie does to Eva is graphic and disturbing, and when combined with his later actions in “Home, Sweet Home,” it seems we are dealing with a ruthless psychopath. The fact that he’s been allowed to live and do whatever he wants this long is unacceptable. He is a sign of a larger symptom, the semi-lawlessness of the neighborhood, and that has got to change.

Enter General Donovan (Donal Logue, Terriers). Donovan has been tasked with cleaning up the police department in the area and restoring order. His methods are confusing, beating an officer one moment, then offering him words of encouragement the next. He seems determined to make sure his men are doing their jobs and refrains from consuming much alcohol, but he is also not a paper pusher or pious or weak man. He has fortitude and determination, but his moral code remains somewhat shaded.

This might be just what Five Points needs. Donovan is encouraging of Corcoran, and misses being a copper himself, so he’s sympathetic to the job. Yet, his elbow rubbing with the high society folk make him somewhat suspicious. Sure, Corcoran is friends with Robert Morehouse (Kyle Schmid), and that doesn’t reflect poorly on him, but there’s something about the way Donovan is actually part of that world that sits weirdly. However, we also see Donovan generously help out a working man, so perhaps he is exactly what he purports to be.

Unfortunately for Morehouse, though, he has someone under his roof that is definitely not on the up and up. Morehouse’s fiancé, Elizabeth Haverford (Anastasia Griffith), may give him great and copious love making sessions, but she is much less forthcoming about her feelings and actions. She is nervously awaiting the axe, as the man she conspired with in the burnings in New York is captured in Detroit, and she fears that her part will be exposed. She likely hopes the wedding takes place first, so Morehouse will be motivated to protect, rather than shun, her.

Francis Maguire (Kevin Ryan) awaits a more literal execution, sitting in jail, expecting to be sentenced to death. Maguire is a main character in season one, and he does some things that make viewers root for him before his downfall. Yet, Kevin’s feelings of betrayal at the hands of Maguire are also justified, so a legal punishment isn’t unwarranted. It’s hard to say what exactly Maguire’s plot will be this year, but given the end of “Home, Sweet Home,” he definitely won’t just be sitting in jail, and we may have reason to support him once more, as O’Brien (Dylan Taylor) covertly does.

I do think Eva is involved with what Maguire does while in prison. She is a very tough cookie, and not one to sit idly by and wait for others to take care of the threats against her. Knowing her life and her business are in jeopardy, she takes steps to secure both. With Buzzie out of the way, Eva’s operation grows, but I really think she is more concerned with self-preservation than becoming a major entrepreneur. Unlike most women of the time, she has the ability to handle herself in a way many men would not be able to. Amazing is an absolutely appropriate word to describe her character and strength.

Although Eva is independent, she doesn’t need to be alone. Corcoran may have cut off their intimate relations now that his wife, Ellen (Alex Paxton-Beesley), is found alive and returned home, but Corcoran isn’t happy with Ellen. Eva is a much better match, her passion and intelligence matching Corcoran’s own, whole Ellen is a somewhat pathetic woman. Corcoran can do better.

Elsewhere, Dr. Freeman (Ato Essandoh) is asked to take over a medical practice in the Five Points. He is reticent, having moved to the country for the sake of his wife, Sara (Tessa Thompson), who is just about the polar opposite of Eva. The patients need Freeman, and while it may be inconvenient for him to commute, and though he doesn’t reveal his decision this week, it’s likely he will accept the job, out of obligation to his profession, if for no other reason. It’s in keeping with the nobility Freeman has.

Despite Sara’s weaknesses, she has shown the gumption to survive and make it through ordeals. She still is haunted by the sight of her brothers’ deaths during the riots, but she agrees to go to work in the city, for Elizabeth, no less. And it looks like she may be good at it, leading to more than a temporary assignment. This provides a possible way for the Freemans to return to the old neighborhood, coming “Home, Sweet Home,” if you will.

I’ll admit, I liked season one, but didn’t love it. However, the season two premiere of COPPER is an exciting story providing movement and intrigue for a number of characters, and introducing at least one new one I’m eager to learn more about. It presents a totally different world than the modern one, with vastly diverging values and codes. The show does have heroes and villains, but sometimes both labels describe the same person, which is interesting. As such, I look forward to what may develop next.

COPPER airs Sundays at 10 p.m. ET on BBC America.

Lack of Imports

 Article first published as Lack of Imports on Blogcritics.

The United States severely lacks the importation of television programs from other countries. We only like our own fare. Why?

It's extremely common for us to remake shows in the American style. Ugly Betty and Homeland are two examples of successful series from lands far away we've remade in our own studios with our own actors. But how many series can you think of that you watch that do not come from America? I expect that is an extremely short list, if you can think of any at all. Why?

One obstacle may be our country's resistance to subtitles. Sure, there is a certain segment that enjoys an occasional foreign film, and occasionally bad reality TV provides words on the screen for those with thick accents or who mumble a lot. But for the most part, we avoid such things.

Dubbing over the shows with American voice actors is worse. Thankfully, that is trend that never took off here.

It could be because people here are lazy. Books, while still popular among some, are shunned by others. Many people sadly do not equate reading with relaxation, and at the end of a long day, don't want to have to think about their television programming. Even if the content is simple, reading subtitles means some thinking is involved.

For others, television still holds that idiot-box reputation, and subtitles are seen as an uppity thing for the elite or over-educated. They assume they won't like anything with words on the screen because they watch TV for mindless entertainment, and think that anything with subtitles won't appeal to their demographic.

However, I do think that the issue goes much deeper than subtitles. Our entertainment industry has an arrogance that, because the rest of the world gobbles up our content, we are the best. They think they can do it better than anyone else, and so decide they want to do their own version, rather than serve us up a foreign package.

This mindset is not completely unjustified. We do have a thriving entertainment industry which is syndicated around the world, and sometimes we do remake things better than the original. Other times, though, we do not. In this case, I really wish there was more importation.

Another reason for remakes, rather than straight airing of other countries' shows, is social disconnect. This is especially relevant in the arena of humor, which often relies on commentary of a certain society or population.

This occurs even with the country we are arguably most closely related to, England. Some people like the British version of The Office, while others don't get it and prefer the American one because they can relate to it. For every Monty Python's Flying Circus, there are dozens of comedies that foreign audiences will just not understand. We love Ricky Gervais and Simon Pegg, but there are many others who experience obscurity here.

This isn't just an American problem. Shows like Everybody Loves Raymond are recast and remade so that viewers in other countries will get the joke, as illustrated in the excellent documentary, Exporting Raymond.

But they are also offered some American fare, as well, as that's where we suffer, because we get the choice for very little of anyone else's content.

While humor is subjective, one would think drama would translate much better. After all, stories of the heart are universal, right, and don't require a certain frame of reference? It's why Shakespeare remains so relevant, more so for his serious plays, rather than his whimsical ones. Then how come we won't sit for the original version of The Killing? Why won't we expend that little bit of effort, or why do studios think we won't?

There are inroads in the world of sci-fi. I think this is because this is the one genre where we expect to look past the surface to relate to characters who aren't like us. Any well-done alien will seem foreign, so who cares which country developed the creature? From Doctor Who to SyFy's broadcast of Canadian hits like Lost Girl, this is the type of show that gets here and finds a home and viewership in the U.S., even if it's not made here.

However, even if the vast majority of people won't watch programs from other countries, there are plenty of niche channels, so why don't we get import networks, too? IFC has a very narrow viewing audience, as I'm sure does Oprah's network. Yet, they have subscribers and still broadcast their thing. Where are the French and German stations?

One could argue that BBC American is the exception. However, BBC America airs very little British programming. Instead, it reruns American shows with British actors, like The X-Files or Star Trek: The Next Generation incessantly. Sure, it gives us lots of Top Gear, but other than that, the list of fresh programs we get every year is pretty short.

Now, BBC America is even getting into the original content game, making shows just for the U.S. With Copper and Ripper Street, they are stepping away from the BBC series American fans may want to see, and giving us things they think we'll like, based on a certain style. Can't they air the second seasons of Friday Night Dinners or Outnumbered instead? Isn't it cheaper to just show the stuff the BBC already makes, and that some American audiences really want to see? I am increasingly more disappointed with that network.

I can't say for certain if satellite TV offers more opportunity; perhaps it does. And Netflix and Hulu have offered a handful of imported shows, such as Skins and Misfits. But for those of us still using cable (which is all TiVo works with, though it does allow Netflix and some of Hulu), we get very little opportunity to expand our horizons.

Considering how much I've enjoyed the handful of foreign shows I have seen, and given the expanding reach of globalization in arenas outside of the entertainment world, it's a trend that should change, even though there have not yet been signs that it will. At least, I hope so.

Take a walk down Ripper Street

Article first posted as Ripper Street Series Premiere Review on Seat42F

Grade: 88%

BBC America continues to make original series, a fact that may irk those of us wishing they would carry more actual British programming, since they have so few shows delivering fresh episodes on a regular basis. The sad problem is, though, and this divides my opinion, they make good shows. First there was Copper, and now, beginning this week, is RIPPER STREET.

RIPPER STREET has a lot of similarities to Copper. Half of the main characters are policemen. The tale takes place long ago, at the end of the nineteenth century in this latest effort. There are prostitutes. The characters don’t have the luxury of sticking to peaceful moral codes, having to break the rules in the name of their duties. Both look at the early days of forensic science, using new techniques to solve crimes.

Also, like Copper, the sets and costumes are look terrific.

There are differences, too, of course. Copper is set a little bit later, in America. RIPPER STREET is less gritty, mostly staying away from the lowest class of citizen, unlike the class-divided Copper. There is quite a bit of nudity, at least in the screener I had access to. There’s porn, too, in its earliest incarnation, making RIPPER STREET more risque than Copper. The cops actually work in an office, rather than just roaming the streets.

RIPPER STREET stars Matthew Macfadyen (MI-5, Frost/Nixon) as Detective Inspector Edmund Reid, a detective who worked the murders of Jack the Ripper, and eventually gave up the hunt for the serial killer. Like many heroes on television today, he is wounded both physically and mentally. He suffered a terrible tragedy we know nothing about, which has made things very uncomfortable with his now-distant wife, Emily (Amanda Hale, The Crimson Petal and the White). He also has some extensive scarring on his shoulder.

It’s too bad that Reid seems so familiar. He is interesting enough, I guess, but he also comes across as the same as many other characters. He isn’t fresh or original enough to really stand out on his own.

The saving grace is Macfadyen. Even with a rather trite character, he performs the part well enough to keep viewers engaged. He does a fine job balancing the line between nobility and doing what he needs to do, even when that goes against orders. His face is more expressive than most of his peers, and he’s a large part of why RIPPER STREET works.

His partner is Detective Sergeant Bennet Drake (Jerome Flynn, Game of Thrones, Soldier Soldier). Drake is the typical bad egg who has clung onto a good guy, and hopes to remake himself in his mentor’s image. Reid doesn’t treat Drake poorly, but Drake seems to feel a bit bad about using his fists so much, rather than his brain, and aspires to be like Reid. Again, it’s the actor who raises this character over the expectations, since his back story isn’t particularly unique.

Drake’s counter part is Rose Erskine (Charlene McKenna, Raw). Plenty of programs like RIPPER STREET, which are crime-based, wouldn’t take the time to balance out the cast between the genders. Rose is the answer to that, a prostitute that would like to raise her station in life. Unlike some similar characters in other shows, I believe that she can do it, given opportunity.

Then there are the true scoundrels. Captain Homer Jackson (Adam Rothenberg, The Ex List) and Long Susan (MyAnna Buring, White Heat, Twilight) are on the run from whatever got them into trouble across the pond in the U.S. Susan runs the whore house where Rose works, while Homer befriends Reid, perhaps to protect himself, as much as because he might like the man. Interestingly, Homer is the scientist of the group, making him invaluable to his police friend.

Homer and Susan fight amongst each other as much as they fight others. They are people of deep passions and stubborn attitudes. They will create much of the conflict that should drive RIPPER STREET going forward, and straddle the line between likable and not enough that their actions can be unpredictable at times.

This will definitely be a show that solves cases, but they’ve also set up enough with the various characters to provide plenty of larger arcs and human-driven scenes. It may look like an old-timey CSI, complete with make-shift case boards, but there’s also something a bit more intelligent going on, too.

Plus, tying things to the Jack the Ripper case lend it that bit of history and legend that should draw in an audience, at least to sample the series.

In summary, the premise is slightly dull and done-before, however, the individual elements, each of which is well handled, combine to raise it above what it should be. I’m not saying that it’s my favorite new show, by any means, but it’s certainly one worth tuning into on a regular basis.

RIPPER STREET premieres Saturday at 9 p.m. ET on BBC America.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter! 

Copper arrests a Blu-ray release

BBC America's first original series, Copper, recently finished airing, and already there is a DVD and Blu-ray release of the freshman season. The two disc set contains all ten episodes of the 1964 New York City-set crime drama, as well as audio commentary, a handful of featurettes, including a "making of," deleted scenes, and video profiles.

Copper is the story of Irish-American Kevin Corcoran (Tom Weston-Jones, World Without End), a tormented man who returns home from the Civil War to find his family gone, daughter dead, wife missing. He becomes obsessed with finding out what happened, but while he does so, he becomes a cop in the Five Points neighborhood. His quest for justice extends to those he serves, and unlike many policemen of the day, he digs deep, rather than just believing whatever story seems obvious.

Kevin is not alone in this. He is aided by two detectives that he can trust, Francis Maguire (Kevin Ryan, Laredo) and Andrew O'Brien (Dylan Taylor, Defying Gravity). Not every copper on the force is nearly as noble as these three. While their methods may be brutal, and they are not above beating or killing those who deserve it, they also won't punish an innocent party, at least not once they realize the person isn't guilty.

Kevin is further helped along by a man at the cutting edge of forensic science, Matthew Freeman (Ato Essandoh, Blood Diamond). Interestingly, Matthew is a black man, which leads to all sorts of racial subplots. Matthew lives pretty well, being educated, though he has to deal with a mentally unstable wife, Sara (Tessa Thompson, Veronica Mars). But he will never be fully accepted into Kevin's world, and so most of his assistance is under the table.

While Kevin's crew slums through the lower-class people, dark and dirty and grimy, his investigations bring him into contact with high society, which may look pretty, but is just as seedy on the underbelly. His first encounter is with a child prostitute, Annie (Kiara Glasco), whom Kevin takes an interest in because she reminds him of his daughter. It becomes a pet project of his to keep tabs on Annie, and make sure she gets her life on track.

When venturing into the upper crust world, Kevin has a friend there, too, in Robert Morehouse (Kyle Schmid, Being Human). Robert serves with Kevin in the war. Although his pursuits are often of the aristocratic variety, Robert does have a moral compass, to some extent, and is more of a help than a hindrance to Kevin. This relationship extends to Kevin's cohorts, as well, including Matthew, with whom Robert has a shared history.

What is most interesting to me about Copper is the dichotomy set up between the two worlds. No one with sense in their head ever said that being wealthy makes you a better person. But rather than engaging in class warfare, Copper draws parallels between the two worlds, taking a page from British hits such as Upstairs/Downstairs and Downton Abbey, illustrating that people are very much the same no matter what their economic status. Showing prostitutes on both side of the coin, as well as criminals and righteous men, these neighborhoods are separated only by surface characteristics, not by any measure that matters.

Speaking of prostitutes, amid the cases of the week crimes and the ongoing plots of Kevin, Annie, Matthew, Robert, and the others, there is also time for romance. Kevin is drawn to two women, Eva (Franka Potente, The Bourne Identity), who sells her flesh for money, and Elizabeth (Anastasia Griffith, Once Upon a Time, Royal Pains), who nearly loses her soul to a wicked husband. Again, we have the two worlds clashing, as the series rounds itself out.

Copper is more than a genre show, and it's more than a period piece. It's extremely well made, terrifically acted, and a fully developed, visually pleasing universe. The characters and the setting feel completely whole, and the stories will suck you in, expertly mixing the adventure, romance, intrigue, and drama. I am still disappointed that BBC America is spending money on original fare instead of beefing up it's slim offerings from across the pond. But if they had to go down this path, at least it's something as fitting and wonderfully made as Copper.

Copper Season One is available now.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! First posted on TheTVKing

Copper shines

Grade: 82%

I am of two minds about BBC America’s first original series, COPPER, which premieres tonight. On one hand, there are tons of great British shows that we don’t get to watch in the States, so it seems a shame that, rather than adding more fresh British programming, of which the station is relatively light on, BBC America is getting into making their own shows. On the other hand, it is a well-made, engrossing period drama that should be highly enjoyable.

COPPER follows Detective Kevin Corcoran (Tom Weston-Jones, World Without End), a righteous man looking for information on his missing wife and daughter while patrolling the streets of New York City in 1864. Living among the lower class, and friendly with minorities, Corcoran realizes that the upper crust may just be uglier than the filth under their feet. Corcoran follows the path of justice, and while his methods may be brutal, torturing a man not yet proven guilty, or coldly killing thieves in the act, he cares only about the strength of character of the men he encounters.

The contrast between the slums where Corcoran often works and the pristine mansions the city’s millionaires inhabit is stark. This is even more apparent among the prostitutes, whom we see in both settings. For the first part of episode one, it seems like COPPER is destined to be dark and dank. But when Corcoran is summoned to the other world, there is a parallel drawn that is interesting, if not completely unexpected. COPPER will show viewers how both halves live, and what kind of people those lives make.

Now, yes, this may be a bit of class warfare. But all of the rich people aren’t bad. And besides, in these rough economic times, a little class warfare may appeal to many viewers in the States, who are tired of the well-to-do getting away with screwing the little people. As much as things change, they also stay the same, and in this, COPPER comes across as a timely series, still relevant to the modern world.

Some may be shocked by the raw reality of COPPER. The upper echelons of the police force are corrupt and use their position to leverage money from those they are supposed to be protecting. No one thinks anything of cops gunning down a gang of bank robbers, leaving their dead bodies decaying in the street. A child pleasures grownups for money. These are more often the subject of dramatic films, not cable television, at least not from non-premium networks. COPPER delves into this world fully, and doesn’t shy away from how disturbing it can be.

There is also a theme of race relations. Some of the whites in New York, especially Irish immigrants, still a few rungs down the ladder themselves, are terrified that the newly freed slaves with come north and take their jobs. Again, COPPER is drawing a parallel to blue collar workers who worry the same of modern Mexicans. To combat this fear, rather than argue or fight the prejudices, blacks are moving away from those neighborhoods most hostile to them. History will show that it takes another century for things to truly begin to right themselves, and the minority to get a fair shake. But in COPPER’s day and age, fear exerts heavy influence, just as it is today.

One such African American, afraid to stay where he is, is Doctor Matthew Freeman (Ato Essandoh, Blood Diamond). Last name that hits a little too on the nose aside, Freeman is a CSI genius, doing the type of investigative work on bodies that seems far ahead of his time, but would be right at home in this decade. Freeman can tell the type of weapon used based on the bruise, and examines semen samples. I’m not quite sure if this is historically accurate, if these types of investigations were done then, or if there were any black men educated enough to conduct them in 1864, but it does help keep the cast more balanced, racially. Plus, Matthew makes for a sympathetic character, torn between the need to do his duty, driven by a strong sense of justice like Corcoran is, or giving in to the worries of his wife, Sara (Tessa Thompson, Veronica Mars), who would rather they follow their ilk, not unjustifiably.

The rest of the very talented cast includes Anastasia Griffith (Once Upon a Time, Royal Pains), Kevin Ryan (Laredo), Franka Potente (The Bourne Identity), Kyle Schmid (Being Human), Dylan Taylor (Defying Gravity), Tanya Fisher (The Defenders, Life On Mars), David Keeley (Friends and Heroes), Ron White (not the comedian) and Kiara Glasco. They each bring a high level of talent, immersing themselves and the viewers in the world. Perfectly cast, this is especially impressive in Glasco, given how young the actress is, and how she holds her own among the others.

Visually enjoyable, well written, and intriguing, COPPER creates a world that lives up to the standards of BBC America. Again, I would definitely like to see more shows that were made in Britain make it onto the networks’ schedule, but if they’re going to do their own series, at least it’s as good as COPPER, which fits the expected tone and quality standards of the other things that they air.

Watch COPPER Sundays 10 p.m. ET on BBC America.