Watching the summer bloom at full boar, one gets the feeling that summer series are much more confident in their stride than most fall series making their premiere. The pressure is off…sure but the reality is that most of these entries know their formula tried and true without breaking a sweat. The one long holdover (“Futurama”) never skipped a beat in the near decade of its absence while “Royal Pains” and “Burn Notice” throttle along at pace. “Flashpoint” knows what it is and doesn’t rock the boat while “Lie To Me” seems to have found its stride with star Tim Roth as the clock ticks.
Futurama The long awaited return of Bender, Leela and the lot shows the essentials of their possible resurgence but keeping up to date is the key. Granted with Comedy Central they can go alot further than they could before, especially in regards to sex but, in the first two episodes, the ideal is more intellectual and less sight gag related which is what the audience needs to respond to. Bender needs to find his stride for sure but Leela with the voice of Katey Sagal is as up to date as ever. The animation shows a few improvements but that was never the status quo of the series. It was a balance of Fry’s optimism and Bender’s complete ignorance of good taste which made the old series work. The good angle is that this feels like a continuation and not a redo.
Burn Notice Mixing it up with Michael Weston while still keeping his plight engaging gets harder every season that goes by even with a jump in viewers. The last time we saw Weston he was being pursued by the cops and captured. It turns out that he is being worked by another position inside the government and yet not. This gives him another structure to work within but his first assignment causes him to burn another spy. The difference is that this one is a desk jockey. The new spy Jesse who looks like a UFC/The Rock export wants to find and kill the person who burned him which creates a new dynamic (since that person is Michael). It also provides someone for Weston to get jealous of in terms of Fiona. It is a good set up that will provide necessary tension throughout the season. The question becomes: what is the end game ultimately with Michael Weston? The series is still fun to watch but unlike forensic shows, Michael’s excuses are starting to feel a little hollow.
Royal Pains Resolving the loss of money in a single episode is what makes series television persistent and irresistible to cliffhangers. With Hank Med, the paradox is to add characters while still calling into question the different traits of both the good doctor and his easily distracted brother. While the inevitable and dexterious casting of Henry Winkler as the boys’ father who chiseled them out of money last year provides a thorn from which to pluck, a jaunt to Cuba in the 3rd and 4th episodes adds a needed cultural shift which gives the series a larger world view. Like “Burn Notice” in its early episodes this season, a change of scenery is necessary to show the shifting idelogy of the characters. If they do adjust in similar ways, there becomes a pointlessness to their actions but the catch is making it negligible. The interweaving love structures of all three characters in Hank Med show a transgression of emotional traits from Evan’s newfound compassion to Hank’s relaxation to Divya’s interpretation of her identity as an individual. The subtle pushing of the writing comes off effortless in every way showing a control of character which hopefully will continue to evolve.
Flashpoint The embrace of this series is braced around the CSI brand of not changing the rush of plot progression unless need be. By sticking to simple human stories and not delving into a brand of mythology that has overcome many starting series, a hour long such as this retains a section of viewers looking for simple escape. The SWAT set-up with rookies coming up, a captain at odds with his emotions and a lieutenant looking to make his bones all plays into the game from a cult-like raid on a compound to a shock jock radio host that gets a dose of reality. This procedural knows its audience and tries not to stray far from the grain but as a Canadian acquisition as a summer fill-in, it fits the ideal perfectly, surefire but safe in its texture.
Lie To Me In his continuing go-ound as a doctor/detective who can sniff out lies purely on the instinct of tells, Tim Roth seems to have grown into his character’s wit. Whereas it seemed, in the first season, he was playing the mentality of the man as slightly aloof but mostly serious, he has reversed that balance and found a texture more like “House” while still retaining an identity of his own. From a run-in with an old Irish crime boss to his on/off relationship with his ex-wife (played with delicious candor by Jennifer Beals), the pacing and pinpoints of humor really are starting to work. The interesting angle is that at one point in the premiere episode when Roth is trying to extract information from one of his employees with the Irish boss watching, you see him figuring it out and one harks back to the transformative eyes that utterly consumed his mesmerizing performance in Tim Burton’s “Planet Of The Apes”. The pattern in this series is keeping the audience on their toes while Roth lights the screen. He looks like he is enjoying the rub but the worry is that novelty in this type of character only lasts for a certain time.