The personification of what constitutes good and evil, and where the crossover lies, has bewildered psychologists who search for that kernel of betrayal that can either seduce or hold fast against temptation. With four new series, the idea stretches across different forms of law enforcement outside of the norm where bending the rules or even breaking them can be rewarded.
The Good Guys The texture of the old “buddy cop” formula had been overdone to bust before the procedural took over but there was a certain distinctness of the abandon to conventional political correctness and wisdom that made some of those shows fun to watch. With this new inlay starring Bradley Whitford and Colin Hanks, the key is to make the pairing fun to watch without making the stakes too high from the outset. Created by Matt Nix, who figured the lead structure with his other hit series “Burn Notice”, the key here is comedy and making it feel natural and not overdone. While Whitford understands his character, he is definitely playing a camp version of it. When mixed with a great amount of licensed 80s music which plays exceptionally well (especially during a getaway driver sequence set to ELO’s “Don’t Bring Me Down”), the show can hit his stride. Originally called “Code 168” after the element of property and low rent crimes, our boys always stumble upon some big heist or case which needs their less than accurate skills. The series, also with a sense of structure, shows the paying of dues. Over the years, one of the stories told to me by Michael Douglas puts the angle in perspective since he too had a famous father in Kirk like Colin has with Tom. Michael made the point that the key to him learning was working with Karl Malden on “Streets Of San Francisco” early in his career which gave him a basis for the work ethic and the craft needed. Colin, in playing this role has a similar situation with Bradley, which tends to work to great effect. The storylines balance with distinctness and the writing is sharp despite the persistent fact that it seems apparent that they will always get out of trouble.
Memphis Beat The back step ideology works in an odd congruence here with distinct but limited results. Last time we saw Jason Lee, he was approaching the basis of Earl using common sense as a form of new zen. With “Memphis Beat” which was developed by George Clooney and his company. the background and its music figure incessantly important into the aspect of the lead character. The idea swirls in the fact that the music brings the detective back to his truism. However seeing the ideal within this structure, one cannot help revert back to a mixture of down home philosophy mixing with the Elvis showmanship. Unlike “Justified” which takes its Kentucky heritage as a badge of honor, the invention of this character comes off disingenuous because it doesn’t feel true to its roots. Lee, as a comparison created an iconic perception in “Earl” which was distinctly different from his perception as a Kevin Smith player. Working in resolution also with less humor motivates the viewer to see subtleties that simply might not be there. Misdirects however unintentional tend to impact the plot in unforseen ways which, at times, is not all together good.
The Glades Using a similar locale as “Burn Notice” but with a lead that is charming in non-serial killer way the way Dexter is not, the darker tone of this series in keeping track with both A&E’s previous series “The Beast” and “The Cleaner” shows the tendency of the cabler to play more towards the tracking elements of premium cable. Matt Passmore as the relocated cop who was run out of Chicago (after he supposedly had an affair with The Chief’s wife in the Windy City) sets the stakes. As a viewer you are not sure whether to believe him in terms of honesty (or at times vulnerability) or if he, in all reality, is serving another agenda. The first couple episodes show an innate ability of the characrer to both piss off superiors but also lack a sense of fear when it comes ultimately to dangerous gangster types, almost approaching a form of nihilism. While it is played lighthearted at times, there seems to be an undercurrent of dread permeating throughout the series which seems inherently apparent in the hurricane episode when they stumble upon a man shot in the forehead inside a car. The nonchalance of the Passmore’s Jim and the tone of the series seems to point to a tonal structure that will be further developed as time goes along.
Covert Affairs USA has a lot of ideas moving through the structure with some working exceptionally well (“Burn Notice”, “Royal Pains”) while others, to this reviewer at least, not quite catching as much (“In Plain Sight”). With more on the way, the making of another humor/drama balanced series that can still be made for a price is key. Trading in NY and Miami to shoot in Toronto which can double for European cities as well (which it does for the also locally shot “Warehouse 13”), “Covert Affairs” know its balance but the series really cruxes on the aspect of Piper Perabo (a newly promoted officer in the CIA) and Christopher Gorham (who plays her blind, in-control yet humorous handler). Perabo, best known for her turn on “Coyote Ugly” uses her cavalier attitude that has served her character work well to great effect in the past to likely inventiveness here. Unlike “Mr. & Mrs. Smith”, which executive producer Doug Liman also directed, the idea of the series is identification beyond all thoughts. Annie (Perabo’s character) second guesses herself in the first couple episodes which adds to the structure of how human she can be. She is a low level operative which, as the series seems to move on, is being used for her connection to another high level operative whom she isn’t even aware is a spy or is ultimately protecting her. This is an overarching structure of mythology that will either work very well or might fall short in decisive order since most of the series at least at this point seems to be teetering on this mystery. Another point of contention is keeping Annie to a point naive and innocent of her plight before she is ultimately betrayed. The problem with this progression is that ultimately a degree of cynicism will cause the audience to lose touch with her emotionally because you have to respect the intelligence of the character while still rooting for him or her. That is a situation which is befalling Michael Weston in “Burn Notice” because there is just so many times you can say “I have to do this for the greater good”.