4 new broadcast dramas, reviewed: Our critic on which shows are worth your time

As a long-time fan of Oliver Sacks and his extraordinary works, I was eager to delve into this new television series inspired by his life and work – “The Good Doctor: Neurology”. Being well-versed in medical dramas spanning decades, I must say, this one strikes a chord.

At last, the weather has become chilly, children have returned to their schools, and new TV series are starting – autumn has indeed arrived!

Despite the common perception that broadcast television is inferior due to lower budgets, lesser-known actors, and a greater acceptance of absurdity, it provides unique pleasures that are even superior. It’s comforting, as its casts often become like family, and the extended seasons allow shows, regardless of quality, to grow on you over time. Unlike reality, it doesn’t always mirror life, but in its ongoing nature, it shares some similarities with the ebb and flow of real life.

Four new prime-time shows make their debut. Three focus on characters who are exceptionally intelligent, while the fourth showcases individuals who excel in physical prowess, which can arguably be considered a unique form of intelligence. “Matlock” (airing on CBS beginning Sunday) presents Kathy Bates in a revamped adaptation of the 80s-90s Andy Griffith legal series; in “High Potential” (ABC, every Tuesday), Kaitlin Olson plays a freelancing human computer assisting the Los Angeles Police Department; “Brilliant Minds” (debuting on NBC on Mondays) features Zachary Quinto as a fictionalized portrayal of neurologist Oliver Sacks; and “Rescue: HI-Surf” (premiering Sunday, then moving to Mondays on Fox), offers a more refined version of the popular series “Baywatch.

Among the four shows, “Matlock,” created by Jennie Snyder Urman (“Jane the Virgin”), has received the most pre-release hype – even earning a jab at the Emmy Awards – and showcases the marquee name, multiple award-winner Bates. Additionally, it leverages the appeal of rebooting established intellectual property, albeit not on the scale of “Star Trek,” which had a nine-year run and continues to air reruns; it holds a place in the shared cultural memory.

The new version of “Matlock” shares only its central character with the original, but this new Matlock is a female character named Matty. She’s a lawyer, an elderly woman, and she speaks in a homespun, Southern-accented manner that belies her sharp wit and cunning. In short order, she emerges from retirement to secure a prominent role at a prestigious law firm through strategic planning and subtle manipulation, a skillset more commonly seen in heist movies.

In a casual, easy-to-understand rephrasing: Beau Bridges primarily manages the company during breaks from golf, while Jason Ritter is the boss’s son and Skye P. Marshall plays Ritter’s estranged lawyer wife in the series. The show has a warm and humorous feel, but it tackles serious matters through the cases they handle, offering numerous chances for Bates to delve into dramatic depth as she persuades hesitant witnesses to testify or shares the wisdom gained from her long career.

In a way we can’t disclose, there’s an underlying secret in these series. However, let me tell you this: Each central figure grapples with past hurts or lingering affairs, as such struggles are the building blocks of intricate storylines.

As a devoted cinephile, I’d describe “High Potential” as an upbeat police procedural that briskly unfolds, propelled by the character of Olson as Morgan. This unorthodox free spirit, blessed with an IQ of 160, juggles three children on a meager budget while spending her nights meticulously cleaning offices within an LAPD major crimes unit. One fateful night, as she dances while working, a file accidentally falls from its place, and in a blink of an eye, she consumes its contents. She then strides over to the murder board, erases “suspect” beneath one photo, and replaces it with “victim.

As one event follows another, she finds herself being questioned by the police, with Judy Reyes as the chief and Daniel Sunjata playing the role of the brooding lead detective. (It’s not far-fetched to think that they might threaten to jail her for writing a single word on an erasable board.) Naturally, she has an uncanny ability to notice things that even a team of experienced professionals have overlooked. This unique skill set is so valuable that it lands her a consulting job with the department. Recognizing the potential benefits, Morgan decides to enlist their help in solving a mystery of her own.

With a flair that suggests the last half-century has passed her by, she struts confidently around crime scenes in mini skirts, tall boots, and leopard prints. She’s not one to bow down to authority, but she certainly appreciates a good time. The series is genuinely humorous and delightful, with both Olson and Morgan appearing to enjoy themselves immensely. “Castle” enthusiasts will find a familiar comfort here.

Among these lighter topics, “Brilliant Minds” stands out as the most substantial, featuring Quinto’s character Oliver Wolf, who mirrors Dr. Oliver Sacks in aspects such as face-blindness, passion for powerlifting, motorcycles, and swimming in New York City rivers, and an enduring fascination with brain mysteries. It seems plausible that these scenarios – instances of mass hysterical pregnancies, losing the capacity to create memories or perceive one’s own body – are drawn from Dr. Sacks’ personal case studies, as presented in books like “The Man Who Mistook His Wife for a Hat” and others.

After being dismissed from multiple hospitals due to his unconventional and rule-breaking behavior, he has now found himself at Bronx General Hospital. Interestingly, his mother (Donna Murphy) is his superior there, while an old friend (Tamberla Perry) holds a lower position. Their constant frustration with him will likely lessen over time as Wolf achieves success. The team of interns assigned to him range from sympathetic to skeptical to critical.

From the enchanting way Quinto portrays him, Spock feels warmer, almost as if he has a green best friend instead of a Vulcan one. The humor in this series often springs from Wolf’s apparent disconnect with mainstream culture. In the realm of the show, he’s reminiscent of a softer, more compassionate take on Gregory House – a medical drama that delves into mysteries just like House M.D. did.

Located on Oahu’s North Shore, “Rescue: HI-Surf” delivers exactly what its name implies – surf rescues. (Fox is airing two other rescue series at present, “9-1-1” and “9 1-1: Lone Star”, with the final season of the latter starting this week.) This show follows a familiar formula found in many broadcast procedurals, blending light workplace drama, romantic entanglements, and quick-witted dialogue. However, all conflicts take a backseat when lives are at risk, which happens quite frequently here due to tourists disregarding safety warnings or simply having bad luck, necessitating frequent dives into the Pacific Ocean for rescue missions.

Robbie Magasiva portrays the leader of the sea safety squad, who experiences distressing nightmares and manages a team that subtly favors Hawaiian and Asian cast members; Arielle Kebbel is his deputy, harboring aspirations to become captain herself. Adam Demos plays her ex-fiance, a relaxed Australian preparing for firefighting training, while Kekoa Kekumano embodies the wild partygoer. Alex Aiono represents the wealthy son, whose politically cunning father secures him a position on the team, and Zoe Cipres portrays the less privileged yet more skilled member, initially displaced by Aiono, but ultimately securing her own role by the pilot’s end.

As a passionate admirer, I’d like to express my appreciation for John Wells’ exceptional work on “Animal Kingdom.” Known for his brilliance in shows like “The West Wing,” “ER,” and “Third Watch,” he brings his mastery to the director’s chair for the first two episodes. His unique approach to cinematography is nothing short of breathtaking, as he skillfully employs a multitude of camera angles, lenses, and movements that swirl and dance around the screen. Drone shots, underwater scenes, and on-the-water sequences are artfully combined, creating a whirlwind effect that feels like being swept up by giant waves. While this style might be intended to amplify the intensity of the crises and rescues, it occasionally gives the impression that these moments are more staged than spontaneous. Nonetheless, I find myself captivated by Wells’ innovative vision.

I might have preferred a touch of low-key local traditions over the fast-paced B-roll footage with all the chickens; it’s just my preference. However, everything looks beautiful, the scenery is pleasing, and there seems to be some surfing involved. It certainly has potential to attract an audience. The series “Baywatch” ran for 11 years. (Paraphrased)

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2024-09-20 22:31