Enjoy the Tiny Scraps of the Fall Premiere Season
- World’s Funniest Animals. The CW. Friday, September 18, 9 p.m.
- L.A.’s Finest. Fox. Monday, September 21, 8 p.m.
- Filthy Rich. Fox. Monday, September 21, 9 p.m.
- Manhunt: Deadly Games. CBS. September 21, 10 p.m.
Autumn has always been broadcast television’s spring, the time when new life—however Frankensteinish it may be in some years—bursts into bloom. But in 2020, The Year of the Plague, it’s more like the dead of winter. Television production has largely been shut down by the coronavirus, and the usual fall banquet of TV is more like a light snack, and of leftovers at that.
Of the dozen “new” shows debuting over the next month (down from 20 to 30 in a normal fall), a mere five are truly new productions. Everything else is a remake, a reboot or a refugee from the distant corners of the cable-TV gulag. Not since the days when television mainly consisted of test patterns and barn dances has new programming been less prized.
You can get a neat summation in the fall season’s very first week, when two of the four debuts are drama series that have already run in their entirety on the Spectrum video-on-demand service.
That doesn’t exactly make them Gilligan’s Island or Happy Days, aired so much that American babies are seemingly born with the scripts imprinted on their brains: Spectrum, still in its infancy, has relatively few viewers and isn’t even available in every state. But it takes a little gumption to label them premieres.
They are, however, solid entertainment. The stupidly-titled Manhunt: Deadly Games is a crisp, absorbing recounting of the search for the bomber who killed two people and injured 150 others at the 1996 Olympic games in Atlanta. And L.A.’s Finest is a female-buddy cop drama that shows a deft touch in mixing tart humor with impressively violent action sequences.
Comparisons between CBS’ Manhunt and Clint Eastwood’s film Richard Jewell, which largely follow the same story of law-enforcement and media screw-ups during the investigation of the Olympics bombing, seem inevitable. But I won’t be making them; I was in process of moving across the country in December when Eastwood’s film had its brief and disastrous theatrical run, and missed it. (Reason‘s Kurt Loder, however, didn’t.)
The two, however, shared the same general story line: How the FBI, with generous help from a grotesquely careless news media, first framed an innocent and heroic man—Richard Jewell, the sharp-eyed security g
Article from Latest – Reason.com