Warner Bros. | 2009 | 300 mins. | Not Rated
Created by relative newcomer Ann Biderman (though she did win an Emmy for writing an episode of NYPD Blue), the imprint of veteran executive Producer John Wells is unmistakable. Southland has all the drama and uptempo rhythm of a typical episode of E.R. or Third Watch. Reminiscent of what N.Y.P.D. Blue did for the fictional 15th precinct of Manhattan; Southland takes a raw and unflinching look at the relationship between LAPD patrol officers and detectives. While it’s involves some procedural drama, the show focuses more on how the characters personal lives affect their jobs and vice versa.
Southland offers a diverse cast of characters. Officer Ben Sherman (Ben McKenzie), fresh out of the Academy, is working hard to gain the respect of fellow officers despite his Beverly Hills pedigree. Regularly underestimated by his fellow cops, this leads to several surprises as we gradually learn about the skill he brings to the job. Ben’s training officer, John Cooper (Michael Cudlitz), has an old school attitude and a gruff exterior. While he’s masking an addiction to painkillers brought on by an on the job injury, he’s a guy who’s pretty much seen it all, and can teach the rookie how to survive as a cop on the streets. He’s a jackass a lot of the time, so you want to punch him in the face (which, in a particularly funny scene, someone actually does), but it’s as much because he’s a pain as it is because you know he’s right.
Detective Lydia Adams (Regina King) and Detective Russell Clarke (Tom Everett Scott) are partners who are both dealing with their own issues at home. Adams lives with her ill mother, and is looking for romance while dealing with unresolved feelings toward her ex-husband; meanwhile Clarke is having serious issues in his relationship which lead him to make poor choices that will likely haunt him later. Officer Billy Dewey (C. Thomas Howell) is a raging alcoholic who returned to the job for the money and the camaraderie. Now Billy has a thing for celebrities that get him into trouble at one point—if you watch the episode, you’ll likely agree the producers made the perfect decision when they cast Tom Sizemore as a guest star. There’s an ongoing story arc which focuses on a witness to a gangbang who several members of the force are trying their level best to protect, as well as a solid episode in which Detective Salinger (Michael McGrady) is involved in an accident through no fault of his own, has his gun stolen, and has to call in just about every favor that’s owed him to get his gun back without having the incident end up on his official record.
The first seven is just seven episodes, but it’s a series that shows a lot of promise. While some may find the handheld camera work a bit dizzying, I though it gave the series a realistic look and feel that popular series like Law & Order: SVU lack. With just seven episodes in the first season it’s hard to say that the show will be around for the long haul, but there’s enough here that makes me hope that the producers continue to go for the gritty, no holds barred feel they began to establish with the first season. Both the writing and acting are solid, so hopefully we will get a chance to watch these characters evolve.
Presented in a matted widescreen transfer, Southland is a fairly gritty looking drama, so there’s not a lot of color and there’s a purposeful grayish tint to everything. Since this is a new show though, the transfer is pretty solid for a standard definition presentation. There are no noticeable digital anomalies, dirt or grime to interfere with the viewing experience.
The soundtrack is presented in English Dolby Surround 5.1, and does the job well. City sounds are clear and prioritized, and dialogue is always intelligible and precise.
The set has one special feature:
• Redefining the Cop Drama (18 mins) This feature takes viewers behind the scenes shooting on location in Los Angeles as interviews are shown the cast and crew who discuss everything about creating the show, casting real people, and shooting in LA (using the RED camera at times for the documentary style effect). Executive Producer/Director, Christopher Chhulack, Executive Producer, John Wells, and Executive Producer/Creator/Writer, Ann Biderman discuss their nine months of research, and thier focus on breaking the mold and showing what it is really like being a police officer. Location Manager, Michael Haro and Police Technical Advisor, Chic Daniel add a few thoughts as well. The cast members Tom Everett Scott, Michael Cudlitz, Regina King, Michael McGrady, Arija Bareikis, Kevin Alejandro, Ben McKenzie, and Shawn Hatosy discuss what it’s like filming the series.
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