USA’s The Rainmaker desperately tries to make it 2010 again.

Photo: USA Network

In the desolate wasteland of cable television, only a select few networks are still putting out original programming. The USA Network is chief among them. In the long-gone days of the mid-00s, the channel’s “blue sky” era marked a period of successful programming focused on positive and breezy fare. Shows like Psych and Burn Notice provided a sense of comfort in a TV landscape moving toward more gritty and realistic affairs. With The Rainmaker, USA hopes to bring that feeling back.

Based on the John Grisham novel and previously adapted into a film by Francis Ford Coppola, this version of The Rainmaker aims for a more laid-back vibe. The series follows Rudy Baylor (Milo Callaghan), a hotshot soon-to-be lawyer fired from the prestigious firm Tinly Britt on his first day. With nobody else willing to hire him, Rudy joins up with a small-time outfit run out of an old restaurant. He soon discovers a possible wrongful death lawsuit that finds him facing off with the firm that fired him and their lead partner Leo Drummond (John Slattery). That’s just scratching the surface. There’s Rudy’s girlfriend and fellow soon-to-be lawyer Sarah Plankmore (Madison Iseman), who continues to work for Tinly Britt. Oh, and there’s a nurse going around killing people (Dan Fogler) who might have a connection to the case.

That last part is the most egregious move the show makes. The Rainmaker is a moderately faithful adaptation, but the addition of a serial killer feels antithetical to the good vibes it’s trying to produce. That tonal confusion extends to the entire structure of the show. For all the fun it promises, the show is stuck in a weird zone between being a serialized story and a procedural. Obviously, there are plenty of shows that nail the balance between telling episodic stories and carrying a season-long arc. The Rainmaker focuses its season on one case but breaks it up into episodic quests. It’s an odd strategy that never fully forms a workable narrative.

The real charm of the “Characters Welcome” era is right there in the tagline. The actors were the reason to come back, and that’s The Rainmaker’s biggest flaw. Characters are certainly present, but they’re rarely interesting. Even the “fun” ones like slovenly paralegal Deck Shifflet (P. J. Byrne) or tough-as-nails Jocelyn Stone (Lana Parrilla) offer nothing new. Even Slattery is basically playing a modernized version of Roger Sterling. By far the biggest issue is with Callaghan’s version of Baylor. He aims to show Rudy as a moral fighter, the common ideal of a lawyer, but it never lands.

Despite their best efforts, the USA Network can’t bring cable back to what it once was. Even if the show successfully recreated the “blue sky” era, it would still be on a network that has nothing else to pair it with. This is the station’s only show out this year with one other scripted program in development. The sad truth is that even if the series were good, you’d likely never hear about it. There’s so many other programs vying for your attention on platforms you use more often. The Rainmaker never aspires to be more than passable entertainment, and for that you’re better off sticking with Suits.

The Rainmaker airs Fridays on USA Network and streams on Peacock.

Final Verdict: Tune Out

Season 2 of Poker Face keeps the game alive with a few new tricks

Photo: Peacock

This review contains light spoilers for both seasons of Poker Face.

When Poker Face first debuted at the beginning of 2023, it was a breath of fresh air. A throwback to 70s detective shows that was full of style thanks to the guiding hand of Rian Johnson. Nearly two and a half years later, the show is back. Now, it’s far from the only show to harken back to a different age of TV. In its second season, the trick must change. The series needs to prove what it can be outside of its influences.

Season 2 finds our human lie detector, Charlie Cale (Natasha Lyonne) on the run once again. This time she is being tracked down by a bevy of assassins hired by ruthless mob boss Beatrix Hasp (Rhea Pearlman). In a bold move, the writers wrap up this plotline early in the season. This frees up Charlie to focus on what her life can be. Rest assured, the show still involves murder and the solving of it. Death seems to follow Charlie around, so much so that it becomes something of a running joke in the season’s latter half.

As with many episodic shows, Poker Face follows a certain formula. The basic structure is this: we meet the guest stars in the lead-up to the murder, we move back before the killing to see how Charlie fits into the picture, and finally, she solves the mystery. From there, the plot deals some form of karmic justice, and our heroine moves on to the next location. The show changes up the format just enough over the course of the season to keep it from getting stale. Although the regular 45-50 minute runtime often leads to a quicker mystery-solving. It’s a tricky equilibrium, but the hit-to-miss ratio is still in favor of the “hits.”

Part of what makes Poker Face so engaging is the way it balances tone. The series is primarily a comedy, a tough act to pull off when someone needs to die each week. It’s a testament to the writing team that the show remains funny while never selling short the heinous crimes committed. That said, there is a tendency this season to veer onto the goofy side to the detriment of that balance. The most egregious being an episode wherein a Florida cop (Kumail Nanjiani) gets eaten by his pet alligator after it consumes a ton of cocaine. It’s a rare installment where the death, as bizarre as it is, feels a bit too trivial.

Photo: Peacock

Even the show’s weaker episodes hang together thanks to a tremendous lead performance by Natasha Lyonne. Not since Adrian Monk have we been blessed with such a charming TV “detective.” Charlie Cale is resourceful and determined, despite frequently finding herself in over her head, and Lyonne seems to find chemistry with everyone she encounters. That last part is especially important because Charlie is usually absent from the first act of each episode. Lyonne’s ability to establish a connection with a character in only a few minutes is the glue that holds it all together.

Obviously, there’s another half to this equation. Poker Face is full of quality guest stars, although this recent season feels front-loaded. The first two episodes feature Cynthia Erivo playing five identical sisters along with Giancarlo Esposito and Katie Holmes as troubled owners of a funeral home. Erivo gets the big, splashy acting challenge of playing 5 different people, but Esposito and Holmes are equally fascinating. That those first two episodes are among the season’s best offerings also helps. Still, there are plenty of interesting guest turns from the likes of John Mulaney, Corey Hawkins, Melanie Lynskey, John Cho, and Alia Shawkat among many, many more. You’re guaranteed at least one quality guest appearance per episode.

Season 1 utilized Rian Johnson’s visual style, even when he wasn’t directing. For season 2, Johnson is only around for the first episode, leading other directors, including Lyonne, to pick up the slack. The results are mixed, with some episodes eager to show off their influences. We get an entire homage to the ending of Heat one week, for instance. As the season goes on, the show settles more into a comfortable rhythm than the visual inventiveness that came before.

For many shows, a second season is a chance to fully define what can be done with the premise. With Poker Face, the writers want to see what happens with Charlie when she isn’t running. It’s an intriguing idea, even if it doesn’t always lead to great episodes. Still, the series finds an interesting way back to something like the status quo by season’s end. Maybe the trick is that there isn’t a grand innovation each week, just a solid hour with a fun character solving a murder. Sometimes that’s all you need.

Poker Face is currently streaming on Peacock.

Final Verdict: Tune In

Chief of War: A historical drama that never loses its authenticity

Photo: Apple TV+

As an avid fan of history, I’m immediately sat the moment I see the words “historical epic.” The less I know about the period, the better. Especially given the dubious accuracy of many of these films and shows. While I can’t speak for the veracity of Apple TV+’s Chief of War, it certainly has the “epic” part down. There’s a massive scope at work along with a part of history that is thoroughly unexplored.

A passion project for co-creators Thomas Pa’a Sibbett and Jason Momoa, Chief of War uses the natural grace of the islands of Hawaii to tell the bloody tale of their unification. Momoa, who also co-wrote every episode, stars as Ka’iana, a former warrior chief who is called back to the fight. A prophecy states that there will be a great warrior who helps unite the islands, and King Kahekili (Temuera Morrison) believes Ka’iana is that man. Things only get more complicated from there with the arrival of English fur traders and a growing war between Kahekili and the other island kings.

This is a show with a lot of moving pieces, and it takes its time setting them up. These people have a past and a vibrant culture that we quickly become used to. The first two episodes are all in Hawaiian, and when English speakers arrive, it feels like a real intrusion. The commitment to world-building comes at the expense of character in these installments. Thankfully, the series puts in the time later on to further establish our main cast.

Momoa is putting in his career best for this show, anchoring a mostly unknown cast of actors. His presence is commanding before he throws a single fist. Make no mistake, Momoa is also adept at the action as well. Chief of War does not skimp on the brutality of the fight scenes, and Momoa’s physicality adds to it. Luciane Buchanan plays the other side of the coin as Ka’ahumanu, the consort to King Kamehameha. Her kindness and determination make her a great foil to Ka’iana. Add in a terrifying performance from Temura Morrison and you have a trifecta of great acting to build around.

While Chief of War has its slow moments, the show succeeds by crafting a historical epic that feels both grand and human. There’s a commitment to recreating the time and culture that is commendable. All of it in service of a story that has gone untold is equally admirable. That the focus remains on our main cast, even as the English speakers infiltrate more and more of their world, adds an extra layer of depth. More history deserves to be told with this level of care.

Chief of War is currently streaming on Apple TV+. New episodes release on Fridays.

Final Verdict: Tune In

Dexter: Resurrection: Even death can’t hold down TV’s favorite killer

Photo: Paramount+ with Showtime

Somehow Dexter returned. Not only is our beloved killer of killers back for more blood, he’s now a franchise. With a middling sequel, a baffling prequel, and now, a new series that brings him back from seeming death, Dexter has officially become a horror icon. He might not be killing teenagers at camp or stalking folks in their dreams, but he’s proven to be just as resilient. All that’s left now is a visit to space.

Dexter: Resurrection reunites Michael C. Hall and original showrunner Clyde Phillips for a new adventure. Dexter has survived certain death and after a quick recovery, heads to New York City in search of his son, Harrison (Jack Alcott). In the Big Apple, Dexter finds a lot more than he bargained for, including new friends, new killers to hunt, and one old ally who won’t stop until he gets some answers.

Those who have already seen the trailer or dived right into the first episode will know that Angel Batista (David Zayas) is back. The show gets a lot of mileage out of the interactions between Batista and Dexter. Two old friends who are trying to suss out each other’s true motives. That’s just the tip of the iceberg with the callbacks. For a show primarily focused on revival and second chances, Resurrection is full of fan service. The numerous references and ghostly guest appearances can make it hard for new viewers to understand.

So what does Resurrection offer to returning viewers after years of disappointment? I’m happy to report that Dexter, both the show and the character, is having fun again! After the latter seasons and a sequel series that devolved into self-seriousness, it’s nice to see the franchise lean into the silliness. The writers wisely abandon any sense of realism in favor of getting viewers to the fireworks factory as quickly as possible. At the end of the first episode, Dexter is out of the hospital and in New York. In the next episode, he’s finds his latest prey. By the time Peter Dinklage shows up as a billionaire with an interest in serial killers, you’re already along for the entire ride. The plot doesn’t always add up, but the pace helps keep the vibes in check.

As usual, Michael C. Hall remains the best part of the whole thing. His ability to get you to understand and occasionally root for Dexter remains a delight. This time around, he’s surrounded by a cast more than willing to match his energy. Uma Thurman, Krysten Ritter, and the aforementioned Dinklage all bring the proper amount of scenery chewing. Add in returning faces like Alcott, Zayas, and James Remar, as the specter of Dexter’s long-deceased father, and you have a solid base for the show’s sometimes winding plotline.

Resurrection learns from the mistakes of the previous series by adding as many plot threads as the writers can think of. The gamble pays off. While not everything lands, particularly the story involving Harrison and some ridiculously skilled NYPD detectives. Enough of it works to make this the best Dexter has been in ages. Like a great horror sequel, Resurrection knows exactly what you’re here for and wastes little time getting there. Similar to a lot of later horror franchise entries, you’ll likely find yourself rooting for the killer. This time around, it at least feels like the creators agree with that sentiment.

Dexter: Resurrection is currently streaming on Paramount+ with Showtime. New episodes release on Fridays.

Final Verdict: Tune In

Smoke: A slow burn that never gets going

Photo: Apple TV+

Where there’s smoke, there’s fire. That is especially true for the new Apple TV+ series, Smoke, which is mainly concerned with flames and those shaped by them. In fact, there’s rarely a moment that fire isn’t front and center. It’s the main attraction, and by the end of the first episode it will probably be the only reason you stick around.

Inspired by the podcast Firebug, based on the crimes of arsonist John Leonard Orr, Smoke follows arson investigator Dave Gudsen (Taron Egerton) as he teams up with detective Michelle Calderone (Jurnee Smollett). Together, the duo must solve a string of arsons plaguing their corner of the Pacific Northwest. It soon becomes clear that they are dealing with two separate perpetrators and one of them might be inside the fire department. The story has plenty of twists from there, the biggest of which fans of the podcast will know going in.

For the rest of us, the twist gives the series a narrative boost it was previously missing. Which makes it all the stranger that it occurs at the end of the second episode. Smoke has a tendency to play the long game with its story, slowly putting the pieces into place. There’s nothing wrong with this approach, but it falls apart when your characters are ill-defined. Because the show also takes its time slowly revealing our main duo’s traumatic backstories (spoiler alert: fire is involved in both of them!) it feels like you’re constantly reevaluating who these people are with each extra detail. It’s a bold idea in theory, but falls apart in execution.

While the story is often lacking, Smoke has plenty of style to spare. Unsurprisingly, most of that flair comes in scenes involving fire. TV shows have a problem with making CGI flames look realistic, but Smoke and directors like Kari Skogland help thread that needle. The key is that the camera never lingers too long on the fire itself. Instead, it focuses on the people trapped in these moments to tremendous effect.

It’s a shame that Smoke sells its characters short because there’s a fun cast here begging for more to do. Egerton is a blast as the type of overly energetic co-worker we’ve all experienced before. He also proves to be the best at balancing the dramatic and comedic elements that pop up. Smollett is great as a hardened badass, still reeling from her own past. Egerton is giving the flashier performance, but Smollett proves to be a worthy foil. There’s also exciting performances by Greg Kinnear and John Leguizamo as the always-sarcastic fire chief and Gudsen’s bitter ex-partner, respectively. It’s almost enough to drag you through the show’s overlong table-setting.

Maybe it all comes together in the end and provides a satisfying conclusion. As things currently stand, Smoke only gets more confounding as it goes on. Each new wrinkle in the plot only adds to the structural problems that keep this series from being truly engaging. The show aims to be a raging fire, but can’t produce much more than a dim flame. It’s just a false alarm; don’t bother coming.

Smoke is currently streaming on Apple TV+. New episodes release on Fridays.

Final Verdict: Tune Out