The latest Nathan Fillion vehicle is less police procedural than it is a perspective on police culture and the psychology of mid-life crisis. His everyman character of John Nolan is introduced to second guessing and second chances in his second life as a forty-year-old rookie officer in the Los Angeles Police Department.
The newly divorced Nolan finds himself reacting with uncharacteristic calm during a life-or-death situation — distracting armed criminals by waxing philosophical about his existential angst. He is forced to confront the realization that he hasn’t lived for himself since he dropped out of college. Rather than buy an expensive car or drinking heavily, he packs up his life and moves cross country to Los Angeles and completes the police academy.
His age compared to his fellow rookies, rebellious Chen (Melissa O’Neil) and over-achieving West (Titus Makin), gets a few good-natured ribs and a few brick walls thrown up. The latter is courtesy of a zealous and traditional sergeant (Richard T. Jones) who is worried about the safety of his other officers. He feels Nolan is trying to “find himself” at the department’s expense. On the streets, Nolan uses his life experience and wit to his advantage. This is not a show about a retired Navy SEAL or ex-NFL player. Nolan has 40-year-old lungs and legs and he knows it — but he knows some other things, too, and he works with it until it succeeds or fails.
And succeed he does. He de-escalates crisis situations. He recognizes alternative methods and implements them. He saves lives.
And he also fails.He embarrasses himself in a foot pursuit. He plays into the mid-life crisis trope of an ill-advised romance. Faced with split-second decisions, he makes “good” moves instead of the “best” moves and learns that “good” can get someone killed. He can’t prevent death… and blames himself.
The show revolves around Nolan but the pilot gives us insight into the other characters. Chen has stressful days with a hard-nosed training officer who constantly tests her psychologically via forced confrontations, simulated racism, and distraction techniques. West is a legacy cop with big expectations but disappoints in a combat situation.
The Rookie is not quite SouthLand but not quite Blue Bloods, either, The Rookie is, at the very least, serviceable. Well done action scenes are shot with the perspective of immediate and urgent response. The characters’ competing goals are born out of necessity and not malice (everyone has each other’s backs the best that they can.) The unrealistic tropes such as pinpoint marksmanship are infuriating even though they’re expected. Fresh faces are joined by familiar ones like Richard T. Jones (Judging Amy) and Mercedes Mason (Fear the Walking Dead).
With a 68% Rotten Tomatoes rating and unknown (at this time) live and DVR ratings/share, it looks like The Rookie will see a full season and beyond if it can rely on Nathan Fillion’s trademark irreverent charm and witty delivery. And why the hell not? As my training officer once told me, “If you can’t make it fun at least some of the time, you’re not going to last.”
Rating: 7 out 10
-Matthew Widdis
The Rookie airs Tuesday nights on ABC.
https://www.youtube.com/watch?v=k9K06dCP-lc
