“Beep Beep, It’s Showtime: Prime Video’s ‘On Call’ Tries to Rev Up the Cop Drama Genre, But Falls Short – TV Review”
In the world of television, there’s no shortage of police procedurals and cop dramas that promise to deliver edge-of-your-seat action and gripping storylines. But with the likes of “Law & Order” and “NCIS” dominating the airwaves for decades, it’s getting increasingly challenging for new entries to break through the noise. Enter Prime Video’s “On Call,” a crime drama that aims to put a fresh spin on the genre by focusing on the behind-the-scenes lives of 911 operators. Does this innovative take on the classic cop drama format hit the mark, or does it get lost in the shuffle? Let’s dive in to our TV review of “On Call” and find out.
On Call: A Cop Drama with Good Intentions, Limited Success
Exploring the Familiar, Reaching for the New
Prime Video’s “On Call” attempts to shake up the traditional cop procedural formula, focusing on the day-to-day grind of officers in Long Beach and exploring the complex relationship between law enforcement and the community they serve. Created by Tim Walsh and Elliot Wolf, “On Call” joins the sprawling Dick Wolf universe, marking the company’s first scripted streaming series. The show follows veteran training officer Tracie Harmon (Troian Bellisario) and her rookie trainee Alex Diaz (Brandon Larracuente) as they navigate a variety of emergencies, from overdoses and domestic violence incidents to mental health crises and murders.
From its opening scene, “On Call” strives to subvert the typical cop procedural format, but in its quest to move beyond the established conventions of Wolf Entertainment’s shows, it unfortunately falls short of its potential.
Subverting Tropes: The Dick Wolf Legacy
The show’s creators aim to distance themselves from the action-packed, formulaic narratives that often dominate police procedurals. Instead, “On Call” delves into the emotional toll of the job, highlighting the psychological strain officers face when constantly exposed to violence and trauma.
The series attempts to examine the police department from a more nuanced perspective, acknowledging the challenges of policing in a complex and often divided society. However, “On Call” struggles to fully escape the shadow of the Dick Wolf legacy. The familiar tropes of the “tough-talking veteran” and the “eager rookie” are present, albeit with some attempts at subversion.
A Glimmer of Potential: The Episode “Not Your Savior”
Episode 5, “Not Your Savior,” offers a glimpse of the show’s potential. The episode effectively captures the emotional weight of the job, showcasing the tension and distrust between Diaz and Harmon. A harrowing crisis they confront highlights the true horror and terror of police work, emphasizing the toll it takes on officers over time.
Structural Shortcomings & Stylistic Choices
The Bite-Sized Format
The truncated episode length, averaging 30 minutes or less, significantly impacts the show’s ability to fully develop its characters and storylines. The condensed format leaves little room for nuanced dialogue, complex character arcs, and in-depth exploration of the social issues at play.
Supporting characters are relegated to mere sketches, leaving viewers with more questions than answers about their motivations and backstories. This lack of depth undermines the show’s attempt to create a realistic and engaging portrayal of the police department and its dynamics.
Visual Distraction: The Body Camera POV and Color Grading
The show’s overuse of body camera POV and its consistent grayscale color grading ultimately detract from the narrative. While the initial use of body camera footage might have been intended as a unique storytelling device, its constant repetition becomes jarring and disorienting.
The grayscale color palette, while visually striking, lacks the vibrancy and emotional depth that could have enhanced the storytelling. Instead, it creates a sterile and somewhat monotonous atmosphere that hinders the show’s ability to fully immerse viewers in the characters’ experiences.
Missed Opportunities
The truncated format and stylistic choices ultimately limit the show’s potential. “On Call” could have benefited from a longer format or a more nuanced exploration of supporting characters like the East Barrio gang.
By delving deeper into the complexities of the gang’s motivations and the societal issues fueling their actions, the show could have provided a more insightful and thought-provoking commentary on the challenges facing law enforcement in today’s world.
Casting and Performances
Bellisario’s Struggles
Troian Bellisario, known for her work in “Pretty Little Liars,” takes on the challenging role of Officer Harmon. While she demonstrates her acting range, the script ultimately restricts her ability to fully embody the complexity of the character.
Harmon is presented as a hardened veteran, but the show struggles to provide her with the depth and nuance needed to make her a truly compelling protagonist. Bellisario’s performance is solid, but it’s hampered by the limitations of the writing.
Loughlin’s Limited Presence
Lori Loughlin, making her return to series television after her involvement in the college admissions scandal, appears as Lieutenant Bishop. However, her character is relegated to a minor role, with limited screen time. The show’s promotional materials heavily featured Loughlin, leading to audience anticipation that ultimately goes unfulfilled.
Supporting Characters: A Lack of Depth
The supporting characters in “On Call” are largely underdeveloped, lacking the depth and complexity needed to fully engage viewers. Sergeant Lasman (Eriq LaSalle), Harmon’s superior officer, is portrayed as a traditionalist who clashes with Diaz’s more progressive views. However, this conflict is not explored in any meaningful way.
The East Barrio gang, a central presence in the show’s narrative, is depicted as a monolithic entity, lacking the individual stories and motivations that could have added depth and realism to the complex relationship between the police and the community they serve.
A Realistic, but Uneven, Look at the Job
Mental Health and Compartmentalization
One of the show’s strengths is its attempt to address the psychological impact of constant exposure to violence and trauma on law enforcement officers.
Harmon, a seasoned veteran, has mastered the art of compartmentalization, keeping her personal life separate from the horrors she witnesses on the job. Diaz, however, struggles with this, his impulsivity and emotional vulnerability revealing the toll the job takes on those new to the force.
The Human Cost
“On Call” offers glimpses into the personal lives of its characters, but these moments are fleeting. The show could have benefited from exploring their relationships and struggles outside of their uniforms, allowing viewers to connect with them on a deeper level and understand the human cost of their chosen profession.
A Missed Chance for Nuance
The show’s truncated format and limited exploration of supporting characters prevent it from fully delving into the complexities of the East Barrio gang and the societal issues at play.
Instead of providing nuanced insights into the gang’s motivations and struggles, the show relies on generic descriptors and stereotypes, ultimately missing an opportunity to shed light on the systemic factors that contribute to gang violence and the challenges facing marginalized communities.
Conclusion
## The Dial Tone Doesn’t Quite Ring True
Variety’s review of Prime Video’s “On Call” reveals a show striving for fresh perspectives on the familiar cop drama trope. The series dives into the emotionally draining world of first responders, highlighting the toll it takes on their personal lives and mental health. While the premise is compelling, the execution falls short, hampered by uneven pacing, underdeveloped characters, and a reliance on predictable tropes. Ultimately, “On Call” fails to fully capitalize on its potential, leaving viewers with a sense of missed opportunity.
The significance of this review lies in its commentary on the current state of television. Audiences are increasingly seeking nuanced and complex portrayals of familiar genres. “On Call” attempts this with its focus on the human cost of service, but its execution lacks the depth and originality needed to truly resonate. This raises questions about the future of cop dramas – can they evolve beyond their tired conventions and offer something truly new and meaningful? Perhaps “On Call” serves as a cautionary tale, a reminder that even well-intentioned efforts can fall flat without a strong foundation of compelling storytelling.
Ultimately, while “On Call” shines a light on an important and often overlooked aspect of law enforcement, its failure to deliver a truly captivating narrative leaves us wondering: can a genre as saturated as cop dramas truly break free from its own echo chamber?