Boomtown

Every once in a while a series comes along which is unique, interesting and even borders on being a work of art. Such is the case with "BOOM TOWN". It was captivating and lively. It took the cops and robbers genre and brought it up a notch or two by using the dramatic device of showing the same occurrences from 5 or 6 different points of view.

In its short run on NBC's Sunday evening line up, it walked a thin line. It built up a very sizable following of loyal fans. These were the kind of viewers who were highly loyal, almost fanatical. Unfortunately, the audience was not large enough or didn't hit the desired demographics. The series wound up on the scrap heap. The fate of "BOOM TOWN",as with all other network series, relied on that dreadful term, THE BOTTOM LINE. Its cancellation was determined by numbers alone, and all determined on the short term.

Looking back in the past, we had different series,now remembered as TV all time classics, that nearly bit the dust in premature cancellations. We don't have to look back too far to recall the uneasy existence that "HOMICIDE: LIFE ON THE STREET" had. (some have made comparisons of the two series) "HILL STREET BLUES" took a while to catch on and required some negotiating from then Mary Tyler Moore Productions Execs to the network to be given another chance.Years earlier, Producer Sheldon Leonard had related in an interview how he had pleaded the case for "I SPY" to be spared.

We all know that Television is a business, and that there may be none more competitive. Let's just see a little more common sense and patience. Who knows, perhaps "BOOMTOWN" was close to being just around the corner from a big numbers following.

Boomtown, a masterclass in story telling and character driven narrative lasted just over one season, and is perhaps the greatest case of a show destroyed because of it's nature rather than it's quality.

In an ambitious take on the well covered cop/crime show niche, Boomtown aimed to show the story behind a crime from every angle; the beat cops, the detectives, the politicians, the paramedics, the victims, and the suspects. Whereas this could have ended up being a gimmick wasted on an audience not excited by such originality, creator Graham Yost managed to mould a brilliant series of stories that always kept the people at the fore-front of the drama, and never gave in to spectacle. The episodes would veer from comic to dark and disturbing from week to week, going from a corpse fired out of a cannon to betrayed police officers and S&M Murderous Psychopaths. All the time the principal cast, and the creditable guest characters, were given the most attention and the stories usually explored the why of a crime rather than the how and who.

The main characters were a mixed batch, all of whom were memorable in their own right. There was the two detectives, the earnest and dignified Joel Stevens (Donnie Wahlberg, displaying his acting chops in a rare chance to prove that he's far more than Marky Mark's brother) and his partner, the flamboyant and tongue in cheek though on the mark Bobby 'Fearless Smith (Mykelti Williamson). The street officers were the chatterbox veteran, Ray Hechler (Gary Basaraba), and youngish Italian bull Tom Turcotte (Jason Gedrick), who is forever his legendary father's shadow. Then there was the strong willed yet vulnerable paramedic, Teresa Ortiz (Lana Parilla), who cares for nothing but the well being of others, and the usually hell bent and cold reporter, Andrea Little (Nina Garbiras), who has questions she should ask herself. However, the real showpiece of the show was reserved for the fast talking, faster switching Deputy D.A David McNorris (Neal McDonough), a brilliant lawyer who trips himself up on account of his demons. All of these characters were fleshed out well and played to a tee by a fine cast.

The show combined breathless showpieces of action and suspense with the occasional injection of humour, plus managed to incorporate a heart and emotional edge that in so many similar mediums seems tacked on. None of the characters are free from this, with each one suffering from their problems, some facing them better than others. Moments brought gasps and tears in equal measure but their was always enough entertainment abound to ensure the show kept on an even keel. The second series, although beginning shakily, got into stride and the series seemed destined for greatness before the networks pulled the plug. It was a sad end, brought about by a general lack of popularity and a view that the show would not provide the means by which to finance it's ambition. Whether Boomtown would have become a household name over time is not clear, but it's obvious that it's loss was felt by those who appreciated it's sublime nature, and it's cancellation represented a defeat in the battle for quality television.

Ultimately, a brilliant show that died young.

This is the best crime drama on television and the best in recent memory. The changing perspectives are not what sets the show apart. In fact, this aspect is hit and miss. One week it might add something, the next week the story could be told in sequence with equal force. What sets this show apart is the performances of the cast. Neal McDonough is awe inspiring as talented but tragically flawed Deputy DA David McNorris. His performance is more intelligent and nuanced than anything else on network television. It is an incredible combination of a man with positive attributes who is constantly on the edge of self destruction. Donnie Wahlberg and Mykelti Williams also play roles of a lifetime. This is an addictive show that is a must see on Sunday nights.

This show is fantastic, but not suited for anyone wanting to veg. Told from the different points of views of the various characters, the writers seamlessly weave the stories lines together to complete the picture. The endings are often unexpected. "The Pilot" was heartbreaking. "Insured by Smith & Wesson" merged an old Joe Penny show (Riptide) into the mix and makes you become emotionally involved in the faded actor he portrayed. The most shocking ending was in the "Reelin' in the Years" episode with Patricia Wettig - I gasped in shock. You come to see that nothing is as expected in a very refreshing way.

In Los Angeles stories happen all the time. Every person involved will see it from a different angle – have different information and differing perspectives in each case. Boomtown takes a different crime each week and follows the investigation as it involves detectives Joel and Fearless, street cops Ray and Tom, the DA David McNorris, medic Theresa, journalist Andrea, the victims and the perps.

This came to the UK on channel 5 in a wave of generally strong US exports. 5 grouped it with the new CSI on a Tuesday night – this followed the first series of The Shield and the opening of CSI: Miami. I watched it as it looked like an enjoyable cop series. I'm nearly at the end of series 1 of Boomtown and have enjoyed it although it hasn't gripped me in the way that other cop shows such as Homicide :LOTS, NYPD Blue (the Caruso years) and even The Shield have. I think the reason for this is that, although each episode is good, it tends to focus on that 45 minutes rather than a longer series view. There has been some character development but not to the extent that I feel like I know the characters in the way I did with Homicide. Instead it is more nuggets of information that are given out occasionally rather than characters.

However each episode works well – most are interesting, tense or exciting. The only downside is that it has to fit into this multi-perspective mould every week and sometimes the stories are forced into this form. Mostly the stories fit nicely into the structure and are complimented by it – but the odd episode just felt that it could have worked better with a linear line without all the cutting around. This is the main reason that I have come back to it after a few weeks where Sopranos clashed with it in the schedules (and you KNOW who wins that fight!), because I know that each episode will work well by it self – but I need more to make me really stick with it as a series and not just dip in and out.

The actors are good – although some have meatier characters than others. Wahlberg has easily the best character as he is the one who has had the most development and subplots that run through episodes. Williamson is surprisingly good despite a quite superficial character – but his Rambo antics in one episode were a bit too much. McDonough as McNorris is good and balances the requirements of the law and the cops well. Garbiras plays his one-time mistress but her character has now become defunct – floating round the edge of the show with the plot really obviously looking for ways to crowbar her in. Basarba and Gedrick are good but neither have really come on as characters – with us learning that Ray may be a dirty cop, but not much more than that.

Overall this is not a classic cop show. It has a good gimmick that it uses quite well most of the time and also manages to avoid feeling gimmicky. If you're looking for a series that you can get into the characters then this is not for you – The Shield did it quite well recently. But as a series that can be easily dipped into for one-off enjoyable episodes then this works pretty well.