Image from FoxThis episode of New Amsterdam returned the show to an interesting case and an interesting look at John’s past. It also introduces John’s boss, Sergeant Callie Burnett, played by a Law & Order franchise “repeat offender” Susan Misner.
The episode centers on the investigation of the death of a homeless man. His best friend believes that his overdose was murder, as the man was an alcoholic who had been sober for 35 years. During the investigation, John (Nikolaj Coster-Waldau) and Eva (Zuleikha Robinson) find a connection with the new “Big Apple” homeless shelter, a rock star, and what proves to be an expensive guitar that belonged to the dead homeless man. While working the case, John has recollections of his 1964 nightclub on East 54th Street, and his own personal battle with alcoholism. We get to see Omar as a young boy (played by Mandell Butler), and see and hear John as he recounts, in writing, his lengthy history.
Between all this, John finds time to spend with Sara (Alexie Gilmore). The first time we see them together, it’s clearly a dream sequence. Afterwards, however, John and Sara seem like they’re already an old couple going through the motions – at least for Sara. Things seem to cool quickly between them when Sara tips her hand that she “Googled” John and can’t find anything on him beyond a certain point, and she demands answers. Again, the flaw with this show is that it seemed to be cutting to the chase so quickly with this relationship and now she seems to be moving a little too fast to pressure him for information. I would think if he’s been around for 400 years he would be used to this type of questioning and should have a quick cover story already at hand. Personally, he should have used a cover story that he worked undercover and let it go at that for the time being. It’s not like the guy has never had to lie before to people to keep his secret.
The case itself actually had some promise, and I think that the flashbacks of John’s own struggle with alcoholism fit in very well to the story line. Where this episode misses – in fact, where all of them have seemed to miss – is weaving in his time looking for “The One” or spending time with Sara. It seems like we jump so severely from scene to scene when it comes to this subject that it almost seems like they are dropped into the story without much thought. The most glaring example of this was at the end of the show, when, in frustration with John, Sara simply walks away from him, and SHOW OVER. I’m no director, but while I think I would have ended the show in the same scene, I think I would have shot an additional 20 seconds with the camera on John, looking dejected, and himself walking away into the darkness. I think this show needs some serious work on transitions.
Getting back to the addition of a new boss in the house, I liked their choice of Susan Misner to play the Sergeant. She’s been on Law & Order many times in different incarnations and she’s always been a solid performer and played memorable characters. She could very well be the spark that this show needs, clearly they are not getting it from Eva, who seems to be somewhat lifeless, or Santori (Robert Clohessy), who is seeming more idiotic by the week.
Omar (Stephen McKinley Henderson) continues to be a bright spot. His character is very believable and I think he plays off John very well. I thought the whole dialog between him, John, and Eva regarding the guitar and musicians was very well written and performed by McKinley Henderson.
We get a few tidbits during the show, both while John is writing down his story in his notebooks, and at the end while he’s spewing information at Sara, which she clearly is not taking seriously. For example, he tells Sara he’s had 63 children. Lucky for him he didn’t have to give birth to them himself!
I think this episode was an improvement in their handling of the crime side of the story, and weaving in John’s past along with it. Where the show is falling now is with blending in his relationship with Sara. The encounters seem disjointed and almost added in as an afterthought. Again, with a show that has so many things going on in the past and the present, it needs better transitions from one to the other.
An added bonus:
Here’s the Director’s take video clip for “Keep the Change.” Interesting that Nikolaj says every episode has a different director, which probably explains the lack of consistency in the feel of each story.
My New Amsterdam blog home page can be found
here.
The episode centers on the investigation of the death of a homeless man. His best friend believes that his overdose was murder, as the man was an alcoholic who had been sober for 35 years. During the investigation, John (Nikolaj Coster-Waldau) and Eva (Zuleikha Robinson) find a connection with the new “Big Apple” homeless shelter, a rock star, and what proves to be an expensive guitar that belonged to the dead homeless man. While working the case, John has recollections of his 1964 nightclub on East 54th Street, and his own personal battle with alcoholism. We get to see Omar as a young boy (played by Mandell Butler), and see and hear John as he recounts, in writing, his lengthy history.
Between all this, John finds time to spend with Sara (Alexie Gilmore). The first time we see them together, it’s clearly a dream sequence. Afterwards, however, John and Sara seem like they’re already an old couple going through the motions – at least for Sara. Things seem to cool quickly between them when Sara tips her hand that she “Googled” John and can’t find anything on him beyond a certain point, and she demands answers. Again, the flaw with this show is that it seemed to be cutting to the chase so quickly with this relationship and now she seems to be moving a little too fast to pressure him for information. I would think if he’s been around for 400 years he would be used to this type of questioning and should have a quick cover story already at hand. Personally, he should have used a cover story that he worked undercover and let it go at that for the time being. It’s not like the guy has never had to lie before to people to keep his secret.
The case itself actually had some promise, and I think that the flashbacks of John’s own struggle with alcoholism fit in very well to the story line. Where this episode misses – in fact, where all of them have seemed to miss – is weaving in his time looking for “The One” or spending time with Sara. It seems like we jump so severely from scene to scene when it comes to this subject that it almost seems like they are dropped into the story without much thought. The most glaring example of this was at the end of the show, when, in frustration with John, Sara simply walks away from him, and SHOW OVER. I’m no director, but while I think I would have ended the show in the same scene, I think I would have shot an additional 20 seconds with the camera on John, looking dejected, and himself walking away into the darkness. I think this show needs some serious work on transitions.
Getting back to the addition of a new boss in the house, I liked their choice of Susan Misner to play the Sergeant. She’s been on Law & Order many times in different incarnations and she’s always been a solid performer and played memorable characters. She could very well be the spark that this show needs, clearly they are not getting it from Eva, who seems to be somewhat lifeless, or Santori (Robert Clohessy), who is seeming more idiotic by the week.
Omar (Stephen McKinley Henderson) continues to be a bright spot. His character is very believable and I think he plays off John very well. I thought the whole dialog between him, John, and Eva regarding the guitar and musicians was very well written and performed by McKinley Henderson.We get a few tidbits during the show, both while John is writing down his story in his notebooks, and at the end while he’s spewing information at Sara, which she clearly is not taking seriously. For example, he tells Sara he’s had 63 children. Lucky for him he didn’t have to give birth to them himself!
I think this episode was an improvement in their handling of the crime side of the story, and weaving in John’s past along with it. Where the show is falling now is with blending in his relationship with Sara. The encounters seem disjointed and almost added in as an afterthought. Again, with a show that has so many things going on in the past and the present, it needs better transitions from one to the other.
An added bonus:
Here’s the Director’s take video clip for “Keep the Change.” Interesting that Nikolaj says every episode has a different director, which probably explains the lack of consistency in the feel of each story.
My New Amsterdam blog home page can be found
here.
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