There’s a lot on the line for Edward Burns, with his new TNT show Public Morals. Indeed, his show, because he created, wrote and directed it. Assembled a bunch of terrific actors to go back to the 1960s with him, found a network to back it up, and even got Steven Spielberg involved (as executive producer, which, we all know, means he’s not very involved at all, but still: Steven Spielberg).
The Business of Comfort
It’s fair to say TNT has lost the game against USA. It’s hard to say exactly why, but TNT does seem to have an affection for easygoing, middle of the road product. People should be able to watch their series and stay comfortable in their seats, while USA isn’t afraid to put you right on the edge of it. Public Morals certainly falls in the former category, but that doesn’t disqualify it; staying comfortably in your seat can be a nice thing.
The show’s got a resemblance to TNT’s short-lived, quickly-aired Mob City, but that’s just because of the time period, men in suits, hats, and Robert Knepper (Prison Break, Heroes), as well as Burns himself. All in all, it looks great. No funny business with sepia tones or abysmal lighting, like The Astronaut Wives Club and especially Aquarius. The series is perfectly lit, dressed and designed, with a director on board who knows what he’s doing and takes his time, which enables the show to breathe.
Edward Burns (Saving Private Ryan, 15 Minutes, Confidence) came up about the same time Ben Affleck went down. He counted as the perfect Affleck substitute, the pretty boy leading man everybody was looking for. But while Hollywood was way too occupied trying to fit Affleck the square into a round shape, Burns was never called back. He could’ve easily filled the gap left by the pumped up image of Affleck, but it just never happened.
He may not have wanted to, decided to sharpen his craft as writer and director. And now there’s Public Morals, the accumulation of all of his talents.
The Business of Management
The series deals with a New York police department, starring next to Burns and Knepper, Michael Rapaport, Wass Stevens and a young actor who’s going to go far, Patrick Murney. Why? Just a hunch. Prostitution, gambling and alcohol are prohibited. The cops aren’t cops, they’re managers. Donald Trump would be proud. They’re keeping the peace, turning blind eyes, until that peace is broken: a body washes up on the shore with the Brooklyn Bridge in the background.
That body’s Timothy Hutton (Leverage, Kidnapped, American Crime). Burns has got ‘a few ideas’ who could be behind it. It seems this murder is what sets everything in motion. It’s at the very end of the episode, so what have we been watching for an hour? If the first interesting thing happens right before fading to black, everything that came before must’ve been pretty boring, right? Not right. Public Morals might not serve up an explosive dish, but it’s a tasty one.
There are other storylines woven through Burns’ work and private life, too, but it’s way too soon to tell where they’re all headed. One thing that must be mentioned, though: Lyndon Smith (Parenthood, Extant, 90210) is playing a minor part, and you don’t want to miss her in anything she’s in. She’s the Girl with the Most Amazing Jaw Dropping Hypnotizing Eyes on Television.