King & Maxwell
Episode 1: Pilot
By: Carlos Uribe
King
& Maxwell is about two former secret service agents that act as
private investigators. It is based on the novel series by David
Baldacci.
Spoilers
Ahoy!
The most populous genre on television is the detective procedural.
There are countless television shows where the audience follows a
small group of characters trying to solve that week's mystery. They
have proliferated in a medium that is arguably best suited for them.
The literary world has a rich tradition of mystery novels dedicated
to present a case being solved by the protagonist(s). A smart author
will create a strong character or partnership in order to launch a
series of novels that sell themselves after a few books. They create
a brand that can become bestsellers. It's a bit surprising that
television doesn't go to the literary world more often. There's the
occasional Sherlock Holmes adaption or the attempts to bring a few
iconic detectives their own shows but this tends to be shockingly
rare. Hollywood pursues film adaptions of popular literary works
quite rigorously but movies aren't the best medium for the mystery
genre. It might get a sequel or two but most film detectives can only
hope for a single mystery. Film Noir might have been popular at one
point but it's no coincidence that the genre disappeared as
television matured. A film is so limited in the number of mysteries
it can tell. A book series is better but it can only deliver so many
novels a year. A television show can present 22 good mysteries a
season. It can develop the characters, visually represent the case,
and employ elements that a novel can't. There are a lot of reasons
for why procedural are so prevalent in the medium but it's partly
because television is the best way to tell these kind of stories. It
makes sense that television producers would try to adapt popular
contemporary literary heroes into the medium because of the built-in
fanbase and brand name that should theoretically make it easier to
market. It's odd that television adaptions of the mystery genre has
been so few so it makes King & Maxwell stand out a bit. I'm not
sure whether the source material is bad, as I've never read a David
Baldacci novel, but this adaption of it is very dull and is filled
with weak writing.
The pilot basically begins with one of the least adrenaline-pumping
car chases possible. This is a general problem with all of the action
sequences in the episode-none of them are any fun. They simply exist
because the series feels obligated to include them. It doesn't have
any real fun with them nor do most of them feel like they're actually
integral to the structure of the episode. The whole not having any
fun sadly extends to the rest of the episode. The banter between the
characters feels so lifeless, like it hasn't changed since the rough
draft or it was added in last-minute to try to inject life to the
script. The dull action could at least be excused since it doesn't
pop up that frequently but the dead banter can't be. The whole reason
of watching King & Maxwell isn't supposed to be the plot but
because we want to see these two solving crimes. It's hard to do this
when the show seems bored with it's very premise. The characters
solve the crime but it's more like their going through the motions
rather than because they have a passion for their job. If it feels
like it's work for them then it's not going to very entertaining to
watch them. As for the weekly case? It's pretty ridiculous filled
with stupid over-the-top moments that never click. The hook to drag
the characters into the pilot falls short for a couple of reasons.
The first is we never meet the dead guy that is supposedly close to
him. This makes it difficult to care about him so it's harder to
appreciate King's motives. The second is that we don't know King well
enough for this to have any emotional impact. We just met him so it
makes little sense to start by giving him a personal case that
doesn't do anything to add to our understanding of the character. To
sum it up-the whole episode is lifeless and it's difficult getting
invested into the weekly case.
The strength of any procedural depends on it's main detectives. I've
already noted how their banter seems lifeless but it's partly because
of how weak the characters are. This is honestly such a common
complaint from me that I'm pretty sure anybody who reads my reviews
knows what I'm going to say: the two protagonists are flat and
two-dimensional. The male counterpart to the duo is Sean King. He's a
former Secret Service agent whose charge, a Presidential candidate,
was assassinated. His career was ruined, his reputation down the
drain, his life was over. That is until the character killed this
week got his legal troubles thrown out of the court and paid for him
to go to law school. King has now passed the bar and acts as a
personal investigator and lawyer. The series tries to explain the
victim's impact on his life but it falls short since we were being
told rather than shown. A bigger problem is that King's character is
so flat that it wouldn't have mattered. His partner isn't any better.
Maxwell is also a former secret service agent whose charge was
kidnapped. She somehow met King (the two didn't work with the secret
service at the same time) and she joined him in becoming a private
investigator. Why? What's the history of their partnership? These
questions that provide context for their relationship are never
answered. They are simply working together and that's it. The show
does provide some tension for their banter to be created out of. King
believes in improvising while Maxwell is more by-the-book. Actually,
that's not true because Maxwell improvised in the beginning car chase
while King was bigger on being by-the-book. So, basically, who knows
what the real differences between the two characters? I guess the
conflict is that they simply aren't on the same page with the
investigation except for when they are. I seriously hope the book was
actually good at setting up this duo, their banter, and their
relationship than the show.
The series has it's share of side characters to help or hinder the
main detectives. The primary antagonist is going to be Frank Rigby, a
character whose basically defined by his dislike of private
investigators. He's basically a requirement for any show that covers
private investigators instead of cops. His purpose is to provide an
obstacle but Rigby is never a credible threat to our characters. His
partner, Darius Carter, isn't really a character as he largely just
stands there. I presume he was only included because they needed a
token black character. The final main character, Edgar Roy, on the
show is actually a client in the weekly case. Roy starts out being
accused of being a serial killer on suicide watch. It turns out he
was being set up by a multi-national corporation because he's the key
to some company getting a contract. It's basically rested on the
premise that Roy is such a good autistic genius-savant that he's able
to process information that no human (or machine) can process. Which
is not only ridiculous but also doesn't feel realistic. I get there's
genius-savants but their not so smart that you build an entire
defense system around them. Anyways, the protagonists are able to
prove that Roy was being set up by using the satellite of the people
framing him against him. Roy joins the detective agency as an
accountant and will probably help them whenever the characters need a
walking, breathing calculator. The cops on this show are weakly
written but Roy is basically going to be a magical plot device that
the writers can turn to at any moment.
King & Maxwell is not starting out as a very good show. It might
become that one day but I'm not going to stick around to find out.
Why? The pilot bored me. I'm willing to endure through some growing
pains as long as the basis for the promised product is able to
entertain from day one. King & Maxwell can't do that for me. It
feels lifeless as the action scenes are obligated, the banter forced,
and a weekly case that's hard to care about. The main characters are
two-dimensional and there is no context for their partnership. The
side-characters are just as weak. The cops are either cliches or
undefined. The writers stopped developing Edgar Roy as soon as they
established him as an autistic genius-savant. If you're a fan of the
book series, who knows? Maybe this series will be worth checking out.
If you're not, there is no reason to watch this.
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