A quick look at the television schedule reveals that a foundation of procedurals largely buffets network television. Of those procedurals, cop shows are by far the largest single group. There are twists on the formula to be sure—your High Potentials or Elsbeths, for instance. But meat and potatoes cop chase criminals shows are a cornerstone of any network’s output. Wolf Productions proudly imports this television dietary stable to streaming with the new series On Call, created by Tim Walsh and Elliot Wolf.
The copy would have one believe this is something different. It brags on the use of surveillance and body cam footage, giving the show a sense of immediacy. Some releases are even bold enough to throw out the term “cinéma vérité”. Still, an assessment of the media landscape reveals down-the-middle shows like The Rookie or the 9-1-1s have been mixing in body and surveillance cam shots for a bit.
The releases talk less about where On Call puts its spotlight. It is more beat-cop-oriented than your classics of the format. For instance, Wolf’s Law & Order franchise rarely hangs with the uniforms for more than a few minutes in any given episode. On Call reverses that formula, giving viewers only the briefest glimpses of detectives. Oft-referenced, little seen. As a result, the storytelling has a more fragmented flow. Experienced officer Harmon (Troian Bellisario) and her newest trainee Diaz (Brandon Larracuente) frequently hit the scene after others already have. Thus, they drop into situations in progress. Then, a radio crackle will pull them to another call before resolution at the current scene. Such is the life for patrol men and women.
It is, however, a conceit the show can’t keep to for the one ongoing storyline. When it comes to the search for a pair of gang members who kick the series off with an attack on another cop, things go differently. Harmon and Diaz frequently go off-book to chase down leads and lean on locals in a way that feels very detective and not especially beat cop. It gives the season’s eight episodes a tether to organize around, but in doing so, it increases the sense that On Call is just another cop series.
On Call is well-cast, as one would expect from a Wolf Production. Bellisario finds a register that works for the possibly unraveling in slow-motion Harmon, letting her portray competence while still struggling. As Sergeant Lasman, a rival in the department, Eriq LaSalle reminds viewers that the television landscape is better with him in the mix. Rich Ting makes Harmon’s biggest ally and booster, Sergeant Koyama, a smart and soulful cop in one breath and a typical posturing “you got a problem, rook?!” type the next. On the other side of the law, OG Smokey (Lobo Sebastian) isn’t especially complex, but Sebastian gives him a great mix of easy cool and menace.
While Larracuente gives Diaz some depth, he gets the short end of the stick in terms of characterization. The third time the rookie picks a fight with Harmon over her possible department pariah status, the frustration is undeniable. Hot-headedness, ambivalence, and politically motivated two-facedness can all be compelling and understandable facets of a character. Sadly, in practice, Diaz feels indecisive and, well, annoying. Hate your commanding officer or love her. Just stop with the almost childish waffling, sir. The writing takes what could be genuinely compelling “Who do you trust?” and “How do you work in law enforcement and honor your neighborhood/cultural roots?” questions and flattens them to bland, whiny seesawing.
Regardless of the mixed bag of characterization, the acting is strong enough to produce several compelling moments. Diaz and Harmon, who have their own sibling issues, reacting to a 20-something’s concern aboiut his sister is a great bit of subtle panic for both Bellisario and Larracuente. A discussion of loyalty and support between Harmon and her superior Lt. Bishop (Lori Loughlin, lowkey giving a Dick Wolf series its best gag since they decided to cast the singer behind “Cop Killer” as a seasoned detective) is another. However, these moments are fleeting and almost entirely separate from the actual police work the show is primarily interested in.
The most interesting thing about On Call is something the show backs into in a way that suggests a certain lack of awareness. Most of the cops seem animated by a baseline distaste for the people they must serve and protect. One cop refers to a group of civilians going about their day as unaware of what another officer did to protect them. A not especially trenchant assessment, perhaps, but the tone suggests the citizens weren’t just unaware but unappreciative. Grousing about why cops these days can’t be more physical with not just suspects but anyone comes up multiple times. Sometimes, another character pushes back against such arguments, but often, no one does. Add in a scene where, seemingly an entire neighborhood films a severely injured person without helping them. It becomes very muddy which argument On Call truly agrees with.
None of it is enough to beat the charge I mentioned above, though. In the end, On Call is just another cop show.
On Call walks the beat on Prime Video starting January 9.