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| Scene from Get Shorty |
Speaking as Hulu has recently won the Emmy for Best TV Drama, it only justifies the value of each network and outlet having their own TV series. While Get Shorty isn't Epix's first foray into this, it's probably one of their bigger gambles given the strong cast (Chris O'Dowd, Ray Romano) and rich source material based on both the eponymous Elmore Leonard novel and the later film. But how does a show stand out against every cable network drama out there? While Epix maybe doesn't have that formula worked out, it at least has an appealing show on their hands here, and one that carried plenty of laughs and drama in ways that, in the best sense, justified its existence. Get Shorty may not be the greatest reinvention of the meta comedy genre, but it's good enough.
It is tough to see O'Dowd as anything but a nice guy. It comes with his general Irish demeanor that makes everything he says feel like a warm hug. It's generally the appeal of Miles Daly: a hit man who takes on a job that starts off as a hit but slowly turns into a second career as a "script writer" with cohort Louis (Sean Bridgers) with apathetic B-Movie director Rick (Ray Romano). Leonard's novel suggested that there was a lot of similarities between crime and movies, and the show goes into intricate detail to explain what those elements are. There's deception, violence, shady deals, and rigged favors to get a movie made. By the end of season one, the two fields blur into a similar vein, creating an interesting conflict for Miles as he determines what is the right path to take.
The season centers around the production of a script that Miles and Louis stole in order to appease a criminal syndicate (ran by Lidia Porto's Amara). While it's interesting to satirize impulsive minds directing the shape of a silly period drama, it's got two stories of differing qualities that it's telling. Despite being necessary to later plot points, Amara's group of criminals feel like second-tier Breaking Bad villains who don't have much to do besides intimidate Miles into making a movie that they want. They have silly demands (get John Stamos!) that Miles tries to deliver on. However, he quickly learns that Hollywood is a collaborative town, and he can't make everything work. As more balls juggle in the air, it becomes more chaotic and Amara's plot is redeemed.
This is especially true during the final stretch when the movie is forced to shoot in the desert where Amara is hiding out. While the production has its own problems, such as egotistical actors, there's also concern with violence and potential deaths that weren't in the script. Part of the charm is seeing Miles try and keep everything from falling apart. This movie suddenly has become more important than the hit that he set out to do. O'Dowd does a great job in the role by balancing dark sarcasm with an empathy that suggests how much this means not only to him, but to his family. As a somewhat disgraced father, he's also trying to use this movie project to get in good graces with his daughter Emma (Carolyn Dodd). It all coalesces nicely despite being an anarchic run of egos trying to mold the picture in their image.
The show itself benefits from snappy writing that understands the complicated nature of Hollywood. It satirizes archetypes without creating cartoons, showing the professionals clashing with the young go-getters in ways that catapult each episode into a solid mix of interwoven complexity and an emotional core that drive's O'Dowd's character. By the end, everyone has had a few empathetic moments, but it's the redemption of Miles that makes it satisfying. He has made it in Hollywood by accident. So, now what does he do? Maybe season two will take a page from Be Cool. Who knows. Still, the show's only faults lie in being on a network that most people don't have subscriptions for. If they did, there's a good chance that they would like Get Shorty. It's a fresh take on a familiar movie-referencing style of comedy, and its cast is better than one would expect. Hopefully it's a show that will catch on through reruns and make people understand the nuanced brilliance of O'Dowd and Romano's performances. If not, it's destined for an interesting cult show status.
Overall Rating: 3.5 out of 5
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