Thrumming in the background of HBO’s many triumphs in the past five years has been the cabler’s desire to continue the particular, pitch-dark success of “True Detective.” First came two more season…
Thrumming in the background of HBO’s many triumphs in the past five years has been the cabler’s desire to continue the particular, pitch-dark success of “True Detective.” First came two more seasons of the Nic Pizzolatto anthology, ones that with varying degrees of artistic achievement both managed to continue that show’s general vibe of anguished toil, its sense that cracking a case does little to heal the broken soul of the world.
Both parents experience their time in the glare of doubt, and public interest in the case is inflamed by an Aimee Semple McPherson-esque charismatic preacher as well as by the seemingly endless appetite of the police to bring their public, and even Black officers within their force to heel. In this way, at least, “Perry Mason” feels ahead of its time.
Too much of this show, a punishing eight installments, feels like yet another iteration of what we’ve seen already, elsewhere and often superior. Rhys, so gifted at allowing sentiment and vulnerability to shine through on “The Americans,” here feels inhibited by the tautness of the social constraints around Mason, which are drawn painstakingly but not especially interestingly. The show combines a setting we’ve seen before .
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