After reading a half-dozen of the reviews convinced that a lot of folks who didn't like it were expecting a typical cop show. It isn't. May have been an experiment on Bruckheimer's part - turning cop show conventions on their head.
First there's the shows low-key tone: no screaming sirens, no melodramatic hooks, no heart-pounding chases or rescues. Chases and especially rescues do exist but, like all of the other expositional elements, they're portrayed in measured, deliberate and muted tones. Just like the "teams" response to each week's puzzle. All very quiet with just a hint of intensity and a clear demonstration that they care about their victims.
All elements that, except for the tone, Without a Trace shares with most cop shows. Just reversed.
Now here's the really radical departure - the show's focus is centered on what are usually the secondary characters: the victims and the lives surrounding them. In fact, most of the "team's" interactions are with the secondary characters.
Think about shows, very good shows, like Bones or Castle or Burn Notice or any one of dozens of cop shows: all centered on the "team" and it interactions. Victims, perps and puzzles exist mainly to highlight those interactions.
This is not a criticism. I love the shows mentioned.
My point is simply that Without a Trace reverses those conventions and does it very successfully. One one hand, enough time is spent on the team to humanize it; on the other, just enough emphasis on the victims and their stories to elevate them to the the primary focus.
Takes some getting used to but well worth the effort. Surprising, those few scenes dedicated to the "team", either as individuals or a whole, wind up describing a very rich set of personalities, though you might have to watch a lot of episodes to realize it.
Like all cop shows there there are problems with plot integrity and, with Without a Trace, the very premise: the FBI getting involved before the local cops and their 48-hour window. And like all cop shows, the inconsistencies and questionable plot lines are simply elements meant to invoke the suspension of disbelief. Nothing more.
If this was an experiment on Bruckheimer's part, seven seasons speak volumes to its success.
First there's the shows low-key tone: no screaming sirens, no melodramatic hooks, no heart-pounding chases or rescues. Chases and especially rescues do exist but, like all of the other expositional elements, they're portrayed in measured, deliberate and muted tones. Just like the "teams" response to each week's puzzle. All very quiet with just a hint of intensity and a clear demonstration that they care about their victims.
All elements that, except for the tone, Without a Trace shares with most cop shows. Just reversed.
Now here's the really radical departure - the show's focus is centered on what are usually the secondary characters: the victims and the lives surrounding them. In fact, most of the "team's" interactions are with the secondary characters.
Think about shows, very good shows, like Bones or Castle or Burn Notice or any one of dozens of cop shows: all centered on the "team" and it interactions. Victims, perps and puzzles exist mainly to highlight those interactions.
This is not a criticism. I love the shows mentioned.
My point is simply that Without a Trace reverses those conventions and does it very successfully. One one hand, enough time is spent on the team to humanize it; on the other, just enough emphasis on the victims and their stories to elevate them to the the primary focus.
Takes some getting used to but well worth the effort. Surprising, those few scenes dedicated to the "team", either as individuals or a whole, wind up describing a very rich set of personalities, though you might have to watch a lot of episodes to realize it.
Like all cop shows there there are problems with plot integrity and, with Without a Trace, the very premise: the FBI getting involved before the local cops and their 48-hour window. And like all cop shows, the inconsistencies and questionable plot lines are simply elements meant to invoke the suspension of disbelief. Nothing more.
If this was an experiment on Bruckheimer's part, seven seasons speak volumes to its success.