The debut of “61st Street” immediately immerses viewers in a narrative that, unfortunately, mirrors realities both on television and in our world. This AMC drama, executive produced by Michael B. Jordan, unfolds over eight compelling episodes, meticulously charting the events before, during, and after a Chicago drug bust that tragically results in two deaths. These initial “61st Street” episodes set the stage for a complex exploration of justice and systemic issues.
Rufus (Kevin Tre’von Patterson), a young Black man deeply connected to his community, and Offer Mike Rossi (Patrick Mulvey), a police officer discreetly investigating corruption within his own precinct, are the two lives lost on this fateful day. While the police swiftly label Rufus’ death as a justifiable act of self-defense by an officer, they attribute Rossi’s death to Moses Johnson (Tosin Cole). Moses, a promising track star, was simply in the wrong place at the wrong time, attempting to escort his brother Joshua (Bentley Green) home. A chance encounter with Rossi led to a fatal accident, as the officer’s head collided with a protruding pipe. This sets the intense and dramatic tone for the “61st Street” episodes to follow.
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Within the limited timeframe of the pilot episode, Peter Moffat establishes the groundwork for the interwoven narratives that are about to unfold in “61st Street” episodes. However, this initial episode can feel as abrupt as Rossi’s sudden demise. Many characters, aside from Courtney B. Vance’s weary public defender, initially appear somewhat one-dimensional. Every dramatic beat is underscored with heavy-handed musical cues, and the entire episode seems to be filtered through a stylized, amber-toned lens. When Johnny (Mark O’Brien), the deceased officer’s partner, loses control, his aggressive confrontation with Joshua, punctuated by the line, “Look at me! You see a blue life that doesn’t matter, right?” feels forced. Moffat’s established credentials in the crime drama genre, with works like “The Night Of” and “Your Honor,” highlight his ongoing exploration of intricate crime stories and the pervasive influence of systemic prejudice on the pursuit of genuine justice. Yet, in these early “61st Street” episodes, his endeavor to narrate this story—named after the street where Rossi dies and Moses’ life is irrevocably altered—initially resembles a morality play, where characters embody the most stereotypical versions of their roles.
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However, beyond this initial setup presented in the first “61st Street” episodes, the series finds its footing. As writers like Allison Davis (“David Makes Man,” “The Underground Railroad”), Tolu Awosika, and Olumide Odebunmi delve deeper into the narrative, “61st Street” evolves into a more solid and compelling drama. The show also benefits significantly from AMC’s decision to commission two seasons upfront. This allows the series to develop its intricate storyline at a realistic pace, exploring its complexities in detail across multiple “61st Street” episodes.
Indeed, the initial “61st Street” episodes unfold over just a few days, focusing not only on Moses and Franklin (Vance) as they navigate their precarious situations, but also on Joshua and Johnny as they grapple with their respective losses. As Moses becomes entangled in the legal system, the show effectively illustrates the manipulative tactics of police chief Brannigan (Holt McCallany), who exploits every situation to his and his officers’ advantage. Significantly, and refreshingly, the series provides Moses’ mother, Norma, with substantial screen time, allowing her character to evolve beyond a background figure of grief. This opportunity enables actress Andrene Ward-Hammond to deliver a truly remarkable performance, a highlight of these “61st Street” episodes. Similarly, while Oscar nominee Aunjanue Ellis (“King Richard”) initially appears to be cast in the role of “Franklin’s wife,” her character quickly develops into an independent force, driving her own significant storyline throughout the “61st Street” episodes.
Once the immediate aftermath of the initial incident subsides, the show commendably maintains its sense of urgency. The escalating pressures of Moses’ diminishing hope, the increasingly perilous legal case, and Franklin’s grim cancer diagnosis converge to propel “61st Street” forward with palpable tension. While Vance’s performance in these initial “61st Street” episodes may not feature the explosive courtroom confrontations seen in some of his other roles—indeed, a formal courtroom scene is deferred until later in the season—he infuses his character with a profound gravity. This gravity underscores Franklin’s unwavering resolve to rectify the situation, regardless of the formidable obstacles ahead.
In its weaker moments, “61st Street,” particularly in its early “61st Street” episodes, may echo other works addressing similar themes. However, at its strongest, the show demonstrates patience, transcends superficiality, and trusts its talented cast to uncover nuances within characters that could have easily been reduced to mere tropes.
“61st Street” premiered Sunday, April 10 at 10 pm on AMC, with the first two episodes available for streaming on AMC Plus and ALLBLK.
