The television landscape is replete with crime dramas, yet AMC’s “61st Street” steps into this arena with a narrative that, while familiar, immediately captivates. Executive produced by Michael B. Jordan, this series unfolds over eight compelling episodes, beginning with a pilot that throws viewers headfirst into the chaotic aftermath of a drug bust in Chicago. This pivotal incident results in the tragic deaths of two individuals: Rufus, a young Black teenager deeply embedded in his community, and Officer Mike Rossi, who, unbeknownst to his colleagues, was investigating corruption within his own precinct. The police quickly label Rufus’s death as justifiable self-defense, but the blame for Rossi’s death is unjustly pinned on Moses Johnson, a promising track star. Moses, merely trying to escort his brother Joshua home, finds himself at the wrong place at the wrong time. A chance encounter with Rossi leads to a fatal accident – Rossi striking his head on a pipe, resulting in instant death. This sets the stage for a gripping exploration of justice, race, and systemic issues, meticulously laid out from the very first of the 61st street episodes.
While the opening episode of “61st Street” efficiently establishes the complex web of narratives to come, it adopts a direct approach, mirroring the abruptness of Rossi’s demise. Beyond Courtney B. Vance’s portrayal of a weary public defender, many characters initially remain somewhat archetypal, serving primarily to advance the plot. Dramatic moments are punctuated with emphatic musical cues, and the episode is visually characterized by a pervasive amber filter, creating a distinct, if slightly stylized, atmosphere. In a particularly charged scene, Rossi’s partner, Johnny, confronts Joshua, demanding, “Look at me! You see a blue life that doesn’t matter, right?” This heavy-handed dialogue, while impactful, underscores the episode’s initial reliance on broad strokes to convey its themes. Peter Moffat, with a resume that includes acclaimed series like “The Night Of” and “Your Honor,” clearly brings his established interest in intricate crime narratives and the pervasive influence of systemic prejudice to “61st Street.” However, the introductory episode, named after the fateful avenue where Rossi dies and Moses’s life irrevocably changes, at first impression, feels somewhat like a morality play, with characters embodying rather predictable roles.
Doctor Who Alan Cumming However, the strength of “61st Street” emerges as the series progresses beyond its foundational setup. Subsequent episodes, penned by writers such as Allison Davis, Tolu Awosika, and Olumide Odebunmi, delve into richer, more nuanced territory. The fortunate decision by AMC to commission two seasons upfront allows the narrative to unfold deliberately, exploring the intricate layers of this story with ample time and depth. This extended format is crucial in allowing the complexities of the characters and the overarching plot to breathe and develop organically over the course of the 61st street episodes.
Indeed, the initial episodes of “61st Street” are notable for their tight pacing, with the first few installments encompassing just a couple of days. This compressed timeline effectively heightens the tension and immediacy of the unfolding events. The series meticulously tracks the journeys of Moses and Franklin as they navigate their precarious situations, alongside Joshua and Johnny as they grapple with their respective losses. As Moses is drawn into the legal system, the show starkly illustrates the manipulative tactics of Police Chief Brannigan, who consistently bends situations to favor himself and his officers. A significant and refreshing aspect of “61st Street” is its portrayal of Moses’s mother, Norma. The series provides Norma with substantial screen time, moving beyond the stereotypical portrayal of a grieving mother in the background. This allows actress Andrene Ward-Hammond to deliver a compelling and noteworthy performance, adding depth and emotional resonance to the narrative. Similarly, Aunjanue Ellis, initially appearing to embody the role of “Franklin’s wife,” quickly expands her character, carving out a significant and independent storyline.
Once the initial chaos subsides, “61st Street” commendably maintains its gripping sense of urgency. The escalating pressures on Moses, the increasingly perilous evolution of his legal case, and Franklin’s devastating cancer diagnosis converge to propel the narrative forward with palpable tension. While Courtney B. Vance’s performance in these initial episodes may not feature the same explosive courtroom confrontations seen in some of his other roles (a true courtroom scene doesn’t emerge until later in the season), he infuses Franklin with a profound gravitas. This understated yet powerful portrayal effectively conveys Franklin’s unwavering determination to seek justice, despite the formidable obstacles in his path. The subtle nuances Vance brings to his character are a highlight throughout these 61st street episodes.
In moments where “61st Street” falters, it occasionally echoes other works exploring similar themes of systemic injustice. However, at its strongest, the series distinguishes itself through its deliberate pacing, its willingness to transcend surface-level portrayals, and its trust in the cast to unearth the deeper complexities of characters who could easily have been reduced to mere tropes. The strength of “61st Street” lies in its commitment to nuanced storytelling and character development, ensuring that it becomes more than just another crime drama in a crowded genre.
“61st Street” premiered Sunday, April 10 at 10 pm on AMC, with the first two episodes available for streaming on AMC Plus and ALLBLK.
