THE STORY – “Scarpetta” brings Patricia Cornwell’s iconic literary character to life in a gripping series starring Nicole Kidman as “Dr. Kay Scarpetta.” With skilled hands and an unnerving eye, this unrelenting medical examiner is determined to serve as the voice of the victims, unmask a serial killer, and prove that her career-making case from 28 years prior isn’t also her undoing. Set against the backdrop of modern forensic investigation, the series delves beyond the crime scene to explore the psychological complexities of both perpetrators and investigators, creating a multi-layered thriller that examines the toll of pursuing justice at all costs.
THE CAST – Nicole Kidman, Jamie Lee Curtis, Bobby Cannavale, Simon Baker, Ariana DeBose, Rosy McEwen, Amanda Righetti, Jake Cannavale & Hunter Parrish
THE TEAM – Liz Sarnoff (Showrunner & Creator) & David Gordon Green (Director)
Creator Elizabeth Sarnoff couldn’t possibly have more source material to work with when adapting “Scarpetta”. Starting in 1990 with “Postmortem,” there have been 29 novels in Patricia Cornwell’s bestselling series about Chief Medical Examiner Kay Scarpetta and her team of investigators and forensic pathologists. Following a dual timeline, the show explores 1990s storylines while also featuring contemporary murder investigations with a buzzy cast. What culminates is a pretty standard crime procedural with fun (and some irritating) performances, best fit for network TV.
We’re introduced to Kay Scarpetta at two different points in her life. In the present day, Nicole Kidman plays the experienced yet newly re-sworn-in Chief Medical Examiner, back in her old role after an unexplained absence. She’s eager to hire someone she trusts, so she turns to her brother-in-law, Pete Marino (played by the extremely charismatic Bobby Cannavale), to join her investigative team. Surrounding her are her aggravating sister, Dorothy (with a very “in-your-face,” at times hyperbolic performance by Jamie Lee Curtis), and her grieving niece, Lucy (played by Ariana DeBose). Partnered with her longtime love, FBI profiler Benton Wesley (played by the charming Simon Baker), they’re all under the same roof, stepping on each other’s toes personally and professionally. When an old case comes back into focus, they all band together—and scheme behind each other’s backs—to solve it.
At present, there’s more mystery surrounding the characters and the crimes. It’s thirty years of cases, alliances, broken trust, and relationships with nuances and histories compelling enough to make the audience want to know more. The performances are a mixed bag of believable and charismatic—the highlight being Bobby Cannavale, who fulfills his commonly typecast character study of a rough-and-tumble cop with a soft side for his family. He plays well off Kidman, whose serious demeanor leaves little room for dimension or heart beyond her relationship with her niece. She’s protective and nurturing of Lucy, with DeBose capturing one of the most unhealthy portrayals of grief on television today. DeBose steps into a more melodramatic and less sad depiction of grief, and it raises more than a few eyebrows. What rarely works is Jamie Lee Curtis as Dorothy, Lucy’s formerly absent mother and Kay’s aggravating sister. For an actress as talented and experienced as Curtis, her attempts to bring depth and fodder come off as unhinged. It’s unclear whether that’s a choice made by Curtis or by the director of the first few episodes, David Gordon Green, but it doesn’t work and is more of a nuisance than a foil to Kidman’s Kay.
Going back 30 years, the story pivots to a young and eager Dr. Kay Scarpetta, played by Rosy McEwen. She’s serious, concentrated, and not here to make any friends. Her sister is mysteriously absent, so her unmarried days are spent caring for her young computer-savant niece on her own. She teams up with young investigator Pete Marino, this time played by Bobby Cannavale’s real-life son, Jake Cannavale, who’s just as suave, confident, and charming as his father’s portrayal of the same character. Kay and Pete are tasked with solving a serial killing, and quickly look to the most obvious suspect: the husband. It’s here where she’s introduced to her future husband, Benton Wesley (played by a southern charmer in Hunter Parrish), and they hit it off immediately. McEwen and the younger Cannavale don’t have nearly as much chemistry as their older counterparts do, as McEwen’s Kay is unforgiving and takes herself way too seriously. What results is an uneven yet simple crime drama, leaving viewers wanting more chemistry and more surprises in the flashback scenes.
The duality of the storytelling is a bit confusing, weaving in most of the secondary characters to build a strong backstory and history of our main protagonist’s relationships. The first few episodes are balanced at about a 50/50 split of the past and present, but the performances and cases of the ’90s aren’t as strong as those of the present day. There’s something to be said for watching all the stars you know in today’s timeline: Kidman, Curtis, Bobby Cannavale, Baker, and DeBose are all commanding presences in scenes together. The relatively unknown younger counterparts aren’t as engaging and aren’t propped up by a strong script or storytelling, making the viewing experience unbalanced throughout each episode. The script and (by extension) dialogue are flat, exposition-heavy, and delivered in an impersonal fashion. Besides Curtis, Kidman, and the Cannavales, it’s hard to convince that these characters really believe the words they’re saying. The soft coloring of the lenses to show older time periods isn’t necessary anymore and becomes a bit distracting. However, the production design and sets are engaging and harken back to a time many consider the golden age of television.
It’s these familiar beats that make “Scarpetta” akin to a network drama—standardized, a bit procedural, and unwilling to color outside the lines. The characters are a bit more fleshed out in the first few episodes, but the cases remain the main focus and follow familiar tropes that aren’t compelling enough to make it must-see TV. With so much source material, it’ll be interesting to see how Sarnoff adapts some or all of Cornwell’s books into the show, if given a chance. But for now, this series is too run-of-the-mill to make it compelling enough to watch.
THE GOOD – A sometimes-compelling crime drama with glitzy stars. The older/present-day characters are interesting, if not a bit exaggerated.
THE BAD – Nothing you haven’t seen before. The characters are a bit unrealistic and amped up for the drama. The script is boilerplate crime-drama, best left for the over-60 crowd on network television.
THE EMMY PROSPECTS – None
THE FINAL SCORE – 5/10
