. These shows might be decidedly mid, but I do appreciate that the network isn’t just ordering up an endless array of cop dramas to fill its schedule . I respect that ABC is actually trying to find success with the kind of shows that were once TV staples. I think there’s an audience for it.
In some ways, “The Company You Keep” seems to be going after the same viewers who were drawn to “Stumptown” in 2019; ABC renewed the Cobie Smulders and Jake Johnson drama after its first season, only to reverse that decision. “Stumptown” had a few things going for it that are missing here: A defined sense of itself and the sexual tension threaded through it, along with a clearer idea of what each episode was aiming to accomplish.
That's a lot of characters. From left: William Fichtner, Sarah Wayne Callies, Polly Draper, Milo Ventimiglia, Felisha Terrell, Catherine Haena Kim, Tim Chiou, Freda Foh Shen and James Saito. It’s not that a show can’t do multiple things at once. But with “The Company You Keep,” the ratios are off. ABC sent out just two screeners, which isn’t much to go by. The pilot gets bogged down establishing the world of the series and probably isn’t a good example of things to come.
But hey, Ventimiglia looks good in a suit. “Get to stealing,” he’s instructed by the threatening femme fatale who is now his nemesis. There’s a zippiness to that line that’s undercut every time the show changes gears to become a relationship drama complicated by demanding families. William Fichtner and Polly Draper play Ventimiglia’s blue-collar parents who own a bar in Baltimore, and we’re meant to believe they can bluff through a con with the best of them.
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