The final, 10th episode of Countdown, which Amazon provided for critics’ review, is puzzlingly poor – a procession of anticlimaxes and implausible decisions that seem deaf to any sense of tone across the board. I was certain it would introduce an unexpected twist as what I believed to be the season finale.
Could it be possible that the protagonists in this TV show resembling the series “24” but not as good, which might have aired on TNT around 2007, were actually supernatural entities such as ghosts, aliens, or advanced artificial intelligence struggling within a politically barren imitation of modern-day Los Angeles? Was there a chance that the surprising revelation would be that this fast-paced drama without any real deadlines was unfolding in the imagination of a young child who lacked a sophisticated grasp of human behavior? Or maybe it was all happening inside the mind of a large, unknowing manatee with no comprehension of human behavior?
Alas, no.
It turns out that the 10th episode of Countdown was not the end of the first season as we thought; there are actually three more episodes left unsent to critics. One of these remaining episodes might have used one of the twists I had predicted, but unfortunately, I’ll never find out.
Essentially, if Amazon had only shown critics up until the eighth episode of ‘Countdown’, which ended on a rather silly resolution after a cliffhanger, my review might have been mildly positive but not overtly negative. Until then, ‘Countdown’ was ordinary and predictably conservative, but not excessively so. However, it managed to reignite my admiration for the tight pacing of even lesser-known shows like ’24’. I never found myself bored, and I was ready to acknowledge its skillful use of diverse Los Angeles locations. Yet, I couldn’t overlook how foolish the ninth episode was, and the 10th episode became increasingly worse and more peculiar.
For certain viewers, the series “Countdown” will undoubtedly be a must-watch. With its stellar cast members like Jensen Ackles, it could almost be renamed “Prior Viewing on Amazon Before the New Seasons of Reacher, Alex Cross, The Terminal List, and the Following Bosch Spinoff Debut.” This is because, as I previously mentioned, the title “Countdown” doesn’t actually refer to any counting down in the series itself.
Originating entirely from the creative mind of Derek Haas, famed writer of “One Chicago”, the series titled “Countdown” opens intriguingly as a popular TV personality stumbles upon an enigmatic discovery at the Los Angeles Port. This sets off a high-speed chase through Downtown L.A., involving a character from the Department of Homeland Security who sadly meets an untimely end. This tragic incident sparks two crucial questions: Who was responsible for this sudden demise, and what secret did he uncover that made him a target for elimination?
The team assembled by Nathan Blythe (Eric Dane), a seasoned law enforcement and task force member, consists of individuals with unique backgrounds. Meachum (Ackles) is an LAPD officer fresh from nine months undercover at a Palmdale prison, potentially concealing something. Oliveras (Jessica Camacho) has experience with the DEA, having worked undercover with various cartels, possibly harboring a secret. Bell (Elliot Knight) is an expert in FBI counterterrorism, and Shepherd (Violett Beane) specializes in FBI cyber-investigations. Neither of them seem to have secrets. Finau (Uli Latukefu), a veteran LAPD officer with 18 years of experience in gangs and narcotics, initially seems to have a history of police violence, but this aspect is not further discussed. Lastly, there’s Drew (Jonathan Togo) from Homeland Security, who has one defined character trait and no secrets to hide.
Inside the initial episode, it’s revealed that the season-opening homicide was tied to a certain amount of nuclear material being shipped through the harbor. This stockpile could potentially transform Los Angeles into a city resembling Hiroshima or Chernobyl, as one character suggests, although the situations aren’t truly comparable.
In the second episode, we discover that the mastermind of the plot is Boris (Bogdan Yasinski), a pretentious Belarusian tycoon harboring an ambiguous grudge seemingly designed for television. Shows such as 24 and Homeland have taken pride in their thorough research to craft villains who seemed to keep their finger on the pulse of global politics. Boris, however, seems to be a character intentionally distanced from any semblance of geopolitical relevance. Throughout the series, I failed to find him menacing, engaging, or convincingly portrayed.
For approximately eight hours, Blythe and his team traverse Los Angeles, pursuing leads that Shepherd usually uncovers from various databases. They visit almost every district within Los Angeles County and its surroundings, with a large caption informing us about their current location – whether it’s Inglewood, Culver City, Pacoima, High Desert, and so forth.
I greatly admire the city, as it seems that the show “Countdown” portrays scenes filmed in various districts they mention, sometimes even managing to convey the unique charm of those areas. At times, these neighborhood mentions and references to local highways make “Countdown” feel like an action-thriller spin on the Saturday Night Live sketch “The Californians,” which might have been a more fitting title than “Countdown.”
The city is highly commendable, as the show “Countdown” gives off the impression of filming in numerous districts they mention, even capturing glimpses of the character of those areas. Sometimes, these neighborhood references and mentions of local highways transform “Countdown” into an action-thriller version similar to the Saturday Night Live sketch “The Californians,” which could have served as a more suitable title than “Countdown.
In the TV series called “Countdown”, it’s made clear from the start that someone in Los Angeles has the potential to create a nuclear weapon capable of destroying the city. However, the exact location and the precise timing of this potential threat remain unknown. Despite the use of a ticking clock sound effect throughout the show, the lack of specific details about when the attack might occur undermines the sense of urgency that such a sound should convey. The creators, Haas and the team of experienced directors, seem to think that simply suggesting a dangerous situation is enough to build tension among viewers, but this approach falls short in creating a truly suspenseful experience.
In contrast to what you might expect from a show about saving lives, the characters in this series don’t appear to feel any urgency or intensity. Instead, they seem to be casually navigating Los Angeles, almost as if they were Uber drivers armed to the teeth, or like they’re playing a game of “Where in L.A. Is Carmen Sandiego?” I can’t give you specifics about how much time passes during the first season, nor can I make sense of an episode where, with the imminent threat of a nuclear attack, two characters engage in a prolonged discussion over whether to get a birthday cake or cupcakes. It’s equally puzzling why, when one character is injured severely, the entire task force would gather in a hospital waiting room looking dejected, rather than continuing their mission to save Los Angeles from a nuclear attack.
To cater to viewers who may be multitasking or using multiple screens, the series employs a repetitive strategy in delivering information. This is becoming increasingly common on TV, but it’s particularly noticeable in Amazon shows. For instance, a significant portion of Blythe’s dialogue involves giving different characters instructions to go to various locations, such as: “I believe Boris is in Azusa!” or “Oliveras, you and Meachum should head to Azusa!” Followed by a title card reading “AZUSA” and then a line like “Is this really Azusa?”
In essence, the show’s narrative flow often goes: “I suspect Boris is in Azusa!” —> “Oliveras, you and Meachum should go to Azusa!” —> “Title Card: Azusa” —> “So, is this actually Azusa?” This repetitive structure serves to keep viewers who might be distracted up-to-date with the story’s progression.
The characters aren’t particularly intriguing overall, but they manage their roles competently. Dane projects a gruff yet commendable air of authority in each command. Ackles, known for his charming wit during over 300 episodes on Supernatural, impressively manages to elicit sympathy for a character who, upon reflection, appears more narcissistic than heroic. There’s an explosive chemistry between Ackles and Camacho that the show tends to favor, often overshadowing Beane, Latukefu, and Knight, making them seem less significant members of the cast. They are, however, superior to Merrick McCartha’s stereotypical LA DA Valwell, who consistently creates problems for our team as a flat, antagonistic character.
For parts of the show, there’s a robust feel to its direction, often combining chase scenes with songs from punk or heavy metal bands. I may not be completely emotionally numb, but I still find a thrill in a chase scene accompanied by Motorhead’s “Ace of Spades.” While there’s nothing groundbreaking about the visual style, it’s generally tight and sometimes even suspenseful. However, shows like Southland have handled similar themes more effectively.
The latest two episodes I’ve watched haven’t been engaging or suspenseful; instead, they were dull and illogical. They seemed lacking in intelligence, and although a plot twist might have smoothed over the sudden collapse of events, I’m not confident it would have salvaged Countdown. The direction things took after the tenth episode is not one I’m eager to follow.
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2025-06-25 05:55