As a seasoned fan of medical dramas with a penchant for quirky geniuses, I must confess that my heart skips a beat whenever a new addition to the genre graces our screens. Yet, NBC’s “Brilliant Minds” has left me feeling like a John Doe patient after a marathon surgery – exhausted and in need of a good cup of coffee and some clarity.
At the onset of the new broadcast TV season, I eagerly welcome back my beloved TV character type – the reclusive genius who tackles perplexities in crime-solving, medical enigmas, and legal conundrums by occasionally squinting intensely or gazing thoughtfully into nothingness.
We recognize great shows in this genre immediately, and I’ll mention House quite a few times in this review. On the flip side, poor ones are often so similar that even after watching several or multiple episodes, it can be challenging to distinguish one from another for viewers who have been faithful watchers.
As a gamer, I’ve been keeping an eye on NBC’s latest hospital drama, “Brilliant Minds”. It’s not your average run-of-the-mill show, and it certainly doesn’t belong in the lower leagues. However, it seems like NBC is intentionally trying to drag this series into a foggy quagmire instead of helping it shine as the watchable, yet ordinary gem that it could be.
Everything begins with the title, distinct from the Academy Award-winning film “A Beautiful Mind,” the current HBO hit “My Brilliant Friend,” the latest offering on ABC, “High Potential,” or the long-forgotten flop “Pure Genius” on CBS. The title is unremarkable, replacing the previously peculiar “Dr. Wolf,” not to be confused with NBC’s “Wolf Life Me.” However, it did seem to hint at a medical drama where the lead character was a doctor during the day and a werewolf at night.
In contrast to the lighthearted and genre-blending elements found in “Brilliant Minds”, I personally find it more serious and engaging. Loosely based on the life and work of neurologist and author Oliver Sacks, this series centers around Dr. Oliver Wolf, who despite his name, is not a wolf but rather a brilliant TV character portrayed by Zachary Quinto. He exhibits genius-like traits, such as solving complex medical puzzles by intense focus or by gazing off into space, often triggering flashbacks.
The series titled “Brilliant Minds,” conceived by Michael Grassi, possesses a reliable and consistent engine powered by one to two cases presented weekly, along with one or two continuous mythology elements over the course of six episodes shared with critics. This show swiftly assembles an effective cast. At times, it embodies the type of slightly clever, infrequently intelligent hospital-based drama that might easily appeal to viewers – though a portion of its repeatable structure leaves room for confusion and dissatisfaction. Unfortunately, “Brilliant Minds” struggles whenever it strays from its familiar rhythm and tone.
The series begins with Oliver being fired from some job. Everybody agrees he’s exceptionally intelligent, but that he just can’t play by the rules. His med school chum Carol (Tamberla Perry) offers him a gig as head of neurology at Bronx General. It’s his last chance, but he’s hesitant for reasons that the show treats as a surprise, but won’t shock anybody once they’re revealed.
As a devoted fan, I find Oliver’s character quite unique. He harbors a deep affection for ferns, possesses an aversion towards technology, and once took a dip in the Hudson River (only during the pilot, never again). His past is dotted with complex relationships, particularly with his stern mother, Donna Murphy, and mentally unstable father, Gray Powell.
Prosopagnosia poses a challenge for Oliver when it comes to forming fresh connections, such as those with the four interns he supervises – Ericka (Ashleigh LaThrop), an enthusiastic and ambitious individual who admires Oliver; Jacob (Spence Moore II), a former college football star still clinging to his athletic past; Dana (Aury Krebs), who struggles with anxiety and frequently relies on popular culture references; and Van (Alex MacNicoll), who initially appears unremarkable, but later reveals an intriguing aspect. The complexity of Oliver’s new role is further increased by the presence of surgeon Josh (Teddy Sears), who criticizes Oliver’s approach, but shares a significant similarity with him – they are both gay.
The serialized elements of the series are surely its weakest. The slow unfolding of Oliver’s childhood flashbacks hasn’t revealed anything to justify this sort of elongation, while the dragged-out secrets tied to Van, Dana and Jacob have ranged from way too obvious to way too convenient. Speaking of “way too obvious,” Oliver’s treatment of a John Doe patient takes two or three hours to get to a diagnosis that I guarantee you anybody who has watched a medical show in the past 15 years will have gotten to long before our resident brilliant minds.
The flow of each episode seems a bit awkward. Often, the main storyline reaches its peak around two-thirds into the episode, leaving a prolonged denouement of more than 10 minutes. This approach works well when the audience’s emotional engagement is high from the start, but that isn’t always the case.
So far, the highlight of this series lies in its ability to engage both the mind and emotions. Essentially, it’s designed to tug at heartstrings, a fact evident from the opening scene of the premiere itself. In this scene, Oliver, a character played by the renowned André De Shields, abducts an Alzheimer’s patient. However, instead of a typical kidnapping scenario, he takes him to his granddaughter’s wedding. Here, the patient performs a song that sets off a cascade of emotions, and tears flow as freely as cheap champagne.
In a consistent manner, some of my preferred subsequent episodes share a pattern that leans towards suspenseful and manipulative narratives. For instance, one episode revolves around Steve Howey’s character as a biker grappling with a challenging surgical decision, while another centers on Samantha Hanratty’s character whose wedding night drug experimentation takes a turn for the worse. However, Brilliant Minds doesn’t limit itself to this genre. One installment is a political thriller that tries to convey an important message about veterans’ mental health, but unfortunately falls short in execution. Good intent, poor execution. Another episode features a plotline involving high school mean girls and an otherworldly twist, which on paper seems intriguing, but again fails to deliver. Interesting concept, disappointing outcome.
Quinto’s acting is characterized by a constant frown, yet he manages to extract humor from Oliver’s peculiarities, which I found amusing. His interactions with Perry, both of them often burdened with lengthy explanations about her prickly friend, are quite engaging. Moreover, the chemistry between Quinto and Sears in their will-they-won’t-they relationship, a rarity for same-sex pairs on television, is noteworthy. The interns, whose relationships with each other and Oliver echo the dynamic between Dr. House and his associates, all deliver solid performances, with Krebs and LaThrop particularly impressive.
For the show “Brilliant Minds” to stand out, it’s not just enough to present a perplexing brain puzzle and let well-defined characters engage with each other. It aspires to be diverse or eclectic, which aligns with Grassi’s varied background that includes “Degrassi,” “Wynonna Earp,” and multiple “Pretty Little Liars” spinoffs. While the ambition is commendable, the initial attempts have not been successful. The determining factor for whether “Brilliant Minds” becomes more memorable than its title and basic elements will be striking a balance between maintaining its aspirations and achieving greater consistency in future episodes.
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2024-09-20 16:55