The Equalizer (2021) s02e13 – D.W.B.

Tory Kittles gets his most significant episode of the season (if not the show), but with several caveats. First, it’s a Black trauma episode. Kittles—with his two sons—is somewhere in not-New York City New York, and a couple sheriffs’ deputies assume he’s a suspect. When he asserts his rights, the senior officer (Lee Tergesen, leaning into his typecasting as a racist piece of shit) attacks him, knocking him unconscious. Once the other, less overtly shitty cop (Brandon Espinoza) confirms Kittles is a cop… they put him in the back of their car and drive him out somewhere to kill him instead of calling an ambulance.

Because all of a sudden, “The Equalizer” really wants to be realistic.

The other big caveat for it being a Kittles-centric episode is it being, one way or another, a major change for the character and potentially the show. We finally meet his ex-wife, Tawny Cypress, who’s initially confused why her sons called Queen Latifah for help before her, and then we get some backstory on Kittles. Including how Cypress always wanted to tell her kids about racist white cops, but cop Kittles wouldn’t let her. The episode speeds through that aspect of the story, letting the detail inform Kittles’s arc but not Cypress’s or the kids’.

The last caveat has to do with Kittles and Latifah’s chemistry. The show leans into it more than ever, but also without there being much weight behind it. Kittles has multiple flashback hallucinations in the episode, including returning guest star dad Danny Johnson either getting CGI de-aged (or de-aging make-up just looks like CGI now) and Kittles occasionally playing himself as a child. It’s kind of an acting showcase for Kittles, really. Just a horrific Black trauma one.

Because even though the show couches the racism a little bit, it’s only a little bit. The small-town cops are sympathetic to being murderers; the only non-overt racist the show introduces in the small-town is Dennis Boutsikaris, who plays a judge. Boutsikaris knows New York D.A. Jennifer Ferrin, who helps Latifah look for Kittles. The New York City cops can’t act because small-town racist sheriff Michael Pemberton tells them everything’s fine, so Ferrin and Latifah have to independently investigate.

While keeping the investigation limited makes it easier for the episode plotting—Adam Goldberg and Liza Lapira don’t get much to do here, and Laya DeLeon Hayes and Lorraine Toussaint don’t even appear–it also comes across like Kittles’s brothers and sisters in blue do not give a shit if Black cops are murdered by white ones.

Again, “Equalizer”’s picking one heck of a story to go for realism on.

Tergesen shows up before the opening titles, but then Boutsikaris and Ron Canada’s names show up, so it’s obviously going to be a big guest star episode. Canada has a great scene; sadly, all Black trauma stuff.

The show’s been having a rough time this season with Kittles as a Black cop and somehow decided the best way to resolve it was an exploitation picture from the seventies. Kittles does a great job. The main racist white cops are good too—Tergesen, Pemberton; a weird compliment.

Latifah simultaneously gets a lot to do but also not very much.

It’s a harrowing episode, start to finish.

The Dream Team (1989, Howard Zieff)

I’d forgotten how loud comedies could get. Maybe I haven’t seen enough eighties comedies lately, because watching The Dream Team, I kept wondering how I’d never noticed the music in the film before. I saw The Dream Team back on video, probably in 1990–Michael Keaton as Batman might not have been box office dollars, but I’m sure I wasn’t the only kid who rented his movies thanks to the role. I probably haven’t seen it in ten plus years, but I’ve always had a soft spot for the film.

It’s hard not to have one, however, since The Dream Team is so nice. Even the dirty, murderous cops are kind of nice (to a point). The Dream Team takes place in a pseudo-reality but isn’t set there, which makes for an odd experience at times. So much of the film is effortless, I don’t think–besides that tone–I ever noticed the direction once, or even the writing, past some issues with the story structure. It’s a benign experience–one with audible laughs, but it’s so mild an exercise, I almost think there should be a genre called the “Imagine Entertainment Comedy.” They could get a trademark for it and everything.

The comedic acting from Michael Keaton, Peter Boyle, Stephen Furst, and even Christopher Lloyd is all great. I was most surprised at Lloyd, only because I’m used to him being so bad. Boyle’s absolutely fantastic and has most of the film’s best lines. Dennis Boutsikaris leaves an impression because he seems like he should have done more–high profile roles–but has not. Lorraine Bracco’s in it too and it was funny I had to think about her original Hollywood film career and how it disappeared so quickly. On the other hand, it reminded me how good at comedy Keaton is….

The Dream Team is actually something of a relic–not just of when comedies used to not be so bad, but when studios still somehow made uninteresting projects interesting, either through casting or production. It’s just worth seeing for the performances.

2/4★★

CREDITS

Directed by Howard Zieff; written by Jon Connolly and David Loucka; director of photography, Adam Holender; edited by C. Timothy O’Meara; music by David McHugh; production designer, Todd Hallowell; produced by Christopher W. Knight; released by Universal Pictures.

Starring Michael Keaton (Billy Caulfield), Christopher Lloyd (Henry Sikorsky), Peter Boyle (Jack McDermott), Stephen Furst (Albert Ianuzzi), Dennis Boutsikaris (Dr. Weitzman), Lorraine Bracco (Riley), Milo O’Shea (Dr. Newald), Philip Bosco (O’Malley) and James Remar (Gianelli).


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