CBS’ Watson may remind some viewers of Max’s The Pitt, another Pittsburgh-based series airing this month, which centers on a doctor grappling with the loss of his closest friend and mentor.
Some viewers might also see parallels with Fox’s recent Doc. Both series share a unique premise: a doctor suffering from a traumatic brain injury returns to work at a hospital run by their former partner, with whom they’re still romantically entangled.
The Bottom Line
Uncertain and lacking direction.
Airdate: 10 p.m. ET Sunday, Jan. 26 (CBS)
Cast: Morris Chestnut, Eve Harlow, Peter Mark Kendall, Ritchie Coster, Inga Schlingmann, Rochelle Aytes
Creator: Craig Sweeny
Looking back, viewers might also notice the striking resemblance to Fox’s House, a groundbreaking medical drama that drew inspiration from Sherlock Holmes and followed a brilliant but unconventional doctor and his team of young, attractive protégés as they solve complex medical cases.
However, in its initial five episodes, Watson fails to establish a distinct identity for itself. Despite a whimsically absurd premise and occasional narrative surprises, the initial episodes reveal a series that is struggling to find its unique voice, rather than confidently charting its own course.
Contrary to expectation, the show focuses not on the celebrated detective Sherlock Holmes, but on his loyal companion, John Watson (Morris Chestnut). Yet, this John Watson mirrors Sherlock Holmes in many ways: he’s a bit aloof but ultimately empathetic, principled yet infuriatingly obstinate, and so evidently brilliant that others constantly acknowledge his genius. Creator Craig Sweeny (known for Elementary, CBS’ more successful modern Sherlock Holmes adaptation) makes the comparison explicit. “You could say you’re my Sherlock now,” quips Shinwell (Ritchie Coster), the typical Cockney-accented tough guy who used to assist Sherlock and now aids Watson.
The show begins with Sherlock’s apparent demise during a foot chase involving him, Watson, and their elusive enemy Moriarty. Watson, the only confirmed survivor, seizes the chance to return to his primary passion, medicine. Using the funds left by his former mentor, Watson opens a new clinic specializing in genetics and rare diseases, all under the watchful eyes of Mary (Rochelle Aytes), his estranged wife.
However, Watson is continually haunted by vague recollections of Moriarty who, unbeknownst to him, is still alive and actively plotting against him. Moriarty’s unexpected appearance at the end of the premiere episode is the first sign that Watson might be unsure of its identity as a show. The surprise casting, which I’m not at liberty to disclose, seems hilariously misplaced. The role feels more suited for a stranger, perhaps funnier show than the light-hearted yet mostly serious drama we’ve seen so far. I should mention, however, that this character has not reappeared since.
The cast that we do get to know leaves a muted impression. Watson’s team includes identical twins Adam and Stephens, both played by Peter Mark Kendall. While his portrayal of the athletic and outgoing Adam is satisfactory, his exaggerated portrayal of the introverted Stephens is disturbing. The real cold-hearted character is Ingrid (Eve Harlow), a compulsive liar and ruthless manipulator, but the show already seems to be softening her character by the fourth or fifth episode.
The designated nice character is Sasha (Inga Schlingmann), a Chinese adoptee who became a Texan sweetheart. She, along with the others, believes that Watson selected her as a “living test of nature versus nurture.” An intriguing theory, but it is not further explored after the initial episode.
As for Watson himself, the series invests considerable effort in unraveling his backstory, which he recounts to three different patients over the first three episodes. However, less attention is given to defining his personality. At times, we’re meant to find his prickliness, recklessness, or jealousy charming. At other times, these traits are meant to be alarming. The difference is discernible only when others express concern about his change in behavior, not because we’re familiar enough with him to understand what is or isn’t normal for him. Despite this, Morris Chestnut’s blandly likable portrayal might actually be a disadvantage. Both his performance and the script aim to make Watson likable, not comprehensible.
Consequently, Watson portrays most of its protagonist’s actions as heroic, sometimes to a disconcerting degree. The show, inspired by Sherlock Holmes, features complex medical mysteries. One particularly amusing case involves a Revolutionary War reenactor who, after a head injury, comes to believe that he is the Scottish general he’s been impersonating. However, the show frequently portrays Watson as a moral crusader, even when he oversteps clear boundaries, such as when he administers an experimental, and undoubtedly illegal, treatment to cure a chronic disease.
Watson argues that the real immorality lies in allowing “patent law,” “red tape,” and “lack of clinical trials” to prevent alleviating someone’s suffering. While this argument may be valid, Watson’s audacious approach suggests a psychological profile befitting a season of Dr. Death. However, given that Watson takes place in a charmingly simplistic universe where a sternly worded letter can overturn a longstanding conviction on behalf of a patient’s family member, the likelihood of anything going horribly wrong seems slim.
Watson seems to fluctuate between being a fast-paced thriller, a heartwarming medical drama, a quirky mystery, or a critique of the failing medical system, without knowing how to merge these diverse objectives into a cohesive whole. The one certainty is that it aims to be a show that viewers watch for the satisfaction of seeing a smart, noble man solve puzzles and save the day, rather than for any gritty realism. This form of escapism can be enjoyable. However, it tends to work better when the world we’re escaping to is consistently more engaging than the one we’re leaving.
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