by Larry Schweikart
Given the astoundingly sudden collapse of several new television shows this season—most notably Jon Voight’s “Lone Star,” which unfortunately vanished quicker than you could chug a beer of the same name — 
This police drama features a talented ensemble cast of Tom Selleck as Francis Reagan, the current New York City Police Commissioner; Donnie Wahlberg as his son, detective Daniel Reagan, Bridget Moynahan as his daughter, Erin Reagan-Boyle, Will Estes as rookie officer Jamie Reagan, and Len Cariou as the great-grandfather and former police commissioner Henry Reagan. Also providing solid and convincing roles are Jennifer Esposito (“Jackie Curatola,” Danny Reagan’s partner); Amy Carlson (“Linda,” Danny’s wife), Sami Gayle (“Nicky,” Erin’s daughter), and Nicholas Turturro (Sgt. Anthony Renzulli,” Jamie’s training officer).
Wahlberg is believable and refreshing in any role he’s in, whether it’s Lieutenant Lipton in “Band of Brothers” or Duddits in “Dreamcatcher.” Selleck, though he tends to reprise his “Jesse Stone” character (without the alcoholism), is nevertheless always a joy to watch—probably even more so for the ladies. Esposito is at home as a cop, and Cariou looks like he could still wield a police baton.
What makes “Blue Bloods” work is a well-worn interchange of a weekly action plot combined with an almost Waltonesque family life, usually including a family dinner at least once per episode and sometimes more often. At these dinners, the true moral and messages of “Blue Bloods” emerges, and it ain’t typical Hollywood liberalism. A common dinner discussion frequently turns into a debate between the (somewhat) bleeding heart Erin and the street-tough Danny, with Henry playing the role of out-of-style, head-knockin’, old-fashioned cop and Selleck moderating.
Adding to family tensions, Dylan Moore (“Sydney Davenport,” Jamie’s fiancee) got engaged to an up-and-coming big-shot attorney when Jamie felt the call of the family profession and abandoned the well-heeled life of a corporate lawyer to dodge bullets and chase drug-dealers. More often than not, the conclusion is that police are hampered by overly-protective measures for defendants; that the mayor and other politicians care only about good news instead of real results, and that there was something to be said for the “good old days” of law enforcement.
A dark, subplot involves a secret police society called the “Blue Templar” that, Jamie is told when a pair of Internal Affairs cops try to recruit him, may have had a part in the death of his brother, Joe (also a policeman). But this has unfolded throughout the first season, and wisely the creative team has not jumped the shark with this story line. Moreover, because none of the family is caricatured, their infighting carries the mark of reality. More important, however, the series seems to avoid the modern temptation to “go dark” at every opportunity, both in terms of plot and camera work. The current obsession with scenes so dim that an screech owl would have difficulty spotting a caribou at thirty paces is becoming tiresome and has detracted from story.
One other endearing character to the series is the fact that even when the Reagans disagree, they all appreciate the special sacrifices and contributions made by cops. A recurring theme of justice being done graces this series, and is welcome in an age of “Brooklyn’s Finest,” where the only honorable and successful cop is the one who has just retired. And speaking of justice, if there is any, the producers will find a way to bring in Jon Voight as a special consultant to the NYPD.
