Moloney

Moloney (Thurs. (19), 9-10 p.m., CBS) Filmed in Los Angeles by Predawn Prods., Three Putt Prods. and CBS Prods. in association with TriStar Television. Executive producers, Ron Bass, Stephen Kronish; co-executive producers, Clifton Campbell, Jane Rusconi; supervising producer, James Kramer; producer, Vahan Moosekian; director, Donna Deitch; writer, Stephen Kronish; camera, Victor Goss; editor, Bob Sinise; production designer, Brandy Alexander; sound, Mick Fowler; music, Russ Landau; casting, Robert J. Ulrich. Cast: Peter Strauss, Nestor Serrano, Wendell Pierce, Cherie Lunghi, Ashley Johnson, Antwon Tanner, Mark Rolston, Ken Steadman, Maurice McRae, Lillian Adams, Andrew Walker, Saxon Trainor, Michael Buchman Silver, Toran Caudell, Kelli McCarty, Holly Butler, Gino Montesinos, Joy Kilpatrick, Rich Cramer, Juanita Jennings, Chuck Sloan, John Perkins. Peter Strauss stars as a half-Irish, half-Jewish LAPD psychiatrist named Dr. Nick Moloney. Strauss limns the role with so much gusto that any initial skepticism evaporates he's the best thing the new CBS drama has going for it. Writer Stephen Kronish does a thorough job of introducing the title character. Moloney is divorced from a brainy, beautiful psychiatrist (Cherie Lunghi), adores his daughter (Ashley Johnson), lives in Venice, exercises like a fiend and scarfs junk food. He's clever, charming and principled. Talky preem, however, could use more action. Alleged hook is that he's both a counselor to cops and a cop himself. His oath as a doctor and his obligation to enforce the law collide when a patient (Mark Rolston) admits to killing a drug dealer. Confidentiality prevents him from blowing the whistle, but he makes sure justice is done. Strauss is convincing whether he's using moral persuasion or doing minor sleuthing. High point is how he artfully, humorously defuses a hostage situation. Buddies include a black assistant D.A. (Wendell Pierce), and a Latino police lieutenant (Nestor Serrano) who try to fix him up with dates and, in an unusual plot crinkle, are opening a restaurant together. Some of the dialogue is clever, but supporting characters get the leftovers.Director Donna Deitch engineers energetic perfs all around. Pierce and Serrano are fine, while Johnson is destined to overplay the sassy daughter. A lot transpires over a few days, and Deitch has to cram it in. Tech credits are adequate. John P. McCarthy

Moloney (Thurs. (19), 9-10 p.m., CBS) Filmed in Los Angeles by Predawn Prods., Three Putt Prods. and CBS Prods. in association with TriStar Television. Executive producers, Ron Bass, Stephen Kronish; co-executive producers, Clifton Campbell, Jane Rusconi; supervising producer, James Kramer; producer, Vahan Moosekian; director, Donna Deitch; writer, Stephen Kronish; camera, Victor Goss; editor, Bob Sinise; production designer, Brandy Alexander; sound, Mick Fowler; music, Russ Landau; casting, Robert J. Ulrich. Cast: Peter Strauss, Nestor Serrano, Wendell Pierce, Cherie Lunghi, Ashley Johnson, Antwon Tanner, Mark Rolston, Ken Steadman, Maurice McRae, Lillian Adams, Andrew Walker, Saxon Trainor, Michael Buchman Silver, Toran Caudell, Kelli McCarty, Holly Butler, Gino Montesinos, Joy Kilpatrick, Rich Cramer, Juanita Jennings, Chuck Sloan, John Perkins. Peter Strauss stars as a half-Irish, half-Jewish LAPD psychiatrist named Dr. Nick Moloney. Strauss limns the role with so much gusto that any initial skepticism evaporates he’s the best thing the new CBS drama has going for it. Writer Stephen Kronish does a thorough job of introducing the title character. Moloney is divorced from a brainy, beautiful psychiatrist (Cherie Lunghi), adores his daughter (Ashley Johnson), lives in Venice, exercises like a fiend and scarfs junk food. He’s clever, charming and principled. Talky preem, however, could use more action. Alleged hook is that he’s both a counselor to cops and a cop himself. His oath as a doctor and his obligation to enforce the law collide when a patient (Mark Rolston) admits to killing a drug dealer. Confidentiality prevents him from blowing the whistle, but he makes sure justice is done. Strauss is convincing whether he’s using moral persuasion or doing minor sleuthing. High point is how he artfully, humorously defuses a hostage situation. Buddies include a black assistant D.A. (Wendell Pierce), and a Latino police lieutenant (Nestor Serrano) who try to fix him up with dates and, in an unusual plot crinkle, are opening a restaurant together. Some of the dialogue is clever, but supporting characters get the leftovers.Director Donna Deitch engineers energetic perfs all around. Pierce and Serrano are fine, while Johnson is destined to overplay the sassy daughter. A lot transpires over a few days, and Deitch has to cram it in. Tech credits are adequate. John P. McCarthy

Moloney

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