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COPS L.A.C.

While the detectives tackle the big crimes, the uniforms handle the petty thieves at Seaview Local Command, the home of Nine's newest cop family.

Detective Samantha Cooper (Kate Ritchie) sure picked the wrong day to be wearing a skirt.

While she’s doing her best crimebusting as part of Seaview Local Command, some of her male colleagues seem a lot more distracted by her attire.

In the middle of an investigation where two cars collided and one man has died there’s a gratuitious shot of Kate Ritchie’s behind, as observed by her partner, Det. Snr Const. Rhy Llewellyn (Martin Dingle Wall).

“Nice view,” says Rhys.

“Are you a meathead all of the time, or just at work?” asks Cooper.

Later on Det. Snr. Cons. Matt Hilton (Damian De Montemas) checks her out too.

“I knew I should have worn pants today,” she sighs.

Can’t argue with that. But as Vanessa Gray on The Strip or Anna Hutchison on Underbelly could have told her, Channel Nine dramas prefer a bit of skirt (or less) at least somewhere on the screen. In shows like Rescue Special Ops it’s surprising anyone can keep their eye on the job.

Seaview Local Command is an inner Sydney, coastal cop station with a contemporary design and a boss in the form of Superintendant Jack Finch (Gary Sweet). He’s a swaggering superior in a smooth suit who leaves Inspector Dianne Pappas (Denise Roberts) and Snr. Sgt. Graham Sinclair (Roy Billing) to manage the station and staff under his command.

On the lowest rung is newcomer Probationary Constable Priscilla Smith (Kelly Paterniti) who kicks off the episode chasing a petty crim through the suburban streets. Smith is pretty green at her job and this hits home when she sees the driver of the car burnt alive following the show’s biggest car-crash stunt.

She also has trouble following police procedure.

“You’re a proessional police officer now. You don’t get out of that truck without a hat,” barks the streetwise Sinclair.

When Cooper and Llewellyn discover the crash may have actually been a homicide, they embark on a mystery that forms the show’s major plot. Strangely enough, nobody brings in the Homicide Squad.

Thus Seaview Local Command sets about spanning the big crime cases via its detectives, while the uniforms handle streetcrime and protecting the community. There are hints of more worthy drama contrasted with lighter moments.

The first episode, ‘The Learning Curve’ by writer Tim Pye, also includes Peter Overton reading the News on a TV screen, a sailor with a dodgy US accent, a customary car chase, a wayward fart, and a staff BBQ. The show seeks to establish an extended family of cops which has proven so successful for long-running dramas such as Blue Heelers and Cop Shop. Character actor Roy Billing as the crusty Snr. Sgt. Graham Sinclair is the most successful at establishing this, but Ritchie also rises above the material.

One goofy cop splashed with a milk shake by a member of the public early in the piece wears the same stained shirt through the remainder of the episode. It is at odds with an earlier reprimand of a constable not wearing her hat.

COPS L.A.C. also follows both City Homicide and Rush in comprising part of a ‘State Police’ rather than being in conjunction with NSW Police. This affords it the ability to steer from spotless cops, a benefit that is well utilised in one of the best moments in the final sequence.

The show opens with glossy credits and a rock track theme before closing with a classic Aussie rock theme to bookend its first episode.

As an in-house production COPS L.A.C. is more accomplished than Canal Road, but that isn’t necessarily saying a lot. With all the uniforms dominating our landscape it is surprising Nine didn’t opt for an adult melodrama to complement its stable of Rescue Special Ops, Sea Patrol and Underbelly.

In a top-heavy genre such as Police drama, COPS L.A.C. will have to prove itself if it is to rise above the pack.

COPS L.A.C. premieres 8:30pm Thursday September 2nd on Nine.

32 Responses

  1. I’ve tried to tune in weekly, but can never get past the first 5 minutes. LAC is truly awful viewing, diabolical script writing and dreadful casting. That Dingwall character has the worst lines I’ve ever heard on TV. Get it off!!!!

  2. I just want to know, do those cars (or trucks as they called them) resemble any police sedans in NSW or any part of Australia?

    I’ll just record this one in the hope it gets better!

  3. A true low point for Aussie drama this year – everybody involved phoned this one in, from the title to the writing to the performances nothing about Cops L.A.C is trying very hard.

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