Bosch is based on the books by Michael Connelly, who is on board with the show. 
 Connelly mentioned it on his last appearance with Scottish Conan Guy.

http://www.michaelconnelly.com/bosch-tv/


David



________________________________
 From: Steve Timko <[email protected]>
To: [email protected] 
Sent: Friday, February 14, 2014 11:34 AM
Subject: [TV orNotTV] Three quick Amazon pilot reviews: "Mozart in the Jungle," 
"Bosch" and "The After"
 


I’ve seen three Amazon pilots this last week and can recommend two. 
The one I liked most was the one I almost didn’t watch, “Mozart in the Jungle.” 
I know little about classical music even though I do listen to some (Alison 
Balsom due to her Letterman appearance, some others). Mainly I think I watched 
it because Jason Schwartzman has such a good track record. There’s much to 
recommend about it. It’s smart and it’s funny. It’s the new “30 Rock” set among 
the oboes and stand up basses. A nice smattering of sex from hot babes doesn’t 
hurt, either. The basic plot is that one conductor, played by Malcolm McDowell, 
is leaving while a new conductor, with ideas like playing certain songs in a 
darkened concert hall,  is taking over. Characters play a drinking game where 
they spin the bottle and where it points dictates how many shots they drink and 
what music theme they play. It’s a half hour long and it flew by. I’m looking 
forward to the next episode.
A second pilot that seems promising but didn’t deliver quite as much is 
“Bosch.” It is about a Los Angeles detective, a play-by-his-own-rules kind of 
guy. The plot has two threads. Harry Bosch is in a federal civil trial for a 
wrongful death lawsuit. And he is keeps his hands dirty with real detective 
cases. I like the way they are telling the story. There’s enough ambiguity to 
keep it interesting, rather than the typical broadcast network strategy of 
wrapping everything up in a tidy bow by the end of the hour. I liked the first 
episode, but it didn’t wow me. There seems to be promise here, so I’m willing 
to follow it.
The third episode is “The After” by Chris Carter. It’s “X Files” meets “Lost.” 
A group of people end up together in a post-Apocalyptic Los Angeles. The nature 
of the Apocalypse is vague. I think Chris Carter is a talented guy. I started 
watching “X Files” just before it jumped the shark and continued through all 
those years where he or the show’s writers were just pulling stuff out of their 
butts and the plot made no sense. It was because of my experience with “X 
Files” I refused to watch “Lost.” I was vaguely familiar with the plot and 
watched the “Lost” finale and I think I made the right decision. 
About three quarters of the way through “The After” I had enough and was ready 
to stop. But I knew I was writing reviews about “Mozart in the Jungle” and 
“Bosch” and decided to stick it out to the end. I have a friend who is really 
into survivalist stuff and “The After” seems to be tapping that vein of 
fantasy. It shows a city where even police have lost authority. Electricity 
doesn’t work. Water doesn’t flow. The pilot uses basic horror movie clichés. 
Just a tired script. There was one interesting CGI scene but the final scene 
seemed low budget CGI. If people like it after the first season of episodes 
airs, I’ll watch it. To quote Chekov (“Star Trek,” not the playwright) “Fool me 
once, shame on you. Fool me twice, shame on me.” Actually, I guess Chekov just 
acknowledges that quote and doesn’t say it.
One side note: These groups of shows have advertisements at the beginning, 
something I hadn’t noticed before on Amazon streaming movies. They’re all Geico 
ads and they’re Geico ads from a year or two ago. They’re not the annoying 
Geico ads showing up now on Hulu and the Comedy Central streaming shows.



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