NYPD homicide detective Raimy Sullivan (Peyton List, Blood & Oil) has built a whole career out of trying to prove she's nothing like her father Frank (Riley Smith, Nashville), murdered by his cohorts two decades earlier after going rogue on an undercover assignment.īut when her late father's old ham radio set crackles to life during an electrical storm, Raimy finds herself talking to pop across the years. In Frequency-based on the 2000 Randy Quaid film of the same name-all the temporal tampering is aimed at a single event: a 20-year-old cop killing.
The literal part of the week's temporal excursions takes part in NBC's Timeless and The CW's Frequency, in which characters flit around from decade to decade, trying to debug the past. As William Faulkner might have said if he'd had any Nielsen smarts, the past is never dead, it's not even in reruns yet. If that didn't call for a "Have you no decency, sir?" moment…Īnyway, I wonder what the folks at the Bulletin would have made of television this week, which is mostly one long orgy of time travel, both literal and metaphorical. A congressional investigation of time-travel shows wasn't probably warranted until 1992, when the characters of NBC's Qauntum Leap jumped back to the 1950s to put the idea of real estate into the head of a 12-year-old Donald Trump. While I certainly share the conventional civic wisdom that TV critics should have subpoena power, not to mention droit du seigneur, I believe the Bulletin was a little bit ahead of the curve. Ross and Imogene Coca, the old Philadelphia Bulletin was so unhinged that it called for congressional hearings.
In 1966, when CBS unveiled a show called It's About Time in which a pair of astronauts pierce the space-time continuum and discover that the human race is descended from a couple of cavemen played by Joe E.
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