Maggie Q is back in action as the eponymous Renée Ballard in Prime Video’s Ballard, a spin-off of the successful Bosch: Legacy series and based on Michael Connelly Bosch novels (which were themselves adapted into a hit show). The series follows Ballard shortly after taking charge of the LAPD’s Cold Case Unit and assembling a team of volunteers to assist with her investigations, primarily of two season-long cases: the execution of a John Doe from five years prior and the decades-long unsolved strangulation of Sarah Pearlman, sister of Councilman Jake Pearlman (Noah Bean). Having watched screeners of the entire season twice, it’s safe to say that Ballard is kick-ass, earnest, and extremely well-written, and may well be one of the best shows of the year.
“What better way to silence a troublesome woman than to silo her in the ass end of the LAPD?” This quote from the pilot episode perfectly sums up how the deck has been stacked against Ballard when the story begins. She has suffered a spectacularly rough career stumble after calling out a fellow detective for attempted sexual assault, and her history as one of the LAPD’s finest detectives has been completely overshadowed. She is ostracized, belittled, and condemned by her colleagues and former friends, accused of lying to destroy a “good man,” with only a few remaining in her corner. Thus, she is reassigned to work on cold cases, stuck in the basement of the Ahmanson Recruit Training Center on the other side of town, left to her own devices with no operating budget or assistance aside from her chosen volunteers.
Working alongside Ballard is an admirable bunch of incredibly entertaining misfits. First and foremost, we have Samira Parker (Courtney Taylor), the original investigator on the team’s John Doe case who has since left the force. When Parker discovers the details Ballard has about the investigation don’t line up with what she remembers, Parker agrees to help out, though she is conflicted and more than a little hesitant to rejoin the world she left behind. Then, there is retired homicide detective Thomas Laffont (John Carroll Lynch), who was Ballard’s partner for seven years and is one of the few people she trusts completely.
Additionally, empty-nester Colleen Hatteras (Rebecca Field) brings some needed levity with her zany hunches, and Colleen’s work-mom dynamic/friendship with the team’s sharp-witted, intelligent, and overworked intern/college student Martina (Victoria Moroles) is a joy. Lastly, Ted Rawls (Michael Mosley) is your typical arrogant, rich dude with his own successful security firm, brought into the fold by his former fraternity brother and best friend Councilman Pearlman—the reason the unit exists and why there’s a specific focus on his sister’s case—as Pearlman’s eyes and ears on the investigation and to offer any possible concerns about Ballard’s leadership. Frankly, it’s a rough start with Rawls, but he grows on you… eventually.
These characters come together to form an unexpected yet remarkable team, and the story expertly shows how their knowledge and strengths mesh to create undeniable results. And, while she’s not officially on the team, Ballard’s grandmother, exclusively referred to as Tutu (Amy Hill), is the show’s vibrant scene-stealer, and the relationship between the two is delightful to watch.
The most concerning aspect about Ballard is that it begins the season with two cases for our team to solve, but the dual narrative format works surprisingly well. As somebody who generally despises the new norm of shorter episode counts—Can we at least get back up to 13-15 episodes per season, please?—the way that Ballard manages the pacing of its ten installments is impressive. The two primary cases proceed steadily throughout the season, but as with any real detective work, other cases or obstacles arise that require immediate attention or a shift in focus, leading to the team working on a couple of other cases within the confines of a single episode. This allows the audience to see many different sides of Ballard and her team and their unique approach to each investigation while forcing the team and the viewers watching along at home to stay on their toes. Simply put, the shifts keep things interesting. On too many of today’s TV shows, especially those on streaming with smaller episode totals, it can often feel as though the story is either rushing things along and missing vital opportunities, or it is endlessly dragging out a story without much meat to fill the allotted time. Thankfully, that’s not the case for Ballard.
Ballard also deftly handles the emotional element of Renée’s story, from the aftermath of the attempted assault and her brothers in blue’s decision to turn their backs on her, to the lingering trauma surrounding her father’s death when she was a teenager, in surprisingly moving ways. (As it is for the exploration of other characters, like Parker and the reason she left the police force in the first place.) There was clearly a significant amount of thought put into these characters and stories, as well as a noticeable effort to handle such difficult topics with respect and compassion. Plus, given all that’s going on in the real world, these stories make a statement. There’s a certain catharsis in watching Ballard and her team, despite the odds being completely against them, go up against an organization plagued by corruption and the perpetrators who abuse their positions, believing they can do and get away with anything they want.
Finally, for those wondering, Ballard is perfectly accessible to those who (like myself) have little to no knowledge of the Bosch franchise. There are certain elements that will surely be more meaningful to longtime fans, like a healthy dose of the Bosch (Titus Welliver) himself throughout multiple episodes—thankfully, done without overshadowing Ballard, another area where many spin-offs completely miss the mark, and with the primary intention of developing their growing friendship—but familiarity is not a necessity. It will, however, prompt an urge to become familiar with and dig into both previous Bosch shows.
In conclusion, Prime Video’s Ballard is simply exceptional. Maggie Q has never been better (and that’s admittedly a bold statement after her unbelievable work on The CW’s Nikita). She perfectly embodies this character, leading an immensely talented cast that also consistently delivers, regardless of how much or how little time they have in the spotlight. The investigations and mysteries are well-crafted and believable, as are the relationships—both old and new—between the characters. If I were to offer one pointed critique, it’s that the season’s cliffhanger ending is the weakest part of the show, something that is ridiculously overdone in TV. Nonetheless, it still points the story in an intriguing direction should it be renewed for another (much-needed) season, so it’s not a substantial flaw; it’s just not on par with the quality of everything else.
Ballard premieres July 9 on Prime Video.
Jay Snow is a freelance writer. He has published many places on the internet. For more of his thoughts on television and to see his other work, follow him on Bluesky: @snowyjay.
For all the latest TV news, reviews, lists, and features, follow @Paste_TV.
