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‘Perry Mason’ Season 2 Review: The Matthew Rhys-Starring Reboot Goes From Good To Great

Nearly three years have passed since the gritty reboot of the TV courtroom classic “Perry Masondebuted on HBO, switching out the case-of-the-week format for one overarching trial. Perry Mason’s (Matthew Rhys) journey from disheveled private investigator to rugged qualified lawyer fuels the first half of the first season, but the act of introducing so many characters hamper the pacing. It is firing on all cylinders by the end of the first season and more than justified its existence. Thankfully, the prolonged absence hasn’t done anything to dampen these developments, and it wastes no time in getting the audience reacquainted with this murky world. 

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Significant changes behind the scenes often signal creative trouble or suggest a substantial shift in the material. Not only are there new showrunners, but there is no overlap in the writing or directing team—though Tim Van Patten is an executive producer. “The Knick” showrunners Michael Begler and Jack Amiel take over from creators Ron Fitzgerald and Rolin Jones to helm the series, and the duo has also written the first four episodes. Instead of disjointed, the continuation of this narrative is more cohesive than the previous ambitious attempt to combine Tatiana Maslany playing an Aimee Semple McPherson’s evangelical type alongside a kidnapping-gone-wrong plot. Begler and Amiel build on the solid foundation laid by Fitzgerald and Jones to tell a larger story of corruption that overlaps and intersects in a way the first season struggled with at times.

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Only six months have passed since Perry’s first case ended in a mistrial. It has been so long since the first season aired, so you will be forgiven if you need a refresher on what went down, and there is light exposition to catch you up without bashing the viewer over the head. Suffice it to say, Perry still isn’t in the best place emotionally, and now he is haunted by his recent past. “The Americans” proved Rhys thrives when playing a character at war with himself and his circumstances. Far from a fluke, he should be an award-season repeat considering the new depths of self-loathing, self-righteousness, and even self-belief this character discovers via the many twists and turns this case takes.   

Rather than more criminal cases, Perry is now focusing on civil law. There is plenty of business for an attorney willing to represent unscrupulous clients, and early strife arises from the desire to keep the lights on, bumping against his moral compass. Thankfully, the incomparable Della Street (Juliet Rylance) takes a pragmatic approach to this queasy choice. It is still the early ‘30s, so Della’s seat at the table is by no means a given, nor is she likely to be given credit for her vital role in this team. Della now has space to grow in and outside the confines of Perry’s sphere of influence, a benefit of no longer having to play introductions to the core ensemble. 

It would have been easy to create a will-they-won’t-they between Della and Perry, as Rylance and Rhys have chemistry in droves. Thankfully, the electricity fuels frustrations in how they both withhold and ultimately implicitly trust the other when pushed. Della’s professional drive means she is prepared for whatever legal precedent they need to cite in court, but she is more than book-smart. Newly appointed District Attorney Hamilton “Ham” Burger (Justin Kirk) remains a confidant and a convenient date to draw attention from who they desire. If their sexuality were to become public knowledge, it would be career-ending for both of them, and this bonds them when they are on opposing sides of the table.   

Even outside of the glitzy movie business, reputation is everything in this town, and Perry’s work in the Emily Dodson case has turned him into a folk hero. Despite his best efforts to avoid anything that will turn his work into front-page news, Perry is a sought-after man of the people. So, when the scion of a powerful oil tycoon is found brutally murdered, the accused’s family comes knocking. Police corruption is on the back burner, and this conspiracy has its fingers in far more powerful pies. Until 1900, Los Angeles was a small agricultural town with a population of 100,000, and the three decades that preceded this series were a time of immense growth. Not everyone benefited, and those suspected of this crime live in the Hooverville area—a shanty town populated by the homeless impacted by the Great Depression. 

Marrying historical injustices with the twists and turns of this case is another example of how the “Perry Mason” reboot adds a contemporary layer to the story, as it is impossible not to draw a line between the racism of the past and present. Rhetoric in the press and courtroom paints a terrifying picture of Mateo (Peter Mendoza) and Rafael Gallardo (Fabrizio Guido), the Mexican American brothers accused of this murder, which will sound disturbingly familiar. This reflection follows from the first season’s all-too-timely exploration of police brutality, systematic racism, and a profoundly corrupt criminal justice system that saw Black officer Paul Drake (Chris Chalk) quit the force to become a private investigator.

Whereas Perry and Della experience fresh romantic entanglements, Paul’s relationship with his wife (and her extended family) is shown more in-depth. Clara (Diarra Kilpatrick) isn’t simply the supportive wife archetype; she is a bedrock who pushes back. There are moments when it seems like “Perry Mason” is heading down trope alley; however, the story often zigs when it might zag. Revealing the struggles and triumphs of this couple and shading in the gaps is another benefit of painting the broad brushstrokes in Season 1. Every corner of this season is more fleshed out, and the separate knotty threads eventually come together satisfyingly.

One drawback is only getting a brief glimpse of Veronica Falcón’s Lupe Gibbs as Perry has moved into the city, and another has caught his eye—sadly, there are no sex scenes quite as memorable as Season 1. Part of Perry’s charm is how dogged he is, but his inability to switch off from work is also a detriment to every personal relationship he tries to salvage (including his son). Other than Della, his closest alley is Pete Strickland (Shea Whigham), but casual drinks are far more loaded now they are on opposing teams. Whigham and Rhys already had an effortless back-and-forth, and this new scenario adds dimensions to their dynamic. While their time together is reduced, each moment they share is pure gold. Even when they withhold from each other, honesty permeates every interaction, as there is no bullshitting a fellow bullshitter.

Appearances are an overarching theme, whether it is the system they work within (“There is no true justice. There’s only the illusion of justice,” Ham tells Perry in the premiere) or the communities in which they live. Della’s ambition can thrive in this environment with Ham as her fake love interest and Perry’s support when in reality, Perry would crumble without her expertise. Della’s sensible exterior cannot hide her boredom with girlfriend Hazel (Molly Ephraim), and “Severance’sJen Tullock offers an exciting distraction as Hollywood screenwriter Anita St. Pierre. So far, Tinseltown’s grip has been somewhat tangential, with Perry photographing a Fatty Arbuckle type in a compromising position in the pilot. Della’s new love interest opens a window to the glitz and glam. Anita’s presence offers another perspective, balancing the fairy tale aspect of this industry with a lesbian relationship that still must be conducted in private spaces like queer bars and a secluded residence. 

The second season is brimming with recognizable character actors slotting as easily into this world as Tullock, including Hope Davis as Camilla Nygaard, a wealthy woman who also shows an interest in Della. Elsewhere, Paul Raci plays the wealthy father pulling multiple strings in a scheme that might inspire you to rewatch “Chinatown” (though water is not the commodity fought over), Katherine Waterston is a sympathetic teacher at Perry’s son’s new school, and Sean Astin is a small business owner with little empathy. 

“Perry Mason” still packs a visual punch, thanks partly to production designer Keith P. Cunnigham, who immerses the audience in whatever location, whether a floating casino that has seen better days, a race track, or a palatial mansion, or Perry’s new apartment. Costume designer Catherine Adair showcases Perry’s dueling leather jacket and tailored suit aesthetic. He wants to be both men, and his struggle to tick both boxes is less fraught than it has previously been. 

World weariness hangs on his shoulders like his choice of attire, but the overall mood is less bleak than last season—this case does not center on a young child’s murder. Dark humor and grim determination overlap in this seedy underbelly, and Rhys captures the titular characters’ impossible-to-extinguish spark—even when the odds are stacked against them. It is still a world away from the long-running Raymond Burr series, but there are some fun nods to courtroom theatrics and last-minute twists. Everyone gets in on the action, such as Paul Drake conducting 1930s forensic tests and Della’s active role in court. 

Resurrecting the crusading lawyer in this noir landscape hasn’t always been clear sailing. While Rhys’ performance always delivered, some plotting was too sprawling and didn’t connect the dots. Begler and Amiel have found a way to give the rest of the ensemble space to fail, succeed, and grow. So justice might be an illusion, but in the world of “Perry Mason,” the sacrifice is worth making. [A-]

“Perry Mason” Season 2 debuts on HBO on March 6.

https://www.youtube.com/watch?v=VkM_TNfB-gA

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