| Robert Pastorelli | ... | Gerry 'Fitz' Fitzgerald (16 episodes, 1997-1999) | |
| Carolyn McCormick | ... | Judith Fitzgerald (16 episodes, 1997-1999) | |
| Josh Hartnett | ... | Michael Fitzgerald (16 episodes, 1997-1999) | |
| Robert Wisdom | ... | Detective Danny Watlington (15 episodes, 1997-1999) | |
| Scott Sowers | ... | Detective Parker / ... (15 episodes, 1997-1999) | |
| Angela Featherstone | ... | Det. Hannah Tyler (14 episodes, 1997-1999) | |
| R. Lee Ermey | ... | Lieutenant Fry (13 episodes, 1997-1999) | |
| Noelle Hannibal | ... | Detective (12 episodes, 1997-1999) | |
| Paul Perri | ... | Waldron (10 episodes, 1997-1999) | |
| Sally Livingston | ... | Hope Fitzgerald (8 episodes, 1997-1999) | |
| Zachary Seymour Fischman | ... | Gerry & Judith's son / ... (8 episodes, 1997-1999) |
Series Directed by | |||
| Stephen Cragg | (4 episodes, 1997-1999) | ||
| John D. Hancock | (2 episodes, 1997-1999) | ||
| Ian Toynton | (2 episodes, 1997) | ||
| Perry Lang | (2 episodes, 1998) | ||
Series Writing credits | ||
| Jim Leonard | (6 episodes, 1997-1999) | |
| Paul Abbott | (5 episodes, 1997-1999) | |
| James Steven Sadwith | (5 episodes, 1997-1999) | |
| Jimmy McGovern | (5 episodes, 1997) | |
| Natalie Chaidez | (3 episodes, 1997-1998) | |
| Barry Pullman | (2 episodes, 1997) | |
Series Produced by | |||
| James Steven Sadwith | .... | executive producer (16 episodes, 1997-1999) | |
| Natalie Chaidez | .... | producer (15 episodes, 1997-1999) | |
| Jim Leonard | .... | co-executive producer (14 episodes, 1997-1999) | |
| Ilene Amy Berg | .... | consulting producer / supervising producer (13 episodes, 1997-2002) | |
| Scott Brazil | .... | co-executive producer (12 episodes, 1997-1999) | |
| Gub Neal | .... | executive producer (10 episodes, 1997-1999) | |
| Peter Locke | .... | executive producer (8 episodes, 1997-1999) | |
| Donald Kushner | .... | executive producer (7 episodes, 1997-1999) | |
| Scott M. Siegler | .... | executive producer (6 episodes, 1997-1999) | |
| Steve Turner | .... | associate producer / co-producer (3 episodes, 1997-1999) | |
| Randall Zisk | .... | co-executive producer (2 episodes, 1999) | |
Series Original Music by | |||
| Roy Hay | (11 episodes, 1997-1999) | ||
| Angelo Badalamenti | (unknown episodes) | ||
Series Cinematography by | |||
| Roy H. Wagner | (16 episodes, 1997-1999) | ||
Series Film Editing by | |||
| Michael Ripps | (6 episodes, 1997-1999) | ||
| Stan Salfas | (4 episodes, 1997-1999) | ||
| Paul Trejo | (3 episodes, 1998-1999) | ||
| Martin Nicholson | (2 episodes, 1997-1998) | ||
Series Casting by | |||
| Molly Lopata | (unknown episodes) | ||
Series Production Design by | |||
| Jeffrey L. Goldstein | (12 episodes, 1997-1999) | ||
Series Art Direction by | |||
| Nanci Noblett | (unknown episodes) | ||
Series Set Decoration by | |||
| Susan Mina Eschelbach | (13 episodes, 1997-1999) | ||
Series Costume Design by | |||
| Florence-Isabelle Megginson | (unknown episodes) | ||
Series Makeup Department | |||
| Terry Robbins | .... | key hair stylist (1 episode, 1997) | |
| Adam Brandy | .... | additional makeup artist (1 episode, 1999) | |
Series Second Unit Director or Assistant Director | |||
| Carol Bawer | .... | second second assistant director (unknown episodes) | |
| Rodney Allen Hooks | .... | first assistant director (unknown episodes) | |
| Timothy J. Lonsdale | .... | first assistant director (unknown episodes) | |
| Ian Woolf | .... | first assistant director (unknown episodes) | |
Series Art Department | |||
| Daniel Brewer | .... | construction coordinator (16 episodes, 1997-1999) | |
| Thomas R. Cahill | .... | property master (16 episodes, 1997-1999) | |
| Kent Kidman | .... | construction foreman (16 episodes, 1997-1999) | |
| Marc Meisels | .... | leadman (16 episodes, 1997-1999) | |
| Douglas Machala | .... | set buyer (13 episodes, 1997-1999) | |
Series Sound Department | |||
| Rick Hinson | .... | supervising sound editor (16 episodes, 1997-1999) | |
| Raymond E. Spiess III | .... | supervising sound editor (16 episodes, 1997-1999) | |
| Jim Fitzpatrick | .... | sound re-recording mixer (unknown episodes) | |
| Marilyn Graf | .... | foley mixer (unknown episodes) | |
| Mike Marchain | .... | sound editor (unknown episodes) | |
| Michael Miller | .... | adr recordist (unknown episodes) | |
Series Stunts | |||
| Gilley Grey | .... | stunts (2 episodes, 1997) | |
| Jennifer Badger | .... | stunt performer (unknown episodes) | |
| Brad Martin | .... | stunts (unknown episodes) | |
| Chris Palermo | .... | stunts (unknown episodes) | |
Series Camera and Electrical Department | |||
| James Jermyn | .... | film loader (16 episodes, 1997-1999) | |
| Kurt Johnson | .... | gaffer (16 episodes, 1997-1999) | |
| Steve Savage | .... | grip (16 episodes, 1997-1999) | |
| Colin Mayo | .... | lighting technician (10 episodes, 1997-1998) | |
| Dale Alexander | .... | key grip (unknown episodes) | |
| David A. Armstrong | .... | camera operator: "b" camera / first assistant camera (unknown episodes) | |
| Allen D. Easton | .... | camera operator (unknown episodes) | |
| Anthony M. Gutierrez | .... | second assistant camera (unknown episodes) | |
| Brian Knappenberger | .... | assistant camera (unknown episodes) | |
| Karen Korn | .... | second assistant camera (unknown episodes) | |
| Matthew Livingston | .... | dolly grip: "b" camera / grip (unknown episodes) | |
| C. Shipley | .... | grip (unknown episodes) | |
Series Casting Department | |||
| Molly Lopata | .... | casting (2 episodes, 1997-1999) | |
Series Costume and Wardrobe Department | |||
| Catherine Wall | .... | wardrobe supervisor (unknown episodes) | |
Series Editorial Department | |||
| Teresa Garber | .... | director of post-production (unknown episodes) | |
| Tad Nyland | .... | assistant editor (unknown episodes) | |
Series Music Department | |||
| Mike Flicker | .... | music supervisor (unknown episodes) | |
| Jilien Smith | .... | music supervisor (unknown episodes) | |
Series Transportation Department | |||
| Ken Plumlee | .... | transportation captain (16 episodes, 1997-1999) | |
| Michael Avallon | .... | driver (unknown episodes) | |
Series Other crew | |||
| R. Scott Poole | .... | assistant location manager (8 episodes, 1997) | |
| Jerry Beck | .... | technical consultant (unknown episodes) | |
| Barry Gremillion | .... | location manager (unknown episodes) | |
| Adam Mann | .... | production coordinator (unknown episodes) | |
| Deanna Mulvihill | .... | assistant to executive producer (unknown episodes) | |
| Billy Pittard | .... | title designer (unknown episodes) | |
| Quincy Rose | .... | production assistant (unknown episodes) | |
| Monica Strater | .... | assistant to executive producer (unknown episodes) | |
| Catherine H. Vlasuk | .... | assistant production office coordinator (unknown episodes) | |
| Wes Williams | .... | stand-in (unknown episodes) | |
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| "Wire in the Blood" | The Sniper | The Interpreter | The Negotiator | I Was a Convict |
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This excruciating remake of the excellent British series is not worth wasting your time on.
The police in the original had skepticism coming out of their ears when it came to having a psychologist on the team, exactly as many real police officers would. The American version has them fawning after Fitz at every opportunity, which is not only unrealistic, it also set up little dramatic tension.
While the English version has quirky, interesting, believable characters, the American one has typical American pretty people. Particularly disappointing is the lack of characterisation of the police. The original has a range of people we came to know well: Penhaligon, the young officer trying to cope with an inept boss and pathetic "lad" culture. Beck, the old-fashioned copper whose unpleasant exterior barely covers his mental instability. Bilborough, a nice guy, but so soft he has to get Penhaligon to do the talking when visiting people with bad news. What do we get from the American version? A token black character whose name escapes me and a chicky-babe who looks like Pamela Anderson's cousin.
The actors who play Fitz and Penhaligon (renamed to something unmemorable) could easily be replaced by wooden blocks and no-one would have noticed the difference. There's no spark between them. You don't care about them and you aren't convinced by them. Same with the Fitz/Judith pairing - he says something soppy and she simpers "sentimentality becomes you, Fitz". The "real" Judith would have laughed or sneered.
I could go on, but it just isn't worth the bother. Take from me: if you don't want to see a great show trashed, avoid this load of drivel.