Kate Hudson Basketball Sitcom ‘Running Point’ Is an Easy Layup, But Could Work on Its Long Game: TV Review

by

Even though Peak TV might have passed, its influence continues to be felt strongly. How else could we see not just one, but two extravagant, celebrity-filled TV series about the Los Angeles Lakers within a three-year span? “Winning Time,” produced by HBO, depicted the team’s victorious years in the ’80s; the most recent, “Running Point” on Netflix, is both more modern and fictional. However, it has stronger connections to the real-life Lakers organization, with owner Jeanie Buss and front office figure Linda Rambis serving as executive producers.

While ‘Running Point’ can function independently, it’s beneficial to explore the connection with ‘Winning Time’ to understand why the latter might have a better chance at lasting success. Notably, ‘Winning Time’ was unexpectedly halted after two seasons, leaving its narrative incomplete. Some of this potential advantage lies in their similarities: much like ‘Winning Time,’ ‘Running Point’ boasts an impressive cast of well-known actors, as any show about Hollywood should. The romantic comedy icon Kate Hudson assumes her first series lead role as Isla Gordon, a character clearly reminiscent of Buss, who suddenly ascends to the presidency of her family’s flagship company, setting the stage for the 10-episode season.

Goldie Hawn’s daughter, essentially, is a child of privilege portraying a child of privilege (or as one character quips to the mature Isla, a “nepo elder”). Hudson shares the screen with figures like Justin Theroux in a preceding role, her older brother Cameron, who steps down due to a public scandal surrounding his substance abuse, and Chet Hanks, a prominent figure. Hanks has faced significant criticism for his rap career and the term “white boy summer,” among other actions, but he delivers an unexpectedly strong performance as a Florida hustler seeking brand deals — he is not only surprisingly convincing in this role, but he outshines his real-life image as the offspring of Hollywood’s most laid-back star.

However, it’s worth noting that despite the similarities in plot, “Running Point” deviates significantly from the actual events surrounding the Los Angeles Lakers. Instead, the story revolves around a fictional team, the Los Angeles Waves, managed by imaginary characters. The Gordon family in the series bears resemblance to the Buss family, and Isla’s character mirrors Jeanie Buss’s journey as the often-overlooked daughter of a misogynist, proving herself when given the opportunity. Unlike reality, “Running Point” has the liberty to selectively incorporate elements from actual events while not being bound by them entirely. This allows for the creation of new characters, such as Fabrizio Guido, who is revealed to be the Gordon children’s surprise half-brother, and the avoidance of portraying real-life legends like Magic Johnson and Kareem Abdul-Jabbar with the same accuracy as in real life.

In contrast to “Winning Time,” which is guided by a film industry collective, “Running Point” is supervised by a team of TV veterans, with Mindy Kaling, the co-creator, taking on the main role as executive producer via her company Kaling International. After producing shows like “Never Have I Ever” and “Sex Lives of College Girls,” this is one of the first series from the Kaling universe that focuses on adults. It also brings Kaling back together with her collaborators from “The Mindy Project,” including co-creator Ike Barinholtz and showrunner David Stassen, as well as Elaine Ko, who is also a co-creator. In the cast, you’ll find several familiar faces from sitcoms: Max Greenfield, known for his role as Schmidt, plays Isla’s fiancé, a pediatrician and model Jewish man; Jay Ellis, a heartthrob from “Insecure,” portrays the head coach of the Waves, also named Jay; and Brenda Song, a graduate of Disney Channel, plays Ali, Isla’s best friend and ambitious chief of staff.

Blending the storyline of “Running Point” with a classic format like the office sitcom offers an instant reward, especially when seasoned professionals handle the production. The Mindy Kaling team can easily create an engaging will-they-won’t-they dynamic without breaking a sweat, and as a result, a love triangle involving Lev, Isla, and Jackie unfolds that’s still entertaining despite being predictable. Similar to “Arrested Development” and its successor “Succession”, “Running Point” prioritizes family values since the Gordons are deeply intertwined with the business they lead. Apart from Cam, Isla, and the latest addition Jackie, the younger generation includes Ness (Scott MacArthur), a sporty GM, and Sandy (Drew Tarver from the defunct “The Other Two”), who is uninterested in sports but keen on profit margins.

The show titled ‘Running Point’ moves swiftly and engagingly, yet it subtly incorporates poignant moments. The Gordon family, following their late father’s demise, finds themselves in a state of disarray that transcends the typical aloofness of the wealthy. They aren’t merely cold or oblivious, but struggle to foster and sustain meaningful connections, be it with partners or within the family itself. Isla and Lev, despite being engaged for seven years, remain unmarried; Sandy conceals his boyfriend from his kin as if a hidden secret; Jackie is tolerated rather than fully accepted. Despite Jack’s absence, his presence lingers ominously over the well-lit Waves establishment.

It’s challenging for “Running Point” to develop the emotional depth of the Gordons and the Waves, given their gameplay, dancers, board members, and other stakeholders. In essence, “Running Point” faces the same issue as many streaming sitcoms: it tries to fit an 18-to-22-episode structure into a shorter timeframe. This compression is evident in the rapid pace of the Waves’ season or how Theroux seems to be absent for extended periods, though this could also be due to his greater fame compared to other cast members.

A power struggle between Sandy and Ness, who seem disrespectful towards their former Playboy model sibling, ends swiftly, leaving untapped a source of conflict that could have been more deeply explored. Most crucially, the briefness of the series is evident in the early undefined character of Isla, where clumsy slapstick is used as a temporary placeholder for her personality until the show can refine her narcissism into a defining trait.

Maybe the second season hinted by the cliffhanger finale will provide ample opportunity for expansion, despite “Running Point” appearing costly enough for a network-length season to be challenging. The show warrants this development: “Running Point” combines an appealing, if not entirely novel in contemporary context, concept with a tried-and-true format and captivating characters. I can’t comment on the basketball expertise involved, but the television craftsmanship is evident.

All 10 episodes of “Running Point” are now streaming on Netflix.

Read More

2025-02-27 11:17