High Potential

You watch for Olson and to see what heights of absurdity the writers can reach each episode, how much esoteric knowledge they can cram into the plot and still make it work, like jazz musicians riffing to the point of chaos then bringing it safely back home. High potential for joy and delight.

Written by The Good Place’s Drew Goddard, the script is sparky, while the rapid-cut deductive sequences recall Sherlock or House. This is cosy crime with an irreverent, impish twist.

With its fast-paced storytelling, jump cuts and premium sheen, this isn’t perhaps the “cosy crime” drama of Ludwig or Death in Paradise that we’re more accustomed to on British television, but it’s certainly a nod to an era when TV producers knew that easy watching had high potential for big audiences — let’s hope it’s the start of a new trend.

It’s undeniably moreish, as far as television goes. Olson is funny, yes, no surprise there. But best of all, nothing about the show seems all that real, and, though there are stakes and a longer mystery that will presumably unfold over the course of the entire season, it doesn’t really matter.

The show is legitimately funny and quite delightful, not the least because both Olson and Morgan seem to be having a good time. “Castle” fans should feel at home here.

High Potential’s pilot is perfectly formulaic as it sets up season one. There are no guarantees on the survival of a network drama nowadays, but Kaitlin Olson and Judy Reyes are good reasons to give this a shot.

A series as predictable as "Potential" can be comfortingly familiar, or it can feel tired and clichéd. Most of the time, Olson's charisma and Goddard's quick-witted scripts keep "Potential" from feeling too much like a rehash of the shows with which it shares so much DNA.

Sometimes all it takes is the right casting to make a show that on paper sounds “meh” turn out so much better. That’s the case here thanks to the likeable lead performance by Kaitlin Olson.

High Potential works on the strength of Olson’s joyful performance. It’s still a network procedural, at the end of the day, but it’s smart and funny

Olson, who's honed her comic chops for years, brings winning flippancy and an undercurrent of warmth to Morgan. [7 - 27 Oct 2024, p.6]

We knew exactly what was going to happen, given we saw the French pilot. But we were so entertained with Olson as Morgan that the mystery really didn’t matter.

“High Potential” isn’t exactly revolutionary, Morgan’s eccentricities and the quirky cases the team tackles are perhaps engaging enough to keep audiences tuned in.

High Potential does fall into an early trap of the genre by spotlighting its lead character at the expense of the supporting ensemble. .... But with Olson's quirky, standout performance leading the way and an entertaining premise that doesn't overstay its welcome, it's already off to a strong start.

With the ability to go to whichever tonal extreme the narrative finally lands on — the problem with situating Morgan on a Major Crimes squad is that she may be a character more suited to solving, well, Frivolous Crimes — Olson represents this series’ high potential. Everything else needs to catch up with her.