USA Network’s new legal drama The Rainmaker hews closely to the cable channel’s familiar formula: glossy production values, tidy procedural plotting, and a cast that leans on charisma as much as courtroom chops. Based on John Grisham’s novel and with Grisham serving as an executive producer, the series aims to translate the 1997 film’s David-and-Goliath legal drama into a serialized, network-friendly format. The first five episodes screened for critics offer a mixed but watchable result, premiering August 15.
Plot and leads
The central case drives the series: a grieving mother (played by Karen Bryson) is convinced her recovering-addict son died because of malpractice after a routine trip to the hospital. Rudy Baylor (Milo Callaghan), newly ousted from the prestige firm Tinley Britt, takes on the suit against the hospital—while his girlfriend Sarah Plankmore (Madison Iseman), who still works at Tinley Britt, ends up on the other side. That setup delivers the expected legal and personal stakes, but the show’s emotional center struggles. Callaghan and Iseman are competent performers, yet their romantic arc feels flat and built largely from conflict and misunderstandings; brief, fade-to-black intimacy scenes don’t build the chemistry needed to make viewers root for the couple.
Tone, pacing and craftsmanship
Where the series succeeds is in old-school TV craftsmanship. Showrunner Michael Seitzman leans into effective pacing, taut camera work and a score that heightens tension without overwhelming it. Action sequences—chases and courtroom confrontations—land reliably. The adaptation doesn’t aim to be revelatory; it prefers to work as a propulsive, self-contained legal thriller rather than a broad critique of systemic issues.
Supporting cast and character detail
The supporting performances are the show’s strongest assets. Lana Parrilla’s gender-flipped take on the tough boss—Jocelyn “Bruiser” Stone—is a highlight: she brings mischief, confidence and a magnetic physicality to a role that could otherwise feel rote. P.J. Byrne channels the comic-relief, loyal-sidekick energy of the film’s analogous character with well-timed warmth, and John Slattery plays Tinley Britt’s manipulative partner with appetizing casual cruelty tempered by wry humor. Costuming and visual cues are used deliberately to signal class, aspiration and personality—Bruiser’s sexy blacks and mauves contrast with Sarah’s more polished, classic look, and men’s suits serve as shorthand for status and taste.
Legal realism and thematic limits
The Rainmaker is uneven on legal realism. At times it uses procedural law credibly; at others, it takes liberties with how students become practicing lawyers and how cases unfold—moments that will irk viewers familiar with the profession. The series also avoids deeper systemic critique. Apart from a nod to painkillers and opioid addiction, there’s little exploration of larger forces such as pharmaceutical responsibility, insurance structures, or pandemic-era shifts in health care. The case at the heart of the season reads like a single, contained mystery rather than the opening of a show intent on interrogating institutional failures.
Who it’s for and what to expect
The Rainmaker is likely to satisfy viewers who favor a lean, character-driven legal drama that trades broad social commentary for a focused, suspense-led story. Fans of USA Network’s signature glossy procedural style and those who appreciated the original film’s courtroom dynamics will find much to enjoy—particularly in the supporting cast and the production’s steady craftsmanship. Viewers seeking a legally meticulous or politically probing series may be less satisfied.
Additional comments and context
– The series adapts a 30-year-old novel for a modern TV audience; that choice helps explain its focus on a single case and a more timeless, less topical tone.
– If the show strengthens the leads’ chemistry in future episodes, its emotional stakes could deepen considerably—supporting performances and production quality provide a solid foundation for that growth.
– For promotional emphasis, highlighting Lana Parrilla and John Slattery in trailers and interviews could draw attention to the series’ strongest hooks.
Short summary
The Rainmaker is a polished, traditional legal drama anchored by a compelling central case and standout supporting performances. It’s more comforting and suspenseful than it is revelatory or systemic in scope; viewers should not expect a wide-ranging critique of healthcare or corporate malfeasance but can expect competent pacing, solid action scenes, and several strong supporting turns.