Robyn McCall (The Equalizer)

Created by Michael Sloan & Richard Lindheim
Developed for television (2021) by Andrew W. Marlowe & Terri Edda Miller

“Got a problem? Odds against you? I can help.”

All things being equal, the 20212 reboot of 1980’s TV cult fave The Equalizer is a bit of a dud. 

Not that my hopes were too high. The original series, which aired on CBS from 1985 to 1989, was no great classic, but Edward Woodward tackled the role of cynical, guilt-ridden former secret agent Robert McCall with a certain quiet and gritty grace. Disillusioned by all he had seen (and done) in his years working for “The Company,” he set himself up as a sort of well-dressed justice-for-hire vigilante in New York City, dispatching his own kind of “justice” with ice-cold efficiency; the promise of some sort of redemption for McCall always lingering just out of reach.

As I said, no lost classic, and it was often compelling, and many still look back on it fondly.

So naturally, Hollywood–having recycled seemingly everything else, came sniffing around, and eventually re-imagined McCall as… Denzel Washington? The ultra-violent 2014 action flick The Equalizer was followed a few years later by the even more bloody and creatively titled The Equalizer 2, but they were both mostly useless. McCall was still a former agent, but gone were the smooth rides, the classy wardrobe or the tight-lipped demeanor of Woodward–instead we got a seemingly schlubby but charming (Hey! It’s Denzel!) Home Depot worker (and later,  Lyft driver) who pivots into a coldly efficient, shuck-and-jiving killing machine. Any dumber and these films would have starred Bruce Wills.

So, when it was announced in 2020 that CBS was bringing The Equalizer back to television, and that rapper, singer, actor and force of nature Queen Latifah was going to be the new Equalizer, re-named ROBYN McCALL, I wasn’t sure what to think. The stench of Netflix’s Spenser Confidential and HBO’s Perry Mason was still lingering in the air, but Latifah was an intriguing bit of casting. She certainly possessed the grit and gravitas for the role of a disillusioned CIA operative reborn as a pro-bono crimefighter, and she had oodles of street cred. And frankly, the idea of McCall recast as a tough, savvy Black woman in 2020 sounded appealingly timely.

Unfortunately, somewhere along the line, any grit was filtered out and any remaining gravitas was swapped out for comic book portentousness and by-the-numbers posturing, while the whole concept of the brooding, world-weary lone wolf seeking penance was ash-canned so quickly it could make your head spin. Sure, McCall was still a former agent living in New York City, but she’s more wink-wink skeptical than Woodward’s scorched-earth cynical. She’s still a seemingly well-off retired agent, but now she’s supposedly running a couple of international charities, and living in a nicely appointed suburban home with both her often disapproving Aunt Vi, and Delilah, her predictably troublesome and headstrong teenage daughter. Both, of course, seem completely unaware of Robyn’s former occupation or current secret identity. There’s no trace of Delilah’s father, of course, although I’m sure his details will be revealed some day in a “very special episode.” But there is an awful lot of domestic drama and inter-generational squabbling among the three strong-willed women.

Nor is Robyn heading out on the streets alone–she’s got her peeps, man.  Harry Keshegian is a computer whiz with “freaky ass” hacking superpowers, which of course eliminates the need for Robyn to do much actual leg work, and his wife, Melody Bayani, is a former Air Force sniper whose aim is as true as that of Granny Clampett on The Beverly Hillbillies–and just as believable. Together the chemistry-free couple run a bar, with a Batcave-like secret room full of Harry’s computer gear and more electrical doodads than the deck of the USS Enterprise. Also on hand, usually on a deserted street corner under a streetlight, offering advice and occasional assistance, is Chris Noth as William Bishop, Robyn’s former handler, who now runs a private security company (but please–don’t ask too many questions about that).

They’ve even saddled Robyn with a possible love interest of sorts:  Marcus Dante, a principled but suspicious NYPD detective who serves as her cop frenemy. He doesn’t trust Robyn, and doesn’t approve of her methods, but finds himself reluctantly working with her when their interests collide. Which is most episodes.

I dunno. I really wanted this show to work, but both the previous series and the movies, for better or worse, were at least of their time. This newest version, while aiming for some sort of nebulous wokefullness, feels disappointingly retro at times; beyond an obvious attempt to be diverse as fuck and some high-tech woo woo, the show reminds me more of a spy show from the sixties–maybe The Girl From U*N*C*L*E, minus the nudge-nuge playfulness, or perhaps Mission Impossible, minus the cleverness and complicated scams.

Latifah remains intriguing, but her character just hasn’t gelled–it’s difficult to balance the nagging suburban mom with the swaggering urban crimefighter, dropping wisecracks as she high-kicks gang members in the face. It’s all a little too comic book adjacent, and the eyeball-rolling revelation that Robyn has her own Batcave-like storage unit doesn’t help. Or her troubling apparent willingness to resort to torture to get what she wants. 

Really? Who writes this stuff? Dick Cheyney?

Meanwhile the plots so far are disappointingly predictable or, occasionally utterly ridiculous, and the villains even more so (apparently the well-intentioned diversity doesn’t extend to bad guys).

Sure, Robyn does her equalizing with a smile on her face, as she cuts through Manhattan on her big black motorcycle like nobody’s business, and she’s always, it seems, perfectly coiffed and fashionably attired, whatever the occasion. But more often she comes across as just a well-groomed but slightly aggrieved soccer mom with a peculiar skill set. I mean, how many other shows will try to pair mean girls high school drama or curfew squabbles with murderous foreign agents or seemingly omnipotent serial killers? Just not what I was expecting…


As usual, I’ve apparently missed the point, since the show’s proved to be quite popular and is—as I write this—well into its third season. I’m still not a huge fan, and the domestic drama gets tedious (Who will take Deliah to the prom? Will Aunt Vi’s dinner be ruined?), but I do enjoy the Queen getting all regal in some slimeball’s face.


  • “I serves as an equalizer. I’m the one you call when you can’t call 9-1-1.”
    — Robyn explains it all


    (2021, CBS)
    Based on characters created by by Michael Sloan and Richard Lindheim
    Developed for television (2021) by Andrew W. Marlowe & Terri Edda Miller
    Writers: Andrew W. Marlowe, Terri Edda Miller, Erica Shelton Kodish, Jospeh C. Wilson, Keith Eisner, Zoe Robyn(?), Keith Eisner, Joe Gazzam
    Directors: Liz Friedlander, Randy Zisk, Peter Leto, Solvan “Slick” Naim, 
    Executive producer: Queen Latifah and about a dozen more
    Music by Ali Shaheed Muhammad and Adrian Younge
    Starring Queen Latifah as ROBYN McCALL
    With Laya DeLeon Hayes as Delilah
    Lorraine Toussaint as Aunt Vi
    Tory Kittles as Marcus Dane
    Adam Goldberg as Harry Keshigian
    Liza Lapira as Melody Rayani
    and Chris Noth as William Bishop
    Also starring Lorna Courtney, Erica Camarano, Jennifer Ferrin
    • SEASON ONE Buy the DVD Watch it now!
    • “The Equalizer” (February 7, 2021)
    • “Glory” (February 14, 2021)
    • “Judgement Day” (February 21, 2021)
    • “It Takes a Village” (February 28, 2021)
    • “The Milk Run” (March 28, 2021)
    • “The Room Where It Happens” (April 4, 2021)
    • “Hunting Grounds” (May 2, 2021)
    • “Lifeline” (May 9, 2021)
    • “True Believer” (May 16, 2021)
    • “Reckoning” (May 23, 2021)
    • SEASON TWO Buy the DVD Watch it now!
    • “Aftermath” (October 10, 2021)
    • “The Kingdom” (October 17, 2021)
    • “Leverage” (October 24, 2021)
    • “The People Aren’t Ready” (October 31, 2021)
    • “Followers” (November 7, 2021)
    • “Shooter” (November 21, 2021)
    • “When Worlds Collide” (November 28, 2021)
    • “Separated” (January 2, 2022)
    • “Bout That Life” (January 9, 2022)
    • “Legacy” (February 27, 2022)
    • “Chinatown” (March 6, 2022)
    • “Somewhere Over the Hudson” (March 13, 2022)
    • “D.W.B.” (March 20, 2022)
    • “Pulse” (April 10, 2022)
    • “Hard Money” (April 15, 2022)
    • “Vox Populi” (April 24, 2022)
    • “What Dreams May Come” (May 8, 2022)
    • Exposed” (May 15, 2022)
    • “Boom” (October 2, 2022)
    • “Where There’s Smoke” (October 9, 2022)
    • “Off Dead” (October 16, 2022)
    • “One Percenters” (October 23, 2022)


Respectfully submitted by Kevin Burton Smith.

6 thoughts on “Robyn McCall (The Equalizer)

  1. If we were going to do this, I wanted her to be an angrier Woodward version. As you note, we got a bizarre soccer mom with the classic cliched computer wizard. I keep watching, but, it is not getting better.

    If I remember right, they made the renewal decision the first or second week it aired. Of course, the night of the SuperBowl gave it a great lead in.

  2. I watched some episodes, it’s fine, not great but not terrible. Still would have preferred it was a new IP instead a reboot of The Equalizer.

    That being said, while the episodes dropped from the first episode (20.40), the last two episodes seems to have been stable. While episode 6 dropped to 6.99, episodes 7 and 8 both increased and were stable at 7.22, which is something many TV shows today wish they could hold on to, episode 8 was the 4th most watched show of the week behind NCIS, FBI and 60 Minutes.

  3. Like I posted in a previous comment, while the following episodes had a big drop from the 20.40 million viewership of its premier episode (which also aired on Super Bowl day), the show has had a consistent and stable 7 to 6 million viewership, with the first season being the 4th most watched show on US TV during its broadcast.

    So, overall it’s basically a success for CBS.

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