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In the season premiere of Life on Mars, a 21st century New York Police detective, Sam Tyler (Jason O’Mara), is thrown (literally – by a car) into the past. After waking up in 1973, Sam is faced with two mysteries. First, he’s thrust into a hunt for a serial killer. Second, is he really in 1973? Sam’s 2008 police tactics are a stark contrast to those of his Nixon-era, “what warrant?” contemporaries led by Lt. Gene Hunt (Harvey Keitel) and Ray Carling (Michael Imperioli). Policewoman Annie Nelson (Gretchen Mol) is an endearing character. The all-star cast, mystery, and an awesome ’70s set and soundtrack make for a pretty good opener.

I’ve been waiting for a new show. Something that grabs me, pulls me in, and doesn’t let go until some unsatisfying finale a decade from now.

All of the hype orbiting Life on Mars – and the chance to see Harvey Keitel each week – screamed: “THIS IS FINALLY THE ONE!”

Well, is it?

Maybe.

Based on a British show of the same name, the concept of Mars is pretty good. It’s 2008, and New York City police detective Sam Tyler (Jason O’Mara) is tracking a possible serial killer who’s suspected of kidnapping Sam’s girlfriend, Maya (played by Cosby kid Lisa Bonet). While crossing the street, a car plows into Sam – knocking him, literally, into the past. When Sam opens his eyes, it’s 1973. Clothes and all.

This much-anticipated pivot happens at the show’s 7-minute mark, and it was well worth wading through the first six minutes of absurdity.

When Sam wakes, he’s obviously stunned. His 21st century Jeep is now an early ‘70s Chevelle. Actually, a pretty sweet Chevelle. And as Sam leans into the car to grab the CB radio, the song on the eight-track is David Bowie’s “Life on Mars.” Okay, that’s out of the way.

Following some funny time-warp banter between Sam and a uniformed cop – “I was driving a Jeep.” “You were driving a military vehicle?” “I need my cell.” “You need to sell what?” – we in our living rooms were hit with a chilling site.

Sam looks up and sees the Twin Towers.

Chills. Literally.

Anyway…back to the beginning.

The first minutes of the show, Sam and Maya (also a cop) are involved in a high-speed chase through the city. While they’re dodging cars and zipping along narrow streets, they’re having the proverbial – and casual – “meet the parents” conversation. Huh?

A few minutes later, the love-struck duo is on the trail of suspected serial killer Colin Raimes (Michael Bertolini). Sam jumps the suspect and takes him into custody and then to the 125th precinct for interrogation. Raimes is soon released because he’s seen on a casino security camera that shows him gambling at the same time the murder was committed. It’s not until after he’s released that the police learn that Raimes has an identical twin brother.

Unbeknownst to Sam, Maya slips away from the station to follow Raimes. But while she’s “stealthily” stalking the killer, she’s talking on her cell phone to Sam! Of course, this draws Raimes’ attention – taking us up to minute seven when Sam does his Marty McFly imitation.

The contrast between 2008 and 1973 is stunning. And accurate, I suppose. Although the vintage clothes can be seen at most clubs in this century.

Back at the 1973 version of the 125th precinct, Sam meets fellow detectives Chris Skelton (Jonathan Murphy) and Ray Carling (The Sopranos’ Michael Imperioli), who sports a mustache the size of a 3-year-old cat. Sam also meets his hung-over boss, Lt. Gene Hunt (Keitel), who uses his knuckles as a warrant when tracking down suspects.

It’s at the station that we’re introduced to the precinct’s lone woman cop, Annie Norris (Gretchen Mol), who is nicknamed “No Nuts” – for obvious reasons. Annie, a fun and endearing character, is a member of the Bureau of Police Women and is given menial tasks. She has also majored in psychology but is reluctant to draw attention to her skills because, as she explains, her role is to pave the way for others. She and Sam become fast friends.

Throughout this transition, and the tracking of a serial killer in 1973 that we discover triggered Raimes’ terror and Maya’s kidnapping in 2008, Sam is convinced he is in a coma and dreaming everything. Supernatural events, reminiscent of Lost, continue throughout the episode: A message from the television. Sounds of paramedics using paddles to shock Sam back to life. Maya’s voice telling Sam she’s okay and safe.

Lots of stuff for the opener.

For me, it seems like they cut a lot of corners to tell a complex story in a short amount of time. But that’s TV. I expected more grit, but Mars was more of a Law and Order Light. I love the humor built on the differences between 1973 and 2008. For example, when Sam says something about a computer, another character responds: “Like HAL in 2001?” I love the music, which is obviously an attempt to capitalize on the soundtrack success of another favorite show of mine, Cold Case.

Overall, a good show. I’ll stay tuned. You should too.

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