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The Rainmaker (Season 1)

TV SERIES REVIEW
The Rainmaker (Season 1)

    

Genre: Drama, Mystery
Year Released: 2025
Runtime: 10 x 60m episodes
Writer(s): Michael Seitzman (developer), based on the novel by John Grisham
Cast: Milo Callaghan, John Slattery, Lana Parrilla, Madison Iseman, P.J. Byrne, Dan Fogler, Wade Briggs, Robyn Cara
Where to Watch: premieres August 15, 2025, on USA Network, and episodes will be available to stream on Peacock one week later


RAVING REVIEW: THE RAINMAKER marks the latest chapter in the life of John Grisham’s best-selling legal drama, following its 1997 feature film adaptation with a serialized reimagining for television. Rather than retelling the story beat for beat, the series takes the core setup and expands its scope, using the longer format to develop side characters, parallel investigations, and a more sustained sense of danger.


The story begins with Rudy Baylor (Milo Callaghan), fresh out of law school and stepping into what should have been a dream career at powerhouse firm Tinley Britt. A sudden twist of fate lands him instead at the much scrappier J. Lyman Stone, run by the formidable Bruiser (Lana Parrilla) and aided by the disheveled but sharp Deck (P.J. Byrne). Rudy’s first major case pits him against courtroom heavyweight Leo Drummond (John Slattery) in a wrongful death suit with far-reaching implications. Complicating matters further, his law school girlfriend Sarah (Madison Iseman) is now on the opposing side, setting up a personal and professional collision course.

The series wastes no time in establishing its stakes. Each of the first five episodes blends the mechanics of legal maneuvering with moments of genuine danger, both inside the courtroom and beyond. There’s the high-profile case at the center, of course, but also side plots involving corporate cover-ups, the pasts of key players, and a tense subplot with Rudy’s neighbor Kelly (Robyn Cara). These threads enable the show to operate as both a legal drama and a slow-burn mystery, providing the audience with just enough information to keep them invested throughout the season.

One of the series’ strengths lies in its casting. Callaghan brings a youthful determination to Rudy, avoiding the “overnight prodigy” trap by letting the character learn through mistakes. Slattery’s Drummond is all confidence, delivering lines with the kind of authority that makes him a natural antagonist. Parrilla’s Bruiser is another standout — tough, quick-thinking, but not immune to moments of vulnerability. Byrne’s Deck provides levity without tipping into caricature, and Iseman ensures Sarah’s loyalty conflicts feel grounded rather than contrived.

In stretching the story over ten episodes, the series gains room to explore relationships that the novel and film only touched on. This works particularly well with Bruiser’s backstory and the layers to Kelly’s circumstances, adding depth that complements the main plot. At the same time, some stretches risk slowing momentum—a common pitfall in adapting pages to the screen. While the tension is generally well-maintained, a few sequences in the mid-episodes could have been tighter without compromising character development.

One of the more effective choices is how the show handles its legal cases in parallel with the morality of the world they live in. Rudy is not portrayed as a flawless crusader; he bends rules, makes risky alliances, and occasionally miscalculates, making victories feel earned rather than inevitable. The central case provides a spine for the season, but the secondary moments — from old grudges between veterans to domestic abuse warnings ignored until it’s too late — make the world feel messier and more lived-in.

The tone strikes a balance between procedural satisfaction and human cost. Wins in the courtroom often carry consequences outside it, and personal relationships suffer under the weight of strategy and secrecy. The push-and-pull between Rudy and Sarah encapsulates this, their shared history clashing with present-day loyalties.

If there’s a critique, it’s that THE RAINMAKER occasionally feels like it’s pulling from familiar legal dramas — surprise witnesses, hidden files, last-minute revelations — without always finding a fresh spin. The series shines brightest when it leans into its expanded character work and the morally gray decisions that ripple outward. When it falls back on formula, it risks blending in with other legal dramas.

As a whole, THE RAINMAKER earns a solid recommendation for viewers who enjoy serialized legal thrillers with a well-tuned ensemble cast. It’s accessible to those unfamiliar with the source material, yet offers enough variation to keep long-time Grisham fans curious. The season’s slow-burn approach, combined with a mix of courtroom strategy and personal intrigue, leaves room for future seasons to delve even deeper into unpredictable territory.

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[photo courtesy of USA NETWORK, BLUMHOUSE TELEVISION, DON'T TELL MOM, LIONSGATE TELEVISION, MANIAC PRODUCTIONS, NBCUNIVERSAL, WILD ATLANTIC PICTURES, CBS TELEVISION STUDIOS, VERSANT]

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Chris Jones
Entertainment Editor

Chris Jones, from Washington, Illinois, is the Mail Entertainment Editor covering Movies, Television, Books, and Music topics. He is the owner, writer, and editor of Overly Honest Reviews.