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News both good and bad accompanied the seventh season of “Bosch,” Amazon’s gritty drama starring Titus Welliver as Los Angeles police detective Hieronymus “Harry” Bosch, central figure in more than 20 novels by Michael Connelly.

(Connelly also has written six books about defense attorney Mickey Haller, who is Bosch’s half-brother, but apparently only on the printed page. I don’t recall TV’s Bosch ever mentioning siblings. Haller was the central character in the 2011 film, “The Lincoln Lawyer,” starring Matthew McConaughey.)

Okay, the good news: Season seven is as entertaining as each of the previous six, making “Bosch” one of TV’s most consistent series.

The bad news: There will be no eighth season.

However, the good news is Harry Bosch will return in a new series, as yet untitled, in which he will be a private detective. (As a final gesture in “Bosch”, the detective quit the Los Angeles police department.) Connelly says he is all aboard for his character's career change.

The bad news: The new series will be shown on imdbtv, owned by Amazon, but which carries commercials.

THROUGHOUT its run, I had mixed feelings about “Bosch,” though I found much more to like than dislike. Unfortunately, some dislikes will remain in the new series, while several likes will be missing. This makes me skeptical about “Bosch 2.0,” or whatever the show will be called. What follows are thoughts I had after I watched season seven, then learned of Harry Bosch's return.

Dramas about a police detective can convey a sense of reality; dramas about private detectives seldom touch base with the real world. What made “Bosch” work was having the permanently disgruntled detective part of a team that included contrasting, interesting characters. Artistic license was exercised, by the police work often seemed real.

I’m sure I’ll miss several of “Bosch’s” regular and recurring characters, especially
Amy Aquino's Lieutenant Grace Billets, Bosch’s immediate superior. And then there are Detective Moore, aka “Crate,” and Detective Johnson, aka “Barrel.” Played by Gregory Scott Cummins and Troy Evans, they provided much-needed comic relief, while being very good at their jobs. Sergeant John “Mank” Mankiewicz, assistant watch commander, was the always cool head in the middle, and was wonderfully played by Scott Klace.

While I’ve seen evidence in talk show appearances that Titus Welliver is a funny man, Harry Bosch is self-righteous and angry. His police partner, Jerry Edgar (Jamie Hector) wasn't Mr. Congeniality either. Several "Bosch" episodes would have been nearly intolerable if it weren’t for Crate, Barrel and Mank, reminders that taking yourself too seriously not only is irritating, but counter-productive.

I’ll also miss Chief of Police Irvin Irving, played by Lance Reddick, who seems born to play such a role (which he also did in “The Wire”). Hector also is remembered from "The Wire," in which he played drug kingpin Marlo Stanfield. He wasn't quite as memorable in "Bosch," perhaps because Jerry Edgar worked in the shadow of the main character.

I was hoping to see more of Detectives Rondell Pierce and Christina Vega, a team during seasons fives through seven (though Pierce made his first appearance during the first season). Played by DaJuan Johnson and Jacqueline Obradors, their characters became increasingly important as the series went down the homestretch. Another key character was Detective Santiago “Jimmy” Robertson, who often worked with Bosch, while remaining suspicious of the man. Paul Calderon, a familiar TV actor, was terrific in the role.

One “Bosch” character I found exceedingly annoying was defense attorney Honey Chandler, played by Mimi Rogers. Spoiler alert for those who haven’t yet watched season seven: Chandler gets shot by a professional hitman in episode three, but in episode four it’s obvious that somehow she'll survive. No only survive, she's one of two "Bosch" characters who'll be featured in the new series.

It’s a given that every movie and television program, whether about police, forensic investigators or private detectives, rehashes familiar plots. What elevates a few of these movies and series are clever dialogue, imaginative plot twists, and colorful supporting characters brought to life by skilled, well-cast actors who deliver memorable performances. "Bosch' had little clever dialogue, but had more than its share of good supporting characters. Honey Chandler was not one of them.

To me, Ms. Chandler was poorly cast, and the character eminently expendable. Mimi Rogers, who played a similar attorney in the 2005 TV film, “Jesse Stone: Stone Cold,” made Honey Chandler annoyingly smug, with more reputation than personality. Perhaps that’s how the actor was instructed to play the role, but I suspect it’s what you get from a Mimi Rogers performance.

If private eye Harry Bosch needs to regularly work with a defense attorney, give him someone colorfully and entertainingly arrogant. Who better for such a role than the amazing Jean Smart? (Catch her in “Hacks” on HBO Max.) Or you could go with a male defense attorney and get Rick Hoffman, who played Louis Litt. the scheming lawyer from “Suits.” What I foresee on the new series is Angry Man arguing with Ms. Smug over which one is morally superior.

• Then there's Madison Lintz, part of “Bosch” from the beginning, though she wasn’t a regular during the first season. She plays Harry Bosch’s daughter, Madeline, better known as Maddie. I may be a member of a tiny minority here, but for the last three seasons, I found the relationship between Bosch and Maddie borderline incestuous.

Mind you, I like Madison Lintz, who was fifteen when "Bosch" began, and from her first appearance managed to hold her own with older, far more experienced actors. And in season one, the father-daughter relationship seemed normal, considering their circumstances. Bosch was divorced, and teenage Maddie was living with her mother, Eleanor Wish (Sarah Clarke).

That raises my biggest complaint about “Bosch.” If anything hit a false note, it was the portrayal of Eleanor Wish. I suppose the fault can be traced to author Connolly, who may have created Eleanor as a former FBI profiler turned (are you ready) professional poker player married to the mysterious casino boss Reggie Woo.

Eleanor's needless murder in season four created an eyeball-rolling situation that had Maddie and her father living together in Bosch’s unusual, stilt-supported house, adopting a dog (named Coltrane), listening to jazz, and constantly exchanging “I love yous” and being understandably, but overly concerned about each other’s welfare. In seasons six and seven, Maddie had boy friends, even sleeping with one of them in the last season, but throughout her father loomed as the main man in her life.

Because Maddie has joined the police department, she’ll likely be the link between her father’s two worlds, and somehow find herself involved in his cases. In “Bosch,” Maddie had the same function (and often was as annoying) as the character Rusty Beck (Graham Patrick Martin) in “Major Crimes,” who was ridiculously dragged into cases because he was the adopted son of Captain Sharon Raydor (Mary McDonnell), who commanded the police unit. “Bosch” had Maddie working for Honey Chandler, overlooking frequent conflicts of interest.

Whatever ... best wishes to Titus Welliver. I hope, in his new show, he gets an excuse to do his wicked impression of Al Pacino.

OTHER RANDOM "Bosch"-inspired thoughts:

I'm tired of TV heroes who are jazz fans, and who preach the only way to listen to music at home is on vinyl recordings. This is particularly good if you want to hear the same note repeated fifty times when the needle gets stuck in a groove. This isn't so much that I disagree with these heroes — though I feel jazz is highly overrated — but because their taste has become so cliche in movies and TV, going back at least as far as James Stewart's jazz-loving, piano-playing lawyer, Paul Biegler, in 1959's "Anatomy of a Murder."

Oh, there are two UK series featuring Endeavour Morse's love of classical music and opera, and New Zealand's "Brokenwood Mysteries," which features a police detective who likes American country music, but it would be refreshing to meet characters who have different musical tastes.

With Harry Bosch moving to a new series, I expect he'll have a new theme song. I certainly hope so. “Bosch” is a seven-time winner in the “Best Series With the Worst Theme” category of my TV awards. It's the only series that had me hitting the mute button every time the theme played. The music itself wasn’t that awful, but when the lyrics were played (“I’ve got a feeling and I can’t let go” over and over and over), the theme became unlistenable.

Season seven found Titus Welliver still having long sideburns, though they were neater than the distracting white fluff that adorned his cheeks in season six.

Gutsiest thing Detective Harry Bosch does — and he does it every day — is live in that house resting on poles on a Los Angeles hillside. Being there during an earthquake must be a real kick.

Finally, thanks to whoever came up with the tip Bosch gave his daughter during season one: When you have pancakes, pour the syrup on the plate, not the pancakes. I don’t know why, but this makes a delicious difference.

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