The series revolves around US police Chief Bill Hixon, who decided to go to Lincolnshire with his 14-year-old daughter Kelsey. Bill's daughter is trying to escape her last painful past, but perhaps it will be different in this new society. Now, Bill is forced to ask about everything about himself and may lead him to a different turn.
If you can avoid getting trampled by the hooves of insanity galloping through it, there's enough to make Wild Bill a good way to fill the commercial hour. I just never thought I would live long enough to see it.
It's slapdash in parts, but Wild Bill has the makings of a fine police drama: a far-more-brilliant sidekick, hints at an overarching underground network run by the powerful elite, and some terrible one-liners from its dishy, yet pleasingly troubled, star.
Wild Bill is an odd hodgepodge that tries to be tragic and comic simultaneously and was so hammy during that wind turbine scene at the end that I thought my eyes might bleed.
There were more plots and sub-plots than a medieval strip farm, which means that daft as it was, if the show can work out what it's actually about then there's reason to stick around.
