Reacher breaks a key rule from Lee Child's novels — and that’s exactly why the show succeeds

Being an avid follower of Lee Child's Jack Reacher novels, I approached Amazon's Reacher series with a sense of guarded optimism. One of the hallmark characteristics of Reacher in the books is his stoicism – the man is a walking contradiction: a man of few words yet possesses an unparalleled contemplative depth.

To put it differently, Reacher is a drifter, a thinker, and above all else, someone who eats silence as effortlessly as the rest of us breathe.

I'll admit I found the show an unexpected departure from that world—and it unnerved me. The narrative choice was jarring at first, but the more I watched, the more I understood how this divergence isn't simply justifiable — it's imperative.

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The medium demands a different Reacher

Transferring a character like Reacher from the pages of a book to screen is not a simple task. Having his thoughts written out in prose gives a character like Reacher depth as there is dialogue to reveal his inner monologues. The absence of dialogue that narrates one’s thoughts can leave a void that is not always positive. The approach the show takes is bold: it grants Reacher more lines.

And bizarrely enough, it works.

In Amazon's portrayal, Reacher maintains the stern, disciplined, and principled image of a solitary figure we’re used to. However, unlike in the books, he receives more words – primarily, to provide explanations, breakdowns pertaining to the matters at hand, or effortless quips that feel as if they strike.

This new vocal side of Reacher, albeit speaking more than we are accustomed to, delivers discourse that is true to someone as careful, overconfident, and in a pleasant ironic way, charmingly rude.

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Alan Ritchson is the right kind of different

A significant portion of the show's success can be attributed to its casting. Alan Ritchson resembles the Reacher we have pictured for many years. He is enormous, towering, and deeply intimidating, having a face that feels worn and bored from caring too much.

Ritchson brings something else to the table: his presence. His presence encompasses more than just the physical, but also the emotional complexity.

While it might seem that this Reacher speaks more, it is never without intent. His speech is always intentional in its expression., for whether unleashing forensics over a crime or reciting military logistics, you can tell he means what he says and that’s what matters. Fans want Reacher to be a powerhouse, not simply with his fists but with his mind. This depiction is done well by the show.

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The essence is intact

Fidelity in adapting source material can be crucial, but a lack of creativity can also be a hindrance. Good adaptations strike the right balance between recreating and interpreting. The Reacher series preserves the major aspects of the character — moral compass, instincts, physicality, and social isolation — while making adjustments for the medium of television.

Correct, Reacher is more loquacious in the show. That said, he’s still the character who fulfills his promises — like breaking your arm if you threaten an innocent person. He continues to purchase secondhand clothing, travel with nothing except a toothbrush, and live in solitude. The essence is preserved.

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A new era of Reacher — for new and old fans alike

We become overly attached to characters we have known and loved for years. But in my opinion, Amazon has done what they needed to do: create a version of Reacher that is self-sufficient and does not depend on the novels while still giving them reverence. Balance is difficult to achieve.

This might be the show’s only option for success. Breaking that one crucial rule of allowing Reacher to talk, however, has allowed them to define a Reacher that appeals to a wider audience, as well as to existing fans like myself.

Reacher’s essence is present, and that’s all that matters at the end of the day. The number of words he utters is inconsequential, as long as the character’s spirit is intact.

And I am glad to say that it is.