Natalie Portman's television debut isn't the deep-thinking, subversive thriller she'd like it to be
Natalie Portman. Overblown and lacking in any real depth, Apple TV+’s latest thriller is nothing more than simply OK.
Portman plays Maddie Schwartz, a Jewish housewife in Sixties Baltimore who spends her days cooking for and picking up after her husband Milton and son, Seth . But – like many of her ilk in these period dramas – she’s finally had enough. Permanently harried and distraught, she becomes obsessed with finding a local girl who has gone missing.
Moses Ingram is fantastic as a woman struggling to hold her life together in Sixties Baltimore , fantastic), who we first meet in a flash-forward, as a dead woman being shunted off a boat into the same eponymous lake. Cleo’s accusatory, posthumous voiceover narrates the episodes, indicting Maddie’s fixation with both deaths as self-serving – “you said no one cared until you came along”, she says ominously.
It’s all a bit lofty, especially for a series with a plot that wouldn’t be out of place on an average ITV1 midweek drama. Bizarre dips into the surreal – a bloke having a bath with some fish while wearing a creepy gas mask, or visions of seahorses and sheep, for example – make for intrigue, but ultimately distracted me from the story at hand.were all fantastic.
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