Jake Johnson also stars in the David Gordon Green-directed series, following a divorced mom who gets tangled up in a web of murder, blackmail and deceit after witnessing a violent crime.
— namely, whether the Apple series delivers as promised — without getting all philosophical about it. Are we talking about the maximum pleasure a product is capable of offering, or that its user is capable of feeling?
If the latter, how could you ever know for certain that what you’re feeling isn’t just pleasurable, butTatiana Maslany, Jake Johnson, Dolly de Leon, Murray Bartlett, Charlie Hall, Kiarra Hamagami Goldberg, Jessy Hodges, Nola Wallace, Jon Michael HillSo, no, I could not say with absolute confidence whether it lives up to the name. What I can tell you, however, is that whileenjoyment I’ve ever derived from a TV show, its addictive combination of light comedy, unpredictable twists and sharp character work — all anchored byWell — a good time for us, that is.
It’s far less of one for Maslany’s Paula, a Queens fact-checker mired in a tense custody battle with an ex-husband, Karl , who intends to move with their eight-year-old daughter and his new wife to Idaho. Under such tense circumstances, it’s hard to blame Paula for wanting to blow off some steam with Trevor escalates and the stakes ramp up.
Nor are there any larger lessons to be gleaned from Paula’s ordeal, unless you count “the internet is not as anonymous as you might hope. ” But the upside is a breeziness that keeps the ten 40-ish minute chapters flying by, buoyed by sharp jokes and propelled by clever twists.demonstrates an impressive knack for world- and character-building.
Maslany leads the charge, effortlessly embodying Paula in all her contradictions — she’s a genuinely good momone who desperately needs to “tighten fucking shit up,” a sympathetic victim in over her headsomeone who can’t seem to stop running headfirst into bad ideas. Without going out of her way to make Paula seem “likable” or even necessarily “relatable,” Maslany’s naturalistic performance keeps her endlessly fascinating.
The ensemble around her is similarly rich, stuffed with characters who even in their comparatively limited screen time come across as vivid enough to be protagonists in their own right. I particularly loved Kiarra Hamagami Goldberg and Charlie Hall as Paula’s younger coworkers Geri and Rudy, who are just as hilarious to watch bickering over the correct bread-to-filling sandwich ratio as they are joining Paula on her ill-advised investigation; and Dolly de Leon as detective Gonzalez, whose salty deadpan belies a sincere commitment to finding the truth.
I’d also be remiss not to mention, who gets to play a full range of energies — from warm to icy, charismatic to slightly pathetic — as a mysterious associate of Trevor’s. Combined with the smart choice to set the story in a mundanely residential area of Queens, as opposed to the city’s more glamorous or recognizable enclaves, these vivid characters help groundin, if not quite the real world, something that plausibly resembles it in texture — even as the conspiracy grows more convoluted, the reveals more shocking, the scope more expansive.
It’s a place you can imagine continuing to exist after the credits have rolled on the finale. Which is good, since the ending leaves just enough loose ends dangling to set up some promising potential avenues for a season two. In that sense, I can’t say thatfully satisfies — but it’s not because it can’t or doesn’t want to.
It’s because it understands that the secret to luring a loyal follower back again and again, is to always keep us wanting a little bit more.
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