The creative team at Nicole Kidman, HBO, David E. Kelley, and Oscar winner Susanne beer (also an Emmy winner) yells high-end prestige TV project. The limited series “The undo“A meaty melodrama mix of intrigue and sex-thriller-drama from the 90s is definitely not high-end in the prestigious, award-winning sense.” Granted, it’s not campy or necessarily too goofy (mostly), but theatrically soapy and bingable in the same way as Kelley’s “Big little lies“War.” The Undoing explores similar notions of privileged social classes, wealth and betrayal through a female lens and simply does not have the cast, soundtrack or bustling directorial style to match the overall confident verve of “Big Little Lies”. However, the goals of this new series are different and Kidman, their co-star Hugh Grantand Bier’s robust craft make for an entertaining, compelling show, even when the writing turns to the melodramatic and the penultimate episode to the ridiculous.
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The focus of “The Undoing” is on the cracks in the facade, but initially mainly on the smooth, opulent veneer. The Fraser family – Grace, a successful therapist (Kidman), devoted husband Jonathan, a respected and beloved pediatric oncologist (Grant) – lives perfectly well-kept living in the upper echelons of New York City with their young son (Noah Jupe) attending an elite private school in Manhattan. Grace’s patients are the ones who lie to themselves and cannot see the forest for the trees.
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For prosperity, the Frasers are generally not affected by the vagaries of life – their biggest concern is deciding whether to participate in a fundraiser for their son’s school (Grace’s father Franklin Reinhardt)[[[[Donald Sutherland]]: A retired financier and loving grandfather donates money to the school so it is up to them to make an appearance. There is a young mother there (a ridiculously attractive one Matilda De Angelis, Anyone who appears in scenes of noticeably free HBO mandatory nudity that is out of tune with 2020 until you remember it’s cable TV) – who already created a mom drama at a PTA meeting and fascinated Grace has – becomes a thirst trap.
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But semi-spoiler that can be smelled a mile away, a great tragedy ensues that evening. A horribly brutal murder that shocked the affluent preschool community. Jonathan, the seemingly perfect father and compassionate doctor, missed in the heat of it all and not the symbol of benevolence – a caring childhood cancer doctor – everyone thought he was. Grace’s world implodes in the news media hysteria and she seeks refuge with her protective and wealthy father. As much as she and her world untangle in front of her eyes, it is the blinders she has realized that she is willingly worn for too long that upset her most (and it is perhaps this self-betrayal that Kidman’s best internalized acting meat for Stew there).
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“It’s what rich legitimate people do when threatened. They hide the ugly truths to protect themselves,” says Jonathan’s prized lawyer (Noma Dumezweni) in a self-serious but deliciously silly series of thesis statement.
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Every layer of intrigue unfolded by the investigative detectives in the case that Grace also doesn’t trust – Detective Joe Mendoza (Edgar Ramirez) to star – is just a more terrifying revelation about how much this seemingly confident therapist has deceived herself. But it’s either fight or flight at Grace’s turning point on Jesus, and ultimately protecting the family name from more tabloid fodder and gossip seems like the only hope for long-term survival. “The Undoing,” which in its first few episodes largely resembles an intriguing adult thriller from the ’90s, has finally settled in well-known courtroom drama territorial writer David E. Kelley, who built his name but riddled with criminal flashbacks and horrified ways in which she disregarded her own advice moments of self-reflection and self-blame.
“The Undoing” would like to say something about how some women are mistaken on behalf of their husbands and how the cocoon of privilege can foster satisfaction between ignorance and bliss based on a pile of lies. But it arguably says nothing new or with much depth as to what the show’s real problem is, and the results may vary for those looking for meat beyond the show’s smooth surface.
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And yet, Bier’s beautifully designed show and the way the mystery unfolds is seductive to watch. “The Undoing” is visually easy on the eyes – through cinematography, costumes, production design and facial quality – and can therefore relieve the brain of deceit and maneuvering despite some risky dialogues and insane twists and turns. There’s a great cast here too who sells most of the drama, including Kidman, even if her character has an icy distance from her that keeps her emotionally away from the audience. Sutherland is effortlessly perfect as the hammy, scene-chewing dad who meets her daughter for distant conversations in Manhattan museums where they don’t really face each other or acknowledge each other (an imagination that’s amusingly clichéd). And even Grant gets points for undermining his Rakish charms while still ultimately accepting the typography of everything.
As the successor to Bier’s excellent Limited seriesThe night manager,” to the AMC– which was so celebrated in its elegant intrigue that many proposed it for the next “binding“Director -” Undoing is a decisive step backwards (albeit less compared to Bier’s mediocrity “)Bird feeder”). But it will be of great value to those looking for an absorbing sensational distraction and an airport novel, such as “Ex girlfriend“Minus the bitter joke and the cutting irony.” The Undoing “doesn’t have much to offer in its ideas of disassembling a life to create a new one, but as a short, sometimes delicious, stylish, sexy B-movie thriller, which cannot be taken too seriously, but also cannot decipher too much, it can lead to a much-needed disruption of our own lives. [C+/B-]
“The Undoing” premieres on October 23rd on HBO.