In this multi-part series, the Courier surveys some of the most notable “don’t miss” and “don’t bother” TV offerings this spring.
“The Residence” is an enjoyable romp through the White House led by Cordelia Cupp (Uzo Aduba), straight-faced, ironically humorous, committed bird watcher and “best detective in the world.” The chief usher, A.B. Wynter, has been found in the billiard room, bloodied and most assuredly dead. Although the FBI and CIA are present, it is the Washington, D.C. police in charge and Captain Dokes has called Cordelia Cupp to lead the investigation, much to the chagrin of everyone in the “house.” Discretion is of the utmost importance because downstairs the president is hosting a state dinner for the Australian delegation and their guests. FBI agent Edwin Park (Randall Park) is assigned the thankless job of assisting Cordelia, and nothing could be more thankless. Cordelia orders the entire house sealed, including all the Australians and White House staff. She is unmoved by the inconvenience and possibility of an international incident.
Everyone is a suspect and she is determined to interview them all. She does. Switching back and forth in time, much of the story is told in flashback as the evening is recounted in front of a Senate investigating committee led by Senator Filkins (Al Franken). And you can’t tell the players without a scorecard. The consummate professional, Wynter made many enemies with the staff, a staff jam-packed with eccentrics. Among them are the dipsomaniac mother of the president (Jane Curtin); the first husband’s kleptomaniac brother (Jason Lee); the disgruntled French pastry chef (Bronson Pinchot) engaged in a competitive battle with the head chef; Server Sheila Cannon, who dips too frequently into the vodka supply; and the president’s friend and advisor, Harry Hollinger (Ken Marino), who thwarts Cordelia at every turn. And then there’s Lilly Schumacher (Molly Griggs), the entitled aide who is determined to redecorate the White House mindfully, replacing the soft edges with ones sharp enough to cause damage. She’s already moved the traditional Gingerbread White House to the basement from its former pride of place in the Red Dining Room.
One murder and everyone is a suspect.
At eight episodes, it’s two episodes too long. Nevertheless, this is pure pleasure and lots of fun. Each actor, no matter how small the role, is a standout. The wild incongruity of some characters only enhances the fun, but it is Uzo Aduba who carries this show gloriously. Never breaking stride or character, her seriousness is what drives the others into a frenzy. Watch this terrific show from Shondaland, created and written by Paul William Davies. It’s fun from first to last.
Now streaming on Netflix.
“The Americas” is a new wildlife documentary that takes you on a marvelous journey across the Americas, from the southernmost point in Patagonia, through the Amazon, Mexico, our own Wild West in the still rough-hewn edges of Montana, to Arctic North America. Each 45-minute episode is more of an appetizer than a full-course meal, but even so, it’s a great introduction to places you’ve visited or wished to or didn’t even know that you wanted to.
The nature photography is outstanding, with top international cinematographers for each episode. Produced by the BBC, the folks that brought you the award-winning “Planet Earth” and “Blue Planet,” this 10-part series is excellent family viewing. Narrated by Tom Hanks, who, surprisingly, has a rather slow, somnolent delivery, “The Americas” gives us much to ponder. Consider this an invitation to explore more because, at 45 minutes, it is, necessarily, limited in depth.
Still, the opportunity to cruise down the Amazon as macaws fly overhead and crocodiles swim below, visit some ruins in the Yucatan Peninsula and watch polar bears search for prey in the Arctic is one to be cherished.
Most episodes are now streaming on Peacock.
“Ludwig” is a real sleeper. Starting slowly, it grows on you until you are completely under its spell. John Taylor’s twin brother, James, a police detective, has gone missing and Lucy, James’ wife has asked John to help unravel the mystery. John, definitely on the spectrum, hasn’t left his house in ages; interacting with other human beings is not his strength, not even when they are relatives. John prefers the isolation that solving and creating puzzles allows him.
John arrives at the home of Lucy, his sister-in-law, and Henry, his nephew, to learn that James’ disappearance may not have been voluntary. What Lucy horrifyingly proposes to John, who has a hard time interacting with her, someone he loved but was paralyzed to express it (he’s still paralyzed), is to pretend he is his brother and go into police headquarters and find James’ secret notebook, one that may unlock the mystery. Reluctantly, he agrees, but when entering the station he is so ill at ease and twitchy that he’s certain the other members of James’ team will catch on that he’s a fraud. Of course they don’t. James’ former partner has allegedly been transferred and replaced by D.I. Carter, who has no prior experience with James. The junior members of his squad, D.C. Evans and D.S. Finch, are so busy competing for arrests that they pay no attention. John breathes a sigh of relief, finds the notebook and is almost out the door when disaster strikes. There’s been a murder and James’ team (that would now be John’s team) has been assigned the case.
John’s skill has always been solving puzzles, and with this case, as will be true of all the others (woe to poor ill-adapted John, there will be others—at least one per episode), he approaches the murder like he would any other brain teaser. What fits, what doesn’t and how to piece them all together. It’s a pure delight for the viewer if not so much for his superiors. As John adapts to his new role, and there is a slight amount of pleasure in it, he begins to find clues to the disappearance of his brother.
The cast is marvelous, led by the subtly hilarious David Mitchell as both John and James Taylor. Mitchel is a well-known British sketch comedian with impeccable timing, which he uses to great effect in creating a character whose tie to the world is tenuous at best. Anna Maxwell Martin is the very sympathetic and grounded Lucy, James’ wife who shares a history with John, and Dylan Hughes as her son Henry, all boyish charm and teenage impertinence. The detectives are very good as well, led by Dipo Ola as D.I. Carter, a slow convert to the skills of John/James. Dorothy Atkinson as D.C.S. Shaw runs a tight ship and is as skeptical of James/John as her boss, Chief Constable Ziegler, played by Ralph Ineson.
“Ludwig” is a lovely way to spend a few evenings. It’s one of those rare series where you want more because you’ll follow the main characters anywhere. At six episodes, there’s no bloat and room to grow.
Now Streaming on BritBox.
To be continued in next week’s issue.
Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.
