This new series from Apple TV+ is set against the backdrop of 1960s California, where a recently released convict attempts to reconnect with his family while grappling with past mistakes. The show blends an eccentric style reminiscent of Wes Anderson with a lackluster narrative that fails to deliver depth or purposeful storytelling.

Despite its vibrant visuals and talented cast, including David Oyelowo's standout performance, the series struggles under the weight of whimsical randomness, offering little substance beyond its aesthetic appeal.

Aesthetic Appeal Without Depth

The production design in this series is undeniably captivating, transporting viewers to a bygone era through meticulously crafted details such as automobiles, attire, and household interiors. Each frame exudes a retro charm, immersing audiences in a world where material objects carry a comforting weight and optimism for the future feels tangible. However, beneath this enchanting surface lies a narrative void, as the storyline prioritizes eccentricity over engaging substance.

The visual allure of the series cannot mask its narrative shortcomings. While the setting and period-specific elements are painstakingly accurate, the story itself lacks direction and purpose. Similar to other productions from Apple TV+, this series leans heavily on quirky aesthetics rather than meaningful plot development. The characters navigate their lives with an angular insouciance that echoes iconic filmmakers like Wes Anderson and the Coen brothers, yet these stylistic choices do not compensate for the absence of compelling storytelling. Instead of propelling the narrative forward, the series meanders aimlessly, indulging in eccentricities without advancing the plot.

Characters Lost in Quirkiness

Central to the narrative is Hampton Chambers, portrayed with remarkable skill by David Oyelowo, whose facial expressions alone convey volumes about his character's relentless optimism and scheming nature. Despite his charisma, Hampton's relationships with his family members remain superficial, hindered by caricatured portrayals and a lack of genuine emotional depth. His wife and sons react to his return with detached bemusement rather than authentic emotion, diminishing the potential for meaningful interactions.

Oyelowo's performance stands out as he navigates the complexities of a man determined to transcend his circumstances through increasingly unwise schemes. Yet, even his formidable acting abilities cannot salvage the series' fundamental flaw: a preference for bizarre coincidences over substantial character interactions. The supporting cast, though competent, finds themselves trapped within a narrative framework that prioritizes whimsical digressions over genuine human connection. For instance, the subplot involving Hampton's son Einstein and his ambitious yet unrealistic pole vaulting aspirations adds little to the overall narrative. Similarly, the inclusion of a group of intimidating French-Canadian bullies and an unreliable crime partner only exacerbates the series' tendency toward random eccentricity without contributing meaningfully to the storyline. Ultimately, what could have been a poignant exploration of family dynamics and redemption becomes overshadowed by superficial quirks and a lack of coherent narrative direction.