Like the source material it's based on, this series is best enjoyed for what it is: a scandalous (albeit sometimes silly) mystery, designed to be entertaining above anything else. And to that end, it's a rousing success.
From the moment she walks through the door, Laura has a strong mistrust of Cherry, although it isn't initially clear whether that's a warranted hunch or a projection of her own issues; chiefly, a fear of being replaced and an underlying classism.
These moments are purposefully inconsistent, both to disorient the viewer and accurately reflect how certain statements or gestures can be wildly misinterpreted when two people become clouded by their frustration and rage.
Davidson completes a strong trio as their sought after prize, Daniel; as handsome, alluring and privileged as he might be, one can't help but feel the most sorry for this lost creature as he casually strolls into every deceptive bear trap put in front of him. Bless.
This archetype refers to any Black character whose sole purpose is to serve a white character's story, either by providing comic relief, exposition, emotional support or some other function, while having very little in the way of their own business.
Moodie and Brune-Franklin certainly do fine jobs with what they're given, as do Karen Henthorn and Waleed Zuaiter in the somewhat underwritten roles of Cherry's mother, Tracey, and Daniel's father, Howard.
Those familiar with Michelle Frances's novel may have an inkling as to where things are going, but as a newcomer to this story I was particularly captivated by its gnawing mysteries and genuinely unexpected twists.
Alas, its bleakly catastrophic ending – heavily foreshadowed from the opening flash-forward – proves to be a tad deflating after such a gleefully deranged ride, but still, you won't regret giving five-and-a-bit hours to this slick, stylish trip.
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