Premiering with two episodes on July 15, this adaptation of Marissa Stapley’s 2021 best-seller casts Taylor-Joy in a role that combines the physicality of her Furiosa hero, the cerebral acuity of her character in The Queen’s Gambit, and the mesmerizing strangeness that has been her signature since The Witch. Taylor-Joy’s Luciana “Lucky” Armstrong is a con artist in a desperate situation. Both second-generation criminals who’ve tried to go straight, she and her husband, Cary (Drew Starkey), have just pulled off a classic final heist—you know, the kind that always goes wrong—and are celebrating in Vegas with plans to make an early-morning escape into anonymity. But when Lucky awakens, disoriented, in her hotel room, Cary and the cash have vanished. She’s left running from not just a tenacious FBI agent (Aunjanue Ellis-Taylor’s Billie Rand), but also Priscilla, a deceptively refined crime boss played with icy calm by Annette Bening. The only person she trusts, her grifter dad, John (the recently ubiquitous Timothy Olyphant), is in prison.
Annette Bening in Lucky —Apple TVShe is there under false pretenses, having earned the guarded woman’s trust by saving the young granddaughters from a rattlesnake and then claiming that she’s fleeing an abusive husband. In the strictest sense, this is a lie. Yet Taylor-Joy lets us see that emotional truths underlie Lucky’s many deft deceptions; maybe Cary didn’t beat her, but he has betrayed her dramatically enough to put her in grave physical danger. I spent several episodes wondering whether the show would address how the character uses her gender—not just her sexuality, but her seemingly fragile beauty, her believability as a victim, the ease with which she helps and bonds with other women—to get what she needs out of people. When it does, quite late in the season but just in time to recast one of Lucky’s core relationships, the payoff is enormous.
Aunjanue Ellis-Taylor in Lucky —Apple TVBut it’s Taylor-Joy who makes the whole thing work. She’s riveting in action sequences, balancing stealth and grace and fear and resourcefulness. Her face registers micro-emotions. Her wide eyes speak their own language of panicked blinks and observant stares. A closeup of Lucky engaged in any act of social engineering makes perceptible to the viewer hesitations and internal conflicts that would be invisible to her mark. Her only real disadvantage in playing a fugitive—or an undercover agent—is a presence so unusual, it can’t be believably disguised. Ultimately, though, distinctiveness is an asset for an action star. We like them to stand a bit apart from us regular folk. Bond wouldn’t be Bond if he could easily disappear into a crowd.
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