Taboo

Every so often the wheels of the narrative churn to unveil a nugget of information that makes engaging with Taboo’s dense mystery rewarding, but whether that pays off is anyone’s guess.

Taboo is a show with a lot of potential. An authentic-looking world with an intriguing lead character is sure to draw viewers in. But if it wants to maintain its audience, the series needs to do a better job of revealing itself.

Taboo is essentially like its title. It teases and teases and teases something envelope-shattering and a little bit disturbing, but then it settles for the same old tropes you’ve seen before, albeit more handsomely delivered than usual.

A decidedly odd and generally unpleasant big swing that marks the network's attempt to enter the dark fantasy epic territory occupied by Thrones--with a little Thrones incest thrown in for good measure. What it lacks, unfortunately, is Thrones' sweep, moments of playfulness, and narrative drive--or any drive at all.

In addition to Mr. Pryce, a number of familiar British character actors acquit themselves well, including David Hayman as Delaney’s factotum, and Nicholas Woodeson as a slippery lawyer. But the focus on grim portentousness and rank atmosphere keeps bogging down the story, which needed more attention to achieve the balance it seeks among gothic bodice-ripper, “Heart of Darkness” social tract and corporate thriller.

Hardy and his collaborators have tapped into some of the atmosphere of Dickens, but at this point they fall short of his characterization and storytelling abilities.

Taboo seem to have aspired to explore a number of complex, uncomfortable issues in the three episodes made available to critics without concretely establishing a thesis about any of them. Provided the viewer isn’t utterly bored or bewildered by what she sees, the show thus far seems like it could go to interesting places. As to where that is exactly, who can say?