The Undoing

“The Undoing” is brilliant and will be this fall’s most talked about dramatic series.

Ugliness has never looked more spectacular than in this juicy tale of innocence lost among the rich and beautiful. [26 Oct - 8 Nov 2020, p.12]

It’s more of a conventional thriller than Big Little Lies was, favoring plot over character as it spins a twist-laden murder mystery. And if it’s ultimately not as emotionally complex as Big Little Lies, it’s more immediately gripping, with a breathless pace and a wealth of compelling performances.

This is an entertaining story that's well-performed by an impressive cast, so here's hoping the final episodes show me something I haven't seen before.

Initially it lacked the bitchy bite of Big Little Lies. Kidman's character seemed too bland and nicey-nicey to intrigue. Grant's performance outshone hers. ... Then it started to ripen. ... Kidman's eyeswivelling was off the charts as Grace's perfect life looked to be unravelling. Tasty. Again we seem to be gazing at the dark, maggoty underbelly of wealth and privilege. I'm definitely in.

As enjoyably ambiguous as those lead performances are, it’s The Undoing’s support cast that leaves you wanting more.

“The Undoing” is plush to the point of voyeuristic ecstasy. ... [The Undoing] is delightfully shameless in flaunting its characters’ wealth and their cluelessness about it. ... The antidote to all the self-absorption is Jonathan, who as played by Mr. Grant—I confess, I love Hugh Grant—is the seemingly perfect spouse, a man in love with his wife (they phone each other like teenagers) and a delightfully unedited critic of their social circle.

It offers a moody sense of atmosphere, a welcome reminder of New York’s pre-pandemic days (the series was shot in 2019), fine acting, and a seductive mystery that will likely lure in even viewers who try to resist it. It is chilly in here, yes. Nevertheless, you’ll still want to stay a while.

“The Undoing” is bathed in rich, autumnal colors as we quickly get to the trial portion of the proceedings, which of course feature all sorts of goings-on you’d never see in real life. But who cares, as we’re firmly in guilty-pleasure courtroom thriller territory by now!

The Undoing is beautiful — the people, the locations, the coats! — and we’re all apt to cut beautiful things a little slack. Through all of the misdirects, the characters’ dumb decisions, the dreamy detours, The Undoing kept me guessing — and, of course, gloating over everyone’s misfortune.

Presented as a prestige piece, The Undoing is instead more like a pulpy thriller novel. A slightly new spin on a familiar genre, it’s a page-turner for the duration of the ride, but once put down it doesn’t leave you with much.

“The Undoing” is entertaining and absorbing, too, but not in service of anything thought-provoking. It’s a straight-up, highly manipulative mystery game, as it toys with your suspicions and certainties, and you will cycle through a long list of potential perps along the way. ... It’s fun to watch Grant in action, dodging our presumptions about his character. Kidman is good, too, if a bit distractingly waxen.

The Undoing owes debts to earlier high-class HBO miniseries, but the net effect feels like "Big Little Lies Lite." Reuniting Nicole Kidman and writer-producer David E. Kelley, the six-part production hinges on a murder mystery and trial, but even with its twists and feints, doesn't possess the requisite qualities to become another viewing obsession.