As a longtime fan of storytelling that resonates with both logic and emotion, I must admit that “Before” left me feeling more bewildered than entertained. The show seems to be operating under a strange set of rules, where dream logic takes precedence over coherent narrative, leaving many plot points unresolved or nonsensical.
It’s worth noting that Apple TV+ doesn’t necessarily have a problem with repetitive narratives, but the latest drama “Before” marks the service’s third series where a well-known comedic actor portrays a man grieving over his deceased wife. This isn’t the first time this trope has been used by Apple TV+ in their entire history of series, nor is it a recent occurrence within this year’s lineup to delve into that specific narrative theme.
Previously, Billy Crystal was seen mourning the loss of his spouse in a show, followed by another disclaimer featuring Kevin Kline also mourning a deceased spouse. The second season of ‘Shrinking’ then appeared, with Jason Segel still grappling with the death of his own spouse. In just over a week since October 11, these three series have premiered, each sharing this central theme.
Regrettably, Big Widower Energy isn’t the sole reason why Before resembles Apple TV+’s quintessential Apple TV+ content. In fact, any gloomy, dimly lit scene from Before would likely be identifiable as an Apple TV+ production, even without knowing who’s in it or the title of the show. This is because a particular style of Apple TV+ programming leans heavily on overly somber, fish-tank-bottom aesthetics as a substitute for authentic solemnity.
In “Before”, not much substance is found, as it’s essentially an insubstantial direct-to-video film from the late ’90s that was artificially expanded into a tedious series of ten half-hour installments.
Crystal portrays Eli, a grieving child psychologist whose spouse Lynn (Judith Light) took her own life during the final stages of a long battle with cancer. Haunted by memories of her, he avoids opening the very bathroom where she passed away.
Initially, Eli had mostly ceased visiting patients and barely kept in touch with his daughter Barbara (Maria Dizzia). Later, an old acquaintance named Gail (Sakina Jaffrey) suggests he meet an intriguing patient. Subsequently, a puzzling eight-year-old boy (Jacobi Jupe’s Noah) unexpectedly appears at Eli’s apartment, prompting him to reunite the child with his frantic foster mother Denise (Rosie Perez). It is then revealed that the captivating patient Gail had mentioned was none other than… Noah!
Noah has been going through unusual occurrences, outbursts, or occurrences. He’s been getting aggressive and hurting his classmates, talking in a peculiar language that doesn’t seem native to him. However, Denise claims he was once “the kindest child the world had ever known.” It’s unclear if he’s seeing spirits, dealing with supernatural entities, suffering from trauma or mental illness, or experiencing something entirely unknown. The nature of these experiences isn’t immediately evident.
Eli believes that there’s a logical reason behind Noah’s actions, as he’s the type of character who, instead of chatting casually with a priest, might bluntly state: “What I adhere to isn’t mythology; it’s facts. What you believe in are stories concocted to shield people from reality.
Oh.
If you’ve ever watched a movie or TV show, you might have an idea that Eli quickly realizes his bond with Noah is more than what can be understood logically. However, Before is the type of series that ends with a five-minute monologue attempting to clarify the title and justify, unsuccessfully, parts of the storyline if you’re receptive enough to accept them. To put it simply, I was not convinced by this explanation.
I’m sure it’s possible to be more on the Before wavelength than I was.
As a fan, I must admit that there are moments when this show resonates on the simplest of levels. For a couple of episodes, I found myself captivated by its innovative sound design, which transforms every auditory cue into a jarring reminder of Eli’s self-imposed solitude. I also admired the ominous atmosphere it skillfully built up before the predictable and generic scares took over.
Although some of the scary moments in this show are moderately impactful, it’s not due to the creative talents of Sarah Thorp or the directors like Adam Bernstein for the pilot and Jet Wilkinson as the main one. Instead, it seems that the mere depiction of people imagining worms beneath their skin or insects invading orifices where they don’t belong naturally provokes a sense of unease. This is something I can attest to, having witnessed such disturbing scenes in horror movies on numerous occasions.
If it seems like a typical supernatural thriller formula, I want to clarify that Before is just as much of a clichéd portrayal of a creepy child and a story involving child endangerment. However, it manages to be effective on those basic levels too.
Throughout the series, Noah frequently enters different detached mental states and endures a mix of seizure-like episodes and incidents that hint at possession. Your response might range from being “impressed by his dedication” to expressing “concern over the intensity of simulated trauma he underwent for a mediocre TV show.” My feelings were roughly 25% admiration for his commitment and 75% concern, but you might be more lenient. Perhaps I would have been more captivated by his acting if there had been clearer signs that the central mystery, which the show gradually unveils, was somehow reflected in Jupe’s performance.
The things the series eventually unveils become frustrating due to several repetitive plot twists being presented as surprises across various season finales. This pattern, repeated multiple times, not only makes the show seem predictable but also weakens both realistic character portrayals and fantastical elements.
In most parts, it seems illogical, yet when inconsistencies arise, labeling it as ‘dream logic’ and proceeding is a narrative style I dislike greatly, ranking among my top five least preferred methods of storytelling.
The conversation throughout is consistently unnatural, lacking any semblance of human emotion or authenticity? This could be dreamlike. None of the side characters or acting seems remotely human-like? This too, might be dreamlike. The protagonist, Eli, encounters a child speaking an enigmatic language, seeks help from an academic friend (portrayed by Itzhak Perlman as Drake), who provides him with access to a translation tool. This device reveals the language is not rare, but one that Eli can use to learn a phrase – a phrase that’s essentially English in origin – and then this language becomes irrelevant again, with Perlman’s character never mentioned again? Such events seem dreamlike and unexplained.
In that instance, Eli can additionally apply a web browser on a MacBook, something Apple often values. When creativity (dream logic), marketing (product placement), and a mourning widower intersect within a world predominantly lacking color, that’s where Apple TV+’s unique charm shines brightest.
Without resorting to his usual comedic quirks, even while acting alongside a charmingly lively pug, considered the show’s audience favorite, Crystal delivers a genuine performance that portrays a man yearning for rest and longing for the persistent dripping from his upstairs bathroom faucet to cease.
As I grew detached from the events unfolding on the screen, my mind started wandering, questioning if Crystal’s consistent “fine” performance was somehow giving this show a semblance of credibility it didn’t earn, or if a more seasoned actor could have taken this underdeveloped role and breathed some life into it. In the end, I concluded that Crystal was, while not perfect, as good as the show allowed. He wasn’t at fault for the lack of strong co-actors to play off, nor for the confusing timeline that prevented him from having a convincing character arc. It felt like we were in a dream, where logic doesn’t always apply.
What stands out most in Before, even more so than the tentacle monsters that Noah encounters or the mystical elements Thorp adds to make it seem authentic, is the frequent occurrence of talented actors who are given little or no significant roles.
In the show, Robert Townsend, undergoing a career resurgence, portrays a friend with an intriguing hat, who mysteriously departs from the plot following an unusual party, whose consequences are unexplored further in the storyline (a twist of dreamlike logic). Hope Davis takes on the role of a doctor who enters the series halfway through, expressing disapproval towards Eli’s actions, seemingly due to her lack of comprehension of the dream-like narrative. Jennifer Esposito appears as a psychic cleanser in one episode; however, it’s best not to inquire about her character or role. Barbara Bain makes an appearance in another episode, much like other characters in the series, contributing to the unfolding mystery with a single piece of information and then disappearing without a trace.
Judith Light appears frequently on the show, seemingly immortal, yet her contributions warrant even greater recognition. The series’ intricate plot is such that Ava Lalezarzadeh, a key cast member, often fills the role of an unnamed character providing exposition. However, she is later given the name “Cleo,” though by then it makes little difference to her significant part in the narrative.
To begin with, “Before” at least manages to meet the basic requirement for Crystal to demonstrate his serious side. However, as a spiritual thriller with supernatural elements, it falls flat and fails to alter the ongoing gag about Apple TV+ housing celebrated yet unknown limited series. I recommend you watch “Pachinko” instead.
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2024-10-25 04:25