As a lover of gripping action thrillers and a huge fan of Colman Domingo‘s captivating performances, I found myself drawn to Netflix’s latest offering, “The Madness.” Having followed Colman’s career since his days on “Breaking Bad,” I was eager to see him step into the leading role and showcase his versatility as an actor.
In a nod to Alfred Hitchcock’s “wrong man-wrong place” thrillers but with a modern twist, Netflix’s eight-episode series, titled The Madness, posits Colman Domingo as the ultimate badass character. The show effectively demonstrates this theory and succeeds in its mission to convince the audience of his planet-dominating prowess, if you will, by channeling the spirit of Shaft’s iconic tough guy persona.
The series is essentially tailored around Domingo’s stardom, as if a group brainstormed unique and stylish actions, lines, and wardrobe choices for Colman Domingo, giving him the freedom to make it even more trendy. There’s an infectious excitement in nearly every scene that this opportunity belongs to a dedicated Emmy-winning, Oscar-nominated actor. Coincidentally, the series premiere coincides with his 55th birthday, making it a wonderful present for an actor who has truly deserved such a platform.
To put it simply, Domingo’s vehicle storyline starts off as ordinary pulp for a few episodes, with enough references to reality to make it feel real. However, as we progress, it turns into typical conspiracy theories, culminating in a two-part finale that seems self-righteous and preachy compared to the action that preceded it.
On weekdays, Domingo takes on the role of Muncie Daniels, a one-time educator and neighborhood advocate turned progressive TV commentator. The narrative unfolds with Muncie, residing in Philadelphia, standing at the brink of realizing his ambition: He’s temporarily hosting a nightly discussion show on CNN, and his friend and representative Kwesi (Deon Cole) is optimistic that if this goes well, a permanent hosting position might follow.
Muncie is experiencing some ups and downs. While things are generally going well, his personal life isn’t flawless. He and his wife Elena (Marsha Stephanie Blake) are contemplating divorce, his son Demetrius seems to have a strong affinity for marijuana, and his daughter Kallie is not as close to him as he’d like. To escape from these challenges, Muncie decides to retreat to a cabin in the Poconos, where he hopes to make progress on a book he’s working on.
Following a power failure, Muncie visits the neighboring cabin and finds its inhabitant (Tahmoh Penikett) being brutally dismembered by two masked individuals. Shortly after, he becomes the target of a chaotic array of entities such as local law enforcement, the FBI, an internet-propelled legion of white supremacists (since you should know his neighbor was a right-wing influencer), corporate thugs, and more. As a prominent figure in a media sphere that frequently favors conflict, Muncie now finds himself immersed in his own conspiracy, but it leads to no intriguing destinations.
The play titled “The Madness,” penned by Stephen Belber (author of “Tape”), exhibits a basic narrative structure that aligns with his theater-centric background, rather than extensive experience in writing lengthy narratives. The story hops between locations such as Philadelphia, New York City, and the Poconos without much concern for chronology or geographical accuracy. This gives the investigation conducted by Muncie an initial draft feel. Perhaps it’s due to Muncie not being a detective and lacking the intuition of one that he gathers information piece by piece, one lead at a time. It appears as though we are following the blueprint for a mystery, rather than actually experiencing one.
During his journey, he gets involved with extremist groups from both the conservative and liberal sides. Whenever unsure, he turns to a skeptical FBI agent portrayed by John Ortiz and a shrewd cigar store owner with extensive connections, played by Stephen McKinley Henderson (who delivers another impressive performance on Netflix this month).
Occasionally, the series “The Madness,” with VJ Boyd (known from “Justified”) sharing the role of showrunner, shows a refreshing depth. Despite being predominantly filmed in Ontario, it effectively captures Philadelphia’s essence as a city teetering on the brink, much like a packed powder keg. It subtly incorporates references to local issues such as the MOVE incident, the demographic composition of various neighborhoods, and the influence of Penn and Temple’s land acquisitions on the housing market. Characters occasionally use the local term “jawn” to maintain authenticity, likely due to Domingo, a native Philadelphian, advocating for such details.
As a gamer, I found the narratives surrounding these fringe groups lacking. A storyline focusing on Tamsin Topolski’s Lucie, the estranged wife of the Poconos neighbor, felt more like an attempt to make white nationalists relatable rather than something I was interested in exploring. The intersection of these groups with media, the darker corners of the internet, and Generic American Capitalism, as suggested by the series’ title, didn’t feel as intense or groundbreaking as it was meant to be.
As the series progresses and it becomes evident that Muncie’s heightened paranoia and family mental health issues are not the central focus, there’s a shift from “The Madness” to “The Ordinariness.” By the final episode, intended to push Muncie into significant personal decisions, I found myself questioning the show’s larger message. The climactic revelation of conspiracies turns out to be quite anticlimactic.
The reason The Madness never feels entirely disposable lies in the performance of Colman Domingo. At the outset, we get a glimpse into Muncie’s life – he’s an avid runner and has training in jiu-jitsu, making his transition to a more action-oriented character plausible. Additional aspects of his character, such as his past as a teacher and community organizer or his troubled relationship with his father, serve more as backstory or decorative details around the central theme of an “innocent man on the run to prove his innocence.
On Sunday, Domingo consistently stirs up anger in Muncie, yet primarily embodies the exasperating predicament he finds himself in. Despite his humble working-class roots, Muncie appreciates luxury items. Throughout the series, he is often seen in a striking and adaptable peacoat. When he wishes to blend into public anonymity, a collection of high-end sunglasses assists him. When he needs to infiltrate an upscale club covertly, it’s not sufficient to borrow any suit – instead, he borrows a flawlessly tailored Tom Ford suit.
Instead of lingering until the final moments of the credits to find out which brands gave “promotional consideration” to Domingo’s partnership, it’s evident that Netflix could boost revenue by adding a “For further insights into Colman Domingo’s wardrobe, click here…” call-to-action link at the end of each episode.
The directors, led by Clément Virgo for the initial and final episodes of the season, grasp the task at hand flawlessly. Whether Domingo is found lounging in a seedy motel while smoking marijuana, dressed casually, or running through the woods with pursuers close behind, his scenes are meticulously illuminated and composed to a degree typically reserved for stars like Tom Cruise or the week’s Timothée Chalamet.
The secondary characters are skillfully portrayed by seasoned actors such as Henderson, Ortiz, and Cole, who also shone in their own show “Average Joe.” Although it aired on BET+ and didn’t receive as much attention, it was quite good. Moreover, two other character actors deliver impressive performances; one steals the spotlight with a standout scene, while another makes an appearance midway through the season as a secondary antagonist. I felt that the family members of Muncie could have had more screen time, but I appreciated the depth added to Kallie’s character and Graham’s performance, which contributed significantly to the series.
I’ve been enjoying Domingo’s act and can’t help but draw parallels with Bob Odenkirk in “Nobody.” It’s fascinating how entertaining it is when actors challenge expectations through against-type casting. While I wouldn’t want this to be a constant, it’s one of those rare opportunities that every versatile comedian or theater artist should aim to seize at least once in their career.
If someone wants Domingo to experience situations involving gun shooting, martial arts, discussing income inequality, and confidently walking down alleys with stylish jackets that catch the attention of passersby, I’m all for it. However, I do hope that the show surrounding him can maintain its pace effectively throughout its entirety.
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2024-11-28 11:25