‘The Residence’ Review: Uzo Aduba Solves a Murder at 1600 in a Netflix Mystery That Amuses and Exhausts in Equal Measure

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When Jennifer Euston was choosing actors for “Orange Is the New Black”, it’s logical to assume she prioritized selecting intriguing performers. Considering the show’s captivating introductory sequences, she also valued unique appearances. However, buried within the first page of requirements, there must have been a stipulation that read: “Candidates should be able to lead a mystery series in the style of ‘Columbo’.

As for Kate Mulgrew, she had previously played a leading role in the famous spin-off show titled “Mrs. Columbo“.

Or:

Kate Mulgrew is known for her role in the popular spin-off series called “Mrs. Columbo“, which she starred in before.

Natasha Lyonne is just a few weeks away from reappearing as Charlie Cale, the Emmy-nominated human lie detector, in the return of “Poker Face” on Peacock.

In the realm of murder mysteries, Uzo Aduba makes her debut as an unusually quirky character in Netflix’s latest production, “The Residence,” created by Shondaland. This series marks another addition to both the rapidly expanding “Orange Is the New Forensic Investigation” genre and the increasingly popular “The World’s Greatest Detective Is a Weirdo” category.

As a gamer, diving into “The Residence” feels like playing an unpredictable arcade game where chaos reigns supreme. This dramedy kicks off at breakneck speed and rarely slows down, offering just the occasional reprieve in its seven out of eight episodes shown to critics. It’s a rollercoaster ride that leaves me laughing one moment and exhausted the next, with Uzo Aduba’s captivating performance and the electrifying energy of the packed cast propelling a mystery that’s so frantic it rarely tugs at my heartstrings.

The show unfolds at the White House during a state dinner for Australia’s prime minister (played by Julian McMahon, who hardly makes an appearance), with Kylie Minogue (who seems to be in on the humor) providing a musical performance and an Australian celebrity whose presence or absence becomes a recurring joke.

As I, a gamer immersed in my virtual world, find myself in an unexpected role as a host for a grand gathering. My co-host, Barrett Foa’s Elliot, and I, Paul Fitzgerald’s Perry Morgan, are welcoming esteemed guests. Backstage, our dedicated staff is bustling about, ensuring everything runs smoothly. However, the event takes an unsettling turn when the lifeless body of Giancarlo Esposito’s A.B. Wynter, the White House chief usher, is discovered upstairs in the game room.

As a gamer, I’m doing my best to steer clear of any global drama. Harry Hollinger, the presidential advisor, seems particularly keen on labeling the situation as a suicide. After discovering Wynter with self-inflicted wounds and a note suggesting he took his own life, Hollinger is pushing for us to move forward without further investigation.

Instead, Larry Dokes, portrayed by Isiah Whitlock Jr., steps in as the Metropolitan Police Department Chief, accompanied by MPD consultant Cordelia Cupp (played by Aduba). Known for her passion for birdwatching, love for canned fish, and renowned sleuthing skills, Cupp teams up with the reserved Edwin Park (Randall Park). Together, they delve into the mystery at hand while more than 100 VIPs grow restless.

In this version, I aimed to make the text easier to understand by breaking down the complex sentence structure and using simpler vocabulary where possible.

Additionally, feeling restless? Members of a certain Senate committee, conducting meetings regarding the ongoing investigation – the purpose of which remains unclear even after seven sessions – are presided over by Senator Al Franken in a comedic role as Filkins, and often interrupted by Senator Bix (portrayed by Eliza Coupe), who embodies several MAGA-related political jabs.

In this scenario, Cupp and Park are speaking with a range of party attendees and White House personnel. Among those interviewed are Jasmine, who is second-in-command to Wynter; Marvella, the White House chef; Didier, a pastry chef with a Pinchotian Swiss-German accent; as well as some less essential individuals such as the president’s brother, Tripp, who is fond of salt, and the first husband’s mother, who has a penchant for vodka – both played by Jason Lee and Jane Curtin respectively.

During the investigation, scenes from both accurate accounts of events at the White House that night and questionable testimonies are interwoven. By the sixth and seventh episodes, there are flashbacks to earlier occurrences, possibly to help those who might be forgetful or perplexed. It’s quite a complex narrative.

As each episode unfolds, it’s evident that the fragmented style of “Knives Out” works well in a two-hour film. However, when this approach is applied to eight episodes or more, as seen in “The Residence,” it introduces difficulties that the show hasn’t effectively addressed, particularly since the audience doesn’t have a pre-existing connection to the central case or victim.

The Residence appears to be engaging in a fast-paced game of three-card monte, swiftly moving its pieces without performing a more intricate magic trick. Even though I haven’t watched the eighth episode yet, which should presumably reveal the culprit, if asked to speculate, my answer would be, “Is it necessary for me to feel invested?

Paul William Davies’ production, titled The Residence, openly acknowledges its influences. Characters exchange references to Agatha Christie and Knives Out in their dialogues. The soundtrack echoes themes from The Third Man and Charade. Titles of episodes, creatively presented visually, are “The Trouble with Harry” (as previously mentioned, Harry is a character portrayed by Ken Marino), “The Last of Sheila” (Sheila being a charming housekeeper played by Edwina Findley) and “The Fall of the House of Usher” (given that the deceased is an usher).

Similar detective series that might pop up when watching “The Residence” could be “Monsieur Spade,” “A Case at the Universe’s Edge,” and “Death and Its Particulars.” These shows share themes with “The Residence” due to their detective protagonists.

What truly distinguishes “The Residence” is its clever attention to detail in its setting. Kate Andersen Brower’s nonfiction work, titled “The Residence: Inside the Private World of the White House“, served as one of the initial influences for the show. The blending of trivial facts and crime elements within the narrative is more prominent and skillfully executed than one would anticipate. Cordelia Cupp, who has a penchant for collecting obscure information, seems almost endearing in her quest to uncover White House secrets while also delving into the mysteries of a crime.

The directors of the series, initially Liza Johnson for the first four episodes and subsequently Jaffar Mahmood, delight in navigating the camera through François Audouy’s replicas of the White House, further enhanced by effects that transform it into a themed dollhouse with hidden staircases, secret rooms, and peculiar geographical features.

Meredith Tucker’s cast selection carries equal weight and value. It’s understandable that not every character will get significant screen time, but the delight of encountering familiar faces briefly, contributing to the overall feel of the world, makes it worthwhile.

Many individuals who aren’t fully utilized can still be quite impactful. Curtin often delivers slightly slurred responses, with only a handful of dialogue lines, yet her facial expressions are consistently amusing. Coupe, Marino, and Lee maintain a broad comedic range, each emphasizing humorous elements of frustration. On the other hand, Watson skillfully portrays the straight man amidst all the over-the-top performances. Esposito is familiar with such roles requiring an unnervingly proper and reserved character. Lastly, Mel Rodriguez and Julieth Restrepo’s performance in the seventh episode offers the closest the show comes to striking a sincere chord.

Aduba skillfully balances the character of Cordelia Cupp, ensuring her unique traits don’t turn into a stereotype. Her portrayal is subtly expressive, with nuanced movements such as a slight head tilt, which emphasizes Cupp’s knack for silent inquiry, and careful handling of binoculars that adds depth to her genre-typical monologues, showcasing her extraordinary abilities in perception and logical reasoning. Aduba’s character’s condescending yet amusing attitude towards those lacking her gifts creates an entertaining dynamic with Park’s Edwin. The comedic chemistry between them is particularly noteworthy, with the “Fresh Off the Boat” star delivering his humorously puzzled lines exceptionally well. Aduba and Whitlock share compelling scenes together, and Whitlock’s performance in this role might be the funniest it’s ever been, without needing to repeatedly say the word “shit.

While I enjoyed the meticulously crafted White House backdrop and numerous characters from the White House team, it’s the dynamic trio of Aduba, Park, and Whitlock that I am eager to see tackling future mysteries in diverse settings. They form an exceptional core, and Davies demonstrates a keen understanding of the genre’s distinctive dialogue. However, I believe the series could reach its full potential by incorporating these elements into a case with greater complexity and more room for development (without necessarily making it longer—I just want it to be more impactful).

Among the stars from “Orange Is the New Black,” who do you think should be given the next opportunity to solve a murder on television? Danielle Brooks, Samira Wiley, and Adrienne C. Moore are popular choices. However, I’m leaning towards Diane Guerrero and Jackie Cruz as a duo. The reunion of Flaca and Maritza solving crimes would be TV magic!

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2025-03-20 10:25