Dan Fogelman excels at surprising viewers. His hit NBC series, *This Is Us*, introduced four characters turning 36, revealing three were siblings—two fraternal twins and an adoptee—and the fourth, their deceased father. This setup fueled six seasons of emotional storytelling across multiple timelines.
Fogelman’s new Hulu series, *Paradise*, premiering January 28, surpasses *This Is Us* in its narrative twists. Initially appearing as a political thriller, the show takes a significant turn at the end of its first episode. Instead of focusing solely on a family’s trauma, *Paradise* broadens its scope and tackles major contemporary issues. While compelling scene by scene, the series’ ambitious themes are somewhat undermined by underdeveloped characters and world-building. The result is a large-scale, twisty narrative that sometimes feels absurd, sacrificing insightful commentary for sensational entertainment.
The protagonist is Xavier Collins (*This Is Us*’ breakout star), President Cal Bradford’s head of security. He discovers the President dead, becoming a prime suspect. His decision to secure the premises rather than immediately report the apparent assassination is initially standard thriller fare. However, odd details, like Cal’s unconventional residence and ambiguous term in office, hint at something unusual.
Further plot details would reveal the twist. *Paradise* blends speculative fiction with political thriller elements. Fogelman tackles climate change, the self-interest of politicians, and the influence of billionaires. A cryptic line from Cal— “The world is 19 times more f-cked than anyone realizes”— sets the tone. Mandy Moore, plays a powerful tech mogul, Samantha, whose connection to Cal and his father raises concerns. The cast includes Cal’s and Xavier’s children, Xavier’s colleagues, his boss (who was sleeping with Cal), and a member of Samantha’s team who inexplicably believes in Xavier’s innocence. Multiple timelines manage the backstories.
The show maintains momentum with frequent plot twists, but the numerous mysteries and their often unbelievable resolutions leave viewers questioning the overall narrative. The complexity demands a high level of narrative structure, comparable to sci-fi series like *Westworld* or *Lost*. However, unlike those shows, *Paradise* fails to fully develop its world or characters, resulting in plot holes that detract from the themes. The absurdity of the central premise overshadows the intended message.
*Paradise* suffers from a lack of attention to detail, employing tired tropes of prestige drama: parallel timelines, trauma plots, and genre conventions. The show’s soundtrack, featuring ’80s rock songs and their somber covers, is emotionally heavy-handed and lacks thematic relevance.
A crucial flashback to a pivotal moment in Xavier’s life is delayed until the penultimate episode, preventing deeper exploration of the show’s political and moral dilemmas. The focus on sensationalism overshadows meaningful engagement with the narrative and themes.