Thrumming with dark vigor, Beef is a terrific rebound for Netflix. shaneryanhere reviews:
when Marlo Stanfield, the former drug kingpin who dodges jail time and attempts to become a straight businessman, leaves a meeting dressed in a suit, walks the streets of west Baltimore, and approaches two dealers on a street corner. “The f— you looking at?” he asks, unprompted. A moment later, one of the dealers draws a gun, Marlo wrestles it away, and gets grazed on the arm as he drives the dealers off the corner.
There’s an argument to be made that struggle and conflict is at the heart of the human condition, perhaps more so for someone born to a hard life like Marlo than for others who live more comfortably, but still fundamental and even necessary for fulfillment. At the end of the first episode of the new Netflix series, the brilliant Ali Wong, playing the well-off boutique entrepreneur Amy Lau, has become engaged in a feud with the suicidal contractor Danny Cho, played by Steven Yeun.
Why? Pick a thousand reasons: the slow-motion footage, complete with Wong’s enraged cursing as she holds back her olive dress; Yeun’s delirious grin; the almost too-perfect musical choice of Hoobastank’s “The Reason;” and, best of all, just before the action flashes to the credits, the flash of a smile on Wong’s face.
From this scene alone, you know you’re in expert hands, and it all hearkens back to that scene from The Wire: in their own ways, the two main characters are trapped and desperate in their lives, victims of circumstance and more powerful forces. One is rich, and one is poor, but fundamentally they’re both prisoners who feel no sense of control of their lives. What this short moment shows is that, briefly, they are resuscitated; theythis.
As far as premise-setting, you just can’t do it any better, and there’s very little that you need to know about the show beyond that.
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