Like Don’t Look Up and Vice, the show congratulates you for being in on the joke while not really bothering to make many jokes.
is how the show actually looks. In order to achieve “period” veracity, the filmmakers alternately employ the visual aesthetics of grainy 8 mm and 16 mm film stock and old-fashioned Betacam tapes. The novelty of this is initially interesting but quickly grows distracting, as there’s no apparent logic to when and why each style is applied. Winning Time
boasts a handful of terrific performances, starting with Quincy Isaiah, the screen newcomer cast as Magic Johnson himself. Magic is such a famous and charismatic figure that the part could easily lend itself to impersonation rather than interpretation, but Isaiah gives a remarkably assured and sensitive performance. Jason Clarke is similarly fantastic as Jerry West, capturing The Logo’s depressive, tormented perfectionism with a deft combination of humor and pathos.
The show’s approach to sex—and there’s a lot of sex—feels similarly disjointed. The show’s fourth episode attempts to bring a critical eye to Buss’ womanizing, but it rings hollow after all the ogling of naked women the show itself has indulged in up to that point. More vexing is the show’s depiction of Magic Johnson’s sexual exploits, which are always imbued with ominousness due to the show’s choice to open on the star’s HIV diagnosis.
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