It’s perhaps surprising Kim Cattrall hadn’t yet headlined a soap opera. As Samantha Jones on “Sex and the City,” her slyness and way with a pun came to be revealed as elegant concealments of the ch…
hadn’t yet headlined a soap opera. As Samantha Jones on “Sex and the City,” her slyness and way with a pun came to be revealed as elegant concealments of the character’s deep need. In later seasons, as the protective shell was stripped away, Cattrall showed a fluency and depth in playing a character whose breakability provided some of the show’s deepest and most satisfying melodrama. ,” her new Fox drama, Cattrall is never really given the opportunity to dig in.
To wit: In the pilot, Margaret is told that her husband Eugene’s plane went down and that he is missing. This revelation isn’t given time to exist on its own, or to have even the artificial weight of a soap-opera twist, before the revelation of three children of his outside marriage, all of whom have the possibility to shake up the Monreauxs’ public image and the TV network they own.
All of this takes place in a milieu that feels strangely out-of-time. Televangelists from the Jim Bakker school have, today, given way to suaver and more digitally native outfits like the Hillsong church. And it’s not that it wouldn’t, perhaps, be extra scandalous to the wider public if the child of a preacher were revealed to be a sex worker online, but the particulars of her work feel dated, drawn from a local-evening-news understanding of life online.
Series creator Tate Taylor, who wrote and directed the pilot, knows how to do goofy fun. His films “Ma,” in which Octavia Spencer leers at high schoolers, and “The Girl on the Train,” in which Emily Blunt guzzles Nalgene bottles of gin, brought a sweet whiff of trash to a multiplex otherwise dominated by the focus-grouped taste of blockbusters.
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