No Good Deed Feels Like Punishment

As a film enthusiast who has spent countless hours poring over the intricacies of TV shows, I can confidently say that Liz Feldman’s new Netflix series, “No Good Deed,” is a disappointing follow-up to her smash hit, “Dead to Me.” While it shares similar elements like dark humor, crime, and a plethora of secrets, it lacks the balance and emotional depth that made its predecessor so engaging.

Using a different show as an example: With the popular Netflix series “Dead to Me,” creator Liz Feldman crafted a compelling recipe for binge-worthy television. Blending elements of dark humor, wild crime stories, and soap operas at their most bubbly, the program placed Linda Cardellini in the role of a chaos agent thrust into an unwitting family’s life. Each 30-minute episode contained enough surprises to give you a case of whiplash – and leave you eager for more. In many respects, it was the perfect streaming series. Given this, it seems logical that Feldman and Netflix would aim to replicate its success with her next project on their platform.

The series titled “No Good Deed” shares a lot in common with “Dead to Me“, such as the title and similar plot elements like dark humor, crime, and secret-laden characters. However, unlike its predecessor, which managed to maintain a delicate balance that made its implausible moments more believable due to the strong bond between leads Christina Applegate and Linda Cardellini, “No Good Deed” falls short in this area. The jokes feel forced, and the unpredictable twists and turns seem arbitrary rather than engaging. It was a sense of duty rather than pleasure or curiosity that kept me watching beyond the first episode.

Similar to the show “Dead to Me,” this series delves into the lives of affluent residents in Southern California, with a particular focus on their shared preoccupation: real estate. The couple, Paul (played by Ray Romano) and Lydia (Lisa Kudrow), have made the decision to sell their charming Spanish-style home in Los Feliz, where Paul spent his childhood and where they raised their own two children. They require funds for various reasons, including Lydia’s extended inability to play piano due to a traumatic event that occurred in the house. There seems to be an unsettling secret hidden within the walls of their home. As Lydia grapples with her emotional turmoil, Paul remains silent. Their contrasting ways of dealing with difficult situations are putting a strain on their marriage.

In this rephrased version, the story kicks off by showcasing various characters at an open house, which Paul and Lydia secretly observe through their smartphones. The main couple, Dennis (O-T Fagbenle) and Carla (Teyonah Parris), are a creative pair expecting a baby. Dennis’ pushy mother, Denise (Anna Maria Horsford), has agreed to aid in the purchase, but only if she can move in as well, much to Carla’s dismay. Leslie (Abbi Jacobson) and Sarah (Poppy Liu), a couple who have long admired the house, find themselves at odds after a previous failed attempt at having a child, with Sarah considering another try. A seemingly ordinary man, JD (Luke Wilson), arrives in disguise. The real estate agent recognizes Margo (Connie Britton) for her designer attire as a local “property peeper,” while Lydia more bluntly labels her an “artificial intelligence-generated nuisance.” Finally, there’s Mikey (Denis Leary), a former convict with knowledge that the homeowners desperately want to keep hidden.

The roster of characters is simply too extensive. Dead to Me kicked off strongly due to its narrow focus on Applegate’s bitter widow character, Jen; Cardellini’s quirky, secretive, and vulnerable Judy; and the captivating bond that swiftly forms between these two solitary women. No Good Deed, however, jumps from one group to another, filling each plot with deceit and twists, making it difficult to fully develop so many characters. Although there are some enjoyable performances (Rogers delivers his humorous one-liners flawlessly) from a cast of seasoned comedy veterans, it’s challenging to care about the outcomes of people we only see as pieces in Feldman’s complex chess game. The recurring flashbacks to a pivotal night in the house become less impactful with each episode. Certain side stories—like the cocaine heist for example—push the characters so far from their original personalities that you begin to think anything is possible from anyone at any time.

The inconsistency can be more than just annoying; it can feel isolating, particularly when considering the central focus of this show: Paul, Lydia, and their strained marriage. Despite the promising premise of reuniting two popular sitcom stars from the past three decades, the script fails to convincingly explain why the characters portrayed by Romano and Kudrow belong together. This absence of emotional connection translates into a lack of on-screen chemistry. In contrast, despite its soap opera-like complexities, Dead to Me became a heartfelt story about two friends’ unwavering affection for each other. No Good Deed, however, seems to be attempting to transform its convoluted plot into a reflection on family, loss, and healing. Regrettably, any message Feldman attempts to attach to these slippery characters falls flat and becomes nonsensical instead.

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2024-12-12 12:06