The heist genre is always interesting because, despite its distinctly flashy, stylized nature, it usually brings a sense of comfort to the viewer. For example, a blue-collar film like “Logan Lucky” wouldn’t be called slick — and probably doesn’t have the same sort of “aspirational” presentation of the criminal lifestyle that Soderbergh’s “Ocean” franchise has. about — but at the same time, it’s comforting for the same reasons other heist media are. Because when it comes to heist style, the whole is greater than the sum of its parts. When it all comes together, without fail, even the most rudimentary heist movies and shows still succeed; Because it’s always satisfying to see the whole picture and re-contextualize everything. And Netflix’s new series “Kaleidoscope” fits that bill, but with a twist.
The selling point of Netflix’s new Heist limited series — besides it being a heist show that stars Giancarlo Esposito — is essentially its gimmicks. And in this particular case, that gimmick is that (except for a brief introduction titled “Black” and the finale titled “White: The Heist”) the series can be viewed in random order. In fact, every Netflix user’s viewing experience will be completely different, with the streaming service suggesting you to watch the next episode in a random order.
Created by screenwriter and author Erik Garcia (whose familiarity with the piracy genre goes back to his 2002 novel “Matchstick Men”, for which he also wrote the screenplay adaptation), “Kaleidoscope” is deliberately designed to work in no particular order. Designed and structured. The episodes jump chronologically – one episode takes place six weeks before the larger set piece and another is set seven years earlier, while another takes place six months after the heist.
In total, the show spans 25 years and is loosely inspired by a real-life story in which $70 billion in bonds went missing in downtown Manhattan during Hurricane Sandy. Esposito’s Leo Papp is the mastermind behind the “Kaleidoscope” robbery, leading a team of thieves: Ava the Weapons Specialist (Paz Vega), Judy the Explosives Expert (Rosalyn Elbe), Bob the Safecracker (Jai Courtney), Stan The Smuggler (Peter Mark Kendall), and RJ Driver (Jordan Mendoza). And they plan to steal from corporate security titan Roger Salas (Rufus Sewell) and his protégé Hannah Kim (Tati Gabrielle).
The concept of the series is an interesting one, especially as it challenges viewers to break out of the comfort zone of a heist show, feeling the structure but seeing it play out in a different order than usual. Non-linear storytelling isn’t unique to heist thrillers, but this “kaleidoscope” approach has huge implications for Netflix’s efforts to advance storytelling as well as expand the way we look at serialization. After all, broadcast TV was initially designed so that any one episode of a show could easily be the first episode viewers watched. Technically, the serial “Kaleidoscope” is also attempting to do this by making seven of its eight episodes a potential pilot (and randomizing subsequent episodes outside of the finale).
But while the series is designed to work in no particular order, viewers are left in the dark about certain plot points and character beats at times (though eagle-eyed viewers may be able to spot some pieces of the puzzle from various implications). can easily be put together), that doesn’t mean there’s no “right” order to watch the series.
Despite the random order gimmick, it appears that critics were provided with all episode screeners in the same order that one might consider the “correct” or “proper” order: “Black” (the series’ static intro), ” yellow”: 6 weeks ago,” “green: 7 years ago,” “blue: 5 days ago,” “purple: 24 years ago,” “orange: 3 weeks ago,” “red: the morning after,” “pink : 6 Months Later,” and then “White: The Heist” (the series’ static finale).
(Netflix’s description also suggests more rigor than presented, such as: “Some members may start with certain episodes (such as episodes ‘Yellow’ or ‘Green’), then switch to different episodes (‘Blue’ or ‘Violet’ or ‘Orange’, followed by “Red” or “Pink”) until the conclusion of the epic “White: The Heist” story.)
While the episodes were obviously still not in chronological order, this particular episode order conveniently complements the magic trick aspect of a heist, in which the “Yellow” crew join together, revealing a big twist, Which is unfortunately easy to guess. The opening moments of the episode, and pave the way for backfilling and foreshadowing of later episodes. And more than any other episode — even the “Green” and “Violet” episodes, episodes set years before the heist is in motion — “Yellow” is the one that really feels like a pilot episode. looks like.
The series was originally titled “Saw” (most likely changed so as not to mislead viewers into thinking they were about to see something related to the “Saw” franchise) and was intended to combine individual episodes into one. Look at the pieces as a puzzle. After all, in a puzzle, you don’t need to put the pieces in a specific order. The thing is, serial television, in general, is already a collection of puzzle pieces. While “Kaleidoscope” is doing something technically different and interesting in its gimmick, it’s not reinventing the wheel. It’s taking the idea of ”choose your own adventure” with less choice in the adventure. (Netflix has already proved it’s quite adept at that particular trick in interactive specials like “Black Mirror: Bandersnatch” and “Unbreakable Kimmy Schmidt: Kimmy vs. the Reverend.”)
Just like you know what you’re getting from a heist show, you know what you’re getting with some of the casting choices in “Kaleidoscope.” Esposito’s casting adds gravitas and respectability to the series, Sewell roots a reliably sly villain, and Courtney’s casting continues the fun, loose cannon character actor’s take on the post-2010 cast. Gabriel’s most interesting work of the season, unfortunately, comes in his official introduction in “Yellow,” as (between this and “you”) Netflix has yet to give him his role as Tati in “Chilling Adventures of As dynamic role is not provided. Sabrina. Everyone in the series is essentially Courtney’s Bob’s straight man, though, which speaks to a lack of leverage in the series as a whole.
In fact, despite the heist’s cool factor, “Kaleidoscope” has nothing to do with it. Instead, it’s the seeding, collateral damage, and lack of respect among thieves that fuel the chain. So there’s still something about “Kaleidoscope” that makes it worth checking out and seeing. While the tropes of the genre are certainly still present, the only time they really fall completely flat is when it comes to the federal agent (Nousha Noor) component of the equation, which is completely cliche-y. Pitti fills the cliche quota of the female cop who just can’t stop being obsessed with work. (Earlier this year, the episode “Inside No. 9” “Nine Lives Cat” Hit the nail on the head of every tired beat that “Kaleidoscope” plays with this special character.)
But Esposito and Sewell anchor the series with their strengths on opposite sides of the chessboard, and Courtney’s bob is so ignorant and toxic that it’s hard to look away.
These eight episodes, above all, make a strong argument for “Kaleidoscope” to exist as an anthology series after an isolated heist or big prank, which is even better highlighted through this particular presentation strategy. can go.
All eight episodes of ‘Kaleidoscope’ are now streaming on Netflix.
