Kaleidoscope, a show seemingly made in response to Money Heist's success on Netflix, is a fine if overly familiar heist caper (with episodes designed to be watched in any order you choose). ShaneRyanHere reviews:
How’s your appetite for fun these days, here on the brink of apocalypse? I ask this not to be glib, but because I’ve been analyzing my own viewing habits lately, wondering how the state of the big ugly world has influenced what I want to spend my free time consuming. My initial thought, perhaps a little facile, is that people would want to “escape” the things we might find grim about the broader instability of our post-pandemic world.
This is totally anecdotal, and my taste is by no means definitive nor my viewing habits comprehensive, but the two shows in 2022 that I considered “great” were—the former a treatise on family pain, the latter nominally a Star Wars series, but actually so far removed from the temperament and writing of most of that franchise that it might as well have been a, one a cynical, redemption-free send-up of our worst people, the other an agonizing look at love and community after the world ends.
And if you’ll let me beat this to death, the time we most associate with escapist film is the 1980s, when New Hollywood succumbed to the franchise model led by, and the ‘80s, despite the limping end of the Cold War, were some of the most financially stable times for the American middle class. Maybe we just want to see our world reflected thematically; maybe nobody, ever, wants to escape.
The show’s big gimmick is that everyone watching will get a different episode order other than the finale. But in general, the plot is absolutely everything you’d expect—the forming of a crew of misfits, the intro to the bad guy with the impenetrable vault, a surprising relationship that makes it all possible, the voiceovers set to spunky music and flash cuts explaining all the obstacles to the job, and even a “job before the job” snatching diamonds from the New York City streets.
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