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Homeentertainment'Hello Tomorrow!' Review: Billy Crudup in Style-Over-Substance Futuristic Drama on Apple TV+

'Hello Tomorrow!' Review: Billy Crudup in Style-Over-Substance Futuristic Drama on Apple TV+

If there’s one thing Apple TV+’s Hello Tomorrow! knows, it’s how to draw pretty pictures . Its retro-futuristic world exterior is filled with sleek hovercars and friendly-looking robots, and its interior is adorned with tasteful mid-century furniture. In that mileiu, well-groomed figures still conjure up a vision of a brighter future: a Brightside sales force led by Jack (Billy Crudup) bringing people to the burden The fantasy of affordable luxury is brought to market. moon- 200, Miles away from mundane drudgery like debt, failed marriages, and dead-end jobs.

The dream is so seductive that Jake himself often seems unable to see the gap between the pitch and reality – much of the plot centers on him trying to cover up what he’s peddling. A lunar timeshare isn’t what they think it is. Still, it’s one thing to get Jack caught up in his own big ambitions. The series doing the same thing is another. Hello Tomorrow! Has a lot to say about hope, delusions, and the American Dream, but struggles to cast enough solid characters to sell its philosophy.

Hello Tomorrow!

Bottom line Its scope exceeds its grasp.

Air date:
Friday, February (Apple TV+)
1950 Cast:
Billy Crudup, Haneefah Wood, Hank Azaria, Nicholas Podany, Dewshane Williams, Alison Pill1950 Creators: Amit Bhalla, Lucas Jansen

Jack understands better than most the appeal of simply avoiding one’s problems. At the moment we meet him, he’s been away from his family for so long that the son he last saw when he was two is now a grown man (Nicolas Bodani’s Joy), with absolutely no memory of him. But when an urgent call sends Jack and his team – the eager Herb (DuShawn Williams), the brash Eddie (Hank Azaria) and the down-to-earth Shelly (a very solid Hanifah) Wood) – Pulled to his suburban hometown of Vestaville, the hyperbole and fiction that Jack built up around him could crumble.

As the main character, Jake is a bit of Don Draper – glib, veritable looks, bullshit – and Crudup is well made as a Someone who simultaneously runs away from everything throughout his adult life, and lives in fear that one day he won’t. But his potential as an all-American antihero is undercut by a script whose breadth renders him opaque. How much of Jack’s own hype feels like an interesting question at the beginning of the show; it becomes less and less compelling as the show clearly has no idea what the answer might be, or in any case How to deal with it.

The crew around Jack is depicted in less detail than he is. Most are defined by a stubborn obsession—Herb’s ambition, Eddie’s gambling addiction, and so on. Add to that a tone that leans toward dark comedy but falls short, and they become cartoonish; even the typically good Alison Pill can only do so much, turning disgruntled Brightside customer Myrtle into a 17 cartoons of housewives who finally shot. If the characters are acting flat, so will their emotions. A major storyline with huge dramatic possibilities – Jack’s decision to hire Joey, who thinks Jack is a friendly stranger – is more sad in theory than it actually moves.

)Hello Tomorrow!‘s directness extends to its dialogue, where it tends to drop subtext in favor of Plain Text. The first episode, written by creators Amit Bhalla and Lucas Jansen, tells Jack two monologues about the extreme disappointment of modern life. (Some of this, to be sure, is perfectly appropriate—Jake is the kind of sweet talker who might proclaim “we’re not just selling, we’re changing lives” and almost mean it.) The show relies on grandiose Excessive emotional intimacy or narrative complexity of a thesis statement starts to feel like a form of soliloquy. “Why are we in the business of housing when we can be in the business of faith?” is both a succinct summary of what the series is about and an incredibly noble way for two con men to discuss their impending con.

Inevitably, places with so much heat will swell: Hello Tomorrow! with clumsy rhythms and The nonchalant plot structure of a long-running script stretches to ten and a half hour episodes for no other reason than streaming prestige shows are where the money is these days. Half seasons have had half-finished jokes and wheel-spinning subplots; tighter editing might have helped distill the series into its best material.

Yet Hello Tomorrow! is hard to write off completely, if only because the theme it’s based on feels so resonant : The Importance of Hope and Its Toxic, Frustrating Existence in a Capitalist Society Far Less Than It Promises. Particularly relevant are its anxieties about technology and corporate culture. In a bleak detail worthSeverance, one of Jack’s most loyal clients is a janitor who gets fired for damaging company property while saving a man . Trying to drown yourself after a “processor assisted” (i.e. algorithmically determined) layoff.

With such a huge, persistent, intractable problem, Hello Tomorrow! cannot be blamed for not coming up with a solution , can’t even make a coherent statement about the problems it’s trying to fix — who can? But because of its indifference to the inner lives of the desperate strugglers who live in its world, it lets them down in much the same way every other system does: it forgets to see them as human beings, worthy of compassion and attention, not just mean to the end.

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