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This fearless, 60s-set thriller is astonishingly written and acted. I loved it, admired it, wanted to tell all my friends about it, but I had to take a few days to recover from a sort of cudgelling-by-quality first.
I feel much the same about Lady in the Lake. It co-stars Moses Ingram, whose faultless, mesmerising performance should surely sweep the board come awards season. The whole endeavour is a dense, clever, impeccably written, acted, shot and scored offering that is designed to be consumed slowly, episode by episode, not binged. Give it a few days to bed in and the love will come. This is the story of two Baltimore women in the s: affluent white Jewish housewife and mother Maddie Schwartz Portman and Black, all-but-single mother Cleo Ingram who is working three jobs to try to lift herself and her children out of the life of struggle that otherwise beckons, and away from the temptations and dangers offered by the underbelly of the city.
Their lives begin to converge when a child, Tessie, goes missing at the Thanksgiving Day parade. The only place she can afford on her own is in a Black area and even that requires faking a robbery of her insured jewellery when she falls behind in rent.
Cleo hopes to get a salaried post with her, but Summer tells her that white donors have threatened to withdraw support if she employs someone connected with Gordon. Lady in the Lake spends the first two episodes largely world- and character-building.
