Hulu and Disney+ have started the year with a new drama/mystery series called Paradise. The show is created by Dan Fogelman, the same creative force behind the 2016 hit series This Is Us. In Paradise, he reunites with his former star, Sterling K. Brown, in what is arguably one of his most ambitious projects to date. The first three episodes dropped in one go, followed by a weekly release schedule for the remaining episodes, until March 4.
To be honest, Paradise is just okay. It is not terrible, but it is not exactly groundbreaking either. The first episode starts off strong, with plenty of intensity and intrigue and the following few episodes pick up the pace. However, everything in between feels like a slow-moving, melancholic haze. The show attempts to balance multiple genres, blending crime suspense, psychological drama, sci-fi and post-apocalyptic mystery. On paper, that sounds thrilling, but in execution, it results in a somewhat inconsistent viewing experience that might not be for everyone.
Paradise is set in an idyllic, secluded community inhabited by some of the world's most powerful and influential figures. Everything seems peaceful until secret service agent Xavier Collins, played by Sterling K. Brown, discovers that one of the most powerful individuals in the world has been brutally murdered. What follows is a high-stakes investigation that unravels a deeper conspiracy. James Marsden plays President Cal Bradford, and as hinted in the trailer, he is the victim of this assassination. The mystery surrounding his murder is the catalyst for a complex and multi-layered story.
Disney+ Hotstar
The show's approach to mystery is intriguing but also somewhat uneven. It starts out feeling like a traditional political thriller, structured almost like a classic whodunit. However, by the end of the first episode, it takes a sharp turn into sci-fi and post-apocalyptic territory. The shift is so sudden that it might throw some viewers off. In many ways, the show feels like a mix of Lost, Fallout and The Hunger Games, wrapped in a narrative about societal collapse and rebellion. That is the best way I can describe it without giving away too much. As the series progresses, it continues to expand into more subplots, gradually revealing its larger ambitions. The scale of the storytelling is impressive, but at times, it feels like it is trying to do too much at once.
Along the way, Paradise does not shy away from heavy emotional themes. There are multiple characters introduced throughout the episodes, but the show does not immediately provide their backstories. In fact, it takes until episode seven to fully understand the history that led to events of the first episode. While this delayed revelation can be rewarding for patient viewers, others might find it frustrating.
The pacing become particularly evident with the introduction of Dr Gabriela Torabi, played by Sarah Shahi. She is a psychiatrist whose presence signals a deep dive into psychological exploration, but this is also where the show starts to feel sluggish. The dialogue-heavy, introspective moments become drawn out, making certain scenes feel excruciatingly slow. While psychological depth can be a strong storytelling tool, here it occasionally feels overindulgent. I think audiences will go into the show expecting one thing, only to realise it is something entirely different. That kind of unpredictability can be exciting, but in this case, it may alienate viewers who were hoping for a more straightforward thriller. Once the main premise fully reveals itself, I would not be surprised if some viewers check out altogether due to uneven pacing.
The plot itself is not necessarily difficult to follow, but its execution can feel scattered. Fogelman has always been known for his love of nonlinear storytelling and Paradise is no exception. While this technique has worked well in some of his previous projects, it feels overused here. The show invests a great deal of time in building up character motivations, often through extended flashbacks and emotional monologues. Much like This Is Us, Paradise attempts to evoke deep emotional responses by focusing on themes of love, heartbreak, betrayal and personal struggle. Some of these moments work, but others feel a bit forced.
That being said, when Paradise focuses on the murder mystery itself, it does manage to be compelling. The conspiracy surrounding the president's death serves as the backbone of the story and when the show leans into this aspect, it delivers some genuinely thrilling moments. The problem is that it also tries to juggle other storylines, and in doing so, it sometimes loses sight of its main narrative. By the time everything starts coming together, the series has already taken so many detours that it becomes difficult to pinpoint exactly what it is trying to accomplish.
Visually, Paradise is impressive. The production design, cinematography, and special effects are all well-executed, giving the show a polished and immersive feel. The acting is also strong across the board, with Brown delivering a particularly engaging performance. Marsden and Shahi also bring depth to their characters, even if the script does not always serve them well.
However, as much as Paradise excels in certain aspects, it could have benefited from more restraint. The emotional weight of the series is sometimes laid on too thick, and the excessive melodrama takes away from the more gripping elements of the plot. The show certainly has moments of brilliance, but they are often buried beneath lengthy character studies and philosophical musings that slow down the pacing.
Overall, Paradise is a mixed bag. It is ambitious and visually striking, with strong performances and an intriguing premise. However, its inconsistent pacing, heavy-handed emotional beats, and overstuffed narrative make it a challenging watch. It is not a bad show by any means, but it is not necessarily a great one either. Some episodes are engaging and suspenseful, while others feel like they are dragging the story down. If you are a fan of Fogelman's previous work and enjoy character-driven narratives with complex, interwoven storylines, you might find something to appreciate here. But if you are looking for a consistently gripping mystery thriller, you may find yourself frustrated by the show's tendency to get lost in its own ambition.
