THE STORY – A struggling actor on the cusp of landing the role of a lifetime finds himself thrust into a full-blown existential crisis and conspiracy at the same time.
THE CAST – Riz Ahmed, Guz Khan, Aasiya Shah, Sheeba Chaddha, Sajid Hasan, Soni Razdan, Weruche Opia, Ritu Arya, Rafe Spall, Maxine Peake & Sian Clifford
THE TEAM – Riz Ahmed (Showrunner & Creator) & Ben Carlin (Showrunner)
The entertainment industry is brutal, and we have had no shortage of TV series that exploit its absurdity for comedic effect. From Emmy darlings like “The Studio” and “Hacks,” to cult classics like “The Other Two” and “The Comeback,” there is ample proof that making fun of Hollywood works. Yet this somewhat niche subgenre of television has the potential to grow stale and repetitive; after all, how many times can you say that actors are out of touch and that studio executives only care about making money? It is a relief, then, that Riz Ahmed’s new comedy chooses to take a character-centric approach to its critiques. To drive home the point that showbiz requires people of color to reject their identities to survive, the show has no choice but to place us entirely in our protagonist’s headspace. And for the most part, it works!
“Bait” follows struggling actor Shah Latif (Riz Ahmed) through a whirlwind four days after rumors swirl around him being cast as the next James Bond. In the midst of a swarm of online enthusiasm and vitriol, family commitments he just cannot seem to satisfy, and his own deep-seated self-loathing, Latif struggles to stay afloat as he makes one bad choice after another. The fundamental question about his character is who he wants to be: the suave, charismatic actor who plays James Bond, or the unconfident, awkward Pakistani he currently sees himself as. The dark comedy allows this arc to play out over six chaotic episodes that take many creative swings. Even if they don’t all hit, you can’t help but admire the effort.
If there is any reason to watch “Bait,” it is for Riz Ahmed’s fantastic turn as our lead. Latif is a difficult character to follow at times, especially when his self-hatred manifests in particularly disastrous ways. Yet we can never take our eyes off of him because of how electric Ahmed is here. The manic energy, the painful self-awareness, the pitiful desperation to be seen, it is all so present in the performance without the script having to spell it out. His eyes alone sell you on the nuance of this character, and as bizarre situations escalate, his simultaneous heartfelt sincerity and comedic timing manage to ground them all. Ahmed as James Bond is an easy sell, so it’s all the more impressive that he makes Latif such a difficult one.
The performances that round out the cast are solid, especially those of Latif’s loved ones. He has an especially compelling dynamic with Zulfi (Guz Khan), his cousin and essentially a brother to him. He is both embarrassed by and indebted to him, which the show exploits deliciously for narrative poignancy. While the rest of his family can feel a bit one-dimensional, the performances from Aasiya Shah, Sheeba Chaddha, and Sajid Hasan are anything but. The show is truly at its best when this strained, but loving family gets to bounce off of one another, as it becomes palpable just why Latif is so conflicted about them. They care deeply for him and are critical to his life, but he cannot help but feel they are dragging him down. It is that contrast that makes the show pack such an emotional punch.
Every episode of “Bait” feels completely distinct from one another, typically honing in on one flawed aspect of Latif’s life that is a symptom of the insecurity that has fueled his life. The direction is often a standout, as the disarray each episode finds itself in is both palpably real and entirely understandable given how it is built. It is certainly havoc, but it is a controlled, perfectly mastered one from a directing standpoint. There are editing choices and scene transitions that deliver jaw-dropping character moments. It is a tough task to situate an audience in the headspace of such a frantic character, but it is done expertly here.
Unfortunately, the writing lets down “Bait” somewhat in the last two episodes. While many of the narrative risks in the first four episodes served only to further enthrall the audience, the show jumps the shark a bit in episode 5 and never fully recovers. The absurdity is stretched beyond believability, and the messaging becomes too obvious to feel impactful. While there are still good bits here and there—particularly a hysterical airport joke—the show loses a lot of bite by getting darker. Ahmed almost sells the last two episodes with how strong his performance is here, but “Bait” sadly ends on a bit of a whimper. While I was fond of the conclusion to Latif’s arc conceptually, which results in an ironically baity Emmy clip for Ahmed, even that feels a bit cliché in its execution.
“Bait” has so much to say about how the entertainment industry treats people of color, and its visual flair and care for its subject matter help it stand out in a sea of Hollywood satires. Ahmed is in top form and remains brilliant even when the show dulls. It is a wild ride throughout, but I was not entirely on board with the turns it takes near the end. While I must applaud its originality, its biggest leaps narratively only lead it towards more conventional storytelling. Nonetheless, it is a unique and worthwhile watch that proves Ahmed to be not only one of our most audacious actors, but also one of our most daring creators.
THE GOOD – Riz Ahmed is sensational and utterly captivating as our protagonist. His internal struggle with his identity and his family proves to be a compelling throughline.
THE BAD – The series goes off the rails in its final two episodes, pushing the boundaries of how much we are willing to stay in this character’s headspace. The ending is sweet, but a tad hackneyed for how much wit the show began with.
THE EMMY PROSPECTS – Outstanding Comedy Series, Outstanding Lead Actor in a Comedy Series, Outstanding Directing for a Comedy Series & Outstanding Writing For A Comedy Series
THE FINAL SCORE – 7/10
