Thrillers, thrillers, thrillers, so many thrillers. Each third present I overview appears to be one, and even when that math isn’t completely appropriate, the seeming is actual sufficient. Typically they’re filled with attention-grabbing characters and concepts, typically filled with posturing stereotypes with nothing to say, typically principally smoke and noise, and sometimes simply take you the place you’ve been earlier than — it’s solely how they’re dressed that units them aside.
What most clearly units “Butterfly,” premiering Wednesday on Prime Video, is that it takes place in South Korea, with Korean and Korean American heroes and villains. Tailored by Ken Woodruff and Steph Cha from a graphic novel by Arash Amel and Marguerite Bennett (through which the characters are usually not Korean, and the setting not Korea) it stars Daniel Dae Kim as former CIA agent David Jung — believed useless, however not useless.
Data is developed and doled out throughout its six episodes, however however the twists and turns, it’s a simple situation. David, who co-founded a personal sector safety enterprise after leaving the company, disappeared from view 9 years earlier; thought to have been killed in the middle of an operation, he’s been hiding in South Korea in plain sight with a second spouse (Kim Tae-hee). David’s late first spouse was the mom of his daughter, Rebecca (Reina Hardesty), 23; in his absence she was raised by and is now working as a top-flight murderer for Juno (Piper Perabo), David’s former accomplice in Caddis Non-public Intelligence — which for the comfort of the manufacturing has opened a shiny new headquarters in Seoul.
Earlier than his obvious demise, David and Juno had been heading down separate paths concerning their firm — he extra high-minded, she extra mercenary. “The only enemy I have is peace,” she’ll say, managing to take care of an air of well-connected respectability whereas doing the soiled work. Juno additionally has a son, Oliver (Louis Landau), whom she had packed off as a teen to dwell together with his father in England, the place he acquired an accent and the patina of one in every of Bertie Wooster’s much less assertive pals. Now he’s working as an aide to his mom in a lower than important capability and looking for her approval.
Though the spy stuff accounts for the operating and taking pictures, the automobile chases (which Rebecca appears to particularly get pleasure from), the martial arts dust-ups and close to fixed risk of dying, it’s additionally inappropriate. “Butterfly” is a form of an motion cleaning soap, an prolonged household melodrama with weapons. The political story, must you care to trace it — not that you actually need to — issues lower than the private one, set in movement by David’s reappearance and his need to reconnect with and save Rebecca, which places him into battle with Juno. (And with Rebecca, who isn’t satisfied she wants saving.)
Rebecca (Reina Hardesty) discovers that her father David (Daniel Dae Kim) is alive, and he tries to reconnect together with her.
(Juhan Noh / Prime)
She is of course indignant with him for leaving her, however earlier than lengthy she is looking him “Dad” and interesting in spiky banter. There shall be tears — and punches.
As in much less explicitly violent variations on the theme, kids resent their dad and mom’ decisions, and oldsters reply that every thing they’ve finished, good or unwell, is to maintain the youngsters protected. (Rebecca is being requested to decide on between her father and her surrogate mom as in the event that they have been divorcing spouses.) Certainly no different spy drama has contained so many declarations of affection, pleas for love, expressions of guilt or apologies.
For all its emotionality, the dialogue generally is a little flat, a little bit stiff, a little bit cornball. (David: “You hurt my family and I will destroy everything you care about.” Juno: “While you played dead, I built an empire. You can’t touch me.”) The tonal transitions, from creepy to weepy and again once more, would possibly trigger you some aesthetic whiplash. Gun (Kim Ji-hoon), a fine-featured, long-haired killer engaged by Juno and who will play for Workforce Evil in opposition to Workforce Much less Evil within the inevitable climactic showdown, is the form of half you will note much more of as soon as AI kills all of the screenwriters. Minor roles — assorted pals, family and employees — are usually extra lifelike for not having to hold the burden of the melodrama and lightweight up the proceedings right here and there.
The motion is well-staged and executed, and the sequence as an entire appears to be like improbable; not one of many present’s many areas, whether or not upscale, downscale, city, rural or industrial, is wasted, however is captured with a crispness that frames the drama splendidly. Aside from the fussing and combating, there’s an interesting journey aspect to the sequence. Native delicacies — getting ready it, consuming it, admiring it — performs a component as an expression of affection and love of nation. (We all know that Juno is a damaged individual by the meagerness of her lunch.) “Butterfly” often is the place you study budae-jjigae, or “Army base stew.”
The present flies on towards an ending that retains ending and eventually isn’t an ending in any respect. (You’ll sense it … not coming, earlier than it doesn’t come.) Clearly that is to get you again for a second season, and whereas I perceive that, I’ll say that this explicit non-ending felt a little bit imply to me, a little bit unfair. Life isn’t truthful, it’s possible you’ll say, however tv has the chance to be higher than that.
Nonetheless, I suppose I’ll verify in when “Butterfly” comes again — and between the thriller impact and America’s love affair with Korean tradition, I anticipate it would — simply to seek out out what’s on the backside of that cliffhanger and the way indignant I ought to truly be about it. The sequence, which is not any worse and considerably higher than “perfectly fine,” definitely has its factors, Kim and Hardesty not the least amongst them. Would I choose to observe them in an episodic procedural as father-daughter investigators fixing crimes from week to week, or doing spy stuff, or cooking collectively? Sure, I would really like that very a lot.
