The Counselor is a masterpiece for Christoph Waltz

mef I was a narrative consultant hired to advise TV show creators in the workplace, one thing I would say is that they are underutilizing a potentially rich character type: the management consultant. When it comes to making a white-collar slug for the small screen, creepy supervillains are a perennial favorite and the tech titan is having a long, mirrored moment. But the management consultant, who was last profiled at length in Showtime’s slick 2012 drama House of Lies, at least as qualified enough to fill the role of the big bad. At worst, they are pure parasites, screwing over companies they don’t understand and pulling back on outrageous expenses like payroll and quality assurance, while paying huge sums out of the same budgets put forward to support them. deflation.

Regus Patoff, the main character of Amazon’s very strange thriller The Councillor, debuting February 24, he’s not exactly desperate for a paycheck—or his cost-cutting measures on the most daunting items on his agenda. Played by the consistently terrifying Christoph Waltz, he ends up at the mobile game company ComWare just after a middle schooler murders the 20-year-old founder, Sang (Brian Yoon), during a class trip. (The devil made him do it, the boy insists.) Indeed, Mr. Patoff arrives at the office in the wee hours of the morning, and two confused employees process their feelings about Sang’s death: the coder Craig burned. (Nat Wolff) and Sang’s ambitious former assistant Elaine (Brittany O’Grady), who took the title creative liaison while searching for a better gig. He walks without apparent difficulty and seems healthy, but they have to carry him upstairs to the office. So that’s odd.

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Brittany O’Grady and Nat Wolff i The Councillor

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This morning, Patoff has moved into Sang’s office – still the scene of the crime, with the victim’s blood splashed across the wall behind his desk – and assumed full authority over ComWare’s day-to-day operations. In his first hands-on meeting, he gives each remote worker an hour to travel into the office; if they do not, they will be terminated immediately. Despite his tough leadership style, Patoff does not seem to have made even the most careful preparation for his new task. At one point, he casually asks an employee: “What do we do?”

Elaine and Craig (and, to a lesser extent, their co-workers who didn’t see his coming overnight) realize that no matter what kind of contract Patoff got Sang to sign, this silent, intimidating stranger should not be allowed to take control. the company. But ComWare, a business formerly led by a child prodigy who never reached legal drinking age, doesn’t exactly have a functioning org chart or succession plan. The law aside, it makes a certain kind of psychological sense that workers would submit to the will of a strong leader, no matter how strange and uninformed, for fear of losing their livelihoods.

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Waltz Christoph i The Councillor

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It’s no surprise—and it’s certainly no shame to reveal—that Patoff is no ordinary ruthless management consultant. Sure, he relentlessly audits ComWare’s costs, makes brutal cuts to staff, and forces his employees to work around the clock to complete smaller products that Sang would never have approved to sell. Mostly, though, it causes chaos. Shoes are prohibited from the office. Staff members are called into work in the middle of the night. Driven astray by a supposed foul smell that no one else can smell, he sniffs subordinates to find the culprit. The questions that fuel The CouncillorThe notable suspense are: Who is Patoff, really? Where did it come from? What is his endgame? And how will Elaine and Craig, who bring their own emotional baggage to the situation, respond to the pressure it puts on them?

It’s always refreshing to deliver timely social commentary without a lecture, and the show’s portrayal of irrational obedience to authority comes across perfectly. But creator Tony Basgallop recognizes the thematically rich tensions between creativity and commerce, quality and efficiency, kindness and success – all relevant to the contemporary white-collar workplace – without really exploring them. It might not be a surprise that an Amazon original would tread lightly in excoriating corporate sins, but that reluctance prevents the satirical series from reaching the best action thriller on TV in recent memory, Separation.

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The Councillor

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Adapted from the 2016 novel of the same name by horror writer Bentley Little, The Councillor works best as a high concept creature feature. And if you are seeing Inglourious Basterds, either of the last two James Bond films, or just about any of the Austrian-German actor’s other English-language films, you know that no one plays a monster with more panache than Waltz. A small 5’7” man with a refined manner, he radiates a cold, disaffected calm. When any character refuses one of Patoff’s instructions, he does not raise his voice; he just repeats what he wants to do until they comply. He can also flirt or joke when he needs to. In the thrill of a modest game of telephone, the character’s composure becomes almost childish.

O’Grady and Wolff are cleverly cast in front of Waltz. He’s a Nickelodeon alum, and he’s got a lot of child stardom; she gives her same wide eyes, Seventeen-cover-model ingenuousness that made her an ideal contrast to Sydney Sweeney i The White Lotus. Basgallop, a British screenwriter best known in the US for collaborating with M. Night Shyamalan on the twisty horror show Apple TV+ Servantthe pace keeps fast (the half-hour runtime helps) and each episode is peppered with great WTF moments (though they rarely get enough follow-up). The Councillor not the masterpiece it could have been. Fortunately, it’s also a far cry from the stupid, soulless, lowest-common-denominator product pumped out by the Regus Patoffs of the world.

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