A dramatic breakthrough performance or tremendous twist of fate is needed in a new miniseries to tell that there is something special about it. Thankfully, Netflix’s “Eric” has both of these aspects propped up on it as its strengths and weaknesses, sometimes. Vincent Anderson (Benedict Cumberbatch), the series starts off with a mad puppeteer like genius shooting for a Sesame Street kind of show. However, his son Edgar (Ivan Howe) though seen the show being filmed several times before watches from the sidelines with complete attention.
At face value, they look close but as they walk home after taping, this notion is dispelled. Notwithstanding forming a connection through their love for art. Vincent apparently does not want to relate with his child. He interrupts him when he speaks but Edgar waits for mothers kisses on the forehead while she showers affection on their little one except that Vincent appears unable to do anything other than hate him. Both are unhappy with him and this comes out very clearly one morning when Edgar leaves for school instead of waiting for his father.
Edgar disappears that night with reverberations felt throughout the Anderson household. To console himself over his missing son, Vincent sinks into self-destructive drowning in alcoholism and substance abuse which eventually leads hallucinations involving a talking seven-foot-tall puppet. Nevertheless, this puppet meant something; it was an impersonation of “Eric”, who was supposed to save his father’s TV program from mediocrity and connect with Vincent via unconventional means only known to him personally, if anything at all happened between them two before now. this specter will never leave him alone again – ever! The ghost of Eric haunts him like his son’s ghost would require Vincent to come to terms with what he has done wrong as a dad, husband or human being in general. In order words finding his son becomes not just finding himself from childhood trauma which was aggravated by the city he grew up.
The city in “Eric,” is depicted as a crumbling monument to its protectors. Edgar’s disappearance not only masks other disappearances but also murders, starting with it. Meanwhile, there are dirty cops and local politicians involved too. As the story continues to overly expand itself, its main characters are lost in the background while the minor ones take centre stage. This is pleasant since Vincent’s decline into madness becomes tedious at some point in time as the program unfolds.
And when one character goes missing, another appears almost immediately after that. In fact, some are even more essential than Vincent or Edgar might be said to be. The individuals on the sidelines become personifications of various realizations—those which are mere idealistic depictions in this show just as real life is far from perfect and pure. These people become funnier because of this but that makes them detract for our interest for Vincent and his family members who were all described better by – at least from my opinion – that depiction of Mrs Cassie on TV or simply anyone her age who has suffered abuse like herself? There are more captivating personalities within “Eric” than those of Vincent and his family members and although sometimes this eventuality becomes apparent to the program makers themselves it continues being a problem till now.
McKinley Belcher III becomes the show’s star who gradually develops into a leading man, overshadowing Vincent as he progresses. Previously unsolved missing person case leads Michael to Edgar’s case and in turn some of the most exciting parts of the show. He is obsessed with a sleazy club named Luxe and from this, darker spots attract him where he realizes that not only is it just about the club but also its owner called Ali Gator. A view into Michael’s inner life occurs one night when he returns home after working on Edgar’s disappearance. On his bed there is William, an older somewhat ill gentleman whom Michael ultimately embraces. Thus, begins Michael’s life unfolding before us which quickly turns out to be the most interesting part of the show.
There isn’t any point where McKinley Belcher III saunters through a scene with a swagger that would befit an old Hollywood star without stealing attention even for once. He strikes a fine balance between Michael’s rough outer shell and how gentle he is towards his partner William. The Black gay cop element in the era of AIDS remains by far the most captivating aspect of this series if you ask me. Struggling with these two aspects of his life, within that plot arc Belcher III remains resolute and outstanding.
I feel like even the creators must have realized at some point that it would be more interesting if we saw all this through Michael’s eyes rather than anything else, but unfortunately they did so quite late in making this decision. Vincent starts off as an engaging narrator for some time, although as each mystery gets resolved by the series, his viewpoint feels repetitive. Meanwhile though, it remains crucial to continue telling stories about Michael throughout this run of episodes. Because watching his gut-wrenching family scenes or even for him discovering much more than just Edgar vanished slowly over time makes up for every second spent on-screen even if there are times that swapping POVs may cause some hitches in the pace.
While “Eric” is a riveting penultimate episode that brings you back into the fold, the main mystery is revealed too early. However, from an ensemble cast doing justice to themes of corruption that resonate today more than ever before, there are some aspects of these series which make it truly unique. If only there had been ten episodes instead of just six. Then maybe Vincent and Michael could exist as two engrossing characters who bring this narrative into a satisfying close. Instead we are left with a show at war with itself and streming mode as well.
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