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- UKTV
- Feb 21, 2019
- UKTV
- Feb 21, 2019
Summary London-based American PR executive Robyn (Anna Paquin) deals with a variety of clients including a celebrity chef (Max Beesley), a stand-up comedian (Alan Davies), the founder of an organic cosmetics company (Katherine Kelly), and an American movie star (Bradley Whitford).
Created By: Oliver Lansley
- UKTV
- Feb 21, 2019
- UKTV
- Feb 21, 2019
Summary London-based American PR executive Robyn (Anna Paquin) deals with a variety of clients including a celebrity chef (Max Beesley), a stand-up comedian (Alan Davies), the founder of an organic cosmetics company (Katherine Kelly), and an American movie star (Bradley Whitford).
Created By: Oliver Lansley
Season Episodes
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Metascore
Mixed or Average
Based on 12 Critic Reviews
58
42% Positive
5 Reviews
5 Reviews
58% Mixed
7 Reviews
7 Reviews
0% Negative
0 Reviews
0 Reviews
Metascore
Mixed or Average
Based on 12 Critic Reviews
58
42% Positive
5 Reviews
5 Reviews
58% Mixed
7 Reviews
7 Reviews
0% Negative
0 Reviews
0 Reviews
The women of Flack are relentlessly savage: in their disdain for their wayward clients; in their open contempt for the stupid and greedy journalists they use as pawns in their schemes; and in their off-handed manipulation of their husbands and boyfriends. This is all very entertaining. Flack will undoubtedly win the Emmys for Bitchiest Dialogue and Best Puking Sound Effects.
Its six episodes will attract or repel you depending on your tolerance for the antics of the horrible privileged class--or perhaps the privileged horrible class--and watching characters you want to like let you, themselves and one another down. It can annoy you one moment and move you another. ... Barring a few passages where a thematic point is too explicitly made, Lansley writes believable dialogue; his scenes unfold discursively, taking interesting, meandering paths even to expected ends.
The show is new to Amazon, but the British audience for this blend of gossip, sex, drugs and “issues” ate “Flack” up.
Ultimately, Flack believes that we’re concerned with the characters’ personal lives, but mines very little compelling material from the subject, while it focuses less attention on their professional dynamic, which is its foremost strength. Still, it’s worth saying: Paquin, Okonedo, and Wilson are a powerful trio, and they might succeed in reshaping Flack’s narrative yet.
In its best moments, Flack is a bleak workplace comedy studded with talent. ... Outside the office, Flack engages in the most exasperating kinds of story lines about women written by men, namely those involving fertility and reproduction.
Flack can't explain what these publicists do or why they do it. The better material in Flack is based on character interactions and the cast. Paquin can't do anything about how predictable Robyn's self-destructive tendencies immediately become, but she delivers Lansley's dialogue well and has good chemistry with both Wilson, enjoyably smiling her way through some peak cattiness, and especially Angelson, saddled with the worst of the show's "Dear Lord are we doing this exact character again?" archetypes.
The professional challenges that Robyn faces are often plausible, and far more compelling than their resolutions, which are mostly stupid. Flack has little to say about celebrity culture with its stories of contrived sex tapes, hushed-up face-lifts, sham marriages, and bogus redemption narratives. ... The show gets somewhat less uninteresting around the fifth episode, which is set in the business-class cabin of a transatlantic flight and proves an intriguingly creepy role for Bradley Whitford.
User Score
Generally Unfavorable
Based on 4 User Ratings
3.3
25% Positive
1 Rating
1 Rating
25% Mixed
1 Rating
1 Rating
50% Negative
2 Ratings
2 Ratings
User Score
Generally Unfavorable
Based on 4 User Ratings
3.3
25% Positive
1 Rating
1 Rating
25% Mixed
1 Rating
1 Rating
50% Negative
2 Ratings
2 Ratings
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