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- Apple TV+
- Jan 21, 2022
- Apple TV+
- Jan 21, 2022
Summary Dorothy (Lauren Ambrose) and Sean Turner (Toby Kebbell) hire a nanny (Nell Tiger Free) to help care for a lifelike baby doll after the loss of their own child in the M. Night Shyamalan thriller.
Created By: Tony Basgallop
- Apple TV+
- Jan 21, 2022
- Apple TV+
- Jan 21, 2022
Summary Dorothy (Lauren Ambrose) and Sean Turner (Toby Kebbell) hire a nanny (Nell Tiger Free) to help care for a lifelike baby doll after the loss of their own child in the M. Night Shyamalan thriller.
Created By: Tony Basgallop
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Metascore
Generally Favorable
Based on 4 Critic Reviews
73
75% Positive
3 Reviews
3 Reviews
25% Mixed
1 Review
1 Review
0% Negative
0 Reviews
0 Reviews
Metascore
Generally Favorable
Based on 4 Critic Reviews
73
75% Positive
3 Reviews
3 Reviews
25% Mixed
1 Review
1 Review
0% Negative
0 Reviews
0 Reviews
There are only so many times one can be on the precipice of comprehension, only to be thrown back into confusion, before aggravation sets in. Nonetheless, there’s something rewardingly compelling about being strung along in this excessive fashion, thanks both to a serpentine formal structure that suggests unholy malevolence in every constricting door frame and hallway, and performances that are constantly threatening to tip into abject madness.
Servant may have dialed back the inspired wackiness of its second season, but by stripping away the campy bells and bizarro whistles, it’s found a nice mix of silly and sinister—a show that gets in, gooses the audience repeatedly with an acidic smile, and gets out.
User Score
Generally Favorable
Based on 15 User Ratings
6.4
67% Positive
10 Ratings
10 Ratings
20% Mixed
3 Ratings
3 Ratings
13% Negative
2 Ratings
2 Ratings
User Score
Generally Favorable
Based on 15 User Ratings
6.4
67% Positive
10 Ratings
10 Ratings
20% Mixed
3 Ratings
3 Ratings
13% Negative
2 Ratings
2 Ratings
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“Servant” sometimes struggles with realism for the sake of plot—a criticism that could be levied at a lot of Shyamalan work, really. ... But that exaggerated realism has been a part of the Shyamalan brand and it’s certainly not as pronounced here as it is in something like “Old,” for example. ... It becomes an easy program to get lost in, stuck wandering the rooms of the Turner home along with these crazy people, nervous about who’s at the front door.
It becomes a narrative house of mirrors, as the viewer is prompted to question the effectiveness of each character’s motives and secrets before yet another potential season-ending twist, the kind of which Shyamalan has become infamous.
