Netflix’s new spy drama Treason raised hopes pre-release with its high calibre creative personnel. Charlie Cox, Ciaran Hinds, and Olga Kurylenko in front of the camera, and Matt Charman (“Bridge of Spies”) behind it seemed an enticing combination. A couple of episodes into the five-part series and all that optimism is blown out the water. If you were looking forward to a taut, intelligent, clever spy caper, there’s none of that here. Instead, you get ‘Treason’ which is what this series should be charged with. A fan’s words but more or less accurate in their depiction. The series is set entirely in London and happens over the course of five days. Cox plays Adam Lawrence, who is thrust into becoming the head of MI6 when the erstwhile head, Martin Angelis (Hinds), is poisoned. Adam renews old acquaintances with a former SVR spy Kara (Kurylenko), who has come to “collect” her dues. Adam is caught in the crosshairs of an even bigger political conspiracy unfolding to destabilize the country’s political landscape and must protect his family against all odds. With not one but three intelligence agencies involved, the storytelling does not end up reflecting their explosive convergence. A faulty base will shake even the strongest of buildings, howsoever stylish and well-made. That is what happens here. Charman, who also writes the series, gets the most fundamental aspect of the show wrong: plotting. Everything that happens after the script is written cannot take causal blame. The weak writing exposes the lack of emotional gravitas and depth in what Charman wants to explore through the story. Not just that but the lack of believability is even more egregious. Treason makes it too unrealistic for even the average viewer when it moves from point A to point B and so on. That basic requirement is the very least you expect from such shows. Why else would you watch them? Even the recently released Jack Ryan, which is a troller favourite on the internet, boasts of an impressive spy story with a few WTF moments. With Treason, the number of those moments increases drastically. This lack of quality writing comes completely unexpectedly and leaves you frustrated with the end result. Parallel to the whole plot, Charman goes for carving out a compelling family drama in espionage style, i.e., betrayals, confessions, and secrets. The dynamic that the family shares largely dictates the emotional quotient in the story. There should be clear tension in the household and yet, for some reason, it does not properly manifest until episode 4. Even when it happens, Treason makes the effort very lightweight. As a viewer, you only feel for Adam, who gets zero emotional support from his wife or children; not even Callum, who was shown initially as a smart bloke with interest in this spy business. It is really annoying to see some of the decisions the creative team make. Like fraternizing with the CIA to rat out your husband, or running away from school when you know the enemy’s eyes are on you. Is emotional duress enough reason for them to make silly mistakes like these? The only explanation that works is by debunking the mythical air of genius and superiority generally created around characters like Adam. For those decisions to make sense, Adam must be a cowardly, soft, incapable man unfit for his job and to protect his family. The fact that he was able to make it all the way to the top only because of Kara gives credence to that notion. But Treason does not represent him in that light. It is nice to think of the show and the characters in that differentiated way. This choice might even qualify as a subversion of the genre in some ways. But the mismatch between the reality and what should have been derails any momentum from the show. In the end Treason leaves you with an empty story full of plot-holes that give you an unenjoyable ride. Treason had all the makings of a supreme spy series on paper. But none of that promise is replicated in the lacklustre execution and shoddy storytelling, giving it a strictly ‘avoid’ rating from our side!
