Speaking of pop culture’s most famous twins, there’s an aspect to this show that made me imagine a beautiful world in which the Olsen twins hadn’t ever retired, and instead had evolved in their careers to bring us darker versions of their twin antics. Michelle Monaghan and Producer Brian Yorkey on Her Twisty Turn as Twins in Netflix’s Mystery Drama ‘Echoes’ Gina and Leni switch lives every year on their birthday - husbands, homes, jobs, clothes, everything - and while there’s a whole heap of secrets they’re hiding from the world, they know everything there is to know about each other. And then there’s hunky Dylan (Jonathan Tucker), the boy from the past, who is apparently nothing but trouble if you ask anyone else in town. Leni is married to hunky cowboy Jack (Matt Bomer), while Gina, a writer, is married to hunky therapist Charlie (Daniel Sunjata). Gina may have moved to Hollywood and lost the soft country twang she grew up with, but she can slip back into it and Leni can slip out of it so easily that it’s almost as if there is no difference between them anymore, which is sort of the point. Michelle Monaghan plays identical twins Gina and Leni, who have spent their entire lives switching places with total ease. But in time, starting about halfway through the seven-episode limited series, this particular wacky Netflix mystery show becomes something a whole lot weirder and a whole lot more interesting than most that have come before. “You” begins its fourth season February 9 on Netflix.In most ways, “Echoes” is just another wacky Netflix mystery show: questionably written, filled with recognizable B-listers, and filmed in such a way that if you didn’t already know it was a Netflix show, you’d be able to figure it out pretty quick. And while Joe has managed to buck the odds this long – with reinventions from stalker to new dad to international man of mystery – it feels like time for a heart-to-heart talk with himself about finding a way out of this story while the getting’s still good. “You” has survived its fourth season, but that rope now looks seriously frayed. Still, the surprise success of “You” (which, some might remember, actually premiered on Lifetime before Netflix opportunistically swept in and helped the show blow up) has inevitably fueled pressure to keep the money machine operating – always a challenge with this sort of creative highwire act.
It’s during the second half, alas, when the story begins going off the rails, as the writers unleash developments that undermine the tantalizing place where the midseason break leaves off.īadgley remains a hoot as the quick-witted psychopath who’s a fool (and occasionally a murderer) for love, stumbling from one perilous situation into the next. The mystery surrounding that, and the questions of who could be behind those troublesome text messages, unfolds at a nice pace with a “Knives Out”-ish vibe at first, against posh European locales that provoke understandable references to “Downton Abbey.”Īs with “Stranger Things,” Netflix recognizes a hit when it sees one, and will try to spread the “You” wealth a little longer by dropping half of the season in February and the balance a month later. This time Joe finds himself caught in what unfolds like a cat-and-mouse game, with a shadowy antagonist who appears to be a step ahead of him, prompting a lot of those rat-a-tat internal monologues for which he’s famous. There, he blends in, if you can call it that, while befriending a group of privileged and snooty jetsetter socialites and influencers, who are icky enough that you’re not supposed to feel too badly about it when one (or more) ends up dead. Yet while the fourth season begins in characteristically twisty fashion, before it’s over the Netflix hit feels dangerously close to jumping the shark, having become a bit too cute for its (or Your, if You prefer) own good.Īs the season three finale teased, narrator/stalker/killer Joe Goldberg ( Penn Badgley) has faked his own death and fled to Europe when the latest arc begins, taking a new name and becoming a professor at a local college. “You” has already wrung an impressive amount of mileage out of its concept, getting the audience to identify with – if not necessarily root for – a suave, murderous stalker.
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