Netflix’s latest series, The Residence, embraces the recent revival of the TV whodunit with a colorful cast, comical chops, and a dutiful, yet peculiar, detective. Produced by Shonda Rhimes and created by Paul William Davies, the eight-episode limited series delights in the strength of its cast and quick, witty writing.
It was October 11, the night of the Australia State Dinner at 1600 Pennsylvania Avenue, hosted by the newly elected President Perry Morgan. As foreign dignitaries, celebrities, and other statesmen enjoyed the delicate cuisine and Australia’s very own Kylie Minogue, a scream broke the silence of the living quarters where the president and his family reside. A body had been found. The deceased was A.B. Wynter (Giancarlo Esposito), Chief Usher and overseer of the executive residence staff of the White House.
The details of that evening and the investigation unravel months later during a congressional hearing as various White House staff, law enforcement, and other personnel testify about the events surrounding Wynter’s death. Viewers meet some key players including Jasmine Haney (Susan Kelechi Watson), the then-Assitant Usher; Harry Hollinger (Ken Marino), best friend and close confidante of the president; Metropolitan Police Department’s Chief Larry Dokes (Isaiah Whitlock); FBI Agent Edwin Park (Randall Park); and the world’s most decorated detective and birding enthusiast, Cordelia Cupp (Uzo Aduba).
Upon learning Wynter is deceased, White House personnel — specifically Hollinger — keep the incident a secret. They feared the news would incite unnecessary optics for an already embattled administration. Hollinger insists Wynter died by suicide, making note of his cut wrists and a suicide note found on the body. But Detective Cupp soon obliterates that theory.
Cupp concludes Wynter could not have cut his wrists, and the blood found on his shirt did not belong to him. Furthermore, Nan Cox (Jane Curtain), the president’s mother-in-law, heard a loud thump before discovering the body. Wynter collapsed to the floor, explaining the large knot found on his head. Among the 141 guests and numerous staff, 200-plus people had access to the 3rd floor undetected as there are no cameras in the residence wing. And we learn at least one person — Haney — had a motive to see Wynter dead. Haney was prepared to assume the Chief Usher role as Wynter announced his retirement. Unfortunately, he informed her that evening that he was no longer leaving his post.
Cupp requests that all guests and staff remain in the White House for questioning, but President Morgan declines citing it a nearly impossible and egregious task. However, the revelation of an Australian ambassador wearing Wynter’s shirt reverses Morgan’s decision as Cupp identifies her first person of interest.
“The Fall of the House of Usher”, a clear reference to the Poe story and the numerous staff within the White House, is directed by Liza Johnson. It’s a solid introduction to the nature of the show that effortlessly juggles multiple characters, large doses of information, and two timelines. One could become confused with the transitions between the present-day narration and the flashback to the night in question; however, the great pacing and capable cast make it seamless. The writing and humor are acrobatic, nimbly flying from scene to scene, between subtle and bold moments.
The cast shines as each actor leans into their strengths. Esposito, who replaced the late Andre Braguher, is perfect as the impenetrable Wynter. Watson conveys both comedic and dramatic weight in her performance. Marino delivers his signature brash comedic timing. Curtain is laugh-out-loud funny as the First-in-Law. And Aduba excels as the eccentric but undeniably brilliant Cupp. We also get great standout performances from actor-turned-politician Al Franken and Eliza Coupe as hearing Senators Aaron Filkins and Margery Bay Bix, respectively.
In addition to its technical strengths, the show examines the hierarchy in place, from the Oval Office, down to the lower basement. Apart from the clear upstairs/downstairs issues that become apparent in future episodes, a patriarchal arrogance hangs in the air, which Cupp comically dismisses being a Black woman in a role of authority. She makes sure to embolden herself and Haney whenever possible. Overall, the first episode is a delightful slice of TV any armchair sleuth will enjoy.
Rating: 8/10