Colman Domingo, an Academy Award nominee, is experiencing a noteworthy year as he collaborates once again with Netflix to lead the limited series “The Madness.” Stephen Belber is the showrunner for this production, which centers on Muncie Daniels (portrayed by Domingo), a media pundit who must clear his name after inadvertently discovering a murder in the depths of the Poconos woods.
To navigate this crisis, he is required to reestablish connections with lost opportunities and reconcile with his estranged family, which includes his wife Elena (played by Marsha Stephanie Blake), his teenage son Demetrius (Thaddeus J. Mixson), and his adult daughter Kallie (Gabrielle Graham) from a prior relationship.
The show starts fast and furious and plunges you into the quaint, almost abysmal setting of the Poconos. It’s Domingo’s masterclass performance that brings Muncie to life. He’s a cross between a self-assured media mogul and a profoundly flawed man who can’t stand his once-loved values anymore. His struggles and the guilt he’s holding are tangible, with the audience experiencing his struggle and grit as he fights for his life and a reconciliation with his family
The supporting cast all deliver great performances. In addition to the previously mentioned talents, Deon Cole, John Oritz, Tamsin Topolski, and the legendary Stephen McKinley Henderson enrich the narrative, each character adding depth and intrigue to Muncie’s tumultuous journey.
But what makes “The Madness” a standout book is the fine prose, which chimes with the media’s influence over the public’s image and the precariousness of innocence in a scandal-driven world. The twists are surprising and satisfying, luring the audience into Muncie’s world and leaving them questioning how they read news and media.
The shows timing is another interesting feature; it makes you stay on the edge of your seat but does not feel rushed. It’s a story that builds tension with each episode, and then just when you think you know what you’re doing, the script shifts to allow you to revise everything you thought you knew. But some may find the show’s flurry of heavy-hitting themes — identity, morality, family love — too much. Nonetheless, the moments of humor and reflection are handled so well that it doesn’t take too long to get dark.
“The Madness” is an engaging experience that facilitates meaningful discussions about truth, sensationalism, and our connections. Colman Domingo presents this thought-provoking vignette with a poignant and powerful touch. Viewers will reflect on life and their choices as the credits roll at the final episode’s end.
“The Madness” is a must-watch series for those who like a solid thriller that is not just entertainment but also a celebration of the mess we live in and, most importantly, the messiness of our humanity.
Final Grade: B+
“The Madness” is available to stream on Netflix this Thursday.
For their second single, the group presented a ballad entitled “Feels Like The First Time.” Once again, Greene handles the lyrics, while Neville Hodge is responsible for production duties. Greene begins the song with robust energy, proclaiming his love for the lady. Greene’s group members provide stellar work on the background vocals, and the songs eschew nineties R&B without going into crass vulgarity.
The ballad was composed by Michael Masser and lyricist Gerry Goffin, and it was first recorded by Dionne Warwick in 1981. Eight years later, Natalie Cole covered the song, shortening the title. It became the fourth single from her twelfth album, “Good to Be Back.”
Braxton’s vocal talent is perfect on the standards “Christmas Time Is Here,” “Have Yourself a Merry Little Christmas,” and “The Christmas Song.” However, like any good R&B Christmas album, it is the soulful yuletide bops where Braxton truly shines. The album’s first single, “Snowflakes of Love,” is instrumental of Earl Klugh’s “Now We’re One”. Braxton’s lush vocals encapsulate the warmth and joy of romantic love amidst a wintery backdrop.