Steven Yeun stars in a powerful, darkly funny drama series about a road rage incident that spirals into a vendetta.
These days, everything I want to watch on streaming services seems to be a limited series, so reviewing it involves either careful planning or an impulse binge. I don't know if I would recommend watching all 10 episodes of Netflix's "Beef" (five hours plus) in a weekend. But, while it bordered on hallucinatory at times, the experience gave me plenty to chew on.
No, "Beef" isn't about a restaurant that serves lots of red meat (for that, try Hulu's "The Bear"). Created by Lee Sung Jin ("Undone," "Silicon Valley") and released earlier this month, the dark comedy-slash-thriller-slash-family drama is already generating talk of Emmy Awards and a second season.
The deal
Struggling contractor Danny Cho (Steven Yeun) is having a bad day. He bought a bunch of gas grills as part of a suicide plan, and now the store won't let him return them. In the parking lot, another driver honks at him and gives him the finger. After a full-blown car chase — during which someone's flower garden is totaled — Danny gets away with the offender's plate number, determined to exact revenge.
But the other driver feels no more forgiving. On the surface, Amy Lau (Ali Wong) seems to have everything Danny doesn't: a thriving business, a sleek, modern home and a loving family. Inside, though, she's seething with stress and rage, all of which she has to hide from her happy-go-lucky husband (Joseph Lee), her critical mother-in-law (Patti Yasutake) and the capricious home improvement heiress (Maria Bello) with whom she hopes to complete a lucrative deal.
When Danny takes an absurdly petty revenge, Amy doesn't laugh it off. She plots a counterstrike. Neither will let the beef go, even if the ensuing conflict could strip them of everything good in their lives.
Will you like it?
"Beef" is a study in escalation, in class resentment and in very current forms of rage. What starts as a trivial dispute grows slowly into a high-stakes conflict on multiple fronts, and the casualties don't stop at flowers. Everybody is in play, from Amy's husband and daughter (Remy Holt) to Danny's sweet younger brother (Young Mazino) to his resourceful criminal cousin (David Choe).
As Amy's and Danny's tactics escalate, the show transforms itself, too; what begins as an edgy domestic comedy becomes an increasingly serious drama and then, in the last few episodes, a verging-on-surreal nightmare. Humor is present throughout, but by the end, you could be laughing while watching between your fingers in case something horrific happens.
It's impossible to imagine a show like "Beef" getting greenlit in the network era, given its amoral characters and massive tonal shifts. But for viewers who can stomach the wild ride, it's exciting to watch a writing and directing team just go for it, playing out the perverse potential consequences of a plot setup as far as they can go.
While that plot requires suspension of disbelief at times, the characters of "Beef" are recognizably human. The care with which the writers flesh out even supporting players keeps the show from sinking into the casual meanness that infects so many satires.
These characters may not be likable (for the most part), but they're all too relatable. Amy and Danny are living embodiments of the "wake up and choose violence" meme. They know there are other ways to solve their problems: Amy's husband lectures her on mindfulness, while Danny has been raised in a hardworking, churchgoing lifestyle. But anger is the only release that works for them, the only way they dare to express a pervasive sadness and frustration with their lives.
This sadness is personal to them, but it also has a wider societal dimension. Danny has failed to attain the American dream of prosperity, while Amy has learned that prosperity requires constant, exhausting maintenance — just like her fancy house, whose renovations are immediately outdated. Social status demands material achievement, but none of it lasts; "everything fades" is a refrain in the last few episodes.
Anger is ultimately only a shielding mechanism, as we learn in scenes where the characters' rage falls away to reveal grief. Amy confides to her young daughter that she hasn't felt true peace since the night she was born; Danny returns to church after a long absence and weeps uncontrollably, taking advantage of the catharsis built into the service.
These characters are on a collision course with catastrophe — and each other. Yet they're also both fighting their way toward something more real than the empty smiles that daily interactions require — a human connection that isn't defined by social norms or social media.
There are no victories in "Beef" that aren't Pyrrhic, and the show itself risks losing its audience at every turn. But once you reach the bittersweet end, you may not be able to stop thinking about it.
If you like this, try...
Minari (2020; fubo, rentable): Many know Yeun for his likable role on "The Walking Dead," but his talents are fully on display in this Oscar-winning drama about a Korean immigrant family trying to farm in Arkansas.
Always Be My Maybe (2019; Netflix): Want to see comedian Wong show her chops in something a little lighter than "Beef"? Check out this comedy about a second-chance romance.
"Better Call Saul" (six seasons, 2015-22; Netflix, buyable): More than anything else on TV, the dark comedy of "Beef" reminds me of "Breaking Bad" and its justly acclaimed prequel. The power of money and the thin line between law-abiding citizens and criminals are major themes in all three.
Got something to say?
Send a letter to the editor
and we'll publish your feedback in print!
In addition to La Chimera, here's what is playing in Northern and Central Vermont movie theaters this week. Listings include new movies, vintage films and a directory of open theaters.
Bio:
Margot Harrison is the Associate Editor at Seven Days; she coordinates literary and film coverage. In 2005, she won the John D. Donoghue award for arts criticism from the Vermont Press Association.
From 2014-2020, Seven Days allowed readers to comment on all stories posted on our website. While we've appreciated the suggestions and insights, right now Seven Days is prioritizing our core mission — producing high-quality, responsible local journalism — over moderating online debates between readers.