Bunbury, magnetic as always, gives Cassie all the strength she can, but watching her hold her own in the face of racism and sexism is a cruel substitute for actual characterization.ĭespite a likable cast, Big Sky is only invested in its characters when they serve its plot twists. When the series calls attention to the fact that there aren't many Black women in Montana, it does so not by centering Cassie's experiences but by having a white man repeatedly objectify her. But its approach is so crass and exploitative that it's hard to believe the show really cares. It seems like it wants to investigate the epidemic of violence against women in America, and maybe even to explore the intersectional issues that put some women at greater risk. Two women solving a mystery while absolutely hating each other would be so much more fun if they weren't fighting over a man.ĭiscover your new favorite show: Watch This Now!īig Sky is the sort of show that thinks it's commenting on sexism when it's really just reveling in it. The big picture of the series, both its potential and its failures, starts to become clear early in the premiere, when Jenny (Winnick) and Cassie (Bunbury) get into a bar fight over Cody (Phillippe), who is both Cassie's work partner and Jenny's estranged husband. The show leans hard on overdone stereotypes: the creep with mommy issues, the nagging menopausal wife. The story has all the makings of a soapy indulgence.Īnd yet Big Sky, which premiered Tuesday, completely wastes the considerable charm at its disposal, mostly by making the most sexist storytelling choices possible at every turn. Box, looks promising on paper: It stars Katheryn Winnick and the great Kylie Bunbury as an ex-cop and a private detective, respectively, and Ryan Phillippe as the object of both of their affections, a man whose most defining personality trait seems to be "lives in a log cabin." The trio have to set aside their love triangle and get to crime solvin' when two teenage sisters ( Natalie Alyn Lind and Jade Pettyjohn) vanish on a remote Montana highway. Kelley-created series, based on the books by C.J. Desperate times call for a good, kitschy network thriller.
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