Showtime limited series — about a count imprisoned in a luxury hotel — starts as a literary adaptation and turns into a prestige-TV hangout drama.
contradictory, but often wonderful places. They are permanent structures primarily designed for temporary lodging. They can offer more luxurious furniture and amenities than you get at home, yet you’ll rarely sleep as well as you do in your own bed.
But where the series is trying to be equal parts whimsy and tragedy, it tends to be more effective at the former than the latter. The sequences about how the Count learns to navigate his unique circumstances are full of energy and wit.
On the first day of his life sentence, Rostov causes a stir by appearing at his usual table in the hotel’s top restaurant for dinner. When one of the chefs wonders what the Count is doing there, head waiter Andre suggests, “I believe he is refusing to be beaten.” That irrepressible spirit is contagious, both among the hotel staff — whose ranks the Count eventually joins, not as a punishment, but because he clearly enjoys living and working among them — and to anyone watching.
that focus more on Russia itself are less effective. Rostov’s childhood friend Mishka keeps returning to the Metropol over the years, each time providing an update on the state of the Communist experiment, and to spar with the Count over which philosophy should triumph. But even though the country keeps changing, it remains too much of an abstraction on a show whose POV character is stuck inside one building, no matter how large and architecturally impressive it may be.
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