by Mike Hilty, Contributing Writer
True crime and dramatization of real-life events are becoming a staple of the limited series genre. It’s understandable why these series are trending: They’re often crazy stories that keep people engaged with how crazy they were at the time. It’s hit or miss, though. Some series help us relive events that helped definite generations of people. Some series, though, fly under the radar and help bring recognition to an event that might not have the eyeballs they originally had before.
Welcome to Chippendales is in a special category of its own.
Dramatizations of real-life events sometimes run into the same category as the biopic with film. They offer a glimpse of an event in a linear way. It chronicles the same tried-and-true formula: the discovery of something, the rise of its popularity, conflict, and the outcome of the conflict, whether it’s resolution or destruction. Welcome to Chippendales follows this formula to a T, while also offering half-hearted commentary on the events.
Welcome to Chippendales could have had a great message about female empowerment, female sexuality, greed, rags to riches, power, or discrimination against immigrants. All of these ideas are addressed at some point or another during the series, but none of them are ever fully backed. I would have been much more interested in any single one of them, had the showrunners decided to pick a lane and figure out the message(s) they wanted to present.
I’m aware of the company Chippendales, but I know it more from a skit on Saturday Night Live where Patrick Swayze and Chris Farley try out as dancers. Chippendales has now become more of a punchline than a reputable establishment promoting female empowerment and sexuality. It’s a rather unfortunate turn for a company that felt like it was on the cutting edge of offering a high-class establishment for women to enjoy themselves. Welcome to Chippendales tries to establish this in the first few episodes, but fails to sustain the momentum. It’s fair to say the story is generic, paint-by-numbers, and generally bland.
The single best part of Welcome to Chippendales is the performances. The owner of the company Chippendales is Somen Banerjee (Kumail Nanjiani). He felt the need to change his name to Steve so he could be more respected as an Indian-American immigrant who’s striving to make something of himself. The pressure he is under to fulfill the American dream for his family is staggering. If they had spent more time on this or the prejudice he faces as an immigrant looking for success in America, this could have been a better series. Instead, we get a great performance by Nanjiani that’s squandered away.
The real star of the show, though, is Nick De Noia (Murray Bartlett). As the architect of Chippendales becomes more like a show, De Noia represents how the company evolves into a more classy establishment that helps provide some much-needed spectacle. Bartlett is outstanding in the role of Nick. He’s ambitious and smart, and sees an opportunity to make something truly remarkable. Any other partnership would have worked, but unfortunately, Banerjee is so insecure that he can’t fathom sharing the spotlight with anyone else, even if it means his company is successful.
There are two other standout performances in the series. Banerjee’s accountant, and eventually his wife, Irene (Annaleigh Ashford), is a classic case of becoming corrupt due to her surroundings. Ashford does a great job of being vulnerable to the atmosphere around her. The allure of the 1980s drug scene in addition to being around the glamour of Chippendales makes Irene someone who can easily fall into chaos. Ashford does her performance justice, as I made a full swing from being happy for her, to detesting her, then back to sympathizing with her for the situation she has put herself in.
The final performance I want to highlight is Otis (Quentin Plair). Nick immediately notices the potential of Otis. Banerjee likes Otis, but he struggles with him because he’s Black. It’s clear Banerjee has a problem with this, but it’s never overtly stated. Otis is trying to make the most of his situation, and even goes so far as to want to learn from Banerjee about his business tactics. Nick wants to keep him as the headlining star of the show. Banerjee even goes so far as to leave him out of important aspects of the business. Otis, feeling frustrated with his situation, decides on his next steps, which eventually leads to him not being in the show very often beyond that. I was frustrated by this because Plair does an amazing job as Otis. This is another example of a missed opportunity for a good story: how prejudice only breeds more prejudice.
Welcome to Chippendales is a misfire from Hulu. It’s an aimless story that squanders away its performances. It could have been great, but will ultimately go down as a stock series. I wanted to like it more, and I liked individual moments in episodes. It just didn’t mesh well enough for it to be remarkable.
Score: 6/10
Welcome to Chippendales is currently streaming on Hulu
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