Comparisons between ‘Rabbit Hole‘ (2023) and ’24’ (2001-2010) are inevitable and I have the impression that the producers of the series created by Glenn Ficarra and John Requa and produced by the Paramount+ studios did not avoid them. Kiefer Sutherland once again steps into the shoes of a hero blessed with exceptional intelligence and a strong will, who starts out as a special cases investigator only to end up being followed by the whole system – crime organizations led by high-profile villains, the secret services and all the possible agencies of justice. Forced to go underground, to run and hide permanently, the hero (named John Weir) manages not only to survive, but also to fight to bring to light the truth and prove his innocence. Kiefer is still Kiefer, but there are also many differences. ’24’ was based on a formula as simple as it was original at the time of its appearance, following the character’s actions in real time over 24 hours. The formula worked very well, as evidenced by the 9 seasons produced. ‘Rabbit Hole‘ has a mini-series structure that proposes a story adapted to the problems of the third decade and especially the power of information and the control of the population through it. The first season consisted of 8 well made episodes with a lot of action that has pace and complexity. Perhaps a bit too much complexity, which is one of the reasons a second season isn’t in the cards – at least for now.
I won’t tell too much about the story, because the twists and turns start about the third minute of the first series and continue until the last second of the final episode. I will just say that fans of political and technological thrillers as well as fans of action series have a good chance of coming away satisfied from watching the series. The story becomes quite complicated at one point and – if I had the opportunity and to whom – I would ask some questions related to the credibility of some of the scenes, but that is not that important in series of this kind. In addition to questions related to population control through digital methods and the intervention of large companies in the political life using personal data manipulation technologies, there is also plenty of time for a romantic plot, for flashbacks to unhappy childhoods, for complicated relationships between father and son or between divorced spouses. The concept tested all throughout the series is trust. In a world of shadows, where anyone can be a deadly adversary, who can the heroes trust? At one point a team of four people is formed who have every reason not to trust each other. Can the hero survive and bring the truth to light with such partners?
The story is well paced and keeps the attention awake all the time – the comparison with ’24’ works here. It really requires attention, as the narrative is interspersed with many flashbacks to different periods of time, all important in understanding the story or what the writers want us to know about what is happening. In addition to Kiefer Sutherland, I noticed very good work by a few actors who have consistent roles and appear in all or most of the episodes: Meta Golding gets the role of a woman apparently met by chance in the first scene and who will accompany the hero until the end or even after ; Charles Dance in the complex role of John Weir’s father who practices the same dangerous profession, being a partner but maybe also an enemy, because in the world in which the two operate, no one can trust anyone; Walt Klink – a talented young Dutch actor in a very interesting role as a hitman just out of adolescence, a character that would deserve his own series. As it happens in many TV series, the final episode is different from the others. The building of tension accelerates towards a complex final scene in which the fate of American democracy is at stake. The resolution has to be compelling enough to resolve at least some of the main threads and also leave enough open issues and heroes alive for a season to come. I wasn’t completely satisfied with the solution the script authors provided, but I was still curious enough to wish for a second season, maybe more. The potential and the premises are here. As things stand now, however, a continuation is not in the plans. What a pity.