The Oxford gang is everything that Joe hates – filthy rich elitists who inherited fame and fortune without having to lift a finger.Įach season of You up to this point has been set in a different city, each with its own unique cast of characters who border on caricatures.
He is surrounded by a new cast of eccentric characters – a group of friends who all met as students at Oxford. The start of Season 4 sees Joe in London with a brand-new identity: Professor Jonathan Moore, a college instructor of American short fiction.
Expect more reinvention in the back half, and in Season 5.The end of Season 3 saw Joe on the run after murdering his wife Love ( Victoria Pedretti), faking his own death, and leaving their newborn son behind.
The whodunit works until it doesn’t - a premise that could not be more welcome in the wake of “Glass Onion” - which just happens to be the same point at which the season pivots again. That’s a relief as the wealthy strangers grow stale around Episode 4, but frustrating because whatever relieves them is still a month away. There’s a clear shift at the midpoint that frames these five episodes as buildup and the remaining five as action, climax, and resolution. Splitting Season 4’s release is a choice that both works and doesn’t. Her character’s weakness is cast in sharper light than any other because of her many scenes with Joe, whom Badgley has mastered beyond compare. They enter a somewhat tedious will-they/won’t-they Joe doesn’t trust himself to get close to a woman because they end up dead or hating him (or both), but Kate hides behind arbitrary walls that crumble a little too conveniently around him. Kate is a self-proclaimed bitch who spurns Joe from the start, responding to his harmless incognito alias with outright hostility that goes against their obvious, screaming chemistry. She takes a backseat in later episodes, but likely in service of a bigger role in Part 2.Īs always, there’s a woman: Kate (Charlotte Ritchie) - the woman Joe watched through the window. Amy-Leigh Hickman presents within the few minutes as the rare character with any sense or substance, the kind of grounding presence that Gabrielle offered in Season 2. None of the new cast clears the Shalita Grant bar for “You” ensemble excellence, but there are a few standouts in the parade of sparkly privilege, like Tilly Keeper and Lukas Gage. Anyone outside of Joe’s head reaches the audience through his worldview (which is still too feminist to call a woman crazy and aware enough to disparage Woody Allen).
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“No love, no people, just books,” he tells himself before staring baldly through the uncovered windows across the way.īy now it’s not only acceptable but expected that “You” fill out its ensemble with disposable two-dimensional characters, a decision that works perhaps because the show never pretends they are anything but. Not for the first time, Joe wants to put his past behind him, but old habits - like spying on the neighbors, particularly the female neighbor when she’s alone with herself - die hard. Somehow - more explanation would either be too much work or too distracting - Joe becomes a professor, giving impassioned lectures about literature and redemption to a rapt audience in a library. after learning that Joe killed her boyfriend. Season 4 finds Joe on a coveted “European holiday” (mostly in the since-divested United Kingdom), in search of his true love Marienne (Tati Gabrielle), who fled the U.S.
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After years as the irascible Joe Goldberg, he knows exactly how to react to every twist and guide the audience with his eyes, body language, and menacing voiceover. It’s rare that a show can reinvent itself so well and often - “You” is all but anthology at this point - but Badgley makes it look easy. Not for the first time, “You” reinvents itself with setting, genre, and cast, Badgley’s surly antihero the sole constant holding everything together. The five-episode Part 1 is streaming now, with Part 2 due March 9. Sera Gamble’s “ You” returns to Netflix for a fourth season that throws Penn Badgley’s remarkable character into new relationships and complications. It takes special skill for an actor to make audiences welcome a murderous stalker back to TV.
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