Apple TV+’s latest limited series, Lady in the Lake, isn’t a straightforward whodunit. Created by first-time showrunner Alma Har’el (Honey Boy), who also directed all seven episodes, Lady in the Lake is a reimagining of the 2019 novel of the same name written by Laura Lippman, an executive producer on the show, who was inspired by two real-life cases.
The series opens on Thanksgiving in 1966 Baltimore, Maryland, where we’re introduced to two very different women who both lead hectic lives, even when it’s not a national holiday.
Cleo Johnson (Moses Ingram) is a Black mother of two juggling multiple jobs to provide for her boys, Teddy (Tyrik Johnson) and Lionel (Samir Royal). By day, she works as a window model for a department store. By night, she bartends at a club run by Shell Gordon (Wood Harris), a prominent figure in Black Baltimore. We follow Cleo as she hurries from one job to the next, while her husband, Slappy “Dark” Johnson (Byron Bowers), a struggling comedian, is unemployed.
In Lippman’s novel, Cleo isn’t as prominent of a character. It was a wise choice for Har’el to greatly expand her presence in the series, especially with an incredible talent like Ingram in the role. Ingram’s emotionally charged scenes will get the tears flowing. Just her delivery of the line, “You want me to dream and I can’t even breathe,” is powerful.
For Maddie Schwartz (Natalie Portman), a Jewish housewife from the Pikesville suburbs, it’s another day being unappreciated, and downright disrespected, by her husband Milton (Brett Gelman) and son Seth (Noah Jupe). She leads a privileged life but still deals with the rampant misogyny and antisemitism of the 1960s. Thanksgiving is the day that pushes her over the edge.
Maddie is determined to help look for Tessie Durst (Bianca Belle), a young Jewish girl who goes missing earlier in the day. She packs her bags and leaves her infuriatingly ungrateful husband and son, moving into a small apartment she can barely afford in a Black neighborhood known as “The Bottom.”
It’s the girl’s disappearance that rekindles her past writing ambitions, inspiring her to become an (amateur) investigative journalist. But as she uncovers connections in the mysteries surrounding the fates of Tessie Durst and Cleo Johnson, she becomes completely obsessed.
Maddie and Cleo wordlessly cross paths when Maddie buys a dress Cleo’s modeling in the window. But they won’t actually “meet” until the latter’s dead body is discovered in a fountain, earning her the title of the “Lady in the Lake.”
From backhanded compliments to relentless racism, most of the people in Cleo and Maddie’s lives give them nothing but grief. It’s interesting to see how differently a Jewish woman and a Black woman are constantly disrespected, even by other women.
Har’el and Portman have both spoken about the theme of how “oppressed people can become oppressors.” While Maddie shows hints of white saviorism, she’s ultimately too caught up in her new journey as a single woman and budding journalist. With her focus on landing a front-page-worthy story, she’s unintentionally tone-deaf when it comes to the Black community, which is rather comical at times.
Portman described the character as “ethically awry,” a fitting descriptor since her desperation takes her to dangerous places. She cozies up to Ferdie Platt (Y’lan Noel), a Black police officer who becomes Maddie’s secret love interest, which allows her to dig for details about both cases. However, their connection quickly moves beyond that into something more and Officer Platt risks his own career ambitions.
One of the most intriguing character journeys is Reggie Robinson (Josiah Cross), a boxer and loyal righthand man to Shell Gordon. It’s up to him to carry out less than legal tasks for his boss. Cross absolutely killed the role, making Reggie sympathetic despite some of his actions.
Duality is the prevailing theme of Lady of the Lake — the different public reactions to each murder, the parallels between two minority groups and their daily indignities, the lives of two mothers. Even the kaleidoscopic opening titles show images mirroring each other like a bizarre scrapbook come to life. The series has surreal imagery throughout but as the mystery builds, we’re thrown into a colorful, foggy dream world that blends the fantastical and nightmarish, from Grease-like whimsical musical performances to Shutter Island-worthy terror.
Given they’re both mostly set in the 1960s, the fashion and music give Last Night in Soho vibes. Costume designer Shiona Turini (Insecure) crafted gorgeous wardrobes for Cleo and Maddie, outfitting them in printed dresses, fabulous coats, chic skirt suits, and pillbox hats. Each of their styles evolves as they reinvent themselves.
Now, let’s talk about the music. Composed by Dr. Marcus Norris (Honk for Jesus. Save Your Soul.) and performed by the South Side Symphony, Lady in the Lake has one of the most uniquely haunting scores I’ve ever heard. It’s soulful and epic with an eerie whistling that almost sounds like a theremin. There’s a jazzy, Cab Calloway style and energy that fits the era while also feeling out of time. When that whistle started creeping in during the episodes, I knew something weird and/or terrifying was about to happen.
Lady in the Lake is an intricate character study and mind-bending murder mystery that explores the juxtaposition of Black and Jewish cultures in 1960s Baltimore. In addition to the stellar acting from the cast, led by powerhouse performers Portman and Ingram, the wardrobe, production design, cinematography, and music all work together to create something classic and familiar but also surreal.
You can also catch an interview with the cast and series creator with Black Girl Nerds here.
Lady in the Lake premieres with the first two episodes July 19 on Apple TV+, followed by weekly episodes through August 23.
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