'Fleishman Is In Trouble' offers a 'poignant murmuring on time and regret and self.' rilaws reviews:
What’s the deal with straight people? That’s the question I had turning over in my head while watching the first episode of’s best-selling novel about a divorced guy doing divorced guy stuff. In the premiere episode,’s Toby Fleishman, an early-middle-age doctor whose marriage to theater agent Rachel has ended, spends his time on Tinder-like apps, meeting all the horny ladies of Manhattan looking to hook up.
It’s a plethora of sex and ever so slightly dated riffing on the digital age of romance, a sort of awed consideration of already plenty hoary topics. Not being straight myself, I just couldn’t understand what was interesting, new, or particularly titillating about any of it. Maybe watching Eisenberg, who for so long has been frozen in amber as the petulant Harvard geek-villain of, tuck into an adult role, bare ass shots and all, will be intriguing to some.
If that’s your feeling watching the first episode, I’d urge you to stick with the series. Because what lies after that strained bit of sociology is increasingly rich and rewarding. By the end of the seventh and final episode, I found myself quite unexpectedly moved. Not by Toby’s adventures in the carnal world, but by the show’s poignant murmuring on time and regret and self.
One of the quests of the series is finding out where Rachel has disappeared to after she drops the kids at Toby’s apartment and, supposedly, heads off to an upstate retreat. She’s gone for weeks with no word, while Toby navigates career and children and reconnects with Libby and their friend Seth . The episode that explains where Rachel has been is a terrific showcase for Danes, refracting her past work as addled CIA spook Carrie Mathison onthrough a prism of the mundane.
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