The Big Picture The United States is living in chaotic political times and art is most certainly reflecting life. Political dramas have always been all the rage, from dark thrillers like House of Cards and The Diplomat to more traditional peeks inside the White House in The West Wing and Madam Secretary to glossy limited series based on real scandals à la White House Plumbers and Gaslit.
There are four main women, each with vastly different backgrounds and goals. There’s Sadie , our scrappy protagonist and narrator. A print reporter, she’s not the newest kid on the block anymore, but she’s not particularly seasoned either. She has the added challenge of trying to prove herself after becoming too personally invested in a candidate last cycle, Felicity Walker , which culminated in a humiliating viral meltdown.
Rounding out the quartet is Kimberlynn , who may be the most different of all. The sole conservative in the group of left-leaning women, Kimberlynn struggles to find her place in a myriad of ways: being a Republican in a largely Democratic space, being a Black woman at a predominantly white network, the list goes on. Elmore may have the toughest job, as this show’s target demographic is, by the very nature of its existence, progressives.
We also explore Grace and Kimberlynn’s sturdier relationships — at least on paper. Grace’s relationships are fraught — with her famous journalist father, her husband , and her college-aged daughter . It looks like she has it all, but does she? Her journey can feel a bit cliché at times, but there’s enough of a refreshing spin to keep it gripping.
The biggest concern with a show like this may be the fear of it feeling like another entry into the myriad of projects that tout shallow, girlboss feminism. And sure, some moments are a little cheesy, a couple of lines can come off a bit cringe, and certain conversations can feel more like a conglomeration of buzzwords and surface-level ideas.