The Changeling will make its global debut with the first three episodes on Friday, September 8, 2023 on Apple TV+, followed by one episode weekly through October 13.
Synopsis
A fairy tale for grown-ups. A horror story, a parenthood fable and a perilous odyssey through a New York City you didn’t know existed.
Review
Despite being around for only four short years, Apple TV+ has proven itself to be a heavy hitter in the world of prestige streaming drama. Though it has less content than other streamers, there’s no denying the level of quality in an Apple production is impressive to say the least. With latest series The Changeling, debuting on September 8 with three episodes, Apple is pushing the boundaries of storytelling and flexing its muscles.
Based on the Victor LaValle novel of the same name and entirely penned by writer and showrunner Kelly Marcel, The Changeling is badged as a fairytale for grownups. Across eight episodes it certainly proves itself to be one of Apple’s darkest and most captivating series to-date.
At the heart of the story is Apollo Kagwa (LaKeith Stanfield, who also executive produces), a dealer in rare books who falls in love with New York librarian Emma (Clark Backo). After Emmy spends an eventful month in Brazil, the pair reunite and marry before eventually having baby Brian. All sounding very sweet so far? Things are about to change…
An episode of apparent postpartum depression leads Emma to do the unthinkable before vanishing off the face of the Earth. Her disappearance leading Apollo down a very dark path involving witches, gods and monsters.
The Changeling is visionary in its approach to speculative horror. Its narrative is heavily loaded from the outset with stories set in multiple time periods all providing small pieces of an incredibly complex but ultimately very rewarding puzzle. What’s impressive is just how accessible the series is, in no small part due to the comforting narration provided by LaValle. It acts almost like settling the audience down for the ultimate immersive experience, hearing the author telling their own story first-hand. It’s undoubtedly key to the success of such a complex setup.
The first couple of episodes are a beautiful slow burn. Marcel’s scripts are exquisitely paced to paint a picture of Apollo, Emma and their (possibly) doomed relationship. That’s underpinned by the story of Lillian (Alexis Louder in the past, and Adina Porter later), Apollo’s mother and Brian, his father, played by Jared Abrahamson. The stories of these four characters are intimately intertwined even when the viewer doesn’t realise it. What’s clear after finishing the season is that there are plenty of clues hidden in earlier moments that signpost future events, adding further layers to the story.
It’s difficult to dig too deeply in to the story without breaching spoiler territory. Despite its fantastical subtext, The Changeling takes an incredibly grounded look at love, loss, grief and even technology. It’s simultaneously able to challenge the viewer with nightmarish imagery alongside real world observation. A stark example comes from the magnificently cast Jane Kaczmarek as the leader of an island full of women like Emma. When Apollo arrives searching for his missing wife, Cal (Kaczmarek) discusses the poisons of mans world, taking aim at social media “We spy on children all the time now. Nobody calls the police,” sighs Cal. “People hand over their babies, their private, most precious moments every day for the world to see.”
Stanfield is a magnetic lead, holding audience attention with every mannerism of Apollo’s character. The role gives more than ample opportunity to show his incredible range, starting with the lovesick puppy and moving through stages of grief episode-by-episode. There’s a longing to Apollo which bleeds in to the world around him and eventually off the screen in in to the audience.
Similarly, Backo instills a heartbreaking sense of loneliness in to Emma. The Changeling raises up its audience on the warmth of Emma and Apollo’s dedication to each other. But with the rug pulled out in episode three, Backo ventures out in to her own unimaginable story of grief and discovery. Backo is an undeniably less subtle performer than Stanfield, the scripts often calling for a more larger-than-life performance, but she rises to the challenge. At the series reaches its conclusion my only wish was to see a full reunion for the two leads.
MVP of The Changeling has to go to Adina Porter for the astonishing penultimate episode in the season. Clearly written as a vehicle for Porter’s unearthly ability to steal the very breath from her audience, you could easily have convinced me that it’s core story was a one-shot wonder that Porter performed purely as a monologue. It’s incredible stuff though does break the pace of the series’ overall narrative. But it’s awards worthy stuff to say the least.
The Changeling is a very practical series. But when special effects are required, especially towards the dramatic conclusion, they’re well placed and well executed. Moments of CGI don’t detract from the series creepy aesthetic and are perfectly in line with the production values of other Apple series.
That creepy aesthetic is elevated by a stunning score from composer Dan Deacon. Never overpowering but always atmospheric, Deacon’s work is like a character in its own right. Lifting off from the opening narrations and carrying the audience to conclusion on a wave of emotion. I look forward to listening to it in isolation.
Verdict
The Changeling is a sumptuous slice of adult horror. Both a gothic fairytale and a startling portrait of our deepest grief and trauma. Led by the charismatic LaKeith Stanfield, the creepy aesthetic and layered make this series a complex but rewarding watch.
⭐⭐⭐⭐
