We could safely say that ‘Clickbait’ lives up to its name. Like all those headlines designed to fool us into empty content, the series of Netflix does the same with an addictive but hollow crime drama. It is easy to bite into it and once inside you make a decision to stay or go.
I have stayed. And like me, quite a few more people because weeks after its premiere it is still one of the most viewed on the platform. An unbeatable enemy that not even ‘The paper house’ has managed to defeat in these last breaths of the summer.
The eight-episode miniseries follows the story of Nick (Adrian Grenier). One fine day a video of him appears on the Internet beaten up and holding signs saying that “Abuse of women” and that “At five million views, I will die.”
From here on, a web of secrets and lies will be uncovered around Nick’s double life in which Pia (Zoe Kazan), his sister, and Sophie (Betty Gabriel), his wife, try to understand what is happening. All this in a plot orchestrated by Tony Ayres and Christian White.
Bad, but hooks
Let’s get to the truth: ‘Clickbait’ is bad. But it’s that kind of bad series that, for some reason it works and hooks. The story is nothing to write home about, performances between decent and good (Kazan and Gabriel are very good) and the dose of revelations with classic thriller music take you through the light footage.
Perhaps the most interesting thing is a structure changing the points of view in each episode, managing to give at least a feeling of a polyhedral prism around the mystery. An effective trick that helps a lot to move the plot and that the sea of secrets does not remain stagnant. In fact, as the episodes progress, it is more difficult to row forward.
The pity is that, no matter how addictive it is, everything stays at half throttle. The big reveals and twists don’t stop causing the commotion assumption and the issues that the scriptwriters want to deal with – that if identities, cruelty, polarization in networks, etc. – do not land, staying more in the air than it should be.
Perhaps the biggest problem is that ‘Clickbait’ is designed with the Netflix fast food formula. The ingredients are measured and established but it lacks enough soul to give it body. To, in addition to satisfying our appetite for thrillers, to nourish ourselves properly.
In short, ‘Clickbait’ is a drama designed to engulf us in its mystery. And, in that sense, it works wonders. The pity is that it has so little chicha that the final sensation is that of eight enjoyable but hollow episodes.