A triumph of storytelling If you can make it through the first episode of The Underground Railroad, you’re in for the most special of treats. But be warned, and I cannot say this any more emphatically, the first 45 minutes are going to be some of the hardest minutes you’ve ever watched. I don’t think I have a measure for the level of cruelty and violence except to say that I had to look away multiple times. Sure, I’ll do the whole peeking through my fingers bit when watching things that are uncomfortable, but this was something entirely different. I simply did not want to have to try and unsee. You’d be forgiven in advance if you skipped from 35:00 to 43:00 and pretended like those 8 minutes never happened. Once you’re passed that, The Underground Railroad is an unquestioned masterpieces in every regard. Direction, screenplay, acting, cinematography, costumes, set design, score, soundtrack, editing, hair and makeup...every single aspect of the film making process is absolutely top tier. In a year where the best limited series already includes the likes of I May Destroy You, Small Axe, Queen’s Gambit, It’s A Sin, Mare of Easttown and The Good Lord Bird, it seems almost unfair to drop this in just ahead of the deadline. What is The Underground Railroad? That’s not easy to answer. As best as I can tell, the first three episodes are a literal alternate version of pre-Civil War America where the underground railroad has a literal steam train running on tracks through underground tunnels. What’s miraculous is that it’s not even weird. It just is. States that had population control measures and breeding programs have been swapped out with full-fledged eugenics and sterilization projects so that only the “best stock” carry on their blood lines. And states that made it illegal to be a runaway slave have instead fully implemented laws that make it illegal to be black and that all black folks, regardless of status are neither allowed nor tolerated. It wasn’t until mid-way through the third episode that the literal interpretation became apparent. Everything up to that point was awfully confusing since it was hard to tell between what was real and what was a metaphor. But like one of those hidden 3D image posters, once you see the trick that there are no metaphors, what you see is a remarkable picture. From episode 4 onward, Barry Jenkins takes us on a master class of more traditional storytelling. For as much as the first episode was too much, Jenkins pacing is magnificent. Alternating between hitting the gas, coasting or slowing things right down. He plays with all emotions. Anger, sadness, joy, rage, jubilation are felt in abundance, but never long enough to get bogged down. He also know when to hit heavy and for how long. He also knows when to give us a break. There are a couple of shorter episodes, perfectly placed and time to give us a chance to breath before plunging into the next act. As brilliantly as he crafts this story, it does hurt that he’s got some pretty amazing tools at his disposal. First and foremost, remember the name Thuso Mbedu. A South African actor (who best as I can tell) is making her North American debut is simply a tour de force. She’s a powerhouse, she’s magnetic and she can chew scenery without saying a word. It is a truly remarkable performance. Incredibly holding his own is 11 year old Chase Dillon earning himself a spot on the list of great child actor performances of all time. And then there’s Joel Edgerton as Ridgeway, arguably the worst villain I’ve ever seen. He makes Aunt Lydia look kinda tame. So horrifically effective is he that I’m going to have trouble seeing Edgerton the same way again. And there are no shortage of supporting actors, but among the most notable, Aaron Pierre, Megan Boone, Damon Herrimon, Lily Rabe and William Jackson Harper. I don’t have the vocabulary to articulate why Them is trash that exploits historic black trauma for its own ends and The Underground Railroad is a stunningly beautiful piece of tragic art that revolves around the same black trauma. But trust me when I say that despite both being on Prime and about fictionalized versions of history, these shows are NOT the same. While I would discourage EVERYBODY from watching them, I will encourage EVERYBODY to watch this. The ONLY reason this doesn’t get an A+ from me are due to those 8 minutes in the first episode. I know what Jenkins was going for and I appreciate the intent, but it was simply too much. Don’t be surprised if come Emmy time, The Underground Railroad sweeps every category for limited series.