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As far as crowd-pleasing pitches go, two Paul Rudds for the price of one is a pretty good sell. The beloved comedic actor turned MCU superstar is a perennial fav and doubling down on his charms is a good deal for everyone — except, as it turns out in Living with Yourself, himself. Rudd headlines the new Netflix comedy as Miles Elliott, a burnt-out and embittered suburban everyman who visits a mysterious cutting edge spa with the promise of coming out a better version of himself and winds up with an impossibly perfect clone that he can’t stand instead.
Created by Timothy Greenberg (The Daily Show) and directed by Little Miss Sunshine duo Jonathan Dayton and Valerie Faris, Living with Yourself launches a clever high-concept idea for a series, elevated by the double helping of Rudd’s reliable on-screen charisma, and with an eight-episode, half-hour runtime, the series looks to tap into the same hyper binge-able genre-hybrid format that worked so well for Santa Clarita Diet, Russian Doll, and Dead Like Me. However, while that rapid-fire delivery of twists and cliffhangers ensures Living with Yourself is a quick, easy watch, the series never quite feels at home in the format — delivering a narrative that would have benefited from either the focus of a feature-length runtime or a more traditional episodic format to dig deeper into the darkness its so keen to explore.
Boy - Yourself - Tone - Half - Series
And boy, Living with Yourself does get dark. It all kicks off with a great cold open that establishes a bleak comedic tone from the get-go, but it’s not until the second half that the series fully unveils the undercurrent of pitch-black comedy beneath Rudd’s trademark charm. By comparison, the first half is breezy and bustling, introducing the key players in Miles’ life — his wife Kate (Aisling Bea, the...
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