If you had asked me a couple of years back which import of American network television I imagined being used as a template for multiple adaptations and remakes, the Ann Bidermann-created seven-season Showtime drama “Ray Donovan” wouldn’t have been anywhere near the vicinity of that imagination. That could be accounted for by the show’s general mediocrity of quality, which coasted primarily on the performances of the central cast and a killer premise that can generate storylines for multiple seasons, but not necessarily compelling ones.
If examined further, the central issue of the source, which is also being extended to its official remake, “Rana Naidu,” is in its evocation of “The Sopranos” ethos—the professional world against the personal dilemma. “Ray Donovan,” and to that end Rana Naidu’s first season’s misstep, is in its expectation that its personal subplots are similar or more compelling than the central plot thread,...
If examined further, the central issue of the source, which is also being extended to its official remake, “Rana Naidu,” is in its evocation of “The Sopranos” ethos—the professional world against the personal dilemma. “Ray Donovan,” and to that end Rana Naidu’s first season’s misstep, is in its expectation that its personal subplots are similar or more compelling than the central plot thread,...
- 6/14/2025
- by Amartya Acharya
- High on Films
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