The Kollective

A team of young journalists band together after a tragedy to expose deep-rooted global corruption, starting with a suspicious plane crash in the DRC and winding through dangerous international intrigue.

The Kollective offers cinematic quality more fitting for feature film than TV. Its direction by Assaf Bernstein and Randa Chahoud delivers punchy visuals and tight pacing. Acting stands out: Natascha McElhone and Gregg Sulkin give grounded performances, while the ensemble's chemistry adds emotional weight. One element that falters late in the season is a slight overreliance on exposition ("show-don't-tell" would've elevated it), but the scripting remains smart and engaging.

I was drawn in by its topical themes and got emotionally invested in the journalists' mission. The stakes feel real, and the series managed to keep me on edge - though a mid-season lull briefly slowed momentum. Still, it keeps delivering fresh reveals and character nuance.

Great for viewers who enjoy political thrillers with a journalistic edge. Think Spotlight meets Homeland. If you prefer lean action or romcom style pacing, this might feel too serious or talk-heavy. Viewer discretion advised early on; this one leans on facts, not fluff.

"The Kollective" presents some intriguing storylines that capture the viewer's attention and spark curiosity. However, the series is noticeably hampered by its low budget, which is evident throughout.

The production quality leaves much to be desired, with poor filming and editing choices that detract from the overall experience. The cutting feels abrupt and disjointed, making it difficult to stay fully engaged with the narrative. Additionally, the music often sounds cheap and fails to enhance the emotional impact of the scenes.

While the potential for a compelling series is there, the execution falls short, leaving viewers wanting more in terms of production value and polish. With some improvements, "The Kollective" could truly shine.

Okay, start with a half-dozen impossibly hip jet-set euro-yuppies of no visible means of support, who have formed some 'collective' (use your imagination) in order to, um, fight fake news or something.

A boyfriend of one decides to quit his restaurant job and 'be a reporter', and careens down to deepest-darkest Africa (with thousands in cash at the ready to hand around like candy, naturally, to the locals) so he can save the world with The Truth from... what (of course) turns out to be The Russians. Our hero then is utterly blindsided by the happenstance that The Russians are way better at chasing white yuppies down in the streets of Kinshasa (the city they basically own, we're to believe), than he is at outrunning them.

Next Time On The Kollective, presumably, more of the same.

I'm not sticking around to find out. Comic book superheroes bore me, especially the left-leaning ones acting out there Wikileaks Wannabe fantasies in other people's countries where they are not particularly welcome to begin with, even when armed with The Truth....