![]() ![]() There’s a modern trend of chronological playfulness that TV writers have been led to believe enhances a project like “The Serpent,” but nothing drains tension in a project like this one more than lacking sheer narrative cohesion. Midway through the third episode, I did some research to learn more about Sobhraj’s killing spree, and it’s never a good sign to feel like you have to do reading to understand what a show is simply failing to give you on a practical level. Just as the directors of an episode seem to build momentum, the plot shifts and jumps back in time to offer more background or recreate the last days of one of his victims. ![]() Part of the reason for that is the infuriating structure, one that not only jumps between Knippenberg and Sobhraj with alarming inconsistency but bounces around in time in such a way that it’s hard to find dramatic or thematic footing in any given episode.
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