A project like The Madness ought to be a significant milestone for Colman Domingo, an actor whose recent career trajectory has placed him among Hollywood’s most compelling talents. With notable roles in Euphoria, Zola, and If Beale Street Could Talk, along with an Oscar nomination for Rustin, Domingo has proven himself capable of depth and range. Netflix’s The Madness, a new limited thriller series, should serve to solidify his standing as a leading man. Unfortunately, despite his best efforts, the show itself falls short, marred by inconsistent pacing, underdeveloped characters, and an overall lack of cohesion.

Domingo stars as Muncie Daniels, a CNN commentator whose secluded getaway in the Poconos turns into a nightmare when he discovers his next-door neighbor gruesomely murdered. The neighbor, a notorious white nationalist, sets off a chain of events that quickly spirals out of Muncie’s control. Despite reporting the crime, Muncie finds himself targeted as a prime suspect, with his political background and ties to the Black Lives Matter movement used against him by both the media and law enforcement.

The concept is ripe with potential, and Domingo brings a frenetic energy to the role of Muncie—a man on the run, caught between proving his innocence and confronting the ghosts of his past. Muncie’s journey from an activist to a media personality adds depth to his character, but the show struggles to flesh out these elements meaningfully. A brief flashback or an offhand comment here and there hint at Muncie’s history, but The Madness rarely digs deep enough to provide clarity or substance. The lack of focus on Muncie’s motivations leaves the audience without a real understanding of what drives him, undermining any emotional resonance the show attempts to create.

Written by Stephen Belber and directed largely by Clément Virgo, The Madness has moments of promise that are ultimately overshadowed by a haphazard narrative structure. The plot shifts gears frequently, introducing one set of villains after another—first neo-Nazis, then antifa militants, then corporate enforcers—without giving the audience time to understand or fear any of them. The series’ frenetic attempts to maintain suspense instead create a sense of narrative whiplash, with each new antagonist feeling more like a placeholder than a genuine threat.

The show’s attempts to make social commentary similarly fall flat. Pitting a Black liberal commentator against a series of radical factions could have been a powerful exploration of race, media, and justice in contemporary America. However, the script never takes the time to fully explore these themes. Instead, it falls back on clichés and half-baked attempts at political relevance, leaving the audience unsure of what The Madness is ultimately trying to say. A subplot involving Muncie’s estranged daughter, played by Gabrielle Graham, and his radical father’s former comrades adds emotional stakes but is introduced too late to have a real impact on the story.

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Despite its flaws, there are moments when The Madness flirts with something more compelling. Colman Domingo’s portrayal of Muncie as a man cornered, his paranoia giving way to desperate courage, is a highlight. Domingo manages to convey the vulnerability beneath Muncie’s bravado, turning what could have been a one-dimensional character into someone worth rooting for. There are also some moments of dark, campy humor that shine through the hyperactive plotting, such as when Muncie convinces his estranged wife, played by Marsha Stephanie Blake, to help him investigate a swingers bar rumored to be connected to the case. It’s absurd, but in a way that works, offering a glimpse of the fun the series could have had if it leaned more fully into its pulpy elements.

The supporting cast is similarly underutilized. John Ortiz as a sympathetic FBI agent who reluctantly teams up with Muncie brings warmth and humanity to the show, but his character is never given much depth. Stephen McKinley Henderson, Bradley Whitford, and Alison Wright all make appearances, their talent evident even in limited roles, but the script gives them little to do beyond serving as plot devices.

The Madness is, at times, entertaining in its ridiculousness. The chase scenes, confrontations, and elaborate conspiracies are occasionally thrilling, but the lack of consistent tone and focus makes it difficult for the show to truly succeed. It’s as if the series can’t decide whether it wants to be a serious thriller or a campy potboiler, and in trying to be both, it ends up being neither. The result is a show that feels stretched thin—trying to fill eight episodes with material better suited for a two-hour film.

In the end, The Madness is more of a curiosity than a must-watch. Colman Domingo’s presence elevates the series, but even he can’t fully salvage it. The show’s disjointed narrative and inconsistent attempts at social commentary prevent it from making a meaningful impact. For fans of Domingo, it’s worth watching to see him in a leading role, but don’t expect the series to be one of his defining works.

Rating: ★★½

Watch the trailer for the madness below: