Drama Review: The Consultant
- Very Average Joe
- Nov 15
- 5 min read
Title: The Consultant
Director(s): Matt Shakman, Dan Attias & others
Screenwriter(s): Tony Basgallop
Studio: Toluca Pictures, 1.21 Pictures, Dolphin Black Productions, MGM Television
Released: 2023
Runtime: 8 episodes, ~30m each.
Starring: Christoph Waltz, Nat Wolff, Brittany O’Grady, Aimee Carrero
Based on the horror novel of the same name by Bentley Little, the plot follows the employees of CompWare, a mobile games production company, as they deal with a consultant who takes over the company. I have read the novel so this review will make comparisons, but I will avoid major spoilers.
As with most screen adaptations, the plot, characters and themes are simplified and condensed. This can be done with good effect—for example, to yield a more focused story—but is often not. Sadly, this series is more of the latter.
The series opens with CompWare CEO Sang being murdered. The titular consultant, Regus Patoff (Christoph Waltz), then comes to the rescue. The main viewpoint characters are Craig (Nat Wolff), a programmer, and Elaine (Brittany O’Grady), one of Sang’s PAs, as they deal with the mysterious Patoff.
The opening and setting are quite different from the original work. In the novel, CompWare produces different types of software, including games. In the midst of a crisis, the two bosses obtain the services of Patoff, based on the recommendation of others, to restore confidence in the market. Patoff then does what a consultant does: he studies and watches closely all the employees and then implements destructive changes under the guise of streamlining.
The series starting with the murder of a CEO is obviously aiming to be dramatic. This change is arguably neither here or there but without a boss, Patoff’s entry seems too random and mysterious. The series then tries to provide some background to Patoff’s character which the novel does not do much of. Some of these details are not bad ideas in themselves but too much is revealed too quickly, taking away some of the mystique.
In other words, the novel introduces Patoff realistically but maintains the character’s mystery for the sake of horror and comedy, whereas the series flips that, which doesn’t work.
In the novel, Craig is the main viewpoint character. He is older and is basically a middle manager. Elaine is a minor character in a similar position. Craig has a close friend who is not featured in the series at all. Craig has a wife, Patti, and a young son. Unlike many managers, Craig is mature, decent and capable, so there is a chance he can do something. The fact that Craig and his fellow managers can’t do much makes Patoff all the more threatening.
In this series, however, Craig and Elaine are younger and seem to be almost nobodies. This may appeal to a younger audience but then there is almost no platform for these characters to work off of.
Elaine taking the place of Craig’s workplace buddy and her being a PA (or something like it), and therefore continuing to have access to the boss, are good ideas. There is the opportunity for her to observe and interact with Patoff and her character has more agency than the characters in the novel, which O’Grady does well with. Elaine’s character development also goes in an interesting direction, even if it is typical of horror novels.
Craig, however, just comes across as an immature, borderline useless jerk who panics too easily. Whilst that is arguably the point, it is difficult to sympathize with him. If one is to resort to the low-level “stoner nerd”, then make him a cool and funny one. If the intent is to be mildly annoying, then Wolff does well at that.
Patti (Aimee Carrero), who is Craig’s fiancée, is later more directly involved than in the novel. Although formulaic, it is more focused for such a series. Surprisingly, the plot touches on religion which is not done in the novel. Patti is catholic and wishes Craig to convert so they can marry.
Of course, as is typical today, there is no question of her receiving Holy Communion whilst living with someone she is not married to. Setting that aside, Craig, for just a moment, considers the faith due to the threat of Patoff, even querying the priest about demonic possession and exorcisms. However, this line of thinking is merely superficial and is not explored.
Whilst the abovementioned seem to be minor changes in themselves, when taken together, they change the setup enough such that the mystery does not work as well. But that is not even the main problem, which is the entire lack of corporate and office satire and black comedy.
In the novel, there is constant activity from Patoff. Even if the narrative does not directly show him doing it, one can see the implementation and/or the results. There is the barrage of ridiculous emails (everything from policy changes to the seemingly random), invasive interviews, pointless meetings, increasing surveillance, changes to the building, and people being fired or disappearing. This is where the horror and comedy are.
There is almost none of this in the series and the little that is shown comes too late. Granted, some of Little’s material cannot be shown on screen but a lot can. Sure, Patoff makes a few phone calls at odd times and he never seems to leave the office but there is not much more than that. The audience is shown one round of firing and told of another in dialogue.
To put it differently, the series is too reliant on Waltz looking like a menace rather than actually being a substantial threat. He is probably one of the few who can pull off the character even if the Patoff in the novel is arguably younger than Waltz, so the opportunity is wasted.
Also, as is common in contemporary horror, the villain comes across as omniscient and very competent, which Patoff is. In this series, there is merely a hint of either. It even shows him working and having difficulty trying to solve budgetary issues. He is meant to be ruthlessly efficient.
Visually, it is nicely shot and edited. It is clear that by making CompWare a gaming company, one has the excuse for modern and sleek interior design. It arguably need not to as it can have that look with just about any type of company. However, the open-plan office and merely two floors (excluding the basement) take away the vertical divide and the mystery of the higher floors, which is obviously part of the themes.
In any case, the show looks good and Waltz is worth watching, but it is a wasted opportunity. I would like to assume the writer has read the novel but I wonder if he understands or appreciates the satire and comedy that are central to the work.
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