Stepping back into the spotlight, we find the much-beloved Kiefer Sutherland gracing the new Paramount+ spy thriller series, “Rabbit Hole.” I recently indulged in the first two episodes of the premiere.
Having been birthed from the creative minds of Glenn Ficarra and John Requa, a duo renowned for their contributions to the comedic and animated realms, my curiosity was piqued. My skepticism was soon replaced with intrigue, however. The series thrives without becoming over-reliant on action scenes. The pacing is rhythmic, and it adheres to the quintessential television series formula with plot twists at the end of each episode serving as effective cliffhangers.
Approaching his sixth decade, Sutherland might not be able to continue the relentless pace set by his “24” days, yet he continues to captivate. The supporting cast holds its own, and the production carries an air of British refinement that is a rather refreshing change for a CBS production. Set in New York, the townscapes suggest the series was filmed in Canada.
The showrunner’s affiliation with “This is Us” introduces us to the talents of Indian-American composer Siddhartha Khosla. Khosla’s recent work on “Only Murder in the Building” demonstrated a deft musical versatility. In “Rabbit Hole,” he presents us with a new approach, unapologetically bringing forth deep bass notes and a stylish, pulsating synth theme that feels perfectly fitting for a spy thriller. Khosla’s command of the orchestra is showcased in the classical noir-ish woodwind-focused orchestration at the end of the first episode. The overall sound design, crisp rather than wet, further enhances the auditory experience. The series scores high on the “wow factor” and is a commendable piece of work.