Bait is for fans of irreverent comedies dealing with heavy topics with wit and absurdism. Riz Ahmed is both the showrunner and lead actor in this limited six-episode series about one man’s chance at fame and fortune, if only he could break free from his self-sabotage. Shah Latif (Riz Ahmed), a struggling Pakistani actor in London, is introduced in the first scene as he auditions for the coveted role of James Bond. His test scene doesn’t go as well as he hopes, and he barrages himself with negative comments in the dressing room, unaware that his mic is still hot. We quickly learn that Shah is willing to do whatever it takes to launch his career when he purposefully steps into the eyeline of the paparazzo camping outside the building despite being told to keep out of sight. Soon, rumors about Shah Latif possibly becoming the next Bond begin spreading like wildfire, triggering a chaotic whirlwind of events.
Watching Shah interact with his Pakistani family is hilarious and likely all too relatable for those who have experienced the oftentimes contradictory style of immigrant parenting. Shah’s parents support his goals, but also can’t help comparing him to his more traditionally successful cousin. Despite the barbs and chastising from time to time, they are fiercely loyal and proud of his achievements. (Shah’s mother mentions how she has his name set up on Google Alerts.) With Shah’s name spilling into mainstream tabloids, he and his family become the victims of vitriol from racists and Islamophobes. The most appalling symbolism of hate arrives in the form of a pig’s head crashing through their front window, a moment when Shah begins to realize the consequences of chasing fame as a person of color.
The significance of Shah’s family dynamics shows up most prominently in Episode 3 “Home,” which takes place during the family’s celebration of Eid. This episode alludes to mental health issues that run in the family, giving more background to Shah’s messy and spiraling psychological state, and it culminates in his explosive mental breakdown at the end of that night. At this point, Shah is clearly unwell, continuously making choices to try and smooth his reputation over with the public while almost certainly doing the opposite. He has been having conversations with the pig head, amusingly voiced by Sir Patrick Stewart, which he has been keeping in the basement freezer. “Pigtrick Stewart” is a comical manifestation of Shah’s inner demons that dramatically escalates his manic delusions. While Bait touches upon the cultural taboos of mental health in the Pakistani community, the show leans too heavily into humor in its treatment of the topic and falters in providing closure for Shah’s experiences with mental illness, and he is seemingly able to suddenly overcome his issues with no hint of anything resembling psychiatric treatment.
It’s hard to tell how seriously the show wants to take itself at times, keeping the audience on their toes. The tone in Episode 4 “Loyalty” where Shah spends a night reconciling with his ex Yasmin feels much more sentimental compared to most of the other purposes. Cinematography-wise, this episode stands out for its use of several long one-takes that make you feel as if you are moving through the city with the couple, as well as a delightfully executed transition using a mirror reflection. Contrast this to almost the entirety of Episode 5, a hectic fever dream of an episode where Shah becomes convinced he is part of a conspiracy involving MI5. Additionally, the difference in pacing and tone across episodes makes the show feel less cohesive, possibly attributed to having separate directors for the first three episodes versus the last three episodes.
Despite the imbalanced levity, there’s still much to appreciate in regards to the creative storytelling Bait accomplishes in just a few episodes. The overly-confident yet bumbling main character who makes the worst choices possible in every situation has been a popular archetype recently (as depicted in many a Safdie film), but Bait offers a fresh perspective by focusing its story on a person of color who must face consequences true to real life. The Pakistani culture and community in London is highlighted throughout the series, and each character’s personality shines through individually and not just as a collective minority group.
In terms of the acting, Riz Ahmed is spectacular in his role, and you see his versatility in how he embodies the high-strung character of Shah Latif versus the cool, confident alter ego of Shah’s “James Bond” character. Like Clark Kent transforming into Superman, Ahmed can shift his entire identity with calculated changes to his posture, mannerisms, and voice. All in all, Bait is an entertaining watch that will incite strong nods in agreement, moments of questioning reality, as well as raucous laughter. Bait shows that we need more producers like Riz Ahmed who are willing to buck the norm.
