Let’s talk about fire. Not the cozy, marshmallow-toasting kind—but the unpredictable, feral kind that seduces, destroys, and leaves behind ashes of what once was. That’s the metaphorical fire at the heart of Apple TV’s “Smoke,” a limited series that starts as a slow burn thriller and builds toward what should’ve been a searing climax. But somewhere along the way—around episode six or seven—the sparks begin to misfire, the structure starts wobbling, and by the penultimate episode, it all just… combusts.
Adapted loosely from the hit true crime podcast Firebug, “Smoke” has a solid premise, an A-list cast, and the pedigree of Dennis Lehane—yes, the man behind noir thrillers like Mystic River and Gone Baby Gone. On paper, this series had every reason to succeed. For the first half, it genuinely does. There’s tension. Atmosphere. A mystery that toys with morality and trauma. But then the show takes a detour so jarring, it’s like a thriller was hijacked by a soap opera with a pyromania kink.
Still, it’s not all embers and disappointment. There’s a lot to admire in “Smoke”—and some reasons it may still be worth a weekend binge.
Meet Dave Gudsen: The Arson Whisperer
The show kicks off with a bang—literally—when we’re introduced to Dave Gudsen, a highly respected arson investigator played by the ever-intense Taron Egerton. Gudsen is the kind of guy who romanticizes fire. He lectures about it like a poet might talk about love or grief—there’s almost something sacred in his fascination. That’s what makes him uniquely suited to hunt the city’s rising threat: a pair of serial arsonists setting fires in public places.
We’re not talking subtle campfires here. One arsonist is lighting up grocery stores by torching potato chip bags (fun fact: they’re more flammable than you’d think). The result? Chaos. Fear. One scene involving a woman trying to escape a burning store, her skin literally melting, is so visceral it sticks with you.
But Gudsen isn’t your standard white-hat hero. There’s a streak of darkness in him, a suspicion that he understands fire because something inside him burns the same way. It’s the classic cat-and-mouse setup—but the line between hunter and hunted gets blurry fast.
Enter Detective Calderon: Trauma Meets Flame
To balance Gudsen’s energy, we get Detective Michell Calderon, played by the ever-commanding Jurnee Smollett. Calderon is no rookie. She’s got scars—literal and emotional—thanks to a horrific childhood incident where her mother set a building ablaze while young Michell was still inside.
You can imagine how that experience would shape a person. It’s not just about justice for Calderon; it’s personal. She’s walked through fire and survived. That makes her perfect for this assignment—but also dangerously close to breaking.
Smollett brings grit and gravitas to the role, and her chemistry with Egerton is surprisingly electric. Their dynamic—two people forged by trauma, trying not to let the darkness consume them—keeps the show grounded even when the plot begins to waver.
Freddy Fasano: The Ghost in the Flames
While Gudsen and Calderon work one end of the case, “Smoke” takes us into the world of Freddy Fasano (Ntare Guma Mbaho Mwine), a quiet, unassuming man whose presence is so faint he might as well be invisible. Freddy isn’t your typical TV villain. He’s not flashy. He’s not ranting into the void. He’s just… empty. And that’s what makes him terrifying.
We spend a good chunk of the early episodes watching Freddy try to rejoin the human race. He forms a delicate connection with a kind-hearted hairdresser named Brenda (played beautifully by Adina Porter), and for a while, it seems like he might actually claw his way back from the brink. But this isn’t a redemption story. It’s a tragedy. When Freddy reaches out for life again, the result is catastrophic.
Mwine is phenomenal here, turning Freddy into a study of silent pain. He doesn’t feel like a character—he feels like a shadow you pass by in the street, the kind you forget until it’s too late.
Two Killers, One Theme
What’s so smart about the show—at least early on—is how it contrasts its two villains. One is a loud, showy firebug setting infernos in public places. The other is quiet, almost pitiful, hurting people in the margins. Lehane is trying to say something here: not all monsters look the same. Sociopathy wears many faces. Sometimes it roars. Sometimes it whispers.
And for a while, “Smoke” juggles this dual narrative well. Gudsen and Calderon circle one arsonist while we watch Freddy unravel in another thread. There’s a tension in wondering how the two stories will connect. But then… they don’t. Or at least not in any way that satisfies.
When the Wheels Start to Fall Off
Midway through the series, things start to feel shaky. You know that sensation on a rollercoaster when you hear a noise that wasn’t there before? That’s what episode six feels like. Something’s off. By episode seven, the characters start acting out of line with everything we’ve learned about them. And by episode eight—the penultimate episode—it’s like the writers took a flamethrower to their own script.
Without getting into spoilers, let’s just say Freddy’s arc ends in a way that feels unearned and rushed. Meanwhile, the show pivots hard toward its more “mainstream” villain, and the story turns cartoonish. The themes about trauma, justice, and identity get dropped in favor of twist after twist—some of which completely betray what we know about key characters.
The most egregious victim of this mess? Calderon. After spending seven episodes building her into a complex, haunted but resilient figure, the show throws her under the bus for the sake of shock value. Her choices make no sense. It’s the narrative equivalent of watching a top-tier athlete fumble the ball on the one-yard line, again and again.
It’s not just disappointing—it’s frustrating.
The Performances Are on Fire (In a Good Way)
Here’s the silver lining, though: the cast is doing everything they can to salvage the back half. Egerton remains captivating, making Gudsen feel like a man dancing on the edge of a blade. Smollett is compelling even when the script lets her down. And in a delightful surprise, John Leguizamo shows up as Gudsen’s disgraced former partner, a guy with zero filters and even fewer morals. He’s funny, cynical, and magnetic—honestly, the show could’ve used way more of him.
Greg Kinnear adds weight as the department boss, reminding us why he’s one of the best “authority figure with baggage” actors in the game. And Porter’s brief but emotionally charged performance as Brenda is a quiet standout.
The show’s visual style helps, too. It’s moody without being muddy, stylish without being distracting. There’s a polish here that many streaming thrillers lack, thanks to strong direction and some stellar cinematography.
The Big Burnout
Here’s the thing: “Smoke” isn’t a bad show. In fact, for about 70% of its runtime, it’s great. Smart. Suspenseful. Character-driven. But the final act makes choices that feel antithetical to everything that came before it. It’s like watching a chef prep an elegant five-course meal, only to dump ketchup on the dessert because they panicked at the last second.
The theme “anyone is one bad choice away from villainy” is a fascinating one—but it only works if the groundwork is there. “Smoke” doesn’t earn that conclusion. It tells us something profound, but it doesn’t show us. And when a show this well-acted and well-produced collapses in on itself, it stings even more.
So… Should You Watch It?
That depends. If you’re a fan of slow-burn thrillers, morally murky characters, and stories about trauma and obsession, the first few episodes are genuinely compelling. And if you’re here for the performances—especially Egerton, Smollett, and Leguizamo—you won’t be disappointed.
But go in knowing the ending might not land the way you want it to. “Smoke” starts as an introspective look at how fire—literal and emotional—can shape people. By the end, it’s just throwing sparks everywhere with little concern for what catches flame.
There’s beauty in the blaze. But here, sadly, the fire burns too bright and too fast.
Final Verdict:
“Smoke” is one of those shows that’ll have you saying, “This could’ve been incredible.” It’s still worth your time—but maybe lower the bar just a bit before you light the match.
