LITTLE FIRES EVERYWHERE: The American Dream Myth Shattered

Reese Witherspoon is a great fan of literature. She does not limit herself to reading books, but also makes sure that her favorite titles are adapted for the screen. This was the case with Wild, the series Big Little Lies, or the planned Truly Madly Guilty in the coming years. Now we can also watch Little Fires Everywhere, an adaptation of the acclaimed novel by Celeste Ng, which appeared on Hulu and has for some time been available on Amazon Prime Video. Reese not only produced the eight-episode miniseries but also played one of the main roles.

The result? It is very, very good!

This production is often compared in reviews to Big Little Lies – and it is not only about Witherspoon’s involvement in both projects. The plot of both series takes place in idyllic American suburbs. Once again on the small screen, the American dream myth is shattered. As in the HBO series, women take the lead in Little Fires Everywhere. A common point is also the tragedy from which the story begins – by going back several months, we gradually discover who could be responsible for it. All the same, I believe such comparisons make little sense.

These are different stories, shown in a different style, and taking place in different times (Little Fires Everywhere neatly fits into the nostalgia of the nineties – the soundtrack even features new versions of hits from that era, such as Uninvited by Alanis Morissette or Bitch by Meredith Brooks). For me, Big Little Lies is one of the best series of recent years, if not the best, and comparing anything to it would be unfair to the other title.

The new production with Witherspoon is often placed at a disadvantage in commentary precisely because of such comparisons. It is a pity – it is unnecessary and simply unfair.

Her name is Elena. She works part-time at a newspaper, lives in a beautiful villa inherited from her parents, and with her husband – a successful lawyer – raises four children. In her life, everything runs like clockwork. A lawn trimmed to the millimeter, suits that look as if they were tailor-made, even sex is scheduled (every Wednesday and Saturday). She is the perfect housewife, a wonderful mother, a matter-of-fact journalist, a devoted friend, and finally, a socially engaged woman open to the problems of others – Elena at every opportunity mentions how she took part in the March on Washington, fighting for the abolition of racial segregation.

So when Mia, a Black single mother, wants to rent the upper floor of her old house, Elena not only lowers the rent and agrees to an open-ended lease but also offers her a job. Of course, not as a housekeeper, because that would be inappropriate, but as a house manager. It will quickly turn out that this was not a good decision. It seems that Elena and the liberated, mysterious Mia are divided by virtually everything. But are they, really?

Two families will be confronted – wealthy, perfect, and white, and poor, living spontaneously, and Black.

Although racial issues are present in the plot, they are not the most important here. More important will be each woman’s approach to motherhood. Significantly, for most of the episodes the creators do not take a position in this dispute at all. Mia and Elena have chosen different paths, but they act equally badly.

They are proud and convinced of the superiority of one over the other, boast, believe they would be a better parent to the rival’s daughter, and forget about their own children in the process.

In truth, they are thinking mainly about themselves. In flashbacks we get to know them better, understand them, and it seems that in the very ending one of these attitudes receives more empathy on screen. I must honestly admit that for me this was one of the weaker elements of the series, something completely unnecessary, but fortunately it was not presented as a knockout blow, rather gently.

Overall, the finale, changed from the literary original, could have been better. Too much drama and symbolism crept in. The explosion of emotions smoldering for so long could have come a bit sooner – the tension was paced perfectly, but when it was time to push, someone lacked the courage.

Ultimately, what happens in the last episode feels somewhat artificial and rushed. These difficult, complex themes could have resonated more strongly.

Still, the local dispute in which the main heroines take opposing sides of the barricade is shown flawlessly – this thread will make you think and is sure to spark plenty of discussion. There is no division into good and evil, black and white. Everything plays out in the gray area, the most interesting for the viewer.

What it is exactly about, however, I will not reveal.

There are a few missteps here; Little Fires Everywhere falls a bit short of perfection, but it is still a very good series. The first two episodes may suggest a simple drama about a conflict between two different women – but do not be deceived. What happens later is much more complex. Despite tackling a considerable number of threads, the whole is kept in a consistent, engaging style. Here, even the side plots serve a purpose.

These eight hour-long episodes are used to the fullest. And the acting! Witherspoon shows a completely different side than in Big Little Lies, and it suits her very well. There was a time when I thought this actress could no longer surprise us, but the last few years for her have been nothing but excellent roles, especially on the small screen. Her co-star Kerry Washington also receives very good reviews, although in my opinion the character of Mia could have been more nuanced. There is too much of the offended, haughty look. Nevertheless, nominations for major awards for both women were no surprise.