Then there is Nazan (Niousha Noor), an FBI agent. Roger is so full of himself that he is unable to look down and see the real rat (Hannah, played by Tati Gabrielle). He knows how much power he wields, and he flaunts his influence through his mannerisms - Be it his confident walk or (mostly) calm face. And that's one of the reasons why Kaleidoscope worked so well for me: I never knew what would happen in the next episode or sometimes even the next scene.Īs Roger, Sewell walks around with pride. I simply didn't expect that to be the reason for the spite between Leo and Roger. The explanation is not mind-blowing or anything. I made my share of guesses but was unable to pin down the exact cause. Kaleidoscope also toys with your expectations regarding the source of bitterness between Leo and Roger. One can find pleasure in small twists, like that scene in the third episode where Roger (Rufus Sewell) finds Leo (Giancarlo Esposito) breaking a safe in a house. That whole sequence is charged with amusement and energy. ![]() In another one, a shotgun is fired just when a man is about to kick a door down. It's there in the action scenes like the "Diamond Way" one that is shot with zeal. This is a very good show that amazes you just when you think it has nothing up its sleeves. I went in with zero expectations and came out genuinely surprised. But don't worry, you won't be disappointed if you decide to watch Kaleidoscope on Netflix. Given that most of the Netflix shows are trite, it makes sense that a new trick is being used to highlight this new series. The "USP" is a marketing strategy to lure subscribers into watching the series. I watched Kaleidoscope in a sequence (1, 2, 3, etc.), and I think that's the best way to see it. Then there is one episode that deals with finding flaws in the security system. The second one is about forming the team for the heist and situating a character at a convenient position on the inside. For instance, the first episode is about a prison break. Using this structure, Kaleidoscope tells a complete mini story in each episode while remaining focussed on the main event. How is that possible? Well, every episode takes place before or after a heist (except for the last episode, as it's set during the heist). You can start from episode 5, then go to episode 2, then episode 4, and so on. It means the viewers don't necessarily have to go sequentially (first episode 1, then 2, then 3, and so on). Thanks for signing up to the InReview newsletter.The USP of the new Netflix limited series, Kaleidoscope, is that you can watch its episodes in any order and still understand the whole story. Get InReview in your inbox – free each Saturday. Panels of transparent blue, yellow and red are the only landmarks to orient, along with a rotating prism in (what we think is) the maze’s centre, elements that presumably come to life at night. We visit the open-air structure in broad daylight and are left wanting for more – the night-time viewings have the added benefit of a light show. The haunting soundtrack heightens the feeling of otherworldly disorientation. Somehow, peace and anxiety co-exist in Kaleidoscope – the quandary of the maze gives the experience an uneasy edge, but the seemingly endlessness-of-space freeing.Ĭourtney collaborated with visual artists Ash Keating and Samantha Slicer on the project, along with composer Tamil Rogeon and the National Boys Choir of Australia. Mirrors, glass and steel are set in triangular formations to create reflections stretching to infinity. When the concern for our safety subsides, each step brings with it an interesting new perspective. ![]() Stepping through the door of Kaleidoscope, our pace slows and there’s an overwhelming urge to walk with our hands in front of us. ![]() Fringe-goers can immerse themselves in 'Kaleidoscope' in the Garden of Unearthly Delights.Īrtist Keith Courtney brought House of Mirrors and 1000 Doors to the Garden of Unearthly Delights in previous years, and this time around he’s taken inspiration from the interplay of colour and mirrors for Kaleidoscope, 700 square metres of mirrored corridors just beyond the Garden’s entrance.
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