There is a distinct, often precarious divide in the current television landscape: the shows that create stars and the shows created by them. The first category consists of the lightning-in-a-bottle ensemble hits—believe Bridgerton or Euphoria—and the singular, creator-driven projects like Fleabag or Baby Reindeer that transform a writer into a high-value industry asset. For Dan Levy, that catalyst was Schitt’s Creek, the grassroots Canadian success story that evolved from a CBC debut in 2015 into a global phenomenon via Netflix.
The second category is where the “difficult second project” resides. These are the lucrative streaming deals handed to freshly minted stars, where the financial stakes often outweigh the creative cohesion. We have seen this pattern before; reports suggest Amazon paid Fleabag creator Phoebe Waller-Bridge a deal worth $100 million, yet a blockbuster of similar magnitude has remained elusive. Netflix has had slightly more varied results with Levy, whose 2023 indie film Good Grief offered a melancholic departure from the rambunctious energy that made him a household name.
Now comes Big Mistakes, a new venture that feels like the project Netflix was actually hoping for when they signed Levy to an eight-figure contract. A Big Mistakes review reveals a show that, while occasionally stumbling over its own plot, proves that Dan Levy still excels in the art of the cringe comedy. Co-created with Rachel Sennott—though she does not appear on screen—the series leans heavily into the specific, agonizing friction of family dynamics, which remains Levy’s greatest strength.
A Comedy of Errors and Organized Crime
The premise of Big Mistakes centers on Nicky (Levy), a high-strung pastor attempting to navigate the dual pressures of his congregation and a family that refuses to let him breathe. Adding to the tension is a secret: Nicky is keeping his boyfriend hidden from both his flock and his relatives. This internal conflict is externalized through his relationship with his sister, Morgan (Taylor Ortega), a school teacher whose appetite for chaos serves as the perfect foil to Nicky’s repression.
The plot ignites when Nicky and Morgan attempt to fulfill a request from their emotionally volatile mother (played by Laurie Metcalf), who demands a fake diamond necklace for her dying “nonna.” In a stroke of narrative convenience, they find a necklace in a gift shop that the cashier refuses to sell. The reason is as absurd as the situation: the necklace is actually real. Morgan steals the piece, inadvertently dragging her brother into a collision course with a criminal syndicate tasked with guarding the jewelry.
The Tension Between Plot and Performance
Where Big Mistakes falters is in its commitment to the “crime” half of its identity. The concept of ordinary, anxious civilians stumbling into the underworld is a well-worn trope, previously mastered by series like Fargo, Ozark and Only Murders in the Building. In Levy’s hands, however, the criminal element feels generic. The antagonists are more tedious than terrifying, and the plot developments often feel clunky, existing solely to keep the protagonists in a state of peril without providing a satisfying internal logic.
The series concludes its first outing with a blindsiding twist designed to set up a second season. While it provides a momentary jolt of excitement, the thrill is short-lived once the viewer realizes the twist contradicts the established logic of the story. The “crime caper” is, essentially, a thin veil for what the show actually wants to be: a study in familial dysfunction.
The Mastery of Domestic Cringe
Despite the shaky plotting, the chemistry between the lead actors is electric. Levy captures the specific psychological regression that occurs when adults return to their childhood homes—the immediate return to petulant squabbling, the reliance on parent-based in-jokes, and the freedom to be brutally honest with a sibling in a way that would be socially catastrophic anywhere else.
The supporting cast elevates the material significantly:
- Laurie Metcalf: As the overbearing mother amidst a disastrous mayoral campaign, Metcalf oscillates masterfully between a position of steely authority and a state of “papery fragility.”
- Taylor Ortega: Playing Morgan, Ortega provides a hilarious, acid-tongued counterpoint to Nicky’s rigidity, bolstered by a distinct “gothic boho chic” aesthetic.
- The Sibling Dynamic: The relationship between Nicky, Morgan, and their “goody-two-shoes” sister Natalie is drawn with a precision that makes the domestic drama far more compelling than the gangland plot.
The production design further supports this tone. The jerky camerawork and abrasive score mirror the high-voltage stress of the household, making the familial conflict feel visceral and authentic. Levy’s own styling—described as an “Instagram-friendly Seinfeld”—adds a layer of visual comedy that fits the modern, neurotic energy of the show.
The Verdict on the ‘Star-Made’ Series
Big Mistakes is not a flawless triumph, but it is far from a failure. It succeeds because it recognizes that Dan Levy’s greatest talent isn’t necessarily in crafting airtight plots, but in orchestrating the complex, boundary-decimating rhythms of a bickering family. The “cringe” here is not just for laughs; it is a recognizable, human experience of obligation and resentment.
The show serves as a reminder of the inherent risk in the current “star-deal” era of television. While a risk-averse industry prefers the safety of a known brand, the most impactful shows are often those born of necessity and grassroots passion rather than eight-figure contracts. Big Mistakes manages to bridge that gap by leaning into the authentic human connections that made Schitt’s Creek a success, even if the overarching plot remains a bit of a muddle.
With the first season ending on a cliffhanger, the next checkpoint for viewers will be the official announcement regarding a second season renewal from Netflix. Whether the writers can tighten the narrative threads of the criminal underworld while maintaining the brilliance of the family dynamics will determine if the show evolves from a “passable excuse” into a true successor to Levy’s previous work.
Do you think the “star-made” era of streaming is hindering creative risk? Share your thoughts in the comments below.
