Riz Ahmed’s new series, “Bait,” premiering Wednesday on Prime Video, isn’t about worms, despite the name. Instead, it’s a remarkably funny and deeply human comedy centered around the pursuit of fame and the slippery nature of identity, all viewed through the lens of a British Pakistani actor improbably vying for the role of James Bond. The series, which Ahmed as well created, doesn’t shy away from complex themes, weaving together moments of magical realism, sharp satire and genuine emotional resonance.
The show’s strength lies in its refusal to offer easy answers. Shah Latif, played by Ahmed, is a character perpetually caught between personas, struggling to reconcile his public image with his private self. This internal conflict is immediately established during a disastrous audition where he repeatedly falters on a crucial line: “I don’t live with myself, I live with whoever you need me to be.” It’s a line that perfectly encapsulates the performance demanded of both spies and actors, and the toll it takes on the individual.
The fallout from the audition sets off a chain of events that quickly spiral out of control. Shah, eager for publicity, orchestrates a paparazzi photo op, which backfires spectacularly, triggering a wave of racist backlash culminating in a disturbing incident at his parents’ home. The contents of the package delivered to his family remain a mystery, but its impact reverberates throughout the series. This incident, although unsettling, underscores the extremely real consequences of online vitriol and the pressures faced by actors of color in a predominantly white industry.
The Weight of Representation and the 007 Spectacle
The question of who will be the next James Bond has become a cultural touchstone, sparking endless debate, and speculation. The conversation around Idris Elba’s potential casting in 2018, as reported by the Los Angeles Times, highlighted the racial undertones inherent in the discussion. Ahmed seems to be keenly aware of this history, as Shah articulates a desire to represent a broader vision of British identity with his pursuit of the role: “to show them that this too is what British looks like.”
But, Shah’s aspirations are tempered by a realistic assessment of his own standing in the industry. He’s not a complete unknown – he’s had a “limited edition collectible action figure” made in his likeness, starred in independent films, and even played “the translator in ‘Homeland’ series seven,” according to the series’ narrative. But he’s no Idris Elba, nor is he Dev Patel, a comparison that repeatedly dogs him. He occupies a precarious middle ground, striving for recognition while grappling with the limitations of his current career.
Inner Demons and Shifting Realities
The series takes a surreal turn with the introduction of Sir Patrick Stewart, played by the actor himself, as a recurring voice in Shah’s head. Appearing initially as a podcast interviewer, Stewart quickly reveals himself to be a manifestation of Shah’s inner critic, offering brutally honest assessments and a perverse form of support. “If I humiliate you, it’s to save you from the bigger humiliation of remaining as you are,” Stewart quips, setting the tone for their complex dynamic. Stewart’s appearance was previewed in an interview with the Los Angeles Times regarding his role in *Star Trek: Picard*.
Shah is a master of self-sabotage, constantly creating opportunities only to squander them. He’s a character who craves attention but is unable to navigate social situations with grace, finding himself silenced after attempting to commandeer a stage at a gala or an underground club. His agent, Felicia (Weruche Opia), repeatedly advises him to lay low, but Shah is incapable of resisting the urge to stir up trouble. He lacks genuine antagonists, his primary obstacle being his own flawed character – his ingratitude and lack of remorse.
Family, Identity, and the London Landscape
Shah’s journey is further complicated by his relationships with his family and ex-girlfriend, Yasmin (Ritu Arya). Yasmin, a writer, publicly challenges Shah’s motives in a scathing op-ed titled, “No, Shah Latif, We Don’t Need a Brown Bond,” accusing him of prioritizing mainstream appeal over his earlier, politically charged work. His family, whom he has neglected, includes his warm-hearted cousin Zulfi (Guz Khan), who runs a Muslim ride-sharing company, his no-nonsense sister Ainy (Aasiya Shah), his doting mother Tahira (Sheeba Chaddha), and his skeptical father, Parvez (Sajid Hasan), who is struggling with his health.
“Bait” visually reflects Shah’s fractured state of mind, shifting between different filming styles to mirror his internal turmoil. The series also cleverly uses location titles – Wembley, Kentish Town, Brick Lane, Ladbroke Grove – presented as if they were exotic locales like Paris or Moscow, highlighting the often-overlooked diversity and vibrancy of London. The show is both a satire and a celebration, offering a nuanced portrayal of British Pakistani culture with a remarkable degree of authenticity.
The series’ stylistic choices and thematic depth elevate it beyond a simple comedy. It’s a show that demands attention, rewarding viewers with its wit, intelligence, and emotional honesty. The question of who will play the next James Bond may be a driving force in the narrative, but “Bait” suggests that the pursuit of identity and self-acceptance is a far more compelling quest.
As “Bait” concludes its first season, the series leaves viewers with lingering questions about Shah’s future and the consequences of his actions. The next step will be to see how he navigates the fallout from the events of the finale and whether he can commence to confront his own demons. The series is available for streaming on Prime Video, and further updates on a potential second season are expected in the coming months.
What did you think of “Bait”? Share your thoughts in the comments below and share this review with others who might be interested in this compelling new series.
