Netflix’s No Good Deed stars Lisa Kudrow and Ray Romano as Paul and Lydia, a couple of empty nesters attempting to sell their 1920s Spanish-style Los Angeles home. The comedy, created by Liz Feldman of Dead to Me, takes viewers through a blend of humor and drama as the house’s secrets complicate the sale.
The home, with its arched entryways and exposed beams, reflects a generic aesthetic, perhaps a subtle nod to the homogenization of interiors. However, for Lydia, the house holds profound emotional significance. It is the site of their teenage son’s death, a fact known only to her, Paul, and his brother (played by Denis Leary), who looms menacingly over the couple, threatening to reveal the truth.
As potential buyers tour the house, the comedy unfolds. The interested parties include an unemployed soap actor and his scheming wife (Luke Wilson and Linda Cardellini), a newly married couple expecting their first child (Teyonah Parris and O-T Fagbenle), and a lesbian couple struggling with fertility issues (Abbi Jacobson and Poppy Liu). Each pair brings their own set of secrets and tensions, though they often feel more like character tropes than fully realized individuals.
Kudrow stands out with a nuanced performance, portraying Lydia as a complex and emotionally conflicted woman. Her portrayal feels authentic, offering a grounded contrast to the broader comedic instincts of the supporting cast. Unfortunately, this tonal dissonance creates a jarring experience, as the show struggles to balance its comedic elements with deeper explorations of grief and guilt.
The mystery surrounding the death of Paul and Lydia’s son is revealed late in the series, but withholding this information for so long adds little to the narrative. The suspense feels contrived, and the payoff lacks the impact needed to justify the delay.
The show also misses an opportunity to dive into the specifics of its real estate setting. Not revealing the house’s asking price feels like a misstep, as it could have added depth to the story and better situated the characters within a relatable socioeconomic context. Real estate, after all, is intrinsically tied to people’s choices and struggles.
Ultimately, No Good Deed offers moments of brilliance, largely thanks to Kudrow’s performance, but it falters in finding a consistent tone or fully exploring its potential.
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