Watching Netflix’s latest wrestling hit is like being mangled by idiots
TV CHRONICLE “Drama to your taste”, Netflix wrote and recommended Harlan Coben’s “Until I Find You”.
I feel immediately offended.
How many Harlan Coben– series can withstand Netflix? How many bizarre twists piled on top of each other with the finesse of a Lego build? How many ridiculous family secrets, screaming strays, and logical gaps big enough to swim in?
I have asked myself that many times since the American author signed an extensive contract with the streaming giant in 2018, after his “Safe”, with Michael C Hall in the lead role, had been a hit – and a whole string of sloppy productions followed in quick succession.
Usually with the plot set in England or another European country, and preferably with a premiere on New Year’s Day. Because hangovers are the best spice for bad television.
And while I’ve only been following this development from a distance, hoping for some kind of satiation, I guess now I just have to capitulate to what increasingly looks like a literary supervillain’s genius plan to take over the streaming world with shows so stupid that even the most unfocused viewer won’t have to put down their phone, or even stay awake, to keep up.
His latest series, which is the 13th on Netflix collection, was released last week – and was streamed on 24 million accounts in its first four days. Which makes it arguably the service’s biggest new series to date in 2026.
It’s a clear and obvious “hold my beer” to all TV snobs and detractors, and so I had to actually watch “I will find you” to understand what it’s about.
So now I have done it.
And now my head is fried.
Watching eight episodes of “Tills jag hittar dig”, as the series is called in Swedish, is like being driven through a mangle operated on by idiots, again and again until you can no longer resist.
The premise is therefore that the former law professor David Burroughs (Sam Worthington) has been innocently convicted of killing his own son with a baseball bat for five years now. This during an episode of “night terrors” (which is usually described as a harmless sleep disorder) and also so brutal that the body could only be identified with the help of DNA.
He is now suddenly visited by his sister-in-law (Brit Lower) who has come across a photo that suggests the son is still alive. And with the help of his father’s friend, who, by an incredible coincidence, happens to be the head of the prison where he is incarcerated, and the father’s friend’s son, also his own childhood friend, who, interestingly enough, is a police officer, David makes a spectacular escape to find his son and find out who put him there.
And do you have any questions about it? then you can give up right away, because that was only like the first quarter and then it all escalates quickly. Featuring, among other things, an FBI duo consisting of a father and his daughter, a fake bus accident, a hijacked sperm insemination, identity changes, Swiss orphanage children and gangsters who really have nothing to do with anything.
No one talks or acts like real people do, nothing sticks together, unlikely coincidences are interspersed with bizarre twists and extremely overexplained dialogue, and despite a carpet bomb of stray tracks, the real villains are identifiable the moment they make their entrance.
Obvious sources of inspiration such as “Prison break”“Hunted” and “Taken” are turning in their graves. And no, this is not “so bad it’s good”.
That’s just a recipe for total brain rot, and don’t let 24 million people make you think otherwise.
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