I believe that seven episodes lasting 50 minutes each feels like too much for this story, which is fairly straightforward and lacks real substance in its plot, with key developments unfolding at a frustratingly slow speed. The central theme revolves around a dangerous love triangle born out of a midlife crisis, featuring Clark Forrest (played by Jason Bateman), a familiar television weatherman, and Floyd Smernitch (David Harbour), his newly hired sign language interpreter for deaf viewers. They form a very close bond, sharing their feelings about being trapped in their marriages. This prompts them to join “DTF St. Louis” (short for "DareToFuck"), a dating app specifically designed for married individuals seeking discreet affairs. The narrative unfolds through a non-linear structure, starting with a mystery: someone connected to the events is dead, and detectives Donoghue Homer (Richard Jenkins) and Jodie Plumb (Joy Sunday) are tasked with piecing together what happened. The story jumps around in time, constantly replaying earlier scenes—some of which feel unnecessary—as it reveals various side stories involving Clark’s affair with Carol (Linda Cardellini), Floyd's wife, a conveniently timed insurance policy, and a web of lies built on an elaborate online scheme. This deception began as a way to help Floyd cope with his severe depression, but ultimately leads to deadly outcomes. The script's fragmented timeline functions effectively in building suspense, though it can occasionally be frustrating, prompting viewers to reassess the characters’ motives each time a different perspective on the same events is shown. This dark comedy, which also has elements of an existential crime drama, manages to steer clear of typical "true crime" or standard police procedural tropes. Creator and director Steve Conrad seems intent on examining apathy, emotional shortcomings, and the unspoken longings of suburban life, portraying the main characters as flawed individuals who might be considered morally ambiguous. Conrad’s humor—marked by understated absurdity and uncomfortable, sexually charged moments—is intentionally unusual. Viewers hoping for a quick resolution to the criminal aspect may find some sections somewhat repetitive in its examination of the emptiness that can come with middle age. Nevertheless, the finished product is clearly a carefully crafted work from an individual artistic vision, using crime satire to expose the consequences of modern unhappiness and reinforcing Conrad’s signature tragicomic and unconventional style.

Source on TMDB