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The New Yorker
|April 17, 2023
"Beef," on Netflix.

As far as road rage goes, the outburst that sets off the rivalry in the wickedly loopy comic drama “Beef ” is downright piddling. Danny Cho (Steven Yeun), a handyman in Los Angeles, attempts to pull his beater pickup truck out of a hardware-store parking lot, when he’s met by an obnoxiously long honk from a gleaming white Mercedes S.U.V., then a middle finger thrust out the window. Danny is in a foul enough mood that he gives chase to the other driver, Amy Lau (Ali Wong). After the pursuit leaves him unsatisfied, he decides to slowly insinuate himself into her home, even her family, to wreak chaos. His choice of target proves unfortunate; Amy is even more desperate for a sense of control, and thus for revenge.
Yet the most gratifying reveals in the ten-part Netflix series aren’t the wild escalations of the central pair but their rich psychological shadings. When Danny and Amy arrive at their respective homes after their encounter, neither can get out the full story about what happened. Danny, recounting the incident to his younger brother, Paul (Young Mazino), in the cramped apartment that they share, brags that he “scared the shit out of that motherfucker,” in a bit of masculine bravado that bears little resemblance to the truth. Amy, speaking to her woowoo husband, George ( Joseph Lee), can barely even begin to tell him about the confrontation before he shuts her down: “You’ve
This story is from the April 17, 2023 edition of The New Yorker.
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