The One Season 1 Review: From Major Zero to Hate-Binge Hero

How far would you go to find your one true love?

The One explores this in a twisty soap opera kind of way with murder, high-tech romance, and the science of soulmates. 

Based on a novel of the same name by John Marrs, The One follows the scientists who develop the technology, and its benefits and pitfalls in the love lives of its users as well as its effect on society at large. 

Match Game

The concept is quite intriguing: Using a DNA mutation, they are able to accurately match individuals with their one true love. When these people meet, they already feel connected to each other—they have instant chemistry.

Hearing “You’ve been matched” is a life-changing moment.

This is portrayed convincingly. One gets the sense that meeting one’s match is a transcendent experience, something that is highly coveted and sought after. The supply and demand of such a thing comes with many complications for both the company and its consumers.

At its best, the high-tech matchmaking service connects people that truly belong together. At its worst, it breaks up marriages and ruins people’s lives. And having insider knowledge of the company’s shady beginnings can get you killed. 

Internet dating is revolutionized and it has never been more dangerous.

Matching becomes an all-purpose scapegoat for people’s failings. They can blame the soulmate science for all sorts of wrongdoings.

Cheating, adultery, betrayal, and lying are reasonably justified when done in the name of true love—a new and creative way for couples to mess up their relationships or for people to self-sabotage. 

The one thing The One does well is setting up the story, effectively making matching something that is worth all the risk. The efficacy of the science behind it is solid, but raises many ethical questions—the opportunity for drama and intrigue is endless.

Snatch Game

Snatch Game is a challenge on RuPaul’s Drag Race that parodies the celebrity panel game show, Match Game.

Stay with me on this.

The One fails in almost every aspect of its storytelling, but what it is successful at is the way it lends itself to the art of parody. It’s campy but not meaning to be, and that can be enjoyable. The show takes itself so seriously that it’s downright hilarious.

At times, it gets to the point where I can predict the dialogue. Clichés and stereotypes abound. It’s soap opera-y—not so much in the melodramatics, but in the mechanics. 

With its almost but not quite near-futuristic aesthetic of the locations and set design, the ostentatious cinematography, and the wardrobe that’s mainly Fashion Week runway rejects, The One serves up ridiculousness with the utmost sincerity.

Founder and CEO Rebecca Webb (Hannah Ware), a posh British Amanda Peet in her sleek suits and complicated up-dos, leads the cast of unredeeming characters. There are some to root for if one can manage to summon up enough enthusiasm to care.

Rebecca is living many lies, one being that her match is Ethan (Wilf Scolding). It’s not surprising to find out they are not soulmates or that Ethan is gay. It’s the easiest, most transparent PR spin, but, of course, everyone is fooled by it. 

Kate Saunders (Zoë Tapper) is the definition of a generic TV detective, coming off as sophisticated yet down-to-earth, smart and savvy, but not enough to follow obvious leads. But, without this, the story couldn’t be stretched out for eight episodes. 

In my mind, I can so clearly see satirical drag queen performances of certain scenes with exaggerated costuming and over-the-top theatrics. I would love to see a drag interpretation of the face-off between Rebecca and Kate at the gala on The One Season 1 Episode 7.

Rebecca: If you could prove any of this, which you can’t, you’d arrest me, so get the fuck out of my way. [goes to leave, but stops at the door] Did your family enjoy watching that video of you having sex with that guy?
Kate: Don’t fuck with me, Rebecca.

It’s so utterly laughable.

And if the show could learn to laugh at itself and embrace its farcicality, it could thrive in the So-Bad-It’s-Good genre with some cult cred. Think Tommy Wiseau’s The Room.

On the other hand, it might ruin the magic if it were to be in on the joke. Watching forced absurdity can be tedious, but when it’s developed organically and unintentionally, it’s a surprisingly fun experience.

A hate-binge with merit.

It’s probably best if The One only has the one season, but I must admit, I am morbidly curious to see what happens next. 

Stray Observations:

• The dual timeline is somewhat confusing and not executed well. 
• “Everyone is out there getting matched and I’m still meeting dudes online like it’s the Dark Ages.”
• It’s pretty plain to see that the character of Charlotte (Simone Kirby) is trying to be Gerri from Succession. Also, the board vote scene is very reminiscent of the one on Succession Season 1 Episode 6, “Which Side Are You On?”
• If I was a stand-up comedian I would do a whole bit on this show. 

What did you think of the first season of The One? Share your thoughts in the comments below!

Critic Rating:

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The One Season 1 is currently streaming on Netflix.

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