Natalie Portman doesn't usually do TV. She's the kind of actor who exists in the amber of cinema, from the haunting childhood of Léon: The Professional to the splintering psyche of Black Swan. So when she signed on for Lady in the Lake, her first-ever leading television role, the internet basically had a collective heart attack.
This wasn't just another streaming filler project.
Why Lady in the Lake Isn't Your Average Binge
Look, we've all seen the "suburban housewife with a secret" trope. It’s been done to death. But this show, which hit Apple TV+ in mid-2024, flips the script in a way that’s honestly kind of jarring. Set in 1966 Baltimore, it follows Maddie Schwartz—played by Portman—who decides to blow up her perfectly manicured life.
She leaves her husband. She moves into a gritty city apartment. She decides she’s a journalist.
It sounds like a classic "finding yourself" story, right? Wrong. Maddie is ambitious to a fault, sometimes bordering on the predatory. She becomes obsessed with two murders: a young Jewish girl named Tessie Durst and a Black woman named Cleo Johnson (played by the incredible Moses Ingram).
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The Real History Behind the Fiction
Most people think this is just a straight adaptation of Laura Lippman’s novel. While that’s technically true, the roots of the story are way darker. Lippman, a former Baltimore Sun reporter, based the book on two real-life deaths from her youth in 1969.
- Esther Lebowitz: An 11-year-old Jewish girl whose disappearance mobilized the entire city.
- Shirley Parker: A 33-year-old Black mother whose body was found in the fountain of the Druid Hill Park Reservoir.
The disparity in how the media treated these two cases is the "why" of the show. While Esther’s story was front-page news for weeks, Shirley’s death was barely a blip in the major papers. Only the Baltimore Afro-American kept the flame alive. Portman’s character, Maddie, navigates this divide, but the show doesn't let her off the hook for her own "white savior" tendencies. It’s messy.
The Alma Har’el Factor
If the show feels like a fever dream, that’s because of director Alma Har’el. You might know her from Honey Boy. She doesn't do "normal" television.
There are musical interludes. There are surreal dream sequences where characters talk to their younger selves. In one standout scene in Episode 3, Moses Ingram’s Cleo basically exorcises her demons on a club dance floor. It’s not just a mystery; it’s a psychological autopsy of 1960s Baltimore.
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Some critics found it "pretentious." Others called it "impeccable."
Honestly? It’s both. It refuses to hold your hand.
What Most People Get Wrong
There’s a misconception that this is a "whodunnit." If you go in expecting Mare of Easttown, you’re going to be frustrated. The "who" isn't as important as the "why" and the "at what cost." Maddie’s pursuit of the truth isn't purely noble. She wants to matter. She wants her name on a byline. And the show asks if she’s willing to step over Cleo’s ghost to get there.
Natalie Portman’s performance is polarizing. Some viewers on Reddit complained about her Baltimore accent—which sort of wanders between a New York lilt and a Mid-Atlantic twang—but the emotional weight is undeniable. It’s a performance about a woman realizing she’s been a secondary character in her own life and overcorrecting with a vengeance.
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Is It Worth the Watch in 2026?
Even two years after its release, Lady in the Lake stands out because it doesn't feel like "content." It feels like a seven-hour movie.
If you’re looking for a quick thrill, this isn't it. It’s a slow burn. It’s dense. It’s visually sumptuous (the 1960s costuming is top-tier, featuring everything from Diana Ross-inspired hair to period-accurate Volkswagens).
Moving Forward: Actionable Insights for Viewers
If you’re about to dive into this series, here is how to actually enjoy it without getting lost in the weeds:
- Don't Binge It: This is "heavy" TV. The Guardian’s Lucy Mangan noted that it’s designed to be consumed slowly. Watch one episode, then let it sit for a day.
- Watch the Background: The show uses mirrors and water reflections constantly to signal when a character is lying to themselves.
- Read the Afro-American Context: Before watching, look up the history of the Baltimore Afro-American newspaper. Understanding their role in 1960s journalism makes Cleo’s arc significantly more powerful.
- Ignore the "Mystery" Labels: Approach it as a character study of two women on a collision course. If you focus only on "who killed the girl," you’ll miss the point of the dream sequences.
The series is currently streaming on Apple TV+. It remains Portman’s most significant venture into the television medium, proving that even an Oscar winner can find something new to say in a seven-episode format.
Watch for the cinematography. Stay for Moses Ingram. Just don't expect a neat ending where everyone lives happily ever after. Baltimore in '66 wasn't built for happy endings.