M.I.A. Review: Peacock’s Crime Thriller Is As Smart As Ozark, But It Also Falters Just As Much

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Peacock’s new thriller, M.I.A., created by the same person behind Ozark, is well-written and shows promise, but it has a slow start, much like Ozark did. The series centers on Etta Tiger Jonze (Shannon Gisela), whose family is caught up in drug smuggling in the Florida Keys. When a smuggling operation goes wrong, Etta’s family is killed by the Rojas cartel, and she embarks on a mission for revenge against those responsible.

Because M.I.A. was filmed in Dubuque, it’s natural to compare it to Ozark, but the similarities would exist even without that connection. Both shows center around family, feature characters adjusting to unfamiliar circumstances, and are well-made, gripping crime dramas. While being likened to Ozark is a positive thing, M.I.A. also shares some of the same flaws as its predecessor.

M.I.A. Is A Very Smart Show, But That’s Both A Blessing & A Curse

What makes M.I.A. stand out is how well-written and intelligent it is. Characters consistently make sensible decisions based on the situation and their goals, and other characters respond in believable ways. Both the heroes and villains have carefully considered plans and take concrete actions, avoiding tired tropes. Even when characters act impulsively, it feels grounded in understandable emotions, making it feel realistic for viewers.

Okay, let me tell you, the writing in M.I.A. is genuinely sharp, and it really benefits the show. I found myself immediately rooting for Etta – she’s portrayed as incredibly capable, and her intelligence makes her instantly likable. But what really ratchets up the tension is the Rojas cartel. These aren’t cartoon villains; they’re cold, calculating, and frighteningly efficient, making them a real threat. Honestly, it’s refreshing to see antagonists who are good at being bad – it avoids that frustrating trope of villains making dumb mistakes.

The show M.I.A. is technically well-made. While Miami’s vibrant scenery is already visually appealing, the series still delivers some striking imagery. The lighting, whether capturing the natural Florida coast or the energy of Miami’s clubs, is particularly well done. Suspenseful moments are visually engaging, building tension effectively, and the action sequences are almost perfectly choreographed and filmed.

I really wanted to love M.I.A., and it’s frustrating because the show’s smarts are actually holding it back. It’s so focused on being realistic and making everything feel connected that it gets bogged down in details. They quickly set up the main idea – Etta becoming a powerful figure – but then spend way too much time showing how she gets there. We’re talking multiple episodes of her just figuring things out, finding people to work with, and building connections. It feels slow and less about the exciting power struggle they promised.

The show strives for realism, but sometimes gets bogged down in unnecessary detail. The middle episodes of M.I.A. suffer because of this. A less detailed approach – perhaps skipping some steps in Etta’s transformation from a normal child to a skilled killer – could have made the story more engaging and faster-paced, even if it sacrificed some authenticity. While it might have been less realistic, it would likely have been a more enjoyable viewing experience.

When it’s good, M.I.A. is a solid crime thriller with clever dialogue, a plot that keeps you guessing, and beautiful shots of South Florida. However, at times, the show feels lost and unsure of its direction, and it doesn’t fully deliver on its promise of realistic characters and situations. Overall, the strengths of the show are stronger than its weaknesses, but it feels like M.I.A. could have been something truly special.

Thankfully, M.I.A. overcomes some slower moments in the middle of the season and finishes strong. The story really picks up speed in the final episodes, which is great, and it keeps you on the edge of your seat until the very end. The finale also sets up a potential second season nicely, and I’m happy to say that by the time the season concluded, I was genuinely looking forward to seeing what happens next with Etta’s story, and hopeful that future episodes will fully realize the show’s promise.

M.I.A.’s Casting Is As Inconsistent As Its Pacing

While the show strives for realism, the main weakness of M.I.A. is its cast. Most of the actors are good, but few are truly exceptional. Shannon Gisela delivers a solid performance as Etta, though she doesn’t often get the chance to fully showcase her talent. There are moments where she hints at a brilliant performance, but these moments don’t quite develop. Despite this, Gisela consistently proves she has what it takes to be a leading lady.

Dylan T. Jackson, as Stanley, and Brittany Adebumola, as Lovely, deliver particularly strong performances. They play Etta’s close friends and are central to the emotional core of M.I.A. Adebumola and Jackson skillfully balance making their characters likable with challenging Etta, helping her to develop and think about what’s truly important and the consequences of her actions.

The actors playing the key members of the Rojas cartel – Maurice Compte as Mateo, Gerardo Celasco as Samuel, and Marta Milans as Caroline – all deliver strong performances. The cartel’s storyline is a major part of the first season of M.I.A., and these three siblings manage to be both appealing and convincingly villainous, which helps keep the story moving forward alongside Etta’s own path.

The show M.I.A. also suffered from some weak casting decisions. Cary Elwes, as detective Kincaid, delivered his lines with a strange and noticeable vocal quirk. While this wasn’t a major problem on its own, the series didn’t give his character enough to do. Kincaid’s storyline felt incomplete and ultimately disappointing. With more screen time, Elwes could have added a compelling dynamic to the show, but his potential remained largely untapped.

Danay Garcia, who plays Leah, Etta’s mother, doesn’t quite stand out as much as the rest of the cast. While she’s a capable actress, the role of Leah is so central to the story – and involves so many key plot twists – that the performance feels a little underwhelming. I think Garcia would have excelled in a smaller part, but the weight of this important character is unfortunately too much for her to carry effectively.

Honestly, season one of M.I.A. felt like it was setting things up for what could be, rather than giving us a really gripping story right now. I definitely see huge potential for this show to become something like Ozark if it gets more seasons to really hit its stride and iron out some of the rough patches. All the pieces are there, and it’s brimming with promise, but right now, M.I.A. still feels like it’s figuring things out.

M.I.A. premieres on Peacock on May 7. All nine episodes will be available to stream immediately.

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2026-05-06 19:39