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The Telegraph

The Flight Attendant, review: Kaley Cuoco's cool jet-setting caper is a hoot

Jetting in from the States with Golden Globe nominations in its hand luggage (among others), HBO Max’s zippy comedy drama The Flight Attendant (Sky One) is exactly the good-looking stay-at-home globe-trotting TV binge-watch we jaded lockdown prisoners need right now. It stars Kaley Cuoco, best known for The Big Bang Theory, as a good-time girl of a flight attendant who gets embroiled in a high-stakes murder mystery, and its eight episodes slip down as easily as a round of transatlantic gin and tonics. Adapted from Chris Bohjalian’s novel, the frothy plot has vodka-soaked Cassie (Cuoco) wake up in a swish Bangkok hotel following an absurdly expensive night-out, courtesy of the handsome man in seat 3C who she introduced to the mile-high club on the flight out from New York. Alex (Game of Thrones’s Michiel Huisman), however, wakes up with his throat cut. Cassie, of course, cannot remember a thing. It’s The Hangover with added corpses and plenty of air miles. Cue panic, frantic attempts to clean up the pints of blood soaking into the silk sheets, phone calls to a lawyer friend to find out what exactly became of Amanda Knox, and, once she’s fled back to New York, a race against time with the FBI to find out what happened. Most satisfyingly, the show becomes a tongue-in-cheek odd couple comedy, as Cassie is frequently thrown inside a Sherlock-esque mind palace, where she must cobble together the pieces of that wild night out, along with her unhelpful detective partner – Alex, who is now a wise-cracking corpse, with no idea why he’s been murdered either. It sounds wacky, but it works, as we see Cassie battle with the fringes of her booze-battered brain. (Though, quick note – she has a wonderful complexion for an alcoholic.) With its jet-setting lifestyle, fabulous couture and jazz-inflected espionage thrills, The Flight Attendant most closely resembles cool classic Sixties capers such as The Thomas Crown Affair (complete with stylish use of split-screen), with a dash of Shane Black’s hardboiled noir pastiche Kiss Kiss Bang Bang thrown in for good measure. Having a member of cabin crew as a protagonist is also the best excuse we’ve seen in a while for having a drama constantly hop from one exotic location to the next. When James Bond does it, it’s gratuitous. Here, it’s just Cassie’s next shift.

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