By José María Gámez-Lamadrid, Staff Writer

Hihi, rom-com lovers, have you been keeping Mr. & Mrs. Smith (2024) on your radar? It might be the best one you’ll watch this year.

“But wait,” you might say. “What about Anyone but You (2023) with the sex appeal power couple Sydney Sweeney and Glen Powell? Or the recently released Lisa Frankenstein (2024), Zelda Williams’s teen romance reimagining of the Mary Shelley classic? And just hold on a second, there’s guns and explosions? Is this even a rom-com?”

Why yes, dear reader. Yes it’s a romance, and not only is it a comedy, it’s also damn good television.

Continuing his streak of acclaimed television, renaissance man Donald Glover has delivered his latest creation: a limited series reboot of the 2005 movie, exclusively streaming on Amazon Prime. Mr. & Mrs. Smith follows the lives of two unnamed ex-government operatives, now working as agents for the mysterious “Company.” As per policy, each agent is assigned a partner to masquerade as a happy married couple to avoid suspicion. 

Under their omniscient supervisor “Hihi” — named after the way they begin each mission directive — pretend newlyweds John (Donald Glover) and Jane (Maya Erskine) Smith must navigate a tricky blend of romance and espionage as the two realize that there might be some truth to their pretend feelings for one another. Over the course of eight hour-long episodes, Glover and Erskine guide viewers through the Smiths’ cycle of joy and misery, balanced with a careful dose of humor that takes advantage of each mission’s absurdity. 

We begin with a meet-cute at the couple’s New York abode, where expectations are made clear: neither one of them is in this for the romance. However, per the nature of the rom-com, a short moment of bonding after a disastrous second mission quickly sparks a passionate connection. 

With John, Glover has crafted a hopeless romantic that mimics those around him, whether it be to complete a mission objective or resuscitate his failing marriage. He risks falling too deep into the cold-uncaring-assassin mold, but clings onto his past life, an indication that while the benefits of the job are pleasing, he’s not fully committed. Against the wishes of Hihi, John maintains constant communication with his mother, his excuse being that he’s responsible for her care after the death of his father. This relationship draws John back to humanity — the desire to love someone and receive unconditional love.

With Jane, Glover has written an antisocial loner with sociopathic tendencies. 

Brought to life by Erskine, she’s desperate to feel attached to John even though such a relationship clashes with her very nature. There are moments throughout the show where Jane falls in love all over again after a profound confession from John, but she quickly sobers from the trance. As much as she enjoys the euphoria of her marriage, she remains committed to her ground rule: It’s simply for the job. When they leave the “Company” — if they can leave — it’s over. A “mere work fling.” 

For a brief moment, one might wonder if such a Jane would’ve remained had Phoebe Waller-Bridge stayed as co-writer and lead actress, but that moment is fleeting. With such performances, accompanied by eccentric supporting characters portrayed by an all-star cast including Ron Perlman and John Tuturro, why bother moping on what could’ve been?

When taken at surface-level, the latest Smith venture represents the cancer that’s plagued Hollywood for the past decade: a desire to milk existing IP dry through reboots, remakes and sequels. I’m of the belief that anything can be good, given that someone knocks on a studio big-wig’s door with an idea they’re passionate about. In the case of Mr. & Mrs. Smith, boy does it feel good to be proven right.