The Morning Show Season 4 Episode 5 Review: ‘Amari’

The Morning Show Season 4 Episode 5 begins and ends with the irritation that is…whatever the creatives behind this series think we’re supposed to connect with/get out of Bradley and Cory’s…whatever it is. Or, well. Technically, the hour ends with the irritation that is trying to get viewers to care about Bradley’s surprise visit from her FBI handler, when she’s basically been doing the exact opposite of what she said she’d do ever since she had that conversation with him about returning to “journalism.” At any rate, it’s the other part of this episode that’s actually not just worth watching but actually really, really good TV. Excellent, even.

So, if we decide to judge ‘Amari’ based solely on the plot points surrounding Chris Hunter’s doping allegations, Mia Jordan trying to decide what’s next after her exit in Episode 3, and the stellar performances from Nicole Beharie, Karen Pittman, Ashley Romans that make up that story, it’s a 10/10. With bonus points to go above and beyond that 100%, even. But if we look at the rest and/or try to marry the two lopsided halves, even those bonus points can’t save it. In fact, the high quality of the good parts make the bad that much more glaring. So, it’s once again another question of whether or not anyone involved in making this series understands the solid gold they have at their disposal.

So, let’s just pretend (for the most part) that The Morning Show Season 4 Episode 5 is only about Mia, Chris, and Tunde.

MORE: Sometimes, the nonsense on this show works well, like when Alex was at the center of The Morning Show Season 4 Episode 2. Others, you have whatever ‘Love the Questions’ was.

“A lot of women go through these things”

I can’t stress enough how good Nicole Beharie is in The Morning Show Season 4 Episode 5. There are so many layers to her performance, such a richness and depth to what she brings to each stage of the drama as it progresses. That voicemail Chris leaves for Tunde is a work of art, starting with quiet sort of threat that’s actually more scary than anything that comes after it, and then building through every “f**k you” and “how f—ing dare you” until it hits exactly the level of unhinged Bro wants to exploit and put on his show.

The episode is written and cut in such a way that, once Chris really starts to lay into Tunde, all we have is her voice. We don’t see the pain, or the exhaustion, the sense of betrayal, the fear of her legacy being destroyed (or, you know, the fact that she’s had a few drinks) anymore at that point. And Bro’s audience doesn’t know about any of those things either — all they hear, all they experience or care to experience, is another “angry Black woman.” Cue his nasty, little comment about roid rage while we’re at it. It’s exactly how the media, especially the particularly sad excuse for media “The Bro Show” represents, exploits women (especially Black women) in their worst moments — sometimes even their best ones — no context, no grace, no agency.

So, for what it’s worth, I get why Mia encourages Chris to go on the show and stand up for herself. I also completely understand why that’s what she decides to do. She deserves to confront her accuser, deserves to at least try to humanize herself before that audience…even if it’s probably hopeless. I’m not sure anyone could’ve foreseen the particular way the choice blows up in her face coming, but it was probably always bound to do so, one way or another.

Although the voicemail is strong work from Beharie, it’s nothing compared to what she does when Chris finally confesses. The vulnerability, the emotion, the way she takes her voice down to a whisper at some points and fights to bring it back in others…it’s really, truly excellent. The work pretty much speaks for itself, but some of the details make for a very raw, very real experience. The way the shame and the self-loathing eventually become too much to bear, the way she breaks down on “keep going,” and the way it’s like she’s going to be sick when she tries, and fails, and tries and fails again to say ” I did it for my son” is utterly devastating.

This isn’t just an athlete watching her image crumble, watching her accomplishments she trained so hard for get wiped away. It’s not just a woman opening herself up to a hostile audience to tell them about her most painful experience. Yes, it’s both of those things. Obviously. But it’s shame, and regret, and experiencing the betrayal of an old rival forcing you to expose those awful, awful feelings and this horrible thing that happened to her — this tragedy — too.

There’s also something uniquely touching about what happens after the interview. The grief, and loss, and tenderness shared between Chris and Marcus is as quietly heartbreaking as the outpouring of emotion in the previous scene is devastating. But the choice of having Chris fall to her knees before her husband and wipe his tears fascinates me. Somehow, what might play as the moment being all about the man…doesn’t. Instead, it’s like they share this energy and comfort back and forth, in a way that feels oddly correct. We just heard Chris say how difficult it was for her to feel like she was “worth something,” so it’s like some part of her does feel like she has to apologize, has to make it up to Marcus. But the energy — the presence Alano Miller brings to that room — silently screams that these two can get through it, somehow, together.

MORE: We praised “all things Nicole Beharie” in Season 3, when Chris reacted to the Dobbs decision in a very, uh, relatable way.

“It’s my time now”

The Morning Show Season 4 Episode 5 shows Mia Jordan finally taking control of her own story. First, there’s the job interview with Defy Media. In that place, especially after the interview itself ends, we get to see a much more free, authentic version of the character than ever before. And that’s, of course, the point. She doesn’t have to hide who she is with the other Black women in that room the way she might have to at UBN. And so, she doesn’t. Afterwards, when there’s no longer a need to be a professional, she opens up even more. There’s so much joy in those excited whispers and the dancing down the hallway to “you’re gonna get it.”

And that makes Mia not getting that job, thanks to Alex’s idea of helping or doing what’s best for her to have more “impact,” much more difficult to accept. I’m saying that both as a viewer and on behalf of the character. Imagine thinking you’re going to get this great job, where you can really build something while being among people who don’t expect you to be something you’re not, and then the very same person who wasn’t there to back you up for a promotion at your last job crushes your dream. Infuriating.

Karen Pittman nails that crushed reaction, as well as the calculated anger as she says every pool ball she sinks is Alex’s head. But it’s the joy right after that interview, the blast Mia has with her friend — with that slight sadness underneath it all — and the deadly quiet scene with Beharie as Mia apologizes to Chris that really stand out. Clearly, one of those emotions is not like the others. But what links them all is an honest and realness that the character has had to bury for so, so long.

It probably goes without saying that the scene where Mia confronts Alex is another great one for Pittman. But, I mean, let’s go ahead and say it. Whatever Mia does next, she’s taking her power back. Period. Whether her choices in this episode were entirely the best ones for everyone or not, we’ll see. But she’s not letting Alex play her savior, or Stella string her along, or anyone else decide what’s best for her anymore. That’s up to her now. And no, she’s not holding back when she’s angry anymore either. Put that together with the powerful walk through those offices ahead of Chris’ ill-fated podbro interview, and I really can’t wait to see what’s next for this character. If only I thought this series would be consistent…with her or anything else.

MORE: The Season 4 premiere was…an episode of TV that we watched.

More The Morning Show Season 4 Episode 5 reactions

Is this…romance?
“I thought I was the f—up in this relationship.” Spoiler: You both are. And your self-deprecating attempt at looking cute…isn’t.
“You should have just left me in West Virginia a million years ago.” I should say something, but I’m not.
“Yeah, legacy media is a…numbers game. It’s all about staunching the profit-bleeding and juicing the stock price.” Wait until this series catches up to how they behave in 2025.
“No, but then we can make our 60 Minutes, girl.” The. ENERGY. “With hosts that aren’t all white geriatrics?” THE SQUEALING. I want to live here forever. Give them their own show! (But, like, a consistently good one.)
“Let’s go home. I need an actual bagel…” Ok. He was extremely real for this.
“They always come after us, right? They don’t believe we can do it without doping. It’s like, ‘say it to my face, you little keyboard jockey b**ch.’”
“If you let these typo-riddled memes pass for real journalism, you’re only gonna make it worse.” A) Easy to say when it’s not your record being attacked, but 2) …kind true, if we look around right now.
WANTED: Mia Jordan/Bring Back the Boss!
“That math ain’t mathin’.”
Should I predict Layla leaving after Ben left her hanging like that and totally just refused to listen to her (very real) concerns about trying to stay on top of the news? Because, just saying, I would really love to see her join up with Mia and Chris. So, so much.
…and Ben is so ridiculously out of his depth, it’s not even funny.
The pause before “am I some kind of fragile flower,” though.
Oh. Ok but, for all her failures, Alex Levy does know how to give you a PR answer that also makes no mystery of her actual opinion. Yeah, Ben, she wanted Mia to have the job. Shoo.
“Chris’ books have been a big hit for us. But Target has to walk a certain line, especially after we got torched for selling rainbow t-shirts to kids.” Imagine if they stood up for what they allegedly believed in instead of worrying about that “certain line.” Then what?
Oh, that expression says Chris is not, in fact, going to let it go like Marcus wants.
“So, if UBN can’t have me, nobody can?” About sums it up, doesn’t it? They want her there because they know she’s good, but they refuse to give her what she’s earned…while also not wanting her to be successful elsewhere. Gross. (And typical of a lot of employers, honestly.)
“This is not a booty call.” THE ACCENT.
“Oh. You literally wrote ‘you up.'” …so, booty call?
The laugh and “deal with it,” though.
“Don’t talk about my hair. Ever.” Literally.
I want to write out that whole voicemail, but the robots will get mad at me for putting all the Fs, so. Let’s just say “GO OFF.” I think I can at least put this part, though? “I have to deal with these phony people who don’t respect me…or want to see us get anywhere, and you…you want to be the one to tear me down! Put those lies in the street? Well, F*** you!”
And the “how [bleeping] dare you” part, too.
It’s the way Alex acts like she’s willing to bust that door down to get in that studio and ask him WTAF is wrong with him for me.
And also the sarcastic return on “your audience” in this next bit: “Your audience expects the Illuminati to dance a satanic sabbat with Hillary Clinton and George Soros.”
Hm. Soros dogwhistle. So, his target audience is a bunch of antisemites. Unsurprising.
“I think my ad revenue pays for your salary, right?” Oh, [censored] him…
“You look different.” “Yeah, well. That would be the murderous rage.” Relatable.
But ok. On a more serious note: Look at how Pittman carries herself, her physical presence in the space. It’s totally different than how she normally does it while she’s playing Mia, fitting in at that network. Which, again: Not her goal anymore.
“I don’t know, can we? Or is my child-bearing womb going to come between us?” Where’s my “get her, Jade” gif when I need it?
“…and then I saw you, you know? You wouldn’t bend for them; you wouldn’t compromise. I was jealous. And I took it out on you.”
“You’re more than one angry voicemail.” A whole word.
“People don’t stop caring about you because you f*** up. Not if you own it. It just makes them love you more.”
“He felt safe.” Girl.
“Cory Ellison seemed safe? Like an open elevator shaft kind of safe?” In which Alex Levy is, once again, the voice of reason because we’re in such an upside world.
Ok but the way he doesn’t realize how off Bradley sounds during this call. Talk about self-absorbed and in denial, man.
“I figure either one of us ends up dead, or we move forward. Either way, it’s an answer.” Again gonna ask: Is this…romance?
Once again gonna have to stress that slo-mo walk through the building. So well done. Great choice on the music, there, too.
“Marcus thinks it’s a terrible idea, but he also wore a wool suit to our summer wedding. So.”
“You can stop it with your little Oprah act.” It’s the way Ashley Romans points that finger for me.
Seriously, she’s great as this character. That attitude, totally not falling for anything Chris says, clearly holding some grudges, superb. Like, her micro expressions say 1000 things per second. At least. And don’t get me started on when these two start tilting their heads at each other either. Conversations are being had.
“You had your chance to make things right. And you couldn’t be bothered.”
“…not one but two players in America’s DEI drama.” Me, Googling how to reach through the TV and smack a fictional podbro.
“Would you say you’re more or less attractive than Chris?” The timing, before dude can even finish, to be bored and ask TF kind of question that is…
She’s so proud of those receipts, genuinely has a “victory is mine” kind of expression…and wow, the reaction. Incredibly well done.
“…and we didn’t get to, um, take my son home. A lot of women go through these things. You just don’t talk about it. I was broken. Like, all the way down. My body was just gone…” Kill me now.
“The PEDs made me sick at first, but it felt kinda good, like my body deserved to be punished…”
“I did it for my family, my body, and for my daughter. And…” the way she breaks here. “…I did it for my son. His name was Amari. Amari Marcus.”
Bro has a soul! Dude actually sounds sincere when he offers his condolences. WELP.
“I thought you were better than that, Mia!” “You know what? F— you, Alex!” GET. HER. MI. A.
“Okay, so you can screw over your billionaire boyfriend, and it’s considered strategic. Cory can leak a racist email, and it’s a tactical move. But when I play hard, you think I’m supposed to better than that.” “None of us are proud of any of those things.” Could’ve fooled me.
“Mia, we are not done.” The way she stops on a dime and whips her head back before the quiet, yet defiant, “I am.”
So, I’ll say this for the Bradley/Cory breakup: First of all, yes. Second, Billy Crudup just…explodes there on the “OF COURSE…” part. Otherwise, I’m like, ok but Cory’s genuinely heartbroken over being used, and he’s…not exactly the most sympathetic character of all time. So. There’s that.
“What am I supposed to think, Cory? I’m sorry, but that’s…this is who you are. This…that’s…this is who you’ve always been, ever since I met you. If anybody tries to get in your way, if anybody hurts you, you…you get to them first.” And yet, you decided to hook up with him and told Alex he “felt safe.” Sure, sure. Cory is so safe, he outed outed Bradley and Laura that one time. K.
“Really? So, I’m the bad guy in this scenario?” Heartbreaking: The worst person you know just made a great point.
See also: ”You were just using me…like you always [expletive] do.”
And: “Please stop pretending to be a human being. Cause what you sound like is a liar…” Plus, the rest of it all.
What I’m saying is, all of Cory’s points are reasons, in a looooong list of reasons, why this was never a good idea. But sure, they were all ooey-gooey gazing or whatever.
Anyway. That’s over.