Taylor Kitsch Dominates ‘Dark Wolf’, The ‘Terminal List’ TV Prequel

The TV prequel ‘Dark Wolf’ to ‘The Terminal List’ intermittently shines when not grasping onto overwrought notions of ‘us versus them’, suggesting bureaucratics hamper the ‘real’ heroes from preserving world peace. Taylor Kitsch, replacing the banal Chris Pratt, is a superior fit for the beleaguered soldier role. He carries the spinoff’s maiden season, representing the bridge between series. The engagement skyrockets during a particular skillful combat display between a petite hacker and her imposing adversary. However, the series tends to exchange these nuanced actions for bigger, indiscriminate conflagrations and uncomplicated narratives of American saviors against encroaching ‘savages’.

‘Dark Wolf’ unfolds in Mosul, Iraq circa 2015, when James Reece (Pratt) and his ally SEAL Ben Edwards (Kitsch) train locals to combat ISIS. The powers-that-be don’t agree with Edwards swiftly dispatching an enemy in retaliation for an interpreter’s demise. Yet, Edwards’ fervor proves appealing to CIA boss Jed Haverford. Indicating business is quicker on his side, Haverford ropes Edwards and comrade Raife Hastings into his schemes, making it evident that extrajudicial deaths are not simply tolerated but commended in their world.

‘Dark Wolf’ charts a different course from ‘The Terminal List’, departing from a central revenge plot to stress the need to empower soldiers, giving them unchecked authority in the pursuit of larger objectives. For Haverford, this mission comprises dismantling Iran’s Islamic Republic, caught in the throes of finalizing a crucial nuclear pact at the time the series is set. To this end, Haverford forces a team between Edwards, Hastings, and Mossad agents Eliza and Tal.

Seen in the light of ‘Dark Wolf’, defensive pursuits justify hostile acts or even civilian casualties, a result of several armed skirmishes in European cities. This justification also applies to personal transgressions, as seen in the character of Landry, a contractor known for his inappropriate behavior with colleagues. Although it causes dissent, his ill-conduct is excused due to his devotion to the mission.

‘Dark Wolf’ attempts to blend the nuanced sophistication of a sound spy narrative with the aggressive masculinity of warfare cinema, a conjunction that often falls short. The story’s conclusion points at the negative implications of allowing individual operatives to control the narrative. However, most of these valuable insights are overwhelmed by an abundance of pontification on ‘the fight’ and a seeming disregard for accountability or lessons-learned.

The character of Ben Edwards is largely a cipher, his background limited to a fiancée whom he refuses to rejoin and a loyalty to his colleagues. This forms the crux of ‘Dark Wolf’, which venerates the archetype of an independent American enforcing justice across the globe. The success of this portrayal is somewhat incidental to its artistic merit.

Despite its flaws, ‘Dark Wolf’ often transcends its penchant for grumbling about high-ranking officials thwarting attempts to ‘save the world’ to deliver moments of commendable action drama. The hand-to-hand combat scenes, particularly between a female hacker and her tyrant opponent, inject some much-needed energy and excitement into the series. Yet, these bright spots are not enough to distract from the pervasive, simplistic narrative of American heroes versus ‘enemies at the gate’.

Unfolding in 2015 in ISIS-ridden Mosul, Iraq, the action places its protagonists, James Reece and Ben Edwards, in a training camp for local soldiers. Edwards, unceremoniously marked for retribution, kills an enemy to avenge a colleague’s death, a decision not well-received by his superiors but appealing to CIA leader Jed Haverford. The idea of swift off-the-books justice is intriguing to Haverford, who not only welcomes Edwards and his companion Raife Hastings, but also suggests their assertive tactics are a model in his set of operations.

Standing in contrast to ‘The Terminal List’, ‘Dark Wolf’ primarily underscores the need to trust soldiers with authoritarian power to realize broader objectives. The operations aim to topple the Islamic Republic of Iran, in the throes of a historic nuclear agreement at the time. Haverford forges an unlikely alliance, placing Edwards and Hastings with Mossad agents Eliza and Tal on this mission.

In the universe of ‘Dark Wolf’, righteous motives can justify a highly aggressive stance or even civilian casualties, often occurring because of several shootouts across European cities. Personal shortcomings, such as those exhibited by Landry, are casually overlooked, given his dedication to their shared mission.

The show tries to strike a balance between the nuanced narrative of a good spy thriller and the machismo of war filmography, but the results are uneven. The narrative loosely broaches the consequences of consigning too much power to individual soldiers but barely probes into the extensive repercussions. In the grand scheme of ‘Dark Wolf’, these incidents amount to nothing more than distractions, sidelined by an overwhelming focus on the ‘fight’ familiar to armchair strategists.

Ben Edwards, with a scant backstory of a fiancée he shuns and a loyalty to his comrades, receives little attention. Yet, at its core, ‘Dark Wolf’ upholds an American myth – a lone ranger who shapes the world as per his perspective of justice. The show’s artistic achievements may be debateable, but its commitment to this mythos is clear.