ith the limited Netflix series Beef, Korean director Lee Sung Jin twists the idea of a ‘fateful encounter’ by showing two characters on opposing sides of a mid-life crisis.

This crisis builds up to an intense, even violent, existential rivalry between the two protagonists, Amy Lau and Danny Cho, played by Ali Wong and Steven Yeun.

After its release on Netflix in April, the mini-series has received good ratings from the global audience. It has also received a positive reception from critics. Beef also seems to be one of the very few Netflix productions currently trending in Pakistan.

For a series that, over the course of ten episodes, takes a wild turn into horrendous chaos and madness, Beef’s opening is rather simple, almost deceptive. Straight forward as it may seem, it offers enough to reel the viewers in and then keep them hooked till the end.

Meeting a soulmate or encountering a stranger who transforms your life is rare. In casual conversation, even without being consciously aware of what we are doing, we tend to focus on only the positive side of such experiences and attach a deeper meaning or sense of purpose to them.

We do this because believing and reiterating that people come into our lives for a reason offers us a sense of comfort and certainty. There is also evidence that our minds are wired to block out unpleasant experiences.

However, Beef subverts the popular idea. It presents the horror of stumbling upon our arch-nemesis; someone who, like a soulmate, changes our life. Only, unlike a soulmate, they change our lives for the worse, in ways we never even thought were possible.

The two protagonists have a lot in common. Both carry the weight of responsibilities as the primary breadwinners for their families.

They also carry generational traumas from their parents. This shapes how they live. And like other first-generation Asian Americans, they are also seeking the American Dream.

Danny is a dedicated contractor who struggles to make ends meet while supporting his family. Besides his parents, he looks after his younger brother Paul, played by Young Mazino, who is heavily invested in cryptocurrency, and his convicted cousin played by David Choe, who is embroiled in his payback schemes.

While Danny works hard, he feels a sense of emptiness. He tries to fill the void by stress-eating chicken sandwiches and junk food, and seeking solace in a rock-gospel church.

Then there is Amy who owns a successful plant business but faces challenges of her own. All she wants is quality time with her husband and daughter. Managing a business is not the only obstacle she faces. Jordan, played by Maria Bello, a wealthy white prospective buyer and her wealthy mother-in-law also interfere with her daily life.

Through its subtle wit, this compelling tragicomedy delves expertly into heavy themes including revenge, rage, mental health, class and the elusive American Dream.

Her husband, George, played by Joseph Lee, is well-intentioned, but frustratingly unaware of the realities of his privileged life. To cope with her stressors, Amy keeps a gun in a safe at home.

Amy and Danny’s worlds collide in the very first episode. The two characters happen to encounter each other at a time when they are both highly frustrated, irate and close to breaking.

The situation is tense in the parking lot of a home improvement store. As Danny backs out, Amy honks her horn in frustration. Danny responds with his honk, causing Amy to momentarily stop and respond with a rude gesture.

Then, there is an outburst of road rage with both hurling curses at each other, running red lights and driving onto sidewalks. This ignites a series of petty pranks, angry pursuits and impulsive attacks, including vandalism and catfishing.

It turns out that the protagonists are hell-bent on making the other feel as disturbed as possible since they are determined to bring others down with them if their lives are spiralling out of control.

Amy and Danny decide to note each other’s licence plate numbers rather than shrug it off. Their lives are forever altered by this moment because neither one can let go of the rage. Both of them are simmering and want revenge.

Danny visits Amy’s house pretending to be a helpful contractor and urinates all over her newly renovated toilet. In retaliation, Amy spray-paints derogatory statements on Danny’s dilapidated truck.

We are only three episodes into the show when Danny considers torching Amy’s luxury SUV while her child is inside.

As the show progresses through its ten intense episodes, moments of relief are rare, with Danny’s decision not to commit the heinous arson is one of those.

Beef explores the complexity behind harm, which goes beyond physical violence. The fear that their innocent family members may become collateral damage is palpable when Amy and Danny know they can hurt each other the most by targeting their loved ones. As their feud escalates, their families become more vulnerable.

Through its subtle wit, this compelling tragicomedy delves expertly into heavy themes including revenge, rage, mental health, class and the ever-elusive American Dream.

The performances of Steven Yeun and Ali Wong are outstanding and contribute significantly to the success of the show. Through their nuanced portrayals of Danny and Amy, they add depth and humanity to their characters.

It would have been impossible for the audience to connect with Amy and Danny if they were just sociopaths because there would have been no tension or emotional weight to their story.

The crux of Beef is that society is incapable of coping with unhappiness and instead suppresses, hides and shuns it. It is easy for those who question whether life has more to offer to become consumed by this cycle of neglect. It goes without saying that amidst the influx of monotonous Netflix shows, Beef is a refreshing change.