Hello Tomorrow! (2023)

By the end of the third episode, the studied slow pace of the narrative begins to grate a little, and you suspect the show may be offering more in performance and slick direction (the ‘50s tableaus are seriously impressive) than it is in story. Nevertheless, even as the plot decelerates and you start to wonder where the payoff might be, and if it might come too late, the uniqueness of Hello Tomorrow! is its own reward.

Hello Tomorrow! has yet to develop the depth, complexity, or nuance that would earn it more holistic comparisons to Mad Men, which gave us so many indelible characters. But maybe Jack’s reckless optimism is contagious, because I came out of the finale convinced that the sky—if not the surface of the moon—is the limit.

The net effect isn’t perfect, but the series should effectively pull the audience that wants to know where that rocket goes from one episode to the next. Because while Scarlett O’Hara famously said, “Tomorrow is another day,” thankfully, Hello Tomorrow! isn’t just another streaming show, but rather the kind of out-there concept that dares to shoot for the moon.

The production design is a constant wonder and curiosity, if not a positive distraction. ... Created by Amit Bhalla and Lucas Jansen, "Hello Tomorrow!" is an ingenious construction, a thoroughly realized architectural confection and a mystery. ... The cast members are all pros, charismatic even when their characters are intemperate.

“Hello Tomorrow” packs a punch — and looks incredible while doing so — but can’t quite lasso the ideas it wants to convey. The moon here, as always, remains not quite attainable.

Even with the underwritten characters, this show has enough interesting concepts and narrative twists to keep viewers engaged. It will be unfairly compared to the better “Severance” because of its home and high concept, but I hope "Hello Tomorrow!" continues to build on the many promising ideas and intriguing characters.

This is a warm and funny but also scalpel-sharp portrait of a capitalist society that runs smoothly on casters but always hankers for more. ... It’s a treat to watch Crudup slowly reveal the despair behind the dazzle.

“Hello Tomorrow!” is impressive overall, not least of all thanks to some extraordinary production design. ... But at points midway through the season, the show can be redundant, giving us big reveals of things we already knew.

It's the right mix between a perfect cast, a unique retro-futuristic world, and strong writing and storytelling that makes it worthy of your attention. It's the fresh reinvention of Death of a Salesman that we never knew we needed nor did we even think about asking for, and as strange as that sounds, it's more than worth your time.

A show that grabs you, and leads you to that nostalgic 60is dream of the future. Combined with a historic lead about selling the moon... And yes, you feel that the series is still finding a little bit of its identity, But give it a chance, let it pull you into a world of make-believe where you can have that dream of living on the moon!!

Billy Crudup plays the leader of a team that travels to various cities selling lots on the Moon. What makes this series look appealing is the retro-futuristic 50s style that adds sci-fi elements like robots, gravity defying cars and funky electronics. These glimpses are cool, but once the novelty wears off, this turns into a more traditional narrative. The wise-crack interactions of the sales team provides a smidge of humor and mildly entertaining fun characters, but Crudup's character obsession with a young new sales trainee dominates the drama. Despite Crudup's effective portrayal, this show starts with promise, but mostly abandons its cool factors for more traditional fare. This review is based on the 1st 4 eps, but there are hints about secrets yet to be revealed in the remaining 6 shows.