Apple TV+’s Prime Target Fails to Hit the Mark

The first episode of Prime Target on Apple TV+ opens in Beirut, where we meet Baidaa, a Lebanese woman caring for her daughter. However, mere seconds after their introduction, they are brutalized in a tragic scene meant to establish tension. It quickly becomes clear that these characters’ existence was only to be victimized, serving as plot devices for the Western-centric narrative. They are given no real depth or personality, their sole purpose being to move the story forward for the white protagonist. This portrayal of Arab characters as disposable bodies, existing solely to be subjected to violence, feels tired, dangerous, and deeply problematic.

This approach isn’t just biased—it’s a lazy and ineffective narrative device. The scene feels disconnected from the main story, adding little to the overall narrative and lacking any emotional depth or complexity, only to be awkwardly revisited eight episodes later. Using a traumatic event against an Arab community solely to propel the white protagonist’s arc is a cheap and harmful way to create drama without engaging with the victims of the trauma at all.

Predictably, the series then shifts its focus to Edward Brooks, played by breakout star Leo Woodall, a British actor known for his scene-stealing roles in The White Lotus Season 2 and Netflix’s One Day. Brooks, a post-graduate math student, is introduced with a focus more on demonstrating his intellectual superiority than on developing his personality or motivations. By the fifth montage of him furiously scribbling through a math equation while others look on in awe (as if this somehow substitutes for actual character development), the reliance on clichés becomes laughable. Though Woodall’s charm brings warmth to the character, Brooks remains underdeveloped.

In the pilot, Prime Target introduces Ed’s relationship with Adam (played by Fra Free), and Ed’s struggle with his internalized homophobia creates conflict within their connection. Their bond offers a rare glimpse of genuine emotional depth and character growth as the show progresses. However, as predictable plot twists begin to unfold—twists I had hoped would not materialize after Adam’s introduction—the experience becomes increasingly frustrating, effectively undoing any growth or development Brooks had shown in earlier episodes. Ed’s journey of confronting his internalized homophobia was one of the few moments in the show that felt like a sincere representation of emotion amidst all the contrived action. Prime Target had the potential to offer a rare and positive inclusion by allowing a Queer relationship to develop alongside the larger narrative—something particularly uncommon in genre shows. Instead, even this aspect of the show is reduced to a plot device, manipulating the audience at the expense of meaningful character development.