Maxxx: A Boybander’s Comeback Tale Makes for a Breezy Binge on Hulu

At the heart of all fame-seeking stories is the same central question: “Who needs integrity when you could be successful?” In Maxxx, that question is asked many times and in many ways to Maxxx (O-T Fagbenle) himself and those around him. The former boyband star is nearing 40 and looking to make a comeback to win over his supermodel ex-girlfriend Jourdan (Jourdan Dunn), but the road back is proving to be arduous for the self-absorbed performer.

Running six half-hour episodes, Maxxx makes for an easy binge watch. Written by Fagbenle (who has also starred in The Handmaid’s Tale and Looking), the series trades in funny if thinly-drawn familiar character types: Uptight, undersexed manager Tamzin (Pippa Bennett-Warner), flamboyant and volatile record exec Don Wild (Christopher Meloni), strange but fiercely loyal Cousin Rose (Helen Monks). Maxxx’s adopted son, Amit (Alan Asaad), adds an interesting dimension to otherwise obvious dynamics, but isn’t yet given enough to do—although a side story with his gender-fluid love interest Roxx, played by Sonny Charlton, shows promise.

For his part, Fagbenle is excellent as the spiraling former star, who constantly pops pills and drinks booze like water. His only hope of returning to fame, at first, is to get the boyband that catapulted him to stardom back together—but that option is erased from the board quickly. It makes way for Tamzin to encourage Maxxx to find and embrace his authentic self, which manifests in an impromptu (and incredibly catchy) ballad that is ultimately shelved for a gross pop mishap he calls “Soft Serve.” The push and pull between these two elements defines the rest of the series, which has the opportunity to take a risk at the end but ultimately pulls itself back to safety.

Nevertheless, Maxxx is a breezily charming new entry into the canon of U.K. cringe comedy (Hulu is broadcasting the series in the U.S. before it finishes airing in its home country—a rarity). Fagbenle augments the humor of pop star patter, while scenes that deal with racism and stereotyping in the industry are well-placed even if they are too easily moved past.