{"id":102132,"date":"2026-04-09T09:53:36","date_gmt":"2026-04-09T12:53:36","guid":{"rendered":"https:\/\/ubirataonline.com.br\/the-miniature-wife-review-a-big-misadventure-and-a-little-love-story\/"},"modified":"2026-04-09T09:53:38","modified_gmt":"2026-04-09T12:53:38","slug":"the-miniature-wife-review-a-big-misadventure-and-a-little-love-story","status":"publish","type":"post","link":"https:\/\/ubirataonline.com.br\/en\/the-miniature-wife-review-a-big-misadventure-and-a-little-love-story\/","title":{"rendered":"‘The Miniature Wife’ review: A big misadventure and a little love story"},"content":{"rendered":"


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\u201cThe Miniature Wife,\u201d premiering Thursday on Peacock, is a messy, energetic science fiction farce about a scientist who shrinks his wife to a height of six inches, or more to the point, about a woman whose scientist husband shrinks her to a height of six inches, by accident, on purpose, or accidentally on purpose. (Watch closely to make up your own mind.) Created by Jennifer Ames and Steve Turner, it\u2019s based on a 2013 short story<\/a> by Manuel Gonzales, sharing its central conceit, characters, various plot points and details to a rather different effect while adding a boatload of extra characters, plot points, details and backstory and extending the story\u2019s arc toward a resolution fit for television.<\/p>\n

Elizabeth Banks plays Lindy Littlejohn, the miniaturized wife, who introduces the series over a montage of future bite-sized misadventures. (Lindy is bite-sized, that is, not the misadventures.) \u201cThis is a love story,\u201d she begins, going on to describe the ways love can make you crazy. \u201cFair warning, it\u2019s going to get worse before it gets better.\u201d The important notice here is not that it\u2019s going to get worse, but that it\u2019s going to get better, as you will be given much cause to doubt that it will.<\/p>\n

Matthew Macfadyen is Les Littlejohn, the small-making husband, whose public claim to fame is a superior GMO tomato. (He has poster-sized photos of himself holding one both at home and in the office.) But, with more than a bit of desperation, he regards his work in miniaturization as his \u201clast chance at greatness,\u201d greatness mattering to him a great deal.<\/p>\n

Two decades earlier, Lindy, for her part, made a smash, and a packet, with \u201cMy Rainbow Starts With Black,\u201d a Pulitzer Prize-winning novel, seemingly based on her own dysfunctional family, and its Oscar-winning film adaptation. Though she maintains the fiction of a career, she hasn\u2019t written a word since; but the money \u201cRainbow\u201d earned \u2014 it\u2019s still a staff pick at the local bookstore \u2014 has bought Les a flashy red sports car, an expensive wine collection and an imposing mansion clearly more his idea than hers. (They live in St. Louis because he had hoped to build \u201cthe Menlo Park of the Midwest,\u201d creating \u201cthe bioagritech that will change the world,\u201d but dream of returning to a house in Vermont.)<\/p>\n

As we begin, Les and Lindy are at dinner, toasting their couples therapist; he acknowledges his \u201cnarcissistic tendencies\u201d and her \u201caccountability issues,\u201d both of which we will see are still in operation and account for most of the chaos that lies ahead. Les has notions of winning the Nobel Prize for his work in size alteration \u2014 work that is somehow a secret from Lindy \u2014 though he has, so far, only been able to make things small; they blow up when turned large again. Lindy, meanwhile, is about to end an \u201cemotional affair\u201d with Les\u2019 right hand, Richard (O-T Fagbenle), the only named character in Gonzales\u2019 story. <\/p>\n

\u201cYou were a great shoulder, an ear,\u201d she tells him; \u201cBut I fell in love,\u201d he replies. He\u2019s a clingy, immature man-boy who as a Christmas present has sent a manuscript he assumed was Lindy\u2019s \u2014 it was in fact her student\u2019s work \u2014 to her agent (Sian Clifford), who has passed it on to the New Yorker; Lindy, enjoying the interest, neglects to correct the error. (The series is as whimsical about publishing as it is about science.)<\/p>\n

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Elizabeth Banks as Lindy, who is miniaturized by her scientist husband, Les, played by Matthew Macfadyen.<\/p>\n

(Peacock)<\/p>\n<\/p><\/div>\n<\/figure><\/div>\n

Much of what happens proceeds from there. In the course of an argument, in which Lindy accuses Les of \u201csucking the life out of me and my promising writing career\u201d and Les calls Lindy\u2019s novel a \u201cbook report,\u201d she is spritzed with Les\u2019 shrinking potion. She\u2019ll wake up to find herself in bed in a dollhouse, with working miniaturized appliances, where she\u2019ll be left under lock and key for her \u201cown safety,\u201d which seems a pretty (perhaps all too) neat metaphor for marital oppression. \u201cI\u2019m not a misogynist,\u201d Les will protest. \u201cNot intentionally. If anything I\u2019m an accidental misogynist and I too blame the patriarchy for that.\u201d And misogyny isn\u2019t exactly the point; he\u2019s just a self-involved, insecure egotist. He conducts changes on a huge digital whiteboard from a podium like a conductor leading an orchestra; he regards \u201cmy John Cougar Mellencamp Velcro wallet with my high school ID still inside\u201d as valuable enough to auction for charity.<\/p>\n

That Les and his partner Martin (Aasif Mandvi) are running out of money brings in billionaire investor Hilton Smith (Ronny Chieng<\/a>, intense in that Ronny Chieng way) and his science advisor Vivienne (Zoe Lister-Jones), whom he inserts as a watchdog into Les and Martin\u2019s business. With her sharp features, geometric haircut and form-fitting black ensembles, she\u2019s a Bond villain minus the martial arts skills \u2014 icy but with a flicker of feeling, which makes her interesting. Their arrival, and a contractual deadline for successfully reversing the formula that might cost Les his company, sets up a ticking clock, represented by literal ticking clocks mounted around the laboratory.<\/p>\n

Entering the show in Episode 3 is Lulu, the Littlejohns\u2019 daughter, back from college. She\u2019s played by Sofia Rosinsky, so terrific and natural in the criminally canceled Prime Video series \u201cPaper Girls\u201d<\/a> and great again here; Lulu has age-appropriate business quite apart from the sci-fi storyline, but her scenes with her parents help ground the show. She\u2019s a valuable player.<\/p>\n

Les and Lindy fall in and out of understanding as they drift into a state of war; she gains power, self-knowledge and self-sufficiency, even as he falls apart. Escaping her dollhouse prison, she contrives to harry him in creative and increasingly violent ways, even as she\u2019s attempting to remotely manage her literary credit-stealing \u2014 on FaceTime no one knows how big you are \u2014 and sending mixed signals to Richard, who continues to press his suit in extraordinary ways. (It\u2019s a very busy show.) For all of her flaws, self-delusion \u2014 she comes to think of herself as the author of her student\u2019s work \u2014 and some knuckleheaded decisions, it\u2019s much easier to side with Lindy as the puny partner than Les, the giant who made her small. (Gonzales\u2019 story is told from the husband\u2019s point of view, in the detached voice of a scientist.) It only matters to us that Les manages to return Lindy to her former status; his thirst for recognition is represented as pathetic and unseemly. It helps, of course, that Banks is a light, engaging process where Macfadyen, in the person of Les, is not.<\/p>\n

The series is both watchable and trying, given its many tonal shifts and an able, attractive cast, some of whom are assigned to play quite annoying people. Ranging from complete cartoons to more or less fully realized humans, they don\u2019t all fit together perfectly, and so nominally emotional moments don\u2019t necessarily register as such. Some effort is expended to remind us that Les and Lindy have been in love and may be again, an outcome that we reflexively approve, even against our better instincts and even if we don\u2019t feel it. Romantic comedy, which \u201cThe Miniature Wife\u201d sort of is, demands a reunion. It\u2019s part of the deal that things will get worse before they get better. (Though they don\u2019t always get this bad.)<\/p>\n

Anyways, good and bad, it\u2019s easy enough to recommend the series. Delightful and disturbing, size-related fantasies are eternally appealing, going back to Gulliver in Brobdingnag and forward to \u201cThe Incredible Shrinking Man,\u201d<\/a> \u201cHoney, I Shrunk the Kids,\u201d<\/a> \u201cAnt-Man\u201d<\/a> and that scene in \u201cHelp!\u201d where Paul McCartney is made tiny by a scientist\u2019s ray. (It doesn\u2019t matter much that the special effects here don\u2019t always look convincing \u2014 better than those scenes where the people of Tokyo run from a man in a Godzilla suit, but still not quite knitted together.) Such stories play upon our own imaginings; anyone who\u2019s run a toy car across the landscape of a floor, or pretended a planter was a jungle, or made a mountain out of a mound, or projected themselves into a model train layout \u2014 indeed, a scene here \u2014 will relate.<\/p>\n<\/p><\/div>\n


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