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In Lupin, Netflix’s new French heist series, the first score takes place below the Louvre. Having joined the building’s janitorial crew weeks before, Assane Diop (Omar Sy) ascends into the opulent showrooms of the historic museum, transforming with the scenery from musty custodian to self-made tuxedoed playboy. The seamlessness of his metamorphosis nods at Assane’s Blackness singular among the snowflake elite in the Louvre, nondescript among members of the working class in its bowels. We’ve seen this fish-out-of-water juxtaposition before: Think Sammy Davis Jr. in Ocean’s 11. But in Lupin, as viewers get to know Assane Diop, it becomes clear that this is a key element of his shtick: he wields stereotypes, his presumed poverty and criminality, against his marks. In fact, race plays a central role throughout the show, which has lodged comfortably in Netflix’s “Trending” carousel since its January 8 release. But it too rarely bears fruit, desiccated by its own f

France generalUnited kingdomFabienne beriotHad beroitபிரான்ஸ் ஜநரல்ஒன்றுபட்டது கிஂக்டம்