The opening scene of Command Z sets the tone: Michael Cera’s character, wide-eyed and earnest, gathers his team to embark on a time-travel mission that feels like a mix of corporate retreat and sci-fi adventure. Directed by Steven Soderbergh with his signature snappy efficiency, this eight-episode series divvies up its 90-minute runtime into succinct, often playful vignettes that oscillate between sharp satire and absurdist humor.

At its core, Command Z is a time-travel comedy with a twist: instead of grand historical revisions, the team focuses on altering small, personal moments to change the trajectory of the future. This premise allows for some genuinely clever scenes, like Roy Wood Jr.’s Sam navigating the pitfalls of modern dating or Chloe Radcliffe’s Emma attempting to intervene in a congressional hearing. The series excels when it leans into its socio-political sharpness, using time travel as a metaphor for the ripple effects of individual actions. Liev Schreiber’s character, in particular, delivers a standout performance with his deadpan delivery and moral ambiguity, grounding the series in a sense of gravitas that balances its sillier moments.

However, Command Z falters when it tries to juggle too many themes at once. The series’ ambling approach sometimes feels like it’s chasing every idea without fully committing to any. While the individual episodes are well-crafted, the overall narrative lacks cohesion, making it difficult to invest in the larger stakes. Additionally, some of the humor falls flat, relying too heavily on absurdist gags that don’t always land. The series’ brevity works against it at times, as key character developments and plot points feel rushed or underdeveloped.

Ultimately, Command Z is a mixed bag. It’s undeniably clever and often hilarious, but its ambition outstrips its execution. Soderbergh’s direction is tight and inventive, and the performances are uniformly strong, particularly from Schreiber and Wood Jr.