At first glance, Review appears to be comedy in which someone makes a major production of doing basic things in a very stiff, social-anthropology, insider-playing-at-outsider way — Sasha Baron Cohen in khakis. This is indeed the basic approach. But the show’s genius is that instead of treating each review as a separate, self-contained event, mined for jokes then never referred to again, there’s continuity between all of them. The magical comedy reset button you’d expect them to hit after Forrest, say, gets addicted to cocaine, overdoses, and goes to rehab, never gets hit. The experiences build one on top of another.

That’s the angle that stands out to actor James Urbaniak, who plays Forrest’s amoral producer/enabler Grant. “There’s an element of it being a satire of reality TV,” he says. “In reality TV, you make decisions that have an emotional effect on people but are restricted by the parameters of the game or the competition. Review “is breaking down those parameters, so he’s making very big decisions, like getting divorced, that affect his whole life.”

“Affect” is an understatement. Even though the only time he acknowledges it before the first season finale is in one brief fit of self-pity while eating an enormous stack of pancakes (don’t ask), Review shows Forrest slowly but surely destroying his life and the lives of everyone around him. His marriage ends. Multiple people get killed. All under the rubric of this preposterous high-concept mockumentary show.

In other words, Review is a satire not just of reality shows, but of New Golden Age of Television antihero dramas, hiding in plain sight. It takes the basic “man ruins all he cares about in the name of something that makes him nominally freer and more powerful” structure of the genre and plays it for deliberate laughs. Instead of a meth empire or a mafia family or a double life, he commits his bad acts in the name of the television show that chronicles them. He’s Walter White, but without the sense that there’s anything tragic about him — he’s just an oblivious faux-smart buffoon. It’s a satire of the middle-class middle-aged white-male entitlement and privilege that all the big dramas treat as the stuff of life.

“He is like Walter White,” Urbaniak says. “I never really thought about it that way, but I like it, and I’m buying it. He’s a guy who’s made, at a certain age, decisions that simultaneously give him some power but also upend his reality and the reality of those around him. Andy, in his comedy before the show, has always explored the disturbing depths within unassuming guys. He’s from New Jersey, but he has a quintessentially midwestern quality. He just seems like a quintessential nice, pleasant-looking, affable American guy; then it’s all about the depths that this guy’s capable of getting himself into, very much on his own. That sort of is like Don Draper and Walter White and those other guys. I dunno—maybe there’s some zeitgeisty thing going on about middle-aged white guys.”

Is Andy Daly’s Review secretly the prestige-tv antihero satire you’ve been waiting for? I talked to actor James Urbaniak about it for the New York Observer.