In one of their final exchanges before his passing, Abraham Lincoln (played by Hamish Linklater) refuses to accept the resignation of his Secretary of War, Edwin Stanton (portrayed by Tobias Menzies). Despite the conclusion of the Civil War, Stanton argues, Lincoln remains resolute. “Your heart has always been more invested in Reconstruction than in victory,” the president observes.
Apple TV+’s “Manhunt” ostensibly revolves around the dramatic pursuit of Lincoln’s assassin in the immediate aftermath of his death. Yet, akin to Stanton’s sentiments, the true essence of the series lies in the era of Reconstruction. Long after Stanton’s intense pursuit of John Wilkes Booth (depicted by Anthony Boyle of “Masters of the Air”) concludes, the show delves into a vivid portrayal of a nation at a pivotal juncture, exploring the bitter compromises and hard-won triumphs that reverberate through history.
To reach this narrative juncture, “Manhunt” initially delivers on its promise of a gripping conspiracy thriller. The premiere thrusts viewers into the fray from the day of Lincoln’s demise, tracing Stanton’s 12-day pursuit across seven hour-long episodes. While Booth’s identity as the killer remains undisputed, the series maintains the tension of a gripping investigation, akin to the murder mysteries of recent times. Stanton and his team meticulously analyze evidence, follow clues, and devise strategies to ensnare or thwart Booth’s movements. Among their clever ploys is the ban on horse feed sales in Maryland, where Booth is suspected to have fled after leaving Washington, D.C.
Meanwhile, as Booth flees southward towards the former Confederate stronghold of Richmond, audiences witness him not as a cunning mastermind or sadistic villain, but rather as a pitiable figure driven by vanity and oblivious to reason. When suggested that he seek refuge in Mexico, Booth petulantly rejects the idea, lamenting, “I am not a symbol in Mexico; I am a symbol in Richmond!”
Nevertheless, his actions plunge the nation, still basking in the aftermath of war’s end, into a fresh haze of paranoia. Journalists ponder whether Booth’s deed has ignited a new Civil War, forcing preparations for surprise attacks by civilians. Stanton dismisses such concerns as “an anomaly,” yet he acknowledges the high stakes at play. Ignoring his doctor’s warnings and his wife’s pleas, Stanton labors tirelessly, uncovering threads of a broader conspiracy stretching from Richmond to Montreal, implicating the highest echelons of Confederate leadership.
Throughout, creator Monica Beletsky, adapting James L. Swanson’s book, intersperses flashbacks to past days or years, offering additional insights without detracting from the central plot’s momentum. These detours provide vital context and flesh out characters who play pivotal roles in Stanton’s pursuit of justice.
Yet, the heart of the series lies in impassioned dialogues between Stanton and Lincoln, shedding light on their visions for reunification. Although “Manhunt” positions Stanton as the moral compass, Menzies imbues him with quiet confidence rather than overt heroism. However, the portrayal of Lincoln, marred by heavy prosthetics and folksy utterances, falls short of humanizing him effectively.
“Manhunt” does not veer into alternate-history territory like “The Man in the High Castle” or “For All Mankind.” Yet, through Stanton’s ambitious plans and unwavering determination, viewers glimpse an alternate timeline where Confederate traitors faced harsher consequences, and Black citizens enjoyed a more decisive welcome. The series poignantly illustrates the dashed hopes of freed slaves under Lincoln’s less sympathetic successor, Andrew Johnson (played by Glenn Morshower). Conversely, the jubilation of Confederate characters at the prospect of reviving their way of life through Booth’s actions offers a chilling glimpse into an alternate reality where the darkest outcomes materialize.
