[4 stars (Tales of Arcadia) or 2.25 stars (Cursed)]
Two very different Netflix shows currently tackle the Arthurian myth. And, surprisingly, the children’s show does it better and more interestingly. Arthur is rich in myth and history with enough room in it to allow for many types of retellings. And these two shows couldn’t have done it more differently nor with such different levels of success.
Tales of Aradia was created by Guillermo Del Toro (The Devil’s Backbone), based on his co-written books. It’s an interconnected collection of series that began with Trollhunters. Then came 3Below, followed by the most recent: Wizards. But the threads that lead to Wizards begin in the first episode of Trollhunters. And, yes, these are really aimed at older kids and young teens, without question, particularly the first couple series. However, I jumped into Wizards without watching the others and it hooked me. It was inventive with the myth, stretching it like crazy, but not breaking it in a way that felt wrong. And while it was clear I didn’t know the backstories of a lot of characters, I was never entirely lost; a credit to the writing of the show.
When I went back to the beginning of the inter-connected series, I was surprised to find references to events I’d just witnessed, and which would have gone unanswered for viewers for three years. In other words, I don’t think it matters which end of the time stream you start, it all comes together in fun ways.
The show is loaded with voice talent, and won several Emmys as well. Most notably in the cast is Anton Yelchin (Thoroughbreds), who began as the lead, and stayed with it through his untimely death near the beginning of season 3. And then the series made some great choices to both continue, and to not dismiss his loss when they changed the character voice to Emile Hirsch (Once Upon A Time In Hollywood).
When you’re looking for some distraction, some fairly solid animation, and a clever tale, this set of shows will work for you. And, more importantly, they don’t insult your sense of the underlying material they plundered to create their world.
Now, on to Cursed…
Where to start with where this series went wrong… How about the desire to rewrite the Arthurian tale rather than just do a true prequel? How about mucking up Roman/Britannia history so badly as to be embarrassing? How about having people make stupid choices and dialogue that was utterly painful at times? How about an unrelenting dirge of a tale with barely a respite? Well, it’s a start.
I will admit I soldiered on through to the end of this story, though I almost completely bailed about half-way through the second episode. It was close and I did turn it off at that point. But I came back to see if they could rescue it. They sort of did. Sort of. But I was still let cursing (appropriately) at my screen in the final 15 minutes of the series.
Aspects of the reimagining are clever…but they’re also contradictory in their set-up, implying it is way before Arthur’s time, when in fact is is contemporaneous with it. That just threw it all into disarray at the outset. And then there is the religious war aspect, which was half-true, though massively shifted time-wise to feed their hungry beast of a plot.
The cast does what it can with the painful scripts and choices, but they are left hanging on the screen, more often than not, looking less than comfortable with the results. Katherine Langford (Knives Out) and Devon Terrell (Ophelia) bumble around the countryside having to deliver mouthfuls of bad dialogue, and strained protestations of affection. And Gustaf Skarsgård (Vikings) has created an outrageous Merlin, that tries to resurrect Nicol Williamson’s unforgettable turn in Excalibur. And then there’s the sadly miscast Sebastian Armesto (Tulip Fever) as Uther Pendragon, whose been shrunk to a fool and wisp of a man. And that doesn’t even touch the psychotic nun, Emily Coates, who does OK, but who we never get enough about to understand what drives her. At least the young Billy Jenkins (Humans) gives us a full character, even without all the backstory.
Honestly, if we’re looking for strong, female-led tales of the time, and Arthur in particular, can’t we just finally adapt Mists of Avalon or Parke Godwin’s Firelord series? The characters are way more interesting, and the story much more credible and fascinating (and closer to true history and embraced myth).
The point is that if you’re going to do a re-imagining, do it with a purpose, not just changing things for shock value or convenience to muck with people’s expectations. Ultimately, that’s all Cursed does as it slogs through its torturous existence, and without even the courage to finish the story.