Real science fiction is hard to come by. And, frustratingly, for all the solid bits and excellent start to this series, the writing ultimately makes some cheap choices and unforgivable mistakes in logic that takes this challenging bit of story and diminishes it.
So let me slap this around for a couple moments before I move on to the faint praises. For instance, would a high tech world, which shows a propensity for complete body scans, rely only on ID cards and visual confirmations rather than DNA for their approvals? Or, how does a kid raised away from Earth acquire an accent. Any accent? Silly stuff like that could have been easily avoided, but they’re typical mistakes made by lesser writing in the genre. And then there’s the overall arc, but I’ll come back to that in a bit.
Now on to what’s good. The opening two episodes of this story are jaw-dropping. While riffing on several known plots like Battlestar Galactica, Brave New World, and any apocalyptic tale of Earth, it manages to build out some unique aspects. And it is quickly obvious there is a much larger story that may not take the path you think. All great things. In fact, it sets up some truly unique approaches to some standard problems… and then sacrifices them all for all the obvious paths. I picked out every major plot point early on and, while there were some misdirects, ultimately had them prove out. I don’t say this as a brag…but as a lambast. I shouldn’t have been right. At least not on all of it.
If creator Aaron Guzikowski (Papillon) was going to create a tale of restarting civilization, why riff on and recreate or make manifest everything in Western society again? Especially when he’s so brilliantly wiped the slate clean? How much of the paths taken were at the urging of Ridley Scott (Alien: Covenant), who directed the opening episodes and produced the series along with his son, Luke Scott (Morgan), I can’t say. But the issues I have are echos of many of Ridley’s stories of the past decade.
OK, that said, there is some strong acting to prop it all up. Amanda Collin as Mother and Abubakar Salim (Strike) as Father take on difficult challenges well. Even Winta McGrath, playing young Campion, brings some nice credibility (if also his improbable accent). So too do Felix Jamieson’s (Summer of Rockets) Paul and the complicated Jordan Loughran’s (Emerald City) Tempest.
However, Paul’s “parents” don’t fare as well. Niamh Algar is written with very confusing choices and slippery, plot-necessitated motives. And Travis Fimmel (Warcraft) is just completely miscast. He’s so over-the-top as to be distracting and not particularly credible for his path. Someone more like Jason Isaacs would have been better. What was needed was a strong, but damaged, intellect with the capacity for unexpected violence. A crazy man, however he gets there, just gets boring.
But what burns me the most about this opening season is the lack of answers and the number of cliff-hangers after 10 episodes. Frankly, it’s unforgivable to pay off nothing. It’s a desperate plea to get a series two, which I’m sure it will get, but I’d think twice about committing to the next round given the finale of this first. Basically, the series takes an interesting idea, chickens out in almost every respect, and refocuses on a more palatable, standard direction…and then doesn’t even have the balls to admit it with at least some resolutions.
Yes, I’m a bit conflicted. The production design and values are top notch. Some of the ideas are wonderful. Even some of the moments and writing are solid. But, in my opinion, the overall impact was so much less than it could have been with braver choices. Your mileage may vary.