Both The Discovery and 13 Reasons Why ask the same two questions: What is life? Why stick around for it? They come to roughly the same answers, though by very different routes.
The Discovery does this through the lens of science fiction. It asks: What if we knew there was something after death? And then it goes on to explore the impact, but tries to remained focused on the smaller stories. It is a rumination on “what if,” bordering on Eternal Sunshine of the Spotless Mind in feel.
13 Reasons Why does this from the 7th circle of Hell, otherwise known to most people as: High School. 13 Reasons tries to expose the realities of teenage perspective by offering up multiple stories and, potentially, the different variations of truth to them as we learn more. Ultimately, this is more a tale in the vein of Veronica Mars than it is a deep psychological expose, more structured as entertainment than open discourse, but it manages to make its points.
Their overlapping discussions of suicide make them a natural and topical pairing.
In The Discovery, suicide becomes a real, and less scary option for many people. Frankly, I think probably on a much bigger scale than the show posits. The script doesn’t try to simplify the risks or answer questions unequivocally, but it does nicely, if narrowly, follow enough characters to explore the idea.
Robert Redford (Pete’s Dragon), Jason Segel (The Muppets), and Rooney Mara (Lion) topline this intellectual thought experiment. With such a great cast, and a neat premise, it could have been so much more. But it is still engaging and thought provoking. And the ending is anything but passive for the viewer.
13 Reasons Why has a number of strong performances, but the primary standouts are Kate Walsh, Katherine Langford, and Dylan Minnette (Goosebumps). Walsh delivers a solidly heart-breaking performance of a mother dealing with loss and guilt. Langford lays out a progression of decisions and emotional fractures that help you follow her path, if not totally agree with the results–all the more impressive as it is her lead acting debut. And Minnette is a perfect “every kid” lost in the political tides of adolescence and inside his own head.
It is the confluence of these presentations that makes them so interesting to me. Either alone would have been something to notice. But two major releases, and even other shows like Transparent jumping onto the suicide depiction train (and there are many, many more, like Collateral Beauty), speaks to a subject in the air that needs dealing with in some way. Perhaps the documented rise of clinical depression over the last six months, particularly in women, is part of the explanation.
Regardless of the deeper zeitgeist, both of these streams deserve your time for their performances and their ideas. As to the bigger picture…time will tell.