Timing is everything in entertainment and The Stand, well, it couldn’t have picked a worse time. Despite the long anticipation, and the desire to see this epic tale told with the breadth it deserves, watching a story of a pandemic (even if it is just a McGuffin) doesn’t quite ring right at the moment.
But timing isn’t its only issue. The show suffers from all that was good in the book and all that was bad. Some of the casting works nicely, like Amber Heard’s (Aquaman) Nadine, Odessa Young’s (Shirley) Frannie, and even James Marsden’s (Sonic the Hedgehog) Stu. Other characters like Owen Teague’s (It: Chapter Two) Harold Lauder, and Nat Wolff’s (Admission) Lloyd, aren’t credible…and, in fact, Lauder isn’t even afforded some of his evolutions from the book despite the available time in the series.
Other changes to the story, like making Flagg the actual devil and Mother Abigail potentially an angel (though really more of a prophet) removes too much of the interesting aspects and struggles. Part of the real suspense in the book is that people have to choose (including Flagg and Abigail). That Flagg actually has a supernatural hand in causing the pandemic is just so frigging cheap a choice and shows no imagination on the part of the writers. It’s too easy and lets people off the hook. I do admit that Alexander Skarsgard (The Hummingbird Project) is a near-perfect choice for Flagg. Whoopie Goldberg is a bit less perfect as Abigail, but that felt more like the writing than her efforts.
There are also some nice smaller appearances that work nicely. Natalie Martinez (Self/less) gets to have a nice arc. And Brad William Henke (Bright) delivers within the limitations of Tom’s boundaries nicely. Even Ezra Miller’s (Fantastic Beasts: The Crimes of Grindelwald) Trashcan man, for all its outlandishness, works for the need and the part. But Nadine’s story gets rushed at the end. And the Vegas crew, generally, is just so over the top as to be entirely ridiculous. You never wonder about the outcome. Only the Colorado side feels real and sustainable (which has its own commentary and point eventually).
When the book came out 40+ years ago, it was something really new. That just isn’t the case anymore. And, worse, it feels culturally old. Despite having been updated in time the characters and situations haven’t been updated for a 2020 sensibility in politics, identities, nor culturally. That gap is squarely on the writer’s and directors. While a lot of the plot is sadly timeless, how we deal with one another has changed and the rhythm and language just feels off.
Ultimately, I wish the writers had been willing to really rework the story without losing its main premise and tension. Good vs. Evil doesn’t have to be extremes. In fact, some of the biggest impacts on both sides are often small gestures or choices that ripple out. Sure, we want it to build to a great crescendo, but the series even pulled that moment from us in an odd throwaway, supernatural event that doesn’t even really fit with the rest of the tale. In fact, the choice utterly cheapened all the efforts of the people involved because, ultimately, they didn’t matter. I do like that they had a coda episode that shows that stories just continue, that they don’t end just because of a plot milestone. Using it to create a second climax, another Stand, was clever. However, again, it cheapened everyone else’s choices and lives by forcing the God/Devil fight directly into it all rather than done at a distance. Deus ex machina is not a satisfying solution for a 9 part series, even if it can be used as a point in shorter fare.
Despite some good performances, incredible scope, and solid production values, this version of The Stand still isn’t the one we deserved after so long. Much like Dune, it struggles to find an artist who can breathe life into its rich and complicated world without making it feel like a farce.