Apple Plus released its third season of FOR ALL MANKIND this month. I have not viewed any of the 3rd season but I did watch all of 1 and 2 and loved them. What follows will be the short review and a longer review of season 1 and 2. If you’re convinced by the short review…start watching now. If you need a little more data, the longer review will give you a better idea of why this many hours of consumption might be worth your time.
The Short Review: 6 Reasons I Recommend FOR ALL MANKIND
- If you love alternative history narratives like The Man in the High Castle, you will appreciate this story
- If you love nostalgia settings and music, think Stranger Things, you will love being immersed in this story-world, which starts in the 1960s, but spans decades.
- Most of us appreciate great casting. FOR ALL MANKIND will not disappoint
- Top-notch production value, this includes the writing, the special effects and the acting
- Good pacing. A lot of action, drama and tension throughout
- A thoughtful story. A sprinkling of social commentary for our current time…some of that commentary I liked, some I felt was contrived, but the ideas are worthy of our attention
The Longer Review: (this review contains a couple of small spoilers)
The USSR and the US are in a space race in this alternative history, set during the cold war. The USSR has landed on the moon first, claimed it as territory, and has aims to build a military compound. This traumatizes the US as a nation. The first episode captures the feeling well as it feels like a gut-punch watching the Soviet flag raised on the moon and hearing the first words of the Russian Cosmonaut as he takes the first steps…The Walter Cronkite figure on the television news reports as follows:
The first man to set foot on the moon spoke just moments ago. “I take this step for my country, for my people, and for the Marxist-Leninist way of life. Knowing that today is but one small step on a journey that someday will take us all to the stars.”
FOR ALL MANKIND was created by Ronald D. Moore (Battlestar Galactica, Star Trek and Outlander), Matt Wolpert and Ben Nedivi. They take the “what if Russia had landed on the moon before we did” scenario and create a similar history to our own, but with differences that intrigue. The writers, I surmise, are progressive in their leanings because progressive values make their way into the script and into a historically white male dominated NASA long before reality. Sometimes, it feels heavy-handed, like the writers are checking the boxes of gender and racial diversity. However, the results do make for a delightfully diverse cast.
In episode 1, the audience meets Margo Madison (pictured above, played by Wrenn Schmidt) at the beginning point of her NASA career where she is the only woman in the male dominated control center. By season 2, she emerges as NASA’s head.
By the finale of season 2, women, a couple of non-binary individuals (though they keep their gender preferences a secret), African Americans and even a Mexican female immigrant who came over the border illegally as a child, are recruited by the NASA of FOR ALL MANKIND. And who can say it might not have been this way had the US felt the pressure of its failure to land first on the moon? Also, the Soviets promote the first female astronaut, shaming the US for its lack of representation.
All the characters are well-drawn and most are courageous and longsuffering in various ways. Joel Kinnaman (The Killing, Hanna and Altered Carbon) plays Ed Baldwin, an astronaut with a big mouth who in a drunken state reveals to a reporter how NASA lost the space race because of an aversion to risk. He is punished for the reveal (taken off astronaut duty and given a desk job), but his words capture NASA’s very real dilemma. In order to stay equal to, or to get ahead of the USSR, risks will have to be taken. Many characters of significance will lose their lives to achieve the elusive prize of space dominance.
This is where the series gives commentary on current society as it poses the questions that plague our century…Who will dominate the future? US and free societies (in general) have dominated the global order since WWII, but that prize came at a great cost to many of our ancestors. We have inherited something hard fought, but that inheritance is being challenged and chipped away by those who see themselves as more deserving of dominance…and perhaps they are, but some moments in history, even national failures, have the capacity to motivate a new generation of warriors. That message shines through in FOR ALL MANKIND.
6 Reasons You Want to Watch Severance
- Two unique settings within a contained, small-story universe. (I will write more about this in the longer review)
- Amazing cast. Adam Scott as the stoic lead, Mark, with a supporting cast that includes Patricia Arquette, John Turturro and Christopher Walken
- Superb characterization and story-telling. The main character and all of the secondaries are complex, layered and quirky, adding to the slow-building tension
- The underlying moral and symbolic truths within the story are not yet fully baked but seem promising.
- This show has a slow ramp-up to gripping tension at the climax of this first season
- More to watch in the future because this past month, Apple approved a second season.
The Longer Review
SEVERANCE is an Apple+ production, the first season is complete, streamable now and free for subscribers. Created by Dan Erickson and directed by Ben Stiller, SEVERANCE is not a comedy. It falls into dystopian mystery with a scifi vibe. A futuristic technology at the center of the story, allows those who work at a company called Lumon Industries, to surgically divide their memories between their work and personal lives. Those individuals are called The Severed. Most of the other tech is familiar and not so modern, for example, people still drive cars around the town.
I give this series a PG rating…it’s possible it will warrant a different rating later on, but so far the mystery is more Hitchcock than Ridley Scott. My ratings usually reflect the graphic nature of the show and not the themes which in this case are harrowing for my adult brain. Would kids enjoy the show? Probably not. You won’t see explicit gore, but you will feel tortured for these characters at the center of the story, in part because of their vulnerability, which is childlike.
Regarding the setting. There are two primary “worlds” in SEVERANCE that exemplify the two worlds inhabited by the employees of Lumon.
One setting is work, the Lumon Industries office building. It feels familiar upon entering, but creepily weird the deeper in you go. The interior design is sterile, with strangely vacant work spaces and long labyrinth-like hallways. The four employees the audience follows most closely work in a large white room with no windows or access to the outside world. They are forbidden to interact with employees from other areas of the building and spend their days huddled around computers doing a job that the audience sees, but doesn’t really understand. In fact, even these employees don’t fully understand what they do, how they do it and why. It’s described as something they feel. Their work is just one of many aspects of this situation that give rise to a suspicion about Lumon. Most of the workers, including Mark (Adam Scott) submit to the rules of the company. There are a few exceptions and those exceptions give rise to Mark’s suspicion about Lumon.
The second world is Mark’s town. This is a cold, dreary place. It feels like it could be Alaska or Canada and is probably unfamiliar to most of the audience. The cold and the dark and size of the town adds to the feeling of claustrophobia, something that permeates this story. Darkness also dovetails with the theme of grief. In episode 1, the audience learns that Mark’s reason for severing came about because of the death of his wife. Mark lives in a housing complex owned by Lumon where it becomes clear, he is monitored unbeknownst to him.
My recommendation to watch SEVERANCE comes with the caveat that I’m still not sure where the story is going. I have viewed the first season and loved every episode. Not everyone enjoys a slow build to a gripping climax, but I do when it’s done well and SEVERANCE does it well. So, if you’re tempted to stop after episode 1 or 2, don’t. The tension ratchets up and up and mysteries become creepier as the conspiracy is partially unveiled.
In my next post, I hope to discuss summer reading which will include:
First, the Short Review
6 Reasons I Recommend THE SILENT SEA
- Beautiful production overall, including visuals that underlie the creepy vibe
- Featured a number of my favorite Korean actors, a few you might recognize if Squid Game was on your watch list this past year
- Plenty tension and surprises/frights
- A number of science fiction and haunted house tropes embedded in the story and various characters (see more in longer review)
- The relationships and particularly, the relationship to authority feel authentically Korean. (also, see longer review)
- You know I love the miniseries genre, 1-hour installments of great storytelling that comes to a conclusion without an agonizing cliffhanger
SILENT SEA is the story about a mission to the moon to find water. I rate this series PG-13. No sexual content in this production, but there are dead bodies, and some gore.
The first episode quickly gives the viewer the high stakes for this mission. Drought has plagued the Earth. Water is the resource most valuable and due to its scarcity, the planet has become a wasteland. Water is rationed to such a degree, many have suffered physically, billions have died. The wealthy nations have gone into space to find a water source. Most abandoned the idea of finding water on the moon after searching, but the South Korean government kept snooping. There has been a top-secret program at a large moon station that was believed to have borne fruit, but suddenly…the experiment falters. Everyone dies all at once on the moon station. The earthbound directors, including Heo Sung-tae (pictured near end of review) initiate another mission to go to the station and investigate the truth, but secrets pulse underneath the surface of this mission and become one aspect of tension in the story. The authorities hold their cards close and the military and science leaders do not push back, though they suspect something fishy. This may or may not be an aspect of Korean-specific deference to authority, but the screenwriter exploits what I understand as deference in a way that serves the story. Also, this is where the nuanced acting plays such a powerful role in the unfolding of the narrative. The audience can see in the face of Bae Doona, the slight suggestion of twitch, a blink, a stern jaw…we see it, but barely and it helps us know that she understands that she is being deceived. Yet, in most of the outward behavior, she acts the true soldier. Doona is great at this nuanced acting, but she’s just one, among a number of these performers, who pull off such nuance. In my mind, THE SILENT SEA showcases superb writing and better acting than Squid Game. Click for a review of Squid Game
Once the mission lands on the moon, what unfolds reminded me of Ridley Scott’s Alien, in all the best ways. Yes, there will be corpses, tunnels, darkness, betrayals, a terrible and contagious sickness, but there will be one character who keeps her eyes on the prize. Dr. Song (Bae Doona) is intent on discovering the truth. In part, she seeks the truth because her sister is one of the corpses and the holder of many of the secrets. Doona as Dr. Song, pictured above, is a female lead in the Korean zombie series, Kingdom. To see my review of Kingdom, click here
I beat this drum a lot but I do feel that Netflix streaming continues to find the best international productions and when it comes to science fiction, the Korean film/media community is putting out a lot of great product. Produced by Jung Woo-sung, directed by Choi Hang-Yong, who deftly handles the brilliant storytelling of screenwriter, Eun-Kyoi Park. Honestly, I think I could teach a five-hour course on writing with this series, moving scene by scene through the screenplay, in terms of a classic sci-fi thriller. Fun fact, this story (as did Scott’s Alien), closely follows the haunted house template. That means there are a few predictable tropes. The audience knows that the mission is doomed (at least the mission as it was originally conceived) as one by one, the team gets whittled down. Who will remain in the end…that is what the audience wonders. Regarding the various characters, the majority of them hold their own, each having his/her own arc, including the wise-cracking military scrub who just wants to go home…a longing the audience suspects will not be realized.
I highly recommend. THE SILENT SEA, and suspect that Netflix now has me pegged in its algorithm as a person who loves Korean-produced thrillers/sci-fi. I might need to give the Koreans their own category on my site. The product is so good, I can’t stop watching and when I watch, I always review.
I had barely heard of SQUID GAME until about a week ago, but now the buzz is everywhere. If you’re like me, you’re wondering…Why all the hype about this Korean dystopian series?
So, last night, I watched the 1st of the 9 episodes and love what is being set up. This episode features a giant robotic girl that rules over a game of Red Light Green Light, also the episode’s title.
Here’s what I can say about the opening.
- An introduction to a variety of well-drawn characters
- Especially, the main character, Seong Gi-hun played by Lee Jung-Jae, is a sympathetic hero, a financially desperate divorcee with a gambling problem living with his mother
- The story draws together hundreds of below average types or “losers” to compete with one another for an extraordinary financial prize. (Losers is the word used by the creator and he makes great pains to show the audience his characters’ failings).
- A creepy robot child with roving eyes that shoot bullets. Tis the stuff of nightmares.
SQUID GAMES would probably receive a PG-13 or maybe even an R rating for violence. I am watching the dubbed version. The dubbing hasn’t bothered me.
There is a dystopian flavor to the story and the world, but its reality is not so hard to believe. What I mean by that is that the game world is not fantastical, nor is it futuristic. This game could be happening today on an island somewhere. The audience does get a shot of the island in episode 1, as well as the back of the billionaire maniacal overlord, who watches via screen as the contestants compete and try to stay alive.
Creator, Hwang, worked for ten years to get SQUID GAME made. The traditional studios wouldn’t touch it, but alternative streaming is proving again, that fresh stories are out there, often outside the Hollywood bubble. Cheers to Netflix in particular for curating and promoting dramas and comedies we would never otherwise see.
Click on the links below for more of my reviews of “outside the Hollywood bubble” stories that deliver. The first two are also Korean-made
Science fiction fans were delivered a treat over the weekend. Asimov’s Foundation Series is finally consumable via screen, television streaming to be precise. Writers/Creators, David S. Goyer (Batman Begins, 2005) and Josh Friedman (Terminator: Dark Fate, 2019) have teamed up to attempt what many had believed unthinkable.
Why unthinkable? The Foundation Series, which began as a few short stories, but over the course of Asimov’s life, evolved into something much more vast, portraying the slow downward spiral of an empire in a sprawling universe over many centuries.
Apple, having bought the rights to the Foundation Series in 2019, invested a large sum to make this happen. The story is definitely being tweaked by Goyer and Friedman, but I am appreciating the adjustments because the Foundation Series novels did not appeal to me. Too many supposedly smart dudes sitting in rooms and talking at one another. Too many ideas delivered in a way that felt preachy to me, therefore dull. Characters that felt interchangeable and almost zero females.
But how about the series? So far I am loving what is evolving on screen. If you’re a scifi fan, here’s why I think it’s worth watching.
- The core of Asimov’s ideas are all there, the story well told so far
- The production design, the sets and costumes are fabulous
- The acting has been surprisingly good
- The screenwriters have changed some of the male characters to female, including Gaal Dornick, the lead character in these first 2 episodes. Dornick, pictured below, is played by Spanish actor, Lou Llobell.
If you’re one of those people who subscribed to Apple Plus because of Ted Lasso, FOUNDATION might just convince you to stay a little longer. I rate this production PG-13 for some violence and sexual content.
The third episode drops this Friday, October 1st.
KINGDOM is brilliant.
Rated R for violence. No sexually explicit content at all. Not even a kiss. And yes, this is a zombie story, but with a twist, which I’ll explain in my longer review. However, be prepared for gore. I watched 2 seasons, but apparently a 3rd is being made to be released in early 2021.
First, the short review…
6 Reasons I Recommend KINGDOM
- Game of Thrones meets the Walking Dead. If the two stories got together and had a child, KINGDOM would be that child.
- Gorgeous costumes, especially the hats
- Palace intrigue galore
- Amazing performances by talented actors many of us have never seen
- A refreshingly different setting and world
- Lots of “scare” moments where you jump out of your seat. These filmmakers know the tropes and use them well.
The story is based loosely on the Manga series, The Kingdom of the Gods by Kim Eun-hee and Yang Kyung-il. The story for television was written by Kim Eun-hee, directed by Kim Seong-hun.
Set in late 16th century Korea (The Joseon Period), Crown Prince Lee Chang, our protagonist, discovers a plot to unseat him. His father is ill and dying and the Queen Consort (not the Prince’s mother) is pregnant with a son…potentially. She and her father are angling for this newborn to take the throne. However, the King must not die from his illness before this child is born, so the the palace doctors are asked to keep him alive at all costs. There is an herb, called the resurrection plant, that must be administered to him in a particular way at death. From this herb, the brain comes back to life, but the creature that resides in the body now has an insatiable hunger for human flesh. Thus, the zombie angle.
The audience is introduced to this creature, the King in the first episode, so no spoilers here. The King is not only a zombie ready to devour any attendant who comes his way, he is being controlled, in chains, by the Queen’s family. She bans the Crowned Prince from seeing his father and although he suspects the King is dead, he cannot prove it. Knowing his life is in danger without his father’s protection, the Crowned Prince flees and while he goes into hiding, the zombie plague is carried to a small village through a body in a coffin, whose death was caused by the King creature.
As the Zombie plague spreads and begins to ravage the region, the Prince comes into his own, fighting to protect his people, but this is a complicated two-front war. The Prince is being chased by his step mother’s clan while fighting the zombie masses. While on the countryside, he slowly unravels the mystery surrounding the condition of his father and does eventually come back to the palace, face to face with the creature. I say no more, lest I spoil…
A few of the secondary characters that emerge are wonderful and as compelling as the Prince and the Queen, including the Prince’s bodyguard, a nurse who escapes the scene of the first zombie outbreak, a perfect villain in the Father of the Queen (although the Queen gives him a run for his money on that score), and a rogue hunter who eventually aligns himself with the Prince.
I loved the writing, all the dialogue is perfect and no scene is wasted. KINGDOM often reminded of Shakespeare, Hamlet in particular…That is how well put together these characters are and the stage is…well, many lovely locations in South Korea.
I cannot recommend this series highly enough. If you do watch it, drop me a line and let me know what you thought of it.
To watch the official trailer, click KINGDOM trailer
The second season of HANNA was released July 3 of this year, the dreaded year of Covid, and since all of us are streaming our content each night/day/allday/allnight (until recently, there have been no sports to watch and no air-conditioned movie theaters in which to view the latest fun film)…However, most of us are still suckers for a well-crafted drama. The release of Hanna’s second season by Amazon Prime found me in just the right place for a conspiracy-laden story, inhabited by teens.
I rate this series R, mostly for its violence. HANNA, created and written by David Farr, also portrays a disturbing picture of childhood, so if you have young children/teens who want to watch, you may want to preview this before allowing them to enter into the violent world of Hanna. Other than that, I highly recommend this series. It skirts the line that is science fiction and dystopian.
Short Review of HANNA. 6 Reasons You Want to Watch…
- Well written story and well-crafted characters
- Outstanding performances by Joel Kinnaman, Mireille Enos (they’re reunited here…having starred together in the award-winning detective series, The Killing.) Hanna is played by Esme Creed-Miles. She’s a British actor, but pulled off the German accent. I don’t think she actually speaks German, but she did speak French fluently. Kinnaman is Swedish. He also carried the German accent and spoke a lot of German to make this role believable.
- Timely. A US intelligence service, broken into factions, clawing at more power? Perhaps too real…
- Truth and morality emerge in the most unlikely places and the story reminds us of that.
- I love the way the characters rarely shout. Erik (Kinneman) and Hanna (Creed-Mills) both have this quality. They speak with intensity, but always quiet and measured, understated. I found myself loving this vibe more than I thought I would, maybe my Scandinavian roots…
- A story set in Europe, especially Berlin, London and Paris. Hurray, given we cannot travel there right now.
One of the things I liked about this production was its willingness to go slow. That might sound weird because the story moves at a pretty fast clip, but there is also time in each episode to absorb what is taking place in the character’s lives, in their hearts. I attribute part of that pacing to the editing. THANK YOU DIRECTORS AND EDITORS! It surprised me sometimes what was not put on the screen/what was skipped, but it also revealed what was most essential for the story. I found my brain willing to allow the holes in the plot because the true drama was not withheld from my view.
In season 1, the audience is introduced to Hanna as a baby, also to her mother and to her mother’s savior, Erik (Kinneman) who ends up rescuing Hanna from destruction. Erik, though German, is an insider with the US intelligence agency that is accepting babies in order to turn them into super assassins. Erik becomes Hanna’s guardian and the audience believes he might actually be her father. He isn’t. When Hanna finds out he has lied to her about his biological relationship to her, she is enraged.
Telling the truth is VERY important to Hanna. This seems consistent throughout and is refreshing as a character trait. It grounds the viewer, even when Hanna’s allegiance to the “good” or the “evil” entities in the world seems confusing. Hanna punishes those who lie to her, even when those individuals are her allies.
That dynamic of telling truth versus lying, or shrouding the truth reminds me of how teens (I’ve raised a couple and counseled many) have a nose for truth or fiction. They sense when adults are lying to them. Just tell me the damn truth and don’t protect me from it because you think I can’t handle it said every teen ever.
And I love that about them. I loved that about Hanna. She is so pure in that sense, the audience is ready to root for her in just about any circumstance, even when it feels like she is about to give in to evil.
Hanna has been renewed for a third season. I look forward to seeing how the writers develop this story.
I recently finished viewing all 4 seasons of THE MAN IN THE HIGH CASTLE and loved it. Also…I know I’m a little late to the game, but it’s hard to keep up, especially if you’re trying to read and watch scifi! There’s a lot of good content out there in the multiverse. I give this story a PG 13 rating, so be warned, parents.
THE MAN IN THE HIGH CASTLE is not a new story, but it was imagined anew by creator Frank Spotnitz for our era. It is based on Philip K. Dick’s novel of the same name (which I have not yet read, but will soon because I enjoyed the series so much). Dick’s daughter was involved in the production of the tv version, overseeing her father’s vision.
This story is less science fiction in the traditional sense and more alternative history. Dick wrote THE MAN IN THE HIGH CASTLE after being inspired by the novel Bring the Jubilee, by Ward Moore, whose novel is an alternative history of the US where the Confederate States win the Civil War. In Dick’s novel, the Axis powers win World War II. First, the short review:
5 Reasons I Recommend THE MAN IN HIGH CASTLE
- Superb storytelling…I was surprised at how well the writer(s) kept me engaged, including the pacing over 4 seasons. Bravo!
- Spot-on performances. A brilliant portrayal of John Smith, an American/Nazi leader, by Rufus Sewell. Also, a powerful female hero in Juliana Crain (Alexa Davalos)
- A satisfying enough ending (will say no more lest I spoil)
- Pushing characters to their limits and not turning away from human dilemmas like: How far would you go to protect your family? Would you kill a person in cold blood if you know they will be responsible for death and mayhem in the future?
- Finally, if you find history a bore, consider jump-starting your learning via consuming smart fiction, like THE MAN IN THE HIGH CASTLE. World War II was a fascinating and dark time in world history with reverberations reaching into our current era, more than we might think. THE MAN IN THE HIGH CASTLE gives the audience an intimate view into the characters of the day, many of whom are real historical people, but if not real, the fictional characters help the audience understand the zeitgeist of the time.
I appreciated and enjoyed all four seasons of THE MAN IN THE HIGH CASTLE, but my favorite seasons were 3 and 4. Seasons 3 and 4 put forward the more complex moral and philosophical questions around Nazism, occupation and the kind of determination that it takes to defeat evil. I still appreciated season 1 and 2. The moral framework was being laid, the true heroes were being defined, but by season 3, defeating evil in our midst becomes the clear goal. It will require dedication, resilience and the broader community…something I feel to be true throughout history. Unlikely allies come together to defeat evil.
In that sense, I found the series remarkably relevant. Dick is playing with alternative histories in this story and Spotnitz (credit for the screenplay/creator goes alone to Frank Spotnitz on the show’s Wikipedia page) was able to put forward a world that in many respects, felt as real as the news I see on my screen on any given day. Before Covid19 and George Floyd protests…in this series (in the book, I assume as well) memorials, monuments and statues are blown up, taken down, destroyed. That was interesting for me to ponder.
In THE MAN IN THE HIGH CASTLE, those taking down the monuments are Nazis, determined to wipe out American history and recreate their own version of history that will be imposed on Americans. One character spells out the reason, “Once we wipe out their narrative, it will help them accept our narrative, the Nazi narrative.” The Nazis empower the young people in the US to riot and do violence to any who try to protect the monuments.
I would hesitate to make a moral statement about those who have defaced monuments in our cities in these last months, but I did find it fascinating to see this portrayal, non political, I assume because the screenplay was written long before our recent protests. How would those scenes be written today? I wonder…
To counter that narrative that “good ‘ol America just needs to be reclaimed”, the Black Communist Rebellion becomes an important power in the final season. Those characters are drawn in a way that is multi-faceted and dignifying. The series touches on Civil Rights era injustices while highlighting the Nazi take on black skin, which is horrifying and includes the sterilization of young black women. The audience sees the “graded” evil of racism.
THE MAN IN THE HIGH CASTLE does not justify white supremacy. It tries, I think, to highlight its evil and does not let white America off the hook. Like I said…this is a complex narrative and, to give Dick credit, it was written in the early 1960s.
In the series, the Axis powers have split the US into three zones. The Japanese rule that which is West of Rockies. The East is ruled by the Nazis and in an attempt to keep these powers from eating each other, the middle of the US is neutral. Juliana Crain is a San Francisco native, so plenty of Northern California sites on screen, including the supremely gorgeous Japanese Tea Garden in Golden Gate Park.
I was gratified to get a view into the Japanese Imperial rulership over the Western US in a way that capitalized on few or no stereotypes. One sees and feels the brutal nature of the Japanese occupiers, but also the complex politics between Japan and Germany (both superpowers in this universe) and the grace and gentleness of some aspects of Japanese culture. There are Japanese who brutally murder and there are Japanese who feel deep compassion to the point of aiding the rebellion. That is a helpful juxtaposition and I believe a true one when it comes to human dynamics during a time of war. Building an empire leads to big messes and horrible violence. It also drives human beings to act with sacrifice and heroism. THE MAN IN THE HIGH CASTLE does not shy away from the complexities of warfare and empire building and for that reason, it deepened my understanding of a complex historical time.
Grit, hope, despair and horrible evil are all captured in this story, but what emerges most prominently in narrative are deep truths about what is right, just and good. This story is one for our time. I encourage you to start watching today.
My 8th post on this particular Amazon Prime series. I reviewed chapter by chapter (episodes are called chapters). For a review of the pilot, click Chapter 1.
Today I viewed the finale.
Question that arose…Will DARK/WEB will have a second season? Will there be enough interest? I have no way of knowing. What I can say is this…
There is a kind of resolution that takes place in this final chapter.
- Molly is found
- The mystery of what she was up to and why she was drawing her friends toward her hiding place is solved
- There are a couple of big reveals…one of which doesn’t pack the emotional punch that it should
- A perhaps too tidy wrap-up
- More horror story tropes…like a corpse, a cabin in the woods, a stormy night without power
The ending to this series felt overly ambitious and contrived…a lot of explaining right at the end to tie up all of the loose ends. Sometimes the characters acted in a way that didn’t make sense to me, didn’t see human, but served the overall plot. I always get frustrated when this is the case. There is a campy nature to the series, maybe this is part of the fun…perhaps another horror trope? However, it also takes itself VERY seriously at times, so I was trying to take it seriously too and sometimes the camp did not match the tone of true evil that was being portrayed.
However, I will give the series lots of chops for these elements:
- An ambitious vision in its attempt to unveil evil in our society
- A diverse cast of characters, (diverse in ethnicity and sexual orientation)
- A female POC director. I loved the direction overall…I wasn’t wild about the all the writing, but hey…I am a writer and am always more picky about the writing than the directing.
Overall, I recommend DARK/WEB if you have the stomach to watch horror/scifi.