I rewatched BLADE RUNNER last night in a friend’s home-theater with a group of folks in their 20s and 30s. For some, it was their first time viewing the film.
I consider myself one of the lucky ones to have seen the original BLADE RUNNER on the big screen during its first weekend release. I was a young highschooler at the time, a huge sci-fi fan and living in Burbank, California. I remember my older brother and I driving west over the Hollywood Hills, as we did often in that era, to make sure we were getting the biggest bang for our buck. Our theater of choice that night was The Egyptian Theater on Hollywood Boulevard.
It’s not easy to describe to a new generation of filmgoers how important this film was at that time. Most folks in the film industry, especially directors point to BLADE RUNNER as ground-breaking. Ridley Scott made BLADE RUNNER after finishing the film, ALIEN. He also made it after his brother had died of cancer. The dark setting of BLADE RUNNER reflects a dark state of mind. Don’t expect cheerfulness here.
YET…you don’t have to be a filmmaker to appreciate BLADE RUNNER.
Here are 10 Reasons Every Sci-Fi Fan Ought to Watch BLADE RUNNER
Oh, and watch the FINAL CUT. 2007 version. There are seven versions of this film. Kind of crazy, I know.
- Cult classics happen for a reason. Following its meh release in 1982, a slow-building respect, awe and cult following emerged.
- BLADE RUNNER influenced the next generation of filmmakers, especially dystopian and sci-fi writers/directors.
- This is a brilliant screenplay (especially once R.Scott took out the clunky voice-over narration), though there are many fans of that version of the film.
- Take pleasure in watching a young Harrison Ford perfectly embody the main character, Richard Deckard.
- You like The Man in the High Castle? Philip K. Dick wrote that novel. BLADE RUNNER is an adaptation of his weird classic, Do Androids Dream of Electric Sheep?
- You’re a Battlestar Galactica fan? Here is a chance to see Edward James Olmos (Captain Adama) in a role you would not expect.
- Complicated villain. Rutger Hauer…what a performance!
- The sequel is excellent and makes a lot more sense if you watch the original first.
- This is not a movie for the weak, nor is it for the mindless. You will have to think and process the experience after viewing.
- Because of number 9, it’s a great film to see with a group of friends. At the very least, the post-film discussion won’t be boring.
If you want to totally nerd out on BLADE RUNNER, I recommend this very long and thorough article in Cinephilia & Beyond
The Short Review. Why or Why not Read ACCEPTANCE?
- I already consumed the first two in the trilogy and like to finish things
- I wanted to understand more of the mystery that is Area X. There was definitely more backstory to absorb in this volume
- I enjoyed the deeply flawed, but thoughtful characters
- I wanted to spend more time in the imaginative world of Area X
- The writing style was unique and often beautiful
Why avoid reading?
- Because the point of view was shifting all the time, it was a challenge to attach to any one character
- Disappointing ending
- The writing style grew stale after a while…lots of interior musings and struggles without enough plot or even conflict (the conflict is underlying, but too diffuse)
- Not only does Vandermeer shift points of view with every chapter, he also moves back and forth between past and present
- I started this book on audio, but switched to print about a 1/3 of the way through because POV and time switching was too confusing
To buy ACCEPTANCE, click here.
To buy the SOUTHERN REACH TRILOGY, click here.
The Longer Review of ACCEPTANCE
If you read my earlier reviews, you understand that I started out a big fan of Annihilation. Not only was the main character, compelling, but the mysteries that unfolded in the narrative created the perfect amount of tension to keep me engaged. I’m guessing this was true for many other readers interested in the interior life of this quietly observant biologist as she ventures into Area X. The biologist (she is never named in the book) is at the heart a true scientist and in certain respects more attuned to flora and fauna than to people, but she observes people with a scientific eye. She is spooky, highly intelligent and trustworthy as a narrator in surprising and interesting ways. I really loved this character. I loved that she was anti-social and an introvert. She also had clear motivation to act because her husband had been on a previous mission into Area X and returned damaged before succumbing to death She is a worthy rival to the various human and monster challengers that get in her way. In fact, she is such a great character that Alex Garland (screenwriter) took the story and created a feature-length film around her, that character played wonderfully by Natalie Portman. I loved the film, but it is not the same story told in the trilogy, nor is it the same story told in the novel after which it is named. The film narrative diverges in significant ways. I will post my review of the film tomorrow. I ought not say more unless I spoil the story.
What to say about Vandermeer’s style? Be prepared for words like ziggurat to be on the page in large numbers. His writing is lovely and intellectually gratifying if you’re interested in imaginative metaphors and curious juxtapositions. This language mimics the beauty and strangeness of Area X. Here is an excerpt:
In Control’s imagination, the entrance to the topographical anomaly was enormous, mixed with the biologist’s vast bulk in his thoughts so that he had expected a kind of immense ziggurat upside down in the earth. But no, it was what it had always been: a little over sixty feet in diameter, circular, located in the middle of a small clearing. The entrance lay there open for them, as it had for so many others. No soldiers here, nothing more unusual than the thing itself.
I’m not opposed to imaginative language, but the extensive descriptions did sometime bog down the story for me, especially when I was trying to consume the book via audio. With a passage like above, I would sometimes have to rewind…What did he just say? Did he say ziggurat?
Finally, my reticence to fully praise this trilogy is that the mystery is not explained to my satisfaction. Too many unanswered questions. I guess Vandermeer has another novel called Area X, but given this group of books…Annihilation, Authority and ACCEPTANCE are presented to the world as a trilogy…I want the satisfaction to take place by the end of the third book and not have to pick up another novel to figure out the answers I need.
Regarding the audio experience. For whatever reason, my brain struggles to follow an audio narrative that jumps around in point of view and in the timeline like this novel did. I struggled with this same issue when I listened to The Three Body Problem. Annihilation as an audio book was easier to listen to. It was straightforward, narrated by one character in the first person and unfolded in a linear timeline (with a few memories/backstory as a part of filling out the character). That narration works well for me. I’m curious for those of you who consume a lot of audio books if you have these same struggles? Drop me a line and let me know.
I am delighted to introduce this third guest post. Professor Liam Corley, an old friend from my early years as a University pastor at UC Berkeley, writes on Jemisin.
First, Professor Corley will show us why Jemisin is worth reading. Second, he will comment on Jemisin’s deft handling of the story-telling craft. The latter part of the post contains spoilers, but for anyone who cares about writing great characters in epic novels, the professor’s sharp analysis will be incredibly helpful. Enjoy!
Five Reasons…(no spoilers)
Sure, N.K. Jemisin has won all of the top prizes in the industry, and every one of the books in The Broken Earth trilogy has won the Hugo. But you’re a discerning reader. You don’t follow trends or hype. Why will you be glad you read Jemisin’s amazing novels?
- You’re a mom, and you have fought with your daughter. Maybe been mean. Apologized. Did it again. Jemisin’s work is all about the woman protagonist, especially mothers, and the tangled relationships she depicts will have you thinking about YOUR relationships in a new way.
- You know Black Lives Matter, but you don’t know how to talk about it without bursting into flames or tears. Jemisin’s work is a treasure trove of insight into how to confront, live through, and go beyond racial injustice and all of the horrors it has inflicted. From lynching to the casual use of the N-word, it’s all there, in sci fi clothing.
- You care about the environment–really care–and wonder what humanity is doing to its survival prospects by destroying our home.The Broken Earth faces up to the end of the world. Again and again and again. Why are we destroying the world? Because we’re greedy and hate each other. Yup, that’s pretty broken. But Jemisin also shows people learning how to survive in the aftermath and figuring out how to make things right.
- You think Toni Morrison is the best writer ever. Hands down. Ever. If Octavia Butler and Toni Morrison had a love child, it would be N.K. Jemisin. If you can remember reading Beloved in college or watching the movie with Oprah and bawling your eyes out because it was all just so wrong, so beautiful, and so painfully wrong and beautiful, you’ll want to read The Broken Earth.
- You love great science fiction and fantasy world-building and character-driven plots. If you are an avid sci-fi reader and especially if you write it, you’ll want to immerse yourself in Jemisin’s Broken Earth trilogy. For more on this point, see my longer review on Craft and Culture in Jemisin’s work below.
Click here to buy the first book of The Broken Earth trilogy. Click here if you want to buy all three.
Warning: there are spoilers below, so in case you haven’t read Jemisin yet, you may want to stop reading and pick up the first book of the trilogy.
Craft and Culture:
Notes on N.K. Jemisin’s The Broken Earth Trilogy
Readers of SFF (science fiction and fantasy) have embraced N.K. Jemisin’s acclaimed Broken Earth trilogy, and every installment of the series has won the coveted Hugo Award. Consequently, this post is not meant to introduce new readers to the series. Instead, I will be pointing out elements of Jemisin’s writing that contribute to the magic of the reading experience. Other SFF writers will find this of interest, but so will readers who want to understand why the novels affected them as they did. I’ll touch briefly on how Jemisin weaves her alternating timelines into a narrative fabric that turns flashbacks into a strength, not a weakness, on Jemisin’s incorporation of racial politics that are already part of her reader’s core emotional lives, and on the genres novels’ connections to more literary traditions.
I found myself reflecting on Jemisin’s woven chronologies when I was trying to think through the best ways to incorporate character backstories in my SF work-in-progress. Writers know that flat characters live only in the moment, and their motivations tend to have more to do with survival or accomplishment than working out emotional consequences of their past. Yet providing a character’s past can be a distraction from engaging readers in the drama of the story’s “now” time. How then can authors deepen their characters without losing narrative engagement? Jemisin’s solution is brilliant.
In the first book of the trilogy, Jemisin takes her main character’s timeline and slices it into three parts—childhood, adulthood, and post-apocalyptic adulthood. The character has different names in these time periods and acts in much different geographies and societies, so it takes a while before most readers realize that the chapters which alternate between these three perspectives are actually all the same character at different times of her life. What this allows Jemisin to do is to provide the entire scope of her main character’s life in a nonlinear fashion that is as engaging as it is emotionally excruciating. Getting to know the main character at three very different stages of life gives readers a clear view of the character’s depth, journey, change, and motivation.
This technique shouldn’t simply be adopted wholesale by authors wishing to provide an engaging saga, but it makes evident a point that could be adopted more broadly: backstory needs to be as engaging as the main story or it shouldn’t be indulged in beyond broad strokes and hints. All narrative is a dance between scenes and interludes, scenes and interludes, scenes and . . . Flashbacks, to be compelling and to maintain the hooks of engagement, should be fully realized scenes and not inert paragraphs of backstory.
The Broken Earth series is almost entirely a story about race-based injustice and the ways that civilizations built on exploitation create systems and stories to obscure or recast their dependence on a despised underclass. Jemisin is incredibly effective in evoking readers’ feelings about American racial politics by incorporating parallel dynamics in her fictional world. The first, and probably most overt, instance is her use of a racial epithet, “Rogga,” to indicate orogenes, the enslaved and exploited earth magicians. The sonic similarity of the epithet to the N-word is obvious and intentional. Indeed, even the complex ways the term is used in the series—as slur, as indictment of injustice, as insider labeling—mirror the many ways the N-word is debated in our society. This instance of labeling leaves no questions in the readers’ minds about the allegorical nature of racial politics in Jemisin’s world.
What makes Jemisin’s evocation of contemporary race so powerful is precisely such correspondences that, despite their overt nature when reflected upon, fit so well within plot of the novel that readers can escape the sorts of mental coping mechanisms they have for engaging racial issues in their non-reading lives. Edgar Allan Poe was a master of this technique. His tales of the grotesque and macabre are set far distant in time and geography from the slave-owning Southern states where he lived, but their depictions of torture, fear, guilt, and sadism draw indirectly on the repressed experience of those dynamics on plantations. Jemisin’s incorporation of lynchings, segregation, dehumanization, and other tools used by racist societies to subjugate their victims both draw on and make explicit the prevalence of these practices in our own world.
I’ll pivot here to Jemisin’s relationship to African American literature because the series has numerous plot points and characterizations that evoke masterworks by Toni Morrison, one of the most important American writers of the last century. Morrison has won both the Pulitzer and Nobel Prize in a distinguished career that exploded into prominence with the publication of Beloved in 1988. Morrison’s novels often focus on a strong African American woman character, something Jemisin also does through her allegorical association of orogenic ability with African American identity. [spoiler alert] Several key plot points in The Broken Earth draw on Sethe’s world in Beloved, most notably when Sethe murders her own child to prevent her from being taken back into slavery.
There are at least a dozen other correspondences between Morrison and Jemisin that occurred to me as I read The Broken Earth, but I won’t spoil your reading pleasure by listing them all. Suffice it to say, SFF editors and agents interested in fostering more #ownstories in the genre should expect to see more explicit borrowing from more established traditions in the future. Most importantly, I think that editors and agents should take note of what Morrison and Jemisin already have expressed through their work: #ownstories aren’t niche or sideline stories; they are central to the human condition, and in the case of the United States, foundational to our national identity and culture.
Related to the issue of a society’s foundations in racial injustice, i.e. SLAVERY, is how Jemisin draws on another classic of SFF literature, Ursula K. Le Guin’s immensely powerful and well-known story, “The Ones Who Walk Away from Omelas.” The story poses a philosophical question about injustice and the related phenomenon of scapegoating: would I live in a society that seemed perfect if I knew its perfection depended upon the suffering a single nameless child? The Broken Earth stages this epiphany and existential crisis time and time again throughout the series, with the added element of the unmerited scapegoating being race-based.
On the whole, I’ve become quite a fanboy of Ms. Jemisin’s work, and I hope someday to assign it in one of my classes on American literature
Liam Corley is a professor of American literature at California State Polytechnic University, Pomona. He is also a Navy Reserve officer, and he returned to creative writing as a way of understanding the world after his deployment to Afghanistan in 2008-2009. His work on literature and war can be found in Badlands, Chautauqua, College English, First Things, The Wrath-Bearing Tree, and War, Literature, & the Arts. He is currently at work on a science fiction manuscript about genetics, time travel, and humanity’s irreligious future. He lives in Riverside, CA, with his wife and four children.
Watch and Enjoy. BIRD BOX is an Entertaining Film as Long as you Know that These Images and Themes Have Been Seen Before
BIRD BOX was produced by Netflix and released for public consumption on December, 21, 2018. According to Netflix data, 45 million people watched BIRD BOX in the week before Christmas.
For those who didn’t watch it over Christmas, like me, here’s the review…
This story is a Quiet Place, but without the husband (there is a stand-out dude…Tom, played by Trevante Rhodes…who becomes a stand-in husband and Father, but for a short portion of the film). The story portrays a mother, Sandra Bullock, as Malorie, who gives birth shortly after a catastrophic alien invasion? The film does not make this clear…Is it really aliens? At one point, there is a reference to North Korea and bio warfare…but one can be pretty sure it’s more along the alien invasion spectrum. Creatures are mentioned in one of the early scenes. Most eager scifi fans will swallow yet another apocalyptic scenario and accept the tragedy as instigated by something otherworldly that impacts every person, mostly in a negative way. (99% of the human race does not thrive under its influence…yes, that’s a spoiler of sorts, but then you probably knew this).
Here’s the premise…After an alien invasion (I think) every person becomes infected with a psychosis. This is spread from person to person through what they see. What do they see? That remains a mystery, but the results can be seen and they are catastrophic. Those infected figure out ways to kill themselves. Society drifts into destruction. Those who survive either do so by covering their eyes or a few see and don’t kill themselves right away. However, they become crazy people who attempt to get everyone else infected. The aliens are never seen by the audience, though they are heard and they are drawn in charcoal on paper by one survivor (one of the crazies). The aliens appear (in his drawings) as demons or devils. It’s possible this is some kind of bio-tech warfare and the creatures/aliens are all imagined, part of the psychosis. The audience isn’t in the know on that one.
Sandra Bullock finds herself responsible for two children and needs to figure out a way to get them to safety and a place where they can thrive. For that to happen, she needs to float them down a river, blindfolded. The story opens with her getting on the boat after lecturing the two little ones on the dangers of the trip and the importance of never taking off the blindfold, but the real body of the film takes place in backstory.
BIRD BOX portrays what A Quiet Place never did…the immediate aftermath of a catastrophic alien invasion that jacks up humanity. In BIRD BOX, the audience sees the unraveling. In A Quiet Place the viewer needs to imagine that unraveling. However, in BIRD BOX, the audience needs to imagine the villain. In A Quiet Place, the audience gets a clear view, eventually, of the alien that is bent on destroying humanity and by the end, a possible way to defeat it. That “ending” note is missing from BIRD BOX. It does not deliver enough answers about the mystery. Does an unseen villain ruin this film? Not exactly, but if a sequel is ever made, I will expect answers.
Regarding the similarities between the two films…It did strike me right away that in BIRD BOX, covering eyes is important, while in A Quiet Place not speaking is essential…which begs the questions…is this a theme that our current audiences want to explore? What if we had to survive in a post apocalyptic world without our sight or without speaking? Maybe the post apocalyptic universe is too easy…or maybe too familiar? I suppose, the next film of this ilk will explore surviving without hearing, or how about without tasting. Apparently, the public hungers for the answers to these question. I suspect, the quandary has to do with our over-teched and over-connected reality, but maybe there is another yearning I don’t yet comprehend. Another similarity between the films is the prominence of a pregnant mom as a survivor during a horrid moment of human existence.
I will say, the film (free for Netflix users) BIRD BOX is an entertaining jaunt. If you can get past the unknowns that are never explained…watch it and enjoy the drama that can only unfold at the end of the world.
Science fiction pops up in the darndest places, some of those places are quiet places. Okay, okay…so that’s a bit of a spoiler, but why the heck did it take me so long to hear from someone/anyone that this film was about people surviving an alien invasion. I think some of why is because of the code of mystery that surrounded this film when it came out. Everyone seemed reluctant to tell…
I assumed A QUIET PLACE was horror/suspense. Most of the trailers indicated that this was so. I did not get the chance to see this film in the theater, but I might have tried a lot harder had I known about the scifi underpinnings. At some point, both my kids saw the film and told me with a wink and a nod that I should definitely view it. “It’s really good,” they said, “and not gory like a horror flick.”
That comment from them made me think it was for sure a horror flick, a well done horror flick, but still, horror all the way.
So…I didn’t get it. In fact, I might have missed the film altogether had it not been for a friend spilling the beans recently.
“You’ve seen A QUIET PLACE, haven’t you? There are aliens in this film.”
Okay, so now I know and now you know and it’s not a huge spoiler. The first view of the alien comes by the end of the beginning sequence, about 7 minutes into the film.
However, this story is not alien-centric. It’s family-centric in a really great way. The premise of an alien who hears its prey and only then comes to destroy, but leaves survivors alone if they are silent, now that is a fun and new angle on the alien invasion story.
Five reasons I recommend A QUIET PLACE, directed by the lead actor, John Krasinski
- Superior storytelling, lots of tension and heart. The idea of watching a silent film has been lost to the modern audience. In this creepy portrayal, there are powerful swaths of storytelling in which the visual completely dominates the viewing experience. That feels new and vibrant, in part because the visual story telling in A QUIET PLACE is well done.
- The family unit (not one individual) is the protagonist and each of the members are smartly drawn. A deaf character adds depth to the unfolding drama. We root for all of them. (Dad played by John Krasinski. Mom played by Emily Blunt. Daughter played by Millicent Simmonds, a deaf actress.)
- Powerful and brutal villain(s). Ugly too.
- Inspiring examples of the will to survive and the costs we incur, AKA the suffering we endure, to love one another.
- Juxtaposition of idyllic scenery/cinematography and the unknown, the mystery of that which is not seen, the horror that is waiting to besiege.
The story unfolds in a post-alien invasion rural US (the locale is possibly somewhere East of the Mississippi, maybe Vermont). The aliens, rarely present, including their spaceships are not seen in the film, have come to Earth and have destroyed all living creatures who make noise (even animals that sniff about and snarl). It seems the aliens have no visual acuity, but can hear from very very far away and once they hear, they come to kill almost immediately. Those who survive the invasion are attempting a life in silence, including the protagonist family. The audience meets them initially as they tiptoe through a drug store (they are all barefoot) and scavenge for medicine and goods. The audience deduces, this is one town of millions of towns and this is one family among thousands of surviving groups? One other survivor is seen in the film…Let’s just say, he doesn’t last long.
Imagine your family trying not to make any noise. Imagine trying to communicate, trying to thrive without vocalizing. Imagine feeling pain without crying and playing monopoly without table chatter. Imagine that your life depended on staying silent. Herein lies the tension of the film. Also, there are discoveries to be made about the villain and how to defeat it/them. Might something be unearthed by our protagonists? Perhaps, but at what cost? You’ll have to watch the film to find out. $5.99 to rent on iTunes.
I recently binge-watched the final 5 episodes of the NETFLIX series THE RAIN…finishing the first season. Here is my take on the potent Danish production, dubbed for English-speaking viewers. By the way, I wasn’t annoyed by dubbing. I thought it was done well.
This series might earn an R rating if released on the big screen, so beware parents. This story contains some great characters and interesting ideas for discussion, but there are a few non-explicit sex scenes, some nudity and a lot of f-bombs…it is the end of the world, after all.
THE RAIN’s genre designation is probably more speculative fiction than science fiction. The story is driven by new science, so this is where the overlap lies…no aliens or spaceships (at least none so far), but there is a biological discovery that rests in the hands of a few and this technology is about to transform the world. The future tech is an element that would appeal to many science fiction fans…(Think TERMINATOR). And now for my review.
First, a short review without spoilers…
Season 1’s narrative follows a sister and brother pair, Simone and Rasmus Anderssen. They survive a deadly virus that infects the population through the rain. Their physician father is somehow in the know and connected to a biotech company called Apollon. They understand little about what is taking place, but they slowly discover the truth, as does the audience with them. Here are three reasons to consider watching THE RAIN.
- See the world’s end through the eyes of the Danes. Sure, THE RAIN follows a well-worn storyline, but rather than the typical American/Canadian or British view on the apocalypse, we see survival through the eyes of Danish youth this time. I appreciated viewing wanderings through cities, towns and topography I don’t typically see on the screen. Moreover, the survivors’ attitudes about who they will be in this new, empty world are also markedly more Scandinavian than American.
- The main players in the drama are well written and interesting. Similar to a few other speculative dramas, like The 100, the youth are smart, naive at times, attractive and slowly becoming a family.
- The overall plot makes sense, yet some mysteries are withheld in a good way. The narrative shows potential for a longer, more complicated drama, including the introduction of a sinister villain by the final episode.
And now for the longer review, with a few spoilers…
Simone (about 16 yrs) and Rasmus (about 10 yrs) enter the bunker having never seen its like before. Their father brings them on the first day of the rain, but then leaves, saying he can help with finding a cure. He promises to return to them, but never does. Their mother dies early as the rain touches her skin. This is the most dramatic reveal to Simone and the audience. The rain is absolutely toxic. Simone watches as droplets fall from the sky, strike her mother’s skin and within moments, she convulses and dies.
For a short time, Simone is able to connect with a few individuals outside the bunker via the internet, but that contact comes to an end within hours as civilization breaks down. Simone and Rasmus are alone and know nothing of what is happening outside the bunker.
Simone raises her brother, holding onto the belief that her father will return for them at some point, but six years pass. When food begins to grow scarce and Rasmus shows signs of going berserk from being cooped up underground, Simone sneaks out of the bunker one night to explore a local town and figure out if there is safety outside. She finds decayed corpses and an abandoned town.
Without knowing someone has been watching her, she returns to the bunker. Three young men and two women follow her back. They sabotage the ventilation system forcing Simone and Rasmus to emerge. The sister brother pair face a group of strangers, all of whom are desperate for food.
The strangers seem bent on killing Simone and Rasmus, but a quick witted Simone convinces them that she knows where there are other bunkers and where there are bunkers…there is food.
The unlikely group sets out. Discovery takes place with each new bunker they find. In addition, episode by episode the audience becomes acquainted with the backstory of the various characters and so doing, the viewer learns some of what has transpired outside the bunker following the apocalyptic rains.
The backstories all come via flashbacks. This particular story-telling method has been utilized by many tv and film types, including the creators of LOST. However, I thought the short snippets of flashbacks in THE RAIN felt less heavy-handed than those in LOST and contributed to multiple layers of the plot, besides revealing character. So, if you’re not a fan of flashbacks…never fear, I don’t think they were overused.
Martin’s story (see photo) is presented in episode 2. Martin is the gruff leader of the survivors, former military and not afraid to kill anyone who endangers his group. He, along with Jean, Patrick, Lea and Beatrice and finally, the father to Simone and Rasmus, receive screen time that explains some of their history.
Specific spoilers included in paragraph below, but pay attention if you are a writer of speculative fiction
Regarding the writing of this series and typical tropes that populate end-of-the-world narratives, one can find many in THE RAIN. For most of us, we like them and don’t find them annoying. I also appreciated the little deviances around the various tropes. For example: 1. the chosen child who will save humanity and must be protected at all costs, he’s actually the one who can also kill everyone 2. the evil corporation that sees its technology as a way to control humanity is seeding storm clouds with a virus…such a sophisticated weapon of mass destruction. 3. having sex just might just lead to your death…especially, if you’re even remotely slutty, but THE RAIN’s slut is a really sweet character and finds her way into our hearts before she is killed off 4. those seemingly happy survivors who are really a cult that practices cannibalism, they allow our young survivors to choose in or to leave freely…So humane! So Scandinavian!
Overall, I recommend THE RAIN. Add it to your Netflix queue and enjoy a wet winter!