The Short Review
5 reasons RED MARS is a must-read for the scifi fanatic and anyone remotely interested in planetary geology:
- RED MARS is a KSRobinson classic, published in 1992 and winner of the Nebula and the first of his acclaimed Mars Trilogy
- The story imagines life on Mars in a way that feels scientifically viable and compelling, therefore relevant to the current and growing conversation around Mars exploration
- Scientists are the narrators of this story. They are also the heroes, sometimes the villains, the problem solvers and the work horses. I was especially drawn to the “builder” character, Nadia
- The planetary geology content, naturally integrated into the story, is breathtakingly fun
- Despite being over 170K words long, KSR does not get bogged down in the “how would that ever be possible” science scenarios, but drives the story forward through characters and the politics that pressure a budding Martian community
The Longer Review
RED MARS tells the story of the first 100 scientists sent to Mars by a multi-national Earth entity called UNOMA, United Nations of Martian Affairs. The story PG-13 (for some sexual content) follows about 10 of those scientists closely, though many others are referred to and are part of the action in direct and indirect ways. The novel is broken up into eight parts and each of the parts has a different primary narrator. I do think Robinson’s choice on point of view works in a novel this long, adding a level of complexity and depth to the very audacious idea that Mars might be “tamed” by human beings. Robinson plays with themes around the idea that really smart people might be able to build a better civilization from scratch, and form some kind of utopia, but does not make the task easy on the idealogues within his story.
Various characters, all of whom are scientists in one discipline or another, give voice to ideas of alternative governing and living environments. The sharing of abundant resources is the initial reality for the first 100, but eventually, when new groups arrive on Mars, the corporations who have funded the exploration and building, come calling for the planet’s vast natural resources.
The conflict that arises is somewhat predictable and draws out the best and worst of the people in charge who are trying to manage a fragile, but quickly expanding human presence on Mars.
Meanwhile, Earth is falling into total chaos. Robinson does not spend any time showing the reader Earth itself, but shows it via news stories viewed by the inhabitants of Mars. Earth’s chaos is also a reason why many thousands of migrants are streaming to the new world. Robinson does lean left in his politics (proudly so) and sees corporate giants as the villain, though the villain is also amorphous in the story. Robinson’s ideas don’t come across as preachy to me. He’s a deep thinker and a thoughtful writer, so he understands the grittiness of governing and the probable impossibility of building that utopia even if one does start with 100 brilliant scientists.
Many science fiction readers will not mind the length of RED MARS, but at times, I confess to being a bit bored and wondered…Where is this story going? However, I did stick it out and the payoff was decent. It stands alone as a novel, without the kind of cliffhangers that drive you to the second book. Will I read the next two books in the trilogy? Probably yes, but not this summer.
If you liked the television series LOST and you’re a fan of Baran bo Odar and Jantje Friese (creators of DARK) you will want to log into to your Netflix account and start streaming 1899 now. With that said, I give warning, a second season was not renewed. For some, this will be a reason not to watch. However, I wonder if buzz about the show might result in the approval of a second season. I hope so because I really want to understand this world that falls into the category of mystery/paranormal/science fiction.
First, the short review
4 Reasons to Watch the series, 1899
- Excellent production overall, with creepy settings and period costumes
- Well-acted by a diversity of performers, many of whom are new to the American audience, though a few starred in DARK
- Lots of tension and mystery
- Claustrophobic and isolating setting. Ocean-going vessel all alone on the open seas (well…sort of alone)
A Longer Review
1899 is free to Netflix subscribers. Eight episodes make up the first season. I rate it R for sexual content and some violence.
Baran bo Odar and Jantje Friese bring to the screen this mind-twisting mystery with a style that broods and draws in its audience. That style will be familiar to fans of Odar and Friese’s imaginative work in the time-travel story, DARK.
1899 opens with the main character, Maura Franklin-Singleton, played by Emily Beecham, waking from a nightmare. The viewer quickly learns that Maura is living in another century. The title of the series is a helpful reference point as are the period costumes. Maura is also aboard an ocean liner with hundreds of other passengers, on its way to America from Europe. She appears to be traveling alone.
From the first moment of the longer narrative arc, confusion about reality is introduced to the viewer through the character of Maura. Her nightmare before waking is a terrifying scene in what seems to be a sanitorium for the mentally ill. She is strapped into a chair and given an injection while the command WAKE UP jolts her out of sleep and into the “real” world. The audience, along with Maura, sense the nightmare holds a degree of reality as she views the red marks on her wrists, where in the nightmare, she was strapped to the chair. She quickly covers those up with her long, victorian sleeves, and heads to the ship’s upper-class dining hall. To add drama to this ship’s community at large, there is a large portion of underclass people living below deck for the duration of the cruise.
Waking from a dream becomes a thread throughout the story as other characters, some of her fellow travelers, experience dreaming and waking to the same command, WAKE UP. The stories of these characters are slowly woven together into a climax that truly surprises.
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 show is rated R for a few racy sex scenes, but if your young person can handle that, the education piece is interesting. A bit of history can be etched out or explained as some of the “alternative” version comes across the screen. It’s portrayal of communist USSR rings true. It also captures something of the spirit of the age for each decade, especially the urgency around the space race of the 1960s.
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.
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. Family-friendly if your teens are mature. It’s a fun, suspenseful ride.
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.
Science fiction fans were delivered a treat over the weekend. Asimov’s Foundation Series is finally consumable via the screen, television streaming for any who subscribe to Apple + TV. 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. A mature teen might appreciate the story. The main character, a mathematics genius, is a young woman (pictured here).
For educators, the idea of eternal rule (by cloning) raises interesting ethical questions, like: How will science and technology impact the governing of humanity?
The third episode drops this Friday, October 1st.
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.
7th and Penultimate Chapter. My 7th review in 7 days.
This review will contain spoilers for earlier episodes and minor spoilers for this episode (episodes are called Chapters), so be warned. Go back to menu or click PILOT if you want to read an introduction to the series.
I’ll say a little about the structure of the series at this point.
- Short stories, written by Molly are clues that will help her friends find her. All of the stories are dramatized on screen. This image, for example, is from one of the Molly’s stories called Viral. Nearly every chapter features one of Molly’s stories. About 15 minutes of screentime in Chapter 7 puts the audience in the world of Viral.
- All of Molly’s stories are dark, some are pure horror and very gruesome. I almost stopped watching this series after Chapter 2 because of it. Kim Rider, who has read all or most of Molly’s stories as they were online dating, says that Molly uses stories to work out the darkness in her own life.
- There are a variety of interesting filming techniques in DARK/WEB. I’ll highlight one. Notice the image posted above with words across the character’s face. These are words of a screenplay being typed by this particular film student, as she sits at her computer. She is the main character in Viral. This view through the computer into the scene has been used throughout the series and gives that creepy feeling that someone is watching from inside or beyond our screens. The audience sees what is taking place, but the characters don’t and we don’t know who is watching…that is unnerving and puts the audience on edge, exactly what the story creators want.
- Viral is a story about cyberbullying. The audience understands that unfortunately, cyberbullying takes place in real life. This story may be fictional, but it hits close enough to home to bring about reflections of human cruelty and evil, evil that exists in seemingly normal, everyday people. Looking at cyberbullying headon is horrific and not everyone’s cup of tea. As I indicated above, I almost stopped watching after chapter 2. Viral was also hard to watch.
The story creators of DARK/WEB have given their series this title for a reason. It is documented that the secret and more anonymous world of the dark web exists and exhibits the worst side of humanity. If you are squeamish or needing something more uplifting as entertainment, please be warned. We all know that there are many good people in our world (and that even the “evil” people have potential for redemption…at least I believe that) and most of us hope that the good will ultimately triumph over evil by the tale’s end. We will see…
6th post in 6 days…
Major backstory episode for the larger story arc, which I appreciated. It was the right time to give the audience more reveals. This review will have spoilers of the previous Chapters. For an introduction to the series and no spoilers, click the Pilot.
Pictured is Zach Sullivan before he has his mental break. In chapter 4, he is visited by Ethan in the mental hospital, so the audience meets him well after this scene with Molly. One suspects something bad went down at the job because in the hospital, he freaks out when a phone is brought near him. He and Molly were colleagues at Citadel, the computer/systems security company. Somehow, all roads are leading to Citadel…or are they?
Molly and Zach rely on one another for help with coding (actually…Molly may be the smarter of the two, though Zach has been at the company longer). As they lunch together at work, Zach and another coder tell Molly about Citadel’s secret project called MIHR. Zach is applying for a new job in the company and is hoping he will make the MIHR team.
Zach does get promoted and he does write code related to MIHR. He also stops having friendly lunches with Molly and appears exhausted and unkempt. Eventually, when Zach needs her help in solving another coding issue, she and we encounter MIHR.
This chapter is not gruesome and gives the audience a chance to know Molly better, the character at the center of the mystery.