![]() May that future run of episodes find itself in a better television industry, some wild future utopia in which the people toiling down below to make everything turn are doing so for a fair wage.Best Apple TV+ Deals: Here's How to Get the Apple Streaming Service for Free Nonetheless, I’ll probably attempt a revisit of the series whenever a second season arrives, hopefully having forgotten all that I read but not everything I watched. That was a failure of patience, yes, and maybe a slight failure on the part of the show- Silo earns some devotion, but not the amount required to keep the spoiling impulses at bay. Reader, I must confess that once I finished the season, I went right to the internet to read plot summaries of Howey’s books, so desperate was I to learn what was really going on. Silo is sufficiently tailored to count itself as high-TV while still maintaining its pleasant notes of retro quaintness. As does Atli Örvarsson’s moody and evocative music. While Silo does occasionally have the (not unwelcome) gait and tone of an old Saturday syndicated show ( Deep Space Nine comes to mind), Ferguson-in all her stern command-lends the series a necessary heft. The show is a feat of production design (just how big a set did they build for this thing?) and is ably anchored by Ferguson, who between this and Dune may be the steely new reigning queen of sci-fi. We could, if presented with a fuller and richer tapestry of silo life, become invested in characters as much as we are in the hunt for illumination. If we had a better sense of the whole ecosystem of the silo, teeming along in this realm of existential secrets and lost knowledge (no one knows what stars are, or what video cameras once did!), maybe the wait for resolution would prove more tolerable. ![]() There are some digressions involving other characters, most notably Chinaza Uche’s principled Deputy Billings, but Juliette and her murky mission are the chief focus. The show has a great cast-among the players are Harriet Walter, Geraldine James, and Tim Robbins-but it isn’t really built as an ensemble piece. Oddly enough, the solution to Silo’s narrative annoyances may have been to include, well, even more narrative. We haven’t learned quite enough at the end of Silo’s initial seven and a half hours, after which there will be a year-long (or more) wait for the next chapter. Maybe that’s due to my tattered, Twitter-addled attention span, or maybe it’s a lingering (and, I think, still justified!) frustration with post- Lost series like these, which reveal some crucial things while holding other, more intriguing answers for later seasons. It’s a game setup for a series, though at 10 episodes long, the first season is drawn out to a fault. There’s some kind of coverup happening, and Holston and Juliette, both laden with grief, set out on a risky quest to get to the bottom of things (or, in this case, the top of things). A revolution seems in the offing.Ībetting and thwarting Holston and Juliette are a skeptical sheriff’s deputy, Marnes ( Will Patton), and the menacing head of the judiciary’s security force, Sims ( Common). ![]() In the bowels of the building dwell the mechanics and recyclers who keep this cloistered civilization running. Like the Snowpiercer train rotated 90 degrees, people who live near the top of the silo are relatively bourgeois administrators-a mayor, a sheriff, the director of IT, the shadowy head of the judiciary-with class ranks steadily lowering as one reaches the bottom of this enormous shaft. ![]() The world of the series is both cramped and pleasingly expansive-this silo has a lot of floors, and houses an intricate social order. As the title may suggest, the show-based on a book series by Hugh Howey and adapted for television by Justified creator Graham Yost-takes place in a gigantic silo, mysteriously constructed some centuries before the action of the story and now home to about 10,000 souls who know next to nothing about human history, though they may be all that’s left of it. So it’s something of a cozy throwback to tuck into the new series Silo (AppleTV+, May 5) and once again be immersed in the earth-toned despair of Earth’s weary remnant. (That’s where that show takes place, right?) As the real world seems to teeter on the brink of its own ruin, we have instead opted to visit fancy hotels, peer in on toxic boardrooms, and watch whatever it is they’re doing in Yellowstone National Park. But even with the bleak realism of Last of Us and Station Eleven around to keep us depressed, the trend has been waning. One could run a maze, walk with the dead, hungrily game, and do whatever they were doing in the Incarceron books. There was a time, not long ago, when dystopian entertainment options were myriad.
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