In the 1999 comedy “Fairly Crazy Heroes”, Wes Studi portrays the Sphinx, a superhero whose superpowers are “very mysterious”. That’s it. He utters the obvious in a monotonous low tone and rolls his eyes as the class Wes grimaces.
“1899”, the series from the creators of “Darkness”, is somewhat similar to the Sphinx. Over the course of eight episodes, the duo Jantje Friese and Baron Bo Oder write a plot with mystery and sophistication that is, in the end, a collection of lazily illustrated platitudes.
However, one has to wonder if Jantje and Baran can make up for their complete lack of ideas as a revolutionary product. In the crucible of “1899” we find parallel realities, overlapping plots and characters, and an extraordinary development that will no longer surprise anyone.
Also you have seen the story “1899” before, just with a different name and by more talented people. There is “The Matrix”, “Dark City” flavor, “Manifest” feel and a hint of “The OA”. The difference is that none of these films or series mixes a confusing plot with a clever premise.
Not that it’s a sin to navigate similar fantasy and science fiction concepts. Repeated symbols and labels in these types of products can create the illusion of repeating the same ideas—and that’s okay. The writer of the national comedy series ‘Black Silence’ has drawn parallels in her work to the creations of Jantje and Baran.
“1899,” however, did not begin with the work of others to be humbled by its merits. The plot follows the crew and passengers of the Kerberos as they travel from London to New York on the eve of the 20th century, a highly diverse collection of languages, races, desires and customs.
In a journey of desaturated colors, Kerberos crosses the Prometheus, a ship that disappeared months ago, in the middle of the sea. Isolated, and without the slightest sign of humans on board, the ghost ship’s return is the trigger to uncover a series of secrets and mysteries, suggesting that nothing may be as it seems.
It seemed like a good idea until it turned out to be no idea at all. In one-hour episodes that feel like they could last for weeks, “1899” drags out its not-so-interesting plot, filled with characters who can’t connect, like the Ghost of Christmas Past and its chain-heavy chain. .
Whenever a mystery was solved, my attention turned to the barking of my dog or the stickers I needed to put on the cup album. Completing each chapter was a grueling physical ordeal. Before I get to the finale of Episode 8, I throw in the towel. The dishes in the sink need my attention.
In 2004, “Lost” made history on free-to-air television in the United States by turning a huge mystery into a hit. Before flowBefore the advent of social media, the series by Jeffrey Leiber, JJ Abrams and Damon Lindelof mixed survival drama with sci-fi and rewrote television history.
Dozens of new series have tried, with more or less success, to reproduce the wonderful mood of “Lost”. The show, which follows the survivors of a commercial airliner crash on a lost island in the South Pacific, collapsed under the weight of its success, despite a very impressive start. The sixth season, which completed a total of 121 episodes, was met not as a celebration, but as a relief.
The structure that follows it flow, which gives modern series an average of eight episodes per season, helps hide the fragility of the series’ plot by compressing dramatic arcs and character development. In the case of “1899”, there are at least twenty faces that require minimal exposure to fit the story.
My theory is that platforms feed off this superficiality for their own sake. It was rarely made into live broadcasts, and “1899” has already spawned numerous channels and podcasts from “influencers” to introduce its protagonists, explaining each scene. It is a symbiosis of infinite hunger where no one understands anything and everyone agrees. Bad advertising is still advertising.
Television production in the second decade of the twenty-first century does not dispense with superficial and pedantic notions. Black Mirror, as an anthology, aims to be both urgent and culturally relevant. “Orphan Black” flirts with aesthetics Biopunk In a play about the loss of identity. Mike Flanagan has already produced three horror series of undeniable quality.
On the other hand, “1899” seems to be just the result of the creation of the algorithm. Each step in the text is not subject to a dramatic crescendo, but rather a movement in which the table excites its audience. The big “surprise” of the series seems to be telegraphed from the very first episode – Send spoilersI won’t complain. “Darkness” isn’t such a big deal anymore. “1899” was the benefit of the doubt. I would rarely give a third party a chance he kills Signed by Dinner And that Baran.