The essence of action is based on the motivation of the beholder. Within the continuing idea of “Picard”, the idea is what protest and the tenet of inaction as a form of progression become in the face of both genocide and politics. The series here integrates some of the more dynamic elements of The Next Generation including one of its episodes “Conspiracy”. While the progressive mythology of what is being shown here is much more dense, the tendency of ego is a very real presence. The way Stewart embodies this vision of Picard is not with regret but interestingly enough in a reflexive way one of self importance. While this was true in TNG, it came with the essence of him being the lead point on the flagship. The idea of the frustration is what propels him forward. And like the Shakespeare that Stewart loves so much, it is that ID that motivates him back into the realm that is most dangerous.
The second episode continues to progress out the idea of characters slowly, allowing the audience to become more comfortable with them. Yet on the periphery is some interesting cameos that hark back to certain times in Picard’s career. The parallel story with an aspect of Data’s past is being nicely contemplated without giving away too much. The action is not requiring the audience to dwell on it but it is the existential nature that has very interesting relevance. It won’t be a surprise but obviously an interesting irony when and if Q shows up. Because this texture along with the fact that the Borg relevance is already marked in the DNA here gives Picard a reason for being, even though the chorus around him, especially with his Romulan handlers in his house are warning him of the impending situation that he teeters on. The episode ends with a degree of human and lightness that shows that while the series is dealing with serious issues, there has to be the breath of humanity, that which Data always wanted.
By Tim Wassberg
Immigration stories tend to be cyclical but they show the undeniable structure of human spirit. The one great thing fantasy does, whether it be in “Game Of Thrones” or “Lord Of The Rings”, is that examines the notion of human behavior in its many shapes and forms. “Carnival Row”, the new Amazon series, is nothing if not a more tame version of “From Hell”. It wants to hit a wide audience and yet have something for everyone. In its two lead stars, Orlando Bloom and Cara Delevingne there is an interesting structure at play both because of their previous roles but also how their real lives distinctly push the plot in a certain way. It is well constructed in that way since the essence of their love and strife as the characters parallels the journey in a way that is genuine. Delevingne’s choices have been good for the most part (even with “Valerian”) but a bit below the radar. Bloom with his “Rings” and “Pirates” cred (even though he often gets some grief of being the second guy in the franchises he has been in) still challenges himself. His character here is the lead but is understated which belies the heart with which he plays it. It is an interesting irony seems this inspector character wears so much on his sleeve and yet betrays nothing. This character of Philo is a man fueled by secrets but it is interesting to see who he shares it with.
Like films set in the Old West, there is a certain lawlessness that is burrowed in this world with a degree of civility. This imbalance is what makes the plot work as it is the viciousness that lies underneath (without giving too much of the plot away) that fuels the fire. The progression is also about subversion. One of the most dynamic subplots examines the history and consolidation of power in a very specific way. While these are mostly secondary players these ideas are being examined through, their intention plays very much in tandem with the overall plot. Another aspect structures in the elements of class with an unlikely pairing but one that speaks of bridges and not denying those who fall in love. David Gyasi, who has picked to be part of some very interesting films, most specifically “Interstellar” and “Annihilation” is superb and understated here, again making a perception both on history but also on tolerance in a way.
All of this of course is in play from the main relationship structure between Philo and Vignette, Delevingne’s characters. Without giving too much away, the aspect of truth and consequence plays heavily in their journey. While both actors are trying admirably, the chemistry is seemingly not there for the most part. Delevingne is not a natural actress but she is getting undeniably better. Bloom’s chemistry actually with another actress is more palpable which might slightly be a function of the plot but also of the actual structure of what the story is. The similar aspect can be said of Delevingne and a former flame within the story as well. It is an interesting dichotomy that gives the story and its player indeterminate layers. Of course, the aspect of “Carnival Row” moves within the nature of the underworld or the power that moves beneath it.
The idea of family and what that connotates figures heavily into the proceedings. That power is incumbent throughout most of the season with The Chancellor played by Jared Harris and his wife subtly and then overtly moving and pushing buttons. The nature of their power is driven by love and perhaps fate. All of these characters are seemingly on a path of their own choosing which is nonetheless orchestrated by someone else. The show does well is not overdoing its technical elements making it functional enough without overdoing the CG elements. It in many ways mirrors “Warrior” on Cinema. Though that show is set in late 1800s San Francisco, it parallels the aspects of the downtrodden who in many ways don’t have a say within their own destiny until they actualldo. “Carnival Row” again shows Amazon’s continued predilection for interesting stories without going too far left field which sometimes other streamers do in an effective way to create interest. The most important angle is to tell the best story while not losing track of the actual story being told.
By Tim Wassberg