![]() ![]() ![]() ![]() RELATED: Where's the Cast of SYFY's Warehouse 13 Now? Louis - served as the central hub for loads of layered intrigue, all backdropped by a killer score from iconic composer Bear McCreary. Set in a terraformed Earth populated by a mix of humans and aliens in the aftermath of an early-2000s first-contact event, its titular city - based in the colorfully decrepit ruins of St. O’Bannon, Caprica showrunner Kevin Murphy, and Star Trek small-screen scribe Michael Taylor, Defiance was a big, complex slab of sci-fi that made the most of its genre bona fides. Ahead of its time in many ways (it even had its own lore-connected video game!), the late, great science fiction show ran for three ambitious seasons, ending in 2015 with a series finale that bucked the all-too-common cliffhanger trend with satisfying decisiveness.ĭeveloped by Farscape mastermind Rockne S. Actually, just one.Ĭredit Duffield for making this dystopia feel labor-exploitation lived-in, gutted and depopulated, and the “pod” is pretty impressive.īut the movie with those settings needed some action, man, or a lot more than this.If you took the creature effects of Farscape, the political intrigue of The Expanse, and tossed in a dash of zany post-apocalyptic seasoning that wouldn’t feel out of place in Bethesda’s Fallout universe, you might end up with something that looks a lot like SYFY’s Defiance. And the Canadian Gosselin (“Kiss Me Like a Lover”) has a moment or two. Krause (“White Rabbit,” “The Descendants”) makes a sort of Edward Scissorhands impression, which doesn’t give us enough to connect with. The plot is strictly low-stakes, with the characters’ emotions matching that. The threat is “generic,” the “family” lives and entertains itself in “Little House on the Prairie” no-tech fashion, and the passion is dispassionate. The “police cruisers” look suspiciously like assorted specialty conduit-bending tools, or droid soldiers from the “Star Wars” universe. The other kids in the family have to mimic a keyboard and interpret his “speech.” Molly Parker is the “mother,” but blonde teen Dara ( Juliette Gosselin) takes a special interest in this “dweller.”Ĭan young love blossom amid the gloom? Who or what might stand in the way?Ī clever touch, thanks to thought-to-type commands on his computer, Darwin has forgotten how to speak. But you can figure out it’s been riding that old trope, “the world isn’t as poisonous as they’ve been saying.”ĭarwin stands up for the first time in years, wanders outside, and wouldn’t you know it, finds a “family” living in the woods, beyond the reach of the “police cruiser” drones. “The purification will go off in 15 minutes…Goodbye, Darwin.”Ĭapitalism. But a power outage that starts a verbal countdown of his breathable O2 supply does. That’s not enough to get him out of his chair. Any distractions and a disembodied voice barks “Continue working, CONTINUE WORKING NOW.” It’s not like he can afford to not do the job that keeps his air flowing his meals coming and and push-button supersuit (he can shower inside it and never take it off) operating.īut one distraction jolts him. It’s just that not enough happens.Įditor turned director and co-writer Benjamin Duffield serves up a new version of the post-apocalyptic dystopia, limited in perspective and scope, but myopic, faintly paranoid and competently acted.Īn older man tells us this story in voice over, about the days, nights and years when he life in a “sanctuary pod,” cubicle-sized self-contained apartments where people like him stayed in the same chair all day, eating meals, playing games, sending texts to his mom in a separate pod and working - remote control operating front-end loaders for the mining that produces the minerals needed to make sanctuary pods more efficient.ĭarwin (Nick Krause) has been in his pod nine years, since “the greatest war of all” killed most of humanity and made the Earth uninhabitable. What’s here is perfectly, if a tad blandly, realized. There isn’t much to “2149: The Aftermath,” another entry in the dreaded, cinema-consuming “YA-sci-fi” genre. ![]()
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