Premiere of the Snowpiercer series: “First, the weather has changed”


It was definitely a slippery, icy hike along the way – with the change from showrunner two years ago (from Josh Friedman of Sarah Connor Chronicles to Graeme Manson of Orphan Black) and an entire pilot episode directed by the doctor’s Scott Derickson Strange being mostly scrapped and rewritten / reshot – but the TV series Snowpiercer is finally upon us. And, given the global conditions we all face now, this is one of the last big “event” TV shows we can watch for a while. most effectively reworking the graphic novel Le Transperceneige by Jacques Lob (which was famously adapted in a feature film by Oscar winner Bong Joon-ho in 2013) which is a sort of simplified and semi-simplified version of the places with a mystery of the square murder – steeped in history in order to manifest a backbone for a television series. The establishment – which involves massive climate change bringing all humanity to war, scientists over-correcting the temperature of Earth and freezing everything, then a psychotic visionary named Wilfred developing a perpetual “Noah’s Ark” style train for the most privileged members of our species – is pretty much the same as comics. The idea of ​​an uninterrupted “balanced” ecosystem of 1001 cars makes the show feel, most of the time, like a space saga like “Snowpiercer”, the locomotive, is basically a spaceship. A spacecraft supposed to contain within its narrow walls all the elements of the old planet from our main characters (as well as new kingdoms – like, er, areas of orgies?).When you combine this design with the necessary evils of a caste system, and then add to that a number of unwanted stragglers who violently made their way onto the start-up train and who have now lived for years in a caboose of abject misery, and you have a story prepared and ready to reflect many of our social ills modern in progress, as only science fiction usually can. Snowpiercer feels crazy as a connecting line, but that is really only an excuse for an impressive and claustrophobic revolution that is leading its characters, and us viewers, to harsh truths about civilization as a whole.

The series teases the original “rebellion” arc that Bong Joon-ho created for his film by giving us a tangible powder keg of poor people living in the back of the train (“Tailies” as they refer to them- same, which is reminiscent of Lost) who, after having endured seven years of despair and horror, are ready to brutally escape their limits and make their way through enough cars to get to the engine. They have the “last Australian in the world”, a big man named Strong Boy to whom they give most of their food so that he can act like an RPG-style tank, an old man who remembers the joys of being alone , and Daveed Diggs’ Layton – a former homicide detective who forcefully got on the train with his wife (who has since left him to become a toy for people in a more posh car).The character of Diggs is the centerpiece of the series while representing where the story tries to twist and transform from revolution to demolition. As in Demolition Man. Layton steps away from his Tailies comrades, right on the edge of a huge bloodbath, so that he can solve a murder case that the perfect society at the front of the train is ill-equipped to handle. Like Demolition Man or The Village or a number of films on similar themes, Snowpiercer presents a “utopia” incapable of predicting something going wrong, ignoring in one way or another that “sometimes people kill themselves ” Here, Snowpiercer makes a little effort to find his legs as a continuous series by literally stopping and stopping a massive ambush just before it begins so that the story can turn into a “whodunnit?” “

When you combine that with Wilfred’s revelation at the end of the episode, where we learn that Jennifer Connelly’s Melanie – aka the “voice of the train” from Hospitality – is Wilfred, or at the very least acting like Wilfred because something happened to the real person and she is now maintaining the illusion, and the series is starting to lose some of its vapor. Hopefully the show will have bigger surprises on the way, now that we give up driving the train.

The show is superb and the action is going well, but it lacks a spark. At least so far. Diggs is good like our hero and Connelly is cool like his uncomfortable first class ally (who also secretly directs the series), but the mystery of the murder is nestled between two less appreciable factions: the privileged dopes living long term section of wagons designated for the rich and capricious hot heads which stew in the buttocks of the train. Layton is the only semi-sympathetic presence and it is not quite enough for us to fully care about solving the percentages case or saving the lives of the Tailies.


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