And that’s not the only problem, they clearly spent more than they could hiring David Oyelowo, Tim Robbins and Harriet Walter for lesser roles. And now that his character will be more than just a henchman, he should be recast. Common is completely out of rotation of the show and the directors and writers didn’t even bother to try to make him work better and Common himself didn’t look invested at all. Silo’s finale is very strong and makes me hopeful that the show could maximize its potential in the second season, something that they definitely didn’t do this season.ġ) The writing is pretty basic and looks always for the most by the number Young Adult dystopia tropes and soluctions, except that the main character is a middled aged lady with a terrible taste in men instead of an young lady with a terrible taste in men.Ģ) The casting is inconsistent as well. Lovecraft Country’s finale is probably the single worst episode I’ve ever seen on TV. Beacon 23 premieres Novemon MGM+.I compared this to Lovecraft Country in one thread here, in the sense that the excellent pilot can work as a hook but the show just doesn’t enough juice to back up that pilot, it’s also similar in how the season is structured – inconsistent in quality, some good ideas but poor execution, but they’re definitely totally different when it comes to the finale. It’s TV how it’s supposed to be: ambitious, innovative, and creative with a shoestring budget. Considering the risky weekly release of its eight episodes (with a two-episode premiere), the release is actively going against what could have been the best binge of the year.īut if you’re willing to be patient and pick up a new streaming service, Beacon 23 will reward you with the perfect companion to even the most prestige sci-fi television. It sounds like the perfect recipe for a sleeper sci-fi hit, but will it get the flowers it deserves? Its biggest obstacle to success is merely its availability: MGM+ isn’t exactly on everyone’s streaming service roster. Aster and Halan’s tenuous dynamic is explained and deepened throughout the stories of the past, and it all leads to a final note that takes a big swing - and possibly sets up a Season 2. There are episodes that play as action thrillers, episodes that are more akin to tense dramas, and episodes that even devote themselves to love stories - each given their own styles and tones. Thankfully, the story is perfectly attuned to what this show is trying to be. Lena Headey is the key to Beacon 23’s success, giving gravitas to a character that finds herself caught up in a complex mystery. When you’re in remote space, every episode is a bottle episode. In the experienced hands of guest stars like Barbara Hershey and Stephen Root, the flashback episodes focusing on the Beacon’s past become the bread-and-butter of the show. Showrunner Zak Penn, best known for writing early drafts of a bunch of MCU movies including The Avengers, uses the structure of the show to his advantage: with every episode centered in the eponymous Beacon, the relatively low budget is expertly hidden. The first episode focuses on government agent Aster (Lena Headey) and Halan (Stephan James), and their storyline weaves in and out of those who came before, building to a huge secret that’s just as fascinating as it is a classic sci-fi trope.īecause of the short-story source material, Beacon 23 is able to use a non-linear, episodic structure that almost echoes single-set anthology shows like Room 104. The series follows a space lighthouse (Howey really has a thing for cylindrical buildings) and the various keepers who have lived there over the years. The Silo comparison isn’t unearned: Beacon 23 is based on a short story collection by Hugh Howey, who wrote the source material for Silo.
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