Entertainment

Showtime’s The Man Who Fell to Earth remake (almost) promises a future we can believe in

When President Grover Cleveland flipped a switch to turn on 100,000 incandescent lamps at the 1893 World’s Fair in Chicago, the bright glow that amazed attendees of modernity finally illuminated the world of the notorious Dark Ages. in the future. In the Showtime limited series by Jenny Lumet and Alex Kurtzman The fallen man, A chain of tech royalty gazes through windows at a London skyline, dazzlingly illuminated by the power of quantum fusion, capturing a similar sense of promise and wonder.. This show understands the difficult balance between mystery and intrigue, madness and clarity, progress and heartbreak. He doesn’t always ignite his world in the same way, but he manages to deliver a warm spark.

Based on the 1963 science fiction novel of the same name by Walter Tevis, the series’ protagonist, Faraday (Chiwetel Ejiofor), falls from the naked sky in search of water. The police come looking for him and demand that Justin Falls (Naomie Harris), a disgraced MIT graduate in quantum physics who is currently shoveling manure in Los Alamos, New Mexico, be there.

Faraday can barely speak. He learns by listening, then spews out what he hears in a series of words and obscenities that worry everyone around him. It won’t be the first time he’s faced the police. And if the series has a major failing, it’s the colorblind storylines where the black characters interact with the cops (especially when Faraday acts like a madman) but survive mostly unscathed and ignored, which is a true suspension of disbelief. .

Faraday is on a mission commanded by Thomas Newton (Bill Nighy), once a great inventor, is now gone and his heirs are barely remembered. Before a CIA agent, Spencer Clay (Jimmi Simpson), can stop him, Faraday must find Justin, the world’s quantum fusion technologist, so they can build a machine that will save his planet and Earth. the ravages of climate change. . But embarking on an adventure across the world with Faraday isn’t easy for Justin. First, she doesn’t know him, except for a troubled stranger with no personal boundaries; Faraday usually says exactly what he thinks, no matter how random or weird it may seem. He also has a young daughter, Molly (Annelle Olaleye), and an arthritic father, Josiah (a lovely Clarke Peters), who is in constant need of care and medication.

Photography: Aimee Spinks/Showtime

Bill Nighy as Newton standing in a bush wearing sunglasses and a hat

Photography: Aimee Spinks/Showtime

Justin helps his father, who is sitting on a couch next to his daughter, in The Man Who Fell From Earth.

Photography: Aimee Spinks/Showtime

The man who fell to earth originally based on Faraday’s eccentricity. Ejiofor offers a flow of accents in a rhythm of William Shatner. His spasms and kinetic physical energy offer a range of emotions that are both fun and heartbreaking – if given the chance, he could have been a great doctor on the inside. Doctor Who. Simply put, this show isn’t afraid to be silly: In one scene, Faraday shoves several feet of a garden hose down his throat while fetching water. In another, a mountain spits out a golden ring like a pawn.

Similar to the 1976 movie starring David Bowie (he always seemed like an alien on his own), Lumet and Kurtzman turn to Tevis’ meditations on the apocalypse and human error. Enter Justin de Harris, a brilliant woman who hides her genius for a mistake she made long ago. Emotional Harris often provides great strength and does not disappoint here, as he is dismantled and rebuilt to create a character whose strength lies not in his anger, but in his admittedly fragile moral core. Together, he and Ejiofor add immeasurable impact to a sequence that sometimes slows down as we explore the various doomsday scenarios around us.

Adaptation themes can also often leave a bad taste in your mouth. At one point, he appeals to resilience by portraying a character’s disability as a burden on their family, reminiscent of a character’s disability. Greenway. Admirably, the authors The man who fell to earth A commentary on refugees. In fact, the series begins in the future, with a successful Faraday addressing a fan-filled auditorium as Steve Jobs-style tech mastermind. He declares himself an immigrant to tell his story. But what are the key elements of an immigrant’s story? Of course, there’s the fish-out-of-water element of being a traveler in a foreign land with strange customs and a difficult language barrier. However, the show fails to capture the political element in a series involving various layers of American law enforcement. Granted, only four of the show’s 10 episodes have aired for review, but so far the immigrant component is stingy at best.

Faraday and Justin stand near a truck;  picking up a tech gadget and staring at it with arms crossed while leaning against a truck

Photo: Rico Torres/Showtime

For all the thematic holes, the series offers visual wonders. Vast desert landscapes, emphasizing the repetition of desolation, fill the rugged terrain with an inexplicable spirit. In particular, cinematic lighting accentuates the series’ tense color and buzzing music by cutting high-pitched beams between stark compositions. Calm waters flow in some episodes, like Ejiofor and Peters performing a duet on “Papa Was a Rollin’ Stone” (cute as that sounds) and Faraday and Falls supporting each other even when everyone is in doubt.

Impeccable urgency grows The man who fell to earth – not only in Faraday’s mission and his belief in the end that justifies the means, but in the environmental critique that guides his and ours. Our planet is dying. And the people in power care little about this fact. Sooner than you think, the damage will be irreversible. Faraday comes from a world where the only way to go back in time requires him to literally travel through space and time. Why do we let petty rivalries and grievances ruin our common future? Probably because we are human. It is our fault and our strength. We can reach into the future when the light shines brightest, then flip the switch when the light reveals a disturbing truth.

The man who fell to earth it’s full of facts, but there’s no need to break or even reinvent the key. There is a narrative universe where the show can be stranger, more insistent. Instead, the series needs further strengthening before its thematic investments can yield conclusive results, but the strong performances mixed with an eccentric tone to provoke storytelling opportunities are worth exploring.


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Showtime’s The Man Who Fell to Earth remake (almost) promises a future we can believe in

When President Grover Cleveland pushed a button to light the 100,000 incandescent lamps at the 1893 World’s Fair in Chicago, the luminous glow, which left attendees awestruck in the face of modernity, finally shined the world from the proverbial dark ages toward the future. In Jenny Lumet and Alex Kurtzman’s Showtime limited series The Man Who Fell to Earth, a slew of tech royalty look out windows at a London skyline dazzlingly lit by quantum fusion power, capturing a similar sense of promise and wonder. This show understands the tricky balance between mystery and intrigue, madness and lucidity, progress and heartbreak. It doesn’t always set its own world ablaze in the same way, but it manages to offer a hearty spark.
Based on Walter Tevis’ 1963 science fiction novel of the same name, the show’s titular character, Faraday (Chiwetel Ejiofor), crashes from the heavens, naked, in search of water. Police pick him up, and he requests the presence of Justin Falls (Naomie Harris), a disgraced MIT graduate in quantum physics now shoveling manure in Los Alamos, New Mexico.
Faraday can barely speak. He learns by listening, then regurgitating what he hears in a spatter of phrases and obscenities that worries everyone around him. It’s not the first time he’ll face the police. And if there’s one major failing of the series, it’s the color-blind scenarios of Black characters interacting with cops (particularly when Faraday is acting unhinged) but surviving mostly unscathed and ignored, which requires a real suspension of disbelief.
Faraday is on a mission ordered by Thomas Newton (Bill Nighy), a once-great inventor, presently gone and barely remembered except by his heirs. Before Spencer Clay (Jimmi Simpson), a needling CIA agent, can stop him, Faraday must find Justin, the world’s expert in quantum fusion technology, so they might build a machine that’ll save his planet and Earth from the ravages of climate change. But departing with Faraday on a globetrotting adventure isn’t easy for Justin. For one, she doesn’t know him except as a troubled stranger without personal boundaries; Faraday often says exactly what’s on his mind, no matter how casually cruel or weird he sounds. She also has a young daughter, Molly (Annelle Olaleye), and an arthritic father in constant need of care and medicine, Josiah (a delightful Clarke Peters).

Photo: Aimee Spinks/Showtime

Photo: Aimee Spinks/Showtime

Photo: Aimee Spinks/Showtime
The Man Who Fell to Earth initially subsists on Faraday’s quirkiness. Ejiofor delivers a torrent of accents in a William Shatner cadence. His spasms and kinetic physical energy offer a full range of emotions that at once dole out laughs and heartache — if given the chance, he would’ve made a great Doctor in Doctor Who. Simply put, this show isn’t afraid to be silly: In one scene Faraday, searching for water, sticks a few feet of garden hose down his throat. In another he vomits a mountain of gold rings to pawn.
Similar to the 1976 film starring David Bowie (who was always like an alien in his own right), Lumet and Kurtzman lean toward Tevis’ meditations on apocalypses and human error. Enter Harris’ Justin, a brilliant woman hiding her genius because of a mistake she committed long ago. The emotive Harris usually provides major wattage, and she doesn’t disappoint here, as she crumbles and rebuilds to craft a character whose strength resides not in her anger but her admittedly shaky moral center. Together, she and Ejiofor add immeasurable potency to a series that sometimes slows to a crawl as it dissects the various apocalyptic scenarios around us.
The adaptation’s themes can often leave a bad taste in your mouth too. At one point, it resorts to ableism, pitching one character’s disability as a burden for their family, leading to a moment reminiscent of The Green Mile. The writers, admirably, want to make The Man Who Fell to Earth a commentary on refugees. The series, in fact, begins in the future, with a successful Faraday as a Steve Jobs-style tech master talking to an auditorium filled with fans. He proclaims himself an immigrant who will tell his story. But what are the key elements to an immigrant’s story? Certainly, there’s the fish-out-of-water element of being a traveler in a strange land with odd customs and a difficult language barrier. But the series fails to address the political element of it in a series featuring several strata of American law enforcement. Admittedly, only four of the show’s 10 episodes were screened for review, but so far, the immigrant component is reedy at best.

Photo: Rico Torres/Showtime
For all the thematic holes, the series does offer visual wonderment. Wide vistas of desert landscapes, emphasizing the repetition of desolation, imbues the rough terrain with the spirit of the unexplainable. The cinematic lighting in particular, as it cuts sharp beams through austere compositions, emphasizes the series’ tinge of thriller, as does the thrumming score. Tranquil waters do flow through some episodes, such as Ejiofor and Peters dueting on “Papa Was a Rollin’ Stone” (it’s as adorable as it sounds) as well as Faraday and Falls supporting the other, even when everyone doubts them.
An unmistakable urgency pushes The Man Who Fell to Earth — not just in Faraday’s mission and his belief in the ends justifying the means, but the environmental criticism guiding his journey and ours. Our planet is dying. And the people in power care very little about that fact. Sooner than we think, the damage will be irreversible. Faraday comes from a world where the only way to turn back the hands of time requires him to literally travel through space and time. Why are we letting petty rivalries and grievances destroy our collective future? Most likely because we’re human. It’s our flaw and our strength. We can reach for the future when the light shines clearest, and then smash the switch when the light reveals an uncomfortable truth.
The Man Who Fell to Earth is filled with those truths but doesn’t necessarily smash the switch or even reinvent it. A narrative universe exists where the show could be weirder, more boundary-pushing. Instead, the series needs more fortifying before its thematic investments yield any firm results, but good performances melded with an eccentric tone rife for tantalizing storytelling opportunities makes it worth exploring.

#Showtimes #Man #Fell #Earth #remake #promises #future

Showtime’s The Man Who Fell to Earth remake (almost) promises a future we can believe in

When President Grover Cleveland pushed a button to light the 100,000 incandescent lamps at the 1893 World’s Fair in Chicago, the luminous glow, which left attendees awestruck in the face of modernity, finally shined the world from the proverbial dark ages toward the future. In Jenny Lumet and Alex Kurtzman’s Showtime limited series The Man Who Fell to Earth, a slew of tech royalty look out windows at a London skyline dazzlingly lit by quantum fusion power, capturing a similar sense of promise and wonder. This show understands the tricky balance between mystery and intrigue, madness and lucidity, progress and heartbreak. It doesn’t always set its own world ablaze in the same way, but it manages to offer a hearty spark.
Based on Walter Tevis’ 1963 science fiction novel of the same name, the show’s titular character, Faraday (Chiwetel Ejiofor), crashes from the heavens, naked, in search of water. Police pick him up, and he requests the presence of Justin Falls (Naomie Harris), a disgraced MIT graduate in quantum physics now shoveling manure in Los Alamos, New Mexico.
Faraday can barely speak. He learns by listening, then regurgitating what he hears in a spatter of phrases and obscenities that worries everyone around him. It’s not the first time he’ll face the police. And if there’s one major failing of the series, it’s the color-blind scenarios of Black characters interacting with cops (particularly when Faraday is acting unhinged) but surviving mostly unscathed and ignored, which requires a real suspension of disbelief.
Faraday is on a mission ordered by Thomas Newton (Bill Nighy), a once-great inventor, presently gone and barely remembered except by his heirs. Before Spencer Clay (Jimmi Simpson), a needling CIA agent, can stop him, Faraday must find Justin, the world’s expert in quantum fusion technology, so they might build a machine that’ll save his planet and Earth from the ravages of climate change. But departing with Faraday on a globetrotting adventure isn’t easy for Justin. For one, she doesn’t know him except as a troubled stranger without personal boundaries; Faraday often says exactly what’s on his mind, no matter how casually cruel or weird he sounds. She also has a young daughter, Molly (Annelle Olaleye), and an arthritic father in constant need of care and medicine, Josiah (a delightful Clarke Peters).

Photo: Aimee Spinks/Showtime

Photo: Aimee Spinks/Showtime

Photo: Aimee Spinks/Showtime
The Man Who Fell to Earth initially subsists on Faraday’s quirkiness. Ejiofor delivers a torrent of accents in a William Shatner cadence. His spasms and kinetic physical energy offer a full range of emotions that at once dole out laughs and heartache — if given the chance, he would’ve made a great Doctor in Doctor Who. Simply put, this show isn’t afraid to be silly: In one scene Faraday, searching for water, sticks a few feet of garden hose down his throat. In another he vomits a mountain of gold rings to pawn.
Similar to the 1976 film starring David Bowie (who was always like an alien in his own right), Lumet and Kurtzman lean toward Tevis’ meditations on apocalypses and human error. Enter Harris’ Justin, a brilliant woman hiding her genius because of a mistake she committed long ago. The emotive Harris usually provides major wattage, and she doesn’t disappoint here, as she crumbles and rebuilds to craft a character whose strength resides not in her anger but her admittedly shaky moral center. Together, she and Ejiofor add immeasurable potency to a series that sometimes slows to a crawl as it dissects the various apocalyptic scenarios around us.
The adaptation’s themes can often leave a bad taste in your mouth too. At one point, it resorts to ableism, pitching one character’s disability as a burden for their family, leading to a moment reminiscent of The Green Mile. The writers, admirably, want to make The Man Who Fell to Earth a commentary on refugees. The series, in fact, begins in the future, with a successful Faraday as a Steve Jobs-style tech master talking to an auditorium filled with fans. He proclaims himself an immigrant who will tell his story. But what are the key elements to an immigrant’s story? Certainly, there’s the fish-out-of-water element of being a traveler in a strange land with odd customs and a difficult language barrier. But the series fails to address the political element of it in a series featuring several strata of American law enforcement. Admittedly, only four of the show’s 10 episodes were screened for review, but so far, the immigrant component is reedy at best.

Photo: Rico Torres/Showtime
For all the thematic holes, the series does offer visual wonderment. Wide vistas of desert landscapes, emphasizing the repetition of desolation, imbues the rough terrain with the spirit of the unexplainable. The cinematic lighting in particular, as it cuts sharp beams through austere compositions, emphasizes the series’ tinge of thriller, as does the thrumming score. Tranquil waters do flow through some episodes, such as Ejiofor and Peters dueting on “Papa Was a Rollin’ Stone” (it’s as adorable as it sounds) as well as Faraday and Falls supporting the other, even when everyone doubts them.
An unmistakable urgency pushes The Man Who Fell to Earth — not just in Faraday’s mission and his belief in the ends justifying the means, but the environmental criticism guiding his journey and ours. Our planet is dying. And the people in power care very little about that fact. Sooner than we think, the damage will be irreversible. Faraday comes from a world where the only way to turn back the hands of time requires him to literally travel through space and time. Why are we letting petty rivalries and grievances destroy our collective future? Most likely because we’re human. It’s our flaw and our strength. We can reach for the future when the light shines clearest, and then smash the switch when the light reveals an uncomfortable truth.
The Man Who Fell to Earth is filled with those truths but doesn’t necessarily smash the switch or even reinvent it. A narrative universe exists where the show could be weirder, more boundary-pushing. Instead, the series needs more fortifying before its thematic investments yield any firm results, but good performances melded with an eccentric tone rife for tantalizing storytelling opportunities makes it worth exploring.

#Showtimes #Man #Fell #Earth #remake #promises #future


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