In another burst of creative energy, the tension between the two worlds snaps during an explosive scene that’s shot in one-take, rushing from different things, tossing Bernard and Lenina into a reality filled with acts of savagery they can’t comprehend.

When episode one soars with with the climax of “Fake Plastic Trees” by Radiohead it hits in a way that “Brave New World” rarely does after, in part because its own constant urges for nothing less than emotional grandiosity wears the viewer out.Ī rebellion makes its way to the Savage Lands, and visitors from New London, Bernard ( Harry Lloyd) and Lenina ( Jessica Brown Findlay), are nearly killed. People from New London come there to watch grotesque theater productions of his real life-John is a prop master, a “washer of cars,” a cog inside a machine, which is itself inside an even bigger machine. As “Brave New World” often does, it introduces this place with a snazzy, in-your-face commercial, emphasizing how much this home for people like John ( Alden Ehrenreich) is just Disney’s Animal Kingdom for others. It establishes a society where such lack of conflict is disturbing, but where the jumping death of a clone causes quite a stir because no one seems to have done that before, and where a monogamy is an offense punishable by being sent to have sex with someone else.īut there are bigger issues just minutes away from New London via shuttle im The Savage Lands (based in America), a place where humans aren’t popping Soma as if they were Tic Tacs, and where they do have families, monogamy, guns, and other things. For a story that’s about the power of stimulation, and how it can overwhelm to the point of control, it has plenty-bright costumes within a minimalist color palette, and a slick blend of real concrete architecture with green-screen vistas that give a bright image of New London. “Brave New World” starts with great promise in its first episode. In a way that makes all of it even more frustrating, this adaptation looks great but is definitively hollow, and in turn all of its parties, extensive discussions, and choreographed orgy scenes become simply exhausting. But like the most plodding of dystopian sagas, NBC's adaptation of Huxley's “Brave New World” spends an overwhelming amount of time simply proving why New London is counterintuitive, basing its most revelatory moments on rote notions of free will.

This is, of course, a bad idea for human beings, meant to reflect our most indulgent fantasies as in a place like HBO's 'Westworld,' of which 'Brave New World' is clearly trying to take after.

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