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The new TNT sci-fi series from Steven Spielberg and Robert Rodat called Falling Skies opens with a unique conceit.
The story of an all-out alien invasion of Earth is recounted in the art work of a school-age child, as the same child describes the attack in words. The viewer learns immediately -- and in conjunction with colorful crayon imagery -- how an alien EMP took out electronics on Earth; how our cities have been destroyed, and how the aliens "harness" human children as mindless slaves. That final touch reminded me a bit of John Christopher's Tripods, though there the process was referred to as "capping," if memory serves.
Regardless, the childish artwork proves an inexpensive, creative, and dynamic way of commencing this epic tale in media res, and suggests a level of narrative ingenuity that the remainder of the first two episodes, "Live and Learn," and "The Armory," somehow don't quite manage to live up to. But those first five minutes are riveting.
As viewed through the eyes of a child, the alien invasion appears all the more frightening. It's an absolute end to the safety and security of childhood in America as we now understand it, a piercing of the protective bubble all parents attempt to construct around their young ones.
As viewed through the eyes of a child, the alien invasion appears all the more frightening. It's an absolute end to the safety and security of childhood in America as we now understand it, a piercing of the protective bubble all parents attempt to construct around their young ones.
In short order, Falling Skies introduces us to Tom Mason (Noah Wyle), a man faces this particular horror. He has joined the resistance to battle the alien "Skitters," six-legged aliens who deploy frightening armored robots called "Mechs" and who fly over human cities in swift, silent air-ships.
Tom is the father of three boys, and one of his beloved sons has been captured and harnessed by the aliens. As "Live and Learn" begins, we learn that Tom has been promoted to second in command of one unit in the resistance army, a unit consisting of 100 soldiers and 200 civilians. His superior is the no-nonsense, gruff Captain Weaver (Will Patton).
Tom's most interesting quality, however, involves his world view. He is a former professor of American history and therefore able to contextualize for his brethren (and the viewing audience) this new fight against a technologically superior fighting force.
Tom reminds his soldiers, for instance, that in human history there are many instances of inferior armed forces defeating superior ones, namely in the American Revolution, but also in Ancient Greece, and so on. "Ever the professor" (as another character notes), Tom is a unique and intellectual hero whose knowledge of history (and specificially military history) can provide hope in what seems a hopeless struggle. Wyle is good in the central role, and already I am enjoying the fact that Tom is not a physical superman, a law enforcement official, or a modern cowboy in mentality. Instead, he's an able and believable surrogate for a lot of us in the audience: an everyman and family man faced with an extraordinary situation, trying to do his best.
In the second episode, "The Armory," Tomn's humanist perspective is matched and balanced by that of a criminal and warlord, John Pope (Colin Cunningham). In blunt terms, Pope informs Tom that he is using the wrong analogy. We're not the early Americans fighting the Red Coats, Pope insists. No, we're the American Indian, facing wave after wave of technologically superior, unstoppable white men. And we'll share the same fate as the Indians too: extinction. It's a terrifying thought, and this duel of philosophies makes for one of Falling Skies best and most chilling moments in the opening two hours.
Much has been made in the media about the perceived similarities between TNT's Falling Skies and AMC's The Walking Dead. It's an apt comparison in some ways, since both programs deal with human beings attempting to survive after the end of our technological, 21st century culture. So far, where the two series differ most is in the viewpoint on mankind himself.
In The Walking Dead -- even with the apocalypse happening -- man is still roiled by pettiness; by racism and prejudice. He is unable to organize in more than small groups, understand the nature of his enemy, or form much of an effective resistance against the zombies. Although zombies are an ever-present danger in The Walking Dead, wanton and inappropriate sexual appetites are still sated, interpersonal resentments fester, and redneck-ism thrives. Although a (small) sense of community does develop over the first season, there's still much disagreement among the lead characters.
At least so far, Falling Skies is proving much more upbeat.
Anti-social tendencies are downplayed here (in the first two episodes), and outlaws such as Pope are already in the process of being assimilated into the resistance by the end of the second episode. On a wider scale, man in Falling Skies has mounted at least a semi-organized defense against the invading Skitters, and is able to win small battles against this antagonist. As we'd expect from Steven Spielberg, the approach is a little more optimistic and a little less balanced than we get in the more nuanced (and so far more impressive) The Walking Dead.
Anti-social tendencies are downplayed here (in the first two episodes), and outlaws such as Pope are already in the process of being assimilated into the resistance by the end of the second episode. On a wider scale, man in Falling Skies has mounted at least a semi-organized defense against the invading Skitters, and is able to win small battles against this antagonist. As we'd expect from Steven Spielberg, the approach is a little more optimistic and a little less balanced than we get in the more nuanced (and so far more impressive) The Walking Dead.
The shadow of Steven Spielberg hovers over Falling Skies in a few other ways as well. The visuals of displaced human survivors trekking on foot across modern rural landscapes clearly recalls some of the startling and effective imagery from the director's 2005 adaptation of H.G. Wells, War of the Worlds.
As it was in War of the Worlds, the focus here is overtly on family matters. In the 2005 film, Tom Cruise had to protect his young daughter and keep track of his rebellious older son. Here, we've got Tom, his adult son, Hal (Drew Roy), his youngest son, Matt (Maxim Young), and Anne Glass (Moon Bloodgood) as a physician in the resistance who -- from frame one -- is clearly itching to play wife and mother to Tom and the Mason brood.
The focus here is on how the human family sticks together in a time of crisis, not how human foibles, even in times of disaster, pull it apart. In fact, Falling Skies opening episodes find time to celebrate young Matt's birthday, and observe, with solemnity, his wish that everything could "just be like it was." Sowhile Falling Skies and The Walking Dead share an obsession with the downfall of man, they boast vastly different approaches and perspectives on that downfall.
As it was in War of the Worlds, the focus here is overtly on family matters. In the 2005 film, Tom Cruise had to protect his young daughter and keep track of his rebellious older son. Here, we've got Tom, his adult son, Hal (Drew Roy), his youngest son, Matt (Maxim Young), and Anne Glass (Moon Bloodgood) as a physician in the resistance who -- from frame one -- is clearly itching to play wife and mother to Tom and the Mason brood.
The focus here is on how the human family sticks together in a time of crisis, not how human foibles, even in times of disaster, pull it apart. In fact, Falling Skies opening episodes find time to celebrate young Matt's birthday, and observe, with solemnity, his wish that everything could "just be like it was." Sowhile Falling Skies and The Walking Dead share an obsession with the downfall of man, they boast vastly different approaches and perspectives on that downfall.
Falling Skies' "Live and Learn" proves a solid series premiere that sets up the characters, their situation, and their perspective quite ably. We catch glimpses of the terrifying aliens and get to see how the world has changed under the Skitters. There are frightening glimpses of enslaved children, with monstrous mechanical worms implanted on their spines.
Basically, we are an occupied planet, and there's certainly a subtext here about 21st century's America's role as occupier in foreign lands. There some impresive vistas of the alien "base" looming over abandoned American cities, and it's impossible not to be reminded of our predator drone attacks when those alien ships fly by and indiscriminantly rain death upon those at ground level.
But after "Live and Learn," "The Armory" stalls momentum quite a bit. The second episode concerns an attempt on Tom's part to stake out a weapons depot. The mission goes awry and he ends up in the hands of John Pope, a criminal and nihilist. Instead of being about the alien invasion or the human response to it, the episode is about Tom and his allies maneuvering their way into freedom, and outwitting an enemy who, we soon suspect, will prove an ally. This episode is rather flat, emotionally-speaking, in comparison to the first hour, and doesn't move the plot along significantly or even with much interest.
Basically, we are an occupied planet, and there's certainly a subtext here about 21st century's America's role as occupier in foreign lands. There some impresive vistas of the alien "base" looming over abandoned American cities, and it's impossible not to be reminded of our predator drone attacks when those alien ships fly by and indiscriminantly rain death upon those at ground level.
But after "Live and Learn," "The Armory" stalls momentum quite a bit. The second episode concerns an attempt on Tom's part to stake out a weapons depot. The mission goes awry and he ends up in the hands of John Pope, a criminal and nihilist. Instead of being about the alien invasion or the human response to it, the episode is about Tom and his allies maneuvering their way into freedom, and outwitting an enemy who, we soon suspect, will prove an ally. This episode is rather flat, emotionally-speaking, in comparison to the first hour, and doesn't move the plot along significantly or even with much interest.
Falling Skies boasts tremendous potential since it dramatizes something that both iterations of V were never able to visualize effectively: an all-out war on human soil between high-tech aliens and "primitive" humans. Certainly, Falling Skies is already far better than the remake of V (2009 - 2010), and promises some exciting summer viewing.
Still, it's not necessarily clear sailing for this genre program. If the series grows too dark and gritty (as the scenario would seem to promise), viewers may not take to the series. And if the program remains so relentlessly upbeat in the face of human annihilation, it will sacrifice believability. In other words, Falling Skies is walking a very narrow line.
Here's hoping it navigates that path well. The sky isn't falling just yet...
Still, it's not necessarily clear sailing for this genre program. If the series grows too dark and gritty (as the scenario would seem to promise), viewers may not take to the series. And if the program remains so relentlessly upbeat in the face of human annihilation, it will sacrifice believability. In other words, Falling Skies is walking a very narrow line.
Here's hoping it navigates that path well. The sky isn't falling just yet...
