Saturday, October 16

Y: The Last Man review – a stale baby-man mess | Television and radio


TThere’s a lot to say about the protagonist of Y: The Last Man (Disney + in the UK) here, if we had the time and space. For the sake of practicality, let’s limit the comment to this: having a weeping lazy man as the only surviving man after a mysterious plague wipes out the rest of XY humanity and on whom the future all depends is felt … yes, more or less well. Why not get this last undeserved bunch of attention, resources, and whatever else damn stuff on your iconic, incompetent butt?

Possibly I should have refrained from watching the show until I was in a better mood. On the other hand, there is something inescapably irritating about switching between staring at the television screen and a phone full of real-life headlines and not being able to tell much of the difference between fictional dystopia and reality.

Based on the 2002 comic series by Brian K Vaughan and Pia Guerra, the premise here is that a twenty-something tool named Yorick (Ben Schnetzer) is the last man standing after they all collapse simultaneously with blood gushing from everyone. holes. The effects of an undiversified society are evident: the workforce responsible for keeping energy on, supply chains moving, and clean water are male-dominated and paralyzed. The Republican government is wiped out and the designated survivor is Democratic Congresswoman Jennifer Brown (Diane Lane and a tumble dryer who should receive separate billing).

The new president and the remaining women politicians and staff crouch in the Pentagon, trying to get the country running again as hungry hordes gather in increasing numbers at the gates. Brown gains an intrepid bodyguard in the form of Agent 355 (Ashley Romans, whose acting is so good and so deeply believable that she forms, I inadvertently suspect, the center of gravity of the entire show), one of the members from outside the book. government agencies that, however, we seem to hear a lot about.

Meanwhile, Brown’s daughter Hero (Olivia Thirlby) and her transman friend Sam (Elliot Fletcher), the seizures the creators must have had while trying to decide what to do when updating the 2002 source material on a chromosome-based pandemic. to take into account a gender. fluid world that is trying to abandon the binary system on which the entire inciting event depends, is trying to find a way from New York to Washington DC. Jennifer and Hero are largely estranged, but when things are low, we all love our mothers with access to government and military capabilities, don’t we?

The first episode is almost a complete waste of time. Androcide itself doesn’t kick in until the end, and even after that the pace is usually woefully slow. With such a setup, a world dominated by women, and the opportunity to start from scratch, you feel like creator Eliza Clark should be pushing an open door. However, at least in the episodes posted for review, there seems to be no need to rely on the possibilities. Instead, we dwell on the standard TV apocalypse problems we’ve seen a million times before. How to get rid of thousands of corpses before they rot? How are Hero and his brave companion going to go from A to B, negotiating the emotional and physical rubble and without modern communications to help them? How, in turn, will Yorick get to the geneticist who might find whatever deoxyribonucleic quirks he has that might save the world? How will Jennifer fight the challenge to her power from an enemy camp? Yes, this time it’s the daughter of former President Kimberley (Amber Tamblyn, channeling Meghan McCain instead of Ivanka Trump’s elemental sociopathy) rather than a team of motorcyclists turned cannibals, but the formula is the same.

Also, there are no spoilers, but if the coincidence that Yorick’s fate hinges on is just that, rather than (as they rightly fear the population would suspect, causally related), then everyone involved should examine themselves for long. weather.

And yet. And yet. It is, just like an apocalypse drama, good enough. And there are, as the series progresses, signs of hope that Yorick will be relegated further to the background, the female characters will move to the fore, and he will begin to exploit some of the gynecological opportunities the premise offers. It would do you good to get a little faster, that’s all. Before the world beyond us overtakes us and the lights really go out.


www.theguardian.com

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