The first season of the newest Belgian Netflix series Into the Night had me hanging out. Some passengers have to travel around the world to escape the deadly sun.
While much of the natural world was locked down last year, its mysterious apocalyptic premise promised a lot. And the show unfolded fast enough to ignore most of the logical jumps it made. He has shown again that a show may not be great, but it can still be well worth it.
Season 2 begins shortly after the show leaves us.
The season ends on a rocky slope that causes a stir. When Sylvie and her colleagues finally reach a safe underground bunker under a dam in Bulgaria. Passengers join the existing bunker occupants – primarily a group of NATO soldiers – to create a sense of life here.
Now is their day to sleep. The consolation of the night is when they go in search of food to survive. With all forms of anti-utopia. One would expect humanity to return to a violent version of the long-forgotten days of hunter-gatherers.
There is no more fresh food in the world; the sun destroys it along with all exposed life forms. The commander of the NATO unit and forces tells us about the several different groups worldwide. That are trying to find a solution to the solar dilemma. But that’s all there is to this front. We are told that something might happen somewhere. Nothing to show, nothing else to suggest.
Unfortunately, the problem next season is that. UUnlike the first time the problem was terrifying at its core. They have to create obstacles everywhere to keep up the hype.
The show’s newcomers – some politicians and some soldiers:
It adds up layers to the dynamic between groups forced to live under one roof. They expect outstanding trust issues between these fundamentally different types – the ruling class, the serving class, and citizenship. The social boundaries between them are erased when they are closed in this most unexpected way. This will be thier one of the tracks to follow this season.
Even between the two politicians, there are two distinct types of leaders – idealists and realists. Someone tries to motivate with words and examples. Others will try to say or do whatever it takes to survive and keep the peace. Soldiers, on the other hand, are pulling themselves into the safety and comfort of their code.
The question arises: does this code have any value. When created the world, it has been elevated beyond any realm of recognition? Ordinary people, it seems, are still unable to see beyond their view of self-centred existence.
I can obtain a lot of meat and juice from this attitude, but conflict still exists. It could be a brilliant hit if the series changes its track from a suspense thriller to a survival drama. That explores how people evolve and adapt emotionally in this dark new world. Trying to be both tends to suffer the show.
Zara Russia and her sick son, Dominic, are trapped in a generator room that no one can enter.
To survive must turn off the generator. And that would jeopardize the survival of everyone in the bunker. There is debate about how the mother-daughter pair might be the least useful among survivors. So there’s no point in risking everyone’s lives for them.
It’s exciting to rip it off, but it turns out to be an entire episode. With a storm of action but without much content. The groups disband and seek solutions outside their bunkers, while some remain to drain the emotions. Instead of provoking thoughts about these thorny moral questions.
You only have time to respond to disagreements with quick answers: “Do you know who else said that? Nazis.” There aren’t a lot of moral nuances you can explore when you get there. Of course, this question could be too complex to be sensitive for Binge TV.”
In the next episode, one of the other manufacturing problems at the show was a bipolar woman:
Who had turned off the medicine for a while? Now lives in complete insulation at Global Seed Vault in Svalbard, Norway. I do not want to enter specifically why and how GIA is a problem for survivors.
But how it is mistreated for the ins and outs of mental health. There is an effort to sensitivity, huh. But something is confusing about the way the entire Gia storyline is treated. Of course, after the sun killer, they can think of something more imaginative to hold the character.
The whole song about Svalbard is one of the exciting angles shown this season. Combined with conflict at Bulgaria Bunker, that helps lead the other exciting season. With new possibilities for the following season (if successful). Sunbathing is still the most exciting aspect of the show. So here hopes there is some progress on the front, with a more satisfying approach to the show next time.