Now that the finale has dropped, senior editor Matt Brennan and culture critic Mary McNamara debate the merits of HBO Max's apocalyptic fiction.
From ‘Station Eleven’ to ‘Atlanta,’ ‘GLOW’ and more, Christian Sprenger has shot some of TV’s most beautiful images. But it wasn’t part of his plan.Given the spiritual undertones of the series, and the repetition of the sentence “I remember damage. And escape,” I am tempted to tell you that whatever imperfections you felt you experienced in “Station Eleven” were deliberate, a kind of cinematic wabi-sabi to remind us that the quest for perfection is not only impossible — it is the wrong quest.
I hadn’t read the book, so I had no idea what I was in for, but I certainly was not prepared for a very young Shakespearean actress trotting around snowy Chicago in her young Goneril costume as the world collapsed.
As I am Irish, and firmly believe in Thomas Cahill’s premise that Irish monks saved civilization by maintaining texts and libraries while Europe fell into the Dark Ages, I was all in.There are holes in the story, but that didn’t bother me because “Station Eleven” felt almost immediately like an antidote to every other post-apocalyptic tale I have ever seen. I have seen many, and characters are almost exclusively categorized as hero, villain, victim but never bard, never artist.
The mere existence of a character like the Conductor, played with bug-eyed, Emmy-worthy brilliance by Petty, made my heart sing. She was the leader of a band of survivors not because she was a ruthless martial arts expert but because she continued to writeand understood that music and theater fulfill a deep-seated need. “We try to make the world make sense for a minute,” she explains to young Kirsten.
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