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The showrunner, David Wiener, hails from Amazon’s “Homecoming” and it shares a director, Owen Harris, with “Black Mirror.” But it doesn’t compare well with either predecessor, each of which better explored the dangers of digitally and biologically fine-tuning humanity.
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The series doesn’t lack for dystopian pedigrees. Demi Moore has little to do as John’s drunk, idle mother, and the antagonists back in New London - suspicious of John’s popularity and of Bernard’s interest in him - are one-note sneering technocrats. Its main distinction from basic-cable fare is the copious nudity in the orgies, which are nonetheless antiseptic and unsexy, like a fancy cologne ad.Īnd this world is populated with flat characters. It’s one of those dystopias in which the prosperous locations vaguely resemble the World Trade Center Oculus and the impoverished zones are strewn with fires burning in oil drums. “Brave New World” was originally developed for NBCUniversal’s Syfy channel, then for USA, and as in some of those networks’ less-accomplished series, its future feels off-the-rack. The job of any adaptation is to retain the DNA of the original while mutating it to the times, and that’s where this version fails. “Brave New World,” while an enduring tale, was also a product of a time concerned with totalitarianism and threats to the individual.
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That John will threaten the complacency of New London by teaching its citizens how to feel is no surprise. The citizens, stratified into castes labeled “Alpha,” “Beta” and so on, shrug off the class inequities with the help of pills, orgies and “feelies,” tactile entertainments in which a populace mostly alienated from physical struggle can experience virtual thrills like getting punched in the face.īernard (Harry Lloyd), a supercilious Alpha, strikes up a friendship with Lenina (Jessica Brown Findlay), a Beta whom he’s investigated for having sex too often with the same man - a transgression of “solipsism” against the “social body,” in which “everyone belongs to everyone else.” After a getaway to the Savage Lands adventure park goes awry, they return to New London with a fugitive native, John (Alden Ehrenreich), whose defiant authenticity makes him a subject of fascination. We arrive in New London, the gleaming citadel of a hedonistic society that has snuffed out discontent with three rules - “No privacy, no family, no monogamy” - and an endless supply of soma, a feel-good drug dispensed like Pez. The premise, as in so many new series based on pre-existing intellectual property, is essentially that of the novel, but stretched out.
Dull, generic and padded, the series, one of the premiere offerings for NBCUniversal’s Peacock streaming service on Wednesday, transmutes a provocative warning into a vision of a sci-fi world that feels neither brave nor new.
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If only you could say that about its latest TV adaptation.
The future’s diversions were so absorbing that they commanded attention over everything else. Aldous Huxley’s 1932 novel “Brave New World” famously imagined a future society in which people were enslaved to pleasure.
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