![]() ![]() Even shows with potentially rich genre settings, like the faux- Star Trek world of Yahoo’s dearly departed Other Space, often favor their characters over their milieu-it’s a narrative myopia that’s to the detriment of shows’ worlds. It’s the kind of strangeness manifested in The Man in the High Castle’s perfectly pleasant Nazi neighborhood that has yet to fully be defined in the current prestige-TV landscape. ![]() Sensibilities might change, but never surroundings. The best series-like, say, *You’re the Worst-*do both, but too often they simply immerse viewers in a world that’s like ours. That’s partially because TV tends to focus on its characters more than their surroundings. Most of these people intuit that something is wrong with their world. The most important object in the show is a newsreel that depicts an alternate outcome in which the Allies won the war that’s because, as the characters yell repeatedly, it proves that things can be different (even if we're not quite sure how). Even the threat of outing someone as Jewish, or of having Jewish ancestry, causes tension. Still, something is missing.Ī vague sense of paranoia permeates the universe-not that surprising, since the show’s very premise hinges on the Nazis having won World War II. The action sequences are tense and well-shot, even if the pacing can be rough. The others are at least committed to being good-looking and angstily earnest in the way in that CW way. The cast is, generally speaking, good, particularly Rufus Sewell as SS officer John Smith and Cary Hiroyuki Tagawa as weary Japanese official Nobusuke Tagomi. Dick’s alternate-history novel of the same name. Sure, there’s a lot to like about the show, adapted from Philip K. The series, which premiered on Amazon on Friday, has all of the signifiers of Quality TV Drama-a slow burn with just enough violence to keep audiences interested, mysterious characters, an extremely dark palette. The Man in the High Castle is a fine show fine as in sufficient, not as in excellent. ![]()
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