Review: ‘Silo’ is ably anchored by Rebecca Ferguson, who between this and Dune may be the steely new reigning queen of sci-fi.
and once again be immersed in the earth-toned despair of Earth’s weary remnant. As the title may suggest, the show—based on a book series by—takes place in a gigantic silo, mysteriously constructed some centuries before the action of the story and now home to about 10,000 souls who know next to nothing about human history, though they may be all that’s left of it.
The world of the series is both cramped and pleasingly expansive—this silo has a lot of floors, and houses an intricate social order. Like thetrain rotated 90 degrees, people who live near the top of the silo are relatively bourgeois administrators—a mayor, a sheriff, the director of IT, the shadowy head of the judiciary—with class ranks steadily lowering as one reaches the bottom of this enormous shaft.
Well, maybe that’s a few seasons away. The first season is structured as a mystery-box procedural, in which a series of murders is gradually connected to a conspiracy. The community’s sheriff, Holston , launches an investigation. Which leads him to’s Juliette, an ace mechanic responsible for the silo’s all-important generator and who soon finds herself moving way up in station by a grim twist of fate.
Abetting and thwarting Holston and Juliette are a skeptical sheriff’s deputy, Marnes , and the menacing head of the judiciary’s security force, Sims . There’s some kind of coverup happening, and Holston and Juliette, both laden with grief, set out on a risky quest to get to the bottom of things . It’s a game setup for a series, though at 10 episodes long, the first season is drawn out to a fault.
Maybe that’s due to my tattered, Twitter-addled attention span, or maybe it’s a lingering frustration with post-series like these, which reveal some crucial things while holding other, more intriguing answers for later seasons. We haven’t learned’s initial seven and a half hours, after which there will be a year-long wait for the next chapter.’s narrative annoyances may have been to include, well, even more narrative.
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