Underground, the remnants of humanity survived in a strict authoritarian order without any memory of the past disaster. Silo, adapted from Hugh Howey’s novels, is an excellent science-fiction series on Apple TV+ that keeps us captivated throughout. The show’s mystery is revealed by several characters within multiple timelines. These perspectives provide different views on a dystopian future where challenging established ideas leads to dire outcomes. A fantastic cast and gritty production design bring a familiar story to new heights.
“Freedom Day” sets up the stage and develops critical exposition in a sharp-edged opener. One mile beneath the surface, citizens inhabit a helix-like structure with more than one hundred floors. There are no lifts or escalators ferrying people up and down. Exiting your designated area takes considerable effort over time.
Those who work at Silo do so for life. Administration and law enforcement seldom venture below into technical and engineering depths of it all. The displays show a desolate barren wasteland above ground level. Exile from Silo means death—this is the one rule and punishment that surpasses them all.The banished may choose to “clean” cameras and sensors before their inevitable ends.Citizens meet in cafeterias watching their tragic fates.
The Sheriff Holston Becker (David Oyelowo) along with his wife Allison(Rashida Jones) are waiting for an e-mail at home through their cubic CRT monitor; they have permission to conceive now.The couple are thrilled as they will have twelve months to get pregnant.Having first stopped by the doctor’s office for Allison’s birth control removal.Being congratulated by everyone about this happy news.Children aren’t just born anyway.Not just everyone can be authorized.
No progress towards getting pregnant occurred over time.It was out of sheer frustration that Allison ended up working on Freedom Day.Silo remembers its Founders who suppressed rebellion 144 years ago but what followed was very costly for them. The defeated erased history by burning libraries and wiping computer servers. A programmer, Allison goes down to the lower levels for a support request. They have nothing but an encrypted hard drive from before this war which George(Ferdinand Kingsley) has chanced upon.
Silo gets its narrative teeth into this by cleverly using flashbacks. We do know what happens with one character early enough.However, it does not make sense without understanding what happened in the past.Later on as backstories are given full explanations the broad strokes become clearer.For instance, our protagonist is introduced in episode two of ten.Rebecca Ferguson plays Juliette Nichols who is a base level engineer trying to fix the power generator.She is thrown into danger and must piece together clues if she is to find out something shocking.
Silo offers a complex study of systemic oppression that hits home. Society obeys because it fears the unknown.Citizens feel thankful for their Silo’s safety.Blank industrial interior design feeds people, provides shelter, keeps them relatively comfortable.You can’t just breed uncontrollably.There wouldn’t be sufficient food.Sexual relationships need permission.” Freedom becomes cheap when pictures of outside world show a deadly alternative.Sacrifice for greater good is essential.
The sophisticated approach of the Norwegian director Morten Tyldum (The Imitation Game, Passengers) gets top grades. However, this happens in a confined space for the characters to deal with their emotions. The exposure of some deeply concealed secrets that affect many things on a large scale. In fact, there are certain twists which are very expected but it does not matter here. From above, audience members stand to gain much from the camera work. It is entertaining to see how all these sublime parts fit together. No one fails ever to be absorbed by Silo’s plot and characters right from the first page onwards.
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