At a time when the term ‘golden age of television’ has been credited to the hitherto unimaginable figure of 500 original scripted TV series aired annually on US television channels, it is no surprise that some of them look or attempt to resemble copies of Hollywood blockbusters, exploiting the very trends that have proven profitable at the box office. This, among other things, applies to the rather irritating trend of dystopian post-apocalyptic science fiction aimed at young adults, in which teenagers are, for various reasons, tasked with saving the world. This trend has made its way to the small screen in the form of The 100, a TV series based on Kass Morgan’s novel series. Evidently, the source material left a very favourable impression on The CW network’s executives, as the series was launched just a few months after the original novel appeared in bookstores. The series lasted for seven seasons, aptly ending with the 100th episode.
The action begins in a vaguely defined future, less than a century after a thermonuclear war devastated Earth and destroyed civilisation. The only remnants of humanity are the descendants of those who happened to be aboard orbital stations at the time, which they have transformed into a vast ‘Ark’. Humanity thus survived, but due to limited space and resources, draconian laws were enacted, mandating the death penalty for every offence. The only exceptions are minors, which Chancellor Jaha (Isaiah Washington) exploits by sending a group of 100 of them on a suicidal reconnaissance mission to the Earth’s surface—a place whose habitability remains uncertain. When the group of reluctant colonists finally lands on Earth, they discover that survival is indeed possible, but they still face an uneven struggle for existence. In addition to confronting previously unimaginable challenges such as hunger, thirst, and cold, they must also contend with deadly mutated creatures lurking in this new and unfamiliar world, as well as the descendants of survivors who regard the unusual newcomers as enemies. Clarke Griffin (Eliza Taylor) and Bellamy Blake (Bob Morley), who have by circumstance emerged as leaders, must also deal with internal conflicts within the group, while simultaneously, aboard the Ark, it becomes apparent that the expedition of a hundred adolescents was a desperate move.
The 100 could be most succinctly described as a somewhat ‘slow-starter’ series, as it takes considerable time to get going and will, particularly in the first few episodes, demand a great deal of patience from viewers, especially more discerning ones. At this stage, it is quite difficult to avoid the impression that it is a rather cheap and utterly uninspired combination of Lost and Battlestar Galactica. Serving as a constant reminder of these series—undeniably superior to The 100—are several familiar faces from the cast, including Kate Vernon and Alessandro Juliani (who portrayed Ellen Tigh and Lieutenant Gaeta in Galactica) and Henry Ian Cusick (who played Desmond Hume in Lost). The irritating sense of déjà vu is further amplified by the use of picturesque forests surrounding Vancouver as filming locations, overly familiar to fans of cult sci-fi series like The X-Files or Stargate SG-1. What sets The 100 apart from these shows, however, is its use of youth as protagonists. Yet, particularly at the beginning, these characters are portrayed not only as immature but also unintelligent and criminally irresponsible, leading viewers to eventually wish for them to meet the same fate as similar characters in Friday the 13th and other slasher films.
The 100 begins to resemble a serious series only when viewers’ wishes start to be fulfilled, and in a manner previously difficult to imagine on television, especially for shows nominally aimed at a younger audience. After a few episodes, the titular hundred begins to rapidly dwindle, typically through methods involving bladed weapons and rather explicit bloodshed; those who survive are often subjected to severe injuries and even torture. By the end of the season, the characters are forced to make some difficult and deeply unpleasant decisions regarding survival. Were it not for a couple of obligatory and ultra-clichéd romantic subplots, The 100 would more closely resemble classic sci-fi actioners like Mad Max, Alien, and Predator, rather than a teenage melodrama.
Those viewers who remain patient will, among other things, be rewarded with rather good acting. Although at first glance it appears that the cast is dominated by actors chosen for their good looks (which, partly due to her slightly curvy physique, cannot be said of Australian actress Eliza Taylor), one can discern talent or at least considerable effort among them to compensate for the script’s shortcomings through their performances. The writers themselves have also performed a heroic feat, at least according to literary reviews claiming that the source material was indescribably worse. Although the first season concludes with a rather unconvincing cliffhanger, viewers who have placed their trust in The 100 have reason to believe that the series could be significantly better in subsequent seasons.
RATING: 5/10 (++)
(Note: The text in the original Croatian version was posted here.)
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