There is some room to doubt this account, and something in this long-running dispute we are perhaps meant to regard as a Swiftian absurdity yet the violent behavior of the Old Watch, and the fact that it regards time travel as a capital offense, putting the girls in danger, does tend to brand it as the bad guys. As explained by Larry (Nate Corddry), a 20th century recruit whose path the girls cross, the Old Watch has banned time travel in order to maintain its privileged station in whatever far year it has come to power, while the STF wants to adjust history in the pursuit of a more equitable future for all. Their abductors/saviors will turn out to belong to the Standard Time Fighters, also called the Underground, who would be the Rebel Alliance in this scenario, who are at war with the Old Watch, your Empire stand-in their skirmishes take place across history. In a somewhat confusing flurry of events, they find themselves kidnapped, or perhaps rescued, by a couple of black-clad teenagers and wind up stranded in the year 2019. “And yet someone wrote ‘Jew B-’ on my locker last year.” The sci-fi elements frame the story, create danger, draw the protagonists together and allow for encounters not possible under the laws of physics as we currently understand them. Given that it begins in the 1980s - it’s a time-travel show, so it doesn’t stay there long - and involves young people caught in the middle of science-fictional forces, the series is sure to be compared to “Stranger Things” the comic already was. Still, I would rank it as one of the year’s best shows, for what it does right and what it doesn’t bother doing, for the intelligence of the writing and the natural flow of its dialogue, and the impressively deep performances of its phenomenally talented young cast - not actual 12-year-olds, but near enough. Between occasional bursts of action, the pace remains leisurely, with room for stillness there is very little in the way of spectacle, and much of what there is shows the modesty of its budget. But the ideas are mature, involving identity, memory and youthful hopes coming literally face to face with adult reality, and it is more than usually subtle about loss and death. ![]() Rogers and Chris Cantwell as showrunners, it centers on a quartet of 12-year-olds. Vaughan and Cliff Chiang, and counting “Halt and Catch Fire’s” Christopher C. (That Prime put reviews under embargo until the release date suggests it may have doubts of its own.) Developed by Stephany Folsom from a comic by Brian K. I have no idea whether it will attract the audience it deserves, or even who exactly that audience might be. That is not “Paper Girls,” which premieres Friday on Prime Video. ![]() This does seem to be a recipe for success. ![]() Castles are built upon clichés, for reasons that can seem both purposeful and lazy action and mythology can take precedence over character and relationships, which are often more implied than portrayed. There is a lot of science fiction on television these days, and as with its theatrical big sibling, a lot of it relies on special effects and/or the built-in advantage of belonging to some extended, mutually promotional universe.
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