Utopia understands the giddy fervor of plunging down the rabbit hole. Photo: Elizabeth Morris/Amazon Studios Fiction is often measured on its relevance to the current moment, even though sometimes “relevance” is mistaken for being topical. Utopia, the new Amazon Prime adaptation of a U.K. show, spearheaded by Gillian Flynn, is weirdly, upsettingly topical. It’s a show about a band of misfits trying to stop a devastating virus from causing the end of the world.
The rough outline of the show is that a group of online friends is obsessed with a comic book series called Dystopia, and have just discovered that there’s an unpublished sequel, Utopia. For them, the appeal of Dystopia and Utopia isn’t just that they love the books. They believe that the books are full of real clues about the end of the world, clues only visible when you stare at the book with a numerology-like focus on signs and symbols.
The other, more sideways bit of relevance in Utopia is the brutal individualism of it all. The show has a love affair with violence, and it’s also absolutely convinced that violence doesn’t really matter, that systems do not matter, that single lives do not matter, that individual actors have to be responsible for either ending or saving the world but also if someone dies … so what, that’s how it goes.
Occasionally, when it’s possible to grind your way through the blood and horror, Utopia makes its way into mesmerizing territory. John Cusack is sort of fascinating as a corporate overlord with mysterious motives, Rainn Wilson is strong as a maligned and misunderstood scientist, and the ragtag team of comic-book nerds is as ragtag as you could ever want.
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