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There are cause-and-effect relationships between one event and another, but they’re stretched across long-attenuated frames, spun out over distances that are short enough to roughly remember there was a relationship there, but too long for that relationship to retain any urgency or heft. Characters get shuttled off into stasis pods and hang out at the edges of the universe, apparently lost forever, until inevitably it turns out they are just fine, actually: How are you? And what’s happened in the last 40 years?Īs a result, not much about Foundation sticks, either emotionally or narratively. Stories glide across decades too quickly. But Foundation, by design, does not let you stay in those scenes for long. Briefly, you get looped into their motivations, the people they have crushes on, the goals they’re striving for. In individual scenes, characters like Dornick and Hardin work, too. Likewise, Jared Harris leans into the wise enigmatic visionary thing, and because he’s Jared Harris, no one will be surprised when things don’t turn out all that well for Hari Seldon. He plays it so utterly straight, just seething cold fury in a goofy, bright-blue breastplate-chin-guard thing, and it’s not hard to buy Brother Day’s stern emptiness. As the evil emperor, Lee Pace makes an excellent figurehead.
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Dornick and the clone-emperors are creations for the TV series, and both are attempts to shoehorn some straightforward protagonist/antagonist motivation into the story. There’s a young, uncanny genius-type outlier character, Gaal Dornick (played by Lou Llobell) and another resilient outer-world survival character, Salvor Hardin (Leah Harvey). It is possible to watch Foundation for those characters, and to care about what happens to them: Lee Pace is the radiant Brother Day, one of a triumvirate of clone-emperors that rule over the enormous, unchanging civilization Jared Harris is Hari Seldon, a mathematician-revolutionary who predicts the fall of the empire.
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Foundation the series tries to resist that, to fight its source text’s structure by creating characters and almost defiantly plunking them down in those beautiful galactic spaces. “Things” definitely do “happen.”īut Isaac Asimov’s original novel is usually described as “ unfilmable” because it’s primarily focused on individual action as a necessary, but not especially interesting, conduit for the thing it actually cares about: sweeping social collapse and reconstruction. It’s a colorful kaleidoscope of alien planets and jewel-tone costumes sliding quickly from one time, one planet, to somewhere totally different (but just as sumptuous).
It is stunning to look at - arresting, even. The experience of watching Foundation, the new big-budget science-fiction adaptation premiering today on Apple TV+, is pretty close to the frictionless pleasure of leaning back and leaving your Apple TV on screensaver mode.
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I love them in the same way I have, at various points in my life, loved Magic Eye posters, coloring books, things arranged in rainbow order, and those boxes full of blunted pins you press your hand against and then flip over to see the three-dimensional image. They are great screensavers - mesmerizing, visually rich, captivating while also functionally empty - and I am sincere when I say that I love them. All of them, even the more close-up, underwater-themed ones, share a feeling of distance and abstraction, like watching the world as a gorgeous high-def system of patterns divorced from any one narrative or character. There’s a large library of very beautiful videos, most of them taken from a slight or extreme remove: a camera following a pod of dolphins, drone footage of a busy California pier or marina in Dubai, or one of my favorites, rice paddies in China.
Sometimes, when I’ve finished watching something and I’m just sitting, processing, not yet ready to move onto my next task, my Apple TV goes into screensaver mode.
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