See is a funny TV show, but not on purpose – The Verge

’s a scene in See I would bet everything in my wallet (seven dollars, three MetroCards, and five half-used rewards ) that it’ll . It’s the one where Jason Momoa’s character picks up a book for the . Since the show is set centuries after a virus deprived humanity of sight, he has no idea what’s in his hands. He complains it smells like “dead bark” and holds it the way a might hold a vegetable when they were in expecting a cookie. Then Alfre Woodard’s character demands he hand over what he’s found, and speaks its -forgotten name: book.

It’s extremely in context, and probably debilitating out of it. It also makes See, ’s post-apocalyptic , one of my favorite kinds of shows: could just plainly state something that happens in an episode, and everyone would swear ’re making it up. That doesn’t mean should it.

Set in the ruins of our , the of See have adjusted to a sightless after centuries of practice. Makeshift curtains of beads make for boundaries both and physical, fights involve a lot of probing contact and grappling (as does ), and there’s a lot of finger snapping. See is extremely invested in you how this stuff works, so much so that it barely delves into its characters.

Voss (Jason Momoa) is a man who must take his on the run after his adopted twins, Kofune and Haniwa, are born with sight. The trouble is, the very idea of sight is heretical — much like in colonial , troublesome people are accused of having the ability to see as justification for burning them alive. And there’s also an who learns of the twins, and as a religious zealot who worships the “darkness” (by, and I testify to this in if I have to, masturbating as she prays) she wants them brought to her for evil queen .

A generous and forgiving read of See could interpret it as an attempted on , ignorance, and responsibility, but See actively resists attempts to latch on to anything of substance it might have to offer. In the first three made available in advance to , See is more interested in the logistics of its world than it is in implications.

Sometimes that leads to fun . The third episode, the best of that initial bunch, is largely unconcerned with the season’s main arc, instead telling a where Kofune is kidnapped by slavers and must be rescued. It’s visually striking, introducing a tribe of people that, unbeknownst to them, are living in the ruins of an amusement park. It’s got a killer fight scene, with choreography that clearly conveys the limitations and of everyone involved and depicts brutal violence with grace and skill. And it’s got personal stakes, which I won’t spoil because it’s one of the only bits of character backstory you get in the first couple of episodes.

None of these make See a more interesting show beyond the hour you spend watching them. It’s cotton , a fun confection for one , and just plain the .

See is clearly interested in drawing people into its elaborate and well-crafted post-apocalypse, but it’s telling that the only questions I have after watching are purely pedantic ones. Like how did a make such perfect and deadly , or build homes that never leak, or clothes and that so nice?

These are questions asked by jerks and spoilsports, and I wish I had better ones to of See. The show is strange, but fails to justify that strangeness with a compelling story, characters, or literally anything than the of you and your stoned cousin would come up with if you wondered what it would be like if we all woke up totally blind, man. Maybe you’ll come up with something fun enough for posting on , but it’s not going to it for eight hours of television.

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