The fantasy series “Carnival Row”, is ambitious and long, but in its two seasons, its characters, concepts and subplots are very spread out and can be described as somewhat thin, and there is also no right sense of direction. Its focus – fairies – and humans struggling to coexist in an inflexible, racist world – is just a few unclear discussions about socially conscious topics like class and inequality.
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In its second and final season, the series clumsily persists in placing a priority on politics within its urban setting and uncomplicated moral dilemmas over a cohesive narrative.
In season two, the town of Burgue is on the brink of war and, following a decree by Chancellor Jonah Breakspear (Arty Froushan) to gather the town’s fairies on Carnival Row, Rycroft “Philo” Philostrate (Orlando Bloom) and his ex-girlfriend, revolutionary fae Vignette Stonemoss (Cara Delevingne), find themselves on opposite sides of the law. Philo, a disgraced former lawman who helps the police with a murder investigation, tries to talk Vignette out of further violence.
Despite all its plot a little confusing in my eyes, and construction in relation to the world a little heavy, the season that opened Carnival Row managed to bring a very cool murder mystery. The creative team kept the universe from the other season, with connected arcs.
The pivot linked – I’ll describe it this way – from ex-sex worker Tourmaline (Karla Crome) to witchcraft, for example, runs like a tangent. Elsewhere, Sophie Longerbane (Caroline Ford) serves up most of the season’s political intrigue before the story unceremoniously abandons her, while Agreus Astrayon (David Gyasi) finds herself at the center of a thematically rich love story. , but which proves to be unsatisfactory.
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It may be that the most obvious consequence of “Carnival Row” is the unevenness of its most attractive characters. Philo and Vignette, both as a pair and individually, are no longer interesting, nor very likeable. And the show’s setting, while providing a rich backdrop for fantastical events, left something to be desired this time around.
The show’s characters, creatures, and concepts stand out in an increasingly crowded genre, but without a clear, focused story to make its universe feel believable and inhabited, “Carnival Row” fails to deliver on its initial idea promise.
Renato (Nicolas Prattes), is a shy and insecure young man, who expresses what he truly thinks only through e-mails. He writes to his co-worker (Romulo Arantes Neto), to his girlfriend (Kéfera Buchmann), to his parents… he doesn’t hide anything, he puts everything on his mind. Everything really! But when it’s time to send… you can’t! Saved in the drafts folder.
One day, with no explanation, all of his drafts are sent, and suddenly he has to face the horrible consequences of being who he really is.