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mutatismutandisx · 3 years

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Shadow and Bone (Netflix Series Review)

No Spoilers!!!

"Be careful of powerful men" - Genya Safin

Welcome to the Grishaverse!

Shadow and Bone is Netflix's big gamble for young adult fiction mega-success, the kind we haven't seen since Jennifer Lawrence volunteered as tribute almost a decade ago, adapting Leigh Bardugo's popular Grishaverse novels (her debut trilogy Shadow and Bone and serving as a prequel for the Six of Crows duology), anchored by an incredibly diverse cast (mostly newcomers) and a huge production budget, showrunner Eric Heisserer, alongside Bardugo who serves as an executive producer, aim for Hunger Games and Harry Potter level phenomenon with their own fantasy epic.

To Heisserer's credit, he manages a great adaptation of Bardugo's novels, even if he falls prey to the same story tropes that made Bardugo's debut novels seem so derivative, Heisserer brings the Grishaverse to life in a (mostly) successful run of 8 episodes, and even if his grand tour of Ravka isn't the most organized or well planned, most viewers will still fall in love with this world.

Heisserer's boldest creative choice, and biggest deviation from the novels, is the introduction of Kaz Brekker and his Crows, Jesper and Inej, in this opening chapter to the story, characters that did not appear in Bardugo's original Shadow and Bone trilogy. Creatively and business-wise, his decision is an obvious one, Bardugo's Shadow and Bone novels, while a solid debut, are the typical young adult fodder that is bombarded to consumers every year, a largely derivative yet charming "chosen one" story that teens and tweens eat up every year and then mostly forget about when the next one comes around (less Percy Jacson and more Divergent if you will), truth be told Bardugo's Grishaverse only became a phenomenon after the release of her superb Six of Crows duology, featuring Bardugo's very own Suicide Squad, a ragtag group of crimials performing incredible, mind-bending heists in the tough streets of a fictional Amsterdam (and beyond!), all anchored by what is (to this day) Bardugo's best creation: Kaz Brekker, a Batman-meets-The Riddler machiavelic genius with a flair for theatrics, Six of Crows and it's follow-up Crooked Kingdom are surely the main reason Netflix even greenlit this series to begin with. And just like in the books, Brekker and his Crows provide a much needed bolt of manic energy to an otherwise very by-the-numbers storyline. Not to discredit Bardugo's talent as a writer, but her skills had simply not been honed at the time of her 2012 debut, a shortcoming that Bardugo would fix later on, in her follow up novels, through ambition and sheer force of will.

And yet, Heisserer stays extremely faithful to the books, whether it's to Bardugo's best ideas or her least creative ones, he adapts it all, while attempting to add his own flair into the mix (with varying results), take our main protagonist for example, Alina Starkov, to those unfamiliar with the novels, Alina is the Katniss Everdeen of this story, a mostly ordinary young woman who, by a struck of destiny, finds herself thrust into the spotlight in the hero/savior-of-her-people role (a most unflattering one might I add), and thus becomes an unwilling symbol to a cause she hardly understands, saddled with all the responsabilities and power that comes with the job, and with the inevitable political players and adversaries that may take advantage of her power for their own gain ("Be careful of powerful men" one of Alina's confidants warns her in episode 5). And did I mention she happens to find herself in the middle of a love triangle? Indeed Bardugo's original novel isn't the most creative, and yet Heisserer doesn't have much to offer as a way to reinvent the character, the best he can come up with is changing Alina's ethnicity (originally caucasian) to that of the fictional Shu Han people (read: China), and yet, nothing is really done with the change, it just sits there, (similarly to Alina everytime a background character hurls xenophobic abuse at her), it's not explored and hardly touched upon, which begs the question why introduce the change in the first place? While I commend the showrunners for casting a female lead of asian descent on a blockbuster property such as this, I would remind them that true diversity is more than simply ethnic tokenism. Perhaps there will be a bigger payoff for the creative change in future seasons (if we get them, season 2 has not been greenlit), doubtfull but I'll remain optimistic.

Tokenism aside, the diversity of the cast truly is commendable, and as expected with a young adult property, it's a very young and very attractive cast, on the one hand it's understandable, they need to appeal to their core demographic, on the other hand they commit themselves to one of the most glaring faults in Bardugo's Grishaverse series, Ravka doesn't seem to have soldiers, politicians or grisha over the age of 25, it seems like a huge oversight on part of a country (and Leigh Bardugo) to have the entire power of the government and the military reside upon a group of teenagers, but be that as it may, most of the cast, while young, is very talented, even if their characters aren't fully developed, they do their best with what they are given, some of the standouts are Jessie Mei Li as Alina, Mei Li is saddled with a character and plot that's as derivative as they come, and yet she finds nuances in her perfomance that are lovely to watch, she brings a sense of joy and determination to Alina that lesser actors couldn't even imagine much less portray, all that helps her stand out from most, if not all, the crowd of chosen one characters that have come before her, and even tho Mei Li doesn't reach Jennifer Lawrence levels with her performance, she certainly surpasses the Kristen Stewarts and Shailene Woodleys that have come before.

Ben Barnes is a surprise as General Kirigan, at first glance you might think him miscast (too young, too pretty to be believed as a stone cold, battle hardened general) and yet he still manages to make the character his own, a possessive, demanding, controlling, master manipulator who always seems to have the upper hand, Barnes is blessed with a tight script and he never misses a beat giving a subtle and nuanced performance. And then there is Kit Young as Jesper Fahey, sharpshooter, playboy, criminal with a heart of gold, Young is a revelation, he is as good in his role as Robert Downey Jr. is as Tony Stark, and that's all you need to know, Young was simply born to play Jesper, anchored by a strong script, he steals every scene he is in and far overshadows his fellow Crows. And as for the other Crows, Freddy Carter acts his heart out as Kaz Brekker, committing to a very physical performance, from scowl to limp, he embodies Brekker visually, but after the first 2 episodes you get the feeling the writers simply don't know what to do with his character, losing the spotlight to other actors blessed with better material, never did I think Kaz Brekker would be overshadowed by one of his fellow Crows, yet here we are. Carter's talent still shines through and his perpetual, omnipresent scowl as Brekker is a beauty to behold, even if his limping is somewhat inconsistent, which makes me hopeful he will improve when given more to do, still it's a shame to have the master strategist/evil genius Bruce Wayne replaced by a lowly con artist and not a very successful one at that. As for Amita Suman, while perfectly cast as Inej Ghafa, her character is severely underwritten, from her past work in The Menagerie, to her faith, to her interactions with Brekker, it's all done in the broadest of strokes, Suman isn't given much to do and therefore doesn't have the opportunity to excel as The Wraith.

You can feel the writers straining for time between developing this world and the large cast of characters they have to work with, inevitably some characters fall of the wayside, through none of the actors' fault. Daisy Head as Genya Safin is all untapped potential, even more underwritten here than she is in the books, which make later revelations about her character (the color of her kefta and shifting allegiances) barely register, hopefully they correct that going forward. Sujaya Dasgupta is another victim of a weak script and little screen time, Dasgupta is simply miscast as the powerful, acerbic, steely-eyed Zoya Nazyalensky, long gone is the regal, no nonsense, silver-tongued Grisha general, in Dasgupta's hands Zoya is just a watered down Grisha version of a Mean Girl, faltering every scene with the exception of one moment, as she makes her way through party goers at the Little Palace and she corrects Inej's ethnicity to a bystander, (her one good line reading in the entire show) "She's Suli", she declares, with all the strenght and defiance that's sorely missing from the rest of her performance, moving forward let's hope a stronger script can lift her performace off the ground, because right now all the wind is gone from this Squaller's wings. And as for Malyen Oretsev played by Archie Renaux, he is the Gale Hawthorne of this story, the undignified love interest, and Renaux is as boring in his role as Liam Hemsworth was in his.

Lastly, Danielle Galligan as Nina Zenik and Calahan Skogman as Matthias Helvar, are equally terrible in their performances, from their accents to their interactions, none of it rings true, and it's particularly jarring when juxtaposed with the talent portrayed by the rest of the cast, we spent way too much time with Nina and Matthias, for absolutely no payoff to their story (yet! Fans will recognize them as 2 future members of Brekker's murder of Crows), but their little side adventure is so disconnected with the events of the main plot that I can't help but feel their story was better reserved for another time, hopefully with some better actors playing the roles. A lovely moment of playfulness between Nina and Matthias while they tread along in a barren, snowy hill, is the only glimpse of hope for Galligan's and Skogman's performances, maybe there is talent to be tapped but it certainly wasn't in display this time around.

The Grishaverse is simply too large and complex, so understandably Heisserer and his writers room have a lot on their plate, but while the character work is largely uneven, his world building is quite solid, based on the impressive foundation Bardugo set out for them, the showrunners are able to bring the world of Ravka to life, the costume design is stunning, from soldiers to Grishas, to royals and diplomats, the costume department does a fabulous job with every piece and every character, one of the high points in the series.

The VFX team also does a lot of the heavy lifting for Heisserer's world building efforts, realizing the different power sets of all the Grisha in a fantastical manner while still maintaining a realistic quality to them, ("you'll believe a man can fly"), but even with a huge production budget, Heisserer strains with this world-spanning adventure, so even though the set and production design is mostly impressive, some sets simply fall out of range for the show's budget, case in point, both Ravka's Royal Palace and the Little Palace are not fully realized, viewers are given a single outside shot of the Royal Palace (and from very far away at that) and the throne room is only visited once, and as for the Little Palace, it's stripped from many of the books most sprawling details, the training grounds, the Grisha school, the fabrikators workshop, the dining room, the palace's towers, all falling victim to obvious budget restrains. Not to mention both palaces are devoid of the classic Russian influences that permeate Ravka's world.

But Heisserer's skills for world building show the most limitations on the lore of the Grishaverse, the three Orders of the Grisha are never properly explained, with Fabrikators getting next to none screen time, Heisserer is never capable to establish a clear view of the world these characters inhabit, most viewers will be very confused about Ravka's shifting borders, the civil war tensions between East and West, and the adversary foreign nations (an inclusion of a map in the opening credits of every episode would have gone a long way), the sociopolitical elements that Bardugo has infused in her books are decidedly complex and the show doesn't do them justice, unfortunately. Perhaps most glaring is the very clear disagreements on what a Ravkan's diction and accent should be, since every actor has their own interpretation of it, an oversight that I hope is fixed in future seasons.

As the few completely negative points of the show, alongside Galligan and Skogman, the sound mixing is terrible (you will need subtitles to watch this show) and the cutaway flahbacks are quite sloppy.

To conclude, Shadow and Bone is a lovingly crafted, beautifully realized, world building adventure, it has a couple of missteps along the way (like all adventures do), but the final product is strong enough to overcome some of its creative faux pas, with a solid script and anchored by a (mostly) talented cast, Shadow and Bone doesn't reach Catching Fire levels of greatness but it far outpaces the rest of the young adult fantasy competition.

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