Carnival Row Review: Mediocre ending to an offbeat series

Although Menu has nothing to do with carnival rowdirector’s film Mark Mylod can lead to an analogy. In it, each dish is served as a result of a combination of different factors. At the table comes an idea, a concept that integrates everything desired and harmoniously shows it. What, just a presentation of different issues without disorder, does not happen in a series Amazon Prime Video.

carnival row, starting from the first season, is an urban fantasy story in which people and creatures are in constant pulse. This is one of the symbolic snacks that history serves: conflict between different. It is a path that leads to other places: tensions between power, the re-creation of an elite, and the views of special beings on others.

Within these axes there are different layers. Some are related to the inner motivations of each character, while others are related to the interests of the environment in which they find themselves. An individual and collective power game in which Philo (Orlando Bloom) as a detective, and Vignette Stonemoss (Cara Delevingne), embodying a magical option, are trying to maintain their connection without betraying their communities.

carnival row and good intentions

One of the main goals carnival row it is to make the creatures a social allegory of those communities or people who do not fit into different standards and are opposed to their environment. Philo is a kind of link between them, an ideal image dreaming of a better coexistence.

His will appears as a point of hope in history, solving mysteries and smashing objects with the heads of their opponents. However, the representation of his intentions, his concept brings together many stereotypes that do not quite coincide with each other. He is a detective, like Sherlock Holmes, who also needs to be seductive and friendly, at the same time he needs to know how to hit and let deep wounds heal after drinking.

Result? By analogy with Menu, a dish with so many flavors and textures that it’s hard to taste. This is not the only time this happens. But the most notable is the protagonist of the story. It embodies various aspects that carnival row it does not stop developing, leaving its ceiling low in relation to its aspirations.

The presence of Vignette Stonemoss in this context is lost. The character is light in the environment of animals and people, until he disappears and mutates into a darker and more pragmatic version. Isn’t that what happens to a lot of people outside of fiction? It is a valid question that between various distractions you lose weight.

class struggle

When the previous weakness is transferred to the collective plane, the pulsation between communities and classes loses strength. Both are threatened by something beyond their strength and they are incapable of establishing any alliance. So, it is appropriate to repeat the previous question with a twist: isn’t the same thing happening to many societies?

In messages of this type carnival row find a reflective tone that can work. What happens though is something similar to what happens to its protagonists: among so many good intentions, the idea of ​​balancing various options between human civilization and fiction is found in a weak context full of leaks and leaks.

This explains that the highlights of the second season carnival row they do not have that roundness that one could imagine; neither in epic nor in philosophical depth (there are no great dialogues and worthy phrases). Wrong character building contributes to the level of expectations not reaching the level that was imagined, in addition to the ending decided in some haste, like someone who wants to get something off the shoulder that just fell, is probably motivated cancellation. stories.