A colorful, human and Shakespearean post-pandemic mini-series


“Do you know this flu? “

“What, this thing in Asia?”

Lines like these, or the last one where someone says, ‘The flu has mutated,’ serve as obvious reminders of Covid and its variants. Yet in “Station Eleven” there is an element of danger that goes beyond it, whether it is the terror of an oncoming plane crash or the vague threat of another. survivor of the apocalypse with cloudy intentions.

Deadwyler, who managed to stand out even among the star cast of “The Harder They Fall,” plays a button-down woman who works in logistics but still draws, and ends up collapsing in a boardroom in a scene emotional. Serious as it sounds, “Station Eleven” also finds time for lighter moments, like when an actor auditions for the Shakespearean troupe with Bill Pullman’s rallying speech from “Independence Day”.

Overall, these moments help HBO Max’s “Station Eleven” take off to a vital tilt. Although it started long before most of us knew what a “coronavirus” was, the show has a poignant character that comes from being of the moment and for the moment. It takes away the scaffolding of technology and the little human concerns that we have erected over our existence on this planet, and seeks more fundamental truths.

As a writer with tunnel vision – someone who spends most of their days indoors, focusing on the work in front of them at the expense of any real interaction – I have found myself envying members of the Traveling Symphony as they sit in their camp, play live music and enjoy each other’s fellowship in person. Right now, living vicariously for simple pleasures like this is more painful and meaningful than any other special effect Hollywood could produce. “Station Eleven” is a show about what really matters: people, art, and the life force that buzzes with distractions.


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