The series takes place in the past (2009), present (2023), and future (2034). At first, recruiting FBI agents from various professions are just beginning to learn. All of them are confused and afraid of not being able to cope with the load. Currently, the same heroes are already hardened special agents with professional training and life experience behind them. A world where people become more suspicious and technology more dangerous paints a picture of the future: In this world, technological progress can prevent potential crime by arresting potential criminals.
In this future, Henry, a senior director of the FBI, has the unique opportunity to witness a technology that will bring great benefit and great sorrow. The character tries to prove to politicians that he should be left in office, while his former colleagues try to understand how the technological leap has become the greatest danger to humanity.
Frame from the “Class of ’09” (2023) series
Currency Production
Showrunner Tom Rob Smith is a man used to working on big stories. Smith is the writer of two seasons of American Crime Story, which he co-produced with his masterminds Ryan Murphy. Reminiscent of True Detective with its time jumps, Smith is also trying to work big in The Class of ’09.
Easily caught plagiarizing Philip K. Dick’s well-known idea of future technologies that can predict crimes and punish their writers in advance, the series is working hard to become more than just a serialized copy of Spielberg’s Minority Report.
“Class of ’09” is a multi-layered dish that the authors serve cold as revenge. Here, a decidedly somber picture and an unhurried pace coexist with the lively faces of the main characters who have not yet lost the youthful sparkle in their eyes. It is the actors who have brought the project into a kind of conditional equilibrium, helping the ideas of Smith’s dry writer to at least give some life.
Frame from the “Class of ’09” (2023) series
Currency Production
But the actors in the world of the series themselves are having a hard time – there is nowhere to play a big drama (although they try to touch us with the past of the heroes who come to the ranks of special agents who are not from a better life ) and the structural non-linearity of the plot, not only for the audience, but also for the same It also plays against the already difficult story for the artists themselves to navigate.
Because of the confusion in the script, the directions and the map are so needed, it’s hard to get the audience’s attention. It is interesting that the project about the sad image of the future appeared almost simultaneously with another dystopia – the Apple TV + series “Shelter”, about 10 thousand selected survivors living in an unusual underground bunker.
Both shows, in contrast and in different ways, show how dire challenges humanity may face in the next 100 years. But at the same time, they converge on one point, accepting not technology or natural disasters as the main culprit of a potential disaster, but a much more terrible force – a person.
Source: Gazeta
Brandon Hall is an author at “Social Bites”. He is a cultural aficionado who writes about the latest news and developments in the world of art, literature, music, and more. With a passion for the arts and a deep understanding of cultural trends, Brandon provides engaging and thought-provoking articles that keep his readers informed and up-to-date on the latest happenings in the cultural world.