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Articulating why I struggle with the TV show. Thoughts?
His Dark Materials has gorgeous production design and phenomenal visual effects. It's (in my opinion) well-acted. The score is great. But it's all let down by bad writing. Jack Thorne writing the entire first series alone damned the show. There was no-one to balance out his flaws/biases as a writer. Thorne is checking off a list of plot-points, so concerned with manoeuvring the audience through the story he forgets to invest us emotionally. The scripts are mechanical, empty, flat.
HDM feels like an impassioned fan earnestly lecturing you on why the books are so good- (Look! It's got other worlds and religious allegory and this character Lyra is actually really, really important I swear. Isn't Mrs Coulter crazy? The Gyptians are my favourites.) rather than someone telling the story naturally.
My problems fall into 3 main categories:
- Exposition- An unwillingness to meaningfully expand the source material for a visual medium means Thorne tells and doesn't show crucial plot-points. He then repeats the same thing multiple times because he doesn't trust his audience
- Pacing- By stretching out the books and not trusting his audience Thorne dedicates entire scenes to one piece of information and repeats himself constantly (see: the Witches' repetition of the prophecy in S2).
- Narrative priorities- Thorne prioritises human drama over fantasy. This makes sense budgetarily, but leads to barely-present Daemons, the Gyptians taking up too much screentime, rushed/badly written Witches (superpowers, exposition) and Bears (armourless bear fight), and a Lyra more focused on familial angst than the joy of discovery
- The emotional core of Northern Lights is the relationship between Lyra and Pan. The emotional core of HDM S1 is the relationship between Lyra and Mrs Coulter. This isn't bad in and of itself- it's a fascinating dynamic Ruth plays wonderfully- if it didn't override/detriment the Daemons
- Daemons are only onscreen when they serve a narrative purpose. Thorne justifies this because the books only describe Daemons when they tell us about their human. On the page your brain fills the Daemons in. This doesn't work on-screen; you cannot suspend your disbelief when their absence is staring you in the face
- Thorne clarified the number of Daemons as not just budgetary, but a conscious creative choice to avoid onscreen clutter
- Mrs Coultethe Golden Monkey and Lee/Hester have well-drawn relationships, but Pan and Lyra hug more in the 2-hour Golden Compass movie than they do in the 8-hour S1 of HDM. There's barely any physical contact with Daemons at all.
- They even cut Pan and Lyra's hug after escaping the Cut in Bolvangar. In the book they can't let go of each other. The show skips it (robbing the moment of its emotional weight) because Thorne wants to focus on the Mrs CoulteLyra relationship.
- Daemons are treated as separate beings and thus come across more like talking pets than part of a character
- They cut Pan and Lyra testing how far apart they can be. They cut Lyra freeing the Cut Daemons in Bolvangar with the help of Kaisa. We spent extra time with both Roger and Billy Costa, but didn't develop their bonds with their Daemons- the perfect way to make the Cut more impactful
- I don't need every single scene in the show, but it's notable that most of the cut scenes reinforced how important Daemons are. For how plodding this show is. you'd think they could spare time for these moments instead of inventing new conversations that tell us the information they show
- Billy Costa's fate falls flat. It's missing the dried fish/Daemon substitute that Tony clings to in the book. Thorne said this 'didn't work' on the day, but it worked in the film. Everyone yelling about Billy not having a Daemon is laughable when most of the background extras in the same scene don't have Daemons themselves
- The Witches are the most common complaint about the show. Thorne changed Serafina Pekkala in clever, logical ways (her short hair, wrist-knives and cloud pine in the skin)
- The problem is how Serafina is written. The Witches are nothing but exposition machines. We get no impression of their culture, their deep connection to nature, their understanding of the world. We are told it. It is never shown, never incorporated into the dramatic action of the show.
- Thorne emphasises Serafina's warrior side, most obviously changing Kaisa from a goose into a gyrfalcon (apparently a goose didn't work on-screen)
- Serafina single-handedly slaughtering the Tartars is bad in a few ways. It paints her as bloodthirsty and ruthless. Overpowering the Witches weakens the logic of the world (If they can do that, why do a whole council let the Magesterium bomb them unchallenged?). It strips the Witches of their subtlety and ambiguity for the sake of cinematic action.
- A side-effect of Serafina being alone, not with her clan, is limiting our exposure to the Witches' world. Serafina is the only one invested in the main plot, we have no sense of their wider connection to the Prophecy/opposition to the Magesterium besides what she tells us. This poor set-up weakens the Witch subplot in Season 2
- Lyra hasn't exchanged a single line of dialogue with Serafina Pekkala. She has laid eyes on her once.
- The Witch subplot in Season 2 is laughable. Only 2 named characters, neither with any emotional depth (Serafina and Coram's dead son developed him far more than her). The costumes look ostentatious and hokey- the opposite of what the Witches should be. They do nothing but repeat the same exposition at each other.
- We feel nothing when the Witches are bombed because the show never bothers to invest us in what is being destroyed- not even with an establishing shot when Lee Scoresby is talking to the Council.
- Like the Witches; Thorne misunderstands/rushes the fantasy elements of the story. The movie executed both Iofur's character and the Bear Fight much better than the show- bloodless jaw-swipe and all
- Iofur's court was not the parody of human court in the books. He didn't have his fake-Daemon (hi, Billy)
- An armourless bear fight is like not including Pan in the cutting scene. After equating Iorek's armour to a Daemon (which meant less considering how badly the show scuffed them) the show then cuts the detail that makes the armour plot-relevant. This diminishes all of Bear society. Like Daemons, we're told Iorek's armour is important but it's never shown to be more than a cool accessory
- Gyptians suffer from Hermoine syndrome. Harry Potter screenwriter Steve Kloves' favourite character was Hermione, and so Film!Hermoine lost most of Book!Hermoine's flaws and gained several of Book!Ron's best moments. The Gyptians are Jack Thorne's favourite group in HDM and so they got the extra screentime and development that the more complicated groups/concepts like Witches, Bears, and Daemons needed
- At the same time, he changes them from a private people into an Isle of Misfit Toys. TV!Ma Costa promises they'll make a Gyptian woman out of Lyra yet, but in the book Ma Costa specifically calls Lyra out for pretending to be Gyptian, and reminds her she never can be.
- This is a small moment but it's indicative of how, while trying to make the show more grounded and 'adult', Thorne has simultaneously made it more saccharine and sentimental. He neuters the tragedy of the Cut kids by having Ma Costa say they’ll become Gyptians. Pullman's books feel like an adult story told through the eyes of a child. The TV show feels like a child's story masquerading as a serious drama.
- Let me preface this by saying I genuinely really enjoy the performances on this show. Even if the characters are shallower than on the page, I think the interpretations are interesting.
- The show was shot in the foot by The Golden Compass' perfect casting.
- The most contentious/'miscast' actor is Lin. Thorne ditched the books' wise Texan for a budget Han Solo. LMM isn't a great dramatic actor (even in Hamilton he was the weak link) but he makes up for it in marketability- lots of people tried the show because of him
- Readers dislike that LMM's Lee is a thief and a scoundrel, when book-Lee is so moral he and Hester argue about stealing. Personally, I like the change in concept. Book!Lee's parental love for Lyra just kind of arrives. It's sweet, but not tied to a character arc. Done right, Lyra out-hustling Lee at his own game and giving him a noble cause to fight for (thus inspiring the moral compass, and self-sacrifice, of the books) is a more compelling arc.
DAFNE KEENE AND LYRA
- I thought Dafne would be perfect casting- her feral energy in Logan seemed a match made in heaven. Then Jack Thorne gave her little to do with it.
- Harry Potter fans talk about how Book!Harry is funnier and smarter than Film!Harry. They cut his best lines ('There's no need to call me sir, Professor') to make him blander and more passive. The same happened to Lyra. Thorne skipped her feral upbringing at Jordan (would it have killed to show them forcing her to look presentable for dinner?)
- Most importantly, Lyra is not allowed to lie naturally/for fun. She can't do anything 'naughty' (even drink) without being scolded. This colours the few times Lyra does lie (e.g. to Mrs Coulter) negatively and thus makes Lyra out to be more of a brat than a hero.
- This is a problem with telling Northern Lights from an outside, 'adult' perspective- to most adults Lyra is a brat. Because we see her from inside her head, we think she's great. It's only when we meet her through Will's eyes in The Subtle Knife and she's filthy, rude and half-starved that we realise Lyra bluffs her way through life and is actually pretty non-functional
- It still would've been easy to write Lyra charismatic. Dafne can definitely pull it off. Part of it is making Roger her only friend. This heightens the impact of Roger's death, but strips Lyra of her leadership qualities and ability to befriend anyone.
- Thorne prioritises grounded human drama over fantasy, and so his Lyra has her love of bears and witches swapped for familial angst. (and, in S2. angst over Roger). By exposing Mrs Coulter as her mother early, Thorne distracts TV!Lyra from Book!Lyra’s love of the North. The contrast between wonder and reality made NL's ending a definitive threshold between innocence and knowledge. Thorne showed his hand too early.
- So we get a Lyra who is less wild, angstier, less intelligent, less fun/outrageous and more serious. We're just constantly told she's important.
MRS COULTER AND LORD ASRIEL
- Lyra's feral-ness is given to her parents. Wilson and McAvoy are more passionate than their book characters. This is fun to watch, but strips them of subtlety- you never get Book!Coulter's hypnotic allure from Wilson, she's openly nasty. The way McAvoy leers at Roger gives the game away instantly. It makes them one-note. It's a good note (so much of the positive online chatter is saphiccs worshiping Ruth Wilson) but there's only so much of Ruth voguing down corridors and growling like a monkey I can take before it tips into pantomime.
- To be clear- I don't have a problem with the performances so much as how prematurely they give the game away. Neither Coulter or Asriel are given a chance to use their 'public' faces. Ruth's feral-ness would be amazing if it only came out occasionally
- This part of a bigger pacing problem- instead of teasing plot points out gradually, Thorne will stick them in front of your face early and then stall for time until it becomes relevant. Instead of building tension this builds frustration and makes the show feel like it's dragging its feet- you've already shown Mrs Coulter is nuts/Boreal is in our world/Asriel wants Roger. Why are you taking so long getting to the point?
PACING AND PADDING
- This show takes forever to make its point badly.
- Scenes in His Dark Materials tend to operate on one level- either 'Character Building,' 'Exposition,' or 'Plot Progression'.
- E.g. Mary's introduction. Book!Mary is sleep-deprived and desperate because her funding is being cut. It's the only reason she listens to Lyra. But the show stripped that subtext out (both in dialogue and performance) and created an additional scene of a colleague talking to Mary about funding. They removed emotional subtext to focus on exposition, and so the scene felt empty and flat.
- Rarely is Thorne able to write a scene on multiple levels, and if he does it's clunky- see the exposition dump about Daemon Separation in the middle of 2x02's Witch Trial.
- He also splits up plot progression into tiny doses, which limits the pace. It's more satisfying to focus on one subplot advancing multiple stages than all of them shuffling forward half a step each episode.
- Thorne is unwilling to meaningfully develop or expand characters and subplots to fit a visual medium. He introduces a plot-point, invents unnecessary padding around it, circles it for an hour, then moves on.
- Worst of all is Boreal's S1 subplot. At first it felt bold and inspired. The Boreal twist in The Subtle Knife would've been harder to do effectively onscreen anyway. As a kid I struggled to get past Will's opening chapter of TSK and I have friends who were the same. Introducing Will in S1 and developing him alongside Lyra was great.
- I loved developing Elaine Parry and Boreal into present, active characters. But in retrospect the subplot was introduced too early and progressed too slowly, bogging down the season.
- In 1x02 we see Boreal cross. In 1x03 we learn who he's looking for. In 1x05 we meet Will. In 1x07 the burglary. 1 episode's worth of plot is chopped up and fed to us piecemeal across 5. Boreal and co literally stall for two episodes before the burglary.
- 1x03 beats into us that Mrs Coulter is nuts without telling us why. Lots of build-up for a single plot-point. Then we're told Mrs Coulter's origin, not shown. This is a TV show. They could've swapped Boreal's scenes with flashbacks of Coulter and Asriel's affair. Then, when Ma Costa tells Lyra the truth, show the fight between Edward Coulter and Asriel.
- To be clear, I don't think Thorne's additions are fundamentally bad. Making Will a boxer to set up his struggle with violence? Brilliant. But it's wasted. The burglary/murder in 1x07 fell flat because of bad editing, but couldn't they set up Will's 'violent side' in the boxing ring (faded sound, a loud heartbeat, shifting camera focus, something) and reuse that in the break-in?
- The Magesterium scenes in 2x02 were interesting. We just didn't need 5 of them; their point could be made far more succinctly.
- Thorne either takes good character moments from the books (2x01) or uses heavy-handed exposition that reiterates the same point multiple times. This hobbles the Witches (their dialogue in 2x01,2 and 3 is literally rephrasing the same sentiment about protecting Lyra without doing anything, and even character moments- see Lee monologuing his and Mrs Coulter's childhood trauma in copious detail.
A lot of this has been entitled fanboy bitching, but you can't deny the show is in a bad place ratings-wise. We've gone from the most watched new British show in 5 years to the S2 premiere having a smaller audience than the lowest-rated episode of the most recent series of Doctor Who. For comparison, Who's current cast and showrunner are the most unpopular since the 80s, some are actively boycotting it, it took a year-long break between series, had its second-worst average ratings since 2005, and costs a fifth of what HDM does. And it's still being watched by more people.
Critical consensus is 'meh' at best- even the BBC recognised the middling reviews. Outside this sub most laymen call the show too slow and boring. The show is simultaneously too niche and self-absorbed to attract a wide audience and gets just enough wrong to aggravate a lot of fans.
I’m honestly unsure if S3 will get the same budget. I want to see it, if only because of my investment in the books. Considering S2 started filming during/immediately after S1 aired, I think they've had a lot more time to process and apply critique of the problems that still persist in S2. On the plus side, there's so much plot in The Amber Spyglass it would be hard to have the same pacing problems., at least. But also so many new concepts that I dread the exposition dumps.
All my non-reader friends have abandoned the show and I’m forcing myself to keep watching. Each week there’s a few moments (Pan watching Paddington, Hester comforting Lee, Mrs Coulter staring at the wall) that convince me to watch next week. But it's a commitment, not a pleasure .
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