![]() ![]() Panelists said the Nazis are trying to find a way to travel to the alternate realities - including ones where they didn’t win World War II, like ours. The footage shows the Nazis, and nearby hidden resistance fighters such as Juliana and new series lead James O’Mara, researching a thing they call “the anomaly.” Apparently, it’s a bridge between parallel universes, a concept explored in the original novel. midterm elections.įans also were treated to new footage during the panel that suggests the next season will amp up the science fiction aspects of the show significantly. Given the political themes of resistance in the show, it might be a reference to the upcoming 2018 U.S. 5, a date Hackett said was significant, but didn’t say why. The panel also set the release date for “The Man in the High Castle” Season 3 for Oct. The show includes storylines that focus on the growing political tensions between Japan and Germany over control of the U.S., as well as Americans who choose to join the Greater Reich (like Rufus Sewell’s character, John Smith) and those who join the underground resistance against the occupiers (like Alex Davalos’ character, Juliana Crain).Īlso Read: Check Out Amazon's 'The Man in the High Castle' Comic-Con Trailer (Video) Dick, revealed at the panel that pre-production has begun on Season 4 of the adaptation of Dick’s novel of the same name, which imagines a world in which the Axis powers prevailed in World War II, and the United States has been split between Third Reich and Japanese control. Producer Isa Hackett, daughter of author Philip K. The central question of this show hinges upon a collision between American and Third Reich ways of life, so giving us characters who are morally compromised or hazily in-between - rather than, as many are, firmly situated on one side or the other in an intractable war - will allow the ideas of the show to reach their potential.Amazon not only set a release date for “The Man in the High Castle” Season 3 Saturday at its Comic-Con 2018 panel, it also revealed the show has already been renewed for Season 4. What would make the show more watchable in the long run? The twist at the end of the pilot is a good sign: Prior to that, the characters had behaved exactly as we might expect them to. With characters as schematic as the ones in High Castle and a plot so reliant on shoulder-tapping obviousness, it’s hard to imagine tuning in for that long. What it can only do far more effortfully and over a longer period of time is convey a complex society very different from our own. TV can give very obvious information very quickly, through exposition. But the mechanics of how the Germans and Japanese conquered and then divided America are easily hopscotched over. The mechanics of a bus trip to a free zone are straightforwardly stated by a character whose function is largely pure exposition. In The Man in the High Castle, the popular movies and songs of Nazi-controlled America are lingered upon, as though they’ll be important later. ![]() Those last two shows are but two easy examples of an irritating phenomenon: when they did parcel out information about the world in which their characters found themselves, it was heavy-handed in a way that only emphasized how much the rest of the show was wheel-spinning. We want to know how America ended up overrun with German and Japanese soldiers - just as how, in Under the Dome, we want to know how the town ended up under a dome, or how in the late ABC reboot of V we wanted to know the alien’s plots. Subtlety isn’t television’s strongest trait, but shows like The Man in the High Castle, which exist in a wildly different universe than our own, only exacerbate the medium’s problems with obviousness. What would it really be like to live under Nazi rule in America? We don’t get a strong sense, aside from a vague feeling that the police would be far more aggressive. In Amazon’s Man in the High Castle pilot, when the camera pauses on a movie theater marquee or poster of a Third Reich soldier, it feels as though we’re being nudged in the ribs: This will be important later! The important stuff that’s actually interesting gets withheld to a frustrating degree, in favor of fairly dull characters who are on quests we don’t get enough information about to care. In a book, a mention of a popular current movie or song, or a quick description of a poster or work of art, can be easily absorbed in the flow of information. When television attempts to do the same, it feels sledgehammer-level unsubtle. ![]() The power of books that imagine the apocalypse (or a far worse alternate present) is their power to parcel out information about the state of the world we’re witnessing through context. ![]()
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