1899 early review: Dark creators Netflix show has (musical) problems

1899The latest television show by the creators DarkThe beginning of the series,, has been a mystery. It is clear that the show has a larger mystery in mind, and it will be resolutely obscure for the next few episodes. As the characters — all trapped on a steamer sailing from London to New York where reality seems to warp — circle each other they are understandably wary. The Kerberos has no illusions and the reality is slipping away at every turn.

However, in today’s world 1899One thing is certain: Music selection. And in this case, that’s not a good thing.

Each chapter 1899 comes to a close the same way: a steady amping up of the puzzle of the show, a small reveal (even if it’s not particularly revealing about the show’s central, or even auxiliary, mysteries), and a classic rock needle drop. They can be distractingly irritating.

Part of that annoyance is it doesn’t feel like anyone reached for anything beyond the most obvious choices. “White Rabbit” by Jefferson Airplane is a classic for a reason, with its methodical drumbeat balancing out the chaotic madness of Wonderland metaphors. It is used all over the place, every time. You can make the same case against episode 6’s “All Along the Watchtower” (Jimi Hendrix edition), or “The Killing Moon” in episode 3, and Certain “(Don’t Fear) The Reaper” in episode 4. The other needle drops from the early season are Deep Purple’s “Child in Time” and “The Wizard” by Black Sabbath, which are less flagrant offenders though no less vexing. Although the lyrics to the two songs at the conclusion of these episodes may be spoiler-adjacent, we will not mention their titles. We can guarantee that they are far worse.

You don’t have to know every time a song has been featured in another TV show or movie to know these are just not deep cuts. Unfortunately, 1899 feels like a bit of a one-trick pony in this regard, leaning very heavily on the anachronistic song choices (at least, they’re anachronistic if the title year is to be believed — possibly part of the show’s larger mystery, who knows) to feel discordant against the period and underlining the characters’ break from reality.

But as each episode comes to a close, the notes they’re hitting don’t amount to much. The music is just too much as the mystery and the questions get in the way. You can also straightforward. This is particularly true when it’s set against Ben Frost’s industrial score (who also contributed to this piece). Dark Wolves raised them).

Ultimately, it all highlights how much of the show around it isn’t cohereing. The six episode were reviewed by critics. 1899 has done little to truly advance its mystery, and less to make its passengers feel like they’re anything but along for the ride. This is the only way. Dark went — weaving its confusing plotlines into a larger tapestry where it all makes sense on rewatch — there’s certainly room for 1899To expand on these ideas a little more. However, the music seems to indicate that main concerns in this series aren’t in the right place.

When the only thing driving a show is the mystery, it’s all going to start feeling reliant on shock value: Compelling characters wash out in favor of setting up the next twist. Storytelling choices are too penned in by subterfuge to feel like they’re meaning anything. All that’s left is the vibe — and when that’s carried without much artistry by songs we’ve all heard a million times there’s not a ton to groove to.