Created by Rene Echevarria and Travis Beacham, the eight-episode "Carnival Row" is an unofficial, turn-of-the-century, alternate-reality (is it England?), Amazon companion piece to Netflix's "Bright".
It's a murder mystery, as well as a blending of fantasy worlds (and all the contention that goes with such a crossover), featuring Orlando Bloom's Inspector Rycroft Philostrate (a veteran of a indistinct war, which we visit via flashback), who leads the charge in a city called Burge and faces a slippery slope that's not his own. His love-interest "Watson" (a temporary, downtrodden maid) is an immigrant/refugee faery (one of the "fae folk", that is) named Vingette Stonemoss, portrayed by Cara Delevingne, who's easy on the eyes, as should come as no surprise to anyone who's beheld her.
The saga's overseer is Chancellor Absolom Breakspear, played by Jared Harris. Breakspear takes heat for the immigration flow, during which perplexing, Jack the Ripper type murders occur. Breakspear's son (Arty Froushan) is kidnapped in the interim, causing the leader further distress. (The role requires a deft blend of pomposity and sympathy, thus giving Harris many scenes to emote as only he can. Fans of the multifaceted actor will be satisfied.)
The immigrant hangout is called Carnival Row. The humans stationed in the Burge don't care much for the "invasion", which consists of all sorts of amazing races. Tensions naturally rise from both sides. I suppose that's the series' socio-political intent, but for all its infuriated strain, the conflict feels like everyday life: identifiable, even if ugly.
This may be "Carnival Row'"s best and worst asset. It appears to dispatch an allegorical message about a refugee crisis, but the theme is never fully essayed. With a better defined allegory, "Carnival Row" may have reached the food-for-thought level of "Alien Nation", "Star Trek" and "Planet of the Apes", and there are moments when it comes awfully close, but its lack of consistency turns its angle middle of the road. That there's an overload of subplots doesn't help, either. (Some say the series is attempting to be the next "Game of Thrones". Could be. Who knows?)
Even with its clutter, "Carnival Row" still comes across as sharp and dark. Potterheads will find it as disturbing as "Bright", though nowhere near as intimidating as any given Tolkien chapter. In other words, "Carnival Row" isn't meant for the queasy. (Its violent aftermaths are often on a par with H.G. Lewis and Tom Savini; and there's ample sexual simulation. How ghastly!) At the same time, its steampunk-ish decor is the CGI frosting on the cake and should intrigue most who take a peek.
There's no doubt that "Carnival Row" is an commendable experiment, which could become all the more engaging if it does, indeed, spawn a second season. (One has been ordered, but that doesn't mean it's clinched, so let's not jump the gun.)
Right now, the mainstream snoots aren't keen on this one, but who cares what they think? It's the Amazon subscribers who'll determine whether this one continues. I say, why not? Given the chance, it could become the next, big thing. Let's see where it goes.
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