Muristek
What would make life still worth living after the collapse of civilisation? This adaptation of the astonishingly prescient 2014 bestseller is deeply unsettling, even in the bits it gets wrong
How deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. I read Emily St John Mandel’s bestselling Station Eleven shortly after it came out in 2014, when the tale of a mysterious flu sweeping the globe and laying waste to normal life lay wholly beyond the bounds of reality. Now the television adaptation by Patrick Somerville (known for Maniac and The Leftovers) for HBO, streaming in the UK on Starzplay, is here and … resonating.
Or at least part of it is. There are – as is starting to feel mandatory with small-screen dramas – two timelines. The first concerns the early days and years of the pandemic. Different episodes concentrate on the experiences of different characters, but the through line is young Kirsten (an absolutely extraordinary performance from 13-year-old Matilda Lawler in her first substantial role), a child actor who is abandoned by her chaperone when a stage performance of King Lear is chaotically truncated by the death of the lead, Arthur (Gael García Bernal).
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