BrainDead: When Political Satire and Sci-Fi Horror Collide – and Fail
“BrainDead” attempts to blend political commentary with a sci-fi invasion narrative, but the result is a disappointing mix of banalities, dull characters, and uninspired storytelling. It’s a triple failure, making it one of the most dreadful series premieres in recent television history.
Imagine the potential of a satirical sci-fi series centered around an alien invasion in Washington D.C. One might conjure up images akin to the quirky charm of Tim Burton’s “Mars Attacks!”, the sharp wit of “Futurama” episodes where Earth is threatened by extraterrestrial forces, or even the feel-good vibes of “Cocoon.”
Alternatively, if dark humor isn’t up your alley, consider the suspenseful dread of horror classics like “Invasion of the Body Snatchers,” the epic scale of “War of the Worlds,” the paranoia of “The Thing,” or the explosive action of “Independence Day.” With such rich source material, how could a show go so wrong? The answer, it seems, lies in a heavy reliance on tired political tropes, coupled with bland character development, and the reduction of alien invaders to pathetic insects with ear-piercing tendencies. The outcome? “BrainDead,” a pilot episode that arguably rivals the worst in recent TV memory.
The Core Concept
“BrainDead” centers around Laurel Healy, a young documentarian facing a financial crisis that stalls her creative pursuits. Desperate for funds, she seeks assistance from her father, a political fixer, leading to an unexpected proposition: he’ll provide the much-needed capital, but only after Laurel agrees to work as a staffer for her Democratic senator brother, Luke.
Laurel’s arrival in the Senate coincides with a crucial moment in American history – a budget committee clash that imperils the entire economy. However, this political turmoil is merely a backdrop to the unfolding alien invasion. Laurel gradually uncovers the shocking truth: senators and congressmen are being infiltrated and controlled by extraterrestrial forces.
Initial Promise? A False Start
On paper, the premise of “BrainDead” holds intriguing potential. Consider the opening sequence, reminiscent of the Chelyabinsk meteor strike. The narration recounts the fall of a mysterious celestial object in Russia. The meteor’s extraction from the lake is accompanied by anomalies in aquatic life, and its transport to America triggers unsettling shifts in the crew’s behavior.
Upon reaching American soil, researchers who examine the meteor find themselves captive to bizarre organisms that emerge from the rock. One might initially exclaim, “Wow!” However, this fleeting moment of excitement quickly fades. Sadly, this sequence consumes a mere three minutes of screen time and is filmed with such awkwardness that it’s impossible to take seriously.
The Pitfalls of Execution
Tragically, the remaining runtime of the episode amounts to “nothing” of substance. Characters move from one location to another, reciting lines, sets change, and a vague sense of tension is manufactured, but the overarching narrative of “BrainDead” is so excruciatingly boring that it becomes a struggle to maintain interest. The characters are hopelessly generic: a subpar “documentarian” who seems incapable of making any mistakes, a forgettable Democratic senator, and an equally unmemorable Republican counterpart.
Even Gareth, the senator’s assistant, initially manages to briefly capture attention with his endless stream of chatter and constant use of his phone. However, if the creators genuinely believed that audiences would find this “office plankton” engaging, they were severely mistaken.
A Lack of Levity
Presumably, the creators envisioned “BrainDead” as a comedy, but the pilot episode is devoid of genuine humor. Surely, we are not expected to derive amusement from the implications that Hillary Clinton and Donald Trump are “brain-dead,” infected by space bugs in disguise? The notion feels so obvious that it’s difficult to even muster a smirk. The remainder of the episode lacks any comedic elements whatsoever, rendering it an entirely humorless experience.
Political Thrills? Devoid of Suspense
Perhaps “BrainDead” aspired to be a compelling political thriller, especially given its origins from the creators of “The Good Wife.” However, such hopes are quickly dashed. Merely pointing out the shortcomings of America’s partisan political system does not constitute thrilling entertainment, it’s merely belaboring the obvious. Political scientists and news analysts offer more insightful commentary than Mary Elizabeth Winstead, who seems decidedly miscast in the lead role.
By the episode’s conclusion, she seemingly realizes the depth of her predicament, her eyes reflecting a mixture of confusion and horror. If she finds herself held against her will, perhaps she could send a signal in the following episode!
The Final Judgment
Ultimately, “BrainDead” is the antithesis of comedic genius, an affront to the science fiction genre, and one of the most sleep-inducing political dramas imaginable. Engaging in any speculation of future seasons proves to be futile; even persuading the network to broadcast the remaining episodes would constitute a monumental achievement for the show’s creators.
Viewers will undoubtedly struggle to erase the pilot from their memories, Winstead will likely dedicate the next few years attempting to distance herself from the embarrassment of her involvement, and science fiction programming will likely remain dormant on television screens for the foreseeable future, as no one will be eager to clean up the mess left behind by “BrainDead”. To put it bluntly, imagine cockroaches invading the brains of the creators. Avoid this show at all costs; it’s best left untouched.