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The growing immigrant is adapting to humans in the most depressing part of the city, but he is still a person living in the dark and forbidden to live, love or fly. Over time, it seems that hope will appear in the dark, where hope lives. He's a human informant, Rycroft Philostrate, and a refugee named Vignette Stonemoss start a strange experience where they revive a dangerous relationship along the way.
This Ripper-esque murder mystery in a fantastical Victorian-styled metropolis with two attractive leads would be better without the heavy moralising about migrants, racism and the patriarchy.
It seems the time is right for audiences to become invested in this magical world, even if it's a far darker and nastier place than they might have otherwise imagined.
The Amazon series is easier to follow even as it introduces initially-unconnected characters in multiple social classes. This gives "Carnival Row" plenty of areas to explore. If only it all felt more unique.
What keeps the drama from flying completely true, in spite of all its beauty, is that it falls short of its obligation to utterly enthrall the audience with its stories as well as its glamour.
Too crass to care about, too serious to take seriously. Still, for all that, it is a solidly crafted creation with only the set designers working even harder than the leads.
Like many a silly novel, it is a shambles, but an enjoyable one, and as long as you're up for some full-throated groans you'll be rewarded with a long, messy, and satisfying distraction.
I wonder how wise it was for Amazon to invest so heavily in a show that is very clearly at risk of being cannibalised by its own parent. If The Boys doesn't chew it up, that $250 million Lord of the Rings surely will.