Reflecting on the popularity of Silo
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“Silo” follows a classic dystopian structure: forbidden knowledge launches a hero’s quest for more forbidden knowledge, which may lead to triumph or tragedy. The hero of George Orwell’s “1984” is a bureaucrat whose discovery of a blank diary leads him to turn on his government; the hero of Ray Bradbury’s “Fahrenheit 451” is a professional book burner who starts to steal books. In “Silo,” as in these earlier works, powerful people act ruthlessly to keep secrets secret. But a hard-headed engineer named Juliette Nichols (Rebecca Ferguson) is unexpectedly promoted to sheriff and starts to investigate. “How did they lose this world?” is the question that drives the entire show, and, indeed, an entire genre.
One of the perverse pleasures of a dystopia is that we identify with its truth-seeking inhabitants as they try to find out who ruined their world—and, at the same time, we sense that we probably did. The desolation outside the Silo evokes the everyday terrors of our time: only a few years ago, governments ordered their citizens to shelter in place for fear of a novel virus, and, as I write this, many residents of Los Angeles have fled their homes in the face of wildfires or are staying indoors to avoid the smoke. Post-apocalyptic stories can, paradoxically, be comforting: at least the present day isn’t that bad. On the other hand, we may be drawn to dystopias because we fear we live in one.
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lessons on tyranny
From Timothy Snyder
10:33 in Current Affairs, General Commentary, history | Permalink | Comments (0)