![]() None of them have any memory of who they are, or how they got there, but before long, they find out their names - by name-tags sewn on the back of their cotton white shirts - and their personalities begin to bubble up.Īlex Pettyfer's character is a rapist, Kate Bosworth's character is some kind of master manipulator, Natalie Martinez's character is the plucky protagonist who has a bit of an attitude problem, while the other seven islanders aren't important enough to be developed enough beyond being attractive and asking questions of the other three. The premise of the show sees a group of ten very attractive people waking up on a tropical beach, dressed like they're in a fashion campaign, trying to find out why they're there and piece together whatever clues to their origin. Some of the dialogue is so trite, so achingly stupid that it's kind of unbelievable to think that it was written by Neil LaBute, the writer of 'In The Company Of Men'. Instead, 'The I-Land' rests in some kind of twilight between painfully banal and egregiously written. Leaving all this aside, it's important to know that 'The I-Land' isn't one of those shows where it's so bad that it's good. Instead, it's 2019, and it's released on a streaming service that's produced some of the most fascinating, thought-provoking shows on television, and effectively redefined what television as a medium is. If this had been made twenty years ago, it might have stood a chance of survival. ![]() That's the thing about 'The I-Land' that makes it kind of funny. Hell, even the name - 'The I-Land' - conjures up images of early '00s TV shows with glossy locales and vaguely familiar actors. You're taking elements of 'Lost', 'Westworld', 'Survivor', and about a dozen more sci-fi movies, TV shows and stories that touch upon similar concepts and ideas. On paper, you can see how a lazy executive at Netflix would decide to greenlight 'The I-Land' on the basis of its pitch.
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