![]() ![]() It really will be something special,” Biden says. “We are extremely happy to be situated above the museum which will be a remarkable attraction for Cape Town and for South Africa. The inclusion of contemporary works from artists such as Kenya-born Cyrus Kabiru in the corridors suggests a “blending” into the space below the hotel which in September will house the largest collection of African contemporary art. ![]() The hotel’s high-ceilinged lobby is dominated by local Haldane Martin’s structural Tesla chandelier. Ardmore, a premium Durban-based ceramics company, teamed with Biden to make patterned headboards and pillows in select spaces. Most of the furnishings and art pieces were custom-made in Cape Town, with very few elements from outside the country. (Disclosure: Lowry’s wife works for a unit of Apple.The rooms’ highlights are the bathrooms, each expansive in size with a large tub set dramatically in the middle of a 56-paneled window – with a crystal chandelier dangling gracefully from above. When Common’s smooth-talking security enforcer ominously says, “We all work for the good of the silo,” for viewers who actually do have the option of going outside, it’s reason to consider how well a plodding exercise like “Silo” really works for the good of us. ![]() The inherent mystery here, however, feels stretched to the point of strained, exacerbated by characters that don’t consistently pop. (As a footnote, the dystopian backdrop has a close cousin in “Black Knight,” a South Korean series premiering on Netflix in May, so there’s a lot of that going around.) That does foster suspense about what’s actually outside, but it doesn’t do a whole lot to propel the audience through this season, much less stoke excitement for another.īuilding this sort of elaborate world takes some time, and the inherent warnings about authoritarianism and blindly trusting the government give the series a certain real-world resonance. While the 10-episode season begins with a fair amount of momentum, featuring Rashida Jones and David Oyelowo at the outset, forward progress pretty quickly slows to a crawl. That includes rules about who gets to procreate in an effort to sustain and protect this society’s limited resources. Her investigation doesn’t sit well with the bureaucratic figures running the place (Tim Robbins and Common key among them), who clearly know more than they’re sharing with the population in an effort to keep the silo’s residents docile and manageable. Rashida Jones and David Oyelowo in the premiere episode of "Silo." Rekha Garton/Apple TV+ “We do not know who built the silo” and “We do not know when it will be safe to go outside” are part of the mantra repeated by those living in this confined space, who only know that the domicile was built more than 100 years earlier and that it’s likely certain death if they’re forced to “clean,” or venture outside into what appears to be a forbidding wasteland.īased on the book series by Hugh Howey, the series inspires comparisons to cinematic visions of a world where those in authority aren’t sharing everything with its populace, from “Soylent Green” (was that really a half-century ago?) to “Snowpiercer,” another series (after the movie) boxed in by the parameters of its premise.Īdapted by producer Graham Yost (“Justified”), “Silo” boasts an impressive cast, and exhibits a willingness to introduce and then shed major characters.Īt its core is Juliette (Rebecca Ferguson), a technical genius who keeps the silo’s life-support systems functioning, who begins asking probing and uncomfortable questions after a personal loss involving a mysterious death. Apple TV+ has taken some big sci-fi bets (see “Foundation”), but despite its provocative themes this series inspires a little too much curiosity about when and how to find the exit. “Silo” is an unfortunately apt name for a series that feels as if it’s slowly spinning in circles, set in another dystopian future where the lingering remnants of humankind grapple with how they got there and what they do next. ![]()
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