Rebecca Ferguson Has Zero Chill on Silo

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The Apple TV+ series “Silo” is decent B-grade sci-fi entertainment, but it stands out for being surprisingly devoid of both literal and metaphorical bloodshed. Although it contains violence and characters do meet their ends, there’s a polished, almost mechanical quality to the show that’s reminiscent of Apple products. This series is an adaptation of Hugh Howey’s post-apocalyptic novels set in a world where humanity supposedly survives in gigantic underground silos. Despite characters frequently using strong language, such as “fuck,” it often seems unnecessary, like they’re swearing simply because that’s what angry characters are expected to do in such stories.

Unlike other actors, Rebecca Ferguson, both starring and serving as executive producer on Silo, truly electrifies her role as Juliette Nichols, a mechanic-turned-sheriff who uncovers secrets about the world around her. Her performance is so intense that it could power a whole small town. In the season finale, she exclaims, “Be furious at those who constructed this place and imprisoned us here!”, delivering the line with such force that you can almost feel the walls shaking. Ferguson’s portrayal of Nichols is nothing short of remarkable, and her dedication to the character occasionally elevates Silo into something quite remarkable.

In a different phrasing, it can be said that Ferguson’s acting in various roles has always been remarkably intense with a touch of humor, which isn’t meant as criticism. For instance, in the Mission: Impossible series, she portrays Ilsa Faust, an incredibly cool and mysterious character who exudes an aura of danger. In Dune: Part Two, Ferguson plays Lady Jessica, a character who moves stealthily around caves, speaking cryptically about the future to her unborn child, causing those around her to be on edge. Her role as Rose the Hat in Doctor Sleep stands out, where she leads a cult of psychic-vampires, donning a top hat and delivering her iconic phrase “Hi there” with a grave seriousness. Ferguson also brings intensity to late-night talk shows, such as when she struts onto Fallon carrying a Dyson vacuum like a modern-day Terminator, or on Colbert and Meyers, where she plays the role of a friendly dominatrix, frequently interrupting conversations to assert control.

In the series “Silo”, Ferguson’s unique intensity is harnessed, making the show even more captivating. Notably, the show provides her ample opportunities for physical performances. During the first season, she delved into the depths of the silo, searching for answers, performing feats like climbing pipes, scaling ropes, and falling from great heights. Ferguson enhances these scenes with a series of grunts and primal shouts that immerse viewers in the show’s reality.

In the second season, Nichols is tasked with exploring a seemingly deserted neighboring silo for resources to aid her return home. This involves more climbing, more rope work, more falls, more vocal exertion. At some point, one might ponder: Why don’t other cast members have to endure such grueling tasks? Interestingly, Nichols often faces these physical challenges alone, yet the authenticity of Ferguson’s portrayal keeps it engaging. Observe her attentive gaze as she surveys her surroundings; this conscious observation lends a palpable quality to the set.

In the second season, Ferguson’s character encountered an unexpected challenge that demonstrated her ability to convey intense energy even without climbing and tumbling. In Silo, Ferguson is paired in a nearly season-long duet with Steve Zahn’s character, Solo, who she finds in a new vault and later learns has been alone since childhood. This makes Solo an intriguing counterpart to Nichols, portraying a whimpering man-child compared to her self-reliant and silent loner. As expected from Zahn’s acting skills, he excels at evoking sympathy for a character who initially appears pitiful, but one can’t help but wish to scold him. Both characters feel this way, and the interaction between them is quite captivating.

Nichols, a dominant figure, recognizes she cannot force Solo to comply, so she oscillates between trying to empathize and negotiate with him as her desperation grows. There’s a noticeable difference in their physicality: Ferguson maintains a rigid posture while Zahn portrays a relaxed Solo, having spent most of his life confined without much concern for the outside world. It’s an enjoyable exchange that adds a lively element to what would otherwise be a dull show.

While “Silo” isn’t inherently poor, there are certain idiosyncrasies that make it an engaging watch. Tim Robbins, a renowned Oscar winner, portrays the IT head of the silo who transforms from mayor to secret antagonist by the end of the first season, and eventually loses his sanity in the second season upon realizing he had no control over his destiny within the vault. Harriet Walter, known for her role as the stern British matriarch in “Succession,” delivers a convincing American accent here. Common is also part of the cast, effectively portraying Sims, the enforcer maintaining order in the underground society, with only one expressive facial capability at his disposal. The younger actors have an attractiveness that leans towards generic standards. Regrettably, the show often resembles a SyFy production elevated by Apple TV+ production values. Although it presents some intriguing themes such as a society structured on literal class hierarchies based on work roles, with hints about societal control, fascism, and rebellion, it fails to delve deeply into the moral and philosophical questions these topics raise. Despite being set in a perilous environment, the show maintains an unexpected calmness. However, Ferguson, who excels at playing unchill characters, provides a welcome exception to this serenity, making the series more engaging as a result.

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2025-01-18 02:55