The biggest differences between Netflix and Book

Spoilers For “electric condition”.

There are excellent adaptations such as the “Lord Lord” Peter Jackson, and there are bad adaptations such as “Charlie and Chocolate Factory” Tim Burton. Then there’s 50 feet shit (as Brad Pitt puts it in “Moneyball”), And here is an “electric state”. Allegedly Netflix 320 million brothers are brothers – this is a complete disaster from start to end, filled with unnecessary comers, embarrassed scenario and created works that ask: what happened to all this money?

In normal circumstances, such a movie would just decrease as a simple misfire, and it would be. But this is even more upset because the book on which it is founded, the “electric state” by Simon Steenhaga is incredible. It is also still a pretty niche, despite the fact that Stelehag’s work has become a little more mainstream over the past few years. This means for many the Netflix movie will become a In fact, the version of this story and I just can’t let it. It would be so if people knew just about M. Night of Schyamalan’s “Last Aerobinder” Either “Evolution Dragonball”.

If you are not at all familiar with Steplehag, he-Swedish digital artist whose books contain a mixture covered, full-color artistic prints and cover text. His stories are usually focused on science-fiction in the world, based in alternative stories or in the nearby futures he creates in part with his restless digital paintings. Isolation, society in decline and collision of advanced technologies with rural landscapes are all ordinary business cards in Stelehag’s work, which began with “Tales of 2015 with a loop”. With “electric state”, however, Rusas and their team fully missed the item Books. Let’s plunge into all the differences and why you really have to give the original work of Stelehag.

If you looked “electrical state” and then read only five pages of the book, you would immediately understand how wild they were different from tone and attention. The book is a gloomy portrait of America in a collapse that collapses from the consequences of a mechanized civil war and the uncontrolled cultural influence of the MEGACORP Sentre virtual reality. The closest comparison I can think of is the “last of us”, because both stories are couples traveling on a dry American landscape, evading the creatures of the zombies (nurocaster’s nurocaster, in the case of a Stelehag’s book) and an attempt to get to the theoretical zone.

Netflix version is not the case. The war in the film was not a civil war (about it per second), there is nothing post-apocalyptic in the world, and there is no single, horrible energy that permeates art and writing the book.

Of course, adaptations allow you to take freedoms and change things as needed for the new carrier. In this case, however, mostly every change made by a production group makes the story only interesting and more in common. The “electrical state” of Rusas is also surprisingly confused in its target audience. Sometimes he is engaged in larger sci-fi ideas from the original book, but mainly evades them to the benefit that I can only describe as “spy children”. If I had to choose a number, I would say that this movie is intended for eight -year -old children, which is just wild when considering the budget and the source material that Rusas adapts here.

“Electric State” Netflix covers the many years of Hollywood tradition: the creation of a metaphor of racism in a children’s film, which is so inert and disabled from the real world that it loses any actual meaning and purpose. In the movie, you see, people create robots such as Mr. peanuts (yes, which Mr. peanuts). Then the robots get a sense of means that are never explained, and they require equal rights. The war comes before completing the contract, leading to the prevailing air of pre -school fanatics and throwing into the mouth, monologous about how we are all just people from within.

I cannot emphasize how different it is from what is happening in the original material (in a bad sense). In the original book of Stelehaga, the United States reduces the Second Civil War, which fought two factions of people using large -scale drones. Such a weapon can pilot the Neurocaster headset created by Sentre, but the war is completely human-vs-Human.

I understand that these days, some directors can be more convenient to make a wonderful sci-fantastic adventure for children than to engage in oppressing political consequences in the real world of the Second American Civil War. But if the book you adapt is there straight About the harm caused by the late stage of the late stage, the prevailing influence all From this in the dump for Mr. Peanuts.

War is not the only part of the “electric state” that differs in the film Netflix Russia. The film also completely changes the storyline involving Michel and the skip played by Mill Bobby Brown and Woody Norman. In this version, the children get into a terrible car accident that leaves parents dead. Christopher, aka Skip, also declared dead, but it is secretly stored alive and connected to the Sentre mainframe.

Why? Apparently, his brain is the only thing that does Neurocaster Sentre, ER, work. Somehow. Because he’s like, very smart? Or what. Yes, in fact, I have nothing on this, it has a zero meaning, but Stanley Tucci wants to live in virtual reality, where his middle mother is pleasant and baked his Italian pastries, so he needs to connect the baby to the matrix … or anything.

In the book of Mother Skip and Michelle dies from medical disregard on behalf of the state – lack of health care for what is meant physiological effect of the use of heavy neurocaster. In fact, there are numerous links to what NEUROCaster users die after shutting off the net, but that’s not all. Skip himself implies that he was intended by the general intelligence of the virtual neurocaster conglomerate. In other words, the common consciousness of all users creates some independent, reasonable power that may or cannot digitly impregnate Skip and Michel’s mother. Michelle is thus traveling all over the country to find a true brother’s body because the Cyber ​​Eckstramists’ cult believes that it can be a messiah and it must bring it out of the continent. It is wild, yes, but it is also deeply reasonable in the main topics of the book: digital dependence, religious extremism and the public, fully abandoned by both federal and corporate gentlemen.

The “electric state” has ripe for adaptation to the screen and you don’t need to look far to find out what it might look when it is better. In 2020, Prime Video released an eight -episodo series “Tales from the loop”. This show is a quiet, wonderful, visually bright interpretation of its original material, which preserves the prevailing theme and energy intact.

While “electric condition” is a higher concept and would require a larger budget, it is easy to imagine a version of the movie. The book is so much packaged in the fact that ultimately a rather small number of text – reflections on Queerness (yes, Michel – gay in the book), transformation of therapy (Russos never b), religion (what would the Middle America think?), And the material destruction of the capitalist landscape in decline. The image of addiction with the town of neurocar also reflects an apioid epidemic, with a similar center aimed at an evil corporate greed. It is a brilliant, restless otisement cyberpunk, and it could have been a deeply resonant film for our current political moment.

Instead, we got “Sharkboy and Lavagirl’s 2D” adventures with the Star-Lord (yes, we are just raising Chris Prot) in a bad wig. It may not be the worst or least meser adaptation that has ever been done, but considering the strength and potential of the original material, it should be near the top. And Brian Cox, I really need to know how much they paid you to voice this baseball robot.

“Electric Status” now goes on Netflix, but if it wasn’t crystal clean, I fully recommend check out the original book instead.