Look out world, the 80s revival is rolling in strong right on the heels of “Stranger Things” season three and coming up ahead of “It: Chapter Two,” and “The Dark Crystal: Age of Resistance”. Considering the fact that the film is pulled straight out of Jim Henson’s warped dreams and definitely scarred generations of unsuspecting children, it’s hard to figure out who was brave enough to front the money for it. As it stands, Netflix has released a ten- episode prequel series that expands upon the world of the film and the mythical planet Thra, inhabited by the evil bird-lizards, the Skeksis; the kingdoms of the heroic, fairy-like Gelfling; the meek, unintelligible Podlings; and a host of puppet animals and plants. There are a mix of feelings that greet audiences upon viewing, let’s start with what did not work so well. 

The original film carried a rustic whimsy that mainly came from the genius puppeteering that holds the piece together. The technical prowess of Jim Henson (“The Storyteller”)  combined with the concept design of fantasy artist Brian Froud (“Faeries’ Tales”) created a unique atmosphere and artistic thumbprint that has made the film so beloved. This series is a much higher concept than the film and as a result requires larger sets, more dynamic action, and more creatures. The world must be supplemented with computer animation and it drains the essence from the final product. It is often obvious when computer models are standing in for puppets during certain scenes and the contrast between puppets and computer creatures in the background ranges from mildly uncomfortable to cringeworthy. Practical effects and sets create a lasting physical presence. Computer equivalents are too sterile, and it removes the sense of “long, long ago” required for this type of story. The other problem is not as large but should still be noted. At times the writing feels as though it is trying to emulate more grounded shows like “Game of Thrones” or “House of Cards.” Doing so robs the show of much needed magical absurdity found in the film, and fails to flesh out the world and characters with the vibrancy and color they so desire. This diminishes significantly in the second half of the season, thankfully, when the mythic quest takes center stage and the previously predictable story elements are tied together in a truly magical way, and what seemed run-of-the-mill becomes strange and delightful.

On to the good. When the show uses real puppets, they are phenomenal. From the odious Skeksis with their heavy breathing, heaving bodies to the numerous alien fauna that litter every frame and the delicate Gelfling heroes, the puppetry is some of the most impressive audiences will see on television these days. Of particular note is the puppet for the cantankerous Mother Augrah, a hideous wise woman and protector of Thra, whose every movement is riddled with personality. She was the best character in the show and is the most genuine part of the cast. All of the cast give worthwhile performances, with special note going to the Skeksis Chamberlain, or Skeksil (Simon Pegg, “Lost Transmissions”) who hams it up so perfectly, and Gugu Mbatha-Raw (“Motherless Brooklyn”) as the princess Seladon, whose character arc helps to take the series’ story to new heights. Beyond the puppets and the acting, the complex worldbuilding is something to be appreciated. Henson and Froud created the world of Thra long ago, and the movie only showed us a fraction of it. The chance to explore the unique magical ecosystem and history of that world is what gives this series an extra edge. If audiences can get past some of the clumsier new additions to the product and make it to the halfway mark of the season, they are sure to be satisfied with a surprisingly clever fairy tale that, despite some production missteps, still captures the wonder of the eldritch magic in “The Dark Crystal”. 

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