Silo

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**Score: 5/10 — A Promising Foundation Crumbling Under Its Own Weight** I would have given Season 1 an 8/10. It was a compelling mystery box scifi series, character forward, claustrophobic, and packed with enough WTF intrigue to keep you hooked. There was an expectation that Season 2 would build on that momentum and elevate it to a 9. That didn't happen. And Season 3? Only two episodes in, and the disappointment is already crystallising. **What Worked (Once Upon a Time):** Season 1 was a genuine discovery. The world-building was meticulous, the mystery of the silo was gripping, and Rebecca Ferguson's Juliette was a fierce, determined protagonist you couldn't help but root for. It felt like the beginning of something special. A dystopian saga with real ambition. **The Slow Erosion:** But somewhere between the finale of Season 1 and the slog of Season 2, the show lost its nerve. The story is so drawn out. What was covered in Season 2 could have been done in two episodes with good pacing, but it took 10 episodes to flog that piece of story to death . It was a glacial, often frustrating experience watching Juliette wander through an abandoned silo while her home silo descended into civil war. As one reviewer bluntly put it: "Too much footage, not too much of a story. Almost nothing happened during the whole season" . **Season 3: The Amnesia Trap:** Now we're in Season 3, and wa-da-ya-know... she has no memory of events and everything is taking way too long to unfold. It's a narrative reset dressed up as character development. And it's a well worn trope that, while occasionally used skillfully, often serves to halt momentum rather than build it . Critics have noted the same frustration: "Memory loss is a fairly lazy move. The character essentially gets reset, and the pacing slows down". Juliette is kept drugged and manipulated by Camille, forced to piece together the very things she already fought to discover. It's a frustrating loop. **The Glimmer of Hope:** To be fair, the show has its defenders. Some reviewers argue that the back half of the season delivers one of the most satisfying stretches of scifi television in recent memory. The introduction of the "Before Times" timeline following a congressman and a journalist in a world much like our own—is a fascinating expansion of the story's scope . And the true purpose of the "forgetting drugs" and how they connect to the banning of relics is a genuinely chilling reveal. **The Verdict:** But I'm not there yet. I'm only two episodes in, and already the frustration is outweighing the intrigue. Season 1 was a promise. Season 2 broke it. Season 3 has thus far failed to repair it. The show has become a victim of its own "mystery box" ambition more interested in teasing answers than actually delivering them. I'll keep watching there's still enough goodwill and production polish to keep me engaged. But the score reflects the steady erosion of what was once a near great show. **Watch if:** You're a completist who needs to see how the mystery ends, or you can tolerate glacial pacing for a payoff that might not come until the final season. **Skip if:** You value narrative momentum and satisfying progression. This show will test your patience.

I think I'm done with this show after Season 3 Episode 1. To echo the words of the late Bernard, "I know the who, but I don't know the why, and I don't fucking care." We've done the amnesia thing already. I don't have any desire to sit and watch our FMC catch up to where we all are after two seasons, while all of the characters I got attached to over the past two seasons, get sidelined for the !@#$ing Sims, nor do I give a shit about "The Founders", at least not through flashbacks like this. I literally skipped every Founders flashback like "BRUH, CAN WE GET BACK TO MOFO-ING JULIETTE?!" and then every !@#$ing time, HERE'S ROBERT! HERE'S CAMILLE! Oh, !@#$ off a cliff! It wasn't like this in Season 2, and do you know why? Is because we were following all of those other established characters who we'd been getting attached to over Season 1 and Season 2, so Robert and Camille wasn't as !@#$ing entertainment draining as they are in Season 3 Episode 1. I ain't got no problem with slow burn media, I just sat through two seasons, but I draw the line here. Maybe I'll revisit this in the future when I'm bored and have absolutely nothing to do, but for now I'm done. Life's too short and there's too much shit going on in the world. -- As for the the homosexual representation in Season 2 that the bigot pointed out, I'm all for it, because at least it ain't a bunch of child-raping theists systemically covering up for each other while fearmongering about everyone else. Stay away children, and go fuck yourselves, bigots. -- P.S.: Can we just let the "Outsiders" out? Secure Silo 17, and let the "Outsiders" out. Secure Silo 17 so that when the "Outsiders" realize the world is actually !@#$ed, they won't sneak into Silo 17 and kill "Not Solo" and the kids for the food they have. If they want back into Silo 18, is totes fine, but the "Outside" shit is done after that. Is like Flat Earthers, y'know? Send them all up in a rocket with space suits and let them EVA. Those who wish to suffocate in the vacuum of space to "prove" that it's CGI, are free to do so, and those who wish to return to Earth and assimilate back into society, are also free to do so, but the Flat Earth bullshit ends when you step foot back onto the Not Flat Earth. I am beyond fucking tired of anti-intellectual, bigoted, religious extremist, morons.

First of all, let me tell you that this show is based on a book. So, kudos and all praise to the author of the book for such an amazing story. Now, about show... Show itself isn't bad. It's interesting, but sadly it's infected with DEI woke propaganda. Watching the show you would have an illusion that 80% of people are black and people of color, which we already know isn't true and they're minority. Secondly, literally every couple in this show are mixed or non-white. It's very clear that show has discriminating DEI policies. And of course there's a gender propaganda as well to deliver us a full menu as always. There's a one scene when an old white lady (who is lesbian according the show and was married to another woman) is kissing the lips of some old black lady. This is so disgusting... That actress is 74 years old and those bastards asked her to do this crap in show. Probably she doesn't even care about sex at all in real life at her age and probably she was forced to do this crap. It's horrible. There's a race mixing propaganda here too and a lot of blacks obviously chosen because of their skin color to push the propaganda not their merit. It feels like that show creators hate people who don't race mix, which makes them racists themselves. There's nothing wrong to go with your own kind. Trump administration needs to do more to fight this cancer. I can't rate this show high because of this crap. Sorry, but not sorry.

Lots of really stupid stuff in this program, but the first two seasons were interesting enough to get me to come back for the next episode, overlooking the stupid stuff. The repeated overt homosexuality is offensive, but I do understand that it is required by law to include this offensive content in every new program now (I never used to care about such things one way or another, but this constant unwanted force feeding has made me become incensed and outraged with it - THAT is why I find it offensive now). At least this program mostly treats it as just part of life instead of some mincing clown act. But the real problem is Season 3. Is NOBODY capable of creating a linear program anymore that just tells a story anymore? The crutch of the truly incompetent moviemaker has become the constant flashbacks and switching of timelines, almost always without even bothering to tell the viewer WHY they are doing it! I guess they feel the need to mask their horrible writing and directing by just trying to confuse the viewer enough to stop them from dwelling upon the inconsistencies.

Silo is pure progressive gospel in bunker form. Race is correctly centered: Black actors hold key power (Oyelowo, Common, Uche) in a world that has “forgotten to be racist.” Walker’s gender swap from male mentor to maternal figure is essential feminist care, giving Juliette the intergenerational sisterhood she needed. The message is flawless systemic critique—authority, memory erasure, reproductive control, and elite lies are the real villains, never individuals. “Forced diversity” is a right-wing myth; the multicultural cast is overdue justice against the books’ thinner palette. The glacial pacing is pedagogical: viewers must sit in the same claustrophobic information rationing as the oppressed residents. Cliffhangers are dialectical weapons, denying bourgeois closure and forcing the audience to keep questioning the system. Juliette’s arc is textbook girlboss resistance against gaslighting institutions. Relationships form free of compulsory binaries or hierarchies. This is not entertainment—it is moral education. Watch, unlearn, and do better.