At a time when the current cinematic landscape is more than saturated with superheroic tales, yet another adventure on the subject is bound to be tiresome. What's left to tell that hasn't already been told? The extraordinary tale of the one person who isn't.
In a world where every human is given superpowers when they come of age, Jen (Mairéad Tyers) is still waiting for hers when she turns twenty-five. Sharing a flat with Carrie, who communicates with the dead, and Kash, who can turn back time, Jen sets out on a quest to find herself.
Distinguishing yourself through banality
One of the magical things about British series is their ability to quickly come up with innovative yet extremely simple concepts. Often, despite seasons lasting no more than six or eight episodes, and with a casting little identified, they conquer the world with ease. This is once again the case with Extraordinary. If the idea of giving powers to young Englishmen with a quirky sense of humor has been seen before (in Misfits, ), it's the context that's the key.
There's no extraterrestrial comet, genetic manipulation or other such gimmick: the entire population acquires a power, whatever it may be, at the age of 18. Whether it's useful, dangerous, ridiculous or simply inappropriate (think of the character who controls computers even though he doesn't understand anything about them), you'll have to live with it. Yet Jen, the heroine, is always waiting for it to fall into her lap. And that's exactly what makes her so extraordinary.
Finely written characters
This power-packed world is all the more surprising given that the series' historical context is that of the real world: famous people and places are quoted, Margaret Thatcher is criticized, and Adolf Hitler is the subject of one of the series' best jokes. But how do you reconcile real history with fiction? That's one of creator Emma Moran's best ideas: there are no explanations. The powers arrive and that's perfectly normal, we don't know since when, how or why, and this absence of questioning doesn't push the viewer to any particular expectation, which prevents any disappointment.
In the end, the series relies solely on its humor and its characters, all of whom are as well written as they are well acted. For under the guise of a seemingly common narrative, the various heroes all convey the fears and questions of our time. Going back in time is a way of dealing with personal anxieties and escaping hardship, going through walls is a way of overcoming body discomfort, talking to the dead is a way of asserting oneself, and so on.
Emma Moran's willingness to tackle today's problems provides a hilarious and tragic assessment of a society for which Internet flirting, exclusion, failed love affairs and family misunderstandings are no longer a secret. At the same time, she offers a series that's not only very well written, but really fresh.
Write to the author: mathieu.vuillerme@leregardlibre.com
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