«Bastards»: a «Black Mirror» in French-speaking Switzerland

Unpublished article - Fanny Agostino

For the past month, Swiss residents have been able to access the new streaming called «Play Suisse». With an interface similar to that of Netflix, it allows Swiss productions to be viewed free of charge. This is the case of the webseries Bastards. In a moody, dystopian setting, abandoned children battle it out on a reality TV show to be adopted by a celebrity couple, until a hostage situation turns everything upside down. An ambitious scenario that would have deserved to be developed in a longer format.  

In the dust and dirt, a bunch of kids gather around a big screen. In front of their astonished eyes, the credits begin to roll. A pastel-colored logo takes shape, in the typography usually used for comic strips. This is not an animated program, however, and the childlike staging belies the aggressiveness of its title: «Bastards». From an abandoned factory - presented as one of the consequences of a crisis that destroyed humanity five years ago - orphans follow the progress of their peers in a game show. And what could be more motivating for these outcasts than the relentless struggle to reintegrate into beloved society? Milla (Sasha Gravat Harsch), Rocky (Maoro Maquart) Dylan (Esteban Sicilia) and Harmonie (Maïmouna Kone) are still in the running for the title of «incredible bastard». The key is to get out of their situation thanks to the generosity of celebrities willing to welcome a minor into their homes. But for this fourth season, the production team headed by Marc (Vincent Veillon) decided to change the rules. And so, much to the surprise of viewers and finalists alike, the couple's activity on social networks is nothing to write home about. It's all very «classic» and modest in class. Our protagonists are stunned and bewildered, and rebel.

Between Koh-Lanta and Battle Royale

Having won the «Fantastic Web Contest» call for projects organized in collaboration by RTS and NIFFF, this series by the duo Malou Briand and Raphaël Meyer is reflective in more ways than one. It is strongly reminiscent of the British series Black Mirror which revels in exacerbating the shortcomings of an increasingly connected and computerized society in universes parallel to our own. These are always presented as a drift that could be taken by humanity. The reality show «Bastards» is a case in point: adored by its audience, only certain children, like its young presenter wearing make-up and revealing a smile betraying her addiction to orthodontics, become aware of the ineptitude of the TV program.

With a relatively short format - 6 episodes lasting between seven and twelve minutes - the series constantly borrows codes from TV formats: the public vote to save «their favorite bastard», immunity tests, and the isolation of the candidates living in a makeshift camp and their clashes. Added to this is a perimeter delineated between a forested area and a rocky plain, resembling cosmic space. A space described as an «arena», reminiscent of the «Battle Royale» principle inspired by Kōshun Takami's novel of the same name, in which young delinquents battle it out on an island, with the survivor earning the right to live. A concept widely taken up by the video game industry in recent years. A multitude of references that falters and somewhat misses its parodic spirit to settle for a crude pastiche.

The age of digital celebrity

The frenetic use of social networks by the young prospective adoptive parents is a striking contrast to their precarious lifestyle. Somewhat unsettling in the world presented - bearing in mind that the condensed format of the series doesn't allow us to dwell on such details - this obsession with celebrity appears to be the only way to integrate a social life. All the show's behind-the-scenes events are commented on by viewers on the web. Milla, the public's favorite contestant, boasts about her four million followers before this ephemeral adulation is turned against them through massive harassment. Even though they don't have running electricity and live in seclusion, these young people are still grafted onto their smartphone in order to gain the notoriety they need to survive.

With its focus on the excesses of contemporary lifestyles, Bastards arouses the spectator's curiosity and manages to create a disturbing and fantastic atmosphere, thanks in particular to its effective soundtrack. A tantalizing scenario that deserves to be developed further.

Write to the author: fanny.agostino@leregardlibre.com

Photo credits: © RTS