FX’s The Strain is surprisingly the most agreeable addictions amid the summer of ISIS terrorism and Ebola fears. The show primarily is something of a quirk for FX. The network is mostly based on fancy vampires and mythology adaptation of Guillermo Del Toro and Chuck Hogan. On Sunday’s action-freight finale, it was tidily laid out to myriad possibilities looking forward to a second season.
The Strain plays likely companion to AMC’s runaway hit. The finale that the resilient band of vampire fighters sought to find, corner and kill The Master; He is the obscure, soaring vampire responsible for the virus-like outbreak of murder and chaos that belched across an amusingly unaware New York. One twist that well underscored how much the series has belched with vampire lore, the creature actually escaped his nemeses by scurrying away in broad daylight.
The fearless leader of the vampire hunters, Setrakian ( David Bradley), then was left a mystified and as they say, thunderstruck look. This led the team unwillingly at square one.
Under the direction of show runner Carlton Cuse , he–has occupied in a smart bit of misdirection. He was doomed with a flight and the Center for Disease Control scientists (Corey Stoll, Mia Maestro) tasked with cracking of what happened, it slowly began to mark Bradley’s character, whose history with The Master and his Nazi henchman (Richard Sammel) dates back to a World War II concentration camp.
The supposedly overmatched saviors of humanity also gathered some much-needed muscle and welcome comic break in the exterminator by Kevin Durand. The series showed a fitting readiness to give up key players, such as Sean Astin’s compromised CDC employee, along the way.
The serialized cat-and-mouse game has its limits, and the humans can’t simply go charging into nests of vampires every week. “The Strain” has something in common with Showtime’s Penny Dreadful.
Given Cuse’s participation, it’s also interesting to note the similar tracks along which he and former Lostpartner Damon Lindelof, overseer of HBO’s The Leftovers, have traveled this summer. Both shows are tailored from other sources and deal with an apocalyptic happening, The Strain leaves open a ray of hope for uneasy existential tragedy, while Lindelof’s project is preoccupied with the grief, depression and disorientation created by its outcome – a bleakness as suitable to explain the mood given in its viewers as those within the show.
The best science fiction has always tapped into present-day concerns, and the contagion feature of The Strain starting with those eye-opening billboards attached with the view of not knowing who to trust (down to the You hurt the ones you love thread) certainly play on that level, and quarry upon those concerns.
In the end, although, one need not go plumbing for deeper sense to enjoy the series, with the finale simply reinforcing its standing as a show that has managed to take those darting tongues and skillfully carve out its own place in the center of a packed field of movie and TV vampires .