9/15/2023 0 Comments Nasa houston orbital children![]() ![]() Konoha has had the least screen presence so far, but I find her the most intriguing. What choice did she have other than to get a job in space?) and Touya’s friend and fellow space-baby Konoha. There are two other main female characters: the long-suffering station caretaker Nasa Houston (yes, her parents named her that. But just couldn’t.Ĭharacter-wise, I can only hope that Mina develops beyond the parody of influencer culture that she is in this opening act. When the AI reboots and the kids are left, essentially, floating in orbit with no one to help them, her first instinct is to record the whole incident and wonder aloud if her fiery comet-based death will net her more online clout.Īgain, wanted to shake my head and chuckle and praise the imagination of the writing. Mina, one of the three winners of Deegle’s contest, is a “SkyTuber”-an interspace influencer livestreaming her time aboard Anshin to an ever-increasing follower count. The same can be said for social media, which is clearly an even bigger deal in this spacefaring future. Of course, whether or not this society’s reliance on Deegle’s tech monopoly will end up being critiqued as part of the plot, or is just a worldbuilding detail, remains to be seen. The issues at their heart might seem like they’re off in deep space, but they’re always close to home. Hey, the best sci-fi are the ones that reconfigure current anxieties into a futuristic setting. I want to shake my head and say “How inventive! How ridiculous!” but this doesn’t seem like too much of a stretch. Touya’s (hilariously half-hearted) welcome speech fleetingly mentions the Deegle can take care of you from the cradle to the grave, offering pre-natal care and space burials. The three Earth kids visiting the station are doing so because they won a contest run by “Deegle,” whose logo is all over their space suits and to whom the AI are all beholden. ![]() Everything is plastered with branding, with adjusted-for-copyright versions of Google, Tesla, and Coca Cola all over the technology that propels the space station. This introduction paints a dazzling but grim picture of a not-too-far-flung sci-fi future. Whether or not it was initially intended to be sliced off into its own episode and discussed as such, this is what we’re working with, and I can certainly confirm that the first forty minutes of Orbital Children make a strong impression. As such, the double-length “premiere” is not so much the first episode but the first act of the first movie… something that admittedly feels a little odd to review. The Orbital Children is a two-part film series that Netflix has, for reasons best known to Netflix, segmented into six episodes and released as a series. The latest interstellar holiday quickly goes awry when the AI that runs the station suddenly and mysteriously reboots, and a comet leaves Earth’s atmosphere on a collision course with Anshin. What’s it about? Touya, the last child born on the moon, now resides on the commercial space station Anshin-and has to play host to the tourists visiting it from Earth, much to his annoyance. Content consideration: children (teenagers) in peril ![]()
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