The message shines right there on the side of the Traveling Symphony’s wagons, the line itself borrowed from Star Trek: Voyager: “Survival is insufficient.” Heady material, sure, but what sets the show apart is its refusal to make grandiose proclamations about resilience or how trauma paves the way for character development. John Mandel’s source novel about a troupe of actors focuses on the cultural response to a post-apocalyptic event, casting art as an innate human characteristic to make sense of a deeply transformed world. Captain Hugo, named for the same hurricane that wrecked Miranda’s life, turns on the intercom.Įmily St. She tells him a story-how her entire family died in Hurricane Hugo when a live wire floated in their house, electrocuting everyone but the girl sketching atop the kitchen counter. Miranda, in her plea to convince the plane’s pilot to not disembark, turns to the method of communication she knows best.
Adrift on the tarmac, Gitchegumee Air Flight 452 has been infected already, it’s part of a ghost story. But even as she sees her own ending written out, Miranda seeks to protect an old friend and her former love’s child, currently safe in the isolated Severn City airport. Miranda Carroll (a showstopping Danielle Deadwyler) lays dying in Malaysia from the lethal Georgia Flu, a viral epidemic in the process of annihilating 99% of the world’s population.
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