“The Feed” visualizes a society’s overpowering, horrific addition to technology and the constant desire to stay connected
Recently, sci-fi shows that have replicated an alternate reality that hit a little too close to home. Amazon’s newest show, “The Feed,” is based on Matthew Tobin Anderson’s book of the same name (published in 2002). The British television series overall has the aura of a “Black Mirror” episode, another British television series, which mainly has a focus on humanity’s relationship to technology and its consequences.
The story goes into how corporations have delved into creating a social media platform where everyone can share their thoughts, moments, and feelings. “The Feed” is implanted into an individual’s brain, that ultimately has the person become reliant to its power. People can use The Feed to send messages, watch videos and even project augmented, reality-like “enhancements” to their surroundings. It’s even used as an ongoing digital archive for an individuals life, which is made up of memory bundles, referred to as “mundles.”
The platform becomes a craze previously to the shows beginning, and then the actual story goes into how society has turned into a constant need of a psychological thrill. The Feed even holds up the global infrastructure. Almost everyone has become a puppet under the control of The Feed.
The Feed, even as a corporation, becomes involved with the United Nations. This idea of corporate control becoming involved with the government is conceived as very achievable in this TV series. Throughout the series, there is a constant check with how social media can control our very lives, and how companies profit off of their consumers happiness and want to be relatable.
Even the introduction for each episode is a visual advertisement for The Feed and its purpose for the individual watching. The beautiful attraction of one central online platform for everyone, regardless if it’s for private or public reasoning, is captivating as a consumer and impactful citizen of society.
Due to the advanced technology produced, there is surprisingly no flying cars or teleportation devices. Yes, The Feed allows individuals to seem like they “teleported” into a room for a phone call, but their whole body is just a projection. The main idea of The Feed being central to a society with no other advanced technology, only presents the possible reality of the show.
Besides the mise-en-scène, the cinematography of the show is magnificent. Each shot is color-graded as a cool frame; there is a prominent focus on blue, green and purple hues. The cool colors create a worldly ambience, but also a cold-to-the-touch feeling. The use of cool colors in this series creates a dramatic, dark aurora to the story that only adds to the thrilling events that pile up. They are shyly presented in the furniture, props, costuming and even in the environment setting (sky, city, ocean, etc.).
Now, the sound effects kept me on my toes as each scene went on. I was never clear about whether or not a scene will end in a massacre or good ole fashioned fun. The impending thrill never seemed to be annoying, regardless of its constant play in each scene. The piano, violin or even the triangle are beautifully played to keep up with the momentum. The attention to detail presented discreetly throughout “The Feed” only showcases the series’ worth to be watched even more.
It seems that the show kind of describes our society pre-feed, but in a more organized and cinematic sense. Each character was uniquely interesting and relatable for any viewer to connect with; the hippie, the arrogant little brother, the “dad” brother, the control freak and so on. Overall, the series delicately visualizes how addiction plays out in a connection-obsessed community turned apocalyptic.
~Ashley McMillan, A&E Editor~