The member of the Epsilon underclass known to us only as CJack60 (Joseph Morgan) comes to his senses, trying in vain to stop the carnage he has wrought. The fault is not in some streamlined and artificial system, but in the contradictions of human beings themselves. As it turns out, the destruction of the oppressors doesn’t solve the problem. At times, the rough outlines of the plot - an adult Savage, secretly the illicit son of an Alpha, returns to New London from the Savage Lands, falls in love with a New London woman, and destabilizes the whole society in the process - seem to be leading up to such a simplistic conclusion.īut this Brave New World resists such easy answers. In the third-act finale, our plucky heroes finally overturn the big, bad authoritarian empire, all in the name of the all-important freedom, as John the Savage keeps telling the Epsilons, to choose.
In another, lesser dystopian saga - the kind ubiquitous in our pop franchises, from The Hunger Games to Divergen t - this could be the thrilling climactic moment. Echoing John’s vision of equality - “no one above, no one below” - they decide to start killing the Alphas and Betas, who have designed a system of spiritual and physical oppression.
(Within minutes, the soma shortage has spurred suicides.) And, finally, the Epsilons have decided to take matters into their own hands. The Epsilons have stopped production on the city’s embryos, destroyed its storehouses of som a - the drug, equal parts ecstasy and Xanax, that keeps New London’s citizens’ all-important “levels” intact. It is the result of an uprising of the city’s Epsilon class, encouraged, however inadvertently, by the outsider “savage” John (Alden Ehrenreich), who cares less for class politics than for his burgeoning relationship with Lenina (Jessica Brown Findlay), a member of the ruling class. The glass-and-concrete corridors of New London, a city of pliantly pill-popping, orgiastic, genetically-segregated, Internet-connected post-humans, are covered in blood. The most affecting scene in Brave New World, Peacock Television’s timely and intimate reimagining of Aldous Huxley’s 1932 dystopia, comes toward the series’ conclusion.
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