The television adaptation of "Foundation" is an intriguing reinvention, profoundly transforming the tone and narrative fabric of Isaac Asimov's seminal books. Notably, Asimov himself wasn't adverse to revising and reshaping his universe, evident from his transition from initial short stories to full-fledged novels and his later incorporation of robots into the "Foundation" universe long after the books' publication. In this light, David S. Goyer and Josh Friedman's smart move lies in crafting a fresh tale within the conceptual confines and thematic essence of Asimov's source material. This season underscores that "Foundation" isn't merely a sci-fi rendition of the fall of the Roman Empire; it's also a pulp sci-fi extravaganza akin to the tales that sparked Asimov's imagination, and a space opera in the mold of stories later influenced by his work.
Chief among these innovations is the concept of the Cleonic Genetic Dynasty, an eternal empire where the emperor forsakes heirs in favor of cloning himself. Though clones and genetic manipulation aren't featured in the books, this twist fits seamlessly and stands as the show's highlight—largely due to the mesmerizing performances by Lee Pace, Terrence Mann, and Cassian Bilton, who breathe life into the notion of the Cleon's holy trinity. Following last season's revelation that the Cleons were genetically manipulated to prevent perfect replication, this episode unravels the secret that the first Cleon is withholding from his clones.
This discovery stems from Dusk's curiosity about the Empire's capacity to alter memories, spurred by a conversation with Rue while they unwittingly watched a sex tape (truly bizarre). However, this power now resides solely with Day, who, following an assassination attempt, altered security clearances due to a lack of trust in himself. From its inception, "Foundation" has depicted internal conflicts among the Cleons rooted in ideological disagreement stemming from their varied experiences, but this scenario feels genuinely distinct. Dawn and Dusk worry about their alter egos, with Dusk revealing that Day harbors resentment towards his older clone for delegating conflicts to Demerzel, much to Day's chagrin. This episode clarifies that Day's impending marriage—which will usurp Dawn and Dusk's roles as Emperors—ought to be viewed as a coup d'état rather than anything else. It's telling that when Dawn suggests they might be in peril, Dusk gestures towards a painting of a pre-Cleonic emperor, invoking tales of betrayal.
Yet, is he merely discussing Day, or does an even grander narrative unfurl, tracing back to the inaugural Cleon himself? Little is known about this enigmatic figure, but when Dusk and Dawn interface with his memory archive, he brushes aside their anxieties regarding Day and instead offers cryptic counsel, hinting at concealed truths. Worse, upon reviewing the memory vaults, Dusk discovers that Cleon I possessed a far more extensive array of recollections than his cloned progeny. What is the purpose of replicating oneself if secrets are kept from these very replicas? Perhaps, as Rue speculates, Cleon I harbored profound regrets he wished to bury, even from his own consciousness. The introduction of diverse clones stands as one of the most captivating sci-fi concepts in Foundation, as it weaves a Succession-esque family saga while constantly reminding viewers that, despite their numerical diversity, the Cleons remain a singular entity, theoretically fostering a bond deeper than mere siblinghood. In a rare moment of vulnerability, Dusk confides in Dawn that their deposition wouldn't be so dire, for Dawn would attain what her siblings always craved—a life of her own.
As for Day, he adeptly conceals his anxiety amidst looming peril. Post his assassination attempt, he dons his personal shield aura within the sanctity of his chambers, feigning nonchalance. Lee Pace excels once more in portraying a petulant deity-like figure, yet he encounters a formidable foil in Sareth, who spends the episode seeking proof of Day's culpability in her family's demise—a crime he indeed committed, with Demerzel's complicity concealed. Sareth brands Day as a powerless wretch, unable to safeguard himself, much less his future bride. Though she finds no incriminating evidence, she does uncover a video depicting Demerzel with a bisected cranium, revealing her robotic nature.
Returning to the recurring theme of individual worth, a flashback depicts Raysh's hesitation to terminate Hari in season one. "A whole galaxy's fate hinges on your actions," Seldon urges him, leveraging Raysh's devotion. Despite his qualms, Raysh acts the part of a steadfast fanatic and carries out the deed. While Seldon often proclaims the inconsequentiality of individuals, this episode underscores his heavy reliance on specific persons adhering to his directives. Furthermore, Gaal's narration from the prior episode posits that love holds no significance on a grand scale, yet it was Raysh's affections for Gaal that led to his capture and execution for Hari's murder, indirectly preventing Gaal from establishing the Second Foundation at a pivotal juncture. Hari Seldon may blame Gaal for disrupting his plans, but his arrogance and secrecy blinded him to the power of individuals to defy orders, now stranding them on Ignus with a crippled vessel.
Indeed, upon the team's descent upon Ignus, Salvor finds herself pursued by what she believes to be her beau, Hugo Crast, but is in reality a Mentallic—a being possessed of psychic abilities—conjuring a haunting vision within the minds of the group. It transpires that this planet is solely inhabited by a village of formidable Mentallics, headed by a woman who grandiosely proclaims herself a deity, portrayed with charming reluctance by the ever-delightful Rachel House. Though she extends asylum to Seldon and his companions, she secretly vows to thwart the designs of the Second Foundation. Having reached the midpoint of the season, 'Foundation' stands out as more refined and purposeful than ever before. It remains steadfastly loyal to the overarching narrative of the books while veering off in exhilarating tangents, presenting the sort of grand sci-fi suspense and ingenuity that television has scarcely witnessed in recent years.
