Orson Welles's 1938 radio adaptation of H. G. Wells's "The War of the Worlds" weaved a mesmerizing illusion that duped numerous listeners by tapping deep into a spectrum of shared terrors. Who were these extraterrestrial beings descending upon our planet? What were their motives for infiltrating our communities? And what sinister designs did they harbor for us and our offspring? Suspicion towards outsiders is by no means a recent phenomenon; it is, in fact, the bedrock of tribalism! Long before this term was co-opted into the overused lexicon of political jargon, it served as a seemingly plausible rationale for how our ancestors managed to survive the myriad threats posed by the natural world, including the peril posed by our fellow humans.
However, it is but a short leap from suspicion to paranoia. Even before Welles sent shivers down the spines of countless CBS listeners that fateful night, our sentiments towards the prospect of extraterrestrial life were a tangled web of curiosity and unease. As A. Brad Schwartz revealed in a 2015 article for Smithsonian magazine:
"In 1877, the Italian astronomer Giovanni Schiaparelli observed a series of dark streaks across the Martian landscape, which he termed 'canali,' the Italian word for 'channels.' Unfortunately, this term was erroneously translated into English as 'canals,' a word that suggested these were not natural formations but rather constructs built by an intelligent designer. The wealthy, self-taught astronomer Percival Lowell popularized this misconception in a series of books portraying a highly intelligent Martian civilization adept at constructing canals. Drawing liberally from these ideas, H. G. Wells crafted his groundbreaking alien invasion narrative, which inspired an entire genre of science fiction."
In essence, for centuries, humanity has conjured up new threats and then grappled with how to respond to these perceived dangers, whether real or imagined. Violence, as so often the case on Earth, typically emerges as the go-to solution. Amidst this backdrop strides "Invasion," Apple TV+'s latest ambitious sci-fi series helmed by co-creators Simon Kinberg and David Weil. These two have a checkered past in the genre. Kinberg has contributed to the screenplays or served as a producer for the recent "X-Men" films, which, let's face it, left much to be desired! Yet, he also produced "Elysium" and "The Martian," and created and penned "Star Wars: Rebels" and the reboot of "The Twilight Zone," which ranged from decent to commendable! Recall Matt Damon's tenure as a sci-fi leading man? It was an unexpected twist that brought a touch of fun to the genre!
Weil remains somewhat of an enigma: he conceptualized and penned "Hunters," which was merely adequate, and "Solos," a pretentious endeavor that left a bitter taste. (My sincere apologies to Constance Wu, but solo monologues do not resonate with everyone.) As co-creators, Kinberg and Weil jointly bear the writing credits for the pilot episode, "Last Day," and they almost solely shoulder this responsibility throughout the entire ten-episode season of "Invasion." The writing team is predominantly male, with contributions also from David Rosen, who collaborated with Weil on "Hunters," and Andrew Baldwin, the mind behind the controversial Netflix film "The Outsider," featuring an ill-conceived plot twist of "Jared Leto joining the Yakuza." In stark contrast, the future episodes of "Invasion" seem to include only one female voice, story editor Gursimran Sandhu, who earns a "story by" credit for the eighth episode, "Contact." Given that this pilot episode underscores the series' theme of "aliens as outsiders" by initiating with a scene in an unspecified Middle Eastern/North African locale and subsequently highlighting a Middle Eastern family amidst turmoil, the underrepresentation of writers from this ethnic background in the writers' room raises concerns. Indeed, Orientalism is a wearying narrative. While I acknowledge that "Invasion" has at least made a basic effort by casting actors of the appropriate ethnicities and commend its attempt to intertwine everyday racism and microaggressions with a broader supernatural distrust, I remain cautious. Golshifteh Farahani is unparalleled in her talent; however, please, "Invasion," do not tarnish her brilliance!
The title "Last Day" subtly hints at the narrative trajectory of this pilot episode, which introduces various settings and main characters while keeping the villains' identities and motives shrouded in mystery. For now, this veil of obscurity serves its purpose as "Invasion" unfolds. This is not the serene lull before the tempest, but rather the aftermath—when skies darken, winds intensify, and an ominous presence lingers in the air. Ben Foster sneaks into town clad in a grimy, blood-stained parka to warn, "That chill isn't from the weather. It's death knocking." (If you're in the mood for a chilling revisit, "30 Days of Night" is a perfect choice for the spooky season!) Thus, "Last Day" commences with an attack, followed by a disappearance. Somewhere in a desert, an object plummets from the heavens, burrows into the sand, and races towards a solitary "Bedouin Man" (Ahmed Hammoud), who witnessed its descent. Upon emerging, it is initially invisible before assuming the form of a mutating, shape-shifting mass—resembling a volcanic black rock adorned with marbles—emitting sound waves that propel the man backwards. That's one inexplicable occurrence; another is Sam Neill's dubious Oklahoman accent. (I apologize! I hold Dr. Alan Grant in high esteem, but that accent was a disaster, wasn't it?)
Neill brings to life Sheriff John Bell Tyson, a man who, after forty-five years of dedicated service in Idabel, Oklahoma, finally hangs up his badge. In a poignant nod to Tommy Lee Jones's portrayal in "No Country for Old Men," Tyson ponders whether his years of service have truly made a difference in his small hometown, now beleaguered by petty criminality and drug abuse. His deputy, Grady (portrayed by DeWanda Wise), lacks patience for such existential ponderings, for Idabel is in the throes of bizarre occurrences. Two individuals have vanished without a trace, and a mysterious pattern – inexplicably not labeled as a crop circle – emerges overnight in a cornfield where they were last seen. Birds flock to this enigmatic formation, while millions of locusts make a beeline for it, only to perish upon reaching its perimeter. What eerie forces are converging upon quaint Idabel?
Hundreds of miles away, on Long Island, Aneesha Malik (Farahani), a housewife and mother, grapples with problems that strike a more poignant chord. Once a Harvard Medical School prodigy, Aneesha seemingly forfeited her promising career to marry Ahmed Malik (Firas Nassar), alias "Manny," and raise their children, Luke (Azhy Robertson) and Sarah (Tara Moayedi). A doting mother and wife, Aneesha rushes to her children's aid when a mysterious nosebleed epidemic strikes their elementary school, sparing only Luke. Meanwhile, Ahmed indulges in an affair with a Caucasian mistress, while Aneesha tries to comfort their children about the traumatic incident and grapple with the disjointed trajectory of her life. The confrontation between Aneesha and Ahmed lacks depth, with Farahani's talent insufficient to transcend the superficiality of Ahmed's infidelity rationalization: "'Cause she's blond? 'Cause she's fit? 'Cause she has perfect tits?" Nevertheless, I retain faith in Farahani and harbor hope that Aneesha seizes the impending alien invasion as an opportunity to sever ties with Ahmed. Perhaps the Malik family's perplexity over why every house in their neighborhood lies in ruins and ablaze following an attack that disrupts electricity, shakes homes, and causes TV static – except for their own – will catalyze change.
Are these events random or part of a larger conspiracy? This question becomes more intricate with the introduction of the episode's third subplot, set in Japan. Captain Murai (Rinko Kikuchi), one of three Japanese astronauts embarked on a yearlong mission to the International Space Station, represents a pivotal milestone in space exploration. However, Murai harbors a secret: her romantic entanglement with JASA communications specialist Mitsuki Yamato (Shioli Kutsuna), symbolized by a ring she takes into orbit. Tragedy strikes when the ring spins out of Murai's shuttle, torn apart by what can only be an alien attack, leaving a gaping hole and claiming the lives of all three astronauts aboard. The demise of Murai was heart-wrenching, overshadowing even the melancholic dissolution of Aneesha's marriage and the shocking alien-scorpion-tail attack on Tyson in the episode's climactic moments. More screen time for Rinko Kikuchi was sorely missed, her character's glowing, adhesive star evoking a poignant nostalgia that brings tears to my eyes.
By the episode's 56-minute mark, "Last Day" intertwines seemingly unrelated occurrences that we know are intertwined: the assault on a Bedouin man, Tyson's encounter, the Long Island attack, and the destruction of the JASA shuttle. When will the characters in "Invasion" reach the interconnected understanding we already possess? And what recourse do they have against these cosmic adversaries? Tyson's wife assures him, "It ain't the end, darling," but to me, it feels eerily like the twilight of humanity!
