A nun fighting against the algorithm
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In the first fifteen minutes of Mrs Davis (released on Peacock in the USA, unreleased in Italy) we go from a clash of Templar knights in Paris of the fourteenth century, to a desert island in the Pacific where a scientist named Schroedinger is shipwrecked (coincidentally in the company of a cat), to then find themselves near Reno, Nevada, where a nun on horseback foils a scam operated by a gang of illusionists.
I hope it is clear how difficult it is to give an idea of the plot: roughly, we are in a world dominated by an artificial intelligence, which some call precisely Mrs. Davis (others simply “She”), to which you connect via a headset. Most argue that Mrs. Davis has solved all the problems of the planet, defeating hunger, war and unemployment; some rebels, however, think that she has enslaved humanity. Simone (Betty Gilpin), the scammer nun, is one of the very few people who still refuse to give in to Mrs. Davis. But, for a chain of reasons impossible to summarize in a few lines, in the end she will have to do it and consequently she will agree to undertake a mission on her behalf: to find, ahem, the Holy Grail. “Don’t underestimate the stupidity that this situation can reach,” says a character, and how to blame him.
The creative couple of Mrs Davis is as improbable as the series itself: master of the mystery hypertrophic Damon Lindelof (Lost, The Leftovers, Watchman) and Tara Hernandez, known for writing about 200 episodes of The Big Bang Theory And Young Sheldon. Yet the union between the two sensibilities has created one of the most original products in recent memory, out of mind like The OAbut much funnier, difficult to categorize and sometimes even to interpret.
Despite the abundance of absurdities, this series is never quite either zany or serious, it’s always both at the same time. There is a frenetic accumulation of ideas, side plots that no one knows where they will go, characters, genres, references, all in a deliberately messy way, contrary to the basic principles of any screenwriting manual. But it’s not just chaos: as the story progresses, the accounts begin to add up, and there is also a reflection on the comparison between human and algorithmic creativity.
Tara Hernandez, Damon Lindelof, Mrs Davis. Peacock, unpublished in Italy
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