‘Halo’ TV series brings Master Chief’s crisis of conscience to Paramount Plus
Grover C. Magnus
6 min read
Through the series’ first two episodes, which will debut to audiences on March 24, “Halo” chronicles how a smaller-scale civil war between factions of humanity and the dominating United Nations Space Command (UNSC) was interrupted by a mysterious, dogmatic alien force calling itself the Covenant. It’s still a story about the USNC Super Soldier Spartan program and its creator, Dr. Catherine Halsey. Halsey – the surrogate mother of series protagonist Master Chief – is still a manipulative mad scientist. USNC Captain Miranda Keyes always does her best to do good in a dodgy organization. And the Master Chief, John-117, moves closer to the more recent portrayal of the 343 Industries character in games, retaining his penchant for bad jokes as well as his newfound self-awareness and independence.
The biggest difference from the games is that “Halo,” a show developed by Kyle Killen (“Mind Games,” “The Beaver”) and Steven Kane (“The Closer,” “The Last Ship”), kicks off immediately with Master Chief navigating an identity crisis. The super soldier’s thoughts swing between his role as a duty-bound, RoboCop-like galactic enforcer and becoming a kinder, fuzzier Terminator with a heart of gold. Stimulating this self-awareness is the show’s most contrived plot point, namely Chief’s connection to a magical ancient stone, an ever-reliable modern McGuffin. But the aftermath of this internal crisis, at least for the first two episodes, is also the best source of growing tension between Master Chief’s burgeoning sense of justice and the borderline fascist government of United Nations Space Command.
The “Halo” video game was released in 2001 at the height of American chauvinism in a post-9/11 world. His brand of howling and always well-done militarization of space opera seemed to fit the national mood well. It took years for original developer Bungie to ponder the ethically shaky underpinnings of its heroes. The UNSC was more than willing to commit a few war crimes like kidnapping children – including the leader – to establish galactic security via their gruesome super-soldier experiments. These children would become weapons to put down rebel uprisings, like super-powered Stormtroopers with perfect aim. The Games Leader would take a lot longer into the story before he started to question his orders.
That’s not the case with Paramount’s “Halo.” The first episode ends with a surprising and biting stalemate, a powder keg of already conflicting interests. It bodes well for the rest of the series that it’s already revealing its layers so early on, and the possible parallels between human society and the ill-fated alien Covenant faction.
It’s also hard not to be drawn to Pablo Schreiber’s eloquent and emotional face as he portrays Master Chief’s moral confusion. Fans of the games, in which the leader never gets rid of his helmet, may be surprised that he’s unmasked (and often so) in just the first two episodes. But once players get over the shock, you get used to its gritty, chiseled cup framed by all that green titanium. The role calls for a stoic performance that mellowed over time, and Schreiber’s face often and clearly tells that story. His Master Chief is dark, but unafraid to assert himself when he knows he’s right.
The show’s cast and narration also reflect the game’s multicultural roots. As a Korean, it’s a relief to hear the language survive in this future. The second lead in the first two episodes, Quan Ah (Yerin Ha), features a spirited, albeit one-note, performance as a surviving insurgent who helps the leader anchor his morals. Danny Sapani and Olive Grey, playing the father-daughter couple of Jacob and Miranda Keyes, provide some warmth from the UNSC side, which contrasts with Adm. Margaret Parangosky, cold and calculating Shabani Azmi.
The action also begins violently. “Halo,” the TV series is clearly not afraid to show what Covenant weapons can do to human bodies. Master Chief and his Silver Team of Spartans also move with deadly precision, though the computer graphics animation looks a bit too bouncy. The Covenant aliens look believable enough if the camera doesn’t linger too long. Thankfully, the show’s cinematography mirrors Steven Spielberg’s shaky footage from “Saving Private Ryan,” which helps suspend any disbelief. It’s worth noting that Spielberg once signed on for the project years ago, as part of the series’ long journey to debut.
If the premise of the series sounds a bit like “Dune” with a military fetish, that’s because that’s what “Halo” has always been. The show is derivative because “Halo” is at its core derivative, even raising the concept of a “ringworld” from author Larry Niven, who penned the novel of the same name. In video games, such a tribute is a welcome experience thanks to the gripping first-person action, which is different from the relaxing experience of watching a show or movie. It remains to be seen where the story and its added drama can effectively replace the thrill of interactivity, especially as players no longer possess the thrill of being Master Chief.
There are indications that there may not be any big twists ahead. In the first half of the second episode, viewers may already tire of the number of times you’ll hear a character mutter “I don’t know” to a question that, if the show unfolds like the plot of the games, fans of the franchise already know the answer. If they play out the same way, what is the gain for the chef’s loyal fans? The delicate balance of the series will be to manage this feeling of familiarity with its characters and its history against the heightened tensions between the characters of the series and the factions. In the first two episodes, he succeeded.
It’s unclear how Master Chief will evolve, especially since his crisis of faith begins so early in his career. And while we get a glimpse of her future AI partner Cortana (played by Jen Taylor, who voiced the character in the game series), we have no real idea how she’ll be implemented or slotted into the dynamic. from the Serie. Their relationship and interaction will be another key to the show’s success, especially with its core fans. We are eagerly awaiting its first episode.
Two episodes, “Halo” doesn’t do enough to stand out beyond the sci-fi TV buffet, but no other show promises so many extraterrestrial visual delights. The halls of High Charity, the Covenant mothership, are laid out like a monastery, or a weirder, bigger version of Kim Kardashian’s Belgian-inspired Los Angeles mansion. It’s sticky and menacing, and also unforgettable.
As far as pulp sci-fi goes, “Halo” fills the hole it was always intended for. Fans of the game can rest assured that the characters stay true to the source material, while providing just enough early twists to make us wonder what’s next. Anyone new to the “Halo” universe can expect a gruff, war-ready, and so far straightforward space opera with plenty to chew on at least the next few episodes. For now, it’s enough to wonder what kind of man the Master Chief decides he will be.
