It’s perpetually intriguing to see how art changes and is depicted in new ways, even if that transformation isn’t always good. The Russo brothers, still riding the wave of success from a slew of hit Marvel movies, have sunk their claws into a long gestating adaptation, one ripe with potential and nearly feverish anticipation from its core fans. That adaptation, of course, is The Electric State, based on the illustrated novel of the same name. In the source material, The Electric State comes to life as a dark, dystopian, at times grim depiction of an alternate American history, but such a plot device is used to critique some of the real-world issues concerning materialism, consumerism, and the decay caused by late-stage capitalism and unfettered advertisement.
In his novel, artist Simon Stålenhag creates ghastly, surreal images that range from giant dilapidated robots to intimate passenger-seat POV shots amid the chaos of a declining society. Stålenhag’s artwork doesn’t spell everything out for the reader but certainly alludes heavily to the likely backstory that accompanies so much of the destruction and broken lives depicted in the story. It’s images and storytelling with depth and character… yet I’m not quite sure that the atmosphere I’ve just described will be completely transferred to Netflix’s big budget adaptation of this admittedly bizarre tale. The movie itself stars Millie Bobby Brown and Chris Pratt, and neither of their presence is much of a surprise. Pratt is one of the most in-demand actors in the world, while Brown is arguably Netflix’s biggest homegrown star. The synopsis itself is nearly identical to the novel’s premise:
Set in an alternate 1994, a young girl is approached by a robot who claims to know her missing brother, and with it, she sets out to find him.
Yet, as the film appears on paper to be the exact same story, the novel’s dark tone is heavily contrasted with the thumbnail seen below. That of Brown and Pratt donning blank expressions in front of a nondescript green screen, while Pratt sports one of the most ridiculous haircuts you’ll see in a movie this year. It’s quite the whiplash, and I imagine not quite what a lot of fans were expecting for a first impression. Nonetheless, the trailer below signals what we can expect from the Russos:
What we get out of this preview is a movie that appears to incorporate a lot of the objects of the source material but is potentially missing some of the latter’s soul and purpose. The Electric State, the book, is a thoughtful work that challenges readers to question some of the realities of the world around them. The movie, on the other hand, is basing its premise on a robot rebellion and is setting itself up to be an action movie despite its source material relying heavily on mystery and subtle storytelling. Essentially, Netflix’s version appears to have removed the teeth present in the subtext of Stålenhag’s work.
So, it seems this adaptation is a fundamentally different story in terms of tone and thematic subtext. While that could be disappointing to some, none of this should be that shocking. Netflix produces its most expensive content for the largest audience possible and is also going to protect its corporate interests, many of which conflict with the themes from the source material it’s pulling from. It’s also no surprise that they’d tap the Russo brothers, known for directing four-quadrant comedic action flicks, to turn this material into a four-quadrant comedic action flick. The onus then is placed on the viewer to determine what they want out of the work. If you hear that this big Netflix movie is based on a rather niche, but critically acclaimed piece of art, you owe it to yourself to see what that source material is about and if it’s a worthwhile story for you. Or, perhaps you do like the comfort food of a toned down, bright, fun science fiction movie with big stars and heavy CGI, and that’s enough for you. No further digging into the artistic rabbit hole needed. Or you can have both.
The Electric State, as in the product that the trailers are promising us, could be an entertaining – even if heavily familiar and formulaic – bit of pop art. Or it could potentially be something you put on in the background. But what it’s likely not is a faithful adaptation of its source. And look, faithful doesn’t automatically = good, especially when you’re transferring from one medium to another. But I do know that the movie Netflix is advertising feels “samey”, like a kin to plenty of other films of its ilk, and it’s clear why Netflix considers this the right business strategy. But you should never decide if you like a work based on how much business sense it makes, but rather what impact did it have on you as a viewer. That’s what makes it art.
The Electric State takes hold on Netflix on March 14, 2025.
