TV Series Review
Maybe a post-apocalyptic world doesn't have to be all dust and cannibals. According to the CW, it could boast pretty teens, too.
Consider the scenario given to us in The 100. Oh, things appear bleak at first. Civilization was obliterated by nuclear war nearly a century ago, and the remnants of humanity floated above their one-time home on a collection of space stations called the Ark. When the station went past its expiration date, its leaders sent a bevy of wayward teens—the 100—down to check terra firma out and see if the ol' gal was habitable again.
Somebody Beat Us Here
Sure enough, it was. In fact, it's so habitable that other sorts of humans who were all thought to be long dead have actually been living on the surface for a good long while. Grounders have been hunting and foraging and getting rough and ready in this lush, violent paradise for decades. And Mountain Men have come to control cannibalistic, drugged-up human guard dogs who are "affectionately" called Reapers. And there’s even a mysterious place called the “City of Light,” a heavenly-like realm that true believers hold is a place free of physical and spiritual pain.
Our original group of 100 space teens hasn't found refuge in that utopia yet, clearly. And in the crazy-violent world they have found, their numbers have been whittled down some. And now that the older space folk have come down, too, well, that just means there's more meat to be mangled, if you'll pardon how gross that sounds.
Out With the Abercrombie and In With the Float
During The 100’s first season I said that this was a dystopian drama as imagined by Abercrombie & Fitch. That's no longer so true. The teens are now forcibly weathered and grizzled—and aged beyond their years thanks to the threats they've had to deal with. And the show, like those teens, has grown deeper, more complex … and more problematic. Even as it dives into the morality of war and plays around with spiritual themes—a rare sight indeed in a teen-based drama—it serves up same-sex kisses and tries to redefine the word float as a new, censor-dodging stand-in for that still-banned-on-network-TV f-fronted obscenity (much as Battlestar Galactica did with frack). The petty lying, cheating and sleeping around continues (among the teens and adults). But this show is now not so much about who's with whom as much as it is who's going to live to the credits.
The 100 has turned into a decidedly violent, often bloody drama—part Lord of the Flies, part Planet of the Apes, part Lost as reimagined by the CW. It superficially extols themes of faith, hope and love, and then it coats them with a sheen of gore.
Crude or Profane Language
Drug and Alcohol Content
Other Negative Elements
Other Belief Systems
Readability Age Range
Eliza Taylor as Clarke Griffin; Bob Morley as Bellamy; Devon Bostick as Jasper; Sachin Sahel as Jackson; Marie Avgeropoulos as Octavia; Lindsey Morgan as Raven; Jarod Joseph as Miller; Richard Harmon as John; Genevieve Buechner as Fox; Katie Stuart as Monroe; Paige Turco as Abby; Thomas McDonell as Finn; Christopher Larkin as Monty; Isaiah Washington as Chancellor Jaha; Adina Porter as Indra; Jarod Joseph as Nathan Miller; Alessandro Juliani as Sinclair; Alycia Debnam Carey as Lexa; Rekha Sharma as Dr. Tsing; Johnny Whitworth as Cage Wallace; Katie Stuart as Monroe