The most attention is given to Shanice (Brittany Adebumola), a lawyer who disappeared from 2005 on her first day back from maternity leave. They’re regularly making it clear what times they come from in the most unsubtle ways possible, such as noting the last thing they remember was watching Michael Jordan’s Chicago Bulls, or asking if ragtime is still a popular musical genre. The result leaves them largely feeling like thin archetypes constantly shouting their backstories at anyone who will listen. Rather than take the time to introduce all the primary characters slowly, 4400’s writers have rushed to try to jam in as many as possible in the pilot. The mismatch prevents a real establishment of place.Įven worse is the dialogue. Also adding to the weakness of the setting is the fact that while it’s set in Detroit, it’s filmed in Chicago. This might be required for some future plot point, but it feels sloppy and disingenuous.
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The series clearly wants to evoke the sentiments and imagery of the 2020 Black Lives Matter protests, but there are too few guards, and the ones there lack body armor or heavy weaponry. This is despite the fact that it’s a post-COVID show, with their guards wearing masks seemingly just to make them more ominous while the protagonists can show their faces and wear their period-appropriate attire in a thin attempt to help us keep track of the huge ensemble.
In the new version, they’re oddly stashed in a shabby hotel lobby and left in their own clothes without any significant medical examinations. In its pilot, the 4400 are quickly processed and imprisoned, the characters largely introduced in institutional uniforms. 11, 2001, terrorist attack, examining the American government’s fear of threats within its borders and the ways people might seek any chance of empowerment in a chaotic world. The original series provided a commentary on the growing security state following the Sept. But the show’s seemingly tiny budget gets in the way of its efforts to make the political points it’s striving for. The CW’s version features a primarily Black cast, explicitly depicting all of the missing people as marginalized or undervalued in their times. In both cases they’re rounded up by Department of Homeland Security agents, who soon discover the returned can be traced to missing persons cases spanning decades and that they seemingly haven’t aged since they disappeared. “Past Is Prologue” starts out pretty similarly to the original series, though the 4400 fall out of the sky in a Detroit park instead of all appearing in a ball of light in Seattle. But the earnest effort to reframe the plot as a racial justice narrative gets off to a rough start thanks to clunky dialogue and an attempt to introduce far too many characters. That conflict is at the heart of 4400, The CW’s reboot of the 2004 USA Network series The 4400 about 4400 missing people who spontaneously reappear together.
When influencer Gabby Petito went missing last month, activists asked why so much more attention was paid to the disappearance of a young white woman than the cases of missing people of color.
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