Welcome to Multiversity’s coverage of Snowpiercer, the television show loosely based on the 1982 graphic novel “Le Transperceneige” and more directly influenced by the 2013 film by Bong Joon-ho. In this sixth episode entitled “Trouble Comes Sideways,” the train faces derailment as a brake failure has forced the passengers aboard Snowpiercer to reevaluate their priorities. Layton is out of the Drawers and confronts Melanie and once again Melanie’s endgame is unclear.
1. It’s a Zero Sum World Now
This episode was overall one of the more memorable and enjoyable ones. There are flashes of brilliance with the dialogue and the possibility of derailment felt real (considering how many other liberties this show has taken relative to the film and the graphic novel). Oz’s monologue also plays an important role in analyzing the psyche of the character as he’s trapped with his Brakeman partner, Till, who previously lashed out him for his brutality with a Tailie passenger. For the most part, the scenes they shared were a bit rough. Mickey Sumner’s performance as Till has been one-dimensional and flat, but she was finally given some room to develop as her budding romance with Jinju give her character some weight.
2. Set Design and Aesthetic of Snowpiercer
Beginning with the strike leaflets, something about this episode made me examine the set pieces and aesthetic of Snowpiercer a bit closer than previous episodes. Maybe I’m more acclimated to the different cars and know what to expect, but there are a lot of details that I didn’t pick up on the first time. For instance, the design of the strike leaflets is clearly influenced by the turn of the 20th century labor leaflets with bold black and white letters informing the Third Class passengers of a work stoppage. The show takes place in 2021, so it’s interesting that they would pull from that aesthetic. The posters in the Chains share a similar aesthetic that are evocative of 1930’s movie posters advertising the latest live performances in the Night Car. It’s an interesting design choice that helps root Snowpiercer temporally and actually brings me closer to the show.
3. The (less ambiguous) Drawers
This episode we’re also drip-fed more information about the Drawers as Layton discovers that there are 11 cars full of Drawers with reports of human experimentation, the mass incarceration of political enemies of Wilford, and what one character refers to as “Your own little North Korea.” I continue to love learning about this world and the different facets of life even if it’s about something as inhumane as the criminal justice system aboard Snowpiercer. And to the previous thought, it’s very interesting to see someone on the show explicitly reference North Korea.
4. Melanie’s Endgame
I feel like I ask it after every episode, but it’s what makes this show compelling: What is Melanie’s endgame? In this episode, it is revealed that Melanie sees the drawers as a lifeboat – the last saving grace of humanity as Snowpiercer travels the world. Considering the side-effects of coming out of suspended animation (growing Kronole in your mouth, flesh deterioration, etc.), this seems more like a form of imprisonment than preservation. Also, we’re not sure how many people consented to being in the Drawers. There’s also the final scene in the episode where Melanie meets with Miles (whose full name is Miles and Miles which is goofy as hell, but also kind of makes sense if your entire worldview is reduced to a train). She gives the child a train engineer’s tool and what seems to be an invitation to move to the front of Snowpiercer in the engine room with Melanie. I’m not sure if Melanie is scouting talent for the train, but inviting someone up front where Wilford definitely does not exist is a huge moment and one I can’t wait see develop next episode.
5. Boki is King
Boki was first introduced when the train’s agriculture car was breached, but was seemingly very intense and without a sense of humor. This is a stark contrast with the Boki we see in this episode who’s cheering his own name, pounding beers, and refers to himself in the third-person. More of this Boki, please.
