![]() Here’s the tl dr: The main focus of the series is on Michaela and Ben Stone (the blandly attractive white people seen above), brother and sister on a family vacation who decide - along with Ben’s son - to take a later flight in order to get an airline voucher. It’s not just the premise, it’s the acting and writing that are terrible, too, but the premise alone should be enough to put anyone off the series. ![]() It’s a f-king police procedural, with a psychic element, and maybe a little something from the superhero genre, because this is broadcast network television, and they don’t know how to make anything else. This is not a relationship melodrama, or a Lost-style mystery. There’s some lip service paid to that, but that’s not what the bulk of Manifest is about. The show I expected from that premise was a sort of This Is Us-like melodrama full of tearful reunions, families starting all over again, passengers picking up the pieces of their former lives, and reacclimating to a world that has changed a lot in the last five years while no one on the plane has changed at all (in fact, they haven’t even aged). ![]() To the people on the plane, there is nothing particularly out of normal about the flight, but when they land, they learn that their friends and loved ones have long considered them dead and have moved on with their lives. If you’ve watched ad-supported television for more than 30 seconds in the last three months, you’ve no doubt seen commercials for Manifest, that show where 128 passengers take off in an airplane, hit some turbulence, and land five and a half years later. When I tuned into NBC’s new drama, Manifest, I’d already resigned myself to a certain kind of terrible show, but much to my surprise - and dismay - Manifest is terrible in a completely different and unexpected way! It may be the only surprise of the entire series’ run.
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