A hand full of thoughts – Archive 81

Archive 81 is one of those shows you eventually stumble across in the depths of Netflix’s archives without actively searching for it. Not that anyone really searches for anything on Netflix; I often feel like most things find you. But I digress! Let’s take a look at why Archive 81 is definitely worth a chance.

Story

We follow the story of Dan, who makes a living restoring old video tapes in various formats. One day, he receives a job offer from Virgil Davenport, which he initially declines but eventually accepts. His task is to restore video recordings of Melody Pendras, which were saved from the Visser Building fire. However, he’s required to work in an isolated facility owned by Davenport’s company, L.M.G., which is already quite strange.

At first, the unusual request might seem eccentric, but the deeper Dan delves into Melody’s recordings, the closer he gets to uncovering a cult-like gathering in the Visser Building. He also discovers a connection to Melody herself, as she knew his deceased father. Eventually, a deity called Kaelego appears—a figure worshiped by the aforementioned cult.

Things become increasingly mystical toward the end, as Dan is confronted by a snuff film depicting a summoning ritual in which a young girl is sacrificed.

One subtle yet crucial detail that I shouldn’t leave out is that Melody and Dan do not live in the same time. The recordings Dan is restoring are from 1994, the same year the Visser Building burned down. The mysterious snuff film is from 1924, and Dan himself is living in 2022.

Pacing / Storytelling

Watching it feels a bit like flipping through an illustrated version of a book you’ve already read—slowly, deliberately, and with care, not rushed or pushy.

Archive 81 has a similar feel, and you have to be able to appreciate this pace. With the exception of the ending—which I’ll get to later—everything is told more gradually, allowing characters and events to unfold at a gentler pace. Yet in this case, it’s not a drawback, since there are no slow patches thanks to the two timelines, and later, the one where the ritual takes place.

Additionally, it quickly becomes clear that almost every character from the main cast has their own secrets, which are gradually revealed. These developments are nicely spread across the eight episodes, and rarely feel unbelievable or unconvincing.

Highlights

For me, what makes the series stand out is its craftsmanship. It doesn’t feel like a mass-produced product, but rather like something crafted with care and even some extra layers.

This is evident in many scenes, which are well-lit, feature decent color grading, and aren’t overly cluttered, even when a lot is happening. Time was taken not only to tell the story but also to enhance scenes that might otherwise serve as mere filler in the script. And you can tell!

My impression is that this is most noticeable when Dan is in the secluded L.M.G. facility. But digging a little deeper, I realize it’s also present at the beginning of the series, when Dan is in New York working at his job. It’s similarly present when Melody is at the Visser Building, and of course, as we move toward the summoning ritual.

However, there is a significant downside to all of this: the series fell victim to the streaming-cut (FN1). The ending is as open as it could possibly be. There’s a sort of finale packed with occult and mystical events, and the final scenes reveal that there was clearly much more story left to tell. Yet then we’re cut off, and the viewer is left hanging.

Conclusion

Amid the homogeneous mass of series, it’s refreshing to see that shows like Archive 81 still exist—ones that stand out and make a difference, even if they’re hidden deep within Netflix’s catalog.

And yes, if you sense a hint of frustration here, you’re not wrong. Recently, when I saw The Boy and the Heron in the cinema, several movie trailers were shown beforehand (Red One – Christmas Alert (FN2), Gladiator II, Venom III), and I was already annoyed by the CGI overload, sugary actors, and more. After the main film, it hit me that we’re in a cinematic age where, in at least 90 percent of theaters, we’re only shown soulless productions.

This is BY NO MEANS a complaint against theaters themselves; they’re just trying to stay afloat. My frustration is with what now passes as movies—filled with unnecessary CGI, actors who merely play stereotypes, and all the political elements I won’t even start on (FN3).

Netflix often recommends series to me, with the note “You might like this,” but Netflix has rarely been right. Unfortunately, series like Archive 81 are rare and not as frequent as Netflix’s algorithm would have you believe. But there should be more shows like this!

Well-crafted, with pleasant storytelling and pacing, all neatly packaged in eight to ten episodes, and a proper ending. A conclusion is no bad thing; it can still set up for a new season. But with these open-ended series, trust is lost, and it makes it harder to invest in new ones—a real shame!

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Footnotes

FN1
For a while, this happened almost exclusively with Netflix, but now all streaming platforms play this game and are quick to cancel shows if certain metrics aren’t met. It’s rare for a series to receive a final movie (like Firefly) or a short concluding season (Madam Secretary). The norm is for the show to just end, and they move on to the next. I think there is a real word for it, but I call it „streaming-cut“.

FN2
I really wish German distributors would stop adding these unnecessary subtitles that make you feel as if the audience is too dense to grasp the film’s subject. I’m sorry if you feel the need to tack on these titles, but please don’t pass that insecurity on to the audience.

FN3
Before I’m misunderstood again: NO, I’m not against representation or other elements that are becoming more important in today’s films. What bothers me is the crude, uninspired way in which it’s often executed.