Book of Kings: Netflix's YA dream cannot break Game of Thrones code

At the beginning of the first episode of episode six of Netflix The book of the Lord, a voiceover releases a prophecy about a hero coming out of darkness. Yes, this fun slogan is with Choice. Yes it happens in the medieval world with two parallel kingdoms in the north fighting one to the south. Yes, it mostly features the young horse race as it comes out with some good boundaries throughout those kingdoms.

That way, The book of the Lord, based on a 1962 book by Dutch author Tonke Dragt, that is not the least in the well-known classic fairy tale setting. It doesn't need to recreate the genre, but while it does have many positive aspects of each character – especially when it comes to character change, which goes against the general structure of the Fetch Seek – none of that came together to do something great.

The book of the Lord It follows Tiuri (Amir Wilson), a native of the great man, who was adopted into the southern Eviellan country (and consequently facing apartheid, because he is considered a less developed country). Within his headship titles, Tiuri assists the deceased, who gives him a secret letter to be passed on to the king immediately. Threatened by his admiration, Tiuri goes off in search of the job, and this time he meets Lavinia (Ruby Ashbourne Serkis) who is a city girl from a poor town, who dreams of leaving her village. Along the way there is her previous energetic class, a four-year-old and a younger brother. No group of youths knows that the prince of one of the two mysterious kingdoms (Unauwen) kills the Eviellan Shamans and wields their power for something great, but the audience learns about its grand scheme as the show jumps back and forth between its characters.

Photo: Julie Vrabelová / Netflix

Too many jumps. Tiuri still wants to fetch (or wants to be brought), a group of Knappice Knights are willing to follow him, and behind the scenes, the adults talk about politics, war and slaughter of innocent people to gain power. None of them are built enough to create an emotional connection, so when major events occur, there are no benefits.

There are snapshots of fun group dynamics, especially with the ragtag team of Knights Knight sent to find Tiuri. Including Lady Jussipo (Jonah Lees), Foldo boxer, genius Iona (Thaddea Graham), and Arman (Islam Bouakkaz), and Jusippa's younger brother last mark. It's a good set of characters, each with their own strengths and weaknesses, and differences, and personalities. Jussipo will not stop playing his lute and perform songs about his traveling band, which annoys Arman, even though Foldo finds it interesting. Iona, the only group that has ever lived among the bullies, snaps her peers when they create a ruckus at a tavern. But as long as the show stays with this group, it falls into different layers of characters.

To their credit, the beautiful Tiuri and the neutral Lavinia side also have a happy ending, as their intentions conflict. Tiuri is too quick to trust and fulfill his mission, and Lavinia, who transformed him into corrupt nobles for a prize, is more deceptive. When they find a lonely palace in the mountains run by the monks, Tiuri is grateful, but Lavinia is surprised. It turns out, those monks are all mutated killers! But also good? It is a structural breakdown in structural planning and a beautiful and expanding aesthetic in the world. If only that unique world-building had been extended to the rest of the empire.

The show becomes a motto whenever it breaks with teenagers and focuses on adults. Structured sections around the evil Prince Viridian, his less corrupt brother, the Dagonaut queen, and other older men of the show served as world-building, sparking a long-running conflict that spurred the action. But nothing distinguishes the lands of Unauwen and Dagonaut, and the prophetic evil is actually called “Darkness.” Empty fights full of bland players.

Photo: Stanislav Honzik / Netflix

In addition, Unuauwen and Dagonaut are fantasy worlds; the third country, Eviellan, ends up embodying the political mistrust of race that occurs when a fashion show decides to have a designated world of its people of color. Eviellian falls into that evil tile: it's a magical world, mysterious Shamans, and peoples – all the words you can find in the ping intro seminar seminar on Orientalism. It's not the book of Chronicles of Narnia, where the Arab world with the codes of Calormen is seen as the worst, but the fact that the only Eviellians we hear about besides Tiuri, her mother, and the evil adviser of Princess Jabroot are killed by a screen turns them into names and building materials.

Tirui's struggle against racism as she makes her way as a knight gives her character arc more nuance, but she remains restless in the main story. No one in the Dagonaut or Unauwen knows the extermination of the Vietnamese except Viridian itself. And there is none care to know. What happens in Evilliean is stay in Evillean. None of the main characters – not even Tiuri, who left Evilliean when he was a child – cared about what Viridian did in Evilliean; they care about their subtle moves and the fulfillment of great prophecy.

The prophecy itself, about the Chosen One and the Darkness, sounds like the first draft of something that may not be extended; this time, viewers saw so many Electors and the unnamed evil that making that distance also required something new. The book of the Lord they bring a pure depiction of prophecy, but they happen so quickly and truly late in the show that they don't sound like they're being led. Although the anointing came in the last episode, most of the show came out playing trope straight. The same applies to many other arcs, large plot movements and small emotional moments, culminating in the show. The last episodes have many moments that would be hugely lucrative and would be amazing if they were originally cultivated.

Netflix pays the show as a family-friendly fairy tale and certainly avoids the bloodshed of something like Game of Thrones. Teenage heroes are adorable, but the show doesn't transcend its usual story line and the last-minute dialogue doesn't save it. With extra care, the creative team can't pull all of the pieces into something bigger and surpass the normal pattern of unpleasant fancy. But as it stands, groups of The book of the Lord you can't get together.

The book of the Lord is currently streaming on Netflix.