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Set against the backdrop of the greatest clandestine race against time in the history of science with the mission to build the world's first atomic bomb in Los Alamos, New Mexico. Locked away in the world's most secretive city, the scientists and their families surrender their freedoms, compromise their marriages, and even sacrifice their sanity to end one war and usher in another, the Cold War waiting just over the atomic horizon, all while embedded spies and a climate of paranoia threaten to destroy the project from within.
This is the kind of evolution that all-time great series take, and it wouldn't surprise me one bit to see Manhattan get to the status that it deserves.
It captures the enormous creative possibilities that come from putting a few hundred great brains together on one army base in the middle of the New Mexico desert, but also the problems that arise.
It does fine work in shadows and close quarters, the influence of the co-executive producer Thomas Schlamme (The West Wing), a veteran TV director with a knack for creating theatrical intimacy.
Manhattan isn't quite yet the great show I know it's capable of being as season two begins, but it's a show that moves with the confidence of a series that knows it can be great.
Messages contrived to make ideological points have a way of exacting a toll from drama-usually a flattening predictability-and this series is no exception.