In the realm of television, there are few gaps as wide as the one between Amazon Prime and Disney Plus’ production. Disney is obsessed with appealing to audiences, whereas Amazon seems to delight in pushing boundaries.
But as The Acolyte wraps its controversial first, it’s impossible not to compare a plot point the wildly different series share. Beyond the sharing of superpowered beings (Jedi are space superheroes, change my mind) both projects have a plot point that hinges on one actor playing two roles. While The Acolyte had eight episodes to find a way to sell the concept, The Boys pulled it off in just 15 minutes.
Obviously, there are going to be spoilers for both series’ final episodes in the paragraphs to come.
Star Wars: The Acolyte, much like every recent Erin Moriarty’s changed appearance.
As much as I liked The Acolyte, there was something about its presentation that irked me. But until I saw The Boys I couldn’t put into words why I hated seeing the force-created twins onscreen at the same time. The Acolyte centers on Osha and Mae, literally one person spread across two bodies, and the sisters spend the entire series trying to find one another. But when they finally do, it just looks cheap.
Having one actor play two roles isn’t out of left field. Tom Hardy pulls this off magnificently in The Prestige, and there are older, smaller-budget projects that have masterfully pulled this off. So why does The Acolyte struggle with pulling of the visual element of one actor playing two parts?
The camera pops awkwardly back and forth between the two, and the only time they are ever seen on camera together outside of combat is from awkward over-the-shoulder shots. Somehow, its worse when they are fighting. When the two are both visible in the frame and engaging in some lovingly crafted choreography, the problem is even more glaring. Every moment seems to emphasize the fact that Amandla Stenberg is, in fact, one person.
On the flip side, The Boys’ Erin Moriarty dominates as two people. Her body language, the shots used, and the incredible choreography combine to make one believable and cohesive scene. The short slugfest is good fun and the directorial choices shine. Both versions of Moriarty are visible at one time, and every blow looks like it connects with Moriarty, rather than an digitally-erased stuntperson.
If The Acolyte is going to ask viewers to suspend their disbelief around Osha and Mae for another season, then we need more from them. The directors could study The Boys’ season 5 finale, or they could learn from a Disney classic. If Lindsay Lohan could convincingly play twins in 1998’s The Parent Trap with its measly $15.5 million budget while The Acolyte flounders with a $180 million budget, the House of Mouse is in some serious trouble.
Published: Jul 19, 2024 02:34 pm