So, it’s time I came clean about it… Given my daily engagement discussing mutants with a large online community, it feels necessary to be upfront. I have a confession that might be surprising for a dedicated X-Men enthusiast: I stopped watching The Gifted.
Let me preface this by saying I rarely criticize shows, movies, comics, or characters that resonate with people and their fanbases. Our comic culture is in a delicate state, and supporting it through viewership and sales is crucial for its survival in this digital age. However, we all have different tastes. When The Gifted was announced, I was genuinely excited. It seemed to have all the elements I desired in an X-Men television series. It felt like a guaranteed success. Yet, despite my best intentions and loyalty as an X-Men devotee, I lost interest and ultimately stopped watching.
Initially, I was thrilled that the show focused on characters beyond the core group of mutants we usually see. Furthermore, I appreciate it when writers take creative liberties and offer fresh interpretations of comic book lore. I approach any adaptation of comic books with the same mindset as reading the old “What If…?” comics – embracing the divergence from strict source material adherence. A new take on familiar stories is always intriguing.
The first episode, however, didn’t grab me with the impact I had hoped for. I attributed this to necessary world-building. But as the following episodes unfolded with a similar underwhelming feeling, I remained optimistic, believing we were in the typical development phase of a television series. These early episodes can sometimes feel a bit slow or awkward as the show finds its footing, but they are meant to lay the groundwork for a stronger narrative to emerge. By episode seven, I recognized a significant issue, yet I persisted. To my increasing disappointment, my engagement dwindled, and I eventually realized that The Gifted simply wasn’t for me.
Reflecting on my experience, several critical production elements hindered my enjoyment. Foremost among these were the actual storyline and its pacing. There seemed to be an odd tendency to stretch out less compelling or mundane plot points while rushing through moments with genuine potential.
The Strucker siblings, unfortunately, didn’t captivate me. This was particularly disappointing because I genuinely wanted to connect with them. In the comics, these characters have never held significant independent roles and are typically integrated into larger narratives. I appreciated the show’s decision to feature them and reimagine their backstory. However, the central narrative driving the show felt surprisingly uninspired. Their story arc lacked novelty and compelling elements. I struggle to see how either sibling can meaningfully evolve as the series progresses over multiple seasons. Adding to this, their powers felt like a misstep. When fans discuss желаемые superpowers, the Strucker kids’ abilities are rarely, if ever, mentioned. As I continued watching, a sense of déjà vu crept in. Even in certain shots and filming techniques, particularly with Lauren, I couldn’t shake the feeling of familiarity. Then it struck me. In many wide shots showcasing her power and even in her facial expressions, the similarities between her and Kristin Stewart’s “Bella” using her forcefield in Twilight: Breaking Dawn Part 2 were uncanny, and not in a positive way.
Ultimately, the core appeal of superhero shows boils down to the awe-inspiring powers – or at least, it should.
Andy Strucker’s powers and their on-screen depiction of his telekinesis were jarringly off-target for me. Coupled with what appeared to be a direction for actors to use excessive hand gestures when using their abilities, it often resembled Lady Gaga’s concert dancers more than powerful mutants. As a former dancer, the intentional use of hands and body to create impactful cinematic visuals is crucial to me, and it can significantly influence my engagement with a show, especially when portraying fictional superpowers authentically. Jamie Chung’s portrayal of Blink’s powers seemed to suffer from similar direction. The best way to describe it is that everyone looked like they were carefully holding a very hot beverage.
Perhaps I overanalyze these aspects, but I question whether the production team fully grasps the practical implications of these powers in real-time scenarios. By the time many of these mutants execute their abilities, with Polaris being a notable exception, they would likely be vulnerable to attack. Watching Blink use her powers felt particularly awkward, even evoking Dragonball Z levels of over-the-top action.
Speaking of Blink, Clarice Ferguson has been a beloved character for years. X-Men fans have long advocated for her regular inclusion since the Phalanx Covenant storyline, with limited satisfaction. Aside from Exiles, which was a standout series, and minor appearances in storylines like Necrosha and New Mutants, she has been surprisingly underutilized. The announcement of her inclusion in The Gifted felt like a genuine acknowledgment of fan demand, a rare instance of Marvel listening to its audience. I distinctly remember my excitement upon hearing the news. However, I can’t conceal my disappointment with the diluted portrayal of her character. While the Fox X-Men movies are often dismissed by comic purists as shallow fan service, even in Days of Future Past, we glimpsed the true potential of Blink’s abilities. The Gifted‘s rendition falls short in comparison. Clarice simply doesn’t work, even by a low bar. Optimistically, one might hope for continued development of her expertise in future seasons. Fans certainly deserve this. Otherwise, the swift and formidable threat we know and love will be omitted or replaced with a weaker, less compelling character.
Overall, the acting felt wanting. This isn’t to say The Gifted has talentless actors, but the script and dialogue did them no favors. I can only imagine the number of takes required for emotionally charged scenes where everyone furrows their brow while Thunderbird narrates a supposedly serious plot point. While dramatic narration is common in superhero television, the attempts at injecting humor often fell flat with poor timing and execution. There were moments that induced cringes. Amy Acker has proven her capabilities in shows like Angel, but Stephen Moyer’s comedic delivery has never been his strength. His delivery of “Sookie” still sends shivers down my spine.
Adding to the lackluster performances were the underwhelming special effects. For a network television show with a significant budget, the reliance on cutscenes and subpar CGI/VFX was surprising. The DC shows on The CW generally excel in this area. Alternatively, Legion prioritized strong visuals through camera techniques and shots, using CG to enhance moments rather than being the primary focus. Frankly, I would have been content if they simply corrected Polaris’s hair color and perhaps gave her a bit more color in her complexion. The goth aesthetic feels a bit too on-the-nose and borders on cliché, considering the archetype she is meant to represent.
The core issue for me is the loose implementation of its central plot. Long-time X-Men fans understand the fundamental premise: mutants are feared and hated due to their dangerous abilities and the human fear of being superseded in the evolutionary hierarchy. This leads to the introduction of Sentinel Services as the primary antagonist and threat. However, beyond the central figures in this agency, the term “threat” is difficult to take seriously.
In the comics, Sentinels are colossal robots equipped with mutant-countermeasures, programmed to hunt and eliminate mutants. Each iteration is more lethal than the last. In The Gifted, mutants primarily face off against generic government agents and police units who are easily dispatched. As for the robots, the show opted for spider-like Sentinels, which feel less impactful. When the Sentinels do gain an advantage, it often feels contrived, serving only to advance a weak storyline from one episode to the next. The show mentions the X-Men as deceased or disbanded without providing meaningful context. The Gifted would have benefited from exploring the “how, when, what, where, and why” behind the X-Men’s absence, rather than focusing solely on the Strucker kids as the central driving force. While the narrative focus does shift among characters, many events feel arbitrary and lack genuine purpose. These are significant shortcomings for The Gifted.
Another misstep is the inability to foster genuine affinity for the characters. While each main character has a backstory, they are often rushed and underdeveloped, preventing the audience from forming a true emotional connection. Consequently, their motivations for becoming renegades or outlaws feel superficial. Most of these characters could easily integrate into society if they chose to. Unlike the comic book context where mutants band together due to overwhelming threats and dangers, The Gifted fails to convey the gravity of the situation, making the mutant underground resemble a youth center rather than a desperate resistance.
Superhero television often requires a suspension of disbelief regarding plot depth and design. Translating literary works to live-action necessitates certain concessions. However, if the genre becomes overly serious, it risks becoming melodramatic and losing its intended impact. To me, The Gifted tries too hard to appeal to a broad audience unfamiliar with the X-Men universe, diluting its core concepts and losing the essence of the brand. Reducing the X-Men narrative to just humans hating mutants, without the nuanced context and details, makes the show feel one-dimensional and predictable. The X-Men have always been about more than just that. In a culturally charged period marked by political discord and division, the opportunity to explore these issues through a powerful vehicle like the X-Men is being underutilized and made too safe. While some viewers seek escapism in television, countless other shows fulfill that need. The X-Men, throughout their 50-year history, have always engaged with critical social issues. 2018, when The Gifted aired, should have been no different.
Ultimately, The Gifted lacks the complexity surprisingly achieved by FX’s Legion. I also hold a slight resentment because The Gifted‘s moderate success echoes its predecessor, Heroes. Heroes undeniably drew inspiration from the X-Men comics. While Heroes eventually faltered, its first two seasons featured stronger acting, performances, and a more compelling narrative at a comparable stage in its run than The Gifted. I maintain that Heroes deserved a second chance on another network.
With fair ratings and a season two renewal, The Gifted might improve with subsequent seasons. Many shows, regardless of genre, find their stride over time. Considering The Gifted‘s viewership surpasses shows like Lucifer, Supergirl, and Gotham, all with multiple seasons, I remain open to revisiting my stance if season two shows significant improvement. There’s a certain irony in hoping that Ahab, a character who had minimal impact in the comics, could have a more significant and compelling portrayal on television.
