Moving forward, the deficiencies of this season should help answer its central question. How does one rewrite history through television, or perhaps more accurately, why? The first season’s screwy, boisterous energy provides a perfect answer: we rewrite as an act of compassion and hope.
The World to Come, is, you guessed it, a period romance between two white women. That unfortunately places it on a continuum that’s become stale, meaning something extra is required of it to stand out. And that’s where the movie falls a bit short, not with any big flaw but in not achieving anything truly great, and hence it seems doomed to fade into the ether.