High concept science fiction shows often feature sprawling storylines. Think about the ambitious premise of Westworld or the thematic complexity of The Expanse; epic stories with massive casts that require multiple seasons to reach a satisfying conclusion. Other sci-fi titles like Station Eleven or Scavengers Reign end up accomplishing a lot with a singular season, which makes them the better choice if you’re looking for a series you can start and finish in a single weekend. Those are both great options, but arguably one of the best and most bingeable shows of the decade came from a surprising source: Alex Garland, the screenwriter and movie director behind 28 Days Later, Civil War, and Ex Machina.
It’s difficult to put the philosophical and abstract narrative of Devs into words. The story opens with software engineer Lily (Sonoya Mizuno), who works for the encryption division of a cutting-edge tech company named Amaya. Lily’s boyfriend, Sergei (Karl Glusman), ends up bagging a coveted position on Amaya’s quantum computing team known as Devs, overseen by the CEO, Forest (Nick Offerman). Nobody at Amaya knows what Devs actually does, leaving Sergei clueless about his new responsibilities. This becomes the show’s most pressing mystery, especially after an unexpected murder takes place in the very first episode.
Garland explores the debate between free will and determinism in Devs, along with the hubris that comes with the technological monopoly of a company like Amaya. The secretive Devs project becomes a source of anxiety, as the quantum computing aspect hints at something ominous unfolding behind the scenes. Time travel and multiversal implications suddenly enter the picture, further complicating our understanding of this strange new world. Instead of indulging in obtuse tech jargon, Garland leans into existential questions and humankind’s eagerness to solve these impossible equations. This includes conundrums about the illusion of choice and whether grief can be a motivator behind figuring out the unknowable.
Amaya’s motivations as an affluent tech organization parallel those of Lumon Industries in Severance — both companies harbor unsavory secrets and want to push the limits of knowledge through unethical means. Garland has previously touched upon hubris and how it shapes the ego of tech-billionaires in Ex Machina, which dissects the consequences of taking AI sentience for granted. Although Devs doesn’t replicate this idea in exact terms, it indulges in many “what-if” scenarios and the consequences they might have on the human experience. These ruminations often take bleak turns — a sentiment that is visually complemented by Amaya’s stark, empty interiors.
The perfectly bingeable nature of Devs doesn’t just stem from its eight-episode structure. Despite being a short experience, the intricate, slow-burn nature of the story grants the illusion of a massive puzzle waiting to be assembled. Just when you think one major mystery has been solved, another crops up unnoticed, demanding your attention even after that thread is resolved. Lily emerges as a protagonist who is hard to read, which is why we’re supposed to unravel what makes her tick. Other members of Devs, including developer prodigy Lyndon (Cailee Spaeny) and veteran programmer Stewart (Stephen McKinley Henderson), end up playing much bigger roles as the episodes progress.
Devs is best enjoyed when you’re in the mood for incessant theorycrafting, as it is the kind of show where the journey feels more fruitful (and unforgettable) than the destination. Even in the face of the most abstract philosophies that Garland toys with, Devs leverages its confounding mystery to keep audiences hooked to its one-of-a-kind premise. Apart from tackling the ethical issues that plague humanity, the show makes a sincere appeal for compassion in a world where the emotionally vulnerable are often shunned. Devs will stick with you long after the credits roll, making it a satisfying weekend binge that is more than bite-sized.
Devs is streaming on Hulu and Disney+.
