When the “Middle Europe” palace Chancellor Elena Vernham presides over first appears onscreen in HBO’s miniseries The Regime, it looks more like a dollhouse than a stronghold. The impression—a too-big, too-square blot against a dwarfing mountain range—screams of uber-privileged playtime. Elena and her beta husband Nicky got the keys to the kingdom from Elena’s dead father, whose liver spots she now agonizes over in between spa sessions while he sits in a cryogenic chamber.
Even The Regime’s consistent main theme, which initially sets the bumbling tone for an administration beheld to Elena’s sheltered oddities, rings darker five episodes in, when “Freedom Commander” Herbert retreats into dream therapy with Elena and rebel forces approach their doorstep. Desplat’s greenness in miniseries scoring doesn’t come across as a disadvantage for The Regime’s autocracy when considering his countless credits on films that weave reality with fantasy.
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