This is the best summary I could come up with:

“Most of the girls in my class completely missed the moment when the world began to end, too wrapped up in their own drama, obsessed with their own lives,” Maddie recounts in an intriguing voiceover that opens the series.

Another teenage misfit, gothy Caspian (Paul Dano) excels at math and hacking—and seems to be living in a small-scale version of The Truman Show, with parents who are, for reasons that take some time to emerge, roleplaying a dysfunctional marriage for his benefit.

And with regard to the UI-driven future Chanda seems so excited about, for its potential to free humans from white-collar drudge work and launch new leisure industries, is it really such a great idea?

While computer animation might have sent it plunging into the uncanny valley and live-action TV would have required expensive CGI effects that might’ve looked silly despite their price, there’s a warmth to the elegant, anime-style characters and backdrops drawn by Titmouse (the studio behind Big Mouth and the new Beavis and Butt-Head projects on Paramount+).

All of this—along with a stellar voice cast that also includes Taylor Schilling, Aaron Eckhart, Maude Apatow, and the late William Hurt—helps Pantheon earn what starts out as an ambitious, potentially goofy premise and escalates into something all-out wild.

The concept fueled story lines on Star Trek, Stargate, and other sci-fi franchises for decades, before making inroads into the prestige-drama futurism of Westworld and Black Mirror; “San Junipero,” a feature-length romance between two uploaded intelligences in a VR afterlife, became a breakout episode of the latter anthology series.

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