TOMORROW AND I: Surprisingly Realistic Netflix Sci-Fi [REVIEW]

From science fiction, we often expect it to show us how our reality might change, not just in a technological sense, but also culturally—and in the near future. The four-episode Thai series Tomorrow and I presents a new, technical, planned, and almost engineered vision of the world that seeks to displace the old, traditional, metaphysical one, steeped in folk principles often lacking scientific verification. Yet, this older worldview remains as alive in people as mathematics itself. This time, Netflix offers an exotic production, one rooted in a tradition different from the European context but still understandable. Sometimes, seeing through the lens of difference helps clarify what could one day happen to us.

The series consists of four episodes. While not directly connected in terms of narrative, all explore the clash between a traditional, patriarchal Thai world and a modernity often associated with the West, though that association isn’t entirely accurate. Asian modernity has a somewhat different nature—perhaps even more technicized—where modernity, replacing tradition, becomes a new religion, this time a technocratic one. In the long term, we know little about it; in the short term, it seems as dangerous as old beliefs, which posited a fixed, immutable template for human nature. Technology treats us as a fully modifiable project, a concept Tomorrow and I vividly illustrates.

As we dream of conquering space, we must first conquer our own microcosm, a process already well underway. Only once we achieve that can we hope to inhabit another planet beyond Earth. Thus, the series offers various interpretations of our future. Will we conquer space? Will we be able to design children at will? Will changing gender without cultural repercussions become acceptable? Should we even concern ourselves with gender? Will technology become our next religion? What will happen to Buddhism? Could Buddha one day be recreated as an AI simulation? And might it be better to have sex with a robot than with a human? Could this lead to the destigmatization of sex, long used as a tool of social control by state and clergy? These are just some of the questions raised, marking the start of a fascinating journey narrated in a style somewhat different from the films we’re accustomed to.

Although the creators clearly tried to incorporate Western cinematic models, including a retrofuturistic 1950s-style vision of sci-fi reminiscent of the American aesthetic recently revived by the series Fallout, there is also melodrama, which might not be as well-received. Thai romance tends to drag, reminiscent of Brazilian soap operas. Still, this can be overlooked if one focuses on the substance and resolution of the problems presented. Emotional slow-burns are forgivable if the finale delivers a meaningful twist—and it does. Each story leads to an unexpected conclusion that leaves viewers pondering and discussing long after the credits roll. This is the best validation of science fiction as a genre, as its interpretative depth often outweighs its entertainment function. While this approach might not be ideal for film as an art form, critics favor it. However, cinema evolves in line with cultural and civilizational dynamics, largely independent of critics’ opinions, which often play a secondary role in this process, overshadowed by their own self-satisfaction with their insights. This could be the case with Tomorrow and I. Stylistically, it offers a different take on science fiction compared to European visions. If it finds an audience—which seems unlikely given the lack of hype or pre-release buzz—it could provoke twofold reflections.

The visual elements, including special effects and editing, will undoubtedly impress viewers. As for the dialogues, the quality varies depending on the story. Some events and issues are portrayed masterfully by the actors, while others feel naïve, as if lifted from cheap romance novels. The first episode is the weakest in this regard, but subsequent episodes cater better to a literate audience. The special effects, however, stand out most, rivaling those in big-budget Western sci-fi films. They feel like a natural part of the depicted world, which is essential for science fiction—to minimize the gap between physical elements and those created with CGI. This is especially challenging in a series with feature-film-length episodes, where any flaws are easier to expose. Despite its weaker moments, Tomorrow and I succeeds in this regard, making it one of the most intriguing sci-fi series of the year.