Dreams had generally been regarded positively. They were the endgame to personal happiness, thereby the impetus to endure hardships and challenges along the way. But dreams could transform into nightmares. When placed against a harsh and cynical reality, it could be picked apart until it was trampled into a barely functioning husk. Then there’s the horrifying thought that personal happiness could be harmful to others. As unimaginable as it would be, there would always be the fear that dreams were far more dangerous when they were realized.

Best friends Frankie and Andi existed in a realm of two worlds: the paradise in the skies Park Planet and the cold refuse of the surface below. Like any other living on the surface, they struggled to make ends meet while their talents were rejected by the disinterested from both worlds. One day, Frankie happened upon an apparently discarded animatronic of Guinevere, the mascot of Park Planet. The friends would see fixing it up as their chance to realize their dreams. Unaware that there’s something more to this particular model. Something disturbing.

Knights of Guinevere was created by Dana Terrace, John Bailey Owen, and Zach Marcus as a science fiction psychological thriller. They looked to explore the perception of dreams as hazardous from different angles. Much of the focus was on Frankie and Andi, trying to keep the hopeful spirit of their dreams intact against the disappointment of the reality they lived in. Running parallel in the narrative would be Park Planet, embodying the fulfillment of a personal dream while causing misery and torment to others, whether intentional or not.

It would be easy to see the story as a possible commentary against Disney. It made sense and there were certainly aspects that could not be denied as being a critique against the entertainment conglomerate. But I would reckon this was not the primary focus. It would rather be the influence of anime that was more prominent overall. The premise of surviving in a world with a utopia above and a wasteland below had me thinking of Battle Angel Alita. It could be better said that Disney and anime were cooperating analogies throughout the show.

Being a psychological thriller, it would stand to reason, to me at least, that the driving force to the narrative would be based on the development of the characters. Frankie was the kind of best friend any truly positive person could hope to count on, managing to be the pillar to keep Andi from letting mounting pessimism get the better of her and find the strength to believe in herself for even a minute. The desire to see their venture through and perhaps achieve deserving happiness being the sturdy foundation of a journey to invest in.

And then there was the Guinevere model in their possession. There was surely much to be discovered about the animatronic. And it certainly looked to be one of horrific tribulation, no doubt the true centerpiece of the story being a psychological thriller. The fascination and interest in this character would definitely stand above any and everything else in the series and perhaps would serve as the catalyst for what promised to be a captivating and enthralling world-building. The kind that would be so good it would engross viewers right from the start.

Buttressing the narrative would be the alluring designs and animation. The anime influence would be exhibited with how graphic and murky everything looked and moved. With the majority of the show taking place on the surface, it would make clear how destitute and impoverished it was. Seeing Park Planet only in brief doses and presented in a vibrant and truly fantastical light would provide added emphasis to the psychological nature at play in the storytelling. The designs would shape a world in which its inhabitants did whatever they could to scrape by.

Knights of Guinevere would also present a sort of case study in storytelling through animation. The body language displayed by the characters in their movements, even at their most subtle, inform of their personality and what they’re really saying and feeling in the moment. From the hesitated ticks Andi would have to Frankie expressing herself in full, something was happening and would support the narrative even to a small degree. Building up to a sudden and exuberant scene that had a breathtaking quality as a result of its execution.

At the time of writing, only the pilot episode had launched. Glitch Productions looked to the audience to help fund completion of a full season through purchasing merchandise. I would anticipate this to be accomplished, as the pilot was more than good enough to leave viewers wanting more. As with most shows, some fine-tuning would be expected to be made. What I’m curious about would be what mysteries might linger, to allow for the imagination to make them more terrifying. Something psychological thrillers liked to do in teasing its audience.

Knights of Guinevere was off to a captivating first start. Developing the series as a psychological thriller against bewitching visuals that were appealing as they were unsettling made for an alluring watch. The characters were well developed that seeing their journey through was gripping and riveting. The promise of some astonishing world-building alongside the tantalizing narrative was enticing enough to want more. Knights of Guinevere was a dream come true. A disturbing dream come true, but then audiences wouldn’t want it any other way.

		Knights of Guinevere Glitch Productions Pilot available on VOD through YouTube 27 minutes Not Rated Created by Dana Terrace, John Bailey Owen, and Zach Marcus