On one hand, Hulu’s Dimension 404 probably wouldn’t be what it is if not for the success of Netflix’s Black Mirror. On the other hand, the inevitiable comparisons to the latter does the former absolutely no favors, even if it’s purposefully trying to be different.

Four of the six episodes of this science fiction anthology show have been released so far and, if they’re any indication, Dimension 404 wants to be the cotton candy to Black Mirror’s shot of whiskey. The family-friendly alternative to intense prestige television.

And here’s the thing… there’s nothing wrong with that, so long as your audience is able to accept the premise. That’s easier said than done, however.

Whereas Black Mirror is mostly about bleak introspection over the way we consume technology, Dimension 404 leaves introspection at the door. The first episode, “Matchmaker,” could have been an insightful look at the meaning of existence. Instead, it wears sitcom sensibilities on its sleeves and goes about as deep as one. “Cinethrax” feels like it really wants to say something about the trend of vapid, mass-appeal entertainment, but never really goes for it, instead leaning into tropes over thoughtfulness. “Chronos” tries the hardest of the initial three episodes to harness it’s sci-fi premise. The twisty time travel tale manages to keep interest but the layers of cheese stop it from saying too much.

On paper, Dimension 404 has more in common with The Twilight Zone than Black Mirror. However, not the original version of the classic show. The 1980s version. In fact, it has a lot in common with so many of the anthology shows of the 80s and early 90s. Amazing Stories, Tales from the Crypt, Tales from the Darkside. All of which presented the potential for introspective narratives about the darker side of human nature, but often pushed back against that by winking at the audience. When narrator Mark Hamill introduces each episode, you can feel that wink while he does it. It tells you not to take this all too seriously.

Given the current wave of 80s nostalgia that shows such as Stranger Things, Fuller House, and Mystery Science Theater 3000 are riding, it makes a lot of sense to go this route. And yet, those shows connect in a way that Dimension 404 quite can’t. Fuller House is very specifically about reviving an 80s property and copying it as exacting as possible. Stranger Things is about taking nostalgic ideas from the era and applying a modern sensibility to them. 404 can’t tap into a previous version for nostalgic purposes and it’s not trying to feel like the kind of show we’re used to watching in 2017. While that’s perfectly noble in spirit, it’s very hard to make it work in practice.

It doesn’t help that the show looks fairly cheap at times, which is saying something considering episodes so far have involved cloning, time travel, and aliens. Part of that has to do with a somewhat lacksidaisical approach to filming. “Matchmaker” and “Cinethrax,” especially, are filled with scenes where two characters have discussions that are shown to us entirely in back-and-forth one-shots. The effect takes us out of the show and makes everything feel economical in a bad way. Again, it’s entirely possible that the low-fi feel is intended, but that doesn’t mean it works.

The show does try to win audiences over with a who’s who cast that includes Patton Oswalt, Joel McHale, Matt Jones, and narrator Hamill. Future episodes include appearances by Megan Mullally and Tom Noonan, amongst others. However, the scripts’ preference to skew cornball undercuts any strong emotional beats these and other actors might go for, leaving most of their big scenes feeling weightless and silly (McHale’s one-man freakout in “Matchmaker” is especially painful).

And yet, Dimension 404 is the kind of show some audiences will watch and find perfectly palatable. A delightful sorbet to most of the heavy and thinky science fiction that dominates the TV landscape. The kind of show you can watch with your parents or your kids without fear of traumatic scenes or disturbing imagery.

In the world of 2017, there’s something about a science fiction anthology show that doesn’t want to say something and it feels like a missed opportunity. Science fiction is a dependable genre to work through the real-world issues surrounding us and an easy way to create allegories that keep us thinking long after the story is over, even carrying that back into the real world where we can apply what we’ve learned. That’s not a requirement of a show like Dimension 404, but it would have been nice if the show tried to say something, anything. Instead, it feels more like harmless fun meant to distract, which feels outdated.

Were we in 1987, Dimension 404 would probably be a big hit and memorable addition to the genre. In 2017, however, it just feels out of place.

About Sean Keeley

Along with writing for Awful Announcing and The Comeback, Sean is the Editorial Strategy Director for Comeback Media. Previously, he created the Syracuse blog Troy Nunes Is An Absolute Magician and wrote 'How To Grow An Orange: The Right Way to Brainwash Your Child Into Rooting for Syracuse.' He has also written non-Syracuse-related things for SB Nation, Curbed, and other outlets. He currently lives in Seattle where he is complaining about bagels. Send tips/comments/complaints to sean@thecomeback.com.