TIME praised the way “The Three-Body Problem” translates complex science into relatable stories. IndieWire, on the other hand, criticized the series for increasing the number of characters, arguing that they were not sufficiently developed. In this eight-episode adaptation, both evaluations highlight the same trade-offs: the gains and losses associated with the choices made.
It would be pointless for me to simply present these two opinions and then step back. I support the decision to bring the original characters, who had been separated, together as friends at Oxford. This is because, before the claim that the world is dangerous because of science we do not understand, what moves me first is the desire to understand what a friend is going through.
When physicist Jin and his friend Jack were trying to figure out the rules of the game “Three Suns,” I became curious about the answer. The idea of solving a space-related problem by discussing it with a friend initially seemed friendly. However, when these friends are involved, from technological development to humanity’s response, problems arise that are difficult to overcome with friendliness alone.
The concern for friends who are in danger, and the belief that these friends represent the world, are separate issues. In this post, I want to examine how the relationships between these friends affect how much I perceive humanity’s crisis as my own problem. I believe that “The Three-Body Problem” is most effective when it transforms humanity’s crisis into a personal matter for the friends, and it becomes less impactful when it puts the fate of all humanity on the friends.
Friendship brings the universe closer
I believe that the science in this drama has become more accessible thanks to putting the friends front and center. While the criticism that the characters are not sufficiently developed should be considered, this is not a failure from the outset.
The original work portrays crises through different characters with each change of era. The Netflix version connects previously separate characters by portraying them as friends who studied together at Oxford. This reduces the burden of having to learn about unfamiliar events and the relationships between the characters simultaneously.
Benioff explained the reason simply: “For a TV series to be successful, these characters must know each other.” I believe this choice paid off in the game dialogue between Jin and Jack.
Physicist Jin Chung and his friend Jack enter a virtual reality game. Within the game, civilizations repeatedly collapse due to the presence of three suns. The two men observe the unfolding disasters and attempt to understand the rules governing this world.
The three-body problem is a problem of predicting the motion of three celestial bodies that gravitationally attract each other. Writing it this way, I already feel like running away to the next paragraph. Instead of simply memorizing the laws of physics, the drama shows how civilizations collapse under the influence of these movements.
That’s why it’s easy to understand Jin’s desire to find the answer. She has already seen what happens when a problem cannot be solved. In the game scenes, I didn’t wait for the explanation to finish; I was also trying to figure out the next rule.
It is important that Jack is present here. There is someone who can immediately respond to Jin’s explanations, and the two share what they have discovered. Scientific knowledge is not only conveyed to the audience but also used in conversations between friends.
It is quite realistic that a friend is the first point of contact for a problem concerning the universe.
I believe that the phrase “making science easy” should not mean simplifying the content. This game does not eliminate the problem of the three suns. Instead, it first makes the player understand why they should be interested in that problem.
At this time, the friendship is not merely an excuse to avoid difficult conversations. It is a force that allows one to closely follow the other’s curiosity. However, there is a difference between solving problems together and accepting the other person’s pain as one’s own.
If so, does this drama go beyond merely affixing the faces of friends and also show the pain they must endure?
When technology harms people, stories come to life
The emotions of friends are not merely decorations that make scientific explanations easier to understand. When they experience the moment their own technology harms people, the crisis of humanity becomes a matter of personal concern.
The person experiencing this situation is Auggie Salazar, Jin’s friend and technology developer. The nanofibers created by Ogi are used in attacks on ships. The sense of accomplishment from creating this new technology is overshadowed by the fear associated with how it is being used.
The power of this scene lies not only in showcasing the performance of the technology, but also in shifting the focus to the person who made it possible. Ogi can no longer view his own invention with the same perspective.
There is no need to spell out the specific consequences of the attack in advance. What matters is that technology that once felt beautiful turns into something frightening. The very capability a developer could be proud of becomes the reason it torments that developer.
I paused for a longer time in front of Auggie, who came to fear her own technology, rather than the riddle of the three suns. This is because something happened that could not be overcome by the simple joy of solving a problem.
Here, the relationships between friends also play a different role. In the previous game, Jin and Jack shared the joy of discovery. By following the narrative, it becomes clear that even when facing the same threat, each friend chooses a different path.
Instead of focusing on large-scale defense projects, Auggie shifts his focus to technologies that directly save lives. I do not interpret this shift as an attempt to escape reality. Rather, it is someone who has seen how his creations are used choosing his work’s purpose anew.
The goal of saving future humanity does not automatically erase today’s suffering. Oh Gi does not merely point out this difference with words; he changes his subsequent actions. Therefore, his suffering does not end as a fleeting reaction.
Because of this choice, I was no longer able to support humanity’s response as a unified whole. Even when I heard the explanation that it was a necessary technology, I found myself asking what the person who made it has to bear. It seems that the circumstances of a close friend have become a reason to consider the implications of a large-scale plan.
However, for the weight of these choices not to remain merely in the dialogue, the actors must create the reactions of someone going through the experience.
Jess Hong rephrases the explanation using her friend’s words
While Saul’s bewilderment plays a part, the power to bring the crisis closer through a friend is greater in Jin. Jess Hong shares her desire to solve the problem with her friend, transforming scientific explanations into conversations between people.
Saul Durand, played by Jovan Adepo, is a researcher who avoids responsibility. When faced with significant responsibility, his demeanor changes from his usual cynical attitude. However, this season shows him facing responsibility, so the process of his transformation is relatively short.
I trust, first of all, the faces that do not welcome being told to take responsibility for humanity.
Jess Hong, who plays the physicist Jin Chung, is most captivating when Jack and she are learning the rules of the game. The excitement of trying to find the answer moves together with the warmth of responding to her friend’s reactions. She is not just an actress delivering lines; she is someone who genuinely wants to tell her friend what she has discovered.
When John Bradley, who played Jack, responded to the statement, Jin’s explanation didn’t need to be lengthy. What I hear isn’t just the correct answer; I also hear how two people react to the same problem.
I believe this difference is what determines the success or failure of the adaptation. If we only knew that Jin was intelligent, we wouldn’t be curious about his choices even after the game ends. Because we saw him sharing his discoveries with his friends, we are also interested in what he will choose in reality.
It is not enough for friends to simply communicate well with each other; that does not automatically create a sense of global responsibility. We also need to see the faces that confront the crisis beyond their conversations.
Rosalind Chao, who plays the elderly Ye Wenjie, possesses a quiet confidence, understanding the wounds of youth but unable to fully forgive those choices.
Benedict Wong, who plays the investigator Da Shi, maintains a pragmatic attitude alongside the ruthless commander Wade, demonstrating that there are individuals working on the ground even outside the main group of friends.
Thanks to the depth added by the two actors, the friends’ concerns extend beyond purely personal emotions. This is because someone experiencing a similar crisis in a different setting is present. Therefore, is the criticism that the characters are not fully developed incorrect?
I agree with only half of the criticism that the character is lacking depth
I agree with the criticism that the characters are so focused on handling cases that they do not fully reveal their own lives. However, Auggie’s reason for refusing the work and Jin’s determination to find the answer are clear. I do not agree with the idea that these characters are solely defined by their work on cases.
My standard is not whether someone is a “friend,” but rather on whether the experiences they have change their subsequent choices. Simply knowing about each other does not necessarily bring people closer. You need to know what someone likes and what they cannot tolerate in order for their difficulties to become your concerns.
According to that standard, the time given to Saul is insufficient. The season places him before a great responsibility, but it does not depict the subsequent course of his life. While the sense of bewilderment is conveyed, the extent to which that responsibility changes his life is not sufficiently developed.
I would hold the script responsible rather than the actor. Compared to giving Saul responsibility, the time we have to understand what kind of person he is is limited. Just as we begin to want to know more about what kind of person Saul is, the drama presents him with a task. The initial interest in the character shifts to anticipation for the next event.
Ogi experiences a clear change. He witnesses the consequences of his technology being used and then redirects his work towards saving people. The suffering he endures is placed between his initial abilities and his later choices.
Jin is not merely a character responsible for explaining things. The eagerness to find answers in the game is reflected in the way the person interacts with their friend. I came to see this person as more than just someone who conveys necessary information, thanks to their curiosity.
Therefore, grouping these individuals together as “less prominent” figures obscures the differences between them. Saul remains at the point where change begins, while Ogi changes direction due to the experiences he has undergone. Even among friends, the length of life they have achieved this season varies.
The difference is also related to the way the original work is adapted. While the original work changes the main characters in each era, the Netflix version brings forward the characters and events from later installments, connecting them. This meant that relationships that would become important later had to be established in advance within the eight episodes.
In my opinion, that choice, instead of helping people remember their friends more easily, reduced the time each person had to develop their own lives. While people may learn about relationships early on, they do not have enough time to spend with each relationship.
It is not necessary to abandon the very choice of forming friendships. Jin and Ogi maintained their own curiosity and judgment within that relationship. The problem is not that friendships were formed, but that those friendships occupy too much space in the world.
The approaching crisis cannot replace the world
Emotions have drawn closer, but the world has become smaller. A significant loss in this adaptation is the undue emphasis placed on Oxford acquaintances in the human response.
For Ogi, it is about technological development; for Jin, it is about defense planning; and for Saul, it is about future responsibility. It is easy to understand each of them individually. However, when considered together, the impression is less of a world in motion and more of friends dividing up tasks.
This is a group project involving students from around the world, and the key roles are determined within the same group chat.
My dissatisfaction doesn’t end with the frequency of coincidences. The closer the connections become among friends, the less visible those outside the group become. The scope of life I experience firsthand is narrow compared to the scale of the claim that humanity is in danger.
Of course, Da Shi, Wade, and Ye Wenjie, are the ones who instigate events outside of the group of friends. Because of them, the story doesn’t remain completely confined within the circle of friends. Nevertheless, the weight of what they will create and the choices they will make constantly revolves around the same network of relationships.
Here, a comparison arises with the Chinese version of “The Three-Body Problem” (2023). The Chinese version, consisting of 30 episodes, expands upon the social and scientific environment of China, as well as the exploration process presented in the first volume, in greater detail. It dedicates more time to depicting the people around the main characters and the environment in which they work, to better understand the threats they face.
I do not want to use a scoring system to determine how closely a version adheres to the original. The important thing is whose experiences are used to portray the major crisis. The Netflix version quickly makes the viewer concerned about the characters, while the Chinese version allows the viewer to see the society in which the crisis occurs for a longer period.
Requiring an eight-episode series to have the breadth of a 30-episode series is unreasonable. However, there is a difference between a drama being shorter and showing less content, and a drama that repeatedly places characters in key roles within the narrative. The former is a limitation of time, while the latter is a deliberate choice in how the story is structured.
I followed Jin and Ogi, feeling invested in their struggles as if they were my own. However, I could not accept that their experiences represented the entirety of human experience. The gains achieved through worrying about those close to me could not erase the losses, such as the reduced exposure to other people.
So, is the worry that has grown rapidly thanks to my friends worth enduring this constricted world? Now, it is time to weigh the gains and losses together and decide whether this 8-episode series is worth the time.
These friends are a cause for concern, but the world is much larger
My rating is 4 out of 5 stars. The first season of the Netflix adaptation of “The Three-Body Problem” is worth watching. When the crisis of humanity is transformed into the story of a friend, this drama makes you worry about the people first, rather than the difficult science. However, if the fate of humanity is attributed to those friends, the world feels smaller.
The dialogue between friends about the rules in the game earned this work points. The process by which Ogi, who had become afraid of her own technology, changed the direction of the work was also well-executed. The reasons for the deduction are clear. While focusing on the core characters and their relationships, the work did not sufficiently portray people who were facing crises outside of their immediate circle of friends.
If you want to follow the story of unfamiliar science through the conversations and events of the people involved, I recommend this 8-part series. Especially if you enjoy stories where the inventor takes responsibility for the application of their technology, watch what Oh Gi chooses to do next. It becomes difficult to simply applaud the news of a successful invention.
Conversely, if you want to see a more detailed and realistic portrayal of Chinese society and the scientific community, this adaptation is not suitable. It is also not recommended for viewers who want the invasion issue to be resolved within the season. This season is a starting point for addressing the crisis, not a conclusion to the invasion.
In the game, instead of memorizing scientific terms, focus on following how Jin and Jack discover the rules. In reality, observe where your friends’ choices diverge when facing the same threat. That difference is the best way to make a major crisis feel personal to you.
Next, I would choose the Chinese version of “The Three-Body Problem” (2023). It clearly differs in how it approaches the same crisis, presenting it with a more extended exploration and a broader depiction of society. The original “Remembrance of Earth’s Past” trilogy focuses on changing times rather than relationships, expanding the scope of concern.
I became concerned about humanity because of these characters. However, the drama should have remembered that humanity is not just these characters.
Frequently Asked Questions (FAQ)
Can you understand the Netflix adaptation of “The Three-Body Problem” even if you haven’t read the original novel?
You can follow along even if you haven’t read the original work. By following Jin and Jack’s process of discovering the rules in the game, you can also understand the scientific explanations. Instead of trying to memorize all the terms, it’s better to focus on how the discoveries change the characters’ choices.
What are the differences between the Netflix version and the original novel?
The current central setting has been moved from China to England, and previously separated characters have been linked through their connections to Oxford. Not only the characters in the first volume, but also those in subsequent volumes and related events have been brought forward in the narrative. While the flow of emotions has become easier to follow, the specific details of Chinese society and the scientific community have been reduced.
Is it a drama similar to the Chinese version of “The Three-Body Problem”?
These are two separate dramas adapted from the same original work. The Netflix version is an eight-episode, English-language-centered series released in 2024, while the Chinese version is a 30-episode, Chinese-language-centered series released in 2023. If you prefer a fast-paced plot, the Netflix version is more suitable; if you want to spend more time following the investigative process and taking in the Chinese setting, the Chinese version is a better choice.
Does the story conclude after watching Season 1?
No, that is not correct. Season 1 depicts the process by which humanity recognizes the threat and begins to respond, but the invasion itself is not resolved. It is more appropriate to view it as the beginning of a long and drawn-out response, rather than a complete story about an alien invasion.
Is it worth watching even if you prefer stories about people over science?
This adaptation is recommended for viewers who appreciate this kind of storytelling. Jin and Jack’s dialogue makes unfamiliar science more accessible, and Ogi’s story transforms the consequences of technology into personal struggles. However, not all of the friends’ lives are explored with the same depth.
