That’s the principle thematic thrust of “The Rig”—reflecting on the harm oil work wreaks on the planet and our sense of accountability for it. Characters squabble over the feasibility of renewable vitality, and what it might do to their jobs; previous guys who simply need to put meals on the desk bicker with Millennial riggers who really feel caught with the invoice.
This notion bleeds by into the mechanism of the an infection and what it does to the organisms it takes over. That makes for some notably ugly physique horror, particularly because it rejects any inorganic materials within the host physique. False enamel ping out of mouths, heart-shaped tattoos bleed out to grotesque impact. “We f**ok the planet,” one rigger snaps, “after which we’re stunned when it f**ks us again.”
In these first episodes at the least, director John Strickland (“Line of Duty”) ekes out a wholesome quantity of environment with what is unquestionably a small price range. Especially putting is how he shoots the rig itself, cherry-pickers swinging and undulating the digicam across the spider-like scaffolding of the rig’s infrastructure. The present nonetheless appears low cost within the extra brightly-lit widespread areas, and its visible results stumble a bit because of the price range (particularly within the extra green-screen-heavy exterior sequences). But the exteriors mine a variety of manufacturing worth out of the situation, the loneliness of the oil rig coming out of the Atlantic, and the menace that might lurk round any nook, man or creature.