You’ve heard this premise before: In a post-apocalyptic world, remnants of civilization live in a stratified society, ruled by oppressive rules as they struggle to maintain their humanity. Then, a hero appears and threatens to overthrow the social order. We’ve seen this story repeated so often throughout the history of dystopian fiction – most notably in Fritz Lang’s masterpiece, Metropolis – This I wasn’t immediately excited when Apple first announced Siloan adaptation of the hugely popular Hugh Howie Wool novels. Admittedly, this can’t top Bong Joon-ho’s bonkers snowdrops (itself adapted from an 80s French graphic novel), so why bother?

Well, I was wrong. Led by Graham Yost (Justified), Silo exemplifies everything I love about great science fiction. It wrestles with complex ideas and moral questions, it’s filled with memorable and realistic characters, and it features a truly distinctive setting: a self-contained 144-story underground city reminiscent of That of Matrix If we. In this case, however, the population seems mostly satisfied with its situation. There is no memory of the world before the silo, so most people are concerned with running the city instead of getting away from it all. Why shake the bunker?

But, echoing a theme from the excellent HBO station eleven And Deep Space Nine, survival is insufficient. Some can’t help but wonder about the nature of the silo: is the video feed of the destroyed outside world real or is it some kind of trap to keep them underground? Who, exactly, determines who can get pregnant? And what can they learn from the artifacts left behind by the previous civilization?

Silo makes a strong impression from the start. We’re introduced to Sheriff Holsten (David Oyelowo), a beloved lawman who spends his morning and makes a shocking announcement: he wants out. The seriousness of his statement is immediately made clear, even if the series does not explain it upfront. We later learn that anyone asking out can, but it’s basically a death wish. All of this is conveyed almost wordlessly at first, thanks to the strength of Oyelowo’s performance.

I can’t help but love a show that starts off so confidently. Throughout the first two episodes, Silo clearly indicates that you are in good hands. Yost and his writing team — which includes Jessica Blaire (Become a God in Central Florida) and Cassie Papas (Tyrant) – take the time to introduce each character, establish their motivations, and build greater mystery. Impeccable production design makes the silo feel truly inhabited. And Morten Tyldum’s direction deftly balances intimate drama with epic visuals (the silo has no elevator, just a very long stairwell that seems to go on forever).

Silo is the rare sight where every word speaks volumes, every gesture feels meaningful, and every frame element tells a story. It’s also filled with grounded and believable performances across the board: there’s Rashida Jones as Allison, the sheriff’s wife, someone who can’t wait to start a family but can’t help be curious about the history of the silo. Rebecca Ferguson (Mission Impossible: Rogue Nation And To fall), ostensibly the star of the show, doesn’t really get much screen time until the second episode, but it paints a compelling portrait of a world-weary engineer who just wants to solve her friend’s murder.

Of course, it wouldn’t be a dystopian story without some sort of larger conspiracy going on. The management of the silo is clearly hiding something from its citizens – although the mayor (played by Geraldine James) also seems genuinely concerned about the welfare of his people. There is a sense that even those in power are only trying to do their best, but may face tough decisions to keep society going.

One would think that after being somewhat burned by Lost, X files and other shows centered on the great mysteries of sci-fi, I would be less inclined to commit to another. But Silo is so compelling, I can’t help it.