The young adult genre has become a 21st century phenomenon thanks to mega-hits like “Harry Potter,” “The Hunger Games,” and “The Fault in Our Stars.” The entertainment industry profits hugely from the trend of best-selling novels aimed at teenagers and young adults being turned into hit movies. Cassandra Clare’s “The Mortal Instruments,” a series of books based on the conflict of angels, demons and the humans stuck between, has spawned several spin-off novel series, a film adaptation flop and, most recently, a controversial TV adaptation. There has been so much circulation and fanfare that author Sherrilyn Kenyon’s lawsuit against Clare over copyright infringements hasn’t slowed the attention on Freeform’s adaptation, “Shadowhunters,” or Clare’s latest novel “Lady Midnight,” which hit the shelves March 8.
“Shadowhunters” debuted the night that Freeform, formerly known as ABC Family, changed its name and design. Freeform hopes to shed some of the limiting aspects of its formerly family-friendly name, according to its new ad campaign. Their interest in adopting a new look is reflected in “Shadowhunters,” which heralded the change with scenes aimed at the young adults who were fans of the “Mortal Instruments” books. This pursuit in “edginess” gave us sensuality, language, multiple shirtless male stars and one very memorable inquiry about dealing meth in churches.
But what sets “Shadowhunters” apart from its predecessors within the young adult genre is the diversity within the cast and characters. Clary Fray’s father figure in the books, Luke Garroway, is a white bookshop owner, but in “Shadowhunters,” he is portrayed by Isaiah Mustafa, better known as The Man Your Man Could Smell Like from the Old Spice commercials.
Mexican-Lebanese actress Emeraude Toubia plays Isabelle Lightwood and Alberto Rosende portrays Simon Lewis.
If you’re a “Glee” fan, you should also recognize Harry Shum Jr. as the glittery warlock Magnus Bane. There hasn’t been any singing yet, but he has already had more speaking lines than Mike Chang ever did (sorry Gleeks).
Along with the racial representation and occasionally cheesy story telling comes strong female characters, too. Main character Clary Fray’s story line revolves around rescuing her mother, while Isabelle Lightwood deals with the heavy expectations of her family. Unlike the books, in which the two main girls clash instantly, “Shadowhunters” gives us some welcome female friendship between them instead. The show also introduces a character named Lydia Branwell, whose ancestors are familiar to fans of the books and whose purpose might be divisive, but there is no denying her empowered presence.
Finally, “Shadowhunters” takes Freeform’s goal of edginess a step further by ramping up the focus on the character of Alec Lightwood, played by Matthew Daddario. Alec’s struggle with his sexuality and internalized homophobia, a storyline that played a popular but heartbreakingly small role in the original books, has become one of the main plot lines within the show. Perhaps the series’ best quality when compared to the source material is the inclusivity, not just of diverse roles and storylines, but the inclusivity that turns the show into an ensemble cast, instead of just the Edgy-Boy-Meets-Special-Girl Show.
Like the books that inspired it, and the author of said books, “Shadowhunters” has its flaws. The writing strays into cheesiness, the pacing moves like a runaway train through the first two episodes, and some of the acting can come across amateurish and melodramatic.
However, the heart of this show lies within its adaptability and the dedication to representation and real life issues. For example, “Shadowhunters” gives an unflinching metaphor for classism and racism in the conflict between the Shadowhunters and the Downworlders. Freeform’s attempt to “grow up” as a network is reflected in “Shadowhunters” attempt to represent the millennial perspective and focus on identity.
That alone makes the show worth a watch. Currently in the second half of the season, check it out at 8 p.m. Tuesdays on Freeform.
– Audrey Hall
