Adapting something as dense as the novels comprising Isaac Asimov‘s sci-fi saga “Foundation” obviously can’t be seen as easy. Ask Denis Villeneuve as he sat perched upon the starting line of his theatrical take on Frank Herbert‘s “Dune,” now two films deep and widely regarded as a landmark achievement in translating such a project while simultaneously leaps and bounds above David Lynch‘s much-derided 1984 big screen attempt. With no prior filmmaker having set a similar precedent, it’s here that showrunners David S. Goyer and Josh Friedman found themselves in 2021 as they set about blazing a trail across AppleTV+, with two seasons of their version of “Foundation” thus far now in the books; to perform enough catch-up to provide the knowledge needed for a reasonable understanding of what’s about to unfold in Season 3 can, in no way, cover the vast ground that’s been traversed throughout the lead-up episode run, but this being a show where math figures into the plot, there’s no other way than to try. It’s what your elementary school teachers would want—especially those who taught math.
“Foundation” finds a future spacefaring society under the rule of three clones, each derived from a long-deceased Emperor, Cleon, he having reigned supreme centuries earlier. The current clone trio consists of Brother Day (Lee Pace), a Cleon clone arguably in the best shape of the three, Brother Dusk (Terrence Mann), an older version, and Brother Dawn (Cassian Bilton), the youngest. There’s defiance in Dawn, acidity in Dusk, and Day, now sporting a thick mane of hair, is another example of how all three characters have evolved over the course of time. They’re also known as The Empire. Remember that.
Time, by the way, jumps forward frequently. Still, the show’s earliest episodes see gifted mathematician Gaal Dornick (Lou Llobell) solving a particularly difficult math theorem, one designed by legendary professor Hari Seldon (Jared Harris) in an effort to secure a second-in-command, Will Hunting-style.  Gaal, however, is soon to find herself embroiled within something known as psychohistory, a term meant to, in the simplest terms, describe the outcome of future events, which includes The Empire’s inevitable demise. With Gaal now on board and the skeptical Cleon trio now convinced of what’s to come, Seldon has been granted permission to create something to preserve all that humanity has achieved. If you think such a process will be known as The Foundation, you’re correct. Cue the title!
As Season 3 opens, the premiere brings about a villain, Mule (Pilou Asbæk), last seen teased at the end of Season 2, armed with violent telepathic abilities and an MO bent on destruction. As The Foundation’s scope expands and Seldon foresees another cataclysmic event, Mule sees fit to exact his destructive plan, something which could see the Foundation and Empire needing to unite to put an end to Mule’s actions. Meanwhile, Brother Dusk’s time as a clone will soon end, with Dawn poised to take on the mantle of Emperor over Day; Dusk’s impending shuffle off this mortal coil has caused great distress, manifested through bitterness. 
What could be described as social media influencers come in the form of newcomers Toran (Cody Fern) and Bayta (Synnøve Karlsen), while the robot Demerzel (Laura Birn) continues to shine as her state of mental health wages war with itself while overseeing the three clones. Harris continues to display excellence as Seldon, even as he’s seemingly used less than in the preceding seasons. Still, Pace also continues to deliver, even as his character changes into an unintentional riff on “The Big Lebowski.” At the same time, Mann handles the imminent demise of Dusk with pure, angry desperation. However, in playing such a mustache-twirling baddie, Asbæk lets the reins loose with a performance that devours every moment he occupies the screen. It’s easy to focus on the characters, even as the show continues to exist as anything but an experience for the casual viewer.
Yet, the journey, far from over, remains worth it. There’s plenty of season to go; it’s a wonder that this balance of action and defty-handled storytelling saw Goyer step back from his showrunner role amidst this season’s production, especially as plenty of story remains to be told and the feel that the momentum has only just begun to pick up leaps from the screen in as palpable a manner as possible. A review of what’s been seen thus far can’t begin to describe the brilliance that is “Foundation.” It needs to be experienced. It truly is that good. [A]