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I think I can't, I think I can't follow this train of thought

A woman, dead look in her eyes, sticks her arm through an open train window ... and it immediately freezes rock solid.

Moments later, we see the arm shatter into a million little pieces after being struck by what appears to be a sledgehammer.

Cue the cast of “The Band Wagon” singing “That’s Entertainment!”

We’ve been exposed to a plethora of disturbing images and ideas over the past view months, but the sight of this particularly brutal form of punishment — given that it appears in a promo for a new TV series — stands alone for its cynical desire to entice.

“Snowpiercer” (which was given a two-season commitment by TNT even before it hit televisions this past Sunday) wants to be one of those shows that isn’t really about what you see on the screen ... but, rather, something deeper — some twisted allegory for The Current State Of The World.

Based off a 2013 film of the same name — which was directed by Bong Joon-ho, who later made “Parasite,” the reigning Oscar winner for Best Picture — and the original source material, a French graphic novel from 1982, “Snowpiercer” has assembled all the requisite elements for your standard dystopia.

The Last Survivors On Earth from an Apocalyptic Event are Forced to Spend Eternity Together — Doomed to Roam a Earth that has become a Frozen Wasteland, Divided into a Caste System Ready to Explode with Revolt, under the Ever-Watchful Eye of a Mysterious Overseer with a Hidden Agenda.

I mean, who hasn’t had a day like that?

All of this, of course, takes place on a train ... a spectacularly massive train that travels a globe atop a rail system that apparently was constructed — and completed — by the ancestors of those now housed in the less glamorous of Snowpiercer’s 1,001 cars.

Didn’t anybody involved with this master plan ever read Agatha Christie?

“Murder on the Orient Express,” which was made into big-budget movies twice — 1974’s “Murder on the Orient Express” and 2017’s “Kenneth Branagh Stars in Kenneth Branagh’s Murder on the Orient Express Based on a Novel Once Read by Kenneth Branagh” — is all about the dangers of what can happen to a train and its passengers if they’re hit with too much snow.

The concept for “Snowpiercer” seems perfect for a series of graphic novels spread out over time, or a one-shot film for which the machinations that power the plot don’t need to be scrutinized.

But a TV show where, week after week, no one disembarks will leave the characters and its intended audience — filled with folks who have been cooped up watching reruns of “America Says” for months — with a shared gnawing case of claustrophobia ... regardless of how elaborately appointed (and physically impossible) those 1,001 cars appear.

A television cast hasn’t been trapped in this type of trip to nowhere since “Supertrain” — the infamous 1979 disaster that was to be NBC’s answer to “The Love Boat,” but which went off the rails (and our TV sets) after only nine episodes.

Trains, from the Wild West to Hogwarts, hold a fascination for audiences because of where they take us, or the lives of the passengers aboard them.

Hitchcock took Patricia Highsmith’s “Strangers on a Train” and not only made a classic thriller, but laid down a template to be copied by everything from the standard network police procedural to Billy Crystal and Danny Devito plotting to throw Momma to her demise.

Heck, Snidely Whiplash used to tie poor Nell Fenwick to the tracks every other Saturday morning it seemed — but even then, the train itself was a secondary character.

The train in “Snowpiercer,” however, is as much a star as the respective leaders of the privileged and tormented factions. In that way, it functions much like the Starship Enterprise ... although only going where they have been many, many times before.

Since they’re stuck, as it were, in this rut (and there seem slim chance of being joined by outsiders, such as The Others who revealed themselves to the island-bound plane crash survivors in “Lost”), it’s the socio-political warfare that will have to propel the narrative engine for “Snowpiercer.”

Which brings us back to the unfortunate woman who loses her arm in that promotional teaser.

A series opting to show that vignette in its effort to attract viewers isn’t just exercising exploitive cynicism — “Tune in for what other horrors await!” — but it’s displaying a dose of desperation as well.

Because while history has proven that there is a certain audience for series about The Last Survivors On Earth after an Apocalyptic Event Forced to Spend Eternity Together — Doomed to Roam a Earth that has become a Frozen Wasteland, Divided into a Caste System Set to Explode into Revolution, Under the Ever-Watchful Eye of a Mysterious Overseer with a Hidden Agenda ... there’s an underlying acknowledgment that most of us have been there, done that.

So is it worth watching this same old plot spin its wheels while it goes around in circles?

When Mail Tribune news editor Robert Galvin wants to watch a movie featuring a train at rgalvin@rosebudmedia.com, he watches “Trading Places.”

Robert Galvin