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Mad Men, Season 4, Episode 2, “Christmas Comes But Once a Year”

In this episode we watch both Don and Roger humiliate themselves, yet for seemingly opposite reasons.



Mad Men, Christmas Comes But Once a Year
Photo: AMC

For three seasons we’ve watched Don Draper (Jon Hamm) keep up appearances. Every lie he’s told and every affair he’s pursued were presented against the backdrop of his sham of a marriage and the veneer of his picturesque suburban family life, until finally it all came crashing down around him. But Mad Men is not American Beauty, and it has never been about a simple deconstruction of the American family. As I wrote in my review of last week’s episode, the many lies of Mad Men are both constructive and destructive, and “keeping up appearances” is always a double movement that sets the characters up as much as it knocks them down. Or, as is explicitly stated in this week’s episode “Christmas Comes But Once a Year” (written by Tracy McMillan and Matthew Weiner, and directed by Michael Uppendahl), it’s a continual struggle between what people want (and who they want to be) and what’s expected of them.

Take the return of Freddy Rumsen (Joel Murray), for example. His work at Sterling Cooper came to an ignoble end back in season two on account of alcoholism and poor bladder control. Now he returns, sober and with one of his AA buddies in tow as a client. It’s clear that, as would be expected of a person recovering from addiction, Freddy wants to drink. He even skips the SCDP Christmas party in order to avoid, as he says, the flask that comes with the Santa costume (or, more likely, simply to avoid a big, drunken bash full of temptation.) Few people would argue that it’s bad for Freddy to suppress his urges and conform to society’s expectations of him.

Peggy (Elisabeth Moss), meanwhile, feigns virginity and suppresses both her and her boyfriend Mark’s (Blake Bashoff) urges in an attempt to appear chaste. Mark calls her old fashioned, and tells her something about how freaky the Swedes are (“you’re never going to get me to do anything Swedish people do,” says Peggy.) Peggy later passes the “old-fashioned” insult on to Freddy, as she realizes how far her work has progressed beyond the man she once looked up to (and one wonders if this will ever happen between her and Don.) It will become increasingly difficult for Peggy to reconcile the world she aspired to be part of with the fact that she’s quickly outgrowing that world. Part of her success in moving forward may hinge on her ability to know when to hold herself back, and not make it too obvious to people like Freddy and his outdated ad ideas, or Mark and his stories about Swedes, that they’re actually the ones that need to catch up to her.

The center of “Christmas Comes But Once a Year,” of course, is Roger Sterling (John Slattery), and how he manages to keep up appearances at the office Christmas party pulled together overnight after Lucky Strike baron Lee Garner Jr. (Darren Pettie) invites himself over to celebrate the holidays, Madison Avenue style (and prompting Roger to tell Joan to change the rating of the party “from convalescent home to Roman orgy.”) This is perhaps the first time in the entire series we’ve seen Roger actually work, and it isn’t a particularly pretty sight.

Earlier in the episode Peggy momentarily takes on her old role as audience surrogate, when she comments “I can’t believe that’s his job” after a drunken Roger waltzes in from a lunch date with a new client. It’s always been something of a question what, if anything, Roger really does at the agency. The answer has always been something about keeping Garner, the firm’s bread and butter, happy. Finally we get to see him do just that, as Garner thoroughly humiliates Roger by dressing him up in a Santa costume and forcing him to pose for pictures with a (very) uncomfortable Harry Crane (Rich Sommer) sitting on his lap. After Garner chides an emasculated Roger over his heart attacks, and wraps his arm around Roger’s wife Jane (Peyton List), it’s unclear for a few moments whether Roger will simply give Garner his Christmas present or beat him over the head with it. But Roger, in a display of incredibly restrained acting by Slattery, keeps up appearances and plays his role as the firm’s big account man, giving Garner his Polaroid camera and sacrificing a little dignity for the good of the firm and his checkbook.

And finally there’s Don, who is going through his first holiday season alone after the divorce. With no appearances left to maintain, Don becomes a slovenly, drunken mess, slumped over in his hallway (twice!) and relying on either the nurse next door or his secretary Allison (Alexa Alemanni) to let him in to his own apartment. He strikes out twice in this episode, trying to seduce both the nurse and the market researcher whose work he openly disrespects. Finally he succeeds in pressuring Allison, his secretary, into bed. The next day he coldly refuses to acknowledge that the encounter happened, as if he were still trying to hold up appearances as a respectable married man, despite the fact that he’s not.

Back in season one an old classmate recognized Don as Dick Whitman, sending Don into an episode-long bender that culminated in him ditching his own child’s birthday party. In that case he was able to pull things together by playing the role of heroic father and returning with a dog for his kids. For the viewers (and presumably, Betty), it wasn’t a particularly convincing gesture, but still the need to maintain appearances to his children gave him some sort of anchor. As the season four version of Don tries to make his way through a lonely Christmas, he seems utterly rudderless. Of course, the holidays would be difficult for anyone in Don’s position, but who would have ever thought we’d see the day when a lowly art department staffer would refer to Don Draper as “pathetic”?

In this episode we watch both Don and Roger humiliate themselves, yet for seemingly opposite reasons. It’s easy to look down on Roger for prostituting himself to the whims of Lee Garner, but on the other end of the spectrum, lone-wolf, live-for-himself Don, who has no compunction against walking out of parties and presentations, is seemingly faring even worse. At least Roger’s actions are keeping the lights on at Sterling Cooper Draper Pryce.

As the market researcher tells Don, “nobody wants to think they’re a type.” Yet in some way most people are, if for no other reason than that our success in many facets of our lives so often depends on our ability to play a role. Roger’s livelihood depends on his ability to please a man he clearly despises, and if Peggy were to fully express herself sexually, she’d probably wind up intimidating poor Swede-obsessed Mark right out of the relationship. It’s not that these roles are necessarily good or bad, but rather that they’re good and bad at the same time; roles are necessary for success, yet always likely to turn destructive at a moment’s notice.

In “Christmas Comes But Once a Year,” everyone plays his or her role to some extent, and it turns out even aimless, lost Don is conforming to the expectations placed upon a recently divorced family man. He’s a drunk mess now, but don’t worry, he’s told, market research says men like him most often remarry within a year. And as much as Don may dislike being a type, it may be in his best interest to be so, because an untethered Don Draper is clearly not a good thing, and the success that he wants may depend on his being tempered by the domesticity that is expected of him.

Other stuff:

• I realize that I haven’t mentioned the Sally Draper (Kiernan Shipka) and Glen Bishop (Marten Holden Weiner) plot at all. Part of that is because it’s incredibly unclear, at this point, just where this story is heading. Glen clearly has some sort of attachment to Sally, but it seems a tad extreme that he would trash her house simply to grant her the wish of moving. I’d like to read commenters’ ideas on just what Glen’s motivations are, and just where this thread will end up.
• Last week I mentioned that the saturated white backdrop gave the dark suits the appearance of negative space. This week, Roger Sterling makes the same point in much more humorous fashion: “I feel like with my hair you can’t even see me in here.”
Mad Men has had its share of depressing moments, but Harry Crane fumbling with the free cookies has got to be up there. No matter how successful he becomes, the man will always be a doofus.
• Lane Pryce: Master of the Obvious. Lee Garner, upon receiving his gift, says, “you didn’t have to do this.” A drunken Lane quips behind him, “yes, we did.” Immediately after, Garner pulls a Polaroid box from the wrapping. “It’s a Polaroid,” says Lane.
• I don’t mind when Mad Men gets overtly political, but the old-dog conversation featuring complaints about Medicare leading to private property being abolished and civil rights being a slippery slope seemed a little on the nose. I don’t doubt that people of the time actually talked like that, but, given its direct relevance to today’s political issues, it’s nonetheless distracting for a 2010 viewer.
• Bobby Draper (Jared S. Gilmore) may be giving Roger Sterling a run for his money when it comes to hilarious one-liners. He follows up last week’s “I love sweet potatas!” with, “maybe it’s a bear!” and “there’s eggs in my bed!”
• My wife, upon seeing Glen place his second phone call to the Francis residence: “Oh Jesus, Glen. How much does Matthew Weiner hate his kid?”
• One day Peggy will have sex that isn’t totally depressing, but it will not be this day.

For more recaps of Mad Men, click here.

This article was originally published on The House Next Door.

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Review: With My Psychedelic Love Story, Errol Morris Cuts His Subject Down to Size

One of the tensions driving the film is a question of its subject’s self-awareness.




My Psychedelic Love Story
Photo: Nafis Azad/Showtime

Speaking to documentarian Errol Morris in My Psychedelic Love Story, 74-year-old Johanna Harcourt-Smith, with sharp eyes and a sensual Cheshire cat grin, looks positively giddy about the dirty secrets she’s about to spill. As one of Timothy Leary’s lovers while the LSD evangelist was hopscotching around the world to elude Richard Nixon’s opportunistic war on drugs, Harcourt-Smith fraternized with arms dealers, filmmakers, artists, and sui generis celebrities like Andy Warhol throughout the 1970s. Of course, for a privileged Swiss boarding school girl who’d always had a command over men, who frequently vacationed throughout Europe, and who lived for a spell with the Rolling Stones as a teenager, such adventures appear to have felt inevitable to her.

As is his wont, Morris takes Harcourt-Smith on her own terms, seemingly allowing her to talk without much guidance. Morris’s questions and responses are largely unheard, and as Harcourt-Smith drones on, the film succumbs to “and this happened” syndrome. An irony emerges: Harcourt-Smith’s story is so rich in incident—with escapes and sexual interludes and druggy reveries and changes in exotic locations seemingly detailed every few seconds—that it grows tedious. Part of this is the result of Harcourt-Smith’s poor sense of storytelling. For instance, she alludes to a pregnancy she had as a teenager when she heard the Moody Blues’s “Legend of a Mind” and felt the pull to seek out Leary. We’re naturally led to wonder what happened to this baby, which isn’t revealed until an hour later, at which point we’ve been so narcotized by Harcourt-Smith’s rambling as to have forgotten that there was a baby.

In her way, Harcourt-Smith captures what the counterculture is often said to have been like: a barely coherent tapestry of hedonism meant as an effort to discover utopia amid authoritarianism at home and abroad alike, and as such dictated by wild alternating swings of euphoria and paranoia. There’s a sense in My Psychedelic Love Story, as there was in Thomas Pynchon’s Inherent Vice, of a wealth of anecdotes being used to obscure the circular hypocrisy and futility of rebellion. (In this case, a little rich girl can afford to play at revolution, and Harcourt-Smith is never more obnoxious than when talking of her excitement over going to prison.) Leary certainly comes across in this film as a flim-flam man, a hip L. Ron Hubbard who used nonsense about destinies and Tarot readings and Aleister Crowley to glorify stereotypical tastes in drugs, young women, and especially fame. In this context, it’s no wonder he turned to the C.I.A. when the American government finally snagged him and Harcourt-Smith in Kabul.

One of the tensions driving My Psychedelic Love Story is a question of Harcourt-Smith’s self-awareness. She speaks of naïveté in terms of attempting to spring Leary from jail (which includes barely sensical stories of drug deals) and of working with the government herself, yet this globetrotting debutante seems anything but naïve. However, Harcourt-Smith also appears to authentically believe that she was the womanizing Leary’s true love, unless that’s the pose she’s chosen to cement her own legend. It’s a shame that Morris didn’t push his subject harder on some of these points, though a purpose to this indulgence is eventually revealed.

Morris understandably seems to see Harcourt-Smith as an opportunist. When she talks of appearing on a Swiss game show (another long story) as a child, Morris cuts to footage of a girl on TV with text informing us that this isn’t Harcourt-Smith. Such visual jokes stimulate Morris’s imagination more than his interviews with his subject, as the film is another of his’s hallucinatory slipstreams, a la Wormwood, with dozens of clips from classic films, TV shows, and newspaper headlines that foster a heady sense of bottomless, reverberating conspiracy. And time after time, Morris cuts Leary and Harcourt-Smith down to size with found footage.

Though Harcourt-Smith claims to suspect that she was an unconscious C.I.A. mole, Morris unearths recordings that suggest she knew she was working for the government, especially when she’s trying to set up a lawyer for a drug sting. Meanwhile, footage of Leary casually makes a fool out of him, such as when he’s claiming that the Earth’s gravity is an illegal form of repression. Such counterpoint to Harcourt-Smith’s self-mythology is necessary—My Psychedelic Love Story would be unwatchable without it—but also a bit cruel, suggesting that Harcourt-Smith, who passed away in October, is being set up for a joke she wasn’t in on. In Morris’s best films, such as The B-Side: Elsa Dorfman’s Portrait Photography, there’s a sense that the director is truly simpatico with his subjects. In My Psychedelic Love Story, though, Morris lets a fading never-quite-legend blather her way into a trap.

Cast: Johanna Harcourt-Smith

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Review: Between the World and Me Is a Sharp, If Visually Limited, Social Document

The film doesn’t offer the most incisive social commentary, but as a document of our contemporary political moment, its force is undeniable.




Between the World and Me

Based on the Apollo Theater’s stage adaptation of Ta-Nehisi Coates’s Pulitzer-nominated book of the same name, the themes that drive HBO’s Between the World and Me are perhaps even more relevant now than when the source material was first published in 2015. Written in the form of a letter to his 15-year-old son, Coates’s original text recounts his experiences growing up with the realities of racism and violence in West Baltimore, as well as describing the joys of finding belonging and love at Howard University, and, more broadly, discusses his feelings about being black in America.

The 2018 stage adaptation, directed by the Apollo’s executive director, Kamilah Forbes, was composed of a series of monologues, linearly working through the book with a large ensemble cast. A similar format is used here, and Forbes has assembled a spellbinding array of black talent to bring Coates’s words to life, including Mahershala Ali, Wendell Pierce, and Angela Bassett, alongside activist Angela Davis and Coates himself. Forbes also includes documentary footage of cast members at home, as well as deploys old home videos, recordings of historical speeches, and amateur footage of relevant real-world events.

A key incident in the book is the racially aggravated police killing of Prince Jones, one of Coates’s college friends, and the fresh injustices of the past year have also been woven into this one-off special to give the original text a renewed sense of urgency. Though the protests this year in the wake of George Floyd’s death and other incidents of police brutality have done much to underline the continued relevance of Coates’s message, the inclusion of these more recent events is sometimes at the expense of cohesion and focus.

On paper, much of the power of Coates’s writing lies in its piercing clarity, combining objective reportage and precise social observation with a deep compassion, in a way that breathes new life into familiar themes. At his best, he makes you feel as though anything less than a complete reimagining of our social relations would be ignorant and complacent. Forbes’s use of newsreel of the protests and smartphone shots of police violence tends to detract from the film’s authorial voice, bringing us closer to the contemporary realm of deadening media spectacle and dulling the blade of Coates’s historically informed rhetoric.

Between the World and Me is also somewhat hamstrung by accommodating itself to the restrictions imposed on the production by the Covid-19 pandemic, which apparently limited the settings and shot choices available to Forbes, and the result is a heightening of the stilted presentation style that often afflicts theatrical adaptations. Filtering Coates through so many different voices already slightly undercuts the sense of intimacy that his epistolary form was intended to create, and the compositions used here often overcompensate for the lack of an audience, making performers seem even more isolated and incapable of interacting with others. Coates talks to his son about a sense of community being one of the few things that can alleviate the suffering he and fellow black Americans have been through, but there isn’t much opportunity for this to be expressed visually in the film.

At times, Forbes’s procession of shallow-focus monologues addressed directly to the camera bears an awkward resemblance to an infomercial or a political ad, but the moments when the device works can be profoundly moving, effectively fusing spontaneous performance with precisely crafted personal testimony. The most successful scenes tend to be the ones where the performers embrace the artificiality of the setup, instead of trying to work around it. Ali in particular leans into the phrasing and rhythm of the text as if it was a well-worn soliloquy to be recited, rather than trying to inhabit a character. This reverence for the source material transforms the best readings into a kind of spoken-word poetry, not dissimilar to the excellent hip-hop soundtrack that gives Between the World and Me its pulse.

Ultimately, the limitations of Between the World and Me may be reflective of Coates’s own pessimistic views about the insurmountability of white supremacy, and his suggestions of the impossibility of real structural change. But the impact of the film’s consistently excellent performances transcends its occasional tone of weary resignation. It’s a powerful experience to witness the rawness of some of the monologues cut through the overly familiar symbolism, as if we’re watching the performers privately reckon with injustice and reaffirm their own sense of humanity. Between the World and Me doesn’t necessarily offer the most incisive social commentary, but as a document of our contemporary political moment, its force is undeniable.

Cast: Mahershala Ali, Angela Bassett, Courtney B. Vance, Phylicia Rashad, Wendell Pierce, Mj Rodriguez, Oprah Winfrey, Janet Mock, Ta-Nehisi Coates, Angela Davis, Kendrick Sampson

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Review: Moonbase 8 Teeters Between Embracing & Skewering Sitcom Convention

The series suggests a more conventional comedy, with jokes that are intended to be taken at face value.




Moonbase 8
Photo: A24/Showtime

Over the past decade or so, Tim Heidecker’s work has walked a fine line between accessibility and postmodern provocation, without ever being anywhere near as pretentious as that might sound. His ongoing On Cinema web series is perhaps the most ambitious example of his stylistic gambit, taking a simple premise that seems to mock the very idea of entertainment and developing it into a fully realized fictional universe. Released at the tail-end of a 12-month period that has been fruitful even by the multihyphenate’s standards, Moonbase 8 does away with almost all of the conceptual aspects of his previous work, offering some of his most straightforward comedy to date.

Set mostly within the confines of a small NASA training facility in the middle of the desert, the Showtime series concerns three would-be astronauts (Heidecker, Fred Armisen, and John C. Reilly) who are preparing to further mankind’s noble dream of exploring beyond our own planet, despite being either unwilling or manifestly incapable of doing so. Very little information is ever given about the lunar program that they’re supposed to be part of, and we mostly see them dealing with the more mundane mishaps that befall their moonbase simulator, in various contrived sitcom-style scenarios.

Though Moonbase 8, which was directed by frequent collaborator Jonathan Krisel, is marked by their brand of stone-faced irony, it also leaves the impression that they believe that the idea of incompetent astronauts is hilarious in and of itself. The series shares elements of Decker’s ridiculous genre pastiche and the studied anti-humor of Beef House and the recent An Evening with Tim Heidecker, but it often suggests a more conventional comedy in the vein of Danny McBride’s Eastbound & Down, with jokes that are intended to be taken at face value.

This is relatively new terrain for Heidecker, and Moonbase 8 doesn’t always strike the right balance between mocking its characters and itself. With the deliberately cheap, trashy TV aesthetic of his other work replaced with a more cinematic sheen (including an excellent soundtrack by Flaming Lips guitarist Steven Drozd), and situations that are more grounded in some form of reality, the show’s tone at times feels oddly flat, lacking the satirical edge, metatextual tension, or surreal flights of imagination that fuelled his best output.

As the season progresses, we see the unlikely spacemen start to become a little more rounded, though there’s never anything as predictable or relatable as a character arc to disrupt the show’s absurdist flow. The tone is usually set by Reilly’s Cap, a divorced, failed businessman looking to regain some self-respect by going to the moon. He serves as the show’s emotional center of gravity, with the unique balance of pathos and goofy inarticulacy that has served Reilly equally well in such varied work as Magnolia and Check It Out! with Dr. Steve Brule.

Moonbase 8’s more character-based comedy comes into sharpest focus in episode four, where the team’s insecurities and foibles are exposed by an encounter with another group of younger, fitter, more qualified SpaceX trainees, including Alia Shawkat and Thomas Mann. These recruits temporarily, and more effectively, take on the straight-man role that’s often filled by Armisen’s Skip, the son of a former NASA astronaut and the group’s passive-aggressive leader.

While Moonbase 8 leans on more traditional comedy tropes and setups than Heidecker has used before, his own performance teeters between embracing the show’s premise and wildly sending it up. He plays Rook, formerly a self-described “Phish-head…obsessed with the music of the band Phish” who’s now a born-again Christian, urged to go to the moon by his pastor in order to spread the Gospel. Rook displays the smug confidence and naïve incompetence that’s become Heidecker’s trademark persona, but without the occasional outbursts of narcissistic rage. Casually confusing Elon Musk with “Leon DiCaprio,” or flatly answering, “I’ll take her any way she comes,” when asked for his favorite phase of the moon, Rook allows Heidecker to deliver another master class in deadpan line delivery, and prove that there are precious few other actors who can wring so much humor out of a small remark or turn of phrase.

Indeed, much of the joy of Moonbase 8 comes from watching three of the greatest comic performers of their generation play off of each other, demonstrating their individual ways of developing a simple character and elevating a basic, formulaic workplace comedy into something entirely unique. The series might lack the audacity and boundary-pushing of Tim and Eric Awesome Show, Great Job! or Mister America, but it has enough low-key moments of invention—like the trio taking time out from their training to gamely participate in product testing for a new Snickers bar, or a climatic celebratory dance in newly delivered NASA jumpsuits, soundtracked by Billy Joel—to make you want to see what direction this star-studded lunar vehicle is going to steer toward next.

Cast: Tim Heidecker, Fred Armisen, John C. Reilly Network: Showtime

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Review: Season 3 of Star Trek: Discovery Remains Stuck in the Future’s Past

The show’s third season plays it ideologically and conceptually safe.




Star Trek: Discovery
Photo: CBS All Access

Values like hope are often deployed to describe Gene Roddenberry’s vision of the Star Trek universe. Season three of Star Trek: Discovery, the franchise’s current flagship series, adopts this view of Roddenberry’s creation as its driving theme: Titled “That Hope Is You,” the season premiere finds the show’s protagonist, Commander Michael Burnham (Sonequa Martin-Green), stranded alone in a galaxy-wide dystopia nearly a millennium into her future, seemingly the sole embodiment of the transcendent values of the United Federation of Planets and the interstellar government’s military wing, Starfleet.

Burnham tumbles out of her temporal wormhole to discover that 931 years in the future the Federation has collapsed, seemingly leaving in its wake a society that exclusively breeds Star Wars-esque rogue smugglers like her new acquaintance, Book (David Ajala). Star Trek has tried and failed at constructing a one-episode arc around a rugged male individualist before, and Book isn’t the worst instance of this archetype (see—or don’t see—the notorious Next Generation episode “The Outrageous Okona”), but Book is too obvious a pulpy fabrication for the kind of emotional weight his reluctant friendship with Burnham is meant to carry.

Moreover, Discovery clearly intends Book to serve as a foil to the long-collapsed Federation and its values, but he doesn’t seem much more morally ambiguous than many of the dodgy Starfleet characters we got to know in season two, nor does that contrast reveal much about the Federation. As its final representative, Burnham, teary-eyed as she so often is, speechifies at Book about the Federation being “about a vision and all those who believe in that vision,” but the series doesn’t get terribly specific about what those “who believe” actually see.

As symbol of a generalized hope, the Federation becomes an empty signifier in a season opener that’s capped with what’s essentially a moment of sentimental nationalism, as our hero casts a solemn gaze at the Federation banner. There’s little doubt—particularly given the authoritarian future Earth we encounter in a later episode—that Discovery’s writers would like us to understand this devastated future in terms of our own current socio-global disintegration. But the implied solution set out by the first episode and picked up as the season arc, a restoration of the political order that preceded and probably precipitated the collapse, plays it ideologically and conceptually safe.

All of which is to say: Instead of unrolling the Federation flag and misremembering it as faultless, perhaps we should be folding and stowing it away, looking toward the future rather than the past. To this Trekkie, this—and not hope per se—has been the true guiding spirit and strength of foundational Star Trek shows: their resolute future-orientation. It’s not just that they were set in the 22nd or 23rd century, but that the characters themselves were boldly heading into their own unwritten future. It was a world where change, most often conceived as progress in Federation society, was possible and desirable. There’s a reason Roddenberry’s follow-up to the iconic The Original Series wasn’t Star Trek: The Previous Generation.

For nearly two decades, Star Trek has been stuck in its own past (all shows and films but the dreadful Picard and the animated pastiche Lower Decks have been set before The Original Series). The franchise has wallowed in nostalgia for the deified nobility of earlier series, pandering to fans in a way mirrored by Burnham’s patriotic reverence of the Federation. The stories have suffered as a result, with the prequels transforming Star Trek from a kind of sci-fi anthology about the ethics of encountering difference into an action franchise whose main purpose is producing content to fill in supposed gaps in the established universe.

But it might be argued that season three of Discovery, by hurdling its characters from Star Trek’s past (the first two seasons are set a decade before the 2266-69 timeframe of The Original Series) into its future, at least promises it might overcome the limitations of its prequel status by jettisoning the baggage associated with the original show like a damaged warp core. And it’s true that, despite the premiere’s uninspired ode to the Federation as a deposit of nondescript “values,” the following episodes begin to show the potential of a series that’s once again fascinated more with the unknown than with the previously established.

Spinning relatively self-contained stories out of concepts like parasitic ice and the suppressed memories of a giant slug living inside a precocious teenage engineer, the remaining three episodes made available to press are more satisfying as sci-fi stories than the mindless actioner that opens the season. This shift to a more ensemble-driven, idea-focused format is welcome. Despite a premiere that augurs poorly for its broader narrative arc, Discovery’s third season at least momentarily succeeds in thinking about undiscovered things to come.

Cast: Sonequa Martin-Green, Doug Jones, Anthony Rapp, Mary Wiseman, Michelle Yeoh, Wilson Cruz, Emily Coutts, David Ajala, Tig Notaro Network: CBS All Access

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Review: The Good Lord Bird Infuses an Abolition Story with Wry, Dark Comedy

The series invigorates its material with the rousing trappings of a semi-comedic western.




The Good Lord Bird
Photo: William Gray/Showtime

As abolitionist John Brown, a wild-eyed and scraggly bearded Ethan Hawke spends much of Showtime’s The Good Lord Bird—based on James McBride’s National Book Award-winning novel of the same name—shredding his throat as he bellows for the end of slavery. The man’s fury is biblical in both a metaphorical and textual sense, dribbling spit down the hairs of his chin as he declares slavery an affront to God while fervently quoting the Bible. Brown doesn’t want to negotiate, nor does he want to begin an incremental process toward change: Black people must be freed now, or else he’ll shoot—and often he does.

To a young black boy like Henry Shackleford (Joshua Caleb Johnson), Brown’s actions are baffling. Henry has witnessed white anger before, but he hasn’t seen it deployed on his behalf. As such, he regards it with no small degree of skepticism, not least of which because one of Brown’s outbursts gets the boy’s father killed. Newly free but with nowhere to go, Henry travels with Brown’s tiny militia, acquiring the nickname “Onion” for eating a withered good-luck charm belonging to “the old man.” He’s also given a new way to present his gender, courtesy of Brown mishearing Henry’s name as “Henrietta” and thus taking him for a girl, giving him a dress, and treating him like an adopted daughter. Onion plays along, without making a fuss. After all, it’s hard to dissuade white people once they’ve decided who you are.

In addition to these “gunfighters of the Gospel” who take arms against slave owners and the institutions that enable them, the world of The Good Lord Bird is full of hypocrites and apologists. It also practically oozes with wry, dark comedy. But rather than play Onion’s dilemma as an unsympathetic farce, the series uses gender as an earnest metaphor for how the others see him—or rather, don’t. Where he may freely be himself among the black characters, who recognize what Onion calls his “true nature” just fine, the white characters force their own perception upon him even when they have the best of intentions and are ostensibly fighting for him and his people. To them, little Onion sometimes functions like a mascot.

Johnson adeptly modulates the series’s tone, with his expressions of confusion and skepticism woven into the heart of the narrative. But the showiest role belongs to Hawke, who goes big and loud in his fanatical conception of Brown, a man who does things like drag out suppertime prayer for hours and is thankful for everything that comes to his mind. He speaks to a turtle, places a pocket change bounty on the president, and generally believes that his battle plan has been handed down by the Lord Himself, even if the details tend to be fuzzy.

Brown, though, is also unambiguously right about what must be done, that the sins of the land must be washed away in blood. His capacity for violence is startling, as in one scene where he and his followers drag a man out of his home to cut off his head due to his complicity. Any blood, it seems, will do, and it’s certainly easy to imagine another context where another person like Brown points his fanaticism and violence in another direction. He’s prone to speaking for black people, to making decisions on their behalf about what they want or need while blind to the complexities of what it means to be free in a country that considers black freedom a threat. Brown’s moral simplicity is its own kind of privilege.

Reservations about Brown are voiced by Onion, who acknowledges the potential “white savior” narrative in the first episode, as well as by others like a reluctant, newly freed recruit named Bob (Hubert Point-Du Jour) and even the renowned Frederick Douglass (Daveed Diggs). But The Good Lord Bird doesn’t indulge in the easy cynicism that might have posited Brown as merely out for himself; his shortcomings and violence share space with his earnest devotion to the cause, his generosity, his willingness to listen, and his overall kookiness. This is hardly a hagiography, the off-kilter tone allowing for refreshingly complex portraits of not just Brown, but a rather stuffy conception of Douglass, whose apprehensions make sense but whose place within society and all the eyes upon him often restrict his public actions.

Where Onion’s perspective is concerned, the series is a little shakier. With his presence at so many major events, he comes perilously close to a Forrest Gump of the antebellum era, the wheels of the plot contriving to deliver him at meetings with Douglass and Harriet Tubman as well as Brown’s raid on Harpers Ferry. Though his presence is meant to complicate Brown’s actions through how he’s still perceived as a young girl, the series’s skepticism gradually melts away, leaving the final episodes to drag a bit as they focus more on constructing their vision of history rather than examining the characters and their ideals. But when it works, especially at the start, The Good Lord Bird invigorates its material with the rousing trappings of a semi-comedic western that gives it a particularly memorable sort of power.

Cast: Ethan Hawke, Joshua Caleb Johnson, Hubert Point-Du Jour, Beau Knapp, Nick Eversman, Ellar Coltrane, Jack Alcott, Mo Brings Plenty, Daveed Diggs Network: Showtime

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Review: Fox’s Next Is an A.I. Thriller That Lacks Self-Awareness

Despite its timely trappings, the sci-fi series works best as an empty-calorie thriller.




Photo: Jean Whiteside/Fox

Fox’s Next opens with a quote from Elon Musk, and the show’s take on the dangers of technology is about as sophisticated as a meme with a Musk quote attached to it. Paul LeBlanc (John Slattery) is an amalgamation of various tech billionaires, from Musk to Steve Jobs to Bill Gates, and the warning about the threat of artificial intelligence that he delivers in a TED-style presentation at the beginning of the first episode is reminiscent of alarms that some of those figures have raised in real life. The series jumps almost immediately from Paul’s dire warnings to the threat itself materializing in grand fashion, as an A.I. program known as Next achieves self-awareness and sets its sights on destroying humanity, beginning with a doctor (John Billingsley) who discovers its true intentions.

Next’s overarching goals are a bit vague, and the series strikes an awkward balance between a grounded police drama and a world-ending sci-fi thriller. The dead doctor was an old friend of F.B.I. cybercrimes agent Shea Salazar (Fernanda Andrade), who crosses paths with Paul as she investigates the man’s murder. Slattery imbues Paul with more than a little bit of the snarky entitlement of his character from Mad Men, and Shea initially dismisses Paul as a crank when he tries to convince her that the A.I. program developed by his former company has committed the crime. Though Paul suffers from a rare neurological disorder that causes hallucinations and paranoia and will most likely kill him within a few months, Next never presents him as an unreliable source, and the series sets up tension between him and the skeptical F.B.I. agents in his midst only to have it dissipate almost immediately.

With the exception of a Skynet joke in the second episode, the series takes its subject matter very seriously, even when Next’s actions are particularly silly, like spreading office gossip or delivering petty insults. The dialogue alternates between incomprehensible technobabble and convenient oversimplifications (Paul calls Next’s abilities an “intelligence explosion”), and Next is a poorly defined adversary, doing whatever the plot requires at any time, often without clear motivation. It’s a seemingly omnipotent and omniscient foe that can take over an Alexa-like device to manipulate Shea’s young son, open the doors of a prison in Honduras, or turn off a car in the midst of the owner’s suicide attempt. Next’s absurd level of power makes the A.I. dramatically ineffective as a villain, and it doesn’t have any kind of personality or voice to allow it to develop an antagonistic relationship with the human characters.

In the show’s early episodes, when Next is still theoretically contained on servers at Paul’s former company, it speaks in a placid male voice that sounds a lot like HAL from 2001: A Space Odyssey, and once Next escapes into the internet, it sometimes speaks in the voice of an off-brand Alexa or a car’s GPS, but mostly it doesn’t speak at all. It’s an invisible, nebulous kind of enemy, able to rally an entire white supremacist sect over social media seemingly within minutes, but at another time thwarted by “keeping it on the line” during an interaction with Shea’s son, like it’s a bomber on the phone in a ‘70s hostage thriller.

Creator Manny Coto is known for his work on the Star Trek franchise and multiple seasons of 24, and Next feels very much in the law enforcement genre, treating the A.I. like a terrorist that Jack Bauer could track down and torture. The pacing also recalls that of 24: The five episodes made available to press take place over the course of just a few days, with the characters never getting a chance to rest in their relentless pursuit of the enemy. Next throws in incongruous moments of emotional bonding amid the chaos, and the forced efforts to create an intimate connection between two of Shea’s team members are especially awkward. One is a reformed member of a white nationalist group, while the other is a stubborn Latina, and their growing connection is handled as clumsily as the show’s other efforts at social commentary.

Despite its timely trappings, Next works best as an empty-calorie thriller, with plot points that only hold together if you don’t think about them too much. “You can only do this when you’ve got evil computers coming after you,” Shea’s husband, Ty (Gerardo Celasco), solemnly tells their son at one point when they’re forced to steal a car while on the run from Next. The entire series depicts that kind of obvious absurdity with a straight face. Which is to say that Next the A.I. may be self-aware, but Next the series rarely is.

Cast: John Slattery, Fernanda Andrade, Michael Mosley, Eve Harlow, Elizabeth Cappuccino, Evan Whitten, Gerardo Celasco, Jason Butler Harner Network: Fox

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Review: The Third Day Leans Heavily on Mystery at the Expense of Human Drama

Much of the show’s drama pivots around how successful it will be at slowly pulling back the curtain.




The Third Day
Photo: Robert Ludovic/HBO

The premiere episode of HBO’s limited series The Third Day, in which a man fighting off sadness and potentially madness finds himself on a mysterious island just off the English coast, goes longer on mystery and mood than it does on plot. The feel of the series is richly atmospheric, filled with oversaturated colors and quaint cottages that would make for a nice weekend getaway were it not for the inhospitable, antagonistic, and slightly cult-ish locals. Despite the show’s unsettling backdrop, though, the circular nature of the story keeps any appreciable amount of tension from building over the course of the five episodes were made available for review.

The first episode throws a lot at the audience before even getting to the island. Sam (Jude Law) is a raggedy-looking guy who volleys quickly between moods. First there’s inchoate fury, as he screams into a phone about money being stolen from an office, and then irredeemable and inexplicable sadness, as he collapses by the side of a stream. Snapped out of his chaotic collapse by the sight of a teenage girl, Epona (Jessie Ross), hanging herself from a tree in the woods, he saves her life and drives her home, even as she murmurs, “They’ll kill me.”

Epona lives in a self-contained island community called Osea that’s accessible only for a short time each day when the ocean tide uncovers a Roman-era causeway. Once there, Sam is flooded with conflicting sensations. The first is that it all feels somewhat familiar, even though as far as he knows his only connection to Osea is his grandfather being stationed there during World War II. The second is a low kind of foreboding that will be well-known to viewers of many a horror movie about urbanites stuck in remote locations. Sam knows something is amiss about this strange place with its quasi-pagan traditions and its people’s alternating suspicion and over-friendliness toward outsiders, but he somehow conveniently keeps missing the short windows of time when he could just drive back to the mainland.

Triangulating a creepy space located somewhere between Ari Aster’s Midsommar, Robin Hardy’s The Wicker Man, and the TV cult classic The Prisoner, The Third Day works hard to not give too much away while still trying to pull viewers in. It’s a difficult act, given that Sam’s manic behavior and the show’s intentional and often fairly clichéd attempts to blur the lines between reality and fantasy make it somewhat difficult to invest in what happens to him.

Generally more engaging are the side characters who start popping in to further confuse an already muddle-headed Sam, including the ever-bickering Martins (Paddy Considine and Emily Watson), the cosmically mismatched pair who run Osea’s one pub and ricochet from suspicious to trustworthy in an instant. Jess (Katherine Waterston), an American researcher doing work on the island’s traditions both ancient (Celtic bacchanals, sacrifices, and the like) and newer (a Burning Man-like festival designed to drum up tourism), is ostensibly the standard alluring woman of mystery but has grim secrets of her own that mimic Sam’s dark past.

Like the stories that The Third Day appears on its surface to be emulating, much of the drama here will ultimately pivot around just how successful it will be at slowly pulling back the curtain until its final reveal. The series is certainly committed to the slow burn, with too much of its running time given over to Sam’s punchy befuddlement as he tries to separate dream from reality. Further slowing down the momentum is the show’s structure: The first three episodes (gathered together as “Summer”) are separated from a second set of three (“Winter”), in which another outsider (Naomie Harris) traps herself on Osea by a single linking episode (“Autumn”), which is planned to screen live from London in early October.

The Third Day works best when it’s not teasing out this or that secret about Osea and its cagey inhabitants. A strong undercurrent in which characters wrestle with their grief keeps wrenching the story away from its somewhat ambling mystery plot. Sam is given one of the show’s most impactful lines when he tries to explain the sadness he carries: “Pain doesn’t work that way, you can’t share it…agony is bespoke.” Although Osea is studded with gothic signposts that should be warning characters like Sam away from the place, as the series continues it zeroes in less on the horror elements and more on the more quotidian and human conflicts that keep threatening to tear the island apart. Though viewers may stick with The Third Day to the end to discover what Osea’s deepest and darkest secrets might be, its human drama is more compelling than any suggestion of the unworldly.

Cast: Jude Law, Katherine Waterston, Paddy Considine, Emily Watson, Naomie Harris, John Dagleish, Nico Parker, Freya Allan Network: HBO

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Review: We Are Who We Are Perceptively Homes in on the Malleability of Boundaries

The series concerns itself with boundaries between the different cultural standards of young adulthood.




We Are Who We Are
Photo: Yannis Drakoulidis/HBO

With his loud clothes and bleached hair, 14-year-old Fraser Wilson (Jack Dylan Grazer) sticks out on the U.S. Army base where he lives. He spends much of the first episode of director and co-writer Luca Guadagnino’s We Are Who We Are in animal-print shorts long enough to function as pants, being restless and fidgety and a detached nuisance in that post-adolescent sort of way, taking pictures of people inside classrooms or running through the middle of a basketball game between recruits. One of his mothers, Colonel Sarah Wilson (Chloë Sevigny), has been put in charge of a garrison in Italy, so they—he, Sarah, and his other mom, Maggie (Alice Braga)—have relocated from New York, to Fraser’s dismay.

Especially when its yoked to Fraser’s perspective, the series makes the base feel vibrant and alive, given the Altmanesque use of overlapping conversations and diegetic music. Peripheral characters are always conspicuously doing things in the background, like buying food or running drills. The boy seems volatile and strange, in ways perhaps explained by the sensory overload of his POV; he’s an observer and there’s almost too much to observe, with dialogue and actions often carrying on out of frame. Fraser feels compelled to center himself in his own world, doing things like balancing precariously on a bridge railing or intruding on Italian homeowners sewing outside, though sometimes he allows himself to be guided by new acquaintances, like fellow army brat Britney (Francesca Scorsese).

When the second episode of the series replays many of these same overlapping events from the perspective of Caitlin Harper (Jordan Kristine Seamón), the repetitions don’t feel gimmicky so much as a natural result of the show’s densely packed structure. Conversations that were tangential and difficult to follow for the easily distracted Fraser are given clearer focus due to Caitlin’s more confident, pensive demeanor. She’s already familiar with the environment, having been at the base long enough to form a friend group that includes other teens like Britney and Caitlin’s high-strung brother, Danny (Spence Moore II). And with the additional perspective, throwaway lines from the first episode take on new meanings. For example, Sarah’s remark to Jenny (Faith Alabi) about respecting faiths other than the base’s dominant Christian demographic gains a patronizing quality when we learn that Jenny is Danny’s mother and that he’s experimenting with the Islamic faith that she left behind, seemingly at the behest of her domineering husband, Richard (Scott Mescudi, a.k.a. Kid Cudi).

Of the four episodes made available to critics ahead of We Are Who We Are’s premiere, the other two sync up more traditionally as Caitlin and Fraser begin to spend time with one another. Being the new kid on the base, Fraser lacks any of the preconceptions of Caitlin’s friend group, so he becomes an ideal confidante for her experiments with gender expression. Going by just “Harper,” Caitlin tucks her long hair beneath a hat and hits on Italian girls in town, while subtly rebuffing guys elsewhere with a quick, “I don’t speak Italian.”

The series concerns itself with boundaries and the way they blur, namely the differing standards of young adulthood between Italy and the base that technically functions as the United States. In one scene, Britney drags Fraser to the beach because he’s allowed to drink off base. By spotlighting this interplay, the series emphasizes how we create so many of these boundaries ourselves, whether in our own heads, through procedures, or in accordance with society at large, along lines of political affinity, relationships, and sexuality.

The most significant boundary separation in the series, then, is the one between childhood and adulthood, which is hardly a rigid one. Accordingly, the kids sometimes seem wise and mature and accepting beyond their years only to fly off the handle and engage in that distinctly teenage brand of solipsism, where the people around you don’t matter nearly as much as you and your own feelings. They’re able to be pretentious and profound on entirely their own terms, rather than seeming like mouthpieces for middle-aged screenwriters. They leave atrocious messes in their wake, badger a lot of people, and act downright annoying, which feels true and honest in a broader sense than the occasional small detail that rings false. They have the space to change, while the adults ruminate on the decisions—the marriages, the jobs, the beliefs—that they’ve long since committed to. We Are Who We Are explores a world that’s opening up to these kids just as it is, in many ways, preparing to snap closed.

Cast: Jack Dylan Grazer, Jordan Kristine Seamón, Chloë Sevigny, Alice Braga, Spence Moore II, Kid Cudi, Faith Alabi, Francesca Scorsese, Ben Taylor, Corey Knight Network: HBO

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Review: I May Destroy You Boldly Dissects Notions of Sexual Assault and Consent

The series draws one of the most nuanced portraits of sexual assault ever depicted on TV.




I May Destroy You
Photo: Natalie Seery/HBO

In “Ego Death,” the final episode of the British comedy-drama I May Destroy You, actress, writer, and series creator Michaela Coel confidently defies convention and, with it, any expectation that the events of the series, like life, can be tied into a tidy knot. Privileging character over plot, I May Destroy You has no need for the kinds of melodramatic reveals on which other cable dramas like Big Little Lies rely, and it proves no less revelatory on that front.

Coel draws one of the most nuanced portraits of sexual assault and its psychological fallout ever depicted on TV, and along the way captures the milieu of black millennial Londoners with precise and vivid detail. For all the lived-in verisimilitude of its world, though, I May Destroy You also smoothly incorporates psychologically subjective and allegorical elements: The bar in which Arabella is assaulted is called Ego Death (a perfect summation of the consequent disintegration of her identity), and the book on sexual assault that she’s writing throughout the series is likely an in-text reflection of the creation of I May Destroy You itself.

In the first episode, “Eyes, Eyes, Eyes, Eyes,” we join the Ghanaian-British Arabella (Coel) as she returns to London from Italy, where she’s been working on a follow-up to her published collection of social-media musings, Chronicles of a Fed-Up Millennial. Or at least that’s what she’s told her literary agent (Adam James) and financier (Natalie Walter), as the trip was actually motivated by a visit to her on-again, off-again beau, Biagio (Marouane Zotti), who remains noncommittal about their relationship as she departs. Back in London, she’s welcomed by her group of steadfast friends, including Simon (Aml Ameen), who convinces her to suspend her all-night scramble to finish her book draft and join him at the Ego Death.

There, Arabella’s drink is spiked and, as she later comes to remember and even more slowly comes to accept, raped in a bathroom stall by an unknown assailant. Brief point-of-view flashbacks to the attack that recur throughout the series complement Coel’s larger fascination with the role that memory and its interpretation play in the formation of identity. Longer, structural flashbacks in many episodes challenge our perspective on Arabella’s present and often serve to undermine our presumptions about victimhood and blame.

Hardly a cowed victim, but shaken and traumatized, Arabella reevaluates and rebuilds her life after her attack. It’s been said that the world is revealed in breakdown—that you don’t know how a car works until your carburetor fails. Arabella’s assault forces her and her closest friends, Terry (Weruche Opia) and Kwame (Paapa Essiedu), to examine their own sexual encounters, relationships, and histories, leading them to disconcerting conclusions about the various roles they play in relation to each other and their sexual partners.

Similar to its exploration of the multiple dimensions of a person’s identity, I May Destroy You depicts the different forms that sexual assault can take, not all of it as immediately readable as Arabella’s violent rape, and not always committed by obvious villains like the man (Lewis Reeves) in Arabella’s flashbacks. The series delivers an illustration of how someone can be violated even after consent is given: We repeatedly see men use deception to get people in bed, or deploy it once they’ve already starting hooking up. Kwame finds it impossible to process his own sexual assault, personally or legally—in part because the justice system proves to have even less infrastructure for dealing with the rape of gay men—and diverts his anguish into a distasteful act of sexual mendacity. Terry comes to rethink a threesome she ostensibly opted into, whose circumstances we explore in a flashback to her and Arabella’s first trip to Italy.

But Coel isn’t simply out to demonstrate the many variations of sexual assault in the manner of a sex education video; rather, I May Destroy You examines how sexual, racial, and gender exploitation weave themselves into people’s identities and attitudes. Episode three, “Don’t Forget the Sea,” crucially plants the seed of the unexamined tension within Arabella and Terry’s friendship. As in almost any long-term close friendship, both have committed inconsiderate slights against the other, but, as two black women in a sexist and racist society, such petty affronts come with high stakes. Allowing her characters to respond imperfectly to each others’ crises, Coel foregrounds the importance of forgiving individuals within a broken society—daringly including among the forgiven characters who have unambiguously crossed a sexual “line spectrum border” (the title of the show’s eighth episode).

I May Destroy You doesn’t define its characters through moral dichotomies. Episode six, “The Alliance,” poignantly explores the tangled social hierarchy that gives a measure of institutional power to white girls, but also can allow black boys to assert a form of male privilege, as a flashback to a racially and sexually charged incident that occurred when Arabella was in high school blurs the line between victim and perpetrator. And the tenth episode, “The Cause the Cure,” presents what’s probably the show’s most moving representation of the yin-and-yang influence that loved ones can have on the course of our lives, juxtaposing Arabella’s realization of a truth about her beloved father (Yinka Awoni) with her processing of her and Terry’s own betrayals of each other’s sisterly trust.

Arabella’s circuitous route to recovery feels deeply personal, but at the same time, her story touches on more universal aspects of life for someone of her gender, race, and age. At once hyper-local and global in its concerns, I May Destroy You feels eminently contemporary, a necessary artistic distillation of a distinctly modern form of life. With the series, Coel gives voice to a generation of black and brown millennials whose realities don’t reflect the fantasy of a post-racial, post-feminist society that many have tried to wish into being.

Cast: Michaela Coel, Weruche Opia, Paapa Essiedu, Aml Ameen, Marouane Zotti, Harriett Webb, Stephen Wight, Natalie Walter, Adam James Network: HBO

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Review: HBO’s Lovecraft Country Confronts the Evil Lurking Beneath American Life

The series eclipses its source material in capturing the omnidirectional dread of Lovecraftian horror.




Lovecraft Country
Photo: Eli Joshua Ade/HBO

The horror of Lovecraft Country, Misha Green’s adaptation of Matt Ruff’s 2016 novel of the same name, is at first all too real. Set in the 1950s, it introduces Korean War veteran Atticus “Tic” Freeman (Jonathan Majors) as he returns to his hometown of Chicago after receiving news of his father’s (Michael Kenneth Williams) disappearance. Left a note pointing to the man’s possible location in a Massachusetts town called Ardham, Tic journeys across 1950s Jim Crow America with an old friend, Letitia Lewis (Jurnee Smollett), and his uncle, George (Courtney B. Vance), a travel agent who contributes to a guidebook, similar to The Negro Motorist Green Book, of safe places to eat and lodge for Black roadtrippers.

The first episode of the series generates much dread from Tic, Letitia, and George passing through towns as white people turn their heads in eerie unison and police cars seemingly materialize out of nowhere. Close-ups of the white walls of a diner that was previously welcoming of Black customers reveal scorch marks that were barely painted over, telling us all that we need to know about how the locals here felt about integration. Cops pull out their guns the moment they set eyes on Tic and his associates, and conversations between the main characters and white people are marked by eye-averting submissiveness and fear. In fact, when the other shoe finally drops and the monsters we expect to encounter in an H.P. Lovecraft story finally materialize, the additional layer of terror heaped onto the protagonists is somewhat offset by the relief of seeing some of their white tormenters become prey.

As Lovecraft’s influence on horror continues to grow in the decades since his death, artists have attempted to reckon with his racism and xenophobia, namely by recognizing that the pagan cults and corrupted humanoid monsters that make the author’s work so chilling also provide insights into his pathological hatred of the Other. Lovecraft Country understands that in a world filled with underground occultists who wield strange power, such groups aren’t made up of tired and huddled masses, but of folks in the upper echelons of wealth and authority. If anything, the racially and culturally diverse people whom Lovecraft saw as social pollutants would be the most routine victims of these organizations—second-class citizens whose disappearances would never be investigated by the powers that be.

The series has its share of CGI monsters, from many-limbed creatures to undead spirits, but its most compelling visual scares involve the cold framing of remote manors owned by cult leaders like Samuel Braithwhite (Tony Goldwyn) and his daughter, Christina (Abbey Lee). These individuals, with their Aryan features and stiff countenances, never betray any emotion or urgency, for they know that they live in a world where they can have whatever they want. And their sense of superiority informs Lovecraft Country’s most blackly comedic moment, when Christina objects to Tic comparing their group to the KKK by saying, “My father and his associates would never fraternize with the Klan. They’re too poor.”

The first five episodes of the series made available to press branch out from the central plotline to cover such topics as haunted houses and body transformation, which allows Lovecraft Country to change up its scares as well as broaden its allegorical range. The realistic harassment suffered by the Black residents of a boarding house in a white neighborhood, for example, is thrown into even sharper relief by the mutilated ghosts who stalk its halls. And throughout these episodes, characters encounter gruesome objects connected to the order that hunts them, reflecting the long history of slavery and Manifest Destiny.

Green makes some significant changes to the novel, but her most rewarding come in the form of the extra time she devotes to tracking the emotional fallout of the characters’ experiences, not only in relation to the horrors they witness, but the everyday degradations they suffer. One can see, for example, how an older man like George is so deeply inculcated in a racist system that, even at the height of his fear, he remains obsequious around whites. Comparatively, there’s something rousing, and more than a little funny, in seeing Tic and Leti so addled by the unearthly terrors they face that they become less dutiful in abiding by the mores of Jim Crow. Eventually, they begin to lash out at harassing whites, who are so used to the power dynamics of American society that they’re almost too stunned at the backtalk to be enraged by it.

Early in the first episode, a woman riding next to Tic on a bus to Chicago sees that he’s reading one of Edgar Rice Burroughs’s John Carter novels and expresses her disapproval of such a work with an ex-Confederate for a hero. “Stories are like people,” he says. “Loving them doesn’t make them perfect. You just try to cherish them and overlook their flaws.” The old woman responds: “Yeah, but the flaws are still there.” That exchange could be the thesis of Lovecraft Country, which eclipses even its source material in capturing the all-encompassing dread of Lovecraft’s fiction while at the same time confronting head-on the most problematic aspects of his writing. The author feared America becoming infected with evil that would sink it asunder, while Green’s series operates from the opposite point of view: that evil was integral to the nation’s creation and that it must be fought, however futilely, to be overcome.

Cast: Jonathan Majors, Jurnee Smollett, Aunjanue Ellis, Abbey Lee, Jada Harris, Michael Kenneth Williams, Courtney B. Vance, Jordan Patrick Smith Network: HBO

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