TV, Writing

TV Review: LOVECRAFT COUNTRY

Where do you even begin to start when examining Lovecraft Country? Misha Green’s series feels like an apogee of black-fronted genre television, a show which throws everything but the kitchen sink at its audience.

One recurrent aspect of Lovecraft Country across the ten episode run (which has felt like twenty given how much Green and her writers have packed in) is how acutely aware everyone involved in the show is about what the series means. This is not just just a drama. This feels like a statement. It feels like television reparations for decades of TV shows and movies that Lovecraft Country takes an enormous cue from, all of them almost exclusively fronted by white casts with low threshold of ethnic diversity, particularly in American storytelling. Lovecraft Country confidently, with fulsome sass and stylistic vim, barges onto the scene with a concoction of high concept Afro-futurism, cosmic horror, social justice power and emotional melodrama. It does so unapologetically.

It makes for quite a ride, frankly. Green, backed by two very different showmen in Jordan Peele and JJ Abrams, adapts Matt Ruff’s episodic and almost anthological source material relatively faithfully, revelling in some of the more striking and powerful storylines – particularly Ruby’s Mr Hyde-style transformation, powered by racial commentary, that is delivered with icky, brutal gore in Strange Case (it was my favourite story in Ruff’s book and the show does it justice). Along the way, Green is unafraid to throw new juice in the mix, such as Atticus Freeman’s backstory as a GI in Korea, brought to live in what for me is Lovecraft Country’s finest episode, Meet Me in Daegu, and strings together a myriad of narratives and ideas with real bravado come the season finale. Not all of them stick but Lovecraft Country is never less than pulsing, pulp entertainment of the highest order.

It is, frankly, a complete hot mess, but I mean that in the kindest possible terms.
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TV, Writing

First Impressions and Here Be Monsters – LOVECRAFT COUNTRY

Some are already declaring Lovecraft Country as ‘this years Watchmen‘, but this feels hyperbolic to a degree. Watchmen was an immediate shock to the system. Lovecraft Country will, hopefully, slow build its way to a piece of cathartic theatre.
Based on a 2016 pulp novel by Matt Ruff, the show adapted by Misha Green begins with a statement of intent – here be monsters. This differs from the novel, which introduces us to our protagonist Atticus Freeman (played here by Jonathan Majors) as he ventures back home to Chicago after the disappearance of his father, Montrose. All this will follow in Green’s show, as the first episode Sundown is particularly slavish to Ruff’s first fifty pages or so, but the opening moment indulges by landing Atticus in the wildest of dreams involving Lovecraftian monsters, UFO’s, beautiful women from space and cosmic wars. Pure blood pulp science-fiction which front loads, thematically, what Lovecraft Country concerns – black legacy and heroism within a nation populated by the worst of monsters. The shoggoths and weird places inside H. P. Lovecraft’s fiction are just to whet the appetite. The meal itself stands to be far chewier.

The pedigree behind Lovecraft Country is, of course, pretty damn impressive, and speaks to the confluence of black and white voices who have united to bring Ruff’s vivid yet recognisable world to life. Green, as showrunner, was lauded for her previous work Underground, an apt title given it didn’t break out into the mainstream as Lovecraft Country stands a chance of doing. Jordan Peele, as an executive producer, lends his satirical, ironic horror perspective (indeed the next episode, if it stays close to the novel, could feel very Get Out). J. J. Abrams, super producer du jour, is likely the man who got this on its feet with the prestigious HBO, who are consistently looking for both their next Game of Thrones and now Watchmen, given that show is unlikely to get a second series (immediately – it’ll reappear eventually). HBO have certainly thrown enough money at Lovecraft Country to suggest they have lofty ambitions for it, and it could well be a series that has fallen at precisely the right time.
The difference is that Watchmen felt almost prophetic at the end of 2019 with hindsight, as focused on police brutality and corruption in racial terms as it was, whereas Lovecraft Country simply serves to externalise and metamorphose the hate coursing right now through America into literal, unknowable horror.
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One Foot in the Grave, TV, Writing

ONE FOOT IN THE GRAVE – ‘The Return of the Speckled Band’ (1×06 – Series Retrospective #6)

30 years old in 2020, I’m going to look at David Renwick’s unique British sitcom One Foot in the Grave to celebrate the anniversary of one of the UK’s most innovative comedy series of all time…

We continue by looking at the sixth and final episode of the first series, The Return of the Speckled Band, which first aired on February 8th, 1990…

As befits the traditional sitcom format, particularly the British sitcom format, the final Series 1 episode of One Foot in the Grave comes with no great moment of cathartic realisation for Victor Meldrew. Life goes on.

Whether the series would go on at this point was an open question. Critics remained divided, as they had been all series, about whether One Foot would become a classic or be consigned to the far more cluttered wrecking yard of failed British sitcoms. This being the era before online discourse, it was down to the print newspaper and their in-house critics to gauge the pulse of comedy, and while papers such as the Daily Mirror, the now-defunct Today or the Daily Express were favourable come the end of Series 1, others such as the Independent or the Daily Telegraph were quite the opposite. Christopher Tookey in the latter remarked that he felt the series offered “in general, a distorted and depressingly old-fashioned view of old age”.

The irony is that The Return of the Speckled Band might actually be the funniest half hour of the series so far. While by no means vintage One Foot, it certainly feels like David Renwick manages to latch here onto several strong comedic threads and take them to some satisfying conclusions, in a manner the previous five scripts never quite managed to do. Two that stand out in particular are the recurring problem of the hat palmed off on Victor that he tries to rid himself of but keeps coming back to him, and Mrs Warboys with her chronic sickness which intertwines with what otherwise would have been an enormously random narrative of an escaped python quite brilliantly. We haven’t quite seen Renwick weave his plots this skilfully yet in One Foot, and it displays what the series is capable of.

The Return of the Speckled Band also, in a relatively quiet fashion, dovetails with the opening episode of the series in suggesting Victor is trapped in an existential spiral he can never quite escape.

Continue reading “ONE FOOT IN THE GRAVE – ‘The Return of the Speckled Band’ (1×06 – Series Retrospective #6)”

One Foot in the Grave, TV, Writing

TV Review: ONE FOOT IN THE GRAVE – ‘The Return of the Speckled Band’ (1×06)

As befits the traditional sitcom format, particularly the British sitcom format, the final Series 1 episode of One Foot in the Grave comes with no great moment of cathartic realisation for Victor Meldrew. Life goes on.

Whether the series would go on at this point was an open question. Critics remained divided, as they had been all series, about whether One Foot would become a classic or be consigned to the far more cluttered wrecking yard of failed British sitcoms. This being the era before online discourse, it was down to the print newspaper and their in-house critics to gauge the pulse of comedy, and while papers such as the Daily Mirror, the now-defunct Today or the Daily Express were favourable come the end of Series 1, others such as the Independent or the Daily Telegraph were quite the opposite. Christopher Tookey in the latter remarked that he felt the series offered “in general, a distorted and depressingly old-fashioned view of old age”.

The irony is that The Return of the Speckled Band might actually be the funniest half hour of the series so far. While by no means vintage One Foot, it certainly feels like David Renwick manages to latch here onto several strong comedic threads and take them to some satisfying conclusions, in a manner the previous five scripts never quite managed to do. Two that stand out in particular are the recurring problem of the hat palmed off on Victor that he tries to rid himself of but keeps coming back to him, and Mrs Warboys with her chronic sickness which intertwines with what otherwise would have been an enormously random narrative of an escaped python quite brilliantly. We haven’t quite seen Renwick weave his plots this skilfully yet in One Foot, and it displays what the series is capable of.

The Return of the Speckled Band also, in a relatively quiet fashion, dovetails with the opening episode of the series in suggesting Victor is trapped in an existential spiral he can never quite escape.

Continue reading “TV Review: ONE FOOT IN THE GRAVE – ‘The Return of the Speckled Band’ (1×06)”

Books

Book Review: THE SPIDER DANCE (Nick Setchfield) + Author Interview

Just under a year ago on my honeymoon, perched by a pool in Phuket, Thailand, baking under stunning sunshine, I found myself about to start Nick Setchfield’s debut novel The War in the Dark, one of several books grabbed as holiday reading. What followed could just have been considered a holiday romance – a dalliance with a tome that blew me away by how stylish, urbane, witty and exciting it turned out to be. It was anything but. I have waited patiently this last year for The Spider Dance to see if that experience might be repeated.

The good news is that, on the whole, it has.

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Books

ALL MY COLORS by David Quantick (Book Review)

From time to time, Titan Books are kind enough to send me advance copies of upcoming novels I express an interest in. When they do, I’ll be reviewing them here on Cultural Conversation.

You may have heard the name David Quantick over the years.

You may indeed have seen him as a talking head on more than a few clip shows providing a comedic or acerbic bent, but in reality he is one of the most quietly esteemed comedy writers in the UK of the last thirty years, from the influential and dark work of Chris Morris such as The Day Today, Brass Eye and Jam, through to a fruitful union with Armando Iannucci on The Thick of It and most recently in the US, Veep, which has seen Emmy Awards coming his way.

The latter two projects are mentioned on the cover of All My Colors, a title itself handily Americanised as this sees Quantick—in his first slice of prose fiction—playing in the American cultural wilderness as he brings to bear a caustic, snappy slice of satirical, melodramatic horror. The story of Todd Milstead feels like what would happen if you threw H.P. Lovecraft, The Twilight Zone, Stephen King and 80’s Richard Briers-starring comedy Ever Decreasing Circles into a blender.

Naturally this is, in no way, a bad thing.

Continue reading “ALL MY COLORS by David Quantick (Book Review)”