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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