The publication of The 1619 Project in an expanded book form may be the appropriate time to revisit another attempt to rewrite a popular story to center racial oppression. I am speaking, of course, of HBO’s Watchmen, created by Damon Lindelof, a sequel and adaptation of Alan Moore’s legendary graphic novel of the same name. By happenstance, I have been rereading the comic this week, as a colleague who had borrowed my copy prior to the pandemic finally returned it. Returning to the original text with the HBO series in mind reaffirms to me that Lindelof and his team of writers have achieved an absolute masterpiece of adaptation and reappropriation. The HBO series shows that our contmporary culture of endless remakes, prequels, and sequels does not have to be creatively barren — that the act of taking up a beloved source can actually inspire greater artistic feats and add a layer of enjoyment unavailable from a more original story.
(Since it has been two years, perhaps we are past the statute of limitations for spoilers, but I will do everyone the courtesy of putting plot details “below the fold.”) Continue reading “The Political Theology of Watchmen“ →
I know there’s probably not much audience for it, in part because it wouldn’t provide a lot of take-fodder, but I would love to see more TV and film criticism that didn’t hold the critiqued object up to an ultimately arbitrary standard and find it lacking. I feel like in every TV or film article I read, there’s a moment when the author “turns the corner” and expresses their disappointment that the work didn’t do something they wish it had done, either aesthetically or (especially annoying) politically. There seems to be a lack of clarity about what we actually expect a show or film to do. Do we want it to mirror our political views? But why do we need that? Do we expect it to educate other people in our political views? But why would the producers want to do that?
This really came to a head for me when Mad Men was on the air, and after a certain point, no one was talking about what the show was actually doing, only what they wished it would do. Why should anyone care what a random critic would do if they were in charge of the show? The one exception to this trend was a blog that did this amazing close reading of the wardrobe choices in Mad Men — what they would have signalled in that historical moment, what symbolism (e.g., color patterns) are emerging, etc. I felt like I actually learned something. Is Mad Men a perfect show with perfect politics? No. Did they always make the best possible decisions in terms of plot or emphasis? Obviously not. But it is extremely artfully planned and produced, and criticism that brought that to the fore was much more satisfying to me.
This style of criticism is somehow most exhausting to me when it comes from very smart people I respect. Take, for instance, Aaron Bady’s characteristically lengthy critique of HBO’s Watchmen, which presents the series as a series of missed opportunities. Angela and Lady Trieu should have teamed up to overthrow American white supremacist imperialism! The show somehow should have incorporated climate change even though it takes place in a world where that problem has been solved! And what’s most tragic is that the show was so close to fulfilling Aaron’s demands! (He is self-aware enough to be self-deprecating in the article itself about his tendency to read everything through the lens of climate change, so hopefully he won’t mind if I poke fun a little here.)
Continue reading “Project for the TV criticism of the future” →