'Lovecraft Country' is the latest in a line of movies, TV series and novels to engage with America's greatest moral, economic, social and psychological wound — the legacy of slavery — by way of science fiction and horror.
, given both its prominent HBO Sunday night berth and its determination to view race in America through the prism of science fiction,is lighter in tone, and far pulpier in sensibility, than Lindelof's comparatively grand, sweeping epic. It's much more apt to go looser and loopier, sprinkling magic spells, sacred codexes, secret passages and the occasional light tomb-raiding into the mix.
But for every fun, if wildly anachronistic, element — needle-drops like Rihanna's"Bitch Better Have My Money," say, or abdominal muscles like Majors' —is always careful to re-center itself on its characters, and their hemmed-in status as Black women and men in 1950s America. Between every narrow escape and exposition dump about"finding the missing pages from the forbidden tome" or whatever, it gives its characters and their relationships breathing room.
That H.P. Lovecraft — troubled, imaginative, racist — should inspire a book and a series that centers Black characters, and that expressly uses his own creations to flesh out the inner lives he denied them in his own work, was not something he could have imagined. You can't help but wonder what the guy'd do, were he to somehow find himself confronted with that knowledge, a truth his White-supremacist mind could not begin to comprehend.
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