In Misha Green's fright-filled HBO drama LovecraftCountry, the things that go bump in the night are scary, but generationally entrenched human prejudices are the real monsters
, the things that go bump in the night are scary, but generationally entrenched human prejudices are the real monsters. Unless there also happen to be burrowing creatures with pointy teeth, insatiable appetites and tentacles. In that case, those are totally the real monsters, but systemic racism is also bad.
Set in 1955, Green's adaptation of Matt Ruff's novel begins with a young soldier — Jonathan Majors' Atticus — returning home to Chicago still psychologically scarred from his experiences in Korea. Following up on the disappearance of his estranged father , Atticus embarks on a road trip to a peculiar corner of New England not found on any map, but named to draw associations with the work of H.P. Lovecraft, the virulently racist author of the kind of pulpy novels Atticus adores.
That episode, directed by queer indie cinema icon Cheryl Dunye , is both a veritable grad school thesis on racial identity and the most expertly gross thing I've seen on TV in a long time. I'd describe that as the show's sweet spot: More in-your-face progressive than the genre fans might expect and more in-your-face gory than the commentariat might expect., mixes period-appropriate needle drops with modern bangers from Rihanna and Cardi B.
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