“Sight of the god, or its image, as all the legends of the Yuggoth-spawn agreed, meant paralysis and petrifaction of a singularly shocking sort, in which the victim was turned to stone and leather on the outside, while the brain within remained perpetually alive — horribly fixed and prisoned through the ages, and maddeningly conscious of the passage of interminable epochs of helpless inaction till chance and time might complete the decay of the petrified shell and leave it exposed to die. Most brains would go mad long before this aeon-deferred release could arrive.” — H.P. Lovecraft and Hazel Heald, “Out of the Aeons”
Several months into the COVID-19 pandemic — which has steadfastly reminded trendy society that it’s simply as susceptible to uncaring, invisible viruses because it ever was — it looks like America has been sufficiently primed for a brand new Lovecraftian horror sequence, one which mines our present anxieties about being powerless to the uncaring hostility of the cosmos. Likewise, the nation’s renewed recognition of racial injustice within the wake of the 2020 Black Lives Matter protests may imply that extra folks than ever are prepared for a Lovecraftian present that lastly reckons with the racism of the subgenre’s namesake, Howard Phillips Lovecraft, whose prejudice towards brown and Black folks partly informed the terrors of his tales.
HBO’s Lovecraft Country isn’t significantly aimed toward re-creating the dread and existential anxiousness of Lovecraft’s works. Showrunner and Underground creator Misha Green original the sequence from Matt Ruff’s novel of the identical title, as a Black reclamation of the pulp plots and archetypes H.P. Lovecraft originated. Green isn’t utilizing the mythological pedigree of Ruff’s novel to criticize H.P. Lovecraft’s racism, although. Lovecraft Country is kind of a fantasy-mystery melodrama with pulp-adventure aspirations. It’s a reclamation of style storytelling insofar because it places Black characters in roles and conditions that they’ve traditionally been excluded from. But it’s extra sincere to name it a refit moderately than a reclamation, as a result of Lovecraft Country stays drearily beholden to fantasy and occult thriller conventions.
The sequence primarily relates the trials of Black serviceman Atticus Black (Jonathan Majors) as he returns house to uncover his household’s mystical heritage and conflict with a sinister magic-wielding cult, all towards the backdrop of 1950s Segregation-era America. Majors is joined by a treasure trove of heavyweight Black expertise who spherical out the sequence’ principal forged, together with Jurnee Smollett (Birds of Prey), Michael Okay. Williams (The Wire), Courtney B. Vance (American Crime Story), and Aunjanue Ellis (When They See Us). Meanwhile, Scandal’s Tony Goldwin and Mad Max: Fury Road’s Abbey Lee capably chew the surroundings because the sequence’ essential antagonists. But for all of the breadth of Lovecraft Country’s forged, the sequence solely sometimes offers its characters any depth.
An overemphasis on mythologizing and portentous exposition — probably the most seen imprints of the legacy of Lovecraft’s fiction on this sequence — retains the characters from behaving in ways in which would make clear their psychologies. Compounding the problem is the present’s capricious tempo, which frequently makes the sequence’ central voices really feel incidental to its plot. Eventually, Lovecraft Country will get extra of a deal with on characterization, at the least for its supporting forged. Wunmi Mosaku (Luther) is a standout in a twisted, body-swapping episode directed by Cheryl Dunye (Watermelon Woman). Williams, as at all times, pulls off a layered efficiency as Atticus’ father.
Along with Lovecraft Country’s erratic characterization comes its unconvincing setting. The first 5 episodes span from Chicago to New England in the course of the segregated 1950s, though the specificity of this era is hardly examined for its full horrific potential. While the sequence’ Black characters do undergo their struggles, they function inside a triumphant, presentist paradigm, as if the struggle for civil rights had been received a decade and a half early.
Each episode pits the protagonists towards racist adversaries (some magical, just like the ghosts of evil scientists, some mundane, like redlining and the police) which they finally overcome via braveness and ingenuity. The isolation and grief which Black folks have been subjected to on account of Jim Crow is seldom depicted; the sequence is planted firmly within the perspective of characters who struggle monsters and shrug off persecution prefer it’s a short lived nuisance. Racism in Lovecraft Country is nearly at all times rendered as overt and villainous — the concentrated, white crudeness of Mississippi Burning moderately than the insidious social death that Black folks deal with each day. Needle-drops that includes Cardi B and Frank Ocean is perhaps the sequence’ try and blur the traces between previous and current, however its simplistic imaginative and prescient of racism is divorced from each historical past and actuality.
Early in its first episode, Lovecraft Country presents its mission assertion. In Atticus’ phrases, “Stories are like people. Loving them doesn’t make them perfect. You just try to cherish them and overlook their flaws.” He follows with: “But I love pulp stories.” And that’s the extent to which Lovecraft Country feels snug addressing the “flaws” of its namesake affect.
The present is pulp within the mould of Edgar Rice Burroughs and Robert E. Howard, with the spin being that now Black folks have additionally been given the prospect to struggle demons, have high-speed chases, discover secret tombs, and be on the middle of magic prophecies. Many a Lovecraft by-product has given white creatives the prospect to put in writing pulp adventures that includes the occult, so there’s no cause why Black creatives shouldn’t be given the identical freedom to have enjoyable with it. There can also be some schadenfreude in seeing H.P. Lovecraft’s title flaunted on a present that finally needs to empower the folks Lovecraft considered “beasts” and “semi-human.”
But since Howard Phillips Lovecraft is lifeless, what is de facto gained through the use of his toys to make him spin in his grave? What is Lovecraft Country attempting to show? Black speculative fiction is able to being way more than retreads of white style tales with a brand new coat of paint. There are so many Black experiences which have but to be given a voice within the style sphere. To quote, not H.P. Lovecraft, however Ralph Ellison’s Invisible Man:
“You ache with the need to convince yourself that you do exist in the real world, that you’re part of all the sound and anguish, and you strike out with your fists, and you curse and you swear to make them recognize you. And, alas, it’s seldom successful.”
Lovecraft Country looks like a missed alternative to repurpose the racist worry on the coronary heart of Lovecraft’s work to articulate the particular dread, isolation, and social demise felt by Black folks in all corners of the world. The insanity that Lovecraft’s protagonists have been typically submerged in hardly compares to the absurd existence of Invisible Man’s unnamed protagonist, which is to say, the absurdity of Blackness. A piece that might marry cosmic horror with Afropessimism, a framework which analyzes the legacies of Black folks’s powerlessness throughout Trans-Atlantic slavery, may depict Black worry and struggling in an sincere, unprecedented method. Lovecraft Country goes with a extra acquainted, digestible narrative, and whereas such an strategy has its makes use of, it leaves Black worry untouched and unseen.
The 10-episode debut season of Lovecraft Country debuts on HBO MAX on August 16 at 9PM ET, with new episodes airing on Sundays.