Fresh on the heels of the finale of We Own This City, HBO is commemorating David Simon’s original and uncompromising look into corruption and policing in Baltimore, The Wire, two decades after it transformed the television landscape forever.Continue reading “HBO Max Celebrates the 20th Anniversary of ‘The Wire’”
Keith, Britney, and Dominic rant about who won — but more importantly, who didn’t — during the Emmy Awards last night. Then, they break down the new Hawkeye trailer and recap the latest episode of What If.Continue reading “Hard NOC Life 235: Emmys So What”
I had the pleasure of speaking with key cast members and show runner of HBO’s Lovecraft Country, Misha Green. I hope ya’ll dig it. There are multiple outlets interviewing, and I felt it would be wild unprofessional if I edited them out, so you’ll get to hear all the questions asked by various people.
Listen to the nerdy glory.
[This review is based on the first five episodes of Lovecraft Country. The ADR nor the VFX were complete, so I won’t comment on those.]
If you’ve been reading The Nerds of Color for any length of time, you know that I routinely eschew the traditional review format. I don’t find it terribly interesting to read and I’m not a really big fan of writing that way. As I only cover the things I enjoy, I write endorsements instead of reviews and I am endorsing Lovecraft Country, with a few caveats.
Many of us nerds were bullied as kids, and subsequently we dreamed not of a world without violence, but some sort of payback. Slicing up our tormentors with lightsabers or adamantium claws. Slow motion punching the jock bully in the jaw, hopefully while beautiful women were watching. As we grew older, some of us questioned this desire for retribution, our conditioned response (particularly in straight males) to strike back. But what do we do with these contradictory feelings, our questioning of violence as power against our catharsis when we see the bad guy get his comeuppance?
The Japanese cult classic film Battle Royale looms large in the minds of pop culture nerds ambivalent over our negative reaction to violence and our desire to see stylized versions of it. Battle Royale is almost meta in its questioning of this contradiction: a future Japan is made safe by telecasting, once a year, a brutal contest wherein a random class of young people is set in a trapped zone with weapons, and only one person is allowed to leave alive.