Rating: A-
“Whitey’s On the Moon”
Two episodes in and Lovecraft Country has already proven itself to be one of the boldest new shows in ages. Showrunner Misha Green, who proved her chops on shows like Sons of Anarchy and Spartacus before rising to acclaim with Underground, has become a master of television narrative and created something truly singular and spectacular.
Credit where it’s due, of course. None of this could have happened without the novel from Matt Ruff, itself a deft subversion of Lovecraftian horror that attempts to reframe what we know about the eldritch horror of the Great Old Ones. A simple novel, Ruff wove it with complex themes and ideas that elevates it dramatically. It’s these themes that Green so brilliantly brings to life, interjecting this tale of horror and the uncanny with moments of real and powerful thematic weight.
Each frame and every scene of last night’s episode, which picks up precisely where last week’s episode left off, is imbued with a powerful sense of meaning as our trio of heroes find themselves slipping deeper inside of the unfolding mystery of the series. Things seem to be going well, at first. At least, better than they had been. Seeking respite from the horrors of the night before, the three are welcomed into the Ardham Lodge, even if those who let them in are, well, a bit creepy and weird.
Uncle George finds himself enraptured by the personal library found in his room, which is filled with all of his favorite books and authors. Leticia, meanwhile, luxuriates in all the perfectly fitted finery that fills her closets. A montage of their enjoyment, set to “Movin’ On Up,” the theme song to The Jeffersons, is seemingly a moment of levity for the series which, thus far, has been filled to the brim with horrors both real and imagined.
There’s something fascinating about the anachronistic music choices that Lovecraft Country has made thus far. From last week’s use of “Clones” from Tierra Whack to this week’s use of “Movin’ On Up,” Green is making a deeper and powerful connection from the events of the narrative, which takes place in 1954, to the events of today. “How little has changed,” the show seems to say, “that what was relevant then remains relevant today.” Green let’s us know that what’s being explored here transcends any period and towers over any monster.
It’s appropriate, then, that Tic is the one among them who is wary about their new hosts and new surroundings. And with good reason, it turns out. The Lodge is owned by the Braithwhite family whom it’s said, would never associate with the KKK because “they’re too poor.” Still, something sinister is afoot, and at every turn Tic and his crew run into obstacles while searching for his missing father. Uncle George soon discovers that the lodge is the home of a secret society and that Tic is a descendent of the lodge’s founder, a former slaveowner.
It would seem that Tic’s ancestor escaped the lodge after a devastating fire and ran through the woods pregnant into the arms of freedom. Thus began a line that ties Tic directly to the lodge, the birthright that his father wrote to him about in the first episode. That birthright gives him special privileges in the lodge, much to the chagrin of the lodge’s members. But not to the lodge’s leader, Samuel Braithwhite, who lured Tic here to help with an arcane ritual meant to reopen the gates to Eden.
Secret societies seeking arcane secrets are just the latest in the twists on Lovecraftian tropes being explored by Lovecraft Country. The not-so-subtle allusions to the KKK are an ingenious commentary on the nature of class racism that run prevalent throughout our society even today. Cloaked though Samuel might be in the word of God, he makes little bones about his real feelings. He says that Tic is “darker than he expected,” before going off on a tangent about a painting that illustrates how everything should be in “its place,” letting us know exactly where he stands on the issue of Tic’s race.
Lovecraft Country has done a remarkable job at this so far. Green has a knack for showing us what it’s like walking in a Black man’s shoes and seeing the world how he sees it. Even with all the monsters and secret societies running rampant through the narrative, nothing has yet been as scary as dealing with the world that Tic, Leti, and Uncle George have to deal with. Monsters and secret cults are one thing, but rampant racism is another.
Putting us into their perspectives gives us a whole new look at the reality of facing systemic racism in America. We watch as Uncle George implores his partners to take it easy, because they’re being watched, being judged. We feel the knots in our stomach as Tic has to swallow his pride and take the disrespect. Monsters? They’ve proven they can fight those off. A racist heart? An entirely different beast.
Tic’s fears are realized when it’s discovered that his father actually is being held prisoner on the grounds of the lodge, ostensibly as bait to lure him there to help with Samuel’s plans. Reunited, the four try to escape only to find themselves crashing into an invisible barrier that prevents them from leaving. As punishment, Tic is forced to watch as Leti and Uncle George are shot. Promising to heal them both if Tic cooperates, he’s given little choice.
Of course, in the grand tradition of cults messing with powers they don’t quite understand, things go horribly wrong. With Tic’s help, serving as a conduit for whatever eldritch power the Braithwhite’s wield, a door is opened, though it is not the door they seek. As the Ardham lodge begins to collapse around him, he glimpses his ancestor, who shows him the way to escape. He does, just barely, while the cult is turned to dust. Meanwhile, his companions suffer their first loss. The process of moving Uncle George, who’s been at death’s door since being shot, proves too much. Tic’s last glimpse of his beloved uncle is seeing his body being held by his father. “I’m sorry, Uncle George. I’m sorry,” Tic cries as the episode ends.
Enough cannot be said about the performance of Jonathan Majors in this scene. The pain and horror on his face is tangible, and it’s difficult to watch without tearing up. Again we see where the true horror of Lovecraft Country comes from. It’s not monsters or cults, it’s the horror of living in a society that views you as less than, as expendable. There’s no one to blink at Uncle George’s murder, and no police that can be called. It’s simply the way things are, with justice always out of reach.
Green’s ability at bringing this to the forefront is simply brilliant. Her growth as a showrunner has been phenomenal and makes for a truly unique and terrifying experience for audience. Already, just two episodes under the belt, Lovecraft Country is one of the best new shows this year. With eight episodes left, there’s more than enough time to make further marks, and to take us even deeper inside this truly horrific world.
Lovecraft Country airs Sunday nights on HBO.
