Black Gate

I don’t know, man. It seemed like something that could not possibly fail. A brilliantly weird memoir-novel by one of America’s great writers, a timely subject, the team of writer-producers who created The Wire (one of television’s greatest shows), a gifted cast, high production values, a network known for sponsoring bold and innovative work. And yet…

No, this isn’t about the only-in-my-dreams TV adaptation of The Wolf Age. It’s the ongoing HBO adaptation of Philip Roth’s The Plot Against America that’s making me sad.

I’m not here to tell you that it’s a disaster, because it’s not. In every episode so far (see here for my assessment of episode 1, and here for my wise words on episode 2) there has been great stuff. One example: young Philip’s nightmare at the beginning of this week’s episode when all the faces on his precious stamps turn into Hitler. It’s horrible — the thing that must not happen, and yet seems to be happening no matter what anyone does to stop it. In a few seconds, without a word spoken, it expresses what the show (not to mention its source-novel) is about.

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Hello. Since this is my first blog post for Black Gate, I feel that an introduction is in order. My name is John Miller and I am a writer. My name is a both a blessing and a curse. A blessing because it is short and simple and easy to remember, a curse because it’s common and as easy to forget as it is to remember. I have written under the name of J. J. Miller (only when I was young, and somewhat under the influence of E. E. Smith), as John J. Miller, and, finally, as John Jos. Miller, when I had to differentiate myself from the other John J. Millers of the world. (Also, as simply John Miller, but only for my technical archeological reports and papers. You can try to track down “Resource Allocation Strategies on the Navajo Reservation in the Early Twentieth Century,” but good luck in finding it.) I’ve been told that I probably should use a pseudonym (I did write one novel under a pseudonym, but that was not my choice.), but I am stubborn and bad at self promotion and John Miller is my name (along with tens of thousands of other Americans) and I’m sticking with it.

I read a lot of stuff and watch a lot of stuff and like to share my opinion of what I like and don’t like. Who doesn’t? I have my prejudices, which I will admit up front. I don’t like torture porn or most slasher movies. I don’t like most modern Rom Coms. I don’t like movies where the whole point is that the characters are stupid. Dumb and Dumber? I don’t think so. (Once I actually paid money to see an Adam Sandler movie and I’ve regretted that ever since.) I really don’t like movies where they shoot the dog. (The exception that proves this point is John Wick. I’ve seen it three or four times, but not the scene where they kill the dog. Sometime I’ll have to tell you about the discussion I had with George R.R. Martin as to why Old Yeller is a terrible children’s movie.)

Rating movies under a five star system is insufficient, even if you cheat by halving the stars. I use a modified IMBD 10-1 system, but to add a soupcon of nuance, I use a “plus,” so my scale actually runs from 10+ to 1.

I almost always finish everything, book, novel, or movie, that I start. Thing is, I’m willing to take the bullet so you don’t have to. That’s what I’m here for, but mainly I like to share things I like, so let’s get down to it already.

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I hate putting swastikas in front of people, but it’s more or less unavoidable here

There continues to be a lot to like in this show. (See here for my thoughts on the premiere.) In the last moments of the second episode, the show’s history branched significantly away from ours, as Lindbergh was elected president on his Isolationist platform. But the show remains grounded in a patiently constructed, vivid reality — it’s not one of these awkward historical drams where people rant paragraphs of exposition at each other. This is about recognizable human lives. It’s a big deal when Bess Levin (Zoe Kazan’s character) gets a job for instance. And dad gets mad at the radio a lot — but there’s no question which thing young Philip is more worried about.

And it’s not an unfaithful representation of the book. Storylines are compressed and events are re-ordered to fit the constraints of a six episode series, but there are big stretches of dialogue that come, word for word, from the book. And they work on screen, because Roth (unlike many a novelist) knew how people talk. And, also, because the actors (especially Morgan Spector and Anthony Boyle) sell the lines convincingly. Arguments in TV shows are usually a recipe for boredom. (“WHY WON’T YOU LET ME LOVE YOU?” “I DON’T KNOW HOW!” etc. etc. until the commercial break.) But these work.

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A few weeks ago I shared the news that Universal Studios was adding to its theme park property with a new attraction called Epic Universe. That park would be made up of four ‘lands’, one of which will be dedicated to Universal’s classic monster characters. In my euphoria, I completely overlooked the inevitable truth that there was no way Universal was going hope the classic monster fans would make this new investment successful. No, they would have to try to attract a new generation of monster movie fans. They would have to modernize. Forget they blew it a couple of times already. The time is now to breathe life back into…

The Dark Universe.

Crud.

If you haven’t been keeping score, this marketing idea was pretty much left for dead after the real-life horror that was the 2017 ‘modernization’ of The Mummy, starring (and I use that word in the absolute broadest sense) Tom Cruise.

This, of course, was the second death of Dark Universe, which quietly imploded the first time with the 2014 retelling of Dracula in Dracula Untold. Never heard of it? Of course not. But as Douglas Adams famously reminded us, it will be the marketing people who will be first against the wall when the revolution comes. Until then, they’re just banging away.

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