Confederate

So, once again: “Those who cannot learn from history are doomed to repeat it.1

HBO’s motives aside, the plea to wait supposes that a problem of conception can be fixed in execution. We do not need to wait to observe that this supposition is, at best, dicey. For over a century, Hollywood has churned out well-executed, slickly produced epics which advanced the Lost Cause myth of the Civil War. These are true “alternative histories,” built on “alternative facts,” assembled to depict the Confederacy as a wonderland of virtuous damsels and gallant knights, instead of the sprawling kleptocratic police state it actually was. From last century’s The Birth of a Nation to this century’s Gods and Generals, Hollywood has likely done more than any other American institution to obstruct a truthful apprehension of the Civil War, and thus modern America’s very origins. So one need not wait to observe that any foray by HBO into the Civil War must be met with a spirit of pointed inquiry and a withholding of all benefit of the doubt.”

Confederate

“After all, this show’s premise proposes to create a “fictionalized” plot about the continuation of slavery, as if thousands of American farmers and corporations didn’t continue to practice slavery well into the 1940s. The show acts as if the latter half of the twentieth century didn’t see America’s prison population swell with millions of Black bodies. It pretends that today’s prisons and venerable corporations don’t exploit the 13th amendment to profit from forced prison labor. HBO’s Confederate imagines that there aren’t more people under state control today than there were in chains at the peak of American slavery.”

Confederate

Confederate, the sci-fi, alt-history drama of what the United States would look like if the North had lost the Civil War, had been announced by HBO in late July. The brainchild of Game of Thrones writers David Benioff and D.B. Weiss, the series is a four-part collaboration between Weiss and Benioff, who are white, and Nichelle Tramble Spellman and Malcolm Spellman, a married writer and producer couple, who are black. The Spellmans are behind hit television shows The Good Wife and Empire.

The show, in early stages of development, has received major backlash. April Reign, creator of the hashtag #OscarsSoWhite, mobilized the Twittersphere on Sunday night with #NoConfederate, a joint effort between Reign and activists Rebecca Theodore, Jamie Broadnax, Shanelle Little, and Lauren Warren. And they were not alone in their concerns — earlier, critic Roxane Gay had condemned the series in the New York Times, calling it “slavery fan fiction.”

The message? Do not run this show.

Reign posits that the subject alone is reason enough to cancel the show, pointing out that the effects of slavery are still felt today. Responding to someone suggesting that the show might illustrate what living with racism is like, Reign tweeted: “You mean white people. People of color are well aware of this. We don’t need a TV show. We have, you know, our daily existence and stuff.”

Confederate

Show 1 footnote

  1. Or, if one is cynical enough, perhaps HBO knows exactly what its doing: broadening the blood thirsty audience brought in by GoT to include the drooling knuckle-dragging, paste-eating tRump supporters who would normally eschew HBO as being too “cosmopolitan.”

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