{"id":295,"date":"2015-06-14T16:31:13","date_gmt":"2015-06-14T16:31:13","guid":{"rendered":"http:\/\/pascaleditions.com\/colintrafford\/?page_id=295"},"modified":"2015-08-21T03:09:22","modified_gmt":"2015-08-21T03:09:22","slug":"wayward-pines","status":"publish","type":"page","link":"https:\/\/pascaleditions.com\/colintrafford\/wayward-pines\/","title":{"rendered":"Wayward Pines’ Surrealist Apartheid"},"content":{"rendered":"

[et_pb_section][et_pb_row][et_pb_column type=”4_4″][et_pb_text admin_label=”Text” background_layout=”light” text_orientation=”left”]<\/p>\n

Wayward Pines’ Surrealist Apartheid<\/h1>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=”1_4″][et_pb_image admin_label=”Image” src=”https:\/\/pascaleditions.com\/colintrafford\/wp-content\/uploads\/wayward-pines.jpg” show_in_lightbox=”off” url_new_window=”off” animation=”left” sticky=”off” \/][\/et_pb_column][et_pb_column type=”1_2″][et_pb_text admin_label=”Text” background_layout=”light” text_orientation=”left”]<\/p>\n

With the appearance of episode five, Wayward Pines<\/i> suddenly became interesting.\u00a0 Up to that point, the series appeared to be no more than a shoddy American remake of the even shoddier British remake of what is arguably the greatest television series ever done \u2014 Patrick McGoohan\u2019s The Prisoner<\/i><\/a>\"\". (Benighted readers of this review who are unfamiliar with that majestic narrative should not even bother with either of these limping xerox successors, but just go buy the The Prisoner<\/i><\/a>\"\" DVD set at once.)<\/p>\n

Wayward Pines<\/i> initially reprised The Prisoner<\/i><\/a>\"\"\u2019s surface plot device with unabashed fealty:\u00a0 <\/span>a secret service agent wakes up in an isolated community which appears almost idyllically normal but is in fact a prison run by mysterious overseers for cryptic purposes.\u00a0 <\/span>The heroic agent wants to (a) find out who\u2019s behind it, (b) learn what it\u2019s all about, and (c) escape, not necessarily in that order.<\/p>\n

The main difference is that in The Prisoner<\/i><\/a>\"\", that quest takes on vast metaphorical dimensions:\u00a0 <\/span>the Individual versus The State, the Self versus the Crowd, Ego versus Conformity.\u00a0 <\/span>In Wayward Pines<\/i> the quest is trivial because the lead character, Ethan Burke, as portrayed by Matt Dillon, is rougher and more wooden than the pines themselves.\u00a0 <\/span>None of McGoohan\u2019s razor-sharp articulation here:\u00a0 <\/span>Dillon gives us a\u00a0 <\/span>thuggish, monosyllabic, recently pistol-whipped, characterization straight out of forties film noir<\/i>.\u00a0 <\/span>McGoohan\u2019s crystalline \u201cI am not a number.\u00a0 <\/span>I am a free man,\u201d here devolves into Dillon\u2019s \u201cWhat da fuck?\u201d expression as he repeatedly emerges from coma.\u00a0 <\/span>If his acting here can ever be said to emerge from coma.<\/p>\n

Burke stumbles around.\u00a0 <\/span>Questions are asked.\u00a0 <\/span>Some locals \u2014 \u201cNurse Pam\u201d \u2014 act creepy.\u00a0 Most<\/span>\u00a0locals \u2014 the sheep \u2014 appear clueless.\u00a0 <\/span>Surveillance cameras are everywhere.\u00a0 <\/span>Trivial unwritten rules, such as scrawling anti-town graffiti, are transgressed, for which the punishment is public execution by the Town Sheriff (with the ecumenical name of Pope).\u00a0 <\/span>Burke kills Pope and — more shades of The Prisoner?<\/em> — finds himself promoted to Sheriff in turn.\u00a0 All very misterioso<\/span>; but mostly just boring and parochial and unpleasant, largely because the players are boring and parochial and unpleasant.<\/p>\n

The one fascination to that point is not the series but its teeming ancestry and baldfaced plagiarism.\u00a0 <\/span>For The Prisoner<\/i> is not Wayward Pines<\/i>\u2019 only precursor:\u00a0 <\/span>author Blake Crouch is explicit in locating its origin in a fan fiction Third Series of Twin Peaks <\/i>he attempted at age twelve.\u00a0 <\/span>But Crouch, and executive producer and cinematic bombardier M. Night Shyamalan, do not rest there. \u00a0They go on to gut and serve up taxiderm stretches of elements straight out of Lost<\/i>, The Returned<\/i>, Under The Dome<\/i> and other small-town-weird classics with a flamboyant blatancy that must be seen to be believed: the very opening shot, a blinking-eye close-up that pulls away to show a battered disoriented man in a suit wandering in an unknown wood, is so straight out of Lost<\/i> one is amazed a lawsuit has not been instituted.\u00a0 <\/span>What, are there no hungry copyright attorneys anymore?<\/p>\n

Shyamalan\u2019s insensibility to litigation is the student of narrative\u2019s gain.\u00a0 <\/span>Eliot once described the choice method of modernism as collage.\u00a0 Judging by Wayward Pines<\/em>, now that\u00a0<\/span>post<\/em>-modernism reigns, collage is the only <\/i>method.\u00a0 <\/span>Creators of such narrative will find Wayward Pines<\/i> well worth study, not for its creativity or originality but for the almost gross way it lifts and slaps together and juxtaposes elements of similar earlier work.\u00a0 <\/span>Can we really get away with anything<\/em> now?\u00a0 <\/span>Looks like it.\u00a0 <\/span>And can we actually make it work? <\/em>\u00a0<\/span>Well \u2014 no, not really. \u00a0The relentless collage may interest the literary craftsman, but the earlier episodes do little more than bore.<\/p>\n

Yet\u00a0in episode five, the stitched-together dead meat of this Frankenstin suddenly twitches! \u00a0This orgy of narrative\u00a0deja vu<\/i> takes an original turn<\/em>.\u00a0 <\/span>No, the characters are\u00a0not<\/i> all dead and in Purgatory!\u00a0 <\/span>The walls around Wayward Pines are not<\/em> there to keep residents in.\u00a0 <\/span>They\u2019re there to keep the outside world out.<\/em>\u00a0 <\/span>Because — shrieking violins a la Bernard Herrmann — the outside world is no longer our world at all,<\/em> but the world of 4028!<\/em>\u00a0\u00a0<\/span>Human civilization has crashed and burned, the cities are rusted ruins, history is over, the woods are filled with hordes of teeming mutated carnivorous Zombies! \u00a0(Well, you knew<\/em> there’s be hordes of zombies, right? Who doesn’t<\/em> throw in a few zombies nowadays?) \u00a0The truth is that mankind is extinct.<\/em> \u00a0With the sole exception of Wayward Pines: a sort of ark built by a far-seeing billionaire in days gone by, for cryopreserved late-twentieth century American pioneers to re-awaken and re-conquer the amber waves of slightly mutated grain.<\/p>\n

Why does this make the series suddenly interesting?\u00a0 <\/span>Partly because heroes are more interesting than victims (one of The Prisoner<\/i>\u2019s key insights).\u00a0 <\/span>The notion of a small band of civilized beings striving to live and thrive again in a hostile savage world is appealing; far more appealing than a tale of frightened lab rats trying to understand who the experimenter is. \u00a0The latter may well be the human condition, but who wants to dwell on it?<\/p>\n

But the series also becomes interesting for another, more unsettling, reason.\u00a0 <\/span><\/p>\n

I\u2019ve always felt that science fiction \u2014 popular science fiction \u2014 is not so much an accurate picture of tomorrow, or even possible tomorrows, as it is a metaphorical picture of today, and about how the world of today envisions tomorrow. In that respect, Wayward Pines<\/i> is yet another daunting image of modernity\u2019s descent into neofascism.<\/p>\n

Consider.\u00a0 <\/span>Under the deceptive, easy surface of Wayward Pines, residents are under surveillance 24\/7 and ruled by the unelected iron fist of anonymous managers, all set in place by a dictatorial billionaire businessman.\u00a0 <\/span>The schools are there to indoctrinate.\u00a0 <\/span>Churches are decayed ruins.\u00a0 <\/span>Free market economics?\u00a0 <\/span>All jobs and homes and social roles are assigned. \u00a0The exterior is all\u00a0Town Hall democracy, but the mechanics are Ingsoc.<\/p>\n

Wayward Pines<\/em> is the Custodial State of The Bell Curve<\/em> 2,013 years on. \u00a0Conspicuous by their near-total absence are\u00a0foreigners, Asian, blacks.\u00a0 Mind you, I am not suggesting that the producers of Wayward Pines<\/em> are conscious racists, nor am\u00a0<\/span>I arguing for mandatory diversity in casting. \u00a0In art, plausibility trumps social engineering: multi-ethnic casts of Hamlet<\/i> are as subtly jarring as having a play about Malcolm X and Martin Luther King with George Clooney and Johnny Depp playing the leads.\u00a0 <\/span>The fact remains, deliberately or inadvertantly,\u00a0Wayward Pines<\/i> is white suburbia under glass.<\/p>\n

But its originality, its flicker almost of\u00a0genius, is to show us how the world looks<\/i> to white suburbia through<\/em> that glass:\u00a0 <\/span>a world where the gated community is safe, orderly, good, and almost uniformly Caucasian, while the world outside the gates is threatening, violent, hostile, devolved, in chaos and in ruins.\u00a0 <\/span>To give the authors, or their attorneys, some<\/em> points for catering to diversity, yes, there is <\/i>a black man standing watering a lawn near the end of episode five,\u00a0\u00a0and an Asian woman waiting tables.\u00a0<\/span>But is it sheer coincidence that virtually the only other black character in Wayward Pines, Sheriff Pope, cuts a white woman\u2019s throat in public, and threatens the hero’s white wife, and that the series hero later kills him for it?\u00a0\u00a0<\/span>Is it too much to suggest that the series\u2019 writers are touching, perhaps unconsciously, a buried and dangerous American nerve?<\/p>\n

Wayward Pines purports to be an image of isolated small town America, but what isolated small town looks that sharp? Where are the collapsed barns, the seedy bar, the trailer trash developments, the empty streets and shops as a dying economy pushes everyone into the cities? \u00a0This is not small town America but prosperous suburban America. And the\u00a0architects of Wayward Pines, when selecting for residents to populate it, seem to have worried more about representative social exemplars\u00a0than about selecting for survivability or IQ.\u00a0 <\/span>There are obese swarmy sexist realtors, rude government clerks, sadistic nurses, small town politicians and slimy restauranteurs, but where are the software engineers, technologists, scientists, military strategists — figures critical for group survival in a postapocalyptic world, but alien to gated communities?<\/p>\n

The bogus explanation of\u00a0the need for this suburban facade is so<\/em> bogus one suspects authorial duplicity:\u00a0\u00a0<\/span>\u201cadults\u201d can\u2019t handle The Truth; they go mad and kill themselves.\u00a0 <\/span>Only a select few high school students (YA Fiction spinoff!) can handle the Red Pill.\u00a0 <\/span>Good grief, are they serious? \u00a0The designers avoided filling\u00a0Wayward Pines with a cohort of the Marine\u2019s best and brightest because adult Marines can’t handle it, but high schoolers can?\u00a0 <\/span><\/p>\n

Arguably<\/span>\u00a0the genius-billionaire creator of Wayward Pines is concerned not so much to preserve mankind as to preserve the American way of life; but why preserve this <\/i>not especially\u00a0representative whitebread slice of Americana, as opposed to the cream of Mensa or NASA?\u00a0 I suspect the answer lies not in the logic of the story but in the writers’ perhaps intuitive sense of who their audience is, and what moves them. That intuition is stark. <\/span>The neoreactionary resonances of Wayward Pines<\/i>\u00a0present a separatist picture of fragile outnumbered civilized whites within and cannibals and global collapse without — a surrealism of apartheid. That it is popular suggests a new\u00a0weltanschauung<\/i>\u00a0may be stirrng under that surrealist surface,\u00a0a<\/span>\u00a0quiet but potentially seismic shift in the political consciousness of what remains of middle-class America: a sense that if the price of preserving the way of life of the white middle class means giving up democracy, diversity, individual rights, governmental accountability, the price is worth paying, or at least worth entertaining.<\/p>\n

What in Wayward Pines<\/em> is devolving is not the human genome but rather the consensus regarding diversity in a significant part of the population, the suburban Caucasian middle class; what we experience, or at least witness, when we view Wayward Pines<\/em>, is the felt sense<\/em> of that population edging, descending, toward\u00a0the worldview of a Le Pen if not a Breivik. \u00a0That it should resonate with a large part of the viewership makes this suddenly interesting series genuinely ominous indeed.<\/p>\n

 <\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″][et_pb_contact_form admin_label=”Contact Form” captcha=”off” email=”cwtrafford@gmail.com” title=”Email Colin” \/][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

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\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div> Wayward Pines’ Surrealist Apartheid
\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div> With the appearance of episode five, Wayward Pines suddenly became interesting.\u00a0 Up to that point, the series appeared to be no more than a shoddy American remake of the even shoddier British remake of what is arguably the greatest television series ever done \u2014 Patrick McGoohan\u2019s The Prisoner. (Benighted […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-295","page","type-page","status-publish","hentry"],"yoast_head":"\nWayward Pines Surrealist Apartheid<\/title>\n<meta name=\"description\" content=\"Science Fiction writer Colin Trafford reviews the television series, Wayward Pines, and in particular, episode five: The Truth\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pascaleditions.com\/colintrafford\/wayward-pines\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Wayward Pines Surrealist Apartheid\" 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