The end is near.
: inserting the weird, the uncomfortable, the strange into a familiar genre. Just as audiences are familiar with soap operas involving cowboys or films about corporate drudgery, so, too, are the characters themselves comfortable with their world and realities. Yet, by adding some weird element, such shows upend what we and the characters know.
And, as some horror writers love to note, leaving it up to audience imagination is often a worse curse than providing an answer . I’m not watchingto obtain answers: I’m putting it firmly within the confines of a managed existential crisis, traveling alongside Josh Brolin as he navigates his universe crumbling — sometimes literally — around him.
Stories do not have to give answers — or at least concrete answers — that fit like a missing puzzle piece. And this is a genre that is not, I would argue, designed for answers but the experience. We already have Poirots and Marples: it’s time now for more voids and cosmic crises. Bring on the roiling blackness.
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