Apple's adaptation of the 1987 novel (and 1990 Harrison Ford film), renewed for Season 2, repackages old tropes about career women, mothers, and sluts
country obsessed with reboots. Refashioning tired narratives into something that ideally becomes new in its retelling. Or, perhaps, just makes studio executives more money. We after all must endure an endless return of Marvel and DC characters, adaptations of adaptations, until everything feels like a shitty copy of a copy, rasterized, and remade until the sign and signifier barely have any resemblance.
At least as an evil caricature in the movie, Polhemus had drive and motivation. Sure, she existed only in flashback, and as such, was only really written as a figment of the male imagination. But as a temptress and hard-driving career woman, at least she had color. Her wanting, her needing, her grasping, made sense. In the book, too, while Turow still relies on gendered tropes, he allowed his characters to be complex.
And it’s boring — boring screenwriting, boring lack of imagination, and a boring way to see human beings. If people want to know why America seems to be swirling down a toilet bowl of mediocre reboots from our presidential election to our television shows, maybe it’s because we are trapped in the limited imaginations of people who cannot see women as anything other than entities who live to serve them or destroy them.
Remakes do not just fall out of a coconut tree. They live, in the worlds of the Vice President, in the context of all that surrounds them. And the context of our world in 2024 is one of feminist backlash.
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