Which makes Evil a unique show, particularly in the supernatural/horror space, one that crosses over with the comic fanboy demo. Thus it is no surprise that several written reviews basically react with horror at the very mention of race--which is not the first time that race or what the Incel/Fanboy Right calls politics which automatically destroys this genre for these snowflakes who have a computer always at their hands.
What is unrealistic and annoying is how insidiously a show like The Walking Dead avoids confronting politics as politics. And this starts from the first season where the beginning promotes Morgan and his boy from the walk-on they have in the comic on. But Morgan leaves the narrative almost as soon as he is invoked. This type of representation is in fact a signaling, but the TWD is almost comical in its undermining of this gesture. By the third season, viewers could bet on when a black member of the cast would die as the sole red shirt in an operation. The same thing can be shown in how the show treats women or even the fact that the collapse embodied by the zombies was actually in progress politically and environmentally. To a naive viewer--the fanboy mentioned above--this avoidance with allusion may seem "sophisticated", while the show's figuring of white male vigilanteism as canny, when it embodies a wish fulfillment of a correlative accelerationist attitude that fans of TWD probably indulge in.
If any show is spoiled by how it treats politics, it is TWD. Evil on the other hand is as subtle in its treatment issues of religion, race, gender and conflict as it is surprising in how its premises are developed. It is no surprise that fanboys looking for jump scares are intimidated by a show which is thrillingly realistic about how comic book style "evil" can enter people's lives.
What is unrealistic and annoying is how insidiously a show like The Walking Dead avoids confronting politics as politics. And this starts from the first season where the beginning promotes Morgan and his boy from the walk-on they have in the comic on. But Morgan leaves the narrative almost as soon as he is invoked. This type of representation is in fact a signaling, but the TWD is almost comical in its undermining of this gesture. By the third season, viewers could bet on when a black member of the cast would die as the sole red shirt in an operation. The same thing can be shown in how the show treats women or even the fact that the collapse embodied by the zombies was actually in progress politically and environmentally. To a naive viewer--the fanboy mentioned above--this avoidance with allusion may seem "sophisticated", while the show's figuring of white male vigilanteism as canny, when it embodies a wish fulfillment of a correlative accelerationist attitude that fans of TWD probably indulge in.
If any show is spoiled by how it treats politics, it is TWD. Evil on the other hand is as subtle in its treatment issues of religion, race, gender and conflict as it is surprising in how its premises are developed. It is no surprise that fanboys looking for jump scares are intimidated by a show which is thrillingly realistic about how comic book style "evil" can enter people's lives.