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Review of "The Order" Season 2: Trash TV as Fascist Propaganda

6/20/2020

13 Comments

 
The Order was never a good show. It also didn’t try to be one. When the Netflix occult thriller debuted in early 2019, it looked and felt like a throwback to the kind of knockoffs of Buffy the Vampire Slayer that littered the airwaves in the early 2000s. I reviewed the first season of the show, and I kind of liked it despite some problematic narrative choices. Now that the second season has debuted this week on Netflix, I am a little annoyed that I wasted so much time and trouble looking for something redeeming in a pointless garbage fire that seems to see Sharknado as an aspirational high to strive toward. The new season also has a troublingly conservative bent that seems out of step with the subject matter and the times. The Order has gone from entertaining b-movie storytelling to actively awful trash.
Picture
The cast of "The Order" (Netflix)
The first season centered on the hero’s journey of Jack, a college student, werewolf, and wizard who infiltrated a secret Hermetic society to take revenge on his evil wizard father. The narrative wasn’t original, and it leaned too hard on the white male savior narrative as a teenage boy and his father fought for control over women and power. But it did so in an entertaining enough way that I didn’t mind the clunky writing, threadbare production values, and silly story.
 
The second season overcorrected so hard that it destroyed what little made the first season work. The current season picks up where the previous ended, with the werewolf fraternity known as the Knights of St. Christopher working with the Hermetic Order of the Blue Rose, albeit unwittingly since the Order has wiped their memories. I’d love to tell you that there was a story here, but the first two-thirds of the season meander aimlessly through episodic battles against an array of one-off villains, with the outlines of the overarching story coming into focus only in the last three hours of the ten-episode season. The obvious model for the season’s structure in Buffy the Vampire Slayer, but the show does far too little work to build toward its disappointing climax. With so little through-line, the final battle against the Big Bad seems to come out of nowhere, and lands too few emotional punches. The Order desperately wants to be The Magicians but lacks the depth and care to pull it off.
 
That wouldn’t be a fatal flaw if the episodes themselves were entertaining. Buffy’s weak fourth season, also set at college and against an evil secret organization, had similar flaws but contained some of the show’s best episodes. But The Order can’t craft good episodes because it seems no one involved cared about making good television. The first season provided some emotional tethers to its characters by asking us to understand their conflicting needs and wants, their ties to family and friends, and their internal struggles. This season has flattened all of the characters with a narrative steamroller, leaving two-dimensional pancakes floating through the story like in a Looney Tune. Consider the fact that Jack’s entire tragic backstory, hero’s journey, and inner conflict from season one vanished in season two. He has no motivation, no particular wants or desires beyond what the narrative demands. But he does have a new haircut, emphasizing actor Jake Manley’s uncanny resemblance to a young Ethan Hawke. Randall (Adam DiMarco), a standout character from season one, is this time a quip-machine comic-relief cartoon. It’s hard to care about the story when the characters have turned to cardboard.
 
The writing is similarly weak. The writers have leaned heavily into a plagiarist’s approximation of camp. Every line tries to be a joke, often at the expense of “woke” culture, and none of them is funny. They have the setup of jokes but they are so stale, so cliché, or so tone-deaf that they just don’t land. By the time that members of the cast of Beverly Hills 90210 show up as themselves to participate in an occult ritual, the show all but literally jumps the shark by leapfrogging right over its own groan-inducing Sharknado joke to an even worse joke about Ian Ziering and Jason Priestley that is tied to the 90210 reunion series which was hot news when they shot this last year. Worse, in the absence of a real story, three-quarters of the seasons is devoted to that most fascinating of storylines, bureaucratic infighting, as new layers of bureaucracy are revealed and paperwork gets filed, meetings are held, and votes are cast. Thrill as people you don’t know debate the arcane rules of order for an imaginary organization!
 
But perhaps the strangest change between seasons is the decision to decenter Jack. He was the hero from the first season and the audience’s point-of-view character. This time, he has been pushed out of the hero’s role and out of the center of the narrative. Instead, the series tries to become an ensemble adventure drama, but it doesn’t have the rich characters or compelling stories to hold an ensemble together. The decision just makes the show seem rudderless. With no hero and a succession of weak villains, the characters wander around saying things of no importance, having side-quests of no consequence, and vamping it up as though their overacting rises to the level of artistic camp. This is not the 1966 Batman, even if it thinks it might be.
 
However, what elevates this from merely bad to actively awful is the theme that the writers chose to inject into the series. Last year, I complained that the show seemed to rely too heavily on the American archetype of the young while male hero who dominates due to his exceptional freedom from feminine social rules and authoritarian constraints. This time, the show leans very hard into a more troubling idea: that conservative elites have divine sanction to rule over the masses due to their inherent superiority.
 
Both the werewolves and the hermetic occultists are traditionalists, representatives of centuries-old elite secret societies that believe they have the right to control resources (specifically magic), withhold them from the public, and manipulate people and events for the benefit of their members. Their memberships are chosen according to family connections or genetic superiority—like Nazis! They are steeped in traditions and work tirelessly to maintain an archaic status quo. Literally, the Hermetic Order wants to keep everything the same, stop anything from changing, and preserve their elite control of magic against unauthorized knowledge-seekers. Both the Order and the Knights take it upon themselves to have the right to murder at will and to manipulate anyone’s mind and body for their purposes—again, like Nazis. And they are the heroes. All of the white male heroes emerge from the season unscathed, while every minority and woman is either killed, possessed by a male, stripped of her power and autonomy, or worse. The lesbians fared worst of all. One had her mind wiped and the other was sent to hell—like you do with women and queers. The one sexually fluid white male escaped this fate, I guess, because he decided to go exclusively straight.
 
The villains only bring this into starker relief. Aside from the one-off monsters, the four major villains of the season are (a) another secret society that operates as an egalitarian and equalitarian commune, (b) a communist professor who wants to use magic for social justice, (c) a communitarian Asian magician who wants to redistribute magic equally, and (d) a woman who wants to free herself from the shackles of oppressive patriarchal rules. I think you’ll see a theme here.
 
It’s a disturbing message for this day and age to promote aristocratic elitism as an aspirational ideal, and worse to celebrate the subversion of social justice in the name of genetic superiority and social hierarchy.
 
The Order might have done better to dump its fascist leanings and instead focus on making its genetically superior elites more fully human. Telling stories about college life through a supernatural lens might have been the smarter choice. As it stands, we are left with fascist propaganda masquerading as popular entertainment, flying below the radar among the second tier of Netflix offerings.  The Order sucks.

13 Comments
Joe Scales
6/20/2020 09:29:18 am

"Every line tries to be a joke, often at the expense of “woke” culture, and none of them is funny. "

Time for you think about jokes made at the expense of woke culture that you do find funny. Yeah... tough, ain't it?

Reply
Jason Colavito link
6/20/2020 09:34:11 am

It's more than possible to make jokes about overly earnest ideologues. When the whole joke is "Ha, ha, they think women and minorities have feelings!", it's not funny.

Reply
An Anonymous Nerd
6/20/2020 12:30:07 pm

It the Right/Fringe Brigade. Welcome to this moment.

-An Anonymous Nerd

An Anonymous Nerd
6/20/2020 01:43:13 pm

[typo correction in ALL CAPS]

It IS TO the Right/Fringe Brigade. Welcome to this moment.

-An Anonymous Nerd

Joe Scales
6/21/2020 09:42:37 am

"When the whole joke is "Ha, ha, they think women and minorities have feelings!", it's not funny. "

I've been reading your work for a while. You don't have a sense of humor. Putting that aside, what you truly believe is that women and minorities cannot be targets for humor. Unless of course they are conservative women and minorities.

That's just how it is man, and it's ruining entertainment. Thanks for that...

Jim
6/21/2020 12:34:42 pm

"what you truly believe is that women and minorities cannot be targets for humor."

I'm sure Jason appreciates you telling him what he thinks.

Broken Record
6/21/2020 12:52:20 pm

I think that if you bothered to read many of Mr. Colavito's comments here over the years he has made humorous comments and criticisms of particular women or minorities of all political stripes when merited. Reading what someone actually says as opposed to what you want them to have said in order to merit your criticism is FUNdamental.

Darold knowles
6/20/2020 05:08:35 pm

The term “woke” became prominent in black culture as a result of issues of police brutality against blacks. Conservatives proceeded to turn the term into a big joke — and you wonder why you can’t get the black vote.

Reply
Not Kent
6/21/2020 12:23:55 am

",,.because it seems no one involved cared about making good television."

Jason?

For the Love of Fritz, Bob, Howard, John and Gene?

Slow down. Pace yourself.

Write weird fiction.


We'll wait. You're so young. And....

Please?

You're on fire. ❤️

Reply
Kent
6/22/2020 04:34:56 pm

Sorry Jason, your TV reviews are all "this is shit". A restaurant reviewer who says "This restaurant is shit, that one's shit, the one next door is shit" is not doing his readers any favors. Have you considered seeking out a TV show that you like? Or are you going to be like Rachel Dratch smashing into a human face, forever?

"It takes a lot for a TV show to actually offend me." No, it really doesn't.

Gay, Trump, I don't care. Watch Roswell, New Mexico and Stargirl. Or the Doctor Who episode where the gay FBI agent wanted to marry his black male lover .... in 1969. You seem hellbent on watching TV you don't enjoy. That's an issue.

Reply
Donna
7/1/2020 06:34:14 pm

Canton Everette Delaware III !!!!!!! Doctor Who needs to bring him back for a multi-Doctor story, because he was a fabulous character! And because I think he would be hilarious with both Matt Smith and David Tennant.

Reply
Donna
7/1/2020 06:32:24 pm

My husband and I just binged both seasons. Let me say right up front: We *liked* it a lot. Jack's backstory was fascinating. The Order: how very cool! Werewolves? Oh yeah! The first season was a lot of fun. Really liked Professor Clarke. Why were none of my philosophy professors like him? LOVED Randall. Seriously, he brought comic relief but he also brought a lot of "smarts" that most everybody tended to overlook. I didn't think the actor cast as Edward Coventry was quite as charismatic as the character should have been and never quite believed how Alyssa fell under his thrall so quickly. But when Jack said he wished he'd never heard of the order and never become a werewolf, that he just wanted to be NORMAL, I felt that.

Second season? We still enjoyed it and there were still plenty of twists and turns that we hadn't seen coming. Jack and Gabrielle? Cheer squad? Well all righty then. But Jason is right that the writing was wildly uneven in season 2 and not nearly as good as season 1. He's also right that there was just no character development in the season. And what's with holding back on Maddox Coventry until the end of the season? If they're going to pull out Maddox in a season or two to be Jack's new nemesis, let's see him NOW.

I also had to roll my eyes at the ending. Jack figures out that Gabrielle is going to try to kill Alyssa and maybe Vera, who are together. Maybe I blinked, but .... WHY didn't he pick up his phone and call her? Jack had a phone. Hamish had a phone. I think Nicole was there, with a phone. Between the 3 of them calling and texting Alyssa, she should have found out Gabrielle was coming to kill her in time to protect herself, hide herself, or prepare to kill Gabrielle. My husband doesn't think Alyssa is really dead. We'll see.

I do have to disagree with you, Jason, when you try to inject politics into the show. Witchcraft as practiced by the Order is just POWER. No matter who holds power, whether left, right, or center, we all know that power corrupts. Human nature, not political leanings, prompt us to keep it for ourselves and not share it. What Foley and Salvadore were ignoring is that once everyone is able to use magic, there will be people who try to find MORE magic, BETTER magic, DARKER magic because they want to have more power than anyone else.

The "elites" in every society always keep more for themselves than they share. The people in power always try to keep the power class very small and they try to keep everyone else under their heel. George Soros isn't trying to make the world a better place - he's trying to concentrate power in a small group of people who will be controlled by HIM. So it isn't a left-right-Nazi thing. It's a HUMAN thing.

Now back to the show - another point that bothered me was Pete repairing the necrophone. Say what? Yes, it's a machine. But it's also magical. It was created using the power of magic. Pete's wire and soldering iron aren't going to make it workable again (in my opinion). And if it could be repaired, wouldn't it be interesting to ask Chloe whether she's seen Edward now that he's in the hereafter?

I hope the show comes back. I hope they get some better writers. Jason, you need to start writing scripts. :-) Or be a showrunner and control the story arcs and character development. I think you could do a much better job with "The Order" than Chris Chibnall has done with "Doctor Who."

We're going back to finish "The Umbrella Academy." Anybody seen it?

Reply
Christopher
1/25/2022 01:12:33 am

Fascist propaganda? What utter hogwash.

Yes, The Order *believe* they are superior and rule by some divine right, but they are never never portrayed as the heroes - Quite the reverse, they are shown as fractured, deceitful, and arrogant. Even the ersatz protagonists, 'The Knights of St. Christopher' are shown as morally conflicted and deeply flawed. There are moments when they are the lesser evil, and some of them make a sincere effort to do the right thing, but at no point in any episode of this or the first season are they portrayed as an ideal - so where precisely is there propaganda in any of this? Indeed, virtually every character's arc ends in tragedy, paying a heavy price for their choices.

As for the villains, they wear a mask of egalitarian virtues, but never once demonstrate morality - They act with the same cruelty and disregard for life as the worst of the order, and their arrogance is compounded by their total failure to see the consequences of their recklessness.

Truth be told, the entire series acts as an indictment of elitism and dogmatic beliefs, and ends in near complete tragedy for all involved - the absolute antithesis of "propaganda".

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