Last week Variety reported that HBO is developing a replacement for Game of Thrones: a counterfactual drama wherein the Confederacy successfully seceded. Suddenly everybody has strong opinions about alternate history!
“Confederate” chronicles the events leading to the Third American Civil War. The series takes place in an alternate timeline, where the southern states have successfully seceded from the Union, giving rise to a nation in which slavery remains legal and has evolved into a modern institution. The story follows a broad swath of characters on both sides of the Mason-Dixon Demilitarized Zone – freedom fighters, slave hunters, politicians, abolitionists, journalists, the executives of a slave-holding conglomerate and the families of people in their thrall.
My Twitter TL was awash in negative reactions, many of them authored by GoT fans. The sexy-time adventures of Dumblesticks the diddling dwarf? A-OK! But grays exiting the USA? NO WAY!
Wait a minute, you say. Isn’t there a popular what-if miniseries on Amazon Prime that posits an Axis victory over the US, based on an award-winning novel by Philip K. Dick that even has its own amazing album produced by Danger Mouse? Maybe HBO is trying to make a couple of Reichsmarks on the same sort of idea?
Nope! But don’t take my word for it — here’s TeenVogue, of all outlets, to piss on your Land O’Smiles:
To some, the existence of The Man in the High Castle effectively voids any initial criticisms people have regarding Confederate because they believe both shows are essentially the same. But to adopt that stance is to be woefully uneducated about the reality of how both events have been handled historically, in their nations and throughout the globe.
You see, the Germans are totally sorry for the Holocaust whereas Americans are like totally not sorry for slavery! That’s why a show such as Confederate is nicht gut! What are you, woefully uneducated? God!
To be fair, the reason why Man in the High Castle is well received and the mere suggestion of Confederate isn’t may be because the latter hits a little too close to home. After all, I’m unaware of any Nazis-win-the-war shows coming out of Germany. On the other hand, the fact that High Castle‘s point of divergence occurred more recently — there are still people alive who experienced the 1930s and 40s — suggests that familiarity isn’t the whole explanation either.
Now if you’ve just slid from the timeline where this blog is a one long string of poop emojis and you’ve never read my writing before, let me be glacially clear: the Civil War was initiated by bellicose and arrogant slave-owners for horrible, selfish, and stupid reasons. Outmanned and outindustrialized from the get-go, the Confederacy never had a chance of winning, and the fact the war lasted as long as it did is due less to any effort by the rebels than to confusion and Federal mismanagement early in the conflict.
That said, it’s certainly symptomatic of social-media’s outrage culture that the simple idea of a fictionalized southern secession drove folks to stuff the Internet’s complaint box.
Many of those instant-coffee Turtledoves seem unaware of the deep library of Civil War-based alt-hist literature already out there. How Few Remain alone spawned ten sequels. There’s Robert Conroy’s 1862. I can recommend Terry Bisson’s odd little novel, Fire on the Mountain. The most well-known is undoubtedly The Guns of the South. And most recently there’s Ben Winters’s 2016 novel Underground Airlines, nominated for several prizes. So many trees have been killed on the subject you need an entire page on Wikipedia to keep them straight, and I have to wonder if HBO, like Amazon, would be better off adapting and expanding an existing book rather than generating an IP whole cloth.
Among alt-hist writers, in fact, the what-if-the-South-seceded trope is so common it’s cliche. The first two alt-hist stories I ever wrote involved the Civil War. “Galveston” has Johnny Reb trying to enlist an independent Texas to the Lost Cause, while “Glorieta Pass” posits an underground abolitionist resistance in the post-secession territories. If those concepts sound familiar it’s because they are — I look back on those stories now and cringe at their banality. That recognition pushed me to write better stories.
But here’s the thing, a lesson that any true creative can tell you: It’s not the idea, it’s the execution. A monster terrorizing a group of people is the plot of countless schlocky horror movies but only one of those films is Jaws. For every million landscapes painted there’s The Starry Night. Every book or movie or artistic endeavor is, at it’s core, conceptually the same as something else, some other work.
Confederate hardly has a monopoly on iffiness. Hey! Wanna hear my pitch for a show about a bunch of inmates in a WW2 POW camp? It’s like The Great Escape only it’s a sitcom where the Nazis are a bunch of buffoons and the one guy goes, “I know nothing!” a lot! It’s funny because he’s fat and has a mustache! Ha ha!
And yet if you turn on TV Land or dig deep enough into your television’s channel guide, you can watch the execution of that concept right now, still in syndication years later.
The point is, it’s not so much the elevator pitch that matters, it’s how an individual work is rendered that distinguishes it. It wasn’t the ideas for my stories that stunk. It was my execution of them.
Personally I’m a hundred times more excited to watch Jordan Peele’s production of Lovecraft Country (which I reviewed here, BTW) than I am Confederate. Maybe Confederate will be terrible, in which case viewers will be sure to let HBO know. Maybe, like High Castle, it will be brilliant.
But it’s a little rich for dorks who nerd out over E.L. James-scribed Dungeon & Dragons fanfic to shut down an idea before it even steps across the drawbridge. It’s even more ignorant for some of those same people to be writers and artists. They ought to know better.