Miscellaneous Mental Musings of an Emerging Artist
This post contains a spoiler for both Disney’s The Mandalorian and HBO’s Watchmen at the same time.
THE PLOT POINTS WILL LOOK UP
AND SHOUT “SPOIL US!”
AND WE WILL WHISPER
“THIS IS THE WAY.”
How curious and I am presuming accidental that these two new series, produced independently, feature at their centers orphans who, as children, were placed inside containers by their parents for safety during an attack on their community from a powerful and pitiless outside force.
Both of these children then grew into individuals who adopted faceless personas and morally complicated codes of justice.
In Moore and Gibbons’ text, moments before Adrian Veidt enacts his terrible and effective masterstroke for world peace, he sits in front of a wall of television screens, monitoring newscasts, commercials, and other broadcast media simultaneously. He determines his future investments based on a calculus of sociology and psychology — the imagery speaks of both war and of innate desperation to survive, and he decides that in the short term he will invest in erotic film producers, followed by a campaign to earn controlling shares of baby food and maternity goods companies.
Consciously or unconsciously, both The Mandalorian and Watchmen are speaking to a grim prediction about the children orphaned and traumatized either by wars or, say, cruel policies of separation from their parents. Both the helmed bounty hunter and the hooded vigilante are characters that we are moved to empathize with; both are also warnings of the bill coming due.
I suspect that there are many people out there who do not yet realize they were the ones incurring the majority of the debt.