![]() ![]() It is worth stressing that the show never represents the tools, tactics and rhetoric of the deeply racist, oppressive Nazi Reich and Japanese Pacific States as anything other than terrifying and vile. “If we are going to beat the Nazis,” one of its leaders informs her, “we have to be even worse”.Īt a time when Far Right political movements are resurgent in the US and Europe, and concerns about the spread of fascism are at a renewed high, it may seem irresponsible – or even dangerous – for a TV show to explore such territory.īut The Man in the High Castle is definitely not glamourising or fetishising Nazi-dom. One key moment in season two comes when a horrified Juliana is put in no doubt as to the Resistance’s zealous, corrupted nature. The cause of the Resistance is inherently sympathetic but their actions are increasingly not. Operatives who will massacre civilians or bump off their own members if it serves their purpose, or at least bloodies the nose of the occupiers. Indeed, one of The Man in the High Castle’s most provocative moves, and one which makes the action even more interesting, has been to gradually distort the naturally ‘noble’ cause of the US Resistance by making its most prominent members vicious, nasty pieces of work. The show has frequently dealt in the contradictions of people doing the wrong things for the ‘right’ reasons, and the perceived justification in violence for a given cause. Smith and Kido are willing to do violence if they feel it is justified. It may seem bizarre to consider ‘extremist’ Nazis as opposed to more ‘moderate’ ones, but the drama does an effective job of contrasting Smith and Kido’s measured, solemn pragmatism against the nightmarishly nasty individuals who would seize power even if it meant the death of millions more, and who actively relish the prospect of unleashing more and more suffering throughout the world. With Smith in particular, the drama contrasts this more ‘human’ side of him with the more sadistic and psychopathic elements of the Reich. We see them struggle with the weight of their deeds (it is hinted that Smith goes away for whole days of seclusion on his boat, in a bid to try and cope mentally with the past atrocities he has committed). They feel guilt, remorse, shame and self-doubt. It is also increasingly obvious that Smith and Inspector Kido have consciences. The weight of the alternative world: John Smith has had a lot to contemplate throughout The Man In The High Castle (Photo: Amazon Prime) And it does this compellingly.īoth men will do anything to try and avert renewed war, and over the course of the drama we see them taking considerable risks to ensure that shady internal conspiracies – which would lead to catastrophic conflict and loss of life between their respective States – are not allowed to take hold. The show frequently frames Smith and Kido as agents of order against chaos. Symbols of oppression, who imprison, torture and kill with the aim of protecting the apparatus that keeps both empires wielding tyrannical power.Īnd yet, as The Man in the High Castle progresses, some of our black-and-white assumptions break down. They are both harsh agents of their respective States. These worlds just might hold brighter possibilities, reflective of their own desires and regrets.īy contrast, Obergruppenführer Smith and his Japanese counterpart, Inspector Kido, are far less apparently relatable. Juliana has the ability to empathise with almost everybody, regardless of who they are, or where they come from.įor these reasons, it is directly implied they are the two people in the drama most able to see into and experience The Man in the High Castle’s alternative realities (this is after all, a sci-fi show – based on the work of Philip K Dick). They attempt to do the most humane thing, and treat others with kindness, decency and respect. Tagomi reacts with horror when a General suggests they transport radioactive materials in buses loaded with non-Japanese civilians. ![]() Juliana has emerged as one of the truly ‘good’ characters (Photo: Amazon) In an alternative 1960s society where the Nazi Reich and Japanese Empire won World War II, and the US is ruled by these ruthless powers, The Man in the High Castle presents a world where the enforced norms and values of everyday society are so dark and dystopian that the very nature of morality itself is twisted beyond recognition.Īgainst this backdrop, it is no surprise that sorrow-eyed pacifists Juliana Crain and Trade Minister Tagomi are positioned as two of the most instantly sympathetic characters. And as the drama prepares to return for its third season in October, it is the show’s extraordinary ability to make us empathise with some of its monsters, and reveal their humanity, that remains so engaging. ![]() But over time, Smith has begun to shift ever further from imposing villain to troubled anti-hero.
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