Underworld: Evolution (and Race War)

A black man co-wrote and co-created the Underworld movies (specifically, that huge guy who plays one of the werewolves). I find this interesting because all three of the movies are, in some way, about forbidden interracial love — albeit between vampires and werewolves. I’m not saying everything a black writer does must be viewed through a racial lens, but it probably crossed his mind — and by the third film (this year’s weak prequel), the werewolves (including him) have become sympathetic escaped slaves, whereas the vampires are the ultimate white-as-ghosts aristocrats.

It all makes sense in context but may have a subtle deeper message, too (and the first film still has one of the coolest opening sequences ever, no matter how Matrix-derivative it is). The movies automatically put us on the side of hybridization and the overcoming of boundaries — and by extension, pit us against isolationists, preservationists, and protectionists (both cultural and economic) whether right or left. (I wrote about our growing love of vampire-hybrids for Metaphilm, as I’ve mentioned before.)

Evolution has no teleology, purpose, or inherent morality to it, but you have to like the metaphorical laissez-faire message that it’s wrong to forcibly stand in its way. You wouldn’t want to stop us becoming gods, after all — or would you? Let us conclude the “Month of Evolution” tomorrow with a bit more on that question (and superheroes).

And if you’re looking for something to do in the meantime, consider attending one of these American Tea Party anti-government-spending rallies (today in most of the numerous cities involved, tomorrow here in NYC).  Sadly, werewolves are not the only slaves, and movie villains are not the only vampires.