24 Trailer Review Season 9
Hero Dad Back Again To Save the Day, Only This Time We Discover He Has Actually Been Canadian All Along in 24 Live Another Day Trailer
Jack Bauer is back in the 24 trailer, primed to do more in a single day than the average American citizen does in a lifetime of – saving presidents, taking down terrorist cells, and jumping out of vehicles. This time Chloe O’brian has finally gone full emo-teenager, complete with pitch black hair, choker collar, and patented nostril flare:
This look is a pretty weird direction given the character has always been a square and is nearing or entering her early 40′s, not usually prime-time for an emo rebirth. The 24 trailer gives the impression that the writers were just looking for any way to demonstrate that Chloe has changed in the three years we have been away and making her look like Robert Smith from the Cure was the easiest visual symbol to use.
Which is actually funny because, for obvious reasons, the theme song of the show should have always been The Cure’s Killing An Arab. Jack Bauer has always had a little bit of the existentialist angst of Camus’ Stranger, mixed with the Frankenstein son-of-America killing machine that is Jason Bourne. The 24 Live Another Day trailer really puts on display how much of an obedient Bourne Identity character Jack is to his one true master – uncovering the conspiracy:
This all seems like the standard 24 content we have loved for the previous eight seasons. Jack is quick, nimble, and jumping over candlesticks – exactly what you want in the guy who is going to save you from the evil Russian? German? Chechnyan? Syrian? Iranian? Iraqi? Well some Semitic “bad guy” and the “bad” white guys who love and support them.
In the graphic which tells us the date upon which the season will drop a very curious image blinks onto the screen for a millisecond. Lost in the transition to the date of 5-11, the day the first episode will premiere, is a frame which contains the truest date of all: 9-11:
And here we have the rub, the very reason for the shows existence, the unspoken but often spoken of underlying tension in 24, Homeland, your trip to the pharmacy, the tank of gas you just bought. Here in this image we have the entirety of how a show like 24 is driven upon a single premise: fear.
“Another 9-11“ is flashed for only the briefest of moments to prime the audience for the fear economy they will be calling upon while watching this show. 24 is a ritualized exorcising of the demons that continue to haunt thought since that day in which the Twin Towers fell. This image signals that the show will remind us that even though there was a multi-year hiatus, the threat of terrorism never goes away and we must be on high-alert – we being the West (the Occident).
For this is what 24 has always done – created an Occident versus Orient dialectic in which US must defeat THEM. A THEM that is always knocking upon our chamber door to which we must always be vigilant to eternally reply `nevermore.` All pains eventually fade and the code red-orange-yellow-blue-green (has it ever been blue or green for even one moment) state of terrorism alert scale begins to lose the Occident`s attention. In swoops Jack Bauer to remind us we are still at code orange – a permanent burnt orange, almost Sienna shade of terrorism alertness.
But the attack on our senses must not only come from the action, the real message is driven home by these subtle flashes, a call to our subconscious to prepare for arms. The right hand of the subliminal sex image, the subliminal violence image demands that we activate our guilt-redemption complex, priming us to grind our teeth, mash our hands together and demand that an enemy be sacrificed.
Hiding in plain view – the flash of “Another 9-11“ lets the 24 trailer tell its whole story, this show is not only what you want, it is what you need as a viewer in the Occident – to return all that the foreign has done to U.S., the violence that the Orient has perpetrated on our “innocence“ (an innocence that THEY have stolen) – now it is pay back time.
Flashing 9-11 brings us back to the moment at which the poison has taken effect. It has always been Jack Bauer`s job to identify, isolate, and exterminate that which kills from within. Thus, the reason that so many seasons have focused on the nature of the “sleeper cell, the rogue president, the wayward son. Thus, Brody on Homeland.
The number of media artifacts that follow this format is endless, it is not only the practice of the 24 trailer. Whether the scapegoat is an external enemy or internal: our women, our minorities, our foreigners whom have infiltrated; the method is always the same – find the poisoner of our `purity` and destroy them.
At some point the merry-go-round has to stop – the material gets old, right? Or, perhaps we just need a refractory period, a breather, some down-time to re-up on the package of violence and shame. The 24 trailer is our narcotic that reminds how very soon our savior will be back to save us, to conduct the ritual of purification, so that we no longer have to suffer through the existence of our “enemy.“
But is our enemy inside the screen or is it the screen itself? Are the screens not the terminal which keep us from the possibility that there are no enemies, just people whom have adopted belief sets that differ from our own? Does the “enemy“ truly deserve to be vanquished or rather understood? A show that highlighted cooperation and mutual respect would not get past the pilot and if it did it would not make it past a first unwatched season.
This is a significant fact, but not one the 24 trailer will ever have to worry about. For 24 nourishes: a 9-11 top-up that allows us to scream the loudest during the two minutes of hate.
Hidden Another 9-11 messages