Enlarge / Our two main heroes so far, Buck and Bucky. Or possibly Bucky and Buck. I forget which is which. (credit: Apple)
I'm writing this article under duress because it's not going to create anything new or try to make the world a better place—instead, I'm going to do the thing where a critic tears down the work of others rather than offering up their own creation to balance the scales. So here we go: I didn't like the first two episodes of Masters of the Air, and I don't think I'll be back for episode three.
The feeling that the show might not turn out to be what I was hoping for has been growing in my dark heart since catching the first trailer a month or so ago—it looked both distressingly digital and also maunderingly maudlin, with Austin Butler's color-graded babyface peering out through a hazy, desaturated cloud of cigarette smoke and 1940s World War II pilot tropes. Unfortunately, the show at release made me feel exactly how I feared it might—rather than recapturing the magic of Band of Brothers or the horror of The Pacific, Masters so far has the depth and maturity of a Call of Duty cutscene.
Does this man look old enough to be allowed to fly that plane? (credit: Apple)
After two episodes, I feel I've seen everything Masters has to offer: a dead-serious window into the world of B-17 Flying Fortress pilots, wholly lacking any irony or sense of self-awareness. There's no winking and nodding to the audience, no joking around, no historic interviews with salt-and-pepper veterans to humanize the cast. The only thing allowed here is wall-to-wall jingoistic patriotism—the kind where there's no room for anything except God, the United States of America, and bombing the crap out of the enemy. And pining wistfully for that special girl waiting at home.
