
Election Year by Lloyd Scott
Election Year. By Llody Scott. Independently published (June 2, 2020). 220pp, Free.
Here is a book that would make one hell of a movie. There’s even a moment in the book when one of characters suggests they’re in the middle of movie-worthy activity. That said, you might have heard that this novel is well on its way to a movie adaptation thanks to no less than Duchess Meghan Markle and the new movie production company she is launching with Prince Harry. Well, this news calls for a proper review of the book in question and I’ll do my best to give you just enough of a taste without spoiling anything.
Part of what prompted me to write this review is a bit of serendipity. Lloyd Scott and I are both biracial and we both chose to speak to that within a political thriller. Well, mine is not quite as intense. Look it up, Max in America, and you’ll see what I mean. But still, I think that connection is pretty uncanny, especially how we both share our experiences with identity, being seen as the Other, and playing with being a raceshifter. You can say that our backgrounds provided the fuel for our work. I like that. Election Year is offbeat and eccentric, in the same spirit to what I’m doing too. So, let’s take a closer look.
Meet Maverick Johnson Malone, our main character, a Millennial working to help elect Suni Wainwright as the first woman, and youngest, U.S. president. It is the pivotal year of 2020, and there’s excitement in the air. The only problem is that Maverick hates Suni because she’s so fake! This summation is only based upon casual observation until one day it is based on far more than that. It turns out that Suni is a Russian operative–and so the plot thickens.

Ryan, Maverick, and Jay. illustration by Henry Chamberlain
Given all that we know about a certain occupant in the White House and his Russian connections, the plot to this novel has found a funny indirect way to tackle the issue. Lloyd has attached humor to her Manchurian candidate that provides a light and breezy way into her political thriller. The humor going in features Maverick Malone who, at first, seems rather klutzy and self-absorbed. It could be Rome burning in the background but Maverick will keep obsessing over why her ex is such a jerk. This adds up to a pitch perfect Bridget Jones vibe. Lloyd has also created a believable office culture made up of staff working to get Suni Wainwright in the White House. Often, it is Maverick Malone to the rescue with a new idea to put out the latest fire but that is usually overshadowed by her own disgruntled attitude.
Then things transition to a more serious tone. We do have the fate of American democracy to deal with, don’t we? Gee, that question has so many levels of irony that it leaves my head spinning. In fact, the story truly finds its groove just prior to the political intrigue, as the reader gets to know Maverick better. What emerges is the story of a young biracial woman who feels alienated. Part of the problem is her dysfunctional family. Her White mother and Black father are wealthy and distant. As much as she is frustrated by having to constantly explain her racial background, she finds the even greater divide to be money.
Like a good work of film noir or crime fiction, this novel is meant to please with its fair share of twists and turns. Lloyd has fun tapping into a style with the energy of a young adult novel. Maverick is already into her thirties but still full of Millennial spunk. It is this energy that carries the reader as Maverick goes deeper with her sleuthing. Along the way, Maverick finds love with Ryan, a dashing young biracial much like herself. And, to round things out, Maverick develops a greater sense of responsibility as she finds herself caring more for Jay, a Black girl who lives next door to her. It is this trio who all become caught up in the intrigue and danger that threatens to kill them all. And, even when the tension is high, Lloyd manages to insert a little irony as when Jay has a meta-moment. Jay wryly observes that the three of them seem to resemble yet another comedy adventure but with plenty of diversity.
Overall, this is a unique joy ride of a thriller. Yes, it provides those unexpected twists and turns. But the most unexpected revelations run deeper than any car chase. At the heart of it, this is a story about confronting the status quo and finding the right solutions to ultimately achieve the change that we all want. Lloyd Scott brings up many provocative issues, which pop up as events heat up. It is our main character, our shero, Maverick Malone, who is in a position to truly empathize with the Other in America. It is Maverick who can appreciate, even when passion might overtake wisdom, that life is full of complicated contradictions.
While there is plenty of humor, and action, to be found here, this is also a story about trying to understand some painful truth. For all the rip-snorting good action we find here, there’s also just as robust rounds of political fisticuffs, like this particularly pointed salvo: “You have no idea the extent of your privilege. The geographical luck of your births, freedom is a right from your first breath, and all you do is complain. We on the outside know, we see how endowed with opportunity you are and the means to do great things you have at your disposal, but all you Americans do is spend your time infighting. Refusing to see the truth of things, running down the climate clock for everyone with your pollution and your insolence. It’s time for it to end.” Well, now, if those aren’t some fighting words, I don’t know what is! Yes, if the action doesn’t get you, the heated political talk just might be enough for you to want to see how this political thriller all comes together.

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Movie Review: ‘Get Out’
When I first saw the trailer for “Get Out,” I was hooked on the idea of a racially explicit horror movie. I had already written a script in my head of what I had expected to see. I took for granted that this would be a wry and revealing look at how African Americans can still be seen as the Other. And that is definitely there. We also have the opposite where it is those who are subjugating who are seen in the same way, as some menacing Other. And I expected some dark comedy mixed in. With all that in mind, I wondered, not if, but how far this movie would cross the line.
What “Get Out” does best is keeping to a true horror movie pace, gradually building up. Instead of a frog that is in a pot of water gradually set to boil, we’re all expecting a black man to be boiled alive, so to speak. No, there are no black men being boiled–just a metaphor. In fact, there are far more gruesome things up ahead. The remarkable thing is that there is a certain level of restraint that allows writer/director Jordan Peele to navigate deeper into our collective racial history than some of us out there are ready to go.
The opening scene alone is loaded with plenty of food for thought. An African American young man is walking through an upscale, and presumably white, neighborhood. He is talking on the phone and joking with his friend that he’s lost in what he calls with a whiny accent, “the suburbs.” As he proceeds down streets with tony- sounding names like “Peacock Street,” a white sports car pulls up blaring an old 1930’s song, “Run, Rabbit, Run,” a sly reference to the classic WASP novel, “Rabbit, Run,” by John Updike. The young man attempts to avoid the car by walking in the other direction. Ultimately, he can’t help walking towards the car whereupon he’s knocked out and thrown in the car’s trunk.
Chris (Daniel Kaluuya)
We next see an interracial couple preparing for a trip. Chris (Daniel Kaluuya) and his girlfriend, Rose (Allison Williams), are about to meet Rose’s parents. Chris is hesitant and Rose asks him what’s the matter. Chris asks Rose if she mentioned to her parents that he’s black. Rose laughs it off and reassures him that’s it’s not an issue at all. It’s a tender moment. It shows that Chris is vulnerable while Rose is far more in control of the situation. The acting is quite believable. Rose seems clearly in love with Chris. But the focus leans towards Chris as we see events through his eyes. He’s convinced he’s entering the lion’s den and we easily sympathize.
The focus never leaves Chris and, once they arrive at the family estate nestled in the woods, the attention heaped upon Chris grows. It begins with the first meet-the-parents round. Bradley Whitford and Catherine Keener make for deliciously out-of-touch parents attempting to be hip. If only that was all that lay in store for our hero. Red flags go up one by one. There’s a quick aside by the dad, “Oh, that room leads to the basement. We closed it up due to a buildup of black mold.” Yikes, in the context of a horror movie, that says it all.
Things are gonna keep steadily getting freaky from here on out. And so they do, some artful and some more in line with standard-issue tropes. One horror chestnut, the comedy relief sidekick buddy, is given new life and put to fine use here. Lil Rel Howery as Rod Williams, one of TSA’s finest, adds another dimension to the narrative. While he may rob the movie of some of its more provocative and scary potential, that seems to be the right approach for a project that is unleashing so many racial issues. Overall, we end up with a number of compelling scenes and images without resorting to a heavy hand.
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Filed under Horror, Horror Movies, Movie Reviews, movies, Race, Race Relations, Racism, Satire
Tagged as African American, Entertainment, Horror, Media, Movie Reviews, Movies, Pop Culture, Race, Race Relations, Racial Issues, Satire, Social Commentary