Brattata and Archer

7:00 AM

Roy Lichtenstein, Brattata, 1962

When I first saw this Lichtenstein, I immediately thought of Archer. The show's just returned for its new season, changing the entire plot and introducing a whole new point of the show: sell an actual ton of drugs and retire for life.

Of course, there wouldn't be an entire season devoted to that if the plan actually worked.

The thing I love about this piece is the written caption on it along with the written, worded sound of missile fire. Instead of being even anxious or afraid of the additional fire aimed at him, the pilot talks about getting more planes to aim at and how he wants to shoot down a certain number for bragging rights. At least for me, I can't imagine that level of comfort in that sort of area, especially with my life on the line. But I think Lichtenstein is trying to evoke that sort of shock with this piece, with the nonchalance of the pilot hitting just as hard as his missiles.

Archer does the same thing. Through the entire show, the shooting and violence and complete mayhem combine into something that is absolutely hysterical, though little of it should be. One of the actual workers in ISIS is shot in every single battle there is on site, actually (spoiler) being killed off in the first episode of this new season. Mixed with witty banter and hot female spies, the show could be a complete mess. Instead, exemplified by Archer himself, it becomes a smart show, opening a whole different world than other spy shows. I'm not saying it's enlightening, but there is something in its dark comedy that says quite a lot about its viewers and what they are interested in seeing: chaos.

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