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The Terror: Infamy is the most politically relevant show on television

In the second season of The Terror, the dead refuse to stay buried. The show’s first episode, which premiered on AMC on Monday night, opens in 1941 on the piers of California’s Terminal Island, the home of a Japanese immigrant community. A woman has just killed herself in the most gruesome way imaginable; her family gathers to bury her when a sudden violent burst of wind knocks the coffin to the ground, spilling its contents in full view. The family hastens to replace the lid; what has been interred is not supposed to be seen again.

For many Americans, The Terror: Infamy is a similar gust of wind, hurdling what is preferred undiscussed out in the open once more. While plenty of lauded television shows over the past several years have tried to tap into the fears of growing fascism in real life, none have managed to be as incisive, or as shocking, as The Terror. Rather than conjure up a parallel reality as The Handmaid’s Tale and The Man in High Castle have done, The Terror: Infamy excavates one of America’s ugliest chapters by reminding us that, as scary as Japanese ghosts might be, what actually happened was somehow even more horrifying.

Named after President Franklin Roosevelt’s proclamation that the Dec. 7 bombing of Pearl Harbor would “live in infamy,” The Terror: Infamy is the sequel to one of 2018’s most underappreciated debuts. But the first season, which focused on Sir John Franklin’s doomed search for the Northwest Passage, has apparently no relation to the second installment in the horror anthology. While the first season was largely apolitical, when The Terror was renewed and the Japanese interment camp plot was

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