Although the Max series makes a radical argument for what constitutes American history, it also suffers from the blind spots of the action movies to which the show is a loving tribute.
Save this story“Gets pretty exhausting after a while,” Ah Sahm tells his lover Ah Toy in the latest season of “Warrior,” on Max. “Surviving?” she asks.It is the late eighteen-hundreds, a period wedged in between the end of the American Civil War and the signing of. Immigration is high, and racism is rampant. Ah Sahm and Ah Toy are strolling through San Francisco’s Chinatown, the only place where they can exist without trouble.
But there’s a cost to translation. The series nods to the Chinglish patois spoken in Chinatown, where words that have hard stops are pronounced instead with tones held as connective filler, the tenors of which can be expressions on their own. The “Ah” in Ah Sahm is a word in Cantonese that, depending on the speaker’s lilt, can sound like “Yo Sahm” or “Heyyy Sahm,” a familiar but non-gendered Sahm.
When the three creators of “Warrior” sought to revive Lee’s project, they focussed on shifting the proposal away from the adventure-of-the-week format that was popular in Lee’s time and creating something more cinematic and prestige TV-like—the kind of thing that would feel at home on HBO. But, by leaving the rest intact, they inherited the blindspots of the classic kung-fu films to which “Warrior” is a loving tribute.
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