The Burns-Simon approach pieces together understated, quotidian scenes to create large-scale portraits of sea change. It’s said on the streets, at the dinner table, in bars. Father Herman (Morgan Spector, exuding an era-appropriate Old Hollywood leading-man energy in face and poise) is the one to invoke the famous last words mentioned above, the last gasp from freedom before it’s extinguished.īut in typically Burns-Simonian fashion, “it can’t happen here” doesn’t arrive at a climactic, or even decisive moment. The shifting national currents articulate themselves in the rapidly changing lives of the Levin family, Jews living in a Newark enclave. His strict anti-interventionist stance toward the spread of Nazism through Europe and the thinly veiled xenophobia implied therein germinate over the following years in a chilling illustration of how fascism flourishes. The show picks up in June 1940, diverging from the historical record with the political ascendency and presidential election of aviator/war hero Charles Lindbergh that fall.
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