Category Archives: TV

Friday Notes (Apr 11, 2025)

Given everything going on these days, blogging seems more pointless than ever. My disgust and ennui have reached new levels, and I can’t help but wonder if I’m witnessing the downfall of democracy and society. We seem in the last stages of a trainwreck I’ve been bystanding for 50 years.

The Dumpster fire rages so hot that it trivializes ordinary pursuits. Add a bushel of minor personal concerns, and my will to write is all but gone.

All but. And of course I have Notes…

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Three-Body (redux)

Not quite a year ago I posted about watching the Chinese adaptation of The Three-Body Problem, a 2006 science fiction novel by Liu Cixin. At the time, I’d only seen the adaptation. Since then, I’ve read all three books of the trilogy, re-read the first, re-watched the Chinese adaptation, and now, holding my nose, am watching the Netflix adaptation.

Having read the book, especially having recently re-read it, I enjoyed the Chinese adaptation much more than I did the first time seeing it cold. It was a much richer experience, and that adaptation is very faithful to the book.

I thought for Sci-Fi Saturday, knowing much more now, I’d revisit the topic.

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Double Pi(e) Day

Be a Tauist!

I’ve found it extremely difficult to focus this past week. Most of the blame is on Substack Notes, a part of Substack that’s very similar to Twitter or a Facebook feed. I never had Twitter, dumped Facebook ages ago, and barely know what Instagram, Snapchat, et cetera are.

I have no immunity to a doomscrolling feed of interesting micro-posts. Reading them is bad enough. The urge to jump in join the fun is all but irresistible. But days are passing with little to show for them: no books read, no posts worked on, no software projects advanced.

Now it’s Tau Day, and I can’t let that pass postless.

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Resident Alien

Over the last few weeks, I’ve watched (on Netflix) two seasons of Resident Alien, a SyFy television adaptation of the same-named comic series. A third season finished airing on the SyFy channel earlier this month but isn’t yet available on Netflix.

Both the comic and its adaptation are stories about an alien stranded on Earth, but the adaptation is a severe departure from its source text. Worse from my point of view, the television show is an Idiot Clown comedy, and I’ve never cared for those. In its favor, though, it stars the inimitable Alan Tudyk.

The pity is that the comic story is much better — and much smarter — than the adaptation but has been almost entirely discarded.

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Three-Body

Over the last few weeks, on Amazon Prime, I’ve watched all 30 episodes of the first season of Three-Body, the Chinese television adaptation of the 2006 science fiction novel The Three-Body Problem, by Liu Cixin.

That’s the first book of the Remembrance of Earth’s Past trilogy. The second and third books are The Dark Forest (2008) and Death’s End (2010). I haven’t (yet) read the novel, but the adaptation is said to be reasonably faithful to the text.

I enjoyed the TV adaptation but found certain aspects of it frustrating. I’m curious to see if my frustrations are due to the adaptation or inherent in the novel.

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Awful Adaptations

I’ve written many times here about my issues with TV and movie adaptations of existing stories. Short synopsis: I usually find them lacking. Especially the more recent attempts. Extra especially the live-action adaptations of animated stories. So many are just plain awful.

I don’t mean they fill me with awe, at least not the good kind. Sometimes I am a bit in awe that the people involved all thought it was a good thing. Emperor’s New Clothes, perhaps? No one wanted (or dared) to say anything?

Recently, I got to thinking about the worst adaptations I’ve seen…

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Revisiting the Well

This post’s title is a bit vague. Someone familiar with my interests might suppose it has something to do with the Well World series by Jack L. ChalkerI’ve posted about it before. I won’t draw out whatever suspense you might have — the well in question is humanity’s wellspring of stories.

The revisiting is our love of nostalgia in all the sequels, serials, remakes, reboots, adaptations, borrowings, homages, parodies, and pastiches. To name but some. And make no mistake, all stories have elements of other stories. Boil stories down enough and the reductions begin to look similar (the infamous seven plots).

But I find myself bemused by how obsessed we get about drinking from the same well over and over when there are so many other interesting wells.

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It Takes a Thief

I’ve been a fan of Japanese anime since the 1980s, but in the last decade or so I’ve come to appreciate it even more (because what’s been coming out of Hollywood lately so often has little redeeming value). As fans of the genre know, anime can be as creative and engaging as any form of storytelling you care to name.

Lately, I’ve begun exploring the Japanese media franchise, Lupin the Third (aka Lupin III or Lupin the 3rd). It began back in 1967 and comprises multiple manga, at least six anime TV series, over a dozen films, and other related media.

It taps into our love of master thieves. The fictional monkey-faced Lupin III is acknowledged worldwide as the greatest (and most fun) thief in the world.

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Friday Notes (Jan 27, 2023)

I still haven’t gotten used to writing “2023” — it feels like a misspelling. Perhaps in part because it’s an odd number. It’s not prime, and it’s kind of cute that it’s the product 7×17×17=2023. Lucky triple sevens! And a full house, sevens over aces. (Numerology would be another of those things that are fun but which I don’t believe.)

My 2022 plan for Serious Spring Cleaning didn’t end up nearly aggressive as planned. There’s still too much junk. And still too many (piles of) notes and notebooks.

So: Serious Spring Cleaning, take two, and another edition of Friday Notes.

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Actors, Roles; It’s a Wrap

Over the last nine posts I’ve been pondering the topic of Who Can Play Who when it comes to adaptations of existing works. To wrap things up, and because ten is a magic number to us humans, it seems reasonable to try to boil it all down to something coherent. If that’s even possible.

I find myself conflicted sometimes between what I’ll call a stage play sensibility that allows huge latitude in casting actors versus my sensibilities about live-action adaptations of well-established existing properties.

I think that changes the equation.

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