Over the last week or so I’ve been watching The Umbrella Academy (2019-2022; Netflix; three seasons; 10 episodes each). Speaking as someone who is beyond being over live-action superhero stories, I rather enjoyed it. Enough that I plan to check out (in both senses of the word) the same-named graphic novels the show is adapted from.
And that right there says even more about my enjoyment of the series. How many times have I written here that doing a live-action adaptation of comics or animated shows is a mistake that usually ends badly? (A lot is the answer.) And it’s a Netflix show to boot.
Yet, despite some small annoyances, I found it quite engaging.
One of the main posters for the Netflix adaptation of the Neil Gaiman graphic novel The Sandman seems to encapsulate and illustrate an approach by Hollywood that many, myself included, find problematic. This post continues a series of posts pondering the issue of actor swapping in film and TV roles.
I spent two posts (one and two) on The Sandman adaptation because of its examples of actor swapping in key roles. These stand out because they apply to especially well-defined characters. Similar, say, to the characters on Futurama.
I hadn’t intended a third post, but the poster caught my eye. It’s the one in the lede of the two posts (and this one). Its layout out intrigues me.
The last post expressed some key disappointments (and a few things I liked) about the Netflix adaptation of The Sandman (1989-1996), a widely respected, much loved, graphic novel series from writer Neil Gaiman (and numerous artists). Once I started writing that post, 2000 words came easy, but I never got to most of the notes I had.
I have three pages of said notes, so I figured I needed a follow-up post. I’m not bothering with any plot synopsis, so if you aren’t already familiar with the story and the adaptation, neither of these posts — especially this one — will make much sense.
Suffice to say, the show has its fans, but I’m not among them.
This past week I watched the eleven episodes of the first (and possibly only) season of the Netflix adaptation of The Sandman (2022), which is based on the famous Neil Gaiman comic series, The Sandman (1989-1996), considered by many to be one of the greatest graphic novels ever.
I think live-action adaptations of comics and animated shows are very hard to get right. And Netflix seems to have a bad history when it comes to adaptations, even of live shows (they’ve had a number of notable fails along those lines). On the other hand, Gaiman was attached to, and involved in, the production, which seemed hopeful.
But to say I was disappointed by the series is putting it mildly.
I’ve been awaiting the sophomore season of Netflix’s Russian Doll with both anticipation and dread. Anticipation because I thought season one was outstanding, one of the best shows of 2019. I only mentioned it briefly in a post back then (and gave it a solid Wow! rating). I meant to write a whole post about it but never did.
The dread came largely from how complete the story arc of season one was. It was hard to see more story there. Dread also came from how good it was — a very hard act to follow. Maybe best not to try?
Season two finally came out last month. My best reaction is something along the lines of “Huh?” but the phrase “muddled mess” keeps running through my mind.
Drat! A day late and a dollar short, as the saying goes. I started off this morning writing a post to commemorate the 2/22/22 date but quickly realized I’d need a time machine to pull that off. Between yesterday’s blizzard and working on an upcoming post about Plato and geometry, I lost track of the date (a peril of being retired — dates don’t matter much anymore).
Not that I had anything date-specific to post about, and plenty of other bloggers did post, so no great loss. But having started, I may as well keep going.
Even if all I have are some very tiny treats.
History, location, and religion aside, the Wikipedia disambiguation page for “Babylon“ has 52 entries under “Arts and entertainment” — 26 of which are songs (including one by David Gray that I rather like). Two entries, a novel series and an anime series (which I binged last night), link to the same page because they refer to the same very interesting (very dark) story.
By interesting (and dark) I mean it’s about good, evil, and whether the right to suicide is a good thing. The battles here are mainly intellectual and spiritual. A key point for the characters is the question: what is good; what is evil?
I also recently watched Jupiter’s Legacy on Netflix (Meh!), and I want to offer props to the most recent episode of Grown-ish, which I thought was compelling, well-done, and worth seeing.
This post is a follow up to the one yesterday about TV shows I’ve been watching recently, but this one is about recent movies. Actually, there’s a dessert dish I snuck in to make it a four-course meal — I haven’t seen Hardcore Henry in a while, but it’s so unique and tasty I had to include it.
I have two entrées today, one an Amazon Prime original modeled after the great (but as it turned out not inimitable) Groundhog Day. The other, which I also saw on Prime, is an interesting and wry murder mystery with a great cast and an interesting twist on the whodunnit murder mystery.
The side dish is a Netflix animated comedy about the robot apocalypse.
I watched the first season of Chilling Adventures of Sabrina (Netflix) with mixed reactions. It had just enough to keep me watching, but I didn’t think much of the writing. It has the same problem as a lot of modern fantasy — random, irrational, downright dumb (and in this case very unoriginal) world building.
The latter season tipped the scales entirely to an Ugh! rating for me. Television shows are rarely known for their intelligence, but this one has given me a new standard of worst-ever.
To be clear here, ‘I come, not to praise Sabrina, but to bury it.’
This is turning into a habit. Three weeks ago I binged (and loved) the entire first season of Solar Opposites (created by Justin Roiland). Two weeks ago I binged (and loved) the entire first season of Upload (created by Greg Daniels). Last week I caught up on other stuff, but did watch all of the first season of Ghost in the Shell: SAC_2045, although that took two evenings.
Last night I was up until after 3:00 AM watching the entire first season of Space Force, created by Steve Carrell and Greg Daniels. I very much enjoy the work of both, so I was very much looking forward to seeing this show. It may not be “the best show I’ve seen in awhile,” but it kept me watching to the end.
That said, I think Upload is the smarter comedy of the two.