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.
Early last year I wrote about Cowboy Bebop, an award-winning Japanese anime classic from 1998. It’s on my list of favorite things ever. It’s so rich on so many levels that I’ve watched and enjoyed it at least half a dozen times. For me it’s an almost perfect combination of anime, hard SF, music, action, and humor.
Late last year Netflix released a live action version with John Cho, Mustafa Shakir, and Daniella Pineda, as Spike, Jet, and Faye, respectively. I watched three episodes and bailed. It wasn’t just me. Netflix cancelled the series only a few weeks after its release.
Ever since, I’ve wanted to give it another try, see if it really is that bad.
For Sci-Fi Saturday I have to post about Farscape, a science fiction TV series from 1999-2003 that (on the advice of a friend) I just started watching. I’m only up to episode 18 of season one, but I’m enjoying the series so much I thought I’d post about it. There are four seasons comprising 88 episodes (22 per season), so my opinion could change, but so far, I’m totally loving it.
I also want to mention the third Ben Bova book I’ve read recently. Bottom line, I really enjoyed it. Definitely the best of the three. It restored my faith in Bova.
Lastly, this morning I had, what even for me was, a particularly weird dream experience. Our subconscious minds are quite surprising and just plain bizarre sometimes!
Almost three years ago I asked Whither Science Fiction? That post pondered the state and future of what I see as a platform more than a genre and found both were probably doing okay. Authors still find new territory in a populated landscape (although much of it is well-explored by now).
Today’s question isn’t as deep or important, and my answer is much less positive. It regards a TV series I largely ignored in classic form but came to love as a modern reboot. For a while it was my favorite TV science fiction series. Even when it declined a bit in latter seasons, it still was some of the best SF on TV.
But I think Chris Chibnall’s Doctor Who is an unmitigated disaster.
This post’s fill-in-the-blank title (given the “season” clue that we’re talking about television shows) might refer to any of at least three series, all coincidentally from Amazon Prime studios. In fact it refers to all three, although this post is only about two because I already wrote about Upload. As it turns out, I liked it best of the three U___ shows.
The other two are Undone and Utopia (the new one). I’d tried the former last year but wasn’t grabbed. This time I liked it better and binge-watched the whole season. The latter was dark and very murder-y. Both of them were… okay. I don’t quite recommend either, though.
What I do recommend (highly!) is the anime movie, Penguin Highway.
This has the potential to be short since it doesn’t feel that I have that much to say, but I did want to record a few thoughts. I have neither rant nor rave — just some heavy disappointment in one case. In the other case, for me, it’s more a sense of, “Well, what did you expect from a time-travel movie? Time travel is utterly absurd and inherently contradictory.”
The post’s title may have clued you in. This post is about Tenet (2020), the most recent Christopher Nolan movie, plus the most recent effort by his brother, Jonathan Nolan (and wife Lisa Joy), Westworld, season three (also 2020). I’m a little late to the party seeing both of these, but I was so disappointed in season two of Westworld, that I didn’t much care about season three (and nothing I heard encouraged me).
Last night (and into this morning) I binged on all that Nolan.
During the last two weeks I re-watched Cowboy Bebop, an award-winning Japanese science fiction anime classic created in 1998. In contrast with a lot of anime, the show is so adult in its themes that only 12 of the 26 episodes were aired when it premiered on TV Tokyo in 1998. The full series wasn’t aired in Japan until the following year on Wowow, a private, premium satellite network.
In 2001 it was the first anime title ever broadcast on Adult Swim, so it was the first experience many Americans had with Japanese anime. Since then, because of its visuals, music, and themes, it has earned international acclaim, both with critics and audiences.
It’s a definite must-see for any fan of anime or science fiction.
Last Sci-Fi Saturday I savaged Sabrina, which remains a new low to me in dumb TV. This time I have a much more mixed review. I’ve been working my way through Black Lightning (available on Netflix). It’s a superhero show, so it’s fantasy and suffers all the problems and weakness that go with that.
On the other hand, it’s about a Black superhero (three, actually), and the landscape has been sadly and notably deficient in people of color as superheroes. There is also that Black Lightning obviously has a bigger budget, much better acting, and a far stronger sense of authenticity.
That said,… I’m sorry, but superhero stories are just super lame.