Thank God for Netflix. I refuse to invest in shows during their original runs. I’ve been burned too many times by early cancellations and character-killing contract disputes (yes, Roar, I’m talking about you). Now I demand that a series survive to its intended conclusion before I commit my very limited free time to watching it.
And, at the risk of sounding like a hopeless dork I will not gush at the overall excellence of the production. I will, however, say that it is remarkably similar in tone and style to Y: The Last Man, an award-winning graphic novel series by Brian K. Vaughan. Of course, Vaughan was a writer on Lost, so there is no great surprise there, but it is somehow comforting and familiar.
On the subject of good media, I can’t say enough postive things about this:
Seriously, I have no idea how it took me so long to find Bastille. Bad Blood is one of those rare, top-to-bottom pieces of absolute art that makes me wish I could rediscover it every single day.
It is a good soundtrack for Kraken, China Mieville’s dense, quirky, theopolitical thriller. Much as I sometimes feel abused by the man and his insistence on creating an entirely new vocabulary for every novel, I just can’t seem to quit him.