I promised a while back that I would get better about posting to my blog with greater regularity, and I have all-but-failed mightily in keeping that promise. I was also hoping that this blog would take on some weighty theme that balanced my life in recovery with my love of comic books, superheroes and all manner of pop culture ephemera. Who knows? Maybe it still will. Someday.
But for now, I’m just going to throw up a lazy list of cool things I’ve stumbled across in my free time lately, the material that’s been filling my brain or stuff that just deserves a little extra exposure.
Thanks to Comixology, I read a lot of digital comics these days, filling up my e-shelves with runs of whatever they put on sale for .99c if they sound the least bit interesting, and doing my best to never pay more than $1.99 an issue for the premium stuff, which usually means waiting at least a month after the original release date for the prices to drop. Thanks to the convenience of the site, I’ve been exposed to all kinds of stuff I might have never discovered otherwise, especially since I haven’t been a single-issue print purchaser for decades, from mainstream “Big Two” books to all kinds of amazing indie material covering a multitude of genres.
Far and away the most interesting, entertaining book I’ve been reading on the regular for the past couple of years–the one I look forward to most each month (or longer, if they’re shipping behind schedule)–is Lazarus from writer Greg Rucka (Gotham Central, Punisher: War Zone) and artist Michael Lark (Winter Soldier, lots of other terrific work with Ed Brubaker). Set in a dystopic American future (can we conceive of any other kind?), it’s the story of Forever Carlyle, the enhanced posthuman bodyguard for her family, one of a small group of corporate clans who control all of the world’s wealth and resources. Each clan has one family member who is dedicated as the family Lazarus, nigh-unkillable warrior-soldiers who protect their blood relations at all costs, and carry out much of the dirty work when it’s called for. And it’s called for pretty often. The rest of the populace falls into categories under an oligarchical caste system in which everyone’s societal status is determined by their value to their respective clans. Laborers are known as Serfs, and everyone below them–most of the 99%–are deemed Waste. And opportunities to change your station are slim to none at best. Which doesn’t stop people from trying, usually to their own regret.
It’s an impressive exercise in world-building science fiction and a brilliant allegory for our current state of income inequality, while also being action-packed, soap operatic, and immersively entertaining every step of the way.
Five Shots to the Skull! Highest rating!
I recently discovered the British scifi comedy/drama Misfits, which ran for five tight, short seasons from 2009-2013 and was a moderate hit on BBC America. It’s an offbeat coming of age series about a group of young adults doing forced community service for various crimes, and on their first day on the job, they’re caught in a storm that imbues them with an odd assortment of superpowers that very much reflect their damaged personalities. In an American version, you might expect that these kids would fairly quickly realize their gifts and heed the call to become “proper superheroes,” but in this anarchic swirl of hormones and bad behavior, it takes this crew five years and a gradual but complete cast and character overhaul before they really pick up the mantle of herodom. In the meantime, they drink, drug, creatively curse, fuck and accidentally kill multiple probation workers in possibly the most punk rock TV show it’s ever been my pleasure to binge-view. It’s more reminiscent of Skins than it is The Avengers or even Mystery Men, with a hint of Buffy in the way that their young lives, their powers, and the monstrosities they encounter are frequently metaphors for the painful, puzzling struggles of adolescence and the agonizing transition to adulthood.
Apparently loyal viewers during its original run were unhappy with the wholesale cast changes that took place, particularly from season 3 to 4, but watching it in one fell swoop made the transition feel much more organic, and eventual series lead Joseph Gilgun (a terrific bad guy in Lockout and soon to co-star as the Irish vampire Cassidy in HBO’s take on Preacher) is so goddamned entertaining he pretty much walks away with the whole show anyway. Also entertaining to see Iwan “Ramsay Bolton” Rheon as a likable nerd and burgeoning badass in the early seasons. It’ll make you hate his face just a little less.
Three Strikes Against Your Record! Highest Rating!
This past week I read an article on the AV Club about David Fincher having the plug pulled on his proposed cable series Utopia, which was said to be a remake of a fairly recent scifi suspense series from Britain’s Ch. 4, in which an obscure graphic novel holds secrets that could apparently lead to either mankind’s salvation, or its doom. Maybe depending on who’s reading it? I dunno.
This was the first I’d heard of it in any form, and considering my recent good luck with British scifi series, I tracked it down, finding several episodes from its two seasons available–in high-quality HD no less–for free on YouTube. Watch the first scene of that first episode and if you like your scifi thrillers gorgeously shot, intriguingly scored, shockingly dark and laced with brutal humor, you’ll be hooked from the jump. I’ve had to search a little harder to find episodes four and five but I have found them, and while I’m not quite through the first season, I’m enjoying it at least as much as I did the Wachowski’s Netflix series Sense8 (though that show is decidedly more utopian than Utopia for sure).
Four White Rabbits! Highest Rating!
Finally, for today, I want to mention Spring, an offbeat romantic horror fantasy that feels more like a well-made naturalistic indie drama before the high weirdness kicks in. It’s the story of an underemployed young man from California (Lou Taylor Pucci from the 2013 Evil Dead remake) who gets into some potential legal trouble shortly after the death of his mother and decides an impromptu trip to Europe is just what he needs to get free of the life that’s closing in on him at home. Once there, he meets some incredibly obnoxious British backpackers who drag him on a roadtrip to an idyllic resort town in the shadow of Vesuvius (and yes, SPOILER ALERT, that is definitely Chekhov’s volcano, destined to go off in the third act). There he meets Louise (the jaw-droppingly stunning Nadia Hilker)
who is either God’s gift to weary travelers or a nightmare walking, depending on her blood sugar levels. It’s equal parts Before Sunrise and American Werewolf in London with a hint of another recent indie horror flick, The Afflicted, though it doesn’t suffer from that movie’s ill-considered choice to muck around in the exhausted subgenre of the found footage thriller. It’s solidly scripted, the leads are charming and likable, and the indie directors got a lot of mileage out of utilizing carefully planned drone shots to capture their Italian seaside setting. And even when it erupts into horror, it’s anything but a generic monster movie, emerging as something much more Lovecraftian while remaining thoroughly romantic and surprisingly sweet. This is a horror flick that, occasional grossouts aside, would make a better-than-average date movie.
Four Probing Tentacles! Highest Rating!