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CSBG Archive

Cross-Hatchings for October 2012

Short takes on comics, TV, other stuff.

This is a house of illness this week, as Julie and I continue our annual fall tradition of catching whatever horrible plague is circulating around the school district. We are both tottering around the house honking and wheezing like some steam-driven, turn-of-the-century monstrosity Professor Potts assembled out of leftover bits from Chitty Chitty Bang Bang. (You can Google it, young people.)

Nevertheless, I do have some bits and pieces this week– nothing to make a whole column, but there are a few column-ettes here I can stitch together for you.

From the Review Pile: Tom Green at Titan Books continues to send me really cool stuff. For example, just yesterday– on World James Bond Day, no less!– the fourth James Bond Omnibus arrived.

A very classy production.

These reprint the James Bond newspaper strips by Jim Lawrence and Yaroslav Horak. Since this is the fourth volume, they are finished with the Fleming adaptations, it’s all original stories.

Pity this strip never got any traction stateside, but I suppose it's too racy for most U.S. newspaper editors.

The nine stories included are Trouble Spot, Isle of Condors, The League of Vampires, Die With My Boots On, The Girl Machine, Beware of Butterflies, The Nevsky Nude, The Phoenix Project and The Black Ruby Caper.

Jim Lawrence has actually been one of my favorite writers since I was a kid-- he ghosted the Tom Swift books I thought were 'the good ones' and created the awesome CHRISTOPHER COOL - TEEN AGENT, along with writing the Bond strip. When I found this out it explained a lot... turned out I just liked Jim Lawrence books.

I like these strips a lot and the Omnibus is a handsome volume. It’s also a much better deal at $19.99 for 270 pages of good stuff than Titan’s previous Bond reprint trades were at $17.95 each for a mere 120 pages or so. The only downside is that you lose the introductions from people like Martine Beswick and Kingsley Amis and so forth that Titan had in the front of the books of the previous run, but it’s certainly not a deal-breaker. Especially considering that you get more than double the content for an additional two bucks, and the books themselves are much better constructed, they’re built like those art-book, almost-hardcover trade paperbacks– in fact, I mistook mine for a hardcover at first. Recommended.

Also in the mail was the latest offering from Tom Pomplun and the wonderful folks at Graphic Classics, the delightful Halloween Classics. I’ve talked before about how great these books are and I’m not going to go through it all again– this series is simply the best take on the Classics Illustrated idea anyone’s ever done, I appreciate them both as a comics fan AND as an educator.

But what I love about this one is that in addition to adapting genuinely classic works into accessible and fun comics for all ages, for this volume Mr. Pomplun and his crew have also created a sly EC tribute book as well.

You know you're in for a good time when the leadoff piece is an EC pinup from Al Feldstein.

There’s a framing story done in the EC style by Mort Castle and Kevin Atkinson introducing each story in the book that left me grinning from ear to ear, and the stories chosen for adaptation this time out are very cool. Those stories are Washington Irving’s “The Legend of Sleepy Hollow” by Ben Avery and Shepherd Hendrix, H.P. Lovecraft’s “Cool Air” by Rod Lott and Craig Wilson, Mark Twain’s “A Curious Dream” by Antonella Caputo and Nick Miller, and Arthur Conan Doyle’s “Lot No. 249” illustrated by Simon Gane.

THE LEGEND OF SLEEPY HOLLOW from Shepard Hendrix, and THE CABINET OF DR. CALIGARI by Matt Howarth.

My favorite, though, has to be “The Cabinet of Dr. Caligari”, adapted from the original screenplay with art by Matt Howarth. Strongly recommended.

And finally, Fernando Pinto sent along his graphic novel, Warped: The Adventures of Sandy and Angus.

Not really my usual, but I did enjoy this.

We get a LOT of indie, small-press PDF stuff here to review, and though we do try to get to everything people send, the truth of the matter is that some of it gets by us because there’s just so much, and honestly a lot of it’s pretty bad. I don’t have the heart to beat up on small-press indie people though, so my rule is to just not mention it unless I liked it.

All of which is by way of saying that, against all expectations, I did in fact enjoy Warped a lot. This is a raucous comedy about a rocker girl and her robot companion trying to make the rent on their space ship. Now, normally I’m too stuffy and middlebrow to really go for this sort of thing– and make no mistake, the comedy here is pretty broad and in-your-face– but Mr. Pinto won me over right away with the disclaimer at the front of the book.

Even a middle-aged grumpy old-school guy like me can't argue with that!

Angus and Sandy’s various misadventures are entertaining fun, but what I love about this book is the drawing. This is one of those cases where the art sold me. I have a huge soft spot for guys that are doing traditional cartooning and caricature, and Mr. Pinto has a great eye for faces and facial expressions. He can exaggerate emotion without ever losing track of what his various characters actually look like, which is not as easy as it sounds.

Sandy and Angus meet an interstellar porn king. I love the variety of the facial expressions here.

So, it’s a funny story told with a sure hand. If you don’t mind raunchy– and it is, believe me– then I’d encourage you to give it a look. You can find Warped from the fine folks at 215ink, here. Hey, if I can climb out of my superhero/pulp adventure box every so often, you can too.

*

On the TeeVee Box: This isn’t really about comics, but people keep asking me what I think about Elementary and Revolution.

The first is because most folks know I am as much of a Sherlock Holmes guy as I am a comics guy, and the second is because…. I don’t know, because it’s sort of science fiction and I’m the SF nerd they happen to know. So here’s my two-episodes-in, hipshot verdict on each, for what it’s worth.

Revolution is a show I want to like. It’s got moderately interesting character stuff and really bitchin’ swordfight scenes.

Seriously, the fight choreography on this show is great fun.

But I keep tripping over the truly idiotic mistakes and flawed logic of the premise. The idea is that for whatever as-yet-unrevealed reason, the human race has lost all electric power. No batteries, no generators, nothing. It’s not an option. Electricity does not work any more.

Okay, fine. That doesn’t bother me. I’m okay with ‘one gimme’ science fiction– interstellar travel, alien races, telepathy, whatever, the first one’s free. That’s totally fair play in SF.

We do enjoy crabby badass Uncle Miles and his attempts to get his niece to stop being an idiot. So far, though, no luck.

My problem is all the extrapolating the show’s writers failed to do after that. See, they posit that after fifteen years of no power, the United States has fallen and the country is now governed by these various feudal lords and militias, who fight with muskets and crossbows and swords. Everything is very feral and back-to-nature, living off the land, etc., etc.

No. Sorry, but no. It’s a great idea but they can’t sell it. It doesn’t make sense. We had an industrial society long before there was electric power and running water to every home– decades before. I can’t buy that in fifteen years, no one’s sussed out how to put together a steam engine. Or gaslight. Or, hell, any of the stuff that was common throughout the late 1800s. Sure, for the first two years of the electricity failure it’d be all camping and crossbows. Maybe even the first five.

But fifteen years? No one in the continental United States has thought to look this stuff up in a library by then? All the engineers and factory workers and construction guys forgot everything they ever knew? No way. That’s ridiculous. Put aside for the moment that I don’t really believe that the human race is so horrible that we’d all go Lord of the Flies savage on our neighbors the second we ran out of canned ham– because the fact is that even cynics and bullies probably would rather have indoor plumbing and motorized transport. Give them a decade and a half and they’d come up with something.

Sorry, but a striking image doesn't excuse the basic idiocy of the premise.

I can’t get into Revolution because I keep exploding with comments like, “Oh hell no!” This stuff wouldn’t pass the laugh test with anyone who actually knows how science fiction is supposed to work.

I wouldn’t be so hard on the show (after all, I have a fondness for many of the television SF shows from Irwin Allen, which are worse) but Revolution is so damn Serious and Dramatic and Struggling With The Implications For Society all the time. If you want to get that serious with me about your future society, put some work into the writing. I can’t pay any attention to your philosophy when I’m so constantly annoyed with your clear ignorance of both physics and basic human nature. And apart from all that, I’m not crazy about yet another Lost-style show where a group including a tough cynic, a plucky girl, an earth mother, and a comic-relief nerd are thrown into a strange environment where they learn to survive by recalling Life Lessons from their former lives, mostly because that formula wore out its welcome with me during Lost in the first place.

Elementary failed with me too, but on a completely different level. This is what studio cynicism looks like.

I really WANTED to give this a chance...

Leaving aside the elephant in the room that is the BBC’s Sherlock– which is hard to do when Elementary is copping so many riffs from it, and really hard to do when you know that CBS went to Mark Gatiss and Steven Moffitt about doing a U.S. version of Sherlock first, before it dawned on them that Holmes was public domain– the show just isn’t very good. And if you’ve seen Sherlock, then it becomes unwatchable.

The actors are trying-- but the writing on Elementary is so bad that there simply is no comparison.

Here’s the problem in a nutshell– Elementary is a copy of a copy. It’s diminishing returns. This happens on American TV a lot– you get something fresh and interesting, which is copied by a bunch of people, the copies that are done with wit and style are then themselves copied… and so on. Elementary is not a “modern updating of Sherlock Holmes,” as CBS would have you believe. Over on the BBC, Sherlock absolutely vibrates with reverence for the Conan Doyle originals. Gatiss and Moffitt clearly have put great thought into exactly how Doyle built his characters and world, and work hard at finding modern analogues for those things that make sense. That is a ‘modern update’ of a classic.

On the other hand, I’m not at all sure that anyone involved with Elementary has ever actually read a Conan Doyle Holmes story, to be honest. The show feels like they just looked at the BBC effort and thought, “Let’s do that, except with all the challenging parts taken out so we can market it to people who like The Mentalist.” It looks like it came off an assembly line. One of this, two of that. The actors are trying really hard, and bless them for that, but this is a scab effort at trying to replace/replicate something that’s genuinely good. Save time and just Netflix Sherlock instead, if you haven’t already.

So there you go. My two-episode verdict. Truthfully, our big new find this fall is Last Resort on ABC which is just frigging awesome.

We love this show. Great story, great cast.

I gather that for real submariners and other Naval personnel, this show is as annoyingly implausible as Revolution was to me. But the difference is that this one’s worth the ride. It’s a tough cool layered conspiracy story that gets me right in my Ian Fleming-Robert Ludlum-Kyle Mills-loving heart, and there’s submarines and shooting. We would love it if more people watched it since it’s on Thursdays and ABC will probably kill it after a month of it getting pounded in the ratings– it’s up against The Big Bang Theory on CBS. Probably destined to be another to add to our DVD library of one-season wonders like Quark and Firefly and The Middleman.

Of course, the one that comic book people are all wondering about is Arrow on the CW in a few days.

Verdict's still out on this one...

I was inclined to dismiss it as yet another soapy CW show with hot young Vancouver actors taking their shirts off and posing, but my old friend (and archery coach) Jim MacQuarrie has been talking to them about the archery stuff and saw the pilot. He says it’s good. Which suggests to me that if the writers are taking the time to look things up about archery, they might be taking more care with the bigger stuff as well. One hopes, anyway.

*

And that’s all I’ve got this time out. Back to bed for me, and I’ll see you here next week.

28 Comments

I’ve been getting into something I never thought I would get into, lately – newspaper strip reprints. I’ve been going all-in with Milt Caniff, and I’ll have to give the Bond omnibi a try. Thanks for the tip!

never knew there was a james bond comic strip proably because it was not here in the u.s will have to track down that omnibus now. as for revolution have to agree how dumb all the people are that they can not figure out how to create some new power like steam engines. as for elementary think the ones who pitched it were trying to modernize sherlock holmes and watson as if they were written now in the 21 century.

I am a huge Sherlock Holmes fan. In fact Holmes is what first got me involved in comics, but that’s a long story. I never even gave Elementary a chance. Jeremy Brett did it best and the new Sherlock across the pond is phenomenal. I even like the Downey version to a certain extent. The commercials for Elementary were so bad I decided to pass on it. From those commercials I inferred that Lucy Lui’s main function would be to insult and denigrate the Holmes character. He appeared to just be a poor caricature of the character I love so well. I decided that, if others, like yourself, said it was good, that I might try to catch it in reruns. Based on everything I’ve heard/read, I haven’t missed anything.

..okay, I haven’t seen Sherlock, but WHY is Elementary badly written, other than the fact that it’s not Sherlock? What’s wrong with the show on a technical level? I’ve seen the two extant episodes, and while it isn’t brilliant, it’s certainly watchable. And the use of Lucy Liu as Watson really does create a different dynamic.

…WHY is Elementary badly written, other than the fact that it’s not Sherlock? What’s wrong with the show on a technical level? I’ve seen the two extant episodes, and while it isn’t brilliant, it’s certainly watchable.

Well, if you enjoyed it, more power to you. A large part of my objection to it is that it’s essentially a ‘scab’ version of the show CBS tried to get and couldn’t. But on a technical level–

–the mysteries as they are set up are not good. They are implausible, but worse, they masquerade as fair-play puzzles when in fact important pieces are withheld and smart people made to look stupid simply so Sherlock can appear to be brilliant. In both episodes seen so far, Sherlock magically comes up with stuff that beat cops would have found during the first round of witness interviews. Trying not to spoil it for other folks but there are important connections and relationships kept hidden that simply would not have been. CASTLE gets around this by having the amateur along as the cops do the interviews and most other shows also have some kind of fig leaf for it; ELEMENTARY just ignored it. One of my pet peeves is people who write bad mystery plots and then claim the hero is brilliant for solving them by pulling answers out of his butt. The second episode did better on that than the first but neither mystery was very good.

–Lucy Liu’s Watson is a very bad ‘sober companion.’ I know a little something about addiction and recovery and she sucks at her job. The 12-step meetings Holmes attends are not great either, and if he’s genuinely court-ordered as part of a deferred prosecution there’s other stuff that goes along with it. He’d NEVER just bolt out of a meeting without getting his slip signed… or Watson, at least, retrieving that slip for him after he dashes out; that’s a legal document, it keeps him out of jail. You don’t just run off without it. Although I freely grant you that the last one is just me, America probably doesn’t care about stuff like that.

–the character drama between Holmes and Watson is not terribly compelling, or even terribly consistent. He’s a jerk to her, she’s a bitch to him, eventually they build grudging respect. Yawn. (Although it’s only two episodes in, there’s a reasonable expectation that this be interesting, or at least not so painfully familiar.)

And the use of Lucy Liu as Watson really does create a different dynamic.

Different than the Conan Doyle version, sure, but what’s the point? If you’re going to make Watson a woman, what’s the reason? If it’s not romance, then what makes it different? In particular, what makes it different than Monk? Or The Mentalist? Nothing as far as I can tell. If those other shows hadn’t already been done then there might be a point, but as it is, the net result has been to jam the show into a more familiar format, not a new and different one.

Which is really my big gripe. Strip away Holmes’ tics and accent and you’re left with a show that hasn’t got anything genuinely new in it. It’s The Mentalist with a fresh coat of paint.

Greg:”No. Sorry, but no. It’s a great idea but they can’t sell it. It doesn’t make sense. We had an industrial society long before there was electric power and running water to every home– decades before. I can’t buy that in fifteen years, no one’s sussed out how to put together a steam engine. Or gaslight. Or, hell, any of the stuff that was common throughout the late 1800s. Sure, for the first two years of the electricity failure it’d be all camping and crossbows. Maybe even the first five.”

Spot on, sir. When I tried watching this show, the same questions started popping up in my head. Why don’t they have all the technology that existed before electricity: steam powered locomotives, repeating rifles, gatling guns, steam ships, gas lighting, photography (yep, it was around before electricity), etc. What makes it all the more annoying, is that S.M. Stirling (in his DIES THE FIRE books, a series that
I have a sneaking suspicion that the show’s creators have read) dealt with this issue. Now his solution was not exactly scientific, but it was a solution, so one would think that the writers had to at least be aware of the problem.

Yeah, but all that stuff’s from, like, 100 years ago or something. You’d have to be some rilly rilly OLD person to know how any of that stuff, like, works. Like, f’r sher!

I suspect that it’s some sort of “social commentary” — we’re so reliant on technology, man, that if we didn’t have electricity any more, we’d be over, man! Kick me that hacky sack and pass me that Phish tape!

Wouldn’t there still be lightning during storms and stuff, too?

I suspect that it’s some sort of “social commentary” — we’re so reliant on technology, man, that if we didn’t have electricity any more, we’d be over, man!

I suspect so too. But it’s been done better. Like here. Or here. Or even here. And some of those had cool fights too.

That’s the trouble with being a pop culture encyclopedia, you see echoes everywhere. It’s my curse. Sigh.

Ah, so it wasn’t just me then. I wanted to like Revolution going in but I had all the same problems with the premise you enumerated plus one: the loss of electrical power wouldn’t stop existing guns from working so there was no reason other than plot convenience for the village folk to be defenseless before Giancarlo’s thugs (This is America, after all. If production stopped tomorrow, we’d still have enough weapons and ammo to keep us happily shooting each other for another hundred years, never mind fifteen). That, and I couldn’t shake the feeling that the show was aimed squarely at the Hunger Games demographic.

I will be giving Arrow a try but I have low expectations.

I gave up on Revolution before it even premiered. I saw the trailer for the show and it depicted the immediate aftermath of the loss of electricity by having a plane crash. Not like a real plane crash, where it would hit at an angle at speed, but it was SPINNING AROUND like its momentum mysteriously stopped working too.

http://www.youtube.com/watch?feature=player_detailpage&v=JwfCRAtkYEI#t=40s

That told me all I needed to know about the show’s credibility.

*raises eyebrow*

So let me get this straight… you’re ripping REVOLUTION and ELEMENTARY (and deservedly so), but you’re praising LAST RESORT, which is just as bad of a show with its completely unbelievable plot and characterizations, not to mention what you already acknowledge as the gaffes that any military (particularly naval) person can plainly spot, because “it (presuming you mean the story)’s worth it”? Nah. All of these shows are pretty equally bad in their own contexts, and one could make a solid case that none deserve to last a full season.

Seems it’s been a really bad fall season of new shows all around.

As for ARROW… I’ll probably end up missing it as it seems Gannett Corporation wants to charge Dish Network “too much money”, so apparently my CBS and CW local affiliates won’t be available to me indefinitely (until they make some sort of agreement) after Oct. 7. (Am I the only one – are other Dish subscribers being threatened with losing their CBS & CW affiliates, or is this just a local thing for my area?)

By the way, RE: the James Bond Strip – Randy Zimmerman (the old Publisher for Arrow Comics) currently runs it in his FLINT COMIX & ENTERTAINMENT newspaper magazine among other cool syndicated strips and original comics content . The Bond stuff started in issue FCE#16 and I think they’re somewhere in the mid forties now. You can find both Flint Comix and Randy on Facebook. Maybe if you ask nicely he can send you a few copies to share with your classes for the cost of postage. Just FYI.

Just as I got to the part where you started describing “Elementary,” I thought, “I wonder if Greg’s ever watched Sherlock?” And sure enough. I’ve only seen about two and a half episodes (here in Croatia it’s aired in some god-awful late Sunday night time-slot), but I have to say that it’s a really fun show, and I’m not even a big Holmes fan. And why’s “The Mentalist” getting dissed? That’s one of the best hour-long sitcoms I’ve seen in ages.

And thanks for the tip on Warped; I’ll probably be picking that up at some point, if for no other reason than that page you posted here reminded me a bit of D.R. & Quinch (which reminds me, I really need to read that again…)

Louis, I do believe that the parent of CBS and the CW is Viacom. I am quite reasonably sure that Gannett is not the owner of those networks. Just to be clear on who is dicking you over here.

But none of the new fall shows have really appealed to me either. If I get a chance to see Arrow, I might give it a try, but that’s unlikely.

And wow, I just looked at imdb to see the schedule, and it’s not even listed. And I know they list CW, because that’s where I’d find out about Ringer. Less than a week to air, guys….

I will be taping Walking Dead when that comes back next Sunday. I had forgotten it was going to be back “this soon” (he says, realizing that the post-s2 marathon of the show was 3 months ago now, let alone when the season had actually ended….)

I had the exact same issues with “Revolution.” There would have had to have been a simultaneous worldwide “dumbass bomb” or something to explain the status quo on that show. (Actually, given the general quality of all forms of media, maybe one of those did go off at some point…)
I haven’t bothered with “Elementary.” We had to sit through a featurette about it when we went to the movies a few months back, and it throoughly convinced me that I would hate the show. Shame, since I really dig Holmes.
I’m cautiously optimistic about “Arrow.” CW has a terrible track record with me, but I’ve seen just enough promise in this that it may not be douched up to the CW standard. Here’s hoping.
Aside from giving “Arrow” a shot, we’re looking forward to the return of “The Walking Dead,” and I’ll be checking out the new season of “American Horror Story.” The first season was uneven, but ultimately enjoyable, so hopefully the new season will improve on it. I will miss the young maid, though. :P
I’ve got a couple of the old editions of the 007 comic strips, and enjoyed them. I keep meaning to pick up these omnibus editions, but never seem to get around to it. Money is just too tight for everything I wanna buy.

And by the way, hope you both are feeling better soon! I certainly remember my days of catching everything that went around, and it wasn’t fun.

Drunken Fist:”I had the exact same issues with “Revolution.” There would have had to have been a simultaneous worldwide “dumbass bomb” or something to explain the status quo on that show. (Actually, given the general quality of all forms of media, maybe one of those did go off at some point…)”

I would love to see Abrams do a series where society has to cope with the effects of a “dumbass bomb.”

Mr Hatcher, as you mention Ian Fleming and Bond, I wonder if you’ve read any of John Gardner’s 007 novels? Although the later books get bogged-down in double crosses and unBondianness the earlier ones – such as Role of Honour and Scorpius – are surprisingly enjoyable (if sometimes a bit grim). There is rnough action and espionage to compensate. And Gardner adds some silly things (not that he always intended too!).
I may be alone in thinking Sherlock would be better if it was not supposed to be Holmes. Moffat doesn’t really have the courage of his convictions, note how the cliffhanger from Series One was blown off while Holmes rescued Irene Adler as if he was Buldog Drummond. Tthe Private Life of Sherlock Holmrs better!

Um, to complete my thought – with fewer rushed typos – The Private Pife of Sherlock Holmes, which appears to have been an inspiration for A Scandal In Belgravia becsuse of its maturity, Gabrielle Valladon is a spy who captures Holmes’s heart (this is subtle, not spelled out in neon ) dies in the end off-screen but Sherlock because it is fundamentally a more conventional and adolescent version of the Holmes mythos (with the kind of trite dialogue and situations that mark it out as early 21C, you know the kind of stuff that turns up all over the place because it’s what’s expected by much of the modern audience) Holmes’s becomes a superhero who rescues Irene. This actually seems typical of Moffat’s approach to both Sherlock and Doctor Who, for all the stuff that now passes as “wit” and the Big Ideas, he *won’t* challenge the audience. So, *of course* Holmes saves Irene and *of course* Moriarty spouts sub-Joss Whedonisms and *of course* Amy and Rory aren’t killed in Doctor Who outright, though you would think from Moffat’s comments they had been. Moffat’s writing and the praise it receives gets right up my nose because he usually manages to have it both ways, and he refuses to go uh “all the way” with his own concepts even if the stories lack any true resonance due to that. Sherlock is *okay* but Moffat’s (and Gatiss’s) version of the character is too toothless in order not to alienate the audience, I could rant some more but I’d only end up blathering about how the Doctor Who finale ended up making the Doctor look like an ineffectual fool, so I won’t! Nor will I go on about how Moffat’s making up and changing the rules of his recent stories as he goes along is shamefully lazy writing depending on the audience being too dumb to expect him to respect even his own logic, no sir, I won’t do *that* ;-). Sherlock is still many times better than the Stepfordian Elementary tho’ (having said that, at least Elementary won’t have the co-creator casting himself in a role he is ill-suited for!). One more thing Benedict Cumberbatch is far weaker as Holmes than Rathbone, Robert Stephens, and, of course, the Great Jeremy Brett. I guess this all irritates me so much partly because of the te the tendency to overpraise certain things (usually at the expense of good or even wonderful things from the past, soooo smug) that has become a plague over the past decade-plus. Boy, it feels good to let all that out, it sometimes seems that any dissent about Modern Doctor Who or Sherlock or the writing ofSteven of Steven Moffat or Whedon (don’t even *mention* Abrams!) is tantamount to treason cy’know it’s all awesome! I think I better take my medication!

How could they make a Sherlock Holmes show called “Elementary” and NOT make it about Holmes and Watson as kids in elementary school????

Last Resort is my new favorite thing on TV, it’s just so goddamn relentlessly compelling. So I bet it will be dead after six weeks.

Personally, I always thought that the John Gardner Bonds were usually entertaining, but they never “felt” like Bond to me. They come off like a more generic men’s adventure series. There have only been a couple of Bond novels written by someone other than Fleming that I felt nailed it, and Gardner wasn’t responmsible for any of them. All that said, I did enjoy the majority of Garnder’s books on their own merits. Most of them are good, solid potboilers.

Travis:

I know they’re Viacom related, but Dish is claiming it’s Gannett who is the culprit, and it’s the CW and CBS stations who are running the script of “you could lose this channel” across the bottom of their screens. But it doesn’t matter who’s the blame or what their reasons are; if they turn the stations off, they turn them off. No big. *shrugs* (BTW, Dish doesn’t carry AMC anymore either, so any WALKING DEAD fans got screwed, there, too.)

Personally, I don’t care. I gave up my TV service over two years ago; my dad just transferred it over to his name and keeps it so that he has something to do when he gets tired of reading / doing crosswords. So without him living with me, I wouldn’t even have television.

Louis: Ah, that’s right, I forgot that giant conglomerates have their fingers in all the pies, and that Gannett owns some TV stations. My apologies, but I have a *cough cough* vested interest *cough cough* in Gannett.

Subscribe to your local newspaper, folks!!!

And obligatory “Deadworld is better than Walking Dead anyway” reference just for you, Louis :)

I…I like them both, actually. I bought the 5 issue Deadworld War of the Dead mini that was just out from IDW, and will undoubtedly be out in trade form soon. It’s pretty good. I think it would have been a bit better if the artist wasn’t of the Ashley Wood style, but that might just be me.

Hal’s comment is one of the reasons I like the internet, particularly this site. He makes a case for the Moffat shows being flawed in certain ways, and it’s a nice antidote to a lot of the love he gets elsewhere. I enjoy having my assumptions challenged and having people discuss an alternate point of view in an intelligent way, so I can rethink what my own assumptions are.

I’m weird, I know.

jccalhoun has a great idea, and I would totally watch a Holmes in elementary school show. Even like an anime chibi version.

Travis, thank you, good sir! Reading that made my day, it’s nice to able to offer a dissenting view and for it to be seen as worthwhile (even if I was viperous, I think I was reasonable, too). Not wishing to be a suck-up, but I enjoy your comments as well especially the long or hilarious ones :-).
Broken Fist – I agree about Gardner’s novels (the good ones at least) I think of them as alternative Bonds, like the varying movie depictions or the books by Faulks, Higson, Deaver, Amis et al. Apropos of nothing, my favourite Bond movie is On Her Majesty’s Secret Service but I also like For Your Eyes Only, Goldfinger, and Live and Let Die etc, while my favourite Bond is Dalton so I’m uh not fixed in my Bond preferences, though Fleming is, of course, the original master. Wow, I’m profligate!

Oops, I meant *Drunken* Fist…and profligate with my Bond affections, so to speak!

I find bbc Sherlock VERY hit or miss. & Moriarty is cast badly.

I couldn’t stand the actress that played Charlie in Revolution. Her crappy, annoying acting and the stupidity of the premise were more than I could bear. I gave up on the show halfway through the second episode.

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