EXCL. PREVIEW: Crystal Wrangles NuHumans in "All-New Inhumans" #1
This weekend my boyfriend and I went to see Jupiter Ascending. Going in knowing it was not going to be good I sort of vaguely hoped that my lowered expectations would make for a better viewing experience. Nope. It was basically awful.
Why did I go knowing it would be bad? Well, for starters I do like to try to support original sci-fi. Especially stuff that isn’t a reboot, remake, or sequel. But mostly my boyfriend was interested (even though he had the same fears and reservations) and relationships are about compromise, folks. So, Jupiter Ascending it was.
Still, though I was prepared to be underwhelmed, I was not prepared with how frustrated and even angry the film would make me. Seeing 176 million wasted on a sci-fi story that just bathed in the broadest and most cliché of concepts, and offered not one single surprise…not even an attempt to surprise. It offered nothing smart, or charming or funny, and it didn’t try to subvert expectations even once and for all of these reasons it was just epically disappointing.
With the very cool news that Terry Moore’s Rachel Rising has been optioned for television (and that could be a great show that I would LOVE to see) I started thinking about other indie properties (most with complex female characters) I’d love to see optioned for television as either an ongoing or a mini-series. With the advent of shortened series – Netflix’s House of Cards, AMC’s Mad Men, Breaking Bad, and The Killing all run only 13 episodes (typically) – we’re seeing a rash of new thinking in quality over quantity, which is good for a lot of comic book properties with world building or effects issues. Most of the best shows out there right now run short seasons: Showtime’s Homeland has 12 per season. Game of Thrones and Newsroom are only 10! The Walking Dead began with a 6-episode half season, then moved to a “full” 13, and for its last season delivered 16 – but still short of the formerly typical 22-episode season. Add to that a rash of recent high-quality mini-series like HBO’s six-part Mildred Pierce or Sundance’s 7-part Top of The Lake and we’re in a really interesting period of television where we’re seeing a huge uptick in great TV that equal some bold choices in both content and in the way that content is delivered. All of it makes me optimistic that smart comics properties that might have been a tough sell even a couple years ago might be more viable now. So what are five at the top of my list? Glad you asked!
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