Netflix and Kill Me
- Mongrel
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Re: Netflix and Kill Me
I mean, these are the same techbros that made and drink something called "Soylent" unironically.
Re: Netflix and Kill Me
He's literally Bizarro Tony Stark
Re: Netflix and Kill Me
He'd take that as a compliment
Re: Netflix and Kill Me
The Mitchells vs The Machines got delayed and dumped onto NetFlix .. Today! Formerly known as The Mitchells vs The Machines and then as Connected and now as The Mitchells vs The Machines, it's the next evolution of the animation tools used to create Spider-verse and the Lego movies, written by Gravity Falls alums.
In other words, it's absolutely worth your time. It's legitimately funny and sweet and has an incredible art style.
In other words, it's absolutely worth your time. It's legitimately funny and sweet and has an incredible art style.
Re: Netflix and Kill Me
God I am here for Patton Oswalt's trickster god.
Re: Netflix and Kill Me
he'll be playing the part of the Raven.
Re: Netflix and Kill Me
Y'know
He's played a rat, and he'll be playing a raven... all he needs is a role where he plays a fly, and he'll have a scavenger's trifecta.
He's played a rat, and he'll be playing a raven... all he needs is a role where he plays a fly, and he'll have a scavenger's trifecta.
Re: Netflix and Kill Me
I think I always heard Dom DeLuise in my head as Matthew. Probably because he played Jeremy the crow in Secret of NIMH.
Now, Bufkin in Fables? He sounds like Patton in my head.
The other interesting tidbit is that Johanna Constantine is going to appear both in the eighteenth century and the present day. We don't know what any of that actually means, but I wouldn't be surprised if she replaced John in this adaptation.
As for how that's possible, well, that could be fun to speculate about. Most mundane explanation would be that there are two Johannas, an ancestor and a descendant. But I wouldn't rule out immortal, time traveler, or Impossible Girl.
Re: Netflix and Kill Me
Some other great damn choices in there, too.
I saw somebody comment yesterday that Howell-Baptiste's role on The Good Place had just the right mix of warmth, compassion, and no tolerance for bullshit for Death, and the more I think about it the more I think that's exactly right.
I'm not familiar with Donna Preston's work but she sure looks the part. And that's one of the things that's fascinated me about these announcements -- some of them are "wow, that's not what I was expecting at all" and some are "holy shit, he's right off the page" (talking Abel in particular on that one).
I saw somebody comment yesterday that Howell-Baptiste's role on The Good Place had just the right mix of warmth, compassion, and no tolerance for bullshit for Death, and the more I think about it the more I think that's exactly right.
I'm not familiar with Donna Preston's work but she sure looks the part. And that's one of the things that's fascinated me about these announcements -- some of them are "wow, that's not what I was expecting at all" and some are "holy shit, he's right off the page" (talking Abel in particular on that one).
Re: Netflix and Kill Me
The reason I saw that people were complaining about "wokeness" was that the new casting had the cast's pronouns.
Re: Netflix and Kill Me
I can think of one or two or, oh, say, three other things on the casting announcement that might send assholes into a tizzy.
Re: Netflix and Kill Me
It only just occurred to me now, but...
are they gonna keep the ending of A Game of You where the trans woman gets killed and is buried under her deadname? :(
are they gonna keep the ending of A Game of You where the trans woman gets killed and is buried under her deadname? :(
Re: Netflix and Kill Me
I read a bit of Sweet Tooth back when it first launched but it never really super grabbed onto me; we watched the first half of the Netflix adaptation last night and really dug it. It feels like the closest thing I've seen yet to the Spike Jonez Where The Wild Things Are, tapping into Amblin-esque fantasy-reality over a dark fucking undercurrent. It doesn't feel meandering or plodding or stretched out like a lot of Netflix series tend to, at least not yet, and thus far the three distinct storylines are all pretty compelling (though one is pretty clearly lesser for the time being in terms of Stuff Happenin'). The fact that they started filming just before COVID got super crazy and were able to thus incorporate a bunch of timely haha stay six feet apart haha why you wearin a mask right now around their Captain Trips supervirus will probably be a huge plus or huge minus depending on how hungry you are for ripped from the headlines pandemic shit though (and hey, Y: The Last Man and The Last of Us are still yet to come!).
It's another series that really nails it in the place that matters though; the casting. It absolutely would not work half as well without the kid they got to play Gus, who is adorable and wide eyed and naive without being obnoxious or grating. I think making the kid this goddamn cute goes a long way to making the series a lot more accessible than, well, Lemire's art (which is great but extremely far from cute). And I honestly didn't even realize that Gus' dad is played by Will Forte until well after the fact.
Anyway, if you wish The Road or The Stand were even more depressively horrifying but also there were adorable animal kids and whimsical fantasy-natural beauty smeared over all the post apocalyptic landscapes, give it a shot!
It's another series that really nails it in the place that matters though; the casting. It absolutely would not work half as well without the kid they got to play Gus, who is adorable and wide eyed and naive without being obnoxious or grating. I think making the kid this goddamn cute goes a long way to making the series a lot more accessible than, well, Lemire's art (which is great but extremely far from cute). And I honestly didn't even realize that Gus' dad is played by Will Forte until well after the fact.
Anyway, if you wish The Road or The Stand were even more depressively horrifying but also there were adorable animal kids and whimsical fantasy-natural beauty smeared over all the post apocalyptic landscapes, give it a shot!
Re: Netflix and Kill Me
The back half is unfortunately a little weaker than the front half in my opinion; a bit more of the "flash back to exposition" and "table setting for the season finale" than I'd hoped given the semi-episodic momentum in the front half, but it's still overall really solid. It would be extremely nice if Netflix would knock off their "multiple different storylines converge at the last minute of season one" technique sooner rather than later, because it has a tendency to make a lot of their series feel very fireworks factory averse.
Re: Netflix and Kill Me
Büge wrote:It only just occurred to me now, but...
are they gonna keep the ending of A Game of You where the trans woman gets killed and is buried under her deadname? :(
Yeah, I've been wondering that as well. Sandman's one of those books whose depiction of LGBT people was groundbreaking for its time but fell into some tropes that are really unfortunate when viewed in hindsight. (There was a lot of that going around at Vertigo at the time. I was reading some old Hellblazers awhile back and hit that point of "oh hey it's a character who's openly gay and oh he's dying of AIDS because of course he is.")
Gaiman's been mum on how exactly the show will change Wanda's depiction, but he's been pretty clear that it'll change, and that he'll make sure there are trans people in the writers' room.
That doesn't necessarily mean they'll change the ending. But I have to figure Gaiman's at least aware at this point that, however good his intentions may have been, he played into a deeply problematic trope in that original story.
I don't know if the result will be satisfactory, but I'm sure that's at least something they're thinking about.
Re: Netflix and Kill Me
Thad wrote:Büge wrote:It only just occurred to me now, but...
are they gonna keep the ending of A Game of You where the trans woman gets killed and is buried under her deadname? :(
Yeah, I've been wondering that as well. Sandman's one of those books whose depiction of LGBT people was groundbreaking for its time but fell into some tropes that are really unfortunate when viewed in hindsight. (There was a lot of that going around at Vertigo at the time. I was reading some old Hellblazers awhile back and hit that point of "oh hey it's a character who's openly gay and oh he's dying of AIDS because of course he is.")
Gaiman's been mum on how exactly the show will change Wanda's depiction, but he's been pretty clear that it'll change, and that he'll make sure there are trans people in the writers' room.
That doesn't necessarily mean they'll change the ending. But I have to figure Gaiman's at least aware at this point that, however good his intentions may have been, he played into a deeply problematic trope in that original story.
I don't know if the result will be satisfactory, but I'm sure that's at least something they're thinking about.
Spoilers on that(as I remember)
It was her father who deadnamed her and one of her friends scratched it out and wrote in the correct name. So except for one asshole, she was remembered as she wanted to be.
Re: Netflix and Kill Me
My recollection is that the entire funeral was people ignoring her identity, deadnaming and misgendering her and acting like the last years of her life never happened. There is that ending where Barbie scratches out her deadname and leaves a copy of the Bizarro comic on her tombstone, but it's still a hell of a downer of an ending.
And obviously I'm not the most qualified person here to analyze this, but the "LGBT character dies" trope is problematic in itself. Not on principle, of course; it's not that LGBT people can't experience tragedy or any of the rest of the full scope of human experience -- but the problem is that, overwhelmingly, that's all we see in depictions of LGBT characters. Wanda's the most prominent trans character in Sandman, and she dies. And it's a powerful and fondly-remembered story, but there's not really any getting around that context. It's a story where a trans woman is a doomed, tragic figure. That wouldn't necessarily be a problem in isolation, but in the context of a media landscape where that's far and away the dominant way trans people are depicted, it's got ramifications beyond the confines of that one story arc in that one series.
And obviously I'm not the most qualified person here to analyze this, but the "LGBT character dies" trope is problematic in itself. Not on principle, of course; it's not that LGBT people can't experience tragedy or any of the rest of the full scope of human experience -- but the problem is that, overwhelmingly, that's all we see in depictions of LGBT characters. Wanda's the most prominent trans character in Sandman, and she dies. And it's a powerful and fondly-remembered story, but there's not really any getting around that context. It's a story where a trans woman is a doomed, tragic figure. That wouldn't necessarily be a problem in isolation, but in the context of a media landscape where that's far and away the dominant way trans people are depicted, it's got ramifications beyond the confines of that one story arc in that one series.
Re: Netflix and Kill Me
And there's kinda more to it than that, y'know? When Wanda shows up with Death at the end, after dying, she doesn't look like herself at all - she looks like a completely different woman, and most importantly, a cis woman. Death doesn't misgender her, but only because her transness is erased in death. It's a very tone-deaf and painful presentation, and not one that comes from a trans perspective.
I've seen people try to excuse the whole "the moon is a terf" thing by saying it's supposed to be a criticism of dianic wicca, and that the moon is supposed to be wrong in saying that Wanda isn't woman enough to do inherently womanly things, but it really super doesn't parse that way on the page. The actual text is a cosmic force saying that Wanda's gender is pretense, not essence.
Neil Gaiman has a long history of saying very progressive-sounding things on social media, and then doing some Rough Shit in his actual work and life. I don't trust the guy who spent the last decade married to Amanda fucking Palmer of all people to actually give any kind of shit about trans people, except as marketing demographics.
I've seen people try to excuse the whole "the moon is a terf" thing by saying it's supposed to be a criticism of dianic wicca, and that the moon is supposed to be wrong in saying that Wanda isn't woman enough to do inherently womanly things, but it really super doesn't parse that way on the page. The actual text is a cosmic force saying that Wanda's gender is pretense, not essence.
Neil Gaiman has a long history of saying very progressive-sounding things on social media, and then doing some Rough Shit in his actual work and life. I don't trust the guy who spent the last decade married to Amanda fucking Palmer of all people to actually give any kind of shit about trans people, except as marketing demographics.
Re: Netflix and Kill Me
The semiotics of Wanda only being a "real" woman in death are pretty icky.
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