Yorkton This Week鈥檚 editorial staff takes readers on an explorative journey around the Internet, searching out the best in videos, podcasts, webcomics, music and anything else that catches their collective eyes which might interest our readers.
In this seemingly-endless (knock on wood) golden era of television, it鈥檚 hard to recommend the risky bets.
The inundation of top-quality dramas, comedies, dramedies, and everything in between has raised the bar to a ridiculous level. 鈥淏reaking Bad,鈥� 鈥淢ad Men,鈥� and 鈥淕ame of Thrones鈥� have overhauled what people can expect from television in terms of writing, acting, and budgets.
At the same time, we鈥檙e still swamped with the same safe, bland sitcoms, cop shows, and domestic dramas that have filled our screens for decades. People enjoy the comfortable, the familiar, the same. That鈥檚 why the cast members of 鈥淭he Big Bang Theory鈥� make $1 million per episode. Seriously.
We live between these two extremes: Daring, bold, expertly-made shows and safe, predictable junk. But in the middle lies the most exciting and frustrating type of all: The overly ambitious mixed-bag.
These shows aren鈥檛 usually good, at least not all the way. They鈥檙e typically overstuffed with subplots that don鈥檛 go anywhere, inconsistent acting, weak endings, or a myriad of other problems. They may be unsatisfying, incomplete, or just plain aggravating.
But they can also be ambitious, visionary, and exciting. They can reach highs other shows never realize, while also plumbing all-new lows. The risks are heightened along with the rewards. It鈥檚 television gambling.
Which brings us to 鈥淎ltered Carbon.鈥� Released by Netflix last February, 鈥淐arbon鈥� is a neo-noir filled with stunning visuals, excellent plot twists, and one standout performance. It鈥檚 also stupid, meandering, and stuffed to the brim with pointless subplots and bad acting. It鈥檚 the epitome of the ambitious mixed-bag.
But its features compensate for its flaws. Its highs are strong to carry you through its various lows. It might not be for everyone, but for those with a bit of patience, it鈥檚 a rewarding watch.
鈥淐arbon鈥� is set in the future where everyone鈥檚 consciousnesses are stored in 鈥渟tacks鈥� (computer chips). People can upload themselves into countless 鈥渟leeves鈥� (manufactured human bodies), essentially living forever. This functional immortality has created a permanent wealth and power imbalance, as the 1% hoard everything while the poor fight for scraps.
Enter Takeshi Kovacs (played by Joel Kinnanman), a former mercenary hired by a billionaire to solve the murder of his sleeve. Kovacs must contend with the police, a religious serial killer, and ghosts from his past as he traverses this sci-fi dystopia.
鈥淐arbon鈥� has two major strengths. First, its production design is top-notch. The lighting is gorgeous, evoking the feel of classic neo-noirs. The sets look movie-quality and the costumes are memorable. It鈥檚 a feast for the eyes.
The other strength is Kinnaman. He鈥檚 fantastic as Kovacs, portraying the right level of humanity, world-weariness, and cynicism necessary for a noir anti-hero. He carries the show through some of its dumber plot twists.
Unfortunately, Kinnaman can鈥檛 save the show from its worst impulses. All too often, 鈥淐arbon鈥� will descend into action schlock, shying away from its noir roots. It also goes on for a bit too long; it could鈥檝e lost two of its 10 episodes.
But these weaknesses don鈥檛 detract too much from the overall experience. 鈥淐arbon鈥� is a worthwhile distraction if you give it a chance.
鈥淎ltered Carbon鈥� can be found on Netflix.
鈥� Sean Mott
Out of the bat shadow
Reading comic books has been something that over the years has wavered between an interest and a passion, but has always been part of my leisure spectrum.
So it鈥檚 no surprise I suppose that I have also followed television shows such as Arrow and The Flash with much interest.
Of course the TV show I most wish for would revolve around the characters in the Batman universe, my favourite comic book character by far. But with Batman the key character to DC Comics foray into movies it is unlikely we will see him, or key related characters make an appearance on the small screen anytime soon.
But fear not, there is at least a taste of just what such a series could be thanks to Nightwing: The Series.
Nightwing: The Series is a web series created by the Ismahawk web-video creation team, focusing on the superhero Nightwing, a.k.a. Dick Grayson, formerly Robin in DC Comics.
The project was funded with nearly $35,000 raised through crowdfunding on Kickstarter.
The series premiered on YouTube in 2014.
As a fan-produced webseries the project saw the actors and creators doing it for the love of the project, not the money, and their dedication to the craft is obvious here.
The series synopsis is pretty straight forward as noted at www.tvtropes.org.
鈥淎fter a falling out with his mentor Batman, Dick abandons Gotham City and everyone in it. Emerging in the City of Bludhaven years later, Dick takes on the guise of 鈥楴ightwing,鈥� easily defeating the petty criminals who infest it. But he soon realizes he may have bitten off more than he can chew, when a mysterious and dangerous assassin only known as Deathstroke begins targeting Bludhaven citizens. Can he defend his new home and the lives of its inhabitants from the most dangerous foe he鈥檚 ever faced?鈥�
Sadly the series consisted of only one season with five episodes averaging about 10-minutes each, all of which can be viewed on YouTube.
The story was created by the team of Danny Shepherd, and Jeremy Le, with Shepherd taking on the lead role of Nightwing, carrying the lead in this slick series well.
Bob Lee Dysinger makes a fine Deathstroke, and Lenna Karacostas contributes nicely as Barbara Gordon, and Scott Kinworthy as Bruce Wayne.
If you like the Batman verse at all then this is one you really need so search out on YouTube.com
鈥� Calvin Daniels
