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red snow

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About red snow

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  1. red snow

    Bernard Cornwell - warlord chronicles and beyond

    Sounds like the publisher needs to improve their promotion when this is where most people hear about a new book. Guess they are saving money though
  2. red snow

    The Good Place S3 - heaven is a place on Earth (spoilers)

    The beauty of the show is that it tends to mix things up just as you're getting used to it. S2 I was sure was going to be a rerun but straightaway they established that they'd ran thousands of simulations. I think I'd prefer that the humans haven't really been given a second chance just because that seems a really big deal for what are essentially 4 mediocre/failed people. Why should they get second chance over everyone else? I actually think the focus is now on Michael and possibly Janet. I think higher management are actually intrigued how a demon (and possibly a Janet) could become good/human from their interaction with the human subjects. So this is possibly just a simulation to see whether Michael can become good? Ultimately, I guess there's nothing stopping them from rewinding actual reality several times. If this is them returned to life I'd actually like to see them die and go to the real good place.
  3. red snow

    Watch, Watched, Watching: Movies That Could Never Be Made Today Version

    every other review I read/see has me switching opinions on whether to see this or not. Some make me think it'll be cool but others suggest Gosling's performance keeps things emotionally distant. I think the best solution will be to use up one of my free cinema tickets (I've two to use on a sunday before mid nov and there's not a lot of competition).
  4. red snow

    Bernard Cornwell - warlord chronicles and beyond

    I'll have to look into that. I read "the wake" by Paul Kinsnorth in between warlord chronicles. It actually fits quite well. Obviously it has invented olde English in it but it also captures the "out of time" aspect with the people having different attitudes. It sort of has magic but more in the way of visions which could just as easily be the ravings of a madman.
  5. red snow

    'Watchmen' TV Series From Damon Lindelof in the Works at HBO

    Good article by Rich Johnston - he manages it every now and then. The B5 example fits for me. JMS wasn't wanting them to stop publishing the novels - he just didn't like them claiming he was endorsing them and using his notes for story ideas. Similarly Moore can't stop DC from publishing Doomsday clock because it isn't using notes/scripts from Moore but using his characters. So in a JMS scenario he'd probably be public with him not endorsing the project but not insisting it doesn't happen. I think that's Moore's stance with it - he's beyond caring and we can probably all refer to an earlier comment about him thinking DC is devoid of imagination and talent if they have to mine a 30 year old maxi-series for inspiration still. Obviously the key difference is that Moore was screwed over while JMS went in knowing the deal. I suspect JMS would be less happy as suggested with his creator owned comics being used in a similar fashion to Watchmen. The sad thing about it all is that DC went on to create Vertigo where the contracts were almost ridiculously supporting of the creators. Seems such a shame that they couldn't have done the same for Alan Moore who essentially made Vertigo a viable option. Any creator who's benefitted from a vertigo contract should be ashamed to work on a watchmen book (not sure if any of them did - I think Azzarello was one?).
  6. red snow

    'Watchmen' TV Series From Damon Lindelof in the Works at HBO

    I guess JMS has been screwed over enough by his Babylon 5 experience and Spider-Man runs to at least admit he's in the "if you can't beat them join them" camp. Would have been nice if he'd shown some solidarity though.
  7. red snow

    The Many Saints of Newark (Sopranos prequel)

    This is a prequel that might actually work especially if it isn't centred around young Anthony. Also it's a show where a sequel series couldn't work because why ruin the ambiguous ending and would a sequel work without Tony soprano or James gandolfini. I think enough time has passed since sopranos ended and the fact it's in the 60s for them to do complete recasts. Although some of the sopranos crew had very distinctive faces which might require some reminders to who the young versions are. The release of the film will provide a good excuse to continue my rewatch.
  8. red snow

    'Watchmen' TV Series From Damon Lindelof in the Works at HBO

    I think the problem is graphic novels didn't really exist at the time the contract was done so it seemed a sure thing the creators would get full control a year after the comic was published. But the graphic novel became a thing thanks to the Watchmen being so popular, winning a Hugo etc. I guess the decent thing would have been to draw up a new contract but DC saw the opportunity for a cash cow. A cash cow they would have lost 30 years of strong sales from. At the time they could have probably struck another deal with Moore who was far less cranky and anti adaptations at the time. I agree with the sentiment it's a bit hypocritical of Moore to condemn those working on Watchmen characters given how much of the work he's famous for is with established characters created by others. It's bad form within comics circles to go against Moore's wishes and worst when the new writers/artists try and claim it's something Moore would like. They should really just be honest and say "I love the setting more than Moore" or "it's a nice payday"
  9. red snow

    'Watchmen' TV Series From Damon Lindelof in the Works at HBO

    I think he's just very picky and has probably realised over time he doesn't like people messing with his interpretation. I think it was League of extraordinary gentlemen that pushed him over the edge. Understandable as that is as far removed from the comic as the watchmen parody children's cartoon is from Watchmen.
  10. red snow

    'Watchmen' TV Series From Damon Lindelof in the Works at HBO

    Thanks for the more accurate outline of Moore's issues with DC over Watchmen. I guess Moore still receives royalties for the spin offs, etc? I'm pretty sure he turns it all down beyond the royalties he gets for his actual work. but they do at least off him it .So this is mainly in the territory of them not respecting his wishes and screwing him over on ownership which I guess ultimately has cost him a lot of money. .
  11. red snow

    'Watchmen' TV Series From Damon Lindelof in the Works at HBO

    I think in fairness who doesn't allow adaptations of the comics he owns to be adapted anymore. The issue tends to be with the fact he doesn't have any creative say over watchmen been adapted - it's pretty clear he wouldn't if he could stop it and I don't think it's a case of him having sold the rights as I think he never had them. I can't remember the ins and outs of it but I do recall something about him not getting the rights back as long as the graphic novel remains in print which has never happened and is unlikely to happen. I think there's something suggesting he was screwed over? Someone else here might know more about it. I'm all for taking the creator's wishes into consideration (and it's worth noting Dave Gibbons is usually cool with it) but at the same time the watchmen characters are based on pre-existing characters so I don't know what Moore's grounds are that DC/WB have to listen to him. That said he's more than free to state his dislike of the adaptations and he stands his ground and has his name removed and from what I recall he gives any money from his adaptations to the artist attached eg Gibbons. I found this on wiki which shows why he's pissy about it all - DC screwed him over (like I said they claim that keeping the comic in print constitutes using the character) " Ownership disputes[edit] Disagreements about the ownership of the story ultimately led Moore to sever ties with DC Comics.[74] Not wanting to work under a work for hire arrangement, Moore and Gibbons had a reversion clause in their contract for Watchmen. Speaking at the 1985 San Diego Comic-Con, Moore said: "The way it works, if I understand it, is that DC owns it for the time they're publishing it, and then it reverts to Dave and me, so we can make all the money from the Slurpee cups."[24] For Watchmen, Moore and Gibbons received eight percent of the series' earnings.[22] Moore explained in 1986 that his understanding was that when "DC have not used the characters for a year, they're ours."[16] Both Moore and Gibbons said DC paid them "a substantial amount of money" to retain the rights. Moore added, "So basically they're not ours, but if DC is working with the characters in our interests then they might as well be. On the other hand, if the characters have outlived their natural life span and DC doesn't want to do anything with them, then after a year we've got them and we can do what we want with them, which I'm perfectly happy with."[16] Moore said he left DC in 1989 due to the language in his contracts for Watchmen and his V for Vendetta series with artist David Lloyd. Moore felt the reversion clauses were ultimately meaningless because DC did not intend to let the publications go out of print. He told The New York Times in 2006, "I said, 'Fair enough,' [...] 'You have managed to successfully swindle me, and so I will never work for you again.'"[74] In 2000, Moore publicly distanced himself from DC's plans for a 15th anniversary Watchmen hardcover release as well as a proposed line of action figures from DC Direct. While DC wanted to mend its relationship with the writer, Moore felt the company was not treating him fairly in regards to his America's Best Comics imprint (launched under the WildStorm comic imprint, which was bought by DC in 1998; Moore was promised no direct interference by DC as part of the arrangement). Moore added, "As far as I'm concerned, the 15th anniversary of Watchmen is purely a 15th Anniversary of when DC managed to take the Watchmen property from me and Dave [Gibbons]."[75] Soon afterward, DC Direct cancelled the Watchmen action-figure line, despite the company having displayed prototypes at the 2000 San Diego Comic-Con International. "
  12. Netflix UK currently has all the trek TV shows so I'm hoping they have a long-standing agreement. Although I could see sky potentially trying to put a bid in for a picard show. Although I suspect Netflix has deeper pockets these days.
  13. Interesting read about the Terry nation estate and Dr Who. It makes sense they'd insist on a regular appearance so that they get money and presumably the exposure helps sell merchandise which they also get a cut of. On the other hand it looks like small cameos work too based on the above discussion. I guess if the daleks were absent for too long the Nation estate would kick off. It's sort of cool, yet bizarre by modern standards that the BBC would allow the writers to own the creations for the show. I bet all the modern writers had to sign a waiver giving ownership of new characters to the BBC.
  14. red snow

    Watch, Watched, Watching: Movies That Could Never Be Made Today Version

    That was pretty good listing all the things that have gone wrong due to meddling with the timeline. However Netflix seem to be making a concerted effort with Halloween material this year between Sabrina, the haunted house show and sort of apostle.
  15. red snow

    Bernard Cornwell - warlord chronicles and beyond

    Fair point I guess it could have been interesting to get a little more on why the British gods were in such a state. I guess Merlin blamed it on the influx of roman gods and others from that empire eg Mithras and Isis. That and the dwindling number of druids due to roman persecution meant the old gods probably were on the out.
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