Based on the short stories of Phillip K. Dick and trying to fill the gap left by 'Black Mirror' which was swallowed up by the Americans waving lots of hard cash at Charlie Brooker. *g*
What did I think of it so far? I think this Guardian article sums it up for me....
"Captivating performances, from Richard Madden from Game of Thrones, and from Holliday Grainger, who’s actually clashing with herself over on BBC1, though she’s hardly recognisable as Robin, the well-groomed, wholesome PA/wannabe PI in Strike. Here she looks more like someone you’d bump into in the stranger fields on the fringes of Glastonbury.
That’s what’s right with Electric Dreams, the first episode, at least. Are there any problems? Two, the seriousness of which I’m not sure. First, it’s not Black Mirror. To which you might say: so what, who says it’s trying to be? But when you have two ambitious sci-fi anthology series about who we are and where we’re going, comparison is inevitable, especially since the new one now occupies the old home of the other. It’s like when you’re going out with someone, and then they leave you (for someone with more money), and you get a new someone, and they’re great, but you can’t help thinking about the old one, missing them…
Actually, it’s not really like that, unless you are Channel 4 I imagine. The rest of us can obviously just spend £5.99 on Netflix to get the old one back. But if you could just have one, then you’d obviously pick the old one. Because while ED may resonate, BM hits an actual nerve, and hurts. Not so much about an imagined future, it’s about now, or no more than five minutes from now. It’s sci-fi for the non-sci-fi fan. And it’s more human, more moving, and wittier. Better, in short. And that brings us to the second – and I think more serious – issue with Electric Dreams. Which has to do with quality and consistency. The Hood Maker is terrific, thoughtful, thought-provoking and compelling. I’ve seen a couple more episodes, though, and without going into detail or giving anything away, they’re simply less engaging."
And it's with mixed feelings. Because I loved season 3 to little pieces, and that fucking ending simply won't leave me alone. So this will get long and not entirely coherent as I try to piece together what The Return and Fire Walk With Me and all that it seems to do, before I try to let it sit for a while and then do a rewatch.
( The past dictates the future )
When runaway Daniel Seaton inadvertently trespasses on Tyler Edward's land, Tyler nearly shoots him on sight.
Tyler's got a lot of years under his belt, and his past doesn't let him accept strangers easily. Dan's situation is dire enough that Tyler takes him home, at least for a little while, and that turns out to be a good decision when Tyler's injured and needs Dan's help.
Tyler's learning to trust, and Dan's settling in to a new life, but things aren't always what they seem. Between interfering friends, injuries, and their attraction to each other, Tyler and Dan have plenty of to deal with even before Tyler's previous career returns to haunt them. Can they overcome what lies in the past to have a future with each other?
Wild Raspberries at AO3
The first of them, Drawing Closer, is also my first novel, published back in 2006. It's at AO3 and it's mild BDSM.
Charles is a professor, an expatriate Brit, and a man with a past. He's put that aside, living the peaceful life he thinks he needs. He figures he's happy.
Until he meets Gray Collins, that is. Persistent, stubborn, and hot, Gray turns Charles's world upside down and brings him a future he never expected, with links to a past he's tried to forget.
My latest “Looking Back on Genre History” is up on StarShipSofa, and it’s an update on Native American Science Fiction/Indigenous Futurism. Listen for free here!
(The earlier segment I did introducing this topic in 2011 is here.)
Here are some of the links I mention in my new segment.
Apex Magazine’s “Celebration of Indigenous American Fantasists”
Strange Horizon’s Roundtable on Indigenous Futurism
Extrapolation’s Issue on Indigenous Futurism
Cool Hand Luke. Pat Garrett & Billy the Kid. Alien. Escape From New York. Red Dawn. Paris, Texas. Repo Man. (Seriously, Repo Man.) Pretty In Pink. Last Temptation of Christ. Wild At Heart. The Straight Story. INLAND EMPIRE. Big Love. The Avengers. Seven Psychopaths. And just a second ago, Twin Peaks. And even in the movies you didn't remember, you'd remember his bit.
Plus a fantastic singer and possibly just the coolest man on the silver screen in the last 50 years. For years, whenver anyone asked me my favourite actor, I'd always say Harry Dean Stanton. Pretty much nobody could ever argue with it.
Thanks, man. You did good.
So, for example*, if you can take out a subscription to the Financial Times online in about 30 seconds online, by clicking on a few options, then you should be able to cancel your subscription by clicking on something on your subscription details on their site. And they should not require you to email their support desk, reply with a second email explaining why you don't want it any more, and then answer a phone call wherein they offer it to you cheaper and then have to insist that, no, really, you don't want it any more.
The rule shall, instead, be that if ten random people take longer to unsubscribe than they did to subscribe that your home page will be replaced by a big flashing sign reading "We will treat you badly in the hope of holding on to your money."
Secondary rule: No introductory offers. Free trials are allowed (but must be easily cancellable, as above), but you can't offer new people a better deal than your existing customers. Introductory offers are a way of tricking people into signing up, and then hanging onto them when inertia stops them from cancelling/moving. Instead you must offer a good deal in the first place, which is sustainable, and which is easily compared to your competitors. I know this makes life harder for companies who are trying to hide long-term costs from their customers. I really, really, don't care.
*Or, possibly, exactly what happened to me at lunchtime.