Re: Selected programming for Oct. 5-11, 2024

On Oct 23, 2024 at 3:01:41 PM PDT, "anim8rfsk" <anim8rfsk@cox.net> wrote:

BTR1701 <atropos@mac.com> wrote:

 On Oct 8, 2024 at 6:24:17 PM PDT, "anim8rfsk" <anim8rfsk@cox.net> wrote:
 

 BTR1701 <atropos@mac.com> wrote:

 On Oct 5, 2024 at 8:52:48 AM PDT, "Robin Miller"
 <robin.miller@invalid.invalid> wrote:
 

 Teacup         [new]         (3:01 am, Peacock)
 
 Produced by James Wan (Saw, The Conjuring), Peacock's new
 horror/mystery/sci-fi thriller is loosely based on Robert McCammon's
 1988 novel "Stinger" and finds a group of rural Georgians coping with a
 mysterious threat—so mysterious that Peacock isn't revealing any details
 about what it might be. Yvonne Strahovski (The Handmaid's Tale) and
 Scott Speedman (Underworld) head the cast, while the adaptation comes
 from writer Ian McCulloch (Yellowstone).  Eight episodes; two episodes
 stream each week through Oct. 31.

 
 Holy shit! STINGER is one of my favorite books. I know the secret and Anim8r
 won't be pleased to know it's shades of UNDER THE DUMB. The book was well
 done-- but then so was DUMB and we saw what a mess they made out of it-- so
 I'm hoping these show runners get it right.

 
 It’s OK I don’t have Peacock anymore anyway. The newest iteration of it
 starts out by asking which plan I want to pay for and there wasn’t a free
 option anymore.

 
 After watching the first four episodes, I can report that-- much like they
did
 with UNDER THE DUMB-- they've significantly changed the plot of the book,
 although one assumes that's with the author's blessing as McCammon is listed
 as an executive producer.
 
 This is what STINGER is about:
 
 Gur Jrfg Grknf qrfreg gbjaf bs Vasreab naq Obeqregbja unir orra fybjyl
qlvat.
 Gur Fanxr Evire vfa’g gur bayl guvat gung qvivqrf gurz. Enpvfz naq tnat jnef
 unir ghearq gur fha-fpbepurq syngynaqf vagb n cbjqre xrt. Vs nalguvat pna
 havgr gurz abj, vg’f gur HSB gung pbzrf penfuvat guebhtu gur pybhqf.
 
 Vg oevatf jvgu vg n lbhat nyvra anzrq Qnhsva, n shtvgvir jub unf gnxra uhzna
 sbez. Fur xabjf gur greebe gung njnvgf guvf cynarg—orpnhfr vg’f ybbxvat sbe
 ure. Fgvatre vf na nyvra obhagl uhagre jvgu na vasvavgr pncnpvgl sbe qrngu
naq
 n qrivbhf cyna gb svaq Qnhsva. Ragbzovat gur ertvba va na varfpncnoyr raretl
 qbzr, Fgvatre hayrnfurf n ivbyrag shel gur yvxrf bs juvpu vf haxabja gb
 uhznaxvaq. Abj, gur srj erznvavat fheivibef zhfg pbzr gbtrgure gb cebgrpg
 Qnhsva, gurzfryirf, naq gur jbeyq orlbaq.
 
 So the most noticeable change is the setting. No longer is it in the blasted
 deserts of West Texas, but rather in bucolic New England with its lush
 greenery and lovely weather. And instead of being contained in an area the
 size of a county encompassing two different towns, the boundary on the show
 has been reduced to one mind-sized horse farm. And the barrier is now
 invisible, only delineated by a blue line which was spray-painted on the
 ground by a mysterious (one assumes) government man. In the book, you just
 couldn't leave because the barrier prevented you, like a wall does. In the
 show, you can cross the line, but the moment you do, you're literally turned
 inside-out by some mysterious force and left in a frozen puddle of your own
 guts.
 
 Despite the changes to the plot of one of my favorite books, I'm so far
 enjoying the show. It's not nearly the mess that UNDER THE DUMB turned
into--
 at least so far.

 
Fb yrg zr trg guvf fgenvtug: gurl gbbx n fubj nobhg n zheqrebhf, nyvra,
obhagl, uhagre anzrq FGVATRE, naq punatrq vg gb… Grnphc?

Grnphc vf n ersrerapr gb gur svefg fprar bs gur fubj jurer Libaar Fgenubgfxv
pnyzf ure fba qbja ol pngpuvat n jnfc gung jnf fpnevat uvz ol chggvat ure
grnphc qbja bire vg fb gung vg pbhyqa'g rfpncr. Onfvpnyyl sberfunqbjvat jung
gur nyvra jnf fbba tbvat gb qb gb gurz nyy.