They’re not actually producing it. It’s still Sony and AMC. But they’re doing the same thing they did for the last season of Breaking Bad - Netflix airs it immediately after the end of the season in the US/Canada and immediately after each episode airs in the US in the UK and some other markets. And in Europe and LatAm it’s not airing anywhere else.

Lost Girl is frustrating because there are pieces of a genuinely good show in there.

I got so mad at every site burying that news under headlines like “Netflix Snags Breaking Bad Spinoff!” or whatever for a couple days.

Lost Girl marks for me the absolute lowest form of entertainment that I will actually watch. One step above the home movies of LARPers. But there’s something likable and charming about the whole thing. Y’know, like how the big badass worlfman turns into the cutest little corgi of a white fairy wolf. I also kinda love how they tried so hard for about half the first season to make the main character a dark and mysterious femme fatale until Ms. Silk’s natural bubbly, cheerleaderish personality overwhelmed them and they started writing her as just the nicest, sweet-tempered succubus you could imagine. And finally, am I the only one who hears echoes of Hermey the Elf’s voice in Bo’s opening monologue over the credits? (c.f.: “I want tubbee a dentithst” and “My love carrieths a death sentenths”) Funny stuff!

If you’ve been waiting to see it, the Big Star documentary “Nothing Can Hurt Me” is on Netflix now. Really well done, although the parts of the story I know well got glossed-over a bit. When the “reunited” Big Star were rehearsing for their first gig in 20 years in Columbia MO in 1993, there were about 12 of us who got to sit and watch Jon Auer, Ken Stringfellow, and Jody Stephens run through their set at a warehouse practice space that belonged to local band Ditch Witch. First time through the set list, no one sang on the majority of the songs where Alex would take lead vocals. After doing that once, Jody opined that he keyed some of his drum work off the vocals, so they did the set again with Jon and Ken singing. It was perfect and amazing and I damn sure wish I’d had a video recorder for that.

Also: while the Posies were always in consideration for taking part in the gig (at Jody’s suggestion, apparently, according to old roommate Mike, who set the show up), there were others asked. Particularly Teenage Fanclub’s Norman Blake and Gerry Love, who had to regretfully decline due to their own tour schedule. Matthew Sweet was asked and didn’t believe the show would ever come off and declined. Ditto for folks like Mike Mills and Mitch Easter and Chris Stamey, who all seemed doubtful the reunion would happen.

BTW, Mike got the idea to try to reform Big Star because he was a fan, and GM of our college radio station–so that was first. In 1992, though, I gather his family moved to New Orleans (from Pittsburgh, so it was a complete relocation) while Mike was in college at Mizzou, and so it was a bit of culture shock for him over winter break that year. Apparently, though, he’d run into a guy who knew Alex Chilton in New Orleans (I think it was a co-worker), and the guy gave Chilton’s phone number to Mike. Mike asked about reuniting the band, and everyone (including me) told him “It’ll never EVER happen.” Mike wondered if anyone had ever asked, or asked recently. “I’m sure they have” (Apparently they hadn’t.) He’d also gotten in touch with Jody Stephens by this point, and Jody–always enthusiastic and at this point running Ardent Records–said he was in, “But you’ll never convince Alex.”

Mike called Alex. Alex said he might do it. He wanted pay assurances (which ended up causing a financial scandal at the radio station later on, but whatevs). He also wanted to make sure that Jody would do it. He wanted to make sure whomever was enlisted as sidemen knew what they were doing. Finally–as a guy who’d played dozens of shows in CoMO, he wanted to make sure the local guitar boutique would indeed rent him the '60’s vintage blond Fender amp he loved so much. Alex let on, as I remember Mike telling it, that no one had really asked in years and he’d been willing to do something for a while in the right situation. They rounded up the money and the amp, and called Stephens back. Jody was stunned, and then I guess fairly quickly suggested The Posies as the sidemen. He’d heard their version of “I Am The Cosmos” and was blown away.

And so that’s pretty much how that happened.

BTW, Mike–who has a propensity to ask “Has anyone ever tried this before?” and then making those things happen, is an executive VP at a major network now. Dude can talk anyone into damn near anything. This was no fluke. He might’ve been one of about 10 people on the planet who could’ve gotten Big Star together.

“Computer Chess” is now on there. Mumblecore meets ASCII. I liked the “idea” of it more than the movie itself.

Inspired by another thread, I looked up Better Off Ted, and what do you know, it’s on US Netflix. Highly recommended. Not in the UK, unfortunately.

Apparently the first season of House of Cards has the option for viewers to hear commentary from the directors of the different episodes. Have to give this one a try while waiting for season 2.

Dexter season 5-8 just appeared. Liked the first 4, lookng forward to the rest.

Just watched the first 7 minutes of Leverage. Ohmygodterrible. Seriously. The script came off as a particularly sophisticated episode of Thundercats.

I just read this article on how Netflix breaks down micro-genres. I love this kind of analysis.

I’m especially happy that the writer brings up one of my favorite actors, Michael Kelly, in the piece.

-xtien

Do what you want, but for your own sake, I would strongly advise against watching them.

I totally agree, but if you watch it anyway ElGuapo, whatever you do, please don’t get your hopes up when season 7 briefly shows signs of being good again. It only gets even worse.

I think it’s worth getting through the poor Seasons 5 and 6 to get to the excellent Season 7. I stopped watching in the middle of Season 8. Not a great place to end personally for me, but at the same time, I’m dreading everyone’s warning that it’s going to get bad. I figure maybe I should just view this as the end. Season 7 really was a perfect way to end the series.

I wish I had stopped watching Dexter after season 4 but I kept with it a little longer. I honestly don’t even remember where I stopped but probably somewhere in the middle of season 5.

Agreed! I bet a Question movie would be awesome. I used to think he was so cool in the comics when I was a kid, but I always wondered if the guy who created him was just sick of drawing faces, got lazy, and said “fuck it”.

To be fair, unlike Seasons 1-3, Season 4 is the first one that kind of ends on an emotional cliffhanger. I don’t think it would be very satisfying to actually stop there for anyone. I’d recommend skipping Seasons 5 and 6 and go straight to 7 rowe33. The “previously on Dexter” parts will catch you up on the brief things you need to know from Season 6.

I think that will be my plan too. Skip 5 and 6, skip to 7, and ignore 8.

That is awesome! Just going through some of the absurdly specific genres they tag I’ve discovered more than a dozen movies that have never come up in a search that I’ve wanted to see, including discovering that Netflix has been apparently hiding all the “Up” series of documentaries.

FYI, Mr. Trap, the Creation Records documentary Upside Down is now streaming on Netflix.