Watchmen, Dresden, and Carnivale

So looking looking back at the 60s seems pretty reasonable to me. That would have been a formative decade for most of the characters.

Yeah, it was. And it's pretty amazing, or maybe pretty predictable is more like it, how screwed up most of them turned out to be in the end. One way or another. Not all, but most.

But as I said to Umbran that observation wasn't really directed at the Watchmen GN per se. Just the idea in comics and in film (too often) that the Sixties are something to look back upon ideally and wistfully. Instead of realistically. (I don't think the GN looked back at the Sixties wistfully, I think the film did more of that.)
 

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Carnivale - This thing, which I had never seen before (we don't got HBO, and I don't want it, but every now and again I hear tell they make something decent) was easy on my eyes.
HBO has produced some of the best TV in the last 10 years.

Even relatively unknown series' like OZ or The Wire, Rome and Deadwood.

And they've got GRRM's Game of Thrones lined up too.

HBO is awesome.
 

Even relatively unknown series' like OZ or The Wire, Rome and Deadwood.

I was referring primarily to the movies they show CC. I wouldn't mind seeing some Deadwood or Rome from what I hear tell.

I went ahead and saw these episodes of Carnivale:

Tipton, Black Blizzard, Babylon, and Pick a Number.

I pretty much liked them all. But especially Babylon.
That kid, Ben, reminds me a lot of my oldest nephew. Both the way he looks and his mannerisms and expressions.
 







Watchmen - It wasn't nearly as bad as I suspected it might be. I even enjoyed it. Yes, it was comic-bookish and the plot was not particularly well developed in the film in comparison to the Graphic Novel but it was a well enough developed film in its own right. And yes the politics were silly, incredibly unrealistic, and comic bookish too, as is almost always the case with comic book materials, but given the source I thought it was a pretty good tale on the level of the individual character (especially as regards Manhattan and Adrian, whom I really thought I wouldn't like beforehand) and liked it for that. But for love of Red Skelton, I wish though that comic book writers and film-makers alike would stop already with the 5th grade juvenile American Empire/Dystopia/Utopia Hippie-squiggly/porky-piggly in first deep doe-eyed puppy love with the failed throwback Sixties (even in a series set in the Eighties they gotta go back to the Sixties, like the Seventies weren't bad enough or like the world first arose in that mostly stupid, backwards, febrile, misguided era) sea of moss green catfish crap they so often love to swim in. Man, what do most of them get their visions of the world and history from nothing more than other comic books? Even when they write anti-comic-book comic books (excuse me Graphic Novels) that's about the extent of their "prophetic visions" of the present and future.
Your proselytizing would carry a more weighty ring if you'd the sense to not liken things to comic books in a pejorative sense, as if we should all just get what you mean and nod acceptingly without you having to back it up. You're showing off your lack of understanding of the medium and doing it amongst the wrong crowd.

The sixties was a very progressive and optimistic era. For everyone who idealizes it, there's someone who has a huge blind spot for its positives.

Then again, you're pretty much way off base in stating that either the movie or the comic idealized the sixties or seventies in a doe-eyed fashion. Nixon and Vietnam were the two things they dwelled on at any length, and those are pretty lousy byproducts of that time period.

The seventies? Rock music hit its apex, but otherwise....point conceded.
 
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