Tag Archive: Haven series


luke cage

Ten years!  That’s ten years reviewing TV series in the decade that streaming services began to dominate TV viewing– and binge-watching was born as Netflix began releasing entire seasons at once in 2013.  How do you pick the best series?  As with yesterday’s list of movie recommendations, our theory from the very first day of publishing borg has been reviewing only those things we like, things we think are fun, imaginative, or just plain cool—because if we think they’re cool, maybe you will, too.  What makes a great TV series?  Great writing—great storytelling.  Also we looked to difficulty level and technology innovation—TV productions tend to get a fraction of the budget of big-screen features, so what they do with their time and money is critical, and some television series in the past decade were all-out feats.  The third factor we looked to is re-watchability—we’ll be watching the best series for years to come.  The big difference between ranking movies and TV is the change between seasons, that force that inevitably causes most shows to decline with each season.  So consistency is a factor.  Finally, as with movies the most important factor is the fun—why would you devote so many hours of your valuable time if you’re not going to have a great time?

Manda

One more thing: Ten years is a long time so we narrowed the series we’re including to those recommendations that fall primarily within the ten-year window.  We covered several fantastic, re-watchable series that cemented their status in reruns or syndication, many beginning before borg began publishing and finishing in the years after, including Burn Notice, White Collar, Warehouse 13, Leverage, House, MD, In Plain Sight, and three landmarks among the best pop culture-packed series of all time, Chuck, Psych, and Community.  We were disappointed that some of the best series were canceled and left to only a single season, otherwise they may have gone on to fare better against our top recommendations, shows like Jason Isaacs’ psychological police procedural Awake, Sarah Shahi’s all-for-fun Fairly Legal, Lauren Cohan’s action/spy series Whiskey Cavalier, the Doctor Who spin-off Class, the adaptation of Max Allan Collins’ popular noir novel series Quarry, the slick animated series Tron: Uprising, and the cyborg future-world Almost Human starring Karl Urban, to name a few.

Grimm

So here are the Top 40 series we recommend, spanning 2011 to 2021.  These are our favorites.  How should you use lists like this?  If you like what we talk about at borg, you’re probably going to like these shows.  If you’ve missed any, odds are you have some new series to take a look at.  Let’s start at #40 and move our way to #1.  As with everything borg, we’re stressing genre series.  Title links are to one of our previous borg reviews.

Let’s get started!

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Review by C.J. Bunce

In many ways Stephen King’s new supernatural crime novel Later is a natural follow-on to his two earlier Hard Case Crime novels, Joyland, which I loved, and The Colorado Kid, which will have me revisiting it for years to identify what I am sure is a hidden story beneath the obvious one.  Joyland follows a coming of age vibe for an older character and King pulls from a similar quiver of creepiness in Later as he did for The Colorado Kid.  Yes, Later will get the obvious comparison to the “I see dead people” kid from The Sixth Sense–a few updates and this could be its sequel, one as good or better than that great M. Night Shyamalan shocker (a character even calls out the comparison, and King doesn’t try to shy away from it).  But even more than that, this story is a perfect launch pad for a television series, a series that should be written and directed by Shawn Piller as a natural follow-up to the King-Piller partnership’s successful series Haven and The Dead Zone.  The slow-simmering pacing reflects the perfect make-ready four season series centering on a boy burdened with an ability he cannot walk away from.  Later easily could be the next Medium, Prodigal Son, or Tru Callingjust as dark, with a bit of Fallen thrown in.  It’s a highly recommended read, available for pre-order now here at Amazon, scheduled for release March 2.

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Review by C.J. Bunce

You really need to read the promotional information for AMC’s new series NOS4A2 to understand what happened in the first episode, which premiered this week.  A slow-starter that meanders more than it should to introduce characters, place, and conflict, NOS4A2 has enough going for it that it should get viewers to at least return to give the second episode a try.  The mood is horror, beginning with the murder of a woman and her boyfriend and the kidnapping of the woman’s son.  The kidnapper is a take on Krampus, played at first by an unrecognizable Zachary Quinto (Star Trek, Hotel Artemis, Heroes), who tells the kid he is taking him to a place called Christmastown, and he de-ages over the course of the episode as he drives north in his vintage Rolls Royce.  The show screams Stephen King, complete with Easter egg throwbacks to King’s many stories, the overall feel of IT, and a setting reminiscent of his classic coming of age werewolf movie, Silver Bullet, complete with an old covered bridge as a central plot element.

What does this NOS4A2 have in common with the 1922 horror film Nosferatu?  Nothing yet, and so far it has no vampire appearances, although Quinto’s Krampus-esque villain appears to be sucking the life force slowly from his child victims.  There is a reason for the throwbacks and similarity to Stephen King’s works–it’s because the series is based on the novel NOS4A2 (NOS4R2 in the UK) written by King’s son, Joseph King who writes under the name Joe Hill (also known for the IDW Publishing comic book series Locke & Key and the book and film Horns).  Unfortunately the first episode takes its time getting anywhere, and before you know it the hour has run and viewers are left with a vague introductory picture of what is happening.

What do we learn?  The kidnapping takes place in Iowa.  A local librarian who knew the missing boy, played by new actress Jahkara Smith, divines supernatural messages through Scrabble game tiles, which looks like it will soon connect her with an 18-year-old young woman in Massachusetts named Vic McQueen, played by 27-year-old actress Ashleigh Cummings (Miss Fisher’s Murder Mysteries).  As her character’s name would indicate, she drives a motorcycle and she’s from the wrong side of the tracks.  She favors her wife-beater father, played by Ebon Moss-Bachrach (The Punisher, Medium)–who encourages her to follow her dreams of being an artist–over her mom, a bit of a caricature of the disinterested parent, played by Virginia Kull (Big Little Lies, Twin Peaks). 

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Review by C.J. Bunce

Anyone who has ever been in journalism school has had one or more internships, maybe with a local newspaper or with a magazine, advertising agency, or public relations firm.  Every intern is a target in one way or the other of the old-timers in the firm.  The intern gets talked down to as a matter of rite.  Usually at the end of the internship the intern gets sent along her merry way, and sometimes she gets an offer to stay on, usually at low pay.  This is the world of Stephen King′s novel The Colorado Kid, delivered in King’s trademark nor’easter style of dialogue.  A young woman from Ohio named Stephanie McCann is winding down her internship with The Weekly Islander, working for the “news staff,” a pair of guys who can’t seem to decide how long they’ve worked at the paper named Dave Bowie (no relation, to either) and Vince Teague.  Another reporter, from The Boston Globe, is asking the men about unexplained mysteries in the area for a features story, around the year 2004.  After he leaves, The Weekly Islander men proceed to tell Stephanie about a story they didn’t share with the Globe reporter, the unsolved mystery of The Colorado Kid, a man found dead against a trash can situated along a nearby beach back in 1980.  In a spin on Twenty Questions, Stephanie gets to ask all the questions–to learn the clues and what investigation transpired so far in the crime–and they answer in a very verbose and dragged out way that only local yokels would normally have the patience to listen to.  After years out of print, The Colorado Kid has been re-released by Hard Case Crime for the first time since the book was first published in 2005.  In fact it’s the book that kicked off the imprint, and lighted the spark to make it the popular publisher of crime fiction that it is today.  The first edition fetches a princely sum in the aftermarket, so the new paperback edition is a welcome event for crime genre readers.

Fans of King’s TV and film adaptations and Shawn Piller television series will recognize the novel as the impetus for the Syfy Channel series Haven (now streaming on Netflix) a show that also included Hard Case Crime’s Charles Ardai as a producer.  Here’s what they have in common: The Colorado Kid is set in the Northeast, it featured newspapermen Dave and Vince, one of the local policemen was named Wuornos, and there’s a restaurant in town called The Grey Gull.  I noted nothing else in common with the TV series, except a different story of the Kid (the series’ handling probably less satisfying than in the book).  Ardai, in a 2019 foreword to the new edition, surmises that King may have chosen to wait this long to reprint the book to provide some distance from the series, so fans wouldn’t confuse the two.  If you choose to take on The Colorado Kid–the novel–just don’t search for any supernatural twist or horror.  There isn’t any and there isn’t supposed to be.  It also doesn’t follow a mystery formula, but is more a folktale, a storyteller’s legend, something like the lost people of Roanoke (one of the mysteries that surfaces in the series).

 

If it sounds like I’m holding back some elements, it’s because some of the surprise worth holding back is in the bones of the tale (surprises like we found in the films Midnight Special, 10 Cloverfield Lane, and Split).  With this story “the journey is the thing.”  First, the possibilities raised in the story are probably better than the story.  The Colorado Kid is a different type of tale, kicking aside all reader expectations–no matter what expectation you have coming into the story.  It’s full of Stephen King’s Maine, the local oddballs are few here, but we get plenty of their anachronisms, their dialects, and colloquialisms from storytellers Dave and Vince.  And as with the next Hard Case Crime book King would write, Joyland, it’s chock full of local charm (a more satisfying read, I reviewed Joyland as part of the official blog tour for the initial release here at borg in 2013).  The Colorado Kid is another example of why King is a bestselling author–his newspapermen keep you immersed in their little office along with Stephanie for the entire ride.  By book’s end you’ll more likely be ready to kill Dave and Vince for their quirks than the author for his… unorthodox… ending. Continue reading

The Colony poster

The Thing from Another World (often referred to as The Thing before its 1982 remake), is a 1951 science fiction film based on the 1938 novella “Who Goes There?” by John W. Campbell.  The story is about an Air Force crew and scientists trapped at a remote Arctic research outpost forced to defend themselves from a humanoid alien.  It was remade in 1982 by John Carpenter and yet another version of The Thing was released in 2011.  The “Who Goes There?” archetype has been redone in science fiction more than any other, sometimes with a different location like on an unexplored planet or undersea, sometimes with monsters, sometimes zombies or other beings that defy description.  Usually the protagonists are a group of trapped scientists or alternatively a group of stranded working stiffs like miners.

The most recent “Who Goes There?” creation is the Canadian science fiction film The Colony.  The Colony stars Laurence Fishburne (The Matrix, Predators, Man of Steel, Event Horizon, Assault on Precinct 13, Apocalypse Now, M*A*S*H) and Bill Paxton (Aliens, True Lies, Twister, Predator 2, Stripes, Apollo 13, The Terminator).  It’s 2045, the world is covered in snow and the few that have survived the changing environment live in colonies.  They think their worst enemies are starvation and disease.  Their prospects are bleak.  And the real enemy this time around?  Cannibals.  Immediately we think of a sci-fi version of the 1993 film Alive, based on a real-life disaster in the snow-covered mountains… and cannibalism.

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