The Sandman Movie Is Going To Be An Action-Packed Joyride, or Joseph Gordon Levitt Doesn't Watch Television

I have feelings and stuff

For those that don't know, actor and musician Joseph Gordon Levitt is adapting Neil Gaiman's Sandman for the big screen. It's likely no stretch to bet both Sandman and Gaiman fans are excited for this project since it has been in development hell for over a decade and the books have been one of Vertigo Comics biggest sellers for over two decades.

Still, the begged question of "why a movie and not a tv show" is even more present in a time where shows like Game of Thrones have become international successes. While movies are still big projects that gain popularity in many countries, Game of Thrones hit a level of popularity so high that its piracy is its own story. With creative sets, costumes with beautiful detail , very good acting, and visually astounding special effects and lush cinematography, Game of Thrones is pushing the boundaries of what to expect from television. And it's not alone. 

Before Game of Thrones, HBO, AMC and other channels produced shows like Breaking Bad, The Sopranos, The Tudors and many others that brought television audiences stories that were more often delivered through movies. With great plot lines, writing and acting, a show like True Detective attracts movie actors (Woody Harrelson, Matthew Mcconaughey, Collin Farrel, Rachel McAdams) to the small screen for quality roles. It also tells a whole story that could easily suffer the pitfalls of truncation which so often happens in film. With this renaissance of television goin on, it's confusing that Levitt would say the following while trying to explain why he's making Sandman into a movie:

I think a big screen adaptation is a better idea and here’s why. If you did the episodic version, I think it could very well end up as a not-as-good-version of what is already brilliant in the comics. But by reworking the material into a big movie, Gaiman’s brilliant characters and ideas get to take shape in a way they never have before. Also, I think Sandman deserves to look absolutely mind-blowingly awesome, just on a visual level, and as cinematic as some tv shows are becoming these days, they still can’t compete with big movies visually, just because they can’t afford to.

This isn't to say Sandman shouldn't be a movie. (I don't think it should be, but that's not what I'm getting at here). However, looking at a show like Game of Thrones, the budget averaged 6 million per episode in season 4, and 8 million in season 5. With ten episodes, a season costs 60 -80 million dollars. To put this into perspective, the new Terminator movie has an estimated budget of 155 million. The new Terminator movie costed just under twice as much as the last season of Game of Thrones. While Terminator Genysis isn't the adaptation of a comic book, Kick-Ass is, and it cost 30 million, half as much as season 4 of Game of Thrones. While the budgets of these two movies factor in a great deal of action and explosions, Sandman's source material has none of that. Sandman, like Game of Thrones, is a plot based epic that will need a nice amount of CGI. Unlike, Game of Throne, Sandman doesn't have action. For this reason, it seems hard to imagine that HBO "can't afford to" adapt Sandman. However, when reading his quote, it seems easy to imagine that either Levitt doesn't watch television, know much about arithmetic, or is turning Sandman into the Terminator.

Oh no he didn't!!!!!!

Black Mirror: The Present Tense of The Future's Digital Dystopia

FAIR WARNING: This article contains spoilers

Right now you are using what Charlie Brooker calls a "black mirror." You may be using more than one if you have a television on in the background. Black mirrors are the screens of smartphones, computer monitors and televisions that are making up the new ways people digest media and communicate with one another. In the 21st century, people are using social media and text messages to talk to each other instead of making phone calls. While print media is on the decline, information is being published on the internet. Even television has moved from traditional broadcast formats, with writers and actors developing programming for Netflix and Youtube, bypassing network TV. While technology changed the way we do things in very noticeable ways, it comes with side effects that may not be as obvious. It is the side effects of technology that Black Mirror chooses to talk about. It's common for science fiction to examine complex ideas and offer parables to give readers a glimpse of beautiful worlds. Black Mirror uses the science fiction genre to explore the impending horrors the digital age brings closer while making unsettling futures to create satirical dystopian realities we may live in one day.

Charlie Brooker explains it all.

In many ways, Black Mirror gives Brooker the opportunity to continue his lambasting of modern culture and its relationship with television. With a six part mini-series entitled "How TV Ruined Your Life," Brooker rants on how television shows have warped people's notions of beauty, given them expectations of life they will never see, and generally misinformed them throughout their lives. It's just a little funny that these mini documentaries were produced for television. The series is on Youtube (for now), and would be a good introduction to the way Brooker uses cynicism, sarcasm and vitriol to make his point. He makes the same points in Black Mirror that he makes in How TV Ruined Your Life, only he does so with hour long dramas in what may be the best anthology to come along since Twilight Zone. 

There are no elements of the future in the first episode of Black Mirror. Flying cars and laser guns are nowhere to be seen and android police play no role in the world of  "The National Anthem." In a lot of ways, it has a visual tone of an Aaron Sorkin drama, with his signature "walk and talk" style building a fast paced world where the characters are constantly moving and information is flying at the characters and audience at an unbelievable rate. Sound familiar? When you take a step back, it is dark view of our current world that we are looking at. "The National Anthem" opens with a wake up call, literally. The Prime Minister is woken by colleagues to find out the Princess has been kidnapped. Posted on Youtube, the ransom video shows the princess, tied up, reading a demand letter that says she will only be released if the Prime Minister has sex with a pig on live television, by 4pm. Even though the British Government takes down the video from Youtube and urges local media to not give the matter attention, it's new media that takes over and lets the video  and story go viral.

"The Princess & The Plea"

The episode soon moves to the setting of a television news room. When the producer mentions that adhering to the D Notice, which has kept the story from breaking on the air, a smart mouthed member of the show lets everyone know that "facebook's coverage is pretty comprehensive." This is where the heart of the episode comes out. Local people are shown glued to their televisions and smartphones for updates while discussing the kidnaping and terms among  themselves. It's the screens (black mirrors) that act as the driving force behind the reality these characters live in. With cellphones, televisions and tablets updating the politicians, journalists and viewers, the audience watches people addicted to black mirrors as if they were watching a news story develop in real time. "The National Anthem" has its events mirror a real news story, with constant coverage and speculation turning horrific events into reality TV which is brought to light when Mrs. Callow address how people react to a world where such misfortunes are used as building blocks for the 24 hour news cycle, saying: "I know People, we love humiliation."

The audience watches the people living in this version of England, as they go from screen to screen for information, getting feedback from people on Twitter and Facebook, watching a TV journalist use her phone to send racy photos to a member of the PM's staff to get undisclosed information that puts her life in danger as she searches for footage that will draw in more viewers. Every step of the way, black mirrors move the story to its frightening conclusion. By the end, the event is revealed to have been masterminded by a prize-winning artist and a broadcaster notes that an art critic referred to it as "'the first great artwork of the 21st. Century,' in an event in which we all participated."

In an interview with The Guardian, Brooker says the following: "If technology is a drug – and it does feel like a drug – then what, precisely, are the side-effects? With "The National Anthem," the side effects present a culture that is so obsessed with cable news and social media that it fails to see how they are being used by the artist that is also manipulating the prime minister. The world of "National Anthem" shows a culture where the participation of viewers that "love humiliation" create Mr. Callow's fate, a culture where the audience watching the Prime minister and the audience of "The National Anthem" are blurred and suggested to be the same.

Hot Shot is forced on Bing for the Fifteen Millionth time

Black Mirror goes on to put its audience in the show with episode two. "Fifteen Million Merits" shows a future world where people either ride a stationary bike to earn merits or clean up after the cyclists. In this future, the highest aspiration available to people is to earn enough merits (15 Million) to use for a ticket to participate on a reality TV show, Hot Shot, that will give them a new life or embarrass them in front of the world. Personal values and the importance of human connection is questioned where people spend merits on accessories for their avatars, to play video games, eat and skip commercials put on the screens occupying their surround walls.

In this dystopian future, Bing wakes up every day to mount a cycle. While the people around him play games, build their avatars, and watch pornography as they cycle, he is uninterested by the digital options, and pays to avoid ads that urge him to be a consumer. Bing lives a mostly solitary life until Abi joins the cycling team. Struck with her beauty and vocal talent, Bing uses the merits he inherited upon his brother's death to buy her a ticket to compete on Hot Shot. While people watch her sing from their room, their avatars take up space in the theatre, make facial expressions and mime their movements. Even though the audience enjoys her performance, the judges convince her to become an adult actress. This leaves Bing heartbroken, meritless and just as alone as he was before meeting her.

With a new mission, Bing puts in as many hours on the bike as he can. Opting to eat the leftovers of other cyclists and watching every commercial, a montage shows Bing earning enough merits to gain an audition on Hot Shot. With everyone's avatar joining the judges as they watch, Bing begins to dance before taking a shard of glass to his throat. In a long speech, Bing address the judges, the audience of Hot Shot and people watching Black Mirror, the people the avatars are a stand-in for:

"All we know is fake fodder and buying shit. That's how we speak to each other, how we express ourselves, is buying shit. What, I have a dream? The peak of our dreams is a new app for our Dopple, it doesn't exist! It's not even there! We buy shit that's not even there. Show us something real and free and beautiful. You couldn't. Yeah? It'd break us. We're too numb for it. I might as well choke. It's only so much wonder we can bear. When you find any wonder whatsoever, you dole it out in meagre portions. Only then until it's augmented, packaged, and pumped through 10,000 preassigned filters till it's nothing more than a meaningless series of lights, while we ride day in day out, going where? Powering what?"

When Bing addresses the judges, with the excerpt above, it is no longer him. These words are from Charlie Brooker and sound like the commentary he uses on How TV Ruined Your Life. The judges and avatars that face Bing are the real world. This speech nearly breaks the fourth wall to comment on the consumer culture of Black Mirror's audience by placing them in the future where they are cogs in a machine, earning merits to be spent on non-existent things that are constantly at reach and being dangled in front of them with their own black mirrors.

With a twist ending, Bing gets commissioned by a judge to makes his own show, where he rages to an audience about the world they live in. Though Bing is seen finishing a show in his nice apartment, drinking orange juice from a pitcher instead of a packaged container, the episode ends with him just as alone as he was in the beginning. Regardless of class, "Fifteen Million Merits" shows a future so burdened by consumerism, filled with people that live through dopples and absent of real experiences, that even winning the game show that everyone tunes in to can't help change who someone truly is, or influence their quality of life.

With four more episodes and a Christmas special starring Jon Hamm, Brooker went on to give more focus to dystopian futures fueled by man's relationship with technology. These episodes have a recurring theme of how technology will make us more distant from one another, more focused on our technology and more interested in our new eyes than the world we're looking at. But it's the first two episodes that actually bring the viewers in by giving them analogues through the avatars of "Fifteen Million Merits," and viewers of "The National Anthem," that make those episodes so life like that it's hard not to see how the side effects of technology have already begun to take root.

For anyone interested in Black Mirror, you can buy the dvd box sets or find them on Youtube before they're taken down.