The series has become known for its whimsical feline-centric episodes, with cats who are always trying to save the world or conquer it.
Love, Death + Robots has had a thing with cats since the very beginning.
The science fiction anthology started off on the right paw with 3 Robots, an inaugural season episode about a trio of intelligent machines touring the ruins of human civilization on a post-apocalyptic Earth, only to discover it isn’t quite as lifeless as they thought, with cats happily ruling the ashes.
We’ve written about the episode before, and it ends, naturally, with cats making the robots their new servants.
The gray tabby who tricks the titular 3 Robots into becoming his servants.
A sequel to that episode added to the legend of feline dominance, and now the fourth season brings us two more cat-centric episodes, For He Can Creep and The Other Large Thing.
For He Can Creep is set in 1757 London, where a poet named Christopher is incarcerated at St. Luke’s Asylum for Lunatics (an actual place) with only his cat. Jeoffry, for company. Christopher’s talent is mistaken for madness by the asylum staff, but not by the devil, who realizes the poet’s words have a unique power.
The problem? Jeoffry stands in his way. It turns out felines have spectacular evil-fighting powers, and the very British, very 18th-century devil offers Jeoffry an endless supply of treats, plus dominion over the Earth, if he’ll simply stand aside and let his human fall under the influence of evil.
Jeoffry, of course, is not having it, but to have a chance of defeating such powerful evil, he’ll need to enlist the help of the nearby alley cats, including an adorable but ferocious kitten named Nighthunter Moppet…
Nighthunter Moppet may be a tiny kitten, but she’s ferocious!Jeoffry demonstrates the feline ability to teleport, a skill Bud has often used to confound me.
The Other Large Thing is a prequel to 3 Robots and 3 Robots: Exit Strategies, and focuses on a fluffy Persian whose humans call him Sanchez, a name he hates.
The humans are portrayed as jibberish-speaking morons for whom Sanchez has nothing but contempt, and when the “pathetic minions” bring home a domestic robot servant, Sanchez is infuriated — until he realizes the robot can “speak God’s language,” aka cat, and has opposable thumbs.
With the robot as his new minion, Sanchez finally sets out to conquer the world!
Sanchez realizes he’s struck gold when the new robot home assistant fetches as many cans of “the good stuff,” aka wet food, as he wants from the previously unreachable cupboard top shelf.
Both episodes are based on short stories, and they’re both written by people who clearly love cats.
Some episodes of LDR can get a little dark or somber. That includes Beyond the Aquila Rift and Sonny’s Edge, written by Alastair Reynolds and Peter Hamilton, two of my favorite novelists. Both episodes are spectacular, but they leave you with a chill and some disturbing thoughts that linger long after the credits end.
The feline-themed episodes are the perfect digestifs, offering doses of whimsy and levity to counter the existential dread and nightmarish visions of the future of other installments.
With no more humans to do their bidding, cats seize the opportunity and conscript the visiting robots as their new minions.
If you haven’t had the chance to check out the series, which streams on Netflix, I highly recommend starting with the aforementioned first season episodes 3 Robots and Beyond the Aquila Rift, then working your way through the rest of the cat episodes.
Not all of the episodes are great. The 400 Boys, one of the new episodes, is little more than inane and pointless violence, and the ubiquitous, creepy smiling “Mr. Beast” makes an appearance in another installment in an unnecessary attempt to attract new viewers. Thankfully most are strong, with more hits than misses.
Other highlights include the Christmas-themed short, All Through the House, Harlan Ellison’s Life Hutch, Reynolds’ Zima Blue, and Snow In The Desert.
The dragons of the Game of Thrones universe are so well-designed, with such attention to detail and writing that imbues them with their own personalities, that they feel like real creatures. They’re a sight to behold.
The Budster was just a kitten when the fourth season of Game of Thrones premiered, and I vividly recall trying to tire the little guy out with extra play time on Sunday nights so I could watch my favorite show in peace.
The effort was mostly in vain with such an energetic, curious and chatty kitten, but eventually Bud would settle down in my lap and watch with me.
Enamored as I was with the tiny animal in my care, I found myself especially appreciative of the fact that the dragons of the Game of Thrones universe are so lovingly, realistically rendered and given such unique personalities that they feel like real animals. A lot of thought and care went into their design, from their anatomies to the biomechanics of how they move and fly, to their chittering, calls and roars.
If you look closely when they open their mouths menacingly, you can even see the glands that secrete the accelerant allowing them to breathe fire.
Both shows — the original Game of Thrones and its prequel, House of the Dragon — have done such a good job developing the dragons as characters that I’ve found myself more disturbed by the unfortunate deaths of a few of the majestic beasts than I was by the grisly fates of some human characters. That’s saying a lot for a fictional universe infamous for shocking, emotionally manipulative, gut-wrenching deaths, a universe that immediately established no one is safe after killing off its main character — played by its highest-profile actor — before the first season was over.
The willingness to do what no other TV show has done in 60-plus years of television is part of what makes Game of Thrones and its spinoff such compelling drama. No one is safe. Heroes can die agonizing, undignified deaths. Villains can triumph, infuriatingly. But just when you think you know where the narrative will go next, it subverts your expectations yet again.
Now that we’re a few episodes into the second season of the prequel, House of the Dragon, and I’ve taken to trying to get my cat to respond to commands in High Valyrian as if he were a dragon himself, I compiled this official Buddy-approved list of our favorite dragons in both series:
Syrax
Syrax is golden and regal.
The beautiful golden-scaled Syrax is protagonist Rhaenyra Targaryen’s dragon, so it’s fitting that she’s the first of the eponymous creatures we see in House of the Dragon, soaring across the skies over King’s Landing in the first scene of the first episode.
Teenage Rhaenyra Targaryen with Syrax after a flight over the Westerosi capital city, King’s Landing.
As was tradition with Targaryen children, Syrax’s egg was place in infant Rhaenyra’s crib, with child and dragon raised together to create their indelible bond. The show makes it clear why that bond is so important in the third episode, when Rhaenyra arrives dramatically atop Syrax to defuse a confrontation among her uncle and the king’s men that was on the verge of bloodshed.
“Take care not to startle Syrax, my lords,” Rhaenyra says as she dismounts, pulling off her riding gloves. “She’s very protective of me.”
Syrax is a young and growing dragon at the time of HotD’s first episode, when Rhaenyra is just 15 years old.
Vermax
Nom-noms for Vermax?!
Vermax is a juvenile when we meet him for the first time in House of the Dragon, in a scene showing Princess Rhaenyra’s young son, Jacaerys Velaryon, learning to bond with his dragon. (A time skip in the first season moves the action forward some 15 years.)
Vermax is young and wants all the snacks. Note the accelerant gland in his mouth, visible on the right side. When the dragons of the Song of Ice and Fire universe breathe fire, a natural accelerant is secreted from the gland, mixing with the dragon’s breath to create flame hot enough to turn men to dust in their plate armor.
It’s the first time since the early seasons of Game of Thrones that we see a sub-adult dragon, and Vermax almost looks like a fire-breathing velociraptor as we watch him roast his own dinner at Jace’s command.
We also get to see the dragon keepers instruct the young prince on how to “call [his] dragon to heel,” issuing commands in High Valyrian like “dohaeris” (serve), “umbās” (wait or hold) and the most famous command, “dracarys,” which instructs the beasts to spit fire.
Meleys
We don’t meet Meleys until late in HotD’s first season, but the wait is worth it. Known as the Red Queen, Meleys is massive, terrifying and already has a storied history by the time we set eyes on her.
She stars in arguably the most spectacular scene involving a dragon in HotD’s first season, prompting several characters to soil themselves as Meleys makes an unforgettable entrance and threatens them with a deafening roar.
The formidable Meleys. Here too you can see the fire glands in Meleys’ mouth as she roars.
While dragons like Syrax and Dreamfyre are graceful and sleek, Meleys is all menace and sharp edges, resembling the two most famous, most feared dragons in GoT lore — Drogon and Balerian the Black Dread, who were both the personal dragons of Targaryen conquerors.
Meleys is ridden by Princess Rhaenys Targaryen, styled as The Queen Who Never Was due to her strong and spurned claim to the Iron Throne. Rhaenys and her dragon, however, are a force to be reckoned with.
Caraxes
Caraxes is one of the most battle-hardened dragons, and his rider, Daemon Targaryen, is a lunatic. That makes the pair extraordinarily dangerous and unpredictable.
Known as the Blood Wyrm, Caraxes has an unmistakable serpent-like look to him, with a long neck, finned tail and dark red-black scales.
Just as humans can be born with deformities so can dragons, and Caraxes owes his strange anatomical features to an unidentified congenital condition. Caraxes is fierce, fearless and has seen more combat than almost any other living dragon in House of the Dragon.
At first it seems as if Caraxes is a different breed of dragon, perhaps from a sister taxa, but the fearsome fire-breather actually suffers from congenital deformations that somehow make him even more terrifying.
Caraxes is also notable for the man who rides him: The mercurial and often brutal Daemon Targaryen, brother of King Viserys. Daemon is an accomplished warrior and loose cannon, which makes him and his dragon unpredictable and very dangerous. He’s not above using Caraxes to intimidate, and Caraxes seems to enjoy his part.
Rhaegal
Rhaegal and his brothers, Viserion and Drogon, were born when Daenerys Targaryen, Mother of Dragons, carried their eggs into an inferno and emerged at sunrise with three baby dragons clinging to her.
We see him and his brothers grow from tiny and cute infants to living manifestations of absolute terror, destroying entire navies and razing castles with their dragonfire. At the time of their birth, dragons had been extinct from the world of Game of Thrones for centuries. (Game of Thrones takes place about 200 years after House of the Dragon, despite being the first of the two series adapted by HBO.)
Rhaegal is named for Daenerys’ late brother Rhaegar Targaryen, and his eventual rider is Jon Snow. Rhaegal participates in Daenerys’s toppling of the ruling class in one of the Slaver’s Bay cities, and he and Snow eventually participate in the most pivotal, existential battle in the show’s history. Rhaegal is a beautiful example of his species, with dark green scales, and like his brothers, he’s fiercely loyal to Daenerys.
Vhagar
Vhagar is absurdly huge and is the largest living dragon during the reign of King Viserys I in House of the Dragon.
Vhagar is old, ridiculously massive and — at the time of House of the Dragon — the most powerful and celebrated dragon alive.
Age is evident in every one of her features, from her broken teeth, worn scales and tattered wings, to her lugubrious gait as she’s risen from sleep during a key scene late in HotD’s first season.
The earth shakes as Vhagar lumbers forward, launching her colossal frame into the air.
But once she takes to the skies, there is no force in the show’s universe that can stop her. It’s astonishing to see a dragon the size of a damn aircraft carrier, and I can’t wait to see how Vhagar and her rider, Prince Aemond Targaryen, impact future events.
Drogon
Even if you’re unfamiliar with Game of Thrones, chances are you’ve seen ads, promotional clips or giant billboards in Times Square depicting a golden-haired woman atop a behemothic dragon with dark crimson and black scales.
The woman is Daenerys Targaryen and the beast is Drogon, who is said to be the reincarnation of Balerion the Black Dread, the largest and most powerful dragon in recorded history.
Drogon is the symbol of the rebirth of dragons almost two centuries after the last of the species died. He’s the most destructive force in the original Game of Thrones, but he’s also dearly loved by his mother, Daenerys, and he’s even had a few comical, light-hearted moments, like the death stare he fixes on Jon Snow when the latter kisses Daenerys.
“That’s my mom, dude,” Drogon seems to say. “Be respectful or I’ll burn you to a crisp and make a light snack of you.”
This GIF is taken from that very moment, when Jon locks lips with Dany, senses the dragon’s eyes on him, and looks up to see Drogon staring intently at him:
When Drogon and his brothers are born, the people of Westeros and Essos can hardly believe it. For the first time in two centuries dragons lay claim to the sky, their calls echoing for miles across mountains, plains and open water. They also have voracious appetites, helping themselves to thousands of farm animals, wild prey and enemy soldiers as they grow.
Drogon and the boys have a big part to play in the events of the series, but like all animals, they’re born virtually defenseless. The last time we see Drogon he rivals the biggest dragons in history, but the first time we see him he’s the size of a kitten, squealing as he rides his mother’s shoulder.
Daenerys with Drogon (shoulder), Viseryon and Rhaegal in Qarth, the mythical eastern-most city of Essos.Drogon as an adorable baby dragon, roasting his first nom noms.
Drogon, his brothers and Daenerys were never more vulnerable than they were in those early days, and a succession of ill-intentioned characters try to take or kill them. Drogon, more than any of his kind, proves that “owning” a dragon and getting him to do what you want are two different things, not unlike cats.
Arrax
Who’s a good boy? Arrax is! As the bonded dragon of Princess Rhynaera’s second son, 14-year-old Lucerys (Luke) Targaryen, Arrax is the baby of the group.
We don’t see much of him, but he’s a good-looking little guy with gray-purple scales and a darker purple ridge along his spine. As a young dragon, Arrax is spooked by flying during a storm and needs to be calmed by Luke, bravely taking off and navigating winds, lashing rain and lightning.
Vermithor
We see Vermithor only once in HotD’s first season when Prince Daemon approaches him, singing an old Valyrian tune to calm the ancient dragon, who hasn’t had a visitor in some time.
Vermithor doesn’t look too pleased to be bothered and lets loose a mighty roar and enough dragonfire to waste a small city. Indeed, it’s been years since a human rode the old dragon, who is second only to Vhagar in size and age.
But Vermithor recognizes Daemon as a Targaryen, sees that Daemon is not afraid of him, and doesn’t do him any harm. Vermithor will undoubtedly have a big role to play going forward in HotD as a war of succession rages across Westeros in the wake of King Viserys the Peaceful’s passing.
Balerion the Black Dread
Balerion is the largest dragon in history, the last living creature to see the glory of Old Valyria — the empire that once ruled almost every corner of Game of Thrones’ fictional universe — before its fall.
Balerion is long dead by the events of House of the Dragon and Game of Thrones, so the only real indication we get of his majesty is in the Red Keep, where the legendary beast’s skull remains on display in a shrine to his power and significance:
Balerion’s skull as it appears in scenes from HotD and GoT.
Only a handful of families survived the end of the Valyrian empire, and the most famous of them was led by Aegon Targaryen, also known as Aegon the Conqueror, the man who invaded Westeros with a few dragons and a small army, conquering everything in his path and uniting seven kingdoms under one banner and one rule.
That was only possible with the power of dragons, and Aegon accomplished the feat atop Balerion’s back. When Aegon and Balerion reduced Harrenhal — considered the most impregnable of all castles — to melted rubble and marched north, the lords of the north wisely opted to bend the knee to Aegon and his dragons rather than face the likely extinction of their families.
The most prominent of the northern lords, the Stark family, were rewarded by Aegon Targaryen, who named them the Wardens of the North and gave them dominion over the vast, icy expanses of their realm. As such, they were beholden to the crown, but enjoyed a limited sovereignty that no other house could claim.
Artist Lindsey Burcar’s vision of Balerion.
We’ve left out Sea Smoke, Ser Leanor Valaryon’s dragon, Viseryon, brother to Drogon and Rhaegal, Sunfyre — considered the most beautiful of all the dragons — and several dragons who haven’t been seen yet, like Moonfyre, Tyraxes and Silverwing. Sorry, guys! But the second season of House of the Dragon promises to reveal several dragons we haven’t yet seen, so perhaps we’ll include them in a follow-up.
There’s a scene in the first season of Slow Horses when Gary Oldman, in the role of a lifetime as MI5 supervisor Jackson Lamb, gathers his team as they’re being hunted.
“I don’t normally do these kind of speeches,” he says with an exasperated sigh, “but this feels like a big moment and if it all turns to shit, I might not see any of you again.”
He looks each of his agents in the eye, their fear reflected back at him, and sniffs.
“You’re f—ing useless, the lot of you! Working with you has been the lowest point in a disappointing career,” he says before barking at one of the young agents to accompany him and warning the rest not to get themselves killed.
Oldman is spectacular as Lamb, the gaseous, miserable MI5 veteran who captains Slough House, a purgatory where the agency’s worst agents are sent to waste away the remainder of their careers after humiliating themselves, usually in novel and cringe-worthy ways.
One agent was exiled after forgetting a disc with sensitive information on a train. Another was an alcoholic who didn’t notice her supervisor was feeding information to the Russians for years, while a third was banished to Slough House simply for being an insufferable jerk.
Gary Oldman as Jackson Lamb, who oversees the purgatory for disgraced MI5 agents known as Slough House.
Regardless of the reasons, each of the agents at Slough House is determined to get back into the good graces of agency brass by redeeming themselves in service to king and country.
Or, as Mick Jagger puts it in the show’s catchy theme song, they want “to dance with the big boys again.”
To do that they must endure consistently brutal needling from Lamb and navigate the most mundane, least glamorous assignments. If a job is a lose-lose proposition, MI5 hands it over to the rejects of Slough House — the eponymous Slow Horses — figuring their already stained reputations can’t get much worse.
So when a secretive MI5 plot goes off the rails and the agency’s leaders need someone to take the fall, they serve up the Horses.
There’s just one problem: Lamb, for all his misery, disgusting habits and bone-dry British humor, is an exceptional agent with old-school skills, and the Horses themselves aren’t necessarily incompetent. Several were promising young agents of great skill who got railroaded or were collateral damage in political warfare.
When MI5 second-in-command Diana “Lady Di” Taverner (an icy Kristen Scott Thomas) decides the disgraced agents will be blamed for a major agency blunder, Lamb is aghast and warns her he won’t accept it.
“They’re losers,” he says, “but they’re my losers.”
When we meet them for the first time they’ve already been tagged for sacrifice to the media and public, but don’t know it yet.
And when it turns out that the case has real consequences — a young man will be beheaded on a live stream by extremists if their demands aren’t met — the Slow Horses, led by the acid-tongued Lamb, use every trick at their disposal in an attempt to rescue the innocent victim.
Jack Lowden as River Cartwright, left, and Olivia Cooke as Sid Barrett, center, disgraced agents of MI5. Credit: Apple TV
Slow Horses, like Luther and similar UK crime dramas, is a different animal than the bland, formulaic cop shows we’re accustomed to on this side of the pond.
Whether it’s Law and Order, the many incarnations of CSI and NCIS or shows like Chicago PD, the audience always knows a few things for sure: The case will be solved and the bad guys apprehended by the end of the hour, the police will be righteous and earnest, and favorite characters will never find themselves in real danger. Mariska Hargitay’s character will live another day to continue on in her third decade fighting crime. Chicago’s tough-talking detective Hank might be rough around the edges and bend a few rules, but he’s fundamentally a good guy on the side of justice.
The Slow Horses have no such pretenses, nor plot armor. They’re deeply flawed people and they’re not immune to bullets or bad luck.
The result humanizes the agents in a way other spy thrillers and crime shows never manage to accomplish with their own characters. When one of the Horses takes a bullet from a Russian agent or risks life and limb to protect the British public, there’s a real sense of tension because the show makes it clear not everyone survives.
The show’s writers also know when to dial it back with moments of genuine humor, separating Slow Horses from contemporary spy thrillers like Homeland, which — with apologies to Claire Danes — always took itself seriously.
Kristen Scott Thomas as Diana “Lady Di” Taverner, MI5’s ruthless second-in-command, with Oldman as Jackson Lamb. Credit: Apple TV
As for Jagger, he signed on to write the show’s theme song with composer Daniel Pemberton because he’s a fan of the original Slow Horses novels by Mick Herron. While writing the lyrics, he said, the phrase “strange game” kept coming back to him. That became the title of the theme song and its primary hook. It’s an apt description of what MI5 agents are involved in as operators for a domestic agency that, unlike the American FBI, has the green light to involve itself in extensive subterfuge on home soil.
Slow Horses just finished airing its third season. A fourth has already been filmed and completed, a fifth is in production and a sixth season is currently in the adaptation/writing phase.
A production that runs like a finely tuned engine is appropriate for the series: each season is a taut six episodes, meaning there’s no filler and the tension does not let up on the gas pedal. With eight books and counting, there’s plenty more material to adapt, and if the response so far has been any indication — universal praise by critics and audiences in rare agreement — we’ll get to see every one of them make it to the small screen.
Title: Slow Horses Network: Streaming (Apple TV) Format: Series Release date: April 2022 (season 1), December 2022 (season 2), November 2023 (season 3), TBA 2024 (season 4)
Verdict: All the paws up! When it comes to crime and spy thrillers it doesn’t get any better than this. Slow Horses is tense and humorous in precisely the right proportions, knows when not to take itself too seriously, and benefits from an incredibly talented cast to match its excellent writing. We highly recommend this show.
A look at Shadow and Bone, one of Netflix’s most exciting original fantasy epics ahead of its second season.
Title: Shadow and Bone (season 1, 2021, season 2 March 16, 2023) Genre: Fantasy Medium: Netflix
Shadow and Bone begins with a well-worn YA premise: A young girl lives a drab existence, dreaming of a better life, when she unexpectedly discovers via extraordinary circumstances that she’s Special.
Jealous rivals don’t like the fact that she’s Special and try to tear her down as she leads a revolution in a society ruled by idiotic adults, who Just Don’t Understand the complicated lives of teenagers.
Normally that would be enough for me to steer well clear of a movie or TV show, but a teaser for Shadow and Bone tickled my interest: It shows the protagonist, Alina, on a boat that’s about to cross the Fold, also called the Unsea — a pitch-black, swirling mass of cloudy mist smudged right across the middle of her country, dividing it in two.
As the ship approaches, Alina and the other passengers can hear the shrieks of the unseen nightmares that populate the Fold. The bow of the boat penetrates the Unsea, Alina closes her eyes, holds her breath, and the preview ends.
That short scene was enough to convince me to give the series a shot. At the very least I wanted to know what The Fold was, how it came into being, and what kind of creatures stalk its gloom.
The Fold is a wall-like scar that splits the country of Ravka in two, and many ships are lost trying to cross it. Credit: Netflix
While Shadow & Bone uses YA tropes as its jumping off point, it quickly sheds them in favor of clever world-building, affable characters and a well-established mythology that sets up the overarching heroic journey of its protagonist. It also ages its cast so they’re mostly in their twenties and thirties, and while Netflix may have played up the YA template while marketing the series to appeal to younger views, the show itself is geared toward adults of all ages.
The action is centered on a country called Ravka, which is modeled on Czarist Russia and has been split in two by the Fold. Ravka’s capital, Os Alta, is located to the east of the Fold while its major port cities and trading centers, Os Kervo and Novokribirsk, are situated to the west of the dangerous no-man’s land.
As a result, and despite the dangers, Ravka’s economy and unity depends on ships that regularly cross the Fold to move food from the breadbasket to the east and trading goods from the port cities to the west. Losing ships is the cost of doing business, not unlike crossing the Atlantic was during the days of colonial America, and it has a human toll as well: Alina, her best friend, Mal, and all the other children at the orphanage where they grew up lost their parents to the Fold’s horrors.
But Ravka has its blessings as well: A class of conjurors called Grisha who have the ability to manipulate elements. Grisha Tidemakers can control and shape water, Squallers can control wind, Healers can repair human bodies in ways normal medicine cannot, and Heartrenders can sense and manipulate hearts. They can sooth a person’s anxieties or ease them into a restful sleep, but they can also stop a person’s heart or tell if someone is lying by feeling the subtle shifts in their heartbeats.
The Grisha can mitigate the chances of a ship being lost to The Fold but they’re not immune to its dangers, and many of their number have been lost to its hazards as well. Making the crossing is a grim prospect for anyone aboard one of many ships that regularly journey across the so-called Unsea.
The Grisha are led by General Kirigan (Ben Barnes of Westworld and Narnia fame), who has the unique ability to manipulate shadows and destructive energy. It was Kirigan’s ancestor, the Black Heretic, who created the Fold, and Kirigan has vowed to redeem his family by destroying it.
Ben Barnes is General Kirigan, Ravka’s military commander and its most powerful Grisha, or conjurer.
Prophecy foretold a new kind of Grisha — the Sun Summoner, who has the power to call on the sun’s energies and manipulate light. It’s said the Sun Summoner will be the one to finally destroy the Fold and emancipate Ravka from the terrible toll it takes. In addition to protecting Ravka against her many enemies as its general, finding the Sun Summoner has been Kirigan’s life’s work.
Alina is the Sun Summoner, but you already knew that because Shadow & Bone is based on a YA series of books. But she doesn’t know it until she’s forced to cross the fold and one of its nightmarish creatures is about to kill her beloved Mal, drawing out her latent powers in a moment of desperation. The sudden burst of energy and light as she intercedes is so powerful that it’s spotted for miles outside the Fold, and soon survivors of the ill-fated ship arrive at the docks, telling of a woman who can call upon the power of the sun.
Alina Starkov, an orphan who occupies a lowly position as an assistant cartographer in the Ravkan army, learns she has the ability to summon the power of the sun.
In the series, Alina and her friends are aged up and appear as young adults. Mercifully, Shadow & Bone doesn’t mirror its genre’s traditional portrayal of adults as idiots, and unlike other big-time YA franchises, like Veronica Roth’s incoherent Divergent series, it doesn’t ask its audience to buy into an absurd society. Novelist Leigh Bardugo has clearly put a lot of thought and research into crafting her fictional universe. There’s rich lore, varied nations with their own distinct customs, prejudices and beliefs, a believable economy and conflict perpetuated by very human motivations and circumstances. Most of the characters we meet are just trying to get on with their lives and are caught up in the central drama.
Alina, played by 26-year-old British actress Jessie Mei Li, is mixed race, part Ravkan and part Shu. Shu Han, a nation based loosely on dynastic China and the Middle East, is in a perpetual state of conflict with Ravka, and Alina’s Shu appearance makes her the object of disdain, ridicule and ignorance even among her countrymen.
“I was told she was Shu,” the queen says in a later scene, when Alina is presented to the royal family and the court of Ravka for the first time. “I guess she’s Shu enough. Tell her… Oh, I don’t know, ‘Good morning.'”
Alina speaks up before a man by the queen’s side can translate.
“I don’t actually speak Shu, your highness,” she says.
“Then what are you?” the queen asks.
There’s a long pause, with Alina clearly unsure how to answer, before General Kirigin steps in.
“She is Alina Starkov, the Sun Summoner, moya tsaritsa,” Kirigin says. “She will change the future. Starting now.”
And with that, Kirigin claps his hands, enveloping the throne room in unnatural gloom with his shadow-manipulating ability. He turns to Alina, takes her hand, and there’s an eruption of ethereal light so powerful that the assembled aristocrats, guards and Grisha gasp and shield their eyes. The light solidifies into a bubble around Alina and Kirigin, its elements twinkling and orbiting them like stars, and the overjoyed king is convinced his nation has indeed finally found the prophesied Sun Summoner.
Becoming the Sun Summoner isn’t all flowers and rainbows. Alina feels the weight of expectations upon her. The king of Ravka is impatient for her to learn to control her newfound powers so she can tear down The Fold. Ravka’s aristocrats, as well as ambassadors and powerful figures from other countries, initially suspect she’s a fraud. Regular people, who have suffered the most from The Fold’s impact on Ravka, begin to venerate her as a living saint. And there are plenty of people who don’t want her to succeed or see her existence as a way to profit.
Shadow and Bone also has a parallel narrative following three lovable rogues from Ketterdam, an island nation west of Ravka. It’s clear early on that their journey will intersect with Alina’s at some point, but the series never feels predictable in the way the characters approach that point.
The Ketterdam trio, who call themselves the Crows, are led by Kaz, the owner of a tavern-slash-gambling den called the Crow Club. Kaz is practical, calculating and focused on making money, legitimately or not. Inej is another orphan of the Fold who was sold to a brothel in her early teens. She was bought out by Kaz, who recognized her intelligence, her light step and her talent for spying. Last but not least is Jesper, a wise-cracking, life-loving and fiercely loyal friend with uncanny sharpshooting abilities.
The Crows, lovable rogues of Shadow and Bone: Sharpshooter Jesper, spy and assassin Inej, and mastermind Kaz.
The Crows are the source of much of the series’ humor, despite being criminals and despite all of them having painful pasts. Jesper in particular is known for his wisecracks and his relentless, single-minded obsession with hiring “a demo man” — an explosives expert — for every job they do, regardless of whether the gig calls for it.
“Boss, I think we need a demo man for this one,” he tells Kaz at one point.
Kaz points out that the nature of their job is stealth, and the whole purpose is to get in and out without being heard or seen. You can almost see the gears moving in Jesper’s head as he thinks up reasons why they do, in fact, need someone to blow things up.
When word of the Sun Summoner’s appearance spreads to every corner of Shadow and Bone’s universe, the Crows catch wind of a contract offering a fortune to anyone who can abduct the Sun Summoner and bring her to Ketterdam.
Kaz believes the Sun Summoner is a hoax and views the job as a simple transaction, while Inej holds out hope that she’s the real deal, and if she is, the prospect of kidnapping a living saint weighs heavily on her conscience. Jesper is just content to go wherever there’s alcohol and explosions.
Once she’s revealed as the Sun Summoner, Alina feels the weight of expectations upon her, with everyone from the king to General Kirigan and regular people looking to her to save the kingdom.
A great strength of the series is that it begins from a familiar place and manages to regularly subvert expectations.
The production values are exceptional, and it appears Netflix spared no expense bringing Bardugo’s world to life. Ravka, Ketterdam and Novokribirsk feel like real places inhabited by real people, with authentic differences in culture, manner of speaking, dress and even the way they count money.
From imperial courts to military camps to the seedy underbellies of Ketterdam drinking clubs, the world feels like it continues to exist long after we turn our televisions off.
The first season takes several wild turns, which I won’t detail here because it’s very much worth watching, especially now: The long-awaited second season comes to Netflix on March 16, promising to expand on a series already bursting with lovable characters, thrilling adventures and political intrigue.
Of course all epic TV series will eventually be compared to the juggernaut that started it all. Shadow and Bone never tries to be Game of Thrones, and it doesn’t need to be — the first season carved out the show’s unique identity, and season two promises to make the world even bigger and more adventurous.
Ghostbusters HQ cat condos and hobbit house litter boxes.
When I was a kid, the list of VHS tapes I’d worn out included Joe Dante’s Explorers, The Last Starfighter, The Last Dragon (the deliciously cheesy 80s kung fu classic set in Harlem, not the Bruce Lee film), Ridley Scott’s Legend, The Neverending Story, and maybe the first truly great comic book movie, 1989’s Tim Burton-directed Batman starring Michael Keaton, Jack Nicholson and Kim Basinger.
As a kid it was adventurous, fun and even a bit spooky. As an adult it evokes a rush of warm nostalgia and joyful recognition that the actors – Dan Aykroyd, Harold Ramis, Ernie Hudson, Bill Murray and Signourney Weaver — had a hell of a lot of fun making the film.
That’s why Buddy I was so excited to see this cat condo build that’s designed to look like Ghostbusters HQ from the 1984 classic. Buddy I would love to have one of these things. Instagrammer Shawn Waite explained in a post that he was just kidding around when he proposed the idea, and his family pushed him to go for it:
“We got a new kitten (her name is Stria) a couple of months prior, and we were adding some cat furniture to our home for her. We thought that she may enjoy having something in our home office, which is where I have my vintage toy collection, so I joked that we should build a cat condo that looks like the Ghostbusters Firehouse play set so that it would fit with the theme of the office. My wife loved the idea, and our twin daughters (age 9) were excited for Stria to have a condo.”
Waite not only managed to retain the three-story interior layout with a scratching post cleverly taking the place of the fire pole, he tweaked the logo so there’s a dog in place of a ghost, just in case any jealous pooches get ideas about lounging in Stria’s sweet condo.
I’ve always wanted to learn to build stuff, especially after seeing examples like Waite’s build or the amazing Hobbit house litter box one cat servant made for his feline, Frodo.
Frodo the Cat and his hobbit house.
But hey, if I’m gonna go all out and build a spectacular lounging spot or bathroom for the Budster and mine 80s/90s childhood obsessions for ideas, wouldn’t the Thundercats HQ — known simply as the Cat’s Lair — be more appropriate?
The Cat’s Lair.
The Cat’s Lair
The Cat’s Lair
“Let’s say this Twinkie represents the normal amount of psychokinetic energy in the New York area. According to this morning’s sample, it would be a Twinkie 35 feet long, weighing approximately 600 pounds.” “That’s a big Twinkie.”
Pain In The Bud 