The tone is beautifully set in the pilot, one of three episodes directed by Mickle, who makes an astonishingly fluid transition from his hard-boiled roots in SundanceTV’s Hap and Leonard and features like Cold in July. It’s less about piles of corpses and patients expelling phlegm than a wee deer-boy who really, really enjoys eating syrup. Unlike those last two, though, Sweet Tooth seems to represent a transition into post-pandemic optimism of sorts. ![]() ![]() There’s no doubt that the pandemic set-up will be another freak-out factor for some Sweet Tooth viewers, just as it will be for FX’s Y: The Last Man and just as it presumably was for Amazon’s short-lived remake of Utopia and the most recent adaptation of The Stand. It’s all packaged from a child’s perspective like a Spielbergian yarn from that moment in the ’80s when the expectations for young-skewing entertainment didn’t necessarily require exclusive juvenile pandering Sweet Tooth is awash in sadness, is occasionally scary and people say “shit” at least three times, if that’s the kind of thing that freaks you out. From there, you can see dollops of whatever your favorite road sagas are with winsome kids and gruff, reluctant guardians, whether it’s Lone Wolf and Cub or Willow or, fittingly, The Road or Mad Max. The expansive backdrops provided by shooting in New Zealand - so many verdant fields and perilous chasms - make Lord of the Rings comparisons inevitable as well. With no trouble at all, you’ll spot elements of The Wizard of Oz and Peter Pan and half of the Disney roster. Simultaneously, but united by ongoing narration from James Brolin that I found to be one of the show’s biggest weaknesses, we meet several additional characters including Adi Singh (Adeel Akhtar), a doctor determined to help his ailing sister (Aliza Vellani) at any cost reclusive former therapist Aimee (Dania Ramirez) and the young woman known only as Bear (Stefania LaVie Owen), leader of a cadre of orphaned teens with mysterious objectives.Ī quick skim of the plot should reveal that while certain elements in Sweet Tooth have a distinctive quality, it’s a very traditional story within the folkloric realm. When that outside world brutally intrudes, Gus begins a quest to find his unknown mother, accompanied across a very pretty post-apocalyptic wasteland by a former football star turned wandering vigilante (Nonso Anozie’s Tommy Jepperd) - one of those crusty figures who claims to hates kids, but will surely experience a change of heart as the story progresses. The child has heightened senses, furry ears, growing antlers and, thanks to the isolation of his upbringing, no real sense of the outside world. Living on the outskirts of civilization, in a cabin in a natural preserve, are a father (Will Forte) and the deer-boy he calls Gus (Christian Convery). The combination of global tragedy and undermining of confidence in the future of pure-blooded humanity tore society apart in ways these first eight episodes only begin to depict. Sweet Tooth begins 10 years after an event the characters refer to as The Great Crumble, a possibly connected series of occurrences that included the global spread of a deadly virus and the mass birth of so-called hybrids, children born with a mixture of human and animal parts. ![]() ![]() Memo book dimensions are 3–1/2"× 5–1/2" (89mm × 140mm).įIELD NOTES uses only the Futura typeface family (Paul Renner, 1927) in its materials.Īll FIELD NOTES memo books are printed and manufactured in the U.S.A.Cast: Christian Convery, Nonso Anozie, Adeel Akhtar, Will Forte, Dania Ramirez, Neil Sandilands, Stefania LaVie Owen, Aliza VellaniĬreator: Jim Mickle from the comic by Jeff Lemire Brown, the “Founding Fathers of the Staple.”Ĭorners precisely rounded to a 3/8" (9.5mm) radius with a Challenge SCM double round-corner machine.īody pages intentionally left blank, a COLORS first. Printed and perforated on a Heidelberg Speedmaster XL 105 40"6-color press.īound with a Heidelberg Stitchmaster ST 270 5-pocket saddle stitcher with cover feeder/scorer & Rima RS 10S in-line stacker, with appreciation to Samuel Slocum, George W. Innards: French Pop-Tone 70#T “Blu Raspberry,” “Banana Split,” and “Tangy Orange” perforated on press with the CITO RSP In-Line Finishing System. series BW88 metallic foilson a Barry clamshell foil-stamper by Nu Wave Die Cutting & Finishing, Chicago, Ill. Proudly printed by the good people of eDOC Communications, Mount Prospect, Ill.Ĭovers: French Pop-Tone 100#C “Blu Raspberry,” “Banana Split,” and “Tangy Orange,” stamped with matching Crown Roll Leaf, Inc.
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