Last week there were rumors swirling that season two of the Netflix hit series adaptation of Marvel Comics’ Daredevil would feature popular anti-hero character, the Punisher and popular villain/long-time Daredevil nemesis, Bullseye.
Well, we can stop speculating on at least half of that because today Marvel announced that the The Walking Dead‘s Jon Bernthal has been cast as in the role of Frank Castle, New York’s most notorious and bloody vigilante known as the Punisher.
Here’s part four of our series on shows you might want to check out this summer. Just one show today and since it’s a returning show that I am quite familiar with, I’ll throw in a review, as well. Scroll to the bottom for the previous entries.
Orange is the New Black (Netflix – June 6th)
Orange Is the New Black is an American comedy-drama series created by Jenji Kohan and first released on Netflix on July 11, 2013. The series, produced by Tilted Productions in association with Lionsgate Television, is based on Piper Kerman’s memoir, Orange Is the New Black: My Year in a Women’s Prison, about her experiences in prison. The series revolves on Piper Chapman (Taylor Schilling), a bisexual woman living in New York City who is sentenced to 15 months in a women’s federal prisonfor transporting a suitcase full of drug money to her former girlfriend, Alex Vause (Laura Prepon), who is an international drug smuggler. The offense occurred ten years prior to the start of the series, and in that time Piper had moved on to a quiet, law-abiding life among New York’s upper middle class. While in prison, Piper is reunited with Alex, and they re-examine their relationship and deal with their fellow inmates.
Score: 68/100
The highly-anticipated second season of Netflix’s drama (comedy-drama? No.) Orange is the New Black goes live at midnight and I’m thrilled because it ties in perfectly with our series of 37 Shows You Want to Check Out This Summer and because it allows me to finally get a whole bunch of things off my chest that the gushers (both audiences and critics alike) don’t seem to want to address about this series. Don’t get me wrong, I actually do enjoy Orange is the New Black (or else I wouldn’t be recommending it to check out this summer), but the show is far from perfect and the problems that it suffers from are glaring and unavoidable.
One of the first things that caught my attention in the pilot was the cheap premium cable device of gratuitous nudity and sex in order to hook an audience. HBO has been doing it for years (and I’ve been subsequently complaining about it for years) and whereas at one time it was used as an obvious gimmick when the writers had gone to the well one too many times and couldn’t come up with new ideas, it has now become obligatory with every show that the network airs. It’s not that I have an issue with sex and nudity on television, the issue is that when it’s vulgar and obvious and now since HBO does it all the time, so do all the other premium networks, including Netflix. NOTE TO NETFLIX: When you throw that much gratuitous sex and nudity into a pilot, it’s clear to astute audiences that you are compensating for what you lack in other areas.
So, what does Orange lack? Well, first and foremost, although the plot is compelling enough for me to want to keep watching it, it’s a slog. On more than one occassion, I have thought two hours had gone by because the show was dragging so much. I don’t mind a slow burn, but each episode is a slow-burn without much of an emotional payoff at the end. The only reason this show has found the success that it has is because it’s available for binge viewing because if it was a weekly series audiences wouldn’t have tolerated how slow it is past the third episode.
One of the other problems that I have with this show is that the producers have gone out of their way to say that the show isn’t Oz (well, no sh*t) but it’s obvious to anyone watching it that it certainly is an attempt at Oz (ultra-) light. It’s so blatantly ripping off aspects of Oz that you’d have to be an idiot not to see it. The crisis-of-the-week that revolves around a different main character with flashbacks of the character’s pre-prison life and backstory to develop that character? Nooooo, we’ve never seen that before. For crap’s sake, that’s not even unique to Oz. Lost did that for six seasons better than any show in history. That’s just the most glaring example of Oz ripoffs, I’m not going to get into all of them (recycled plotlines, stereotypical characters and situations, etc.) and honestly, it doesn’t really bother me that much because it does help develop the characters but it’s worth noting.
Speaking of character development, that is certainly one area where Orange excels with each primary cast member of the ensemble being given a good amount of screen time and attention by the writers. This may sound very fanboyish of me but I don’t think that anyone is going to dispute that the best performance of all on this show is that of Star Trek: Voyager‘s Captain Kathryn Janeway herself, Kate Mulgrew as the Russian mother-figure to the women, Galina “Red” Reznikov who runs the kitchen.
Same girl… no sh*t.
Equally notable is the underrated performance by the gorgeous Taryn Manning as the incredibly emotionally unbalanced, hillbilly meth addict, Tiffany “Pennsatucky” Doggett. Manning really is quite outstanding and it should be noted what an incredible job the makeup department has done in “ugly-fying” her for this role and how she herself has been able to accomplish that job through her performance.
What hurts this show immensely, however, are the main protagonists and I guess the only reason I’m calling them the main protagonists is that the character of Piper (Taylor Schilling) is who the show is about and the other two, Larry (Jason Biggs) and Alex (Laura Prepon) are the two other sides of the “love triangle” as it were. Do you know what the problem is?
Once a pie f*cker, always a pie f*cker.
I hate them. I hate them all with a passion. They are the most spoiled, selfish, self-centered, self-righteous and arrogant characters on this show and they are completely unsympathetic. This is what I mean by how stupidly audiences and critics gush over this show. How is it possible that anyone who watches this show doesn’t want to just punch these people? Hell, how does one not want to punch the most annoying no-talent actor in Hollywood, Jason Biggs, to begin with, his performance on this show not withstanding? How the hell did he get this role to begin with? Seriously, his only claim to fame is that he f*cked a pie in an incredibly overrated teen comedy over a decade ago.
As for the other two, it’s not that Schilling or Prepon’s performances are bad, it’s that their characters (like Larry) suck and they are completely unlikable. They’re rotten, they treat people rotten, everything they do is about making themselves happy and they NEVER learn from their mistakes. It’s one thing to have your main characters be so flawed at the begining of a season, especially on a show set in a prison, it’s another thing not have the characters “grow” one iota between episode one and episode 13. These characters have actually regressed since episode one.
Pornstache: Still more likable than Jason Biggs.
To put it simply, we’re supposed to hate the vile “Pornstache” (Pablo Schreiber). I get that. But we’re not supposed to hate our protagonists and that’s what the reality is of this series. They simply don’t have very much redeeming about them whatsoever.
Again, the real saving grace on this show is the performance from the supporting cast and the fact that I’m a sucker for decently done serialized drama and at the end of the day, Orange is the New Black is decently done, if not great. The key is to not expect more out of this series than it can give or you’ll be disappointed.
As for our multi-part series, 37 Shows That You Might Want To Check Out This Summer, here are the previous entries:
Part 1 (24: Live Another Day, Motive, Gang Related, The Wil Wheaton Project, Rogue, Crossbones)
Via Press Release:
Apr 4, 2013
BEVERLY HILLS, Calif., April 4, 2013 /PRNewswire/ — Netflix will premiere its highly-anticipated fourth season of Arrested Development on Sunday, May 26, 2013. All 15-episodes of the Emmy® Award-winning comedy from series creator/executive producer Mitchell Hurwitz will be available for members to watch instantly at launch.
(Logo: http://photos.prnewswire.com/prnh/20101014/SF81638LOGO)
Arrested Development will be available to all Netflix members instantly at 12:01 AM PDT in territories where Netflix is available – U.S., Canada, the UK, Ireland, Latin America, Brazil and the Nordics.
“Arrested Development is now widely viewed as one of the top TV comedies of all time and Mitch Hurwitz is bringing it to Netflix in a brand new way, crafted for the on-demand generation that has come to discover the show in the years since it last appeared on TV,” said Ted Sarandos, Chief Content Officer for Netflix. “The highly anticipated return of this show is sure to make history all over again.”
“Ted said that? Wow. Well don’t print this obviously, but he’s going to be immensely disappointed. In truth we are doing something very ambitious that can only be done with Netflix as partners and on their platform. Finally my simple wish for the show is coming true: that it be broadcast every second around the clock to every television, computer or mobile device in existence,” said series creator and executive producer Mitch Hurwitz.
Arrested Development centers around Michael Bluth (Jason Bateman) and his eccentric family comprised of his son George Michael (Michael Cera), his father George Bluth Sr. (Jeffrey Tambor), his mother Lucille (Jessica Walter), his brothers George Oscar Bluth II (Will Arnett), Buster Bluth (Tony Hale) and sister Lindsay Funke (Portia de Rossi), and Lindsay’s husband Tobias (David Cross) and their daughter Maeby (Alia Shawkat).
Mitchell Hurwitz, Brian Grazer, Ron Howard, Jim Vallely and Troy Miller are executive producers on Arrested Development, and it is produced by Imagine TV and 20th Century Fox Television for Netflix. Arrested Development has garnered accolades from the Academy of Television Arts & Sciences (Emmy®), AFI, the Golden Globes, Producer’s Guild Awards, Screen Actor’s Guild, the Television Critics Association and the Writer’s Guild, among others.
About Netflix, Inc.
Netflix is the world’s leading Internet television network with more than 33 million members in 40 countries enjoying more than one billion hours of TV shows and movies per month, including original series. For one low monthly price, Netflix members can watch as much as they want, anytime, anywhere, on nearly any Internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments. Learn more about how Netflix (NASDAQ: NFLX) is pioneering Internet television at www.netflix.com or follow Netflix on Facebook and Twitter. Netflix’s original series include the political drama “House of Cards,” which stars Kevin Spacey and Robin Wright; “Hemlock Grove,” Eli Roth’s murder mystery series based on Brian McGreevy’s gripping novel of the same name; Jenji Kohan’s upcoming series “Orange is the New Black,” which stars Taylor Schilling, Laura Prepon and Jason Biggs; and the second season of “Lilyhammer,” which stars Steven Van Zandt.
SOURCE Netflix, Inc.
Often we get asked what the difference between Netflix and Amazon Prime’s Instant Video is and that difference was exemplified today as it has been announced that Warner Bros. has signed an exclusive deal to bring eight series to Netflix’s popular streaming service. The series include Revolution, Fringe, Longmire, Chuck, The West Wing, Political Animals, 666 Park Avenue and The Following, which premieres later this month on FOX. Warner Bros. also indicated that the door was open to bring more series to the service and that they would still retain all traditional syndication rights as well as the rights to sell more recently aired individual episodes for viewers to catch up on (scroll down for full press release).
Why is this such a big deal and why does it give Netflix the advantage over other streaming services? First, because of the exclusive nature of the contract. Generally speaking, streaming content such as series and films has been provided on a non-exclusive basis for these services. Amazon Prime’s Instant Video, though not horrible, has never had the amount of content available that Netflix has had, but the door was open for them to be able to negotiate for the same content because of the non-exclusive nature that these content deals have traditionally been known for. All bets are off with this deal. These are eight series that Amazon will not have the opportunity to offer on its service (for free, anyway… we would imagine that Amazon will still be able to sell these videos as a third-party) and it looks like they won’t be the last. Hypothetically, this deal could expand to Warner’s entire catalog (save two series, which we’ll get to) which would be devastating for the Amazon service as far as remaining competitive is concerned. Making matters worse, Warner Bros. is just the first to go exclusive with Netflix on such a large scale.
Think this sounds familiar? Well you’re right, it does. This whole situation is eerily reminiscent of the final nail in the coffin of the HD DVD vs. Blu-ray format war that coincidentally happened five years ago (almost to the day) on January 8, 2008 when Warner surprisingly announced during CES that they were abandoning all support for the HD DVD format and going exclusively with Blu-ray (they had supported both formats prior tot he announcement). Once Warner made the announcement, the remaining supporters of the format immediately followed suit and the format was officially dead. Warner has a history of hedging their bets while at the same time being the standard bearer for how the industry will move forward… which is exactly what they’ve done here, as well.
For those of you who weren’t paying attention (why should you… you have us, no?), Warner signed another exclusive deal last month WITH Amazon… but for only two shows, The Closer and Falling Skies with no mention of future content being on the service with the same exclusivity. So, why would Warner do this just three weeks before signing this major exclusive deal with Netflix? Again, they are hedging their bets, just like they did with HD DVD and Blu-ray and what likely happened is that the Amazon deal made Netflix stand up and take notice and get serious about dealing with Warner, which is precisely what Warner wanted.
From Warner’s perspective, they can’t lose. Amazon paid them a decent chunk of change for an exclusive deal for two series (which will no doubt translate to sales of current episodes with Amazon’s streamlined ability to purchase current episodes of their instant video television offerings) and now that they got Netflix’s attention, they got the big deal that they really wanted.
Now, this Netflix exclusive deal is risky and it’s something that other studios have been hesitant to do but now that Warner has done it, it opens the floodgates for other studios to do the same which would be absolutely disastrous for the Amazon service. Again, considering the format wars from five years ago, does this sound familiar? If the other studios follow suit, it would seem highly unlikely that Amazon Prime’s Instant Video service would be able to continue to survive which would make Netflix the only viable game in town. Just think of Amazon Prime’s Instant Video as the HD DVD of 2013 and if the Amazon service were to collapse, Warner could just port that exclusive content deal for The Closer and Falling Skies over to Netflix.
We’ve noted in the past how we think that this new era of revenue generation for content is a positive for the television industry and the consumer for for multiple reasons, especially with subscription video on demand services (SVOD) and other digital formats. The studios and networks are apparently finally starting to figure this out.
From the Netflix press release:
“This unprecedented agreement brings to Netflix members earlier and more exclusively than ever before complete previous seasons of some of the most prominent and successful shows on network and cable television,” said Ted Sarandos, Netflix Chief Content Officer. “Through deals like this, Netflix is making the production economics right for the continued creation of the kind of compelling serialized dramas and thrillers that our members love.”
“SVOD has become an important window for our serialized dramas, allowing viewers a chance to discover a series that before might have been intimidating to tune into mid-run,” said Bruce Rosenblum, President, Warner Bros. Television Group. “We continue to adapt our business models to include SVOD when it makes sense for the long-term value of each show and are thrilled to have Netflix as one of our distribution partners.”
This is precisely why we support content deals on SVOD service providers. It gives consumers the opportunity to catch up on shows they may have not seen before that they wanted to but didn’t want to buy whole seasons of (or rent them a disc at a time) and it benefits the studios and networks by creating new viewers of shows that are currently in production. Since it’s basically free money, it allows the studios more freedom to produce more and better shows that may not have had a chance under the old network commercial advertising-exclusive model and by the same token it can make a series viable that might otherwise have been canceled. It can also be responsible for bringing fan-favorite series back from the dead (see: Arrested Development and The Killing).
The issue that gives us pause, however, is with the exclusive nature of these deals. Just using common sense, it should be assumed that an exclusive content deal is going to cost a provider considerably more than a non-exclusive deal. If those increased costs for content don’t translate to increased subscriptions, the consumer will be left holding the bag with higher subscription rates. Taking this a step further, if as suggested, the floodgates were to open and the other studios are lining up to sign exclusive content agreements with Netflix, that would serve to cripple Amazon and any other provider of SVOD services, again making Netflix the only game in town and that’s NOT good for the consumer.
Monopolies in any industry are not a positive thing but they would be particularly bad in this case. You know how pissed off you are about your cable bill every month? Well, just imagine how obnoxious that bill would be if the cable providers had exclusive content deals with the studios and the networks and there was no competition from DirecTV or Dish Network (and no, you f*ckers at Dish… the fact that we’re mentioning you is not an invitation to SPAM this blog like you like to do). That’s what would happen if Netflix was the only SVOD provider. Netflix would be free to jack up their rates as high as they wanted, unhindered by the restraints of a competitive marketplace.
So, what seems like a relatively innocuous news story regarding Netflix content could have huge ramifications for the television industry and for the SVOD industry. The question that’s up in the air is how will these events unfold and what will it mean to consumers, ultimately?
Via Press Release:
Jan 7, 2013
BURBANK and BEVERLY HILLS, Calif., Jan. 7, 2013 /PRNewswire/ — Netflix Inc. (Nasdaq: NFLX) and Warner Bros. Television Group today announced a licensing agreement allowing U.S. Netflix members to enjoy complete previous seasons of addictive serialized dramas produced by Warner Bros. for top broadcast and cable networks.
Among the shows coming to Netflix next year will be “Revolution,” a drama for NBC from J.J. Abrams’ Bad Robot Productions set in a post-apocalyptic America which ranks as the #1 new series of the 2012–13 television season; “Political Animals,” the USA Network miniseries with Sigourney Weaver in a Golden Globe– and Screen Actors Guild Award–nominated role as a former First Lady serving as Secretary of State; “Longmire,” A&E’s top-rated Western mystery series based on the novels by best-selling author Craig Johnson; and “666 Park Avenue,” the ABC supernatural thriller starring Terry O’Quinn and Vanessa Williams.
Also coming to Netflix will be the highly anticipated drama “The Following,” starring Kevin Bacon as a former FBI agent on the trail of a serial killer played by James Purefoy and which premieres January 21 on FOX, as well as hit serialized Warner Bros. Television series “Chuck,” “Fringe” and “The West Wing.”
“This unprecedented agreement brings to Netflix members earlier and more exclusively than ever before complete previous seasons of some of the most prominent and successful shows on network and cable television,” said Ted Sarandos, Netflix Chief Content Officer. “Through deals like this, Netflix is making the production economics right for the continued creation of the kind of compelling serialized dramas and thrillers that our members love.”
“SVOD has become an important window for our serialized dramas, allowing viewers a chance to discover a series that before might have been intimidating to tune into mid-run,” said Bruce Rosenblum, President, Warner Bros. Television Group. “We continue to adapt our business models to include SVOD when it makes sense for the long-term value of each show and are thrilled to have Netflix as one of our distribution partners.”
The agreement covers a current slate of eight Warner Bros. shows as well as potential future shows. Under the agreement, the shows can also be made available via traditional syndication windows, electronic sell-through services and on a catch-up basis for recently aired episodes.
About Netflix
Netflix is the world’s leading Internet television network with more than 30 million members in 40 countries enjoying more than one billion hours of TV shows and movies per month, including original series. For one low monthly price, Netflix members can watch as much as they want, anytime, anywhere, on nearly any Internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments. Learn more about how Netflix (NASDAQ: NFLX) is pioneering Internet television at www.netflix.com or follow Netflix on Facebook and Twitter.
About Warner Bros. Television Group
The Warner Bros. Television Group (WBTVG) oversees and grows the entire portfolio of Warner Bros.’ television businesses, including worldwide production, traditional and digital distribution, and broadcasting. WBTVG is rapidly developing new business models for the evolving television landscape, including subscription-video-on-demand, broadband, wireless and home video exploitation of its vast library. WBTVG is the industry’s top supplier of series, supplying an industry-leading 25 series (including one co-production) to the five broadcast networks for the 2012–13 season, with 23 from Warner Bros. Television, two from Warner Horizon Television and at least two series on each of the five broadcast networks. This marks the 21st time in the last 26 years that WBTVG has been the number one supplier of series to broadcasters, and the Studio is the only supplier to have at least one show on each of the five broadcast networks as well as a new series on each of the networks. The Group is also producing nearly a dozen scripted series for cable and pay television networks and nine alternative series for broadcast and cable, while Telepictures Productions is producing seven first-run strips and Warner Bros. Animation has eight animated series. All in all, the Group delivers nearly 60 series to the marketplace.
SOURCE Netflix Inc.
If you’ve been following news about Netflix you know about House of Cards, the first original series that Netflix announced that they would be producing as a Netflix original program. From Director David Fincher and starring A-listers Kevin Spacey and Robin Wright, to call this American reboot of the 1990 BBC miniseries highly-anticipated would be an understatement. Well, the wait is almost over as Netflix has announced that the series would hit their streaming service on February 1, 2013 and as was done with Lilyhammer, the entire first season (all 13 episodes) would be available immediately to watch. See the press release below for more details.
Via Press Release:
The Netflix original series, from Media Rights Capital, “House of Cards,” starring Academy Award ® winner Kevin Spacey (“Horrible Bosses,” “American Beauty”), Golden Globe ® nominee Robin Wright (“The Girl with the Dragon Tattoo,” “Forrest Gump”) and Kate Mara (“American Horror Story”) will be available for members to watch instantly beginning February 1, 2013 .
All 13-episodes of the drama series’s first season will be available to Netflix members in territories where Netflix is available – North America, the UK, Ireland, Latin America and Scandinavia.
“‘House of Cards’ combines the best of filmmaking with the best of television. Beau Willimon’s compelling narrative, David Fincher’s unparalleled craftsmanship, indelible performances by Kevin Spacey and the rest of the cast unite to create a gripping story and new kind of viewing experience for Netflix members,” said Ted Sarandos, Chief Content Officer, Netflix. “In offering the entire season at once, Netflix is giving viewers complete control over how and when they watch the show.”
From director David Fincher (“The Girl with the Dragon Tattoo,” “The Social Network”), award-winning playwright and Academy Award® nominated screenwriter Beau Willimon (“Farragut North,” “The Ides of March”) and Academy Award® winner Eric Roth (“Forrest Gump,” “Munich”), “House of Cards” is based on the BBC miniseries of the same name. This wicked political drama slithers beneath the curtain and through the back halls of greed, sex, love and corruption in modern Washington D.C.
An uncompromising exploration of power, ambition and the American way, the series orbits Francis Underwood (Spacey), the House Majority Whip. Underwood is the politician’s politician – masterful, beguiling, charismatic and ruthless. He and his equally ambitious wife Claire (Wright) stop at nothing to ensure their ascendancy. In addition to Spacey, Wright and Mara, the series also stars Corey Stoll (“Midnight in Paris”), Kristen Connolly (“The Cabin in the Woods”), Michael Kelly (“The Adjustment Bureau”) and Sakina Jaffrey (“Definitely Maybe”).
Fincher directed the first two episodes of the series, which were written by Willimon. James Foley (“Glengarry Glen Ross”), Joel Schumacher (“Falling Down”), Charles McDougall (“The Good Wife”), Carl Franklin (“Devil in a Blue Dress”) and Alan Coulter (“The Sopranos”) also serve as directors on “House of Cards.”
The drama’s second season is due to begin production in spring 2013.
House of Cards is executive produced by Fincher, Willimon, Joshua Donen, Eric Roth, Kevin Spacey, Dana Brunetti, Andrew Davies, Michael Dobbs and John Melfi. The one-hour drama is produced by Donen/Fincher/Roth and Trigger Street Productions, Inc. in association with Media Rights Capital for Netflix.
About Netflix:
With more than 27 million streaming members in the United States, Canada, Latin America, the United Kingdom and Ireland, Netflix, Inc. (NASDAQ: NFLX) is the world’s leading internet subscription service for enjoying movies and TV programs. For one low monthly price, Netflix members can instantly watch movies and TV programs streamed over the internet to PCs, Macs and TVs. Among the large and expanding base of devices streaming from Netflix are the Microsoft Xbox 360, Nintendo Wii and Sony PS3 consoles; an array of Blu-ray disc players, internet-connected TVs, home theatre systems, digital video recorders and internet video players; Apple iPhone, iPad and iPod touch, as well as Apple TV and Google TV. In all, more than 800 devices that stream from Netflix are available. For additional information, visit http://www.netflix.com. Netflix’s upcoming original series include the political drama “House of Cards,” which stars Kevin Spacey and Robin Wright; the fourth season of the critically acclaimed comedy “Arrested Development;” “Hemlock Grove,” Eli Roth’s murder mystery series based on Brian McGreevy’s gripping novel of the same name; Jenji Kohan’s series “Orange is the New Black,” which stars Taylor Schilling, Laura Prepon and Jason Biggs; and the second season of “Lilyhammer,” which stars Steven Van Zandt. Follow Netflix on Facebook and Twitter.
From the files of “Crap We Care About” and “It’s About Flippin’ Time” we just learned that season four of the critically acclaimed legal drama, Damages, starring Glenn Close and Rose Byrne (and guest starring John Goodman) has FINALLY been added to Netflix’ streaming service. For those who were wondering what happened to the series after season three in 2010, FX decided not to renew it and it was picked up by DirecTV (of all companies) so that all ten of their subcribers could have exclusive access to it for seasons four and five beginning in 2011.
Also, all five seasons of J.J. Abrams’ first hit, the action/spy thriller series Alias starring Jennifer Garner has finally hit the streaming service, as well. Unfortunately, it was very difficult to find a season one trailer for the series, so you’ll just have to suffer through the pre-Ben Affleck, 90% naked Jennifer Garner from 2002 in this season two DVD Trailer. Straight guys and lesbians, you are welcome.
Season two of the BBC hit and highly-acclaimed drama, Sherlock, starring Benedict Cumberbatch as the contemporary version of the eccentric sleuth, is now available on Netflix’s streaming service. If you haven’t seen this masterpiece, now’s your chance to see the series in its entirety (so far), in full 1080p HD whenever you want it.
We hate to gush, but the BBC catalog on Netflix streaming is reason enough to subscribe if you haven’t already.
(Originally Posted At Vic’s Movie Den)
Netflix Alert – The Walking Dead Season 2… Oh, Yeah!!!
There is much cause for celebration for those who subscribe to Netflix’s instant streaming service. Netflix will premiere Season 2 of the insanely popular AMC Original series The Walking Dead on September 30th.
The highly anticipated third season will premiere on AMC October 14th, so all of you TWD fans have plenty of time to catch up with the series before the premiere. You could always marathon-watch it… like I’ve been known to do with some series (Dexter, anyone?) or you can watch one or two episodes a day and still have time. At the ‘Tastic, we like to give you options.
So, enjoy, all of you Zombies acolytes and don’t miss The Walking Dead season two on Netflix and the season premiere on AMC of Season three on October 14th! Highly recommended. Enjoy.
The SuperGeeks Super Blog 