Netflix continues to push the envelope, with a greater variety of TV that appeals to a wider audience, especially one that has tired of typical fare. It is another golden age of TV, now called streaming video.
One example of this is Altered Carbon. It is cheesy. The plot is a mess. It is a tale as old as the hills, set 350 years in the future. A world where your mind (and soul?) are downloaded and you use “sleeves” until they die. But you get put into another.
The story starts with an insurgent getting reawoken after 250 years on a hard disk, doing time. Oddly enough, he can operate and understand everyone without a hitch. There is gratuitous sex, lots of violence, way too much chop-sockey. And yet, it all hangs together.
Part of the charm is the cast, a very multi-national group. Long stretches of dialog occur in Spanish, German and other languages. One “sleeve” of the main character is the Swedish actor Joel Kinnaman (the assistant detective in The Killing), and his sister (as an adult) is one of my favorite actresses, Tibetan/Australian Dichen Lackmann. And a host of other not-so-well-known actors who try to breathe life into the weird script that is all over the place (sci-fi allows for lots of inserted backstory).
The other part is the worldbuilding. It is an interesting world that has consequences. That is an extremely hard thing to do, as Charles Stross points out. Even though he is an SF author, one of the reasons he no longer reads much SF is that the worldbuilding is not consistent. I don’t mind a few inconsistencies, if they propel the plot forward, as is the case of Altered Carbon, in its exploration of how death makes us human.