I explore the question in my most recent hplus magazine article and give a few pitches to get the ball rolling:

Transmetropolitan, written by Warren Ellis, follows Spider Jerusalem, a Hunter S. Thompson for the 22nd Century. After five years living in paranoid isolation on a mountain, Spider’s book contracts are due. To write, he needs his fingers around the seedy, black, artificial heart of the city so that he can squeeze the tar and plaque from its arteries onto the blank pages in front of him. Spider’s column is “I Hate It Here” and its popularity is directly related to Spider’s level of misanthropy. He’s the only writer angry enough to seek the truth and insane enough to print it. His bodyguard, Channon, and his assistant, Yelena, both as debauched and deranged as their surly boss, help Spider get into trouble and right back out of it. The show, like the comic, would follow Spider’s return to the city, starting out in a disgusting apartment in the worst part of town writing about the filth and decay around him. In the comic, Spider is promoted to a new apartment as his popularity grows. The formula for the show is built right in: at the beginning of each season, Spider moves into a new apartment. In step with his rise through society, Spider’s gaze moves from the filth and corruption in the gutters of the City up to the filth and corruption of the city’s and country’s highest offices.

Cyborgs, hybrids, uploaded nano-clouds, bowel disruptors, neuro-implants, cryonics, A.I., vat-grown meat, and a smorgasbord of transhumanist tech bursts from the background in every panel of the comic and sits at the heart of every story line. The show would be no different. Transmet would be an anthropological window into the City, a thriving transhuman society, the same way The Wire and Treme artfully let us into the soul of Baltimore and New Orleans.

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