Altered Carbon, the new Netflix series that focuses on a reality where humans can live forever by transferring their consciousness, has been making waves in a good way – but is the latest strand of its marketing campaign a step too far?
The futuristic sci-fi thriller sounds like an extended episode of Charlie Brooker's Black Mirror and has established itself as one of this year's must-watch series.
But just in case anyone hadn't noticed it, the show has made sure that bus commuters in West Hollywood will never forget it.
Appearing at a bus stop on Santa Monica Boulevard and Crescent Heights in West Hollywood, a new advert features a plastic-wrapped, nude mannequin plucked from the show – and to make things even worse, it appears to be breathing.
Some people have slammed the advert for being too graphic, while others have called it modern art. (It can be both, we guess?)
Joel Kinnaman stars as violent mercenary Takeshi Kovacs in the TV adaptation of Richard K Morgan's 2002 novel.
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In this world, a person's mind can be transferred into a new body known as a "sleeve", effectively allowing us to live forever.
Kovacs wakes up 250 years after his physical form is left for dead, tasked with solving the murder of the wealthiest man in the world.
With the first reviews decidedly positive, it is fully expected that Laeta Kalogridis's series will find a new 'sleeve' beyond its 10-episode run.
Altered Carbon is currently streaming its first series on Netflix. Watch a trailer below:
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Tom Chapman is a pop culture-loving writer and NCTJ-accredited Broadcast Journalist with over seven years of experience covering the small and silver screen.
Starting his career with a post at Movie Pilot in Berlin, Tom took on freelancing full-time with regular stints at Digital Spy, Screen Rant and Comic Book Resources.
These days, you can still find him covering all things Marvel and Star Wars at Digital Spy, while dipping his toe in bylines at Yahoo! and IGN.
Tom likes to think his spirit animal is a cross between Gale Weathers and Olenna Tyrell.
