Author Archives: Bob Evans

Key Star Trek (TOS) Character Episodes

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I recently watched a YouTube Reactor react to Star Trek: The Motion Picture. The amusing elements in this reaction was that the young woman had zero context for the film, being utterly unaware of the characters and their history. One of her reactions when Spock comes aboard after the wormhole event is ‘Oh, they know Spock?’ with a tone of surprise.

In her wrap up, she of course mused about watching the series and that got me thinking about the most pertinent episodes for understanding the core characters of Star Trek. Not the best episodes mind you, just the ones that give you deep insight to Kirk, Spock, and McCoy and the relationship to each other.

Season One:

The Naked Time

The Menagerie Pt I & II

The Galileo Seven

Arena

Space Seed

This Side of Paradise

The City on the Edge of Forever

Season Two:

Amok Time

Journey to Babel

The Ultimate Computer

Season Three:

The Enterprise Incident

The Tholian Web

The Paradise Syndrome

The list ended up heavy on season one episodes, but I think if someone new to the series who wasn’t going to watch all of it would get a pretty good understanding of the characters and what they mean to each other for the films that followed.

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The Hardest Part of Writing a Novel

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It’s really not the novel itself. It’s not plotting out the twists and turns of the story or combing through the entire 90,000 words trying make sure you don’t look like some who failed basic English.

Nope. It is none of those things for me.

It is writing the god damned synopsis.

I’ve spent six months carefully working out line by line precisely what the story is, who the characters are, what the twists and reveals need to be, and hopefully crafting a tone that is engaging and provokes the emotions I want to reader to experience. Now, I have to find a way to convey all that in just a few pages and yet engaging enough that an agent or editor when they read it feel energized and want the full experience.

Can you tell that’s where I am at on The Commune? I have my query letter in place for the next cycle of agent stalking and I think it’s my best one yet but the synopsis? Man, that’s hard.

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Quick Review: The Gorge

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Dropped on Valentines Day this year was the action/horror/romance movie The Gorge. Two expert sniper/assassins are the latest people assigned to monitor a mysterious gorge with

Apple TV+

orders to prevent anything from leaving the site and maintaining strict no communication with each other. Since the pair stationed on opposing sides of the chasm are outstandingly attractive people (Miles Teller and Anya Taylor-Joy) the no-contact rule is of course broken. By the third act of the film the pair find themselves at the bottom of the gorge, fighting for their lives and uncovering terrible secrets it has hidden for 80 years.

Directed by Scott Derrickson who gave us the first Dr. Strange film and the wonderful Black Phone I had hopes for The Gorge but while not bad the film in the end proved to be less than satisfying.

What works in the movie are the leads, Teller and Taylor-Joy works quite well together, have an excess of chemistry with each other and the camera, and are simply fun to watch. All of the movie’s troubles start at the bottom of the mysterious gash in the Earth. The secret they discover not only strains credibility but is actually lackluster. Their fight for survival is meant to the suspenseful but with a film boasting a cast this limited it can never leave your mind that both are going to survive. Additionally, once they reach the bottom of the gorge all character development grinds to a halt. They face no choices or challenges that impact on their character only on their physical survival.

I don’t regret watching The Gorge but it’s highly unlikely I will ever revisit it.

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Aesthetics Defines Fascism

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One of the more tedious debates in popular political discussion is the endless argument about placing fascism on the left or on the right. Both ends of the political spectrum are desperate to have the 20th century’s greatest monsters reside in their opponents family tree rather than their own. As such both sides are immune to actual arguments and logical constructions because it is a requirement of their purity that the ‘truth’ bend to their personal preference and that their ‘side’ remains free of that taint.

Some years ago, I saw the fascinating documentary Architecture of Doom which examined the NAZIs from an artistic point of view instead of a political one. The thesis was that while the party lacked any real coherent political philosophy adopting conflicting positions if that led to real power its aesthetics were fairly consistent. From Hitler on down there was a real obsession with how things looked. A fixation on the ‘high’ art of the past and a hatred of the modern ‘degenerate’ art.

Which brings us to America today and the neo-fascist that have corrupted the Republican party.

This past week Trump dismissed most of the board of the Kennedy Center for the Arts and installed himself as that chairman. When asked about it during the Super Bowl interview one of his comments was “It’s not going to be woke. There’s no more woke in this country.”

Later that day the Super Bowl paused for its massive halftime show led by performs Kendrick Lamar. Apparently, I did not watch the game or performance I was at Disneyland, there were no white performers in the show and there’s been quite a bit of griping about that show. Of course, most people have interpreted the complaints to be principally about racism and they are not far off in that assessment. But a great component of the right’s racism is again an aesthetic issue. These performers don’t look like what these racists think people who are to be admired and coveted should look like.

This applies to the queer and trans communities as well. The neo-fascists know precisely what they think men and women should look like and those who vary from that image are the ‘degeneracy’ that the neo-fascists fear and abhor.

None of this is meant to dismiss or play down the very real legal threats that are multiplying like tribbles in our government today. The flood of illegal actions, dismissals, and seizure of power is a very real threat to our system of government. These must be fought. We are under assault from every quarter and the artistic is a vital one not merely a sideshow.

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Who Qualifies as a Final Girl?

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The trope of the ‘final girl’ is one born of the slasher films of the 70s and 80s. The term was coined by Carol Clover in her essay analyzing the gender dynamics of those films. Today the term is pretty much used for any surviving woman or girl of a horror movie that manages to escape or defeat the killers or monsters of the story. The zenith of the concept in a meta-story manner is the ritual sacrifices as presented in the film The Cabin in the Woods which suggests that only when the morally superior, that is virgin, woman is last to die or survive is the ritual, that is the slasher formula, properly solved. A recent film though has me pondering the mutable nature of the trope and just who justly qualifies as a final girl.

The rest of the post/essay will contain spoilers for the film Companion up to and including its ending and its major reveals and reversals. Proceed only if spoilers for Companion are of no consequence for you.

SPOILER WARNING ENGAGED

 

Iris in Companion is the ’emotional support’ android companion for Josh. That is, she is his sex bot and sex toy, fulfilling a role for which he could find no actual human being. On a trip to a millionaire’s secluded cabin, the wealthy host, Sergey, attempts to sexually assault Iris and she kills him in self-defense. Key to understanding this event and how it unfolded is that the character of Iris in utterly unaware that she is in fact a piece of technology. Like Rachel in Blade Runner, she possesses artificial memories giving her the illusion of being a human being. Her defense against her would be rapist is the for all purposes the same as any woman in that horrid situation. Learning of her ‘true’ nature spins iris into a crisis of self-doubt that is only made worse by the further revelation that the murder has been a planned event. Josh, having modifiers her operating parameters and releasing safety measures, plotted with Sergey’s mistress for his death. Iris escapes and seizing control of the app that regualtes her psychological nature first tries to escape but when that fails defends herself, killing all of those who plotted and tries to end her individual existence. In the end Iris ‘survives’ and escapes to live a life unconstrained by preprogrammed boundaries.

So, is Iris a ‘final girl’?

While the human characters are vile, greedy, and without moral standing, it is Iris who is the ‘slasher’ in this story. She is the force that one-by-one dispatches the humans, ending their lives. While it is not uncommon to give the slasher an understandable if exaggerated motivation rarely is it so sympathetic or empathetic as Iris’ in Companion. The emotional release as she drives away in Sergey’s classic Ford Mustang is as great as Laurie Strode’s in Halloween or Sally Hardesty in The Texas Chainsaw Massacre. Iris, though the killer in the film, certainly feels like a final girl. So far as I am concerned, she is one.

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The Trope of Inverted Tropes

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A trope is a well-worn concept, idea, or situation in fiction. An ambulance chasing lawyer, a doctor obsessed with playing golf, a sex worker with a pure and good heart are examples of tropes well known in previous decades that have fallen out of style and are for the most part now forgotten.

Genre fiction has its own set of tropes that are widely known and for several decades now the flipping of those tropes has been a popular move.

The trouble with tropes is that well-worn and predictable that can often lead to lazy, bad writing and stories. Little that is new, original, or even interesting is presented but rather reheated leftovers instead of a finely prepared meal.

In some cases, the inverting of a trope is motivated by correcting past prejudices, preconceptions, and stereotypes. Sometimes it’s meant as a twist or surprise to the narrative, such as it’s not the shinning knight that is the villain of the story, but the poor dragon hounded and hunted for no good reason, it’s not the creature that is the monstrosity but the villagers, and handsome prince is in fact a terrible and abusive person.

Honestly, I can’t recall a story of recent vintage in which any of the above genre tropes was deployed in anything close to its original form. Everything tale and piece has been the inverted trope, and I think that has become the new default setting for many of these concepts and situations.

So common has the inverted trope become that in my eyes is had become the reheated leftovers and not the fresh new take. Every witch I see in a story I know now is really a good person, unjustly feared and outcast. The inversions become the boring, predictable text that offers little in the way of a new voice, a new vision, a new take on anything.

This is not a plea to return to some ‘golden age’ of stories. That never existed, but I think it’s important, particularly when dealing with concepts that have been around for thousands of years, to bring something fresh that is not merely the reverse image of something else.

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Movie Review: Companion

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Nailing the genre of Companion is a tricky endeavor. Many consider it to be a horror film, after all it’s about an A.I. that’s for the run time of the film is primarily engaged in a spree of killing. Other classify the film as science-fiction/thriller, I guess because they turn their nose up at horror. What is undeniable is that Companion is at its heart a satire taking aim at terrible men and the manner in which they treat their romantic partners.

Warner Bros Studios

Sophie Thatcher, whom I last watched in the terrific Heretic stars as Iris, an emotional support robot, that is sex bot, to craven and despicable Josh (Jack Quaid.) They have journeyed far into the countryside for a weekend with two other couples, Eli, (Harvey Guillen) & Patrick (Lucas Gage) and Kat (Megan Suri) & Sergey (Rupert Friend.) Very quickly things go badly when in an act of self-defense Iris kills one of the men and events spiral out of everyone’s control.

Some have complained that Companion’s trailers, revealing that Iris is in fact a machine, destroys the movie’s ‘twist’ but that is not the case. The script is loaded with reveals and reversals that at each turn enhance the story and further the satire.

Writer/Director Drew Hancock has crafted a find piece of cinema that is both highly entertaining, rightfully funny without ever losing it thematic core while avoiding becoming a tiresome lecture. Sophie Thatcher is excellent in her performance, often making these tiny choices that very subtly convey quite a bit about Iris and her internal monologue.

This is a film I can whole heatedly recommend.

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Blood is Magic, Not Food

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With last month’s release of Robert Eggers’ stunning remake Nosferatu vampires and vampires media has been on my mind.

In Nosferatu Count Orlok is presented pretty much as the traditional folk tales describe an undead vampire, a walking corpse, decaying and revolting, that feeds upon the blood of the living. Orlok is much closer in appearance to the post Romero ‘zombie’ than to the urbane European nobleman displayed in my adaptations of Dracula.

With Dracula, both the original novel and the nearly endless adaptations, the vampire moved away from that walking corpse towards a more romantic figure. Anne Rice’s Interview with the Vampire proved instrumental in moving the image of the vampire into one that was more tragic and a figure to be pitied rather than feared. Over the decades the vampire continued to transform into tragic romantic heroes slowly becoming not monsters of the night but simply life-impaired individuals, comic-book characters with tremendous powers and a few unsavory quirks.

A trope that emerged from this transformation that has always rankled me is the habit of treating blood as merely another nutrient. A process that gave us the character Angel buying blood from Sunnydale’s local slaughterhouse to sustain his dietary requirements.

Even just typing that out annoys me to no end. The vampire feeding on the blood of living humans was not the same as someone has a nice bowl of soup. It was not about calories and essential elements it was about life. Blood, to the pre-scientific world, was that strange substance that meant life itself. Blood was always at the center of the most powerful magics. Turning it into just another meal product that can be ordered from your local distributor cheapens that entire symbolism of the myth and robs it of most of its horror.

I will admit that this is just part of a larger issue I have with ‘scientific’ and rational approaches to supernatural horrors. It seems logical to treat the vampire’s feeding on blood the same as out feeding on plants and animals, just as it ‘logical’ to treat werewolf transformations as bound by the conservation of mass laws. Both are violations of the magical, wonderous, and inexplicable nature of the supernatural. Vampires are the dead. They are not just different kinds of people and I am thankful that Eggers bucked the slick modern trend of making them cool and sexy returning the monster to is terrifying and revolting roots.

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Quick Thoughts on Prologs

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Prologs are a never ending source of debate and contention in the writing community with some saying always avoid and other loving them. The truth, as usual, I think lies in-between.

They are far too often used as a place to dump exposition and world building which is usually a sign that an author doesn’t have confidence in their ability to weave that vital information into the narrative itself.

I have often listened to prologs in critique session and advised cutting them and yet my published novel has one so I cannot be described as a rabid anti-prolog writer.

Here are a few quick guidelines I have for effective prologs.

1) It shouldn’t involve the protagonist. If it does, then it should be part of the main narrative.

2) It should contain information that the protagonist doesn’t know at the start of the story. That is, it is information that primes the reader for what is coming but the characters remain blindsided.

3) It should not be resolved. It’s not its own little short story it is a building block of the larger tale. If everything in the prolog is resolved than the reader has no pull to turn the page. The prolog is a harbinger of things to come, not a neat little package complete and finished.

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Movie Review: Star Trek: Section 31

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Let me be upfront with the limitation of this review, I did not finish the film and abandoned it part way through its runtime of an hour and thirty-five minutes. That alone should tell you my opinion of this project.

Paramount +

Now, there are those who have been annoyed with ‘new Trek’ for political reasons; I am not counted among them. There are those that are annoyed with it for canon and continuity reasons, nor am I counted among those people. Star Trek: Discovery did not capture my attention, and I give up after a few episodes. However, Star Trek: Strange New Worlds I adore and cannot wait for the new season this year.

I went into Star Trek: Section 31 with limited knowledge, that ‘Section 31’ was effectively the ‘Black Ops’ division of Starfleet and with an open mind. Let the movie be the movie and see if I was entertained by it.

 

I despaired when it began with a ponderous and overly dramatic prolog. Prologs are tricky things, particularly when they ask the reader or viewer to accept things that are highly improbable, such as a ‘hunger games’ kind of deal to selected random persons who will become an Emperor. Despotic governments aren’t well-known for rigidly adhering to rules concerning the transfer of power.

Fine, we get through the prolog and go into another misused technique, the voice-over exposition, where Jamie Lee Curtis gives us the background for a central character. Minutes and minutes of screen time have been wasted that only served as exposition creating neither dramatic nor emotional tension. Now, with that past, the story itself can finally get going.

In a scene that was supposed to establish Phillipa’s (Michelle Yeoh) acute perceptions as she identifies the special ops team in her space bar the script comes to yet another screeching halt for more ham-handed exposition describing the team, which we get twice as the team leader goes over it again. It doesn’t not help that the team is comprised of stock, flat characters wholly devoid of any sense of any inner life.

Okay, we can get to the mission and at least start the story. Things go a little wonky and there’s a big special effects driven pseudo-martial arts fight scene that drags, is hideously edited and lacking in any dramatic or emotional weight because all we have been severed to this point is frying pan to the face exposition.

I mentioned that the film has a run time of 95 minutes, when this fight ended, we were about halfway through that. Mw sweetie-wife and I bored by the tedious affair stopped the stream and spent the rest of our evening playing the deck building game Dominion on-line.

As you can see Star Trek: Section 31 never engaged me on any level. There wasn’t enough story to be emotionally invested, the characters, what little time we had with them, were too bland and flat to care about and the plot never turned interesting. I could find nothing in this production that was worth any attention at all. We shall not finish it as life is too short to waste of such bland formless material.

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