Category Archives: SF

It’s Not ‘Mary Sue’ It’s J.J. Abrams

I was recently wandering through some YouTube comments on a reaction video to someone wh0 had just watched for the first time the original trilogy. Naturally there were comments from those who dislike the sequel trilogy complete with ‘woke’ as a pejorative and declarations of ‘Mary Sue.’

Now, I am not going to wade into the Rey debates, people can make up their own minds on the character and frankly heated debates over imaginary characters are dull and boring.

What I think is worthy of observation is the idea that it’s not a ‘Mary Sue’ problem but rather a J.J. Abrams has no concept how the world works problem. Abrams seems to think that skill acquisition and mastery is something that ‘heroes’ do quickly, easily, and magically. It is what happens with Rey in The Force Awakes progressing from utterly obliviousness of the Force to influencing weak minds with ease but it’s not Abrams first display of this sort of ‘easy to be the best’ mentality.

in the 2009 reboot Star Trek James Kirk enters Starfleet Academy as a cadet proclaiming he will be a captain in four years. And then doing so by the end of the movie. Ensign, Lieutenant Junior Grade, Lieutenant, Lieutenant Commander, Commander, these are just words to Abrams and not the ladder of ranks once must climb to reach Captain. All that doesn’t matter because Kirk is the hero and an Abram’s story that cloak of heroism confers all abilities required of the plot regardless of training, work, and history.

Abrams is a competent filmmaker and director, albeit with a habit of copying others’ styles, but he is a terrible crafter of story and character.

Share

Review: Star Trek: Strange New Worlds, Season 1

When someone says Star Trek because I am an older fart my mind immediately flies to The Original Series with Kirk, Spock, McCoy, and its ropey effects. When Next Generation arrived, I watched and enjoyed the series through about season five and after that I just sort of dropped off. Deep Space 9 I watched the first two seasons, Voyage I managed 3 episodes before switching it off in disgust and Enterprise lost me at the pilot, and with Discovery I managed 8 episodes before ‘space sonar’ drove me away. I had really liked Discovery but the hard drift away from the series history made it difficult to integrate with my existing fandom and eventually the rupture was too much ignore. Still, I had hope for Strange New Worlds despite having dropped out of Discovery before these actors had stepped into the series playing these iconic cannon characters.

Strange New Worlds has justified that hope.

Anson Mount brings his own spin, quite different while still honoring Jeffrey Hunter’s, to the character of Christopher Pike. The same can be said for Rebecca Romijn as Number One and Ethan Peck as Spock. There are echoes and resonances of the original portrayals enough to

Credit: Paramount Pictures

respect the prior actors but fresh enough for current styles and trends. The actor most divergent from the original portrayal is Jess Bush as Nurse Christine Chapel but it is an unfair comparison as Majel Barret-Roddenberry was given very little to do with the character beyond pining for Spock. The cast is large, and I am not going to cover them all, not even the pair of legacy characters with Uhura and M’Benga other than to say the entire cast is a delight and I do not think a single wrong has been miscast.

The ten episodes run of season one has finished airing. (A strange phrase as the series is only available via networked streaming.) The approach the show’s creators have used is not the sprawling tightly interconnected chapters of a ten-hour movie that has become so common with television of late, but rather a more episodic nature with each episode a self-contained story with continuing plot threads woven throughout the season. This comes close to the original series format allowing the show’s writers to have episodes that explore different styles that would likely clash in a more tightly plotted season, such as having comedic episodes, space battle episodes, and stories turning about a single moral question. Not all of these episodes land on target, I found the humor of Spock Amokforced but the beauty of a truly episodic series is that the next episode can turn things around.

Overall, I have thoroughly enjoyed Strange New Worlds, both the legacy characters and the new ones have a sharp chemistry that make watching a pleasurable and engaging experience. I look forward to season 2.

Share

Disney+’s Obi-Wan Kenobi

The six episodes of Disney+’s latest Star Wars derived series Obi-Wan Kenobi had now released and with the finale watched I can give me impression of the show.

meh

Obi-wan Kenobi lacked the flair and novelty of The Mandalorian but also presented more heart and characterization that The Book of Boba Fett landing squarely between the two shows.

Set ten years after the rise of the galactic empire, the fall of Anakin Skywalker to the dark side of the force, and the slaughter of the Jedis, the series follows Obi-Wan Kenobi, on hiding from Disney StudiosImperial Inquisitors hunting the few remaining surviving Jedi his force-powers atrophied to near non-existence. Kenobi’s seclusion is shattered when as part of a plot to draw him out of hiding ten-year Lea Organa is kidnapped and her adopted parents call upon him to find and rescue her. Leaving the safety of his desert cave Kenobi brings him in the sights of an obsessed young Inquisitor and exposes him to a vengeful Darth Vader.

The problem with Star Wars in its most recent iterations is that development-wise it has grown quite incestuous.

The original film released in 1977 drew inspiration from Japanese Samurai movies, American adventure serials, and Campbell’s theory of the monomyth. (Along with literary SF traditions such as John Carter and it even angered Frank Herbert who felt it had lifted significant elements from his work Dune.) The point is that Star Wars 77 engaged in that rich artistic tradition of being in conversation with the culture and its artistic history.

The new millennium’s Star Wars is only in conversation with itself. It’s references are to other Star Wars stories and properties. With the exception of The Mandalorian which borrows heavily from American Westerns and Samurai films each new film and television series is an act of self-cannibalism as plot and story are derived almost exclusively from the pre-existing cannon.

While Disney’s other property the Marvel Cinematic Universe has been critiqued for an overreliance on 3rd act CGI heavy battles the MCU has shown that superheroes can be used to tell a variety of stories. Political Thrillers (Captain American: the Winter Solider) Dysfunctional Family Comedies (Guardians of the Galaxy) and even Horror (Dr. Strange in The Multiverse of Madness) but Star Wars remains telling the same sort of story over and over with few exceptions. The Mandalorian and Rouge One are the rare examples of the franchise taking risks and going in new direction with new characters with little use of the tired Skywalker drama.

Obi-Wan Kenobi was not bad, but it was tired and gave me very little that was truly emotional engaging, I have hopes, but they are fading, that the franchise will find new territory to explore and leave the Skywalkers to history.

Share

I’m Back

So, I have been busy these last two weeks looking after my sweetie-wife following her surgery. Everything went very well and today I am returning to my day job. I am also returning to, hopefully, regular updates to this blog and back to my writing.

Here are a few thoughts on recent shows but not full deep dives.

Star Trek: Strange New Worlds

Following the adventures of Captain Christopher Pike, commanding officer of the Enterprisebefore Kirk, this series seems to have found the right balance between honoring the past and original series while striking out for new territory with new characters and fresh takes on old ones. I am particularly enamored with Jess Bush and her take on the underutilized character Nurse Christine Chapel. There are breaks with canon but so far these have created new and compelling storylines that justify the rupture.

Ms. Marvel

The latest MCU series to debut on Disney+ Ms., Marvel follows the life of Kamala Khan a Pakistani-American highschooler and devoted Captain Marvel fan as she navigates life in the MCU, her Muslim family and neighborhood, with varying levels of devoutness, and her sudden and inexplicable acquisition of superpowers. The show’s style is vibrant, energetic, and exploding with energy, much like the life of a teenage while neatly balancing the fantastic with the reality of modern life for a character caught between tradition and the wider American culture.

I have very little actual knowledge of Muslim-American culture, and less that would apply to the specifics of being Pakistani-American teenage girl, but the show feels honest and respectful giving me an insight I have not before possessed. Well worth the watch.

Share

A Response to Jordan S Carroll’s Article Misunderstanding a Classic 60s SF Novel

 

On May 29th Jacobin.com published the ironically titled article To Understand Elon Musk, You Have to Understand This ’60s Sci-Fi Novel by Jordan S. Carroll in which the good professor misread or misrepresented the novel The Moon is a Harsh Mistress (1966) by Robert A. Heinlein as a guide to understanding Elon Musk.

I come here not to defend Heinlein’s novel, its philosophies, or its meaning but rather in protest the professor’s inaccuracies and omissions that create a strawman for his argument.

Here from the article is Carroll’s description of the novel core conflict.

It’s about a lunar colony that frees itself, via advanced and cleverly applied technology, from the resource-sucking parasitism of Earth and its welfare dependents.

 

The Moon Is a Harsh Mistress depicts a moon colony forced by the centralized Lunar Authority to ship food to Earth where it goes to feed starving people in places like India. The lunar citizens, or Loonies, revolt against the state monopoly and establish a society characterized by free markets and minimal government.

 

Absent from this recounting and the entire article is the quite essential element that in the novel the moon is a penal colony. It is a prison removed from courts, laws, and governance. Exile to the moon is a one-way life sentence and even the guards and the despotic warden are, due to physiological changes wrought by prolonged life in 1/6 gravity, unable to return to Earth. People born on the moon are not technically prisoners but have no rights save whatever is granted by the warden’s generosity and can never live upon the Earth. It is a despotic, authoritarian dictatorship without any form of oversight. By omitting this element of the narrative Carroll is free to portray the people, for they are not citizens anywhere, of the moon as greedy libertarians indifferent to their fellow man.

The novel takes solutionism to the extreme when Mannie enlists the help of a sentient supercomputer named Mike to lead the overthrow of Earth’s colonial government on Luna

 

Here Professor Carroll has reversed the cause and effect of the novel’s progression. Mannie is not a revolutionary who enlisted the secret sentient computer into the revolution but rather it was the curious computer, Mike, that sent the apolitical Mannie into the revolutionary meeting because he had no way to listen in on the meeting. It is only after Mannie is won over by the revolutionaries and reveals to the pair that recruited him that the lunar colony’s central computer is aware that they decide to utilize this unique resource. Mike leads nothing, he is a tool and in many ways a child treating the revolt as a game.

When it comes to the revolution itself Carroll is no more careful in his representation that he was in depicting the conditions on the moon.

Mannie the computer technician, designs their clandestine cell system like a “computer diagram” or “neural network,” mapping out how information will flow between revolutionists. They determine the best way of organizing a cadre not through democratic deliberation or practical experience but through cybernetic principles.

 

Either Professor Carrol is ignorant or has chosen to ignore the history of Clandestine Cell Structure that has been used in resistance and revolutionary movements decades before the novel’s publications. In his haste to prove that everything from the novel that has apparently influenced Musk is tied to modern tech bro culture is has ignored or misrepresented actual history.

And here is another distortion of the novel’s events.

Even when it comes time to establish a constitution for the Luna Free State, the conspirators use clever procedural tricks to do an end run around everyone in the congress who is not a member of their clique. Smart individuals always win out over mass democracy in Heinlein’s fiction — and that’s a good thing.

 

First off, they did not ‘do an end run around’ the congress they established the congress with their command cell member occupying all the key positions. They attempted to create the impression of a representative government while retaining full control and that’s what happened — for a while.

The Lunar Congress, unaware that they were supposed to be rubber stamps and nothing more, formed a new government and with a stroke undid all of the revolutionaries careful plotting. Because this was not a revolution that shot the most capable revolutionaries after the victory, as so many in history has done, an actual representative government replaced the despotic tyranny of the penal colony. Not quite what Professor Carroll told people in his article.

And that brings me to the final and most critical blindness in the article and in people who hail the novel as a tale of a successful libertarian revolution.

In the novel the revolution failed.

Yes, the penal colony was freed, and a representative government replaced a dictatorship, but that government very quickly transitioned away from anything approaching pure libertarianism into a more conventional form. The novel opens with the Mannie bemoaning the coming of new taxes, and then once the flashback to the revolution is over, it ends with him contemplating immigration to some less populated area. The Libertarians lost the government. The moon did not become an outpost of pure unfettered capitalism and unregulated markets. It became Earth. If Musk thinks the novel points to an unregulated future, he has misread it as badly as Carroll.

Share

Science and Science Fictional Thoughts

Recently, I’ve been thinking about star and star system formation a lot.

The basics, I understand it, runs something like this.

1) A large cloud of gas, the remnants from previous stellar explosions, begins collapsing under its gravitational attraction.

2) Angular momentum spins faster compressing it into an accretion disk. In the disk denser clumps begin gathering and forming the seeds of planets.

3) Most of the cloud is pulled to the center forming a massive body whose center becomes more and more compressed raising the temperature.

4) When the temperature and pressure get high enough the star ignites and blows out the last vestiges of the cloud. Leaving a star and forming planets.

I have questions.

As the cloud compresses into a star but before fusion starts hoe dense does that gas get? Do we get atmospheres of pressure reaching from the core out to the orbital distances of the future planets? Would it be dense enough for aerodynamic forces? Do we potentially have dense enough gas that there is effectively an atmosphere between the soon to be star and it’s forming planets? Could electric charges build up in this massive cloud producing planet-sized or large lightning bolts?

When the fusion starts how fast is that process? Is it thousands or millions of years between ignition and having a star or is much shorter and explosive? What sort of pressure is generating in the remaining cloud as a blast wave that sweeps through the emerging star system?

Welcome to the late-night thoughts of a science fiction writer.

Share

Movie Review: Firestarter (2022)

Previously adapted in 1984 from Steven King’s novel of the same title Firestarter is another go at bring the story to the screen and like the 1984 adaptation this one also ultimately fails.

In 1984 the lead role of Charlie, a young girl with pyrokinetic powers, was performed by 8-year-old Drew Barrymore, and, while she has become an accomplished actor and producers, at 7 she was not ready to carry a film, few that young are, and that, along with middling production values and lackluster cinematography produced a lifeless dull film.

The 2022 interpretation is led by 11-year-old Ryan Kiera Armstrong and the three additional

Credit: Blumhouse Picture

years are a multiplier for her to shoulder the burden of lead character in a major motion picture, yielding a more credible performance and with greater emotional depth.  2022’s Firestarter also sports more talented filmmaking, less exaggerated physical acting, and a subtle light touch to the photography that raises the film’s quality considerably.

Sadly, the script in the final act crashes and burns, jettisoning the story line of emotional manipulation and abuse for a fire spectacle for a finale with a final resolution that breaks all disbelief and insults the character’s trauma and breaks entirely with the source material.

At a quick hour and a half the filmmakers still managed to wedge in pointless scenes that had they been edited out no one would have noticed. What should have been a slow burn, pun intended, of tension drags in flat chemistry-less scenes. The story’s antagonists, are both all-knowing in their surveillance, spotting a random heat spike on a FLIR camera when supposed they had no concept of Charlie’s locations, and monumental ignorant of how to proceed.

The film is not worth your time, and I would suggest if you have a burning, again intentional, curiosity to see it, wait for cable or streaming.

Share

How a Conservative Columnist Displayed Both His Ignorance and His Bias

Elements of the geeky internet awoke yesterday when the ironically name conservative writer David Marcus (Also the name of the fictional son of Trek’s James T. Kirk) accused the new slate of shows of going where it has never gone before ‘woke’ politics.

Now many have already leapt into the conversation with numerous examples od how Star Trek from its very inception had always displayed a more liberal political viewpoint. However, I think that there is more interesting facet to examine in Marcus’ factually wrong essay that displays his own quite strong inherent bias.

First let’s look at a blatant factual inaccuracy. Marcus writes.

 Since its creation in 1966 the franchise has had myriad iterations on big screen and small, basically invented the sci-fi convention, and has charmed audiences across every generation.”

This might be true of Media conventions but there were 29 World Science Fiction Conventions dispensing coveted award before the first large Star Trek convention. (Setting aside a smaller gather in a library conference room.) It is clear that the author has very little practical knowledge of fandom or its history.

Next Marcus takes issues with the casting of politician Stacey Abrams as the President of the United Federation of Planets in the streaming series Picard. Stunt casting is a long and stories tradition in Hollywood, when Babylon 5 moved to TNT there was pressure to cast some the networks wrestling stars in the series for cross promotion and Star Trek in its original 60’s incarnation cast famed celebrity lawyer Melvin Belli as a corrupting alien ghost. Star Trek: The Next Generation saw the casting of real-life astronaut Mae Jemison. This sort of stunt casting is hardly new and not at all new to Trek.

But apparently what set this essay in motion for Marcus, and that’s my opinion from reading the piece, is the brief video from the 2021 insurrection and riot at the US Capitol.

Again, from Marcus’ piece.

The second was a weird plot twist in the pilot of new show, Strange New Worlds in which the 2020 capitol riot is depicted and blamed for starting a Second American Civil War and the destruction of the planet. To put it more succinctly, Orange man bad.

It is illuminating that Marcus see it in this light when in the actual text of the show the character narrating the events is hopes of preventing an alien culture from engaging in a global extinction

CBS Ventures (Screen Cap)

level war describe the start as a ‘fight for freedoms,’ makes no mention who started what, or assigns any blame. Only that the fight grew and grew and grew until it nearly destroyed humanity. And there’s not even a the barest of refences to any currently politician.

The video footage from the insurrection lasts a total of six seconds. From this bit of lifted archival footage Marcus constructs an alternate reality worthy of the Daniels’ multiverse where humanity has hotdogs for fingers. He sees the shows creative team putting all the blame for Trek’sWorld War 3 cannon firmly on the conservative shoulders when the text makes nothing like that argument.

Why does he jump so readily to that conclusion?

To me the answer is plain but is to be fair conjecture. It is because he knows that the violence and death are the product of the modern conservative culture. He desperately wishes it were not so, he desperately, like all of us, wants to be the hero and not the villain. Facts are stubborn things, and the facts are clear it was conservatives that stormed the capitol with murderous intent unwilling to accept the legal, fair, and democratic process that had defeated them. It is far more soothing to the ego to point fingers, accuse others of propaganda, and play the victim than to look into the mirror recognize that you are the evil man.

Marcus’ histrionic response to six seconds of archival footage reveals that he is aware that his faction are the villains, and his response is deep and deadly denial.

Share

Birthday Beg

Saturday is my birthday, and I will be spending it with friends playing the tabletop RPG Space Opera.

While others are quite charitable on Facebook using their birthdays to raise funds for causes this year, I am going to be self-centered and greedy and tell you what I want more than anything for my birthday.

Reviews

My novel, Vulcan’s Forge, has gathered a mere 11 reviews over two years and I desperately need more to appease the god algorithm.

If you have read the book, which can kind of be described as WandaVision meets Raised by Wolves (Humans raised by A.I.s obsessed with mid-twentieth century Americana) w a heavy dash of film noir, then please go to Amazon and leave a review. Even if you hated it, be honest, I am not asking nor wanting anyone to leave false flattering reviews, just reviews.

Share

Movie Review: Everything Everywhere All at Once

\

Sunday evening, after seeing the latest MCU film that morning, I went and watched Everything Everywhere All at Once (EEAO) from A24 Studios and ‘The Daniels,’ (Dan Kwan & Daniel Scheinert) another multiverse hopping storyline with a villain threatening all of existence.

Michelle Yeoh plays Evelyn a woman estranged from her very western daughter Joy (Stephanie Hsu), her very Chinese Father Gong Gong (James Hong), and who ignores her geeky and meek husband Waymond (Ke Huy Quan.) With both their laundromat business and marriage failing

A24 Studios

Evelyn and her husband, accompanied by Gong Gong who due to infirmity cannot be left home, are summoned to the local IRS office to confront a cold and unsympathetic auditor Deirdre (Jamie Lee Curtis) but everything is derailed when Waymond from an alternate timeline confronts Evelyn and insists she is the key to saving the universe from Jobu Tupaki, a pan-universal creature bent on chaos and destruction.

EEAO gives its actors a real meal of characters to portray, meek, bold, strong, weak, heroic and depressed most of the cast gets a shot at playing wide and diverse versions of their characters. Despite the on-screen insanity, fun, and sheer inventiveness at its heart the film grapples with extensional dread and the nihilistic fear that nothing at all truly matters. Love, Joy, Happiness, and even life itself is fleeting eventually becoming nothing but dust. The script doesn’t shy away from this truth but also finds ways to recognize that those fleet moments are the value and that because there is no permanence doesn’t mean that there is no meaning.

The film’s characters speak in combination of English and Chinese with liberal use of subtitling for those like me who are stuck as a monolingual talent. While dealing with heavy themes such as the meaning of life and the push and pull of generations and culture EEAO also dips into crude humor and exhilarating action presenting a mixture of tones and styles as diverse as life itself.

I thoroughly enjoyed Everything Everywhere All at Once and I am already looking forward to some future repeat viewing.

Share