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.

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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.

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Movie Review: Everything Everywhere All at Once

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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.

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Movie Review (Spoiler Free): Doctor Strange in The Multiverse of Madness

Six years, and after several appearances in other franchise properties, Doctor Strange has its the sequel in Doctor Strange in The Multiverse of Madness (MOM).

Stephen Strange (Benedict Cumberbatch), master of the mystic arts, grappling with lost years dues to snapture (Hat tip to NPR’s Glenn Weldon for that) and lost loves as Christine Palmer (Rachel McAdams) marries another is drawn into a multi-universal threat rescuing a teenage, America Chavez (Xochitl Gomez), witchcraft summoned demons intent of capturing the young

Disney Pictures

woman for their master’s plan. Recognizing that this is witchcraft and not sorcery Strange seeks out Wanda Maximoff (Elizabeth Olsen) for assistance kicking off a chase across parallel universes, cameos from Marvel characters yet established in the MCU’s cannon and director’s Raimi’s long-time collaborator Bruce Campbell, with homages to their cult classic The Evil Dead, climaxing in CGI saturated battles but with a resolution that ultimately turns on seeing oneself as you truly are rather than how you think you are.

MOM is not the worst MVU films to play the silver screen, but neither is it the best. While heavy handed with some exposition it doesn’t fully its narrative momentum in the second act as did Eternals nor is it as light in character drama as The Incredible Hulk, but Strange’s emotional arc is flat, nearly absent, and with minor script changes that could have been corrected without signification plot deviations. Newcomer Xochitl Gomez does an impressive job holding her own in the presence of such acting talents as Cumberbatch, Olsen, and the film’s other Benedict, Wong, selling her character’s emotional truth without big expansive expressive displays

That said the film’s MVP actor is Elizabeth Olsen. In addition to playing variants of her character she excelled as the displaying depths for these individuals, giving a natural realism that penetrated the plots incredible nature and the CGI’s attempts to steal attention with spectacle. While Strange’s name is in the title the film is really her and I do wonder what viewers who have not seen WanaVision, whose theme composer Danny Elfman slipped into the score, made of Wanda’s principal motivation?

I did find the visual effects not quite on target, but I do not think it was primarily a failure of good rendering or models but rather the final composting left a disquieting disconnect to the varies elements harming the verisimilitude.

Overall, I would rank this MCU entry in the 3rd quarter with about half of the franchise better than and about a quarter not as good.

Doctor Strange in The Multiverse of Madness is currently playing theatrically.

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Streaming Review: Star Trek: Strange New Worlds

Be aware that I am an old fart and the first thing that comes to mind when someone says ‘Star Trek’ to me is the original series and the original actors, much of the newer batches, particularly the newest, have little call for me.

That said I was excited by the news of Star Trek: Strange New World which proposes to go back to when the Enterprise was commanded by Captain Christopher Pike as seen in Trek’s original pilot The Cage.

In the pilot when we meet Pike (Anson Mount) he is deeply troubled by some haunting past event which he doesn’t share even with his S.O. (Significant Other not Supply Officer) An event

Credit: Paramount Pictures

that has him grounded and doubting himself. However, when his first officer, Number One (Rebecca Romijn) goes missing on a first contact mission Pike resumes command of the Enterprise and launches a mission to save her. During the rescue and first contact mission Pike must come to grips with his trauma and rediscovers, partially through Lt. Noonien-Sign (Christina Chong) a survivor of a horrific event, what it means to live fully under a terrible cloud. An understanding reinforced by his friendship with his science office Spock (Ethan Peck)

Strange New Worlds tips its hat and pay homage to the original series in a number of ways but also breaks canon continuity so your milage may vary on how well it integrates with the franchise as a whole. Secondary characters from the original series appear as crew members, Doctor M’Benga (Babs Olusanmokun) appeared in only a couple of episodes in the original show is now the ship’s primary medical officer, assisted by Nurse Christine Chapel (Jess Bush). Additional original series characters include Cadet Uhura (Celia Rose Gooding) and Chief Kyle (Andre Dae Kim) though he looks far too young to be a Chief.

Production design and set decor also took inspiration from the original series while not sacrificing a modern appearance. Graphics that appear on the bridge monitors are directly referencing original low-tech graphics of the original show and control even have some of the domed color button that always looked so candy-like to me.

However, the show is not without its flaws. The distances between star systems is preposterously brief, particularly in respect to the original series. Also Lt. Noonien-Singh’s background is clear break with continuity as James Kirk famously made first contact with the Gorns. There is a tendency to use advanced technology as magic and I doubt that will fade away in subsequent episodes.

But, overall, I enjoyed the pilot and will return next week for more.

Star Trek: Strange New Worlds streams Thursdays on Paramount+.

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My Upcoming Geeky Artistic Weekend

Which artistically is starting tonight, Thursday.

Tonight, I plan to go out and see the foreign language Finnish horror film Hatching before it vanishes from theaters in my area. (I must admit I adore my AMC A-List subscription that makes rolling the dice on movie so much easier.)

Also tonight is Star Trek: Strange New Worlds. My sweetie-wife and I will be giving the series a try. Now, I’ll confess that lately the trek shows have not been working for me but hope springs eternal.

Saturday evening I plan to venture to San Diego’s Balboa Park for more experiments in night photography. Last weekend when I left the secret morgue I spied the California Tower lit by colored lights and thought it would be a good subject for my meager photographic skills.

Sunday morning my sweetie-wife and I will go out and catch the new Doctor Stranger movie.

All in all I am looking forward to this weekend.

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Why David French is Likely Wrong

David French, social conservative and never Trumper, has said for quite a while and reiterated his stance in the wake of the leak from SCOTUS, that overturning the precedent of Roe v Wade and its associated constitutional rights is far less consequential than most people assume. His argument is built upon three core legs and in each of these I think it is likely events will prove him wrong.

The three premises of his arguments are as thus:

  1. Few voters actually value the abortion issues highly
  2. The nation is already divided by the states into stable abortion zones.
  3. With the issues delegitimized as a right and returned to politics the compromise nature of politics will cool the waters and finalize into an agreed upon solution.

To support his premises that few voters actually care about the issues French often cites recent election data and he is particularly fond of Youngkin’s victory this year in Virginia. Exit polls do indeed show that few voters listed abortion as a driving factor in their decisions. However, this follows on decades of the issues being ‘settled law’ and if you are under 50 your entire life had been one in which this was a right. It is true that the storm has been gathering for some time and with the 3 justices appointed to SCOTUS by the previous administration this outcome was highly predicable. But I would contend that there is a vast emotional gulf between what is predicted and an event happening. A live example of this is the Russian invasion of Ukraine. For months we have been warned that Russian was likely to invade it democratic neighbor. For weeks the US warned that the invasion was coming soon, not likely, not possible, but actually coming. The American electorate cared very little. Ukraine was not pressing political issue. And now it is. That seems very odd, we have quite clear polling that people really didn’t consider Ukraine very important, so they shouldn’t now when the easily predictable thing came to pass. But they do. Because it a very different thing to speak of possibilities and another to have reality come crashing into the consciousness. Being told smoking causes cancer and being told you have cancer are emotionally quite different in their impact and I think the same mechanism will be at work here. For decades people have been warned their rights are in danger and now those rights are gone. It is quite likely there will be a political firestorm.

Yes, the nation is already divided into states with abortion freedoms and those without. Far more abortions, even controlling for population, in California than Mississippi, but there is no reason to believe that will hold after the destruction of the right. Already liberal at the national level are scrambling in search of a way, probably in vain, to pass national legislation on this issue. I have no doubts that future government with the GOP in control will also attempt to pass laws criminalizing abortion nationally. After all, if you sincerely believe that this ‘murders children,’ a premise I do not accept, then how can you do nothing to stop it once you have cleared the barricade that has barred you from doing so? No, once Roe is dealt with the next objective will be a national legal movement. I am sure French would argue that it is against conservative principle to overrule the states with a national law. I will point out that there is no ‘conservative principle’ that held the GOP back from embracing and literally idolizing Trump. No ‘principle’ will stay their hand here.

And now we come to the most delusional and wish-casting section of his argument, that political compromise will be found.

We have a repeat of the trouble from the second premise, if someone believes that abortion is murder what possible compromise can that person make? How could they say, you may ‘murder these babies but not these?’ It’s preposterous but set that aside for the moment, either because it is untrue, the political movers and shakers do not hold this belief dear to their hearts or because it is impractical the third legs still collapses. Because of physical sorting and gerrymandering fewer and fewer political areas are competitive between the two camps, California is not going to compromises and give ground to the powerless GOP within the state and Mississippi will behave the same toward the Democrats there. As with every other issue before us there is absolutely no incentive for any political party to compromise. It only opens you up to attack from your more dedicated factions and wins you nothing in the contest. The battle has now crossed no man’s land and the two factions are going to be in hand-to-hand knifing fighting.

Of course, this will not stop with abortion. Yes, the leaked said that this reasoning doesn’t apply to anything else at all, but this is from the same liars who proclaimed Roe as ‘settled law.’ Sadly, the war only grows.

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Secret Morgue #3: Final Report

The Secret Morgue, hosted by Film Geeks San Diego, is a one marathon festive for themed horror films with 12 hours of movies, munchies, and madness where the titles of the presentations are secret until actually screened.

Returning after a two-year pandemic hiatus the theme for Secret Morgue #3 was ‘witches.’ IN addition to the films and catered food we were treated to a lecture on the history of witches and witched in Comics.

Film #1: HAXAN (192) From Sweden this silent film, in a beautifully restored edition, if part ‘history’ and part narrative focusing on the myth of witches in the Middle Ages. I had never seen this movie and it was a pleasure.

Film #2: The Witchfinder General (AKA The Conqueror Worm) (1968) Vincent Price stars as Mathew Hopkins self-proclaimed Witch Finder General dur the English Civil war of the 17th century. The story presents no actual witches but the very real terror of unchecked power and prejudice. My sweetie-wife reminded me that we had watched this on DVD together but somehow I had forgotten it entirely.

Film #3: City of the Dead (AKA Horror Hotel) (1960) A flawed film with a bunch of brits pretending to me Americans as a small New England town is beset by a witch burned there in the 17th century. College students and professors arrive searching for a missing friend and unravel the mystery. With a better budget and script the core concept could have been quite good but a lackluster production and meandering script undercut what works.

Film #4: Inferno (1980) Written and directed by Dario Argento this is the middle film of Argento’s Three Mothers Trilogy, between Susperia (1977) and The Mother of Tears (2007). The narrative of the movie is quite fractured, split among several viewpoint characters, most of whom come to grizzly ends, and as is typical of Argento’s work, mood, image, and style supersede story. It doesn’t quite have the dream logic of a David Lynch film nor the defined narrative of a typical story leaving it somewhere in a no man’s land between the two.

Film #5: Black Sunday (AKA The Mask of Satan) (1960) Director Mario Bava worked in a number of genres, mystery, Giallo, and of course horror. This film stars Barbara Steel in two roles as the 16th century witch, condemned along with her vampire lover, and the 18th century princess destined to be the witch’s vessel to revivification. Set in the eastern European country of Moldova, Black Sunday is a stylish gothic horror with impressive in camera transformation effects.

Film #6: Lvx Aeterna (2019) Written and directed by Gasper Noe of Irreversible fame this film is in a mock documentary style following two actresses, playing fictionalized version of themselves, who are about to portray witches burned at the stake. It is a short film, 50 minutes, but the late hour, my exhaustion, the foreign language soundtrack, and promised intense flashing sequences cause me to fear a possible migraine trigger and I instead left early but this is in no way a comment on the film’s quality only my own self-preservation in face of possible intense agony. (Driving into headlights at night with a migraine is not recommended.)

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Series Review: Slow Horses

 

Originally, I hadn’t planned on adding Apple TV+ to my collection of streaming services. While they proposed a few films and television programs that interested me the lack of any back catalog made the service less than appealing. However, after a year of free access for buying a new computer, I have found that there is more than enough content to justify the affordable price and among that content if the series Slow Horses.

Adapted from the espionage novel of the same name by Mick Herron Slow Horses centers on

Apple TV+

Slough House a division of MI5, the UK’s domestic intelligence service, where disgraced, burnt-out, and embarrassing officers are sent to wait out their careers performing pointless, mindless, and route tasks far from the bright and shinning center of Britain’s spy service.

The Leper Colony of intelligence officers newest addition is River Cartwright (Jack Lowden), grandson of a legendary officer, but River has disgraced his family name with a disastrously bad terrorist training exercise and is now exiled to Slough House where he answers to Jackson Lamb (Gary Oldman) an apparent drunk and burn-out.

When Diana Taverner (Kristin Scott Thomas), MI5’s Director of Operations, has a false flag operation go spectacularly badly endangering the nephew of Pakistani general, she sets up Slough House to take the blame for her operation. Cartwright, Lamb, and the other misfits derogatorily called Slow Horses, must not only outwit Taverner and reveal the truth of her operation but must rescue the kidnapped nephew before fascist nativists murder him.

Slow Horses is much closer to John le Carre’s fiction that to Ian Fleming’s super spy stories, though in addition to the gritty, grimy, and dirty world of killers and spies, Slow Horses adds office humor and humanity to the bottom barrel officers trying to do the right thing. With five of the six episodes released, Slow Horses has very nearly reached its conclusion in adapting the first novel. The acting to superior, particularly Oldman’s portrayal of Lamb, a man who has seen too much of the worst of humanity but still harbors a strong sense of right and wrong hidden within a flatulent disguise. The production design is spot on with sharp contrasts between ‘the palace’ MI5’s modern steel, glass, and cyber enhanced headquarters and dirty, broken, and drab building that is the home to cast offs of Slough House.

Apple has already produced a second season of Slow Horses coming late 2022 and I for one am up for it.

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Pluto and Our Sexual Politics

16 Years after its reclassification as a minor-planet discussion of Pluto as a planet can still kicked off spirited, heated, and intense debate. The faction that defies the International Astronomical Union’s classification in 2006 can be quite passionate about Pluto’s status as a planet even though the vast majority of that group are not astronomers or scientists. By and by they are laypeople and Pluto’s status as a planet or minor planet makes no material difference in any of their lives. Their paycheck, home equity, or personal freedoms are utterly unimpacted by the IAU’s decisions and declarations and yet they can be most vocal in defending that ‘Pluto is a planet!’

Of course, they never researched, observed, or studied Pluto. As children that learned that the Solar System has nine planets and talk of Kuiper Belts, or Trans-Neptunian Objects is uninteresting but the fact learned in grade school that there are nine planets these are their names became a foundational fragment of knowledge and something that undercuts something learned so completely as a child is on some level unsettling. Even if that fact has no bearing on their self, identity, or well-being.

A key simplistic fact we all learn as children, and one that is essential to many in their self-identification is that people are either boys or girls. There are no other categories, and like Pluto’s status as a planet, there is no doubt in the classifications, the declaration is the definition.

Unlike the debate surrounding Pluto the boy/girl classification is critical to many people’s sense of self. The classification of either girl or boy defined the roles one is expected to assume, the course of one’s life, the goals and objectives ones is expected to pursue, and can dictate everything from the clothing someone wears and the words they use to the nature of their loves and bonding commitments.

Is it really surprising then when the simplistic worldview imparted to children is redefined with new and enlarged with concepts such as trans or non-Binary that these expansions are met with fierce resistance, a resistance that is no more grounded in ‘fact’ or ‘science’ than those insisting that Pluto remains a planet simply because they were told this as a child? Particularly when so much of what so many people think of as their self-concept is tied to those first formative years when their classification was given and the course of their life ‘determined.’

None of this excuses the hatred, persecution, and prejudice that is heaped unjustly upon those who do not slot neatly into childish categories. To insist that everyone must live wholly within a category of either boy or girl with hard impermeable boundaries is as rational and defying of reality as to insist that that every has either Black hair or blond ignoring that everything nature does is a continuum, a spectrum, and the difference between girl and boy is as slippery as the difference between planet and not-planet.

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