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READER BEWARE - UNABASHED EDITORIAL OPINIONS
April 2008
Charlton Heston Charlton Heston taught me to swear– no really, I think the first time I ever got caught saying ‘damn’ was repeating that line from the very end of Planet of the Apes promptly of course followed by ‘hell’. But that’s not where I really knew Charlton Heston from, no that was the Ten Commandments. Here was a movie that had more fantastic special effects than anything I’d ever seen at the age of seven or eight and went on for hours. Not only that, because it was out of the bible, I didn’t have to convince my parents to turn it on like Star Trek- and Charlton did it all, larger than life. Follow that with Planet of the Apes and then Beneath the Planet of the Apes, action, apes and the end of the world– could it get any better? Omega Man and Soylent Green were ones I didn’t see until later, but still enjoyed. Heston always had a commanding presence in film. Ben Hur won 11 Academy Awards. And now at 84, the vigorous actor, who championed conservative causes, who stood up to the ‘damned dirty apes’, who parted the Red Sea and who told us that ‘soylent green is people’ has passed away. He died in his home with his wife at his side on April 5th, at last at rest. But to me, he will always be on the back of the horse, with the half-naked hottie, riding away under the long shadow of the Statue of Liberty and on to freedom. Long live Charlton Heston.JY FEBRUARY 2008
Indy IV
Ok, so the trailer for the new movie is out and generating a lot of ‘buzz’. Geek sites that I frequent on the web are all posting stuff about the trailer and how excited they are about this film. I have to be honest – I’m a little hesitant. The Kingdom of the Crystal Skull has a lot to live up to. Getting beyond the initial argument: Yes, Indy is older now – but the trailer seems to show that has been accounted for with a misjudged whip swing. It’s amusing and shows that the people putting the film together understand that they can’t try to make Indy immortal. Rambo tried for immortality, and I don’t think people were buying it. Rambo opened in second place, fell off to fifth, and now in only its fourth week of release has dropped to eighth place with less than $37 million in total box office. Rambo may be killing lots on screen, but in the box office he couldn’t even beat the low brow comedy Meet the Spartans. So we know Indy’s not going to live forever and that the film makers have accounted for this. Here’s the real problem for me – he will always be larger in my expectations than he will ever be able to become on the big screen. Raiders of the Lost Ark came out when I was eleven – about 3 or 4 years after Star Wars. These giants of movie history were my first taste of films on the big screen. They are as much a part of my youth as my first 10 speed bike and the underground transformer in the side yard nicknamed ‘The Green Machine’. Nobody today will be able to overcome hazy memories of tramping into the woods next to the house with my friends and trying to decide who got to hold our rope ‘whip’ and try to swing across the ‘chasm’ we created between the dirt pile and the stone wall. Nostalgia doesn’t translate to film easily or well. The trailer shows me a lot of peeks at things that I suspect are going to be big on special effects and hard to believe for story line. I’ll accept the brief look at something that says Roswell on it. No problems. Seeing Indy talking to somebody from his youth (I presume) smacks of time travel and an even weaker story line. I hope I’m wrong. I hope Shia LaBeouf is better than I expect him to be. If these things jump out at me in the trailer, how huge will they be in the actual film? These are the things that make me hesitate. I want to be excited, but I’m afraid that no film can live up to the level of expectation that gets generated about franchise films these days. I believe that’s part of the problem here too. It’s not just a movie anymore, it’s a franchise. I don’t want fries with that – or a plush toy tie-in or the latest action figure… OK, the action figure might be cool. I would much rather see a film like Jumper that is based on one of the most banned books of the 90s and tells a story that we haven’t seen on screen before do really well. The better something new and different does, the better the chance that we will continue to get new and interesting films. Keep your hopes up for the film, but be sure to get out there and support the new stuff until May. By Eric Hardenbrook JANUARY 2008
The Sarah Connor Chronicles With a host of problems plaguing television today, the paramount of which is the lack of new material due to the writer’s strike , FOX found time to launch a series based upon a popular franchise of movies that actually dares to re-imagine the plotline. The series started with a ton of explosions, gunfire and property destruction and kept it up through the entire 40+ minutes. While this is intriguing, it begs the question what happens as the series matures and budget constraints begin? Have we seen the most of the mayhem? But it was big and flashy and set the stage for the second day of the premiere. Yes, that’s right, that’s FOX’s plan, instead of a 2 hours launch you’ll need to tune in again tomorrow, because that is when the show will ordinarily air. So not too bad an idea to leave a breadcrumb trail for the viewer. One of the interesting aspects about the show is the fact that it will not follow the established history. According to James Middleton, one of the shows consulting producers, since the events of T2 alter the future, then the series operates in an alternate future. In fact in one of the more convenient acts of deus ex Machina, the three main characters travel to, wait you guessed it, 2007. Apparently the change in the future stops the creation of the liquid metal terminators or wait is that maybe the budget? Lena Headey while certainly not hard on the eyes is trying for the intensity of Linda Hamilton, she has a ways to go but is on the right path. Summer Glau manages to give a sterling performance of the same disaffected, not quite on track inhumanity that worked so well for Firefly. Thomas Dekker while managing the necessary stunts suddenly turns whiny and begs his mom to make it stop. Here is the leader of the future, the savior of mankind—momma’s boy. Well that takes a little of the wind out of the sails, liked him better as the wiseass seven year old. But Middleton promises that there will be narrative surprises—every episode. There’s only one way to find out... November 2007
Would You Like Napkins With That?
I do a fairly lousy job of avoiding fast food and with the
franchises littered across my path on my way home from a long day of playing name-that-book-because-all-I can-remember-was-it-was-green,
sometimes I stumble. Recently I’ve noticed a tendency of several of the
purveyors of fried, grilled, hot and whatever will build my winter layer of insulation food to not give me a napkin. Seems like a small thing but when you don’t get one, you’re unlikely to
drive back, you’ll find out miles later and let’s face it- napkins cost money.
So while I’m offered a plethora of dips or sauces, that I inevitably forget what’s what once it leaves
the lips of whosoever is the poor paper hat wearer today on the mike, something simple like a napkin goes by the wayside. If I believe in their evil empire’s plan of golden arches, red wigs or crowns,
then they’ve managed to cut costs while taking advantage of the poor fool who can’t even remember which place
was indirectly responsible for the greasy ketchup stain on his shirt.
So if you’ll forgive a somewhat indirect comparison, I feel like the presses who produce James Patterson’s
myriad of books are doing the same. Never mind that it’s come to the “Would
you like a little Patterson with the flavor du jour author who is “collaborating” with him?” Let’s open up one of these works and we quickly discover that while it appears to be a full size
book on the outside, it is actually the “lite” version complete with excessive blank pages, double spacing and
what I’m sure someone in marketing is referring to as a “typeface friendlier to an older audience”. Heck I can read it from across the room. Now
Patterson is the easiest one to sling mud at but you can find the same thing going on in bestseller Dan Brown’s DaVinci
code or Nicholas Sparks –even genre authors like Neil Asher who’s book Prador
Moon is filled with enough extra space to keep it afloat. Essentially what
we’re seeing in most extreme cases is a novella length work expanded through the miracle of the modern printing industry
into the packaging of a full novel with a nice fat price tag. Just like the round
or square burgers sliding through the automated grill, these works come out in their glossy prepackaged containers.
This is the publisher saying to you the readers, here you go have a good time with that- only on the ride home you
discover you haven’t gotten any content or any napkins either . . . August 2007
Dyslexia – Ahead of the Curve or Outside It? It has been suggested in the book The Gift of Dyslexia by Ronald Davis that some of the root causes of the change in perception that effects learning called dyslexia are due to the primarily visual focus of the dyslexic child. That learning is impaired due to the element of confusion caused by the lack of visual interpretation of words that have no intrinsic visual value such as connectors and conjunctions such as “a, and, the” etc. Dyslexic children are believed to visually view each word that makes up a sentence and that these disruptive non-visual elements derail the thought process and that the more of such words that there are per sentence the less likely the child is to a) complete the entire sentence in a single attempt or b) comprehend the meaning of the sentence. So the child rereads the sentence several times which may only add to the frustration and confusion. That is the simplest explanation of one aspect of the problem of teaching someone with dyslexia. How could this possibly be a benefit? Perhaps we are viewing this from the wrong angle. We tend to look at dyslexia completely as problem because it affects the efficient teaching of a group of students as a whole. First let’s look at the visual aspect of dyslexia. We grasp most of our everyday situations in a visual context and our mind is set up to process visually complex situations as quickly as possible. We know from experience with optical illusions even something as simple as roadway shimmer due to heat waves that our visual interpretation of reality can be misled. In an attempt to look at how communication may evolve in the future, using technology to supplement our normal verbal methods, Greg Bear in Eon, suggested a method of using images as a language. Already with such languages as Chinese humans have been using pictograms to represent visual images. In fact recently it was found that dyslexia was more apt to occur in a student learning English than Chinese due to the association of letters to sounds where in Chinese languages the characters represent syllables with multiple pronunciations. Learning Chinese actually takes a different kind of mental activity and it is possible to be dyslexic in Chinese but if a speaker of both languages suffers from dyslexia, it will occur in only one language. So instead of going through the regimen of converting direct perception into written or verbal communication and then having someone else reverse the process – what if you could show them what you meant as if you both sat down in a movie theater and watched it together? As technology continues to develop, more and more of our methods of teaching have become visual. New computers come with visual step-by-step guides that show rather than tell us what we need to do to operate certain programs. As any writer will tell you this follows the golden rule of “show, don’t tell”. Going back to Bear’s Eon, the communication occurring at a visual level, called “picting” can be highly complex, because it can also be exact, since there is less room for interpretation. It can also be quicker because his contention is that eventually we will augment our minds with either mechanical or nanotechnological aids. This of course means faster processing, more accurate processing and greater storage. But it still doesn’t solve those issues of words that have no visual context- or does it? If you have two objects like two coins how you refer to both of them? Visually we look at their spatial orientation and that’s exactly how the communication would deal with that problem. Other issues such as “the” are irrelevant. If we see one item with no contextual background, then we are only focused on that specific item. If we see a coin above a group of similar coins then we can assume it is “a” coin to which we are referring. So how does this help us with ephemerals such as emotions? Well we could see either the other person we are communicating with demonstrating the emotion through various physical signals we are already used to interpreting or perhaps even a visual representation of ourselves experiencing the emotion. Obviously visual communication isn’t perfect. Think of trying to show someone 12,678 coins as compare to 12,593. With a visual representation we would have a hard time distinguishing the difference between the two unless there was an order to their display. So obviously there are also must be some series of conventions that go into a purely visual language. Add the interpretations of the these conventions to the idea of optical illusion in communication and you can see that establishment of a purely visual communication will not abolish confusion or create universal truth. But where does that leave the folks with dyslexia? Actually with their primarily visual focus, they are ahead of the game. Much as our children, currently learning to read from computer screens instead of the physical artifacts of books are more adaptive to change, the dyslexic person is perhaps already preparing to communicate in the visual medium. It is obvious that the practical applications of visual communication at a level that would make it truly effective are not currently available and are still only just beginning to be properly developed. So could it be that the dyslexic folks are simply early instead of being at a disadvantage? Are we seeing a natural development of a potential that will take advantage of our visually immersive world? Is this a step of punctuated evolution occurring right now? Perhaps it is of an unfamiliar nature based on the processing of information rather than a merely physical adaptation. Ron Davis also points out that dyslexics have the ability to perform multiple perceptive
functions in the time that one ordinary function occurs. For example a dyslexic
attempting to read an unfamiliar word moves that word through repeated orientations until they find one that matches the rules
that they have been taught to read. Letters to a dyslexic are not consistently
horizontally oriented and the confusion of an unfamiliar word, to which no direct visual link may be applied can cause the
dyslexic’s mind to repeatedly move the word through various orientations, or flipping letters front to back or scrambling
letters. This visual flexibility is thought to be a distinct advantage to a dyslexic
person who will shows a gift for solving three dimensional puzzles because they can move the image in their mind through various
rotations more quickly than a typical person. Imagine being able to quickly flip
through possible orientations of an electron in various states, flying vehicles in a three-dimensional open environment, or
a space ship in an asteroid field. So If this is truly the case, why haven’t we seen these gifted folks advancing and leaving us behind? Could it be that our current methods of education are chaining their learning potential? Are we focusing on the unified achievement of the whole and forcing mediocrity on those who might outstrip us? Will the advances and continued focus in the visual aspects of learning finally open the door for these individuals? For now we still treat their visual focus as a disability and strive to find methods of making their learning fit our methods. Perhaps the dyslexics are outside of the learning curve instead of behind it. We would do well to remember that eventually we maybe left behind with our conventional methods, as communication becomes more visually oriented in the future.
APRIL 14, 2007
Oh, What a World To steal a quote from the Witch of the West, yes what a world it is and it’s a good day to be an urban fantasy writer. Don’t think so? If the popularity of the Dresden Files on TV, promptly followed by True Blood and Vampire Porn Extravaganza – nope sorry, that’s not the title- see my mind just naturally balks at remembering whatever they’ve decided to call the TV series based on Charlaine Harris’s Southern Vampire series- doesn’t prove it then look to book sales. If you walked into a Barnes & Noble right now you would still find that Mr. Butcher’s works as well as those by Kim Harrison are featured near the registers. Next month will feature Simon Greene’s as well as some of the newcomers. See the bandwagon is already starting to fill up. If you’ve got an urban fantasy manuscript languishing somewhere – you’d better get it into a publisher’s hands soon before the tide turns. The new in Science Fictions shelves are crawling with “the next Anita Blake or Harry Dresden”. Now don’t take it that all of these are bad, but you’ll now have to wade through throngs of second string authors who might not have made the cut if the genre hadn’t taken off. Of course you’ll also now find Laurel or Jim tacking their seals of approval to these young guns in the Urban Fantasy landscape. Now this isn’t limited to the merely the SciFi section because after all a great many of these Urban Fantasy heroes or heroines are detectives, bounty hunters or some how involved with the law – so now you can find them in the mystery section as well. And of course as mentioned above- this only feeds the fire for the awful inferno of vampire porn and other Romance tainted subjects which now proudly bear the earmark “supernatural” or “paranormal” on their spine. Should we be upset at this diluting of the fine spirit of fantasy? I doubt it, because isn’t Romance primarily fantasy anyway- just a different kind and I suspect that since these genre sections aren’t often featured far apart (much to a typical SciFi fan’s chagrin) that the Romance shopper might find by accident that the Kim Harrison or Laurel stamp of approval on their book might actually lead them in the right direction to purchasing maybe For a Few Demons More or even Storm Front. So as the wise and cool heads that said of Harry Potter, that anything that gets someone to read the genre is a good thing, I find myself having to agree as I read Jim Butcher’s White Night. March 9th, 2007
The Lathe of Heaven, 2002 –The Blunted Chisel. View the interview with Ursula K. Leguin on the 1981 version of this movie, and you will find that she was both pleased and surprised at the concept to her book’s translation to the large screen. Notably missing is another such interview on the 2002 version. At the end of the Price is Right, Bob Barker recommends to his audience that they spay or neuter their pets. Well the producers of the most recent version of the Lathe of Heaven have not only done that but also pulled its teeth and nails as well. From the core of a some what rambling film that covered everything from nuclear war, alien invasion, interracial relationships to power mad megalomania, the folks at AE have created a tame domesticated version that with its dazed and barely audible star, Lucas Haas, comes off as diluted distillate of the Butterfly Effect. Here the power of George Orr’s effective dreams is turned towards nothing but the self aggrandizing of Dr. Haber. James Caan, who plays Dr. Haber, tosses out ideas for dealing with over population in a sort of light off handed fashion as if they were an after thought. He jokes his way through what’s best for all of us, while in the original version, once Haber confirmed that Orr could actually change the world with his dreams, he set about righting the ills of everyone with George’s power. Of course the original version of Haber had no problem with dreaming up a better office, laboratory and machinery, for after all it made him more effective at helping others. Caan on the other hand seems to spend more time redecorating his secretary. What made Haber an interesting character is his desire to correct the ills of humanity and to take credit for it. Through a drunkard’s walk series of events George Orr’s subconscious with Haber’s guidance tries to dream a better world. But the end results are disastrous, because human beings are incapable of perfection and the world is simply too fragile and volatile a system to respond consistently to George’s prodding. Finally Haber takes on George’s role to attempt to fix all of the errors and the two contest over the best for all of us. Everything in the last sentence never occurs in the most recent version. Haber loses his mind when he tries to use the augmentor to achieve George’s power and that’s it. Gone are the oddly turtle shaped aliens who understand George’s power and problems. MIA is the fiery spirited Heather LeLache who fights for George’s rights replaced by a lack luster performance by Lisa Bonet. In fact George’s loss of Heather in the original pounds home the point that his solution to racial tension has greater repercussions. While I was given a grain of hope with the rainy sequences at the beginning of the film, which in the original were due to nuclear winter effects, there was no reason given at all. The mere fact that George dreamed himself back to life after the war is completely expurgated. The addition of Manny is the only bright spot. Their continuing game of chess provides another method of indicating the changes in the world and the conversation with Heather late in the movie offers one of the few indications of the cleverness of the original. I have the feeling that after this film was over the uninformed audience probably shoved the remainder of their greasy popcorn in their collective gaping maws and said, “That other film, you know the one with Ashton Kutcher, that one was better. It made more sense. I could follow that one.” They slunk away to bed and never realized that in creating this version that AE had taken a dull and blunted chisel to the original and slowly stripped away all that made it art and entertainment.
The Lathe of Heaven, 1981 was the first film produced by PBS. It is also
still the number one requested film on PBS stations.
2-18-07 WHY CAN’T
THEY LEAVE THINGS ALONE? Pardon me as I briefly pine for the old days, the versions of Star Trek where yes, every world tended
to look as if it was merely a different colored light filter over the one you saw last week. Where Red Dwarf didn’t
have digitally enhanced stellar backdrops or piped in reggae music. Or even now as I hesitate to watch it, that the single
most requested PBS movie The Lathe of Heaven, based on a book by Ursula K. Leguin, has been redone with Lucas Haas
and new sparkly effects. What’s next? Fix the ten minute freak out trip at the end of 2001 with CGI? Really what started
all of these thoughts was an article on the latest Star Trek digital update. Whereas initially, these updates were to be mostly
sound effects and title sequences apparently folks simply can’t leave well enough alone. Now they have taken on The
Doomsday Machine. Written by Norman Spinrad, who garnered a Hugo Nomination for the script, this classic episode focused
on a miles long WOMD which was probably just a little beyond what the effects a Trek were capable of handling at the time.
So today we can just go in and fix it. We’ll update the image so it looks more rugged and worn. Next apparently was
the Constitution, the sister ship to the Enterprise that first encounters the weapon, for upgrading now there will be more
fine detail showing the interior through the ruptured hull. All in all 100 new digital effects will be added. But what will
they cover over? What will be taken away? Will we have yet another version of classic Trek just like Classic and New Coke?
What about that music? Is it next? Look anybody who is familiar with the “soundtrack” if you will, for the weapon
knows that the music focuses on the relentless aspect of the weapon. This was the Imperial March of the day– but it
was of the day. So should we maybe feature something by Disturbed instead or maybe tack a ballad by Staind on at the end when
everything’s safe and sound? Look how well stepping outside the traditional bounds worked for Enterprise, musically...Anyway
I am going to sit down and watch The Lathe of Heaven, because there is a chance that they could have made it better
or it could be just another War of the Worlds, but I will still keep a copy of the original. After all when the originals
were playing for these examples, it was about using your imagination to fill in the gaps, where as now a days it seems more
about forcing the director’s interpretations on the viewer as an absolute vision of the story. This takes away the involvement
of the audience and blunts the desire to return for a another viewing. Similarities between Stonehenge Gate and Stargate SG1 Stonehenge Gate ~ Stargate SG14 main characters ~ Team of 4 members Ram has a mark on his forehead ~ Teal’c’s brand on his forehead Ram’s silver chain and emerald ~ Daniel Jackson’s eye of Ra necklace Stone befriends Kenleth ~ O’Neil befriends Scarra Lupe is taken from the group & they search for her ~ Sharae is taken from Daniel & they search for her Hotmen are enslaved by the whites ~ Jafa are enslaved by the Goa’uld Greek architecture in the one city ~ Architecture from historical periods Big gate buried in a desert The legends speak of gods coming from the gates who brought humans from earth Two geeky science types who names start with D The gate is kept a secret from the public The Advisory on the New Charlie and the Chocolate Factory If you take a moment a view the trailer for the movie you will notice that it is rated PG, the reasons given are as follows:Quirky situations, action and mild language. First I have no quarrel with mild language, in general if the Simpson’s can say it, then well we just have to live with it. Wonderful, I’m glad you warned us about it. Don’t blame us if your kids get the in jokes like the one about the squirrel’s nuts. But objecting to quirky situations? Exactly how unclear is that? If the movie weren’t full of quirky things then you sure weren’t watching one, a remake of the original or two, anything written by Roald Dahl. Are we afraid that our kids can’t tell the difference between movies and reality? That we’ll be carting them off to emergency rooms because the muddy river they dove in to wasn’t really chocolate or that the bright red berries they ate weren’t candy? We’re going to the movies to escape right? If that’s the case then why can’t the situations be quirky? You want ordinary save the 8$ and watch the grass grow. Perhaps we’re to be offended by the 4 old people sharing the same bed? Who knows? Action is the next thing I have an issue with. Do the people who write these have kids? They’re not going to sit through the English Patient, something actually has to happen in a kids movie, preferably with bright colors and occurring rather quickly. Perhaps they’re worried about quirky action like say thinking you can be shrunk down and shown on TV. Look folks our kids all have imaginations. It’s up to us to encourage them. They are fertile fields that will grown new wonders that just may produce the next Charlie and the Chocolate Factory. At least what I would tend to believe since you’re here at the scifi and fantasy discussion group. Or perhaps its just best that we go home and avoid anything that makes us believe in pure imagination so that we don’t have to try to find an angle to sue the producers of this film due to the emotional damage inflicted upon our darling little angels by watching this abomination full of “gasp” quirky action and quirky situations. |
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