First, forward! The 13th Doctor — the time- and dimension-hopping, body-regenerating protagonist of Doctor Who — is going to be a woman, and it’s damn well about time. Pun intended. Women, of course, make up slightly half of the human race, after all, and I think it’s safe to say that Gallifreyan Time Lords (and Ladies!) are similarly proportional in gender, lest there be a shortage of little Time Lords/Ladies. So the fact that it took the 14th iteration of the Doctor (there was a War Doctor between #8 and #9) to get a woman is a statistical outlier, to say the least.
Category Archives: Geek
May was a particularly busy month, with trips to Pittsburgh for the Nebulas and Richmond, Va., for vacation — and, of course, work and writing and all that jazz. June is starting off on a very different note — I’m heading to the Launch Pad Astronomy Workshop!
Getting accepted to the workshop was incredibly cool. It’s designed for established science fiction writers to get a crash-course in astronomy and space sciences, and our schedule looks amazing. We’ll be talking about planetary formation, various types of stars, galaxies, dark matter…you name it. And we’ll also be talking about how we might apply our newfound knowledge in stories.
Oh, and we get to go check out the Wyoming Infrared Observatory (WIRO), a 2.3 meter telescope, seen above. This is real-deal science, y’all. Not bad for an English and government major.
I’ve talked to past Launch Pad attendees, and they had nothing but excellent things to say about it. I’m honored to have been chosen to go, and I’ll be among quite a diverse and accomplished group of scribes. There will likely be beer at some point.
It remains an open question as to whether I’m going to blog much during the week, but you can bet I’ll be doing my thing on Twitter, so if you want to follow my antics, I’d try there first.
I’ve got two lots up for bid this year. The first consists of signed mass-market paperback copies of the full Daedalus trilogy — The Daedalus Incident, The Enceladus Crisis and The Venusian Gambit — which you can bid on here. The second is a hardcover copy of MJ-12: Inception and the ARC of MJ-12: Shadows, which you can bid on here. And yes, I’ll sign every book.
This is the first time anywhere you can get your hands on MJ-12: Shadows. We haven’t even released the cover images yet — though stay tuned for that soon — so you can get a good jump-start on the series before Shadows comes out in September. And of course, I remain super proud of the Daedalus trilogy and the reception it’s received over the years.
This is the fourth year I’ve supported the Con or Bust auctions. Con or Bust provides free SF/F convention passes to people of color, which is a beautiful thing indeed. Science fiction and fantasy needs more voices and different perspectives, and this is a really solid way of bringing more people into the fold.
The bidding started this morning and will last until Sunday, May 7 at 4 p.m. EDT. So you have some time. That said, the money goes to a most worthy cause, so bid early and often! There’s some super-cool stuff up for bid — lots of signed books, some manuscript critiques, jewelry, art, a signed Farscape script, delicious treats…just check it out. Support a great cause and maybe get some awesome SF/F swag!
I’ve been meaning to write this up ever since I recorded the Skiffy & Fanty podcast on Fantastic Four, because I think the biggest problem with that film wasn’t the casting or the special effects — it was in the way the villain was written. In fact, I think the movie is an object lesson in how not to write a villain.
Julian McMahon is a decent actor, but as Victor Von Doom, he’s given pathetically little to do, and the stuff he actually does carries so little motivation and weight, it’s comical — and not in a good way. In short, Doom funds Reed Richards’ space experiments, which go wrong and gives everyone — the Four, plus Doom himself — strange superpowers. The Fantastic Four, of course, ultimately decide to use their powers for good. No problem there, because that’s who they are.
What does Doom do? Well, given that Richards’ experiments were deemed a failure and waste of millions of dollars, the board of Doom’s company ousts him. So Doom exacts revenge on one of the board members by killing him. And…well, that’s that. And as Doom becomes more metallic and his lightning powers increase, he decides that Richards and his friends are to blame, so he decides to kill them too. And the Fantastic Four stops him.
End of story…such as it is.
We interrupt this stream of angry political rants to give you something much more fun — a Skiffy & Fanty podcast! Torture Cinema! Chris Evans before he was Captain America!
I joined the Skiffy & Fanty crew a few weeks ago to talk about the movie Fantastic Four. This isn’t the 2015 film, which was extremely horrible, but instead the 2005 edition which was only mildly bad in comparison. And it marked Chris Evans’ first foray into a Marvel Comics film as Johnny Storm/Human Torch. Obviously, Captain America was a much better move for him.
It also featured Ioan Gruffudd as Mr. Fantastic. Ioan is a very underrated actor, and if you can get your hands on his Horatio Hornblower films from the late ’90s/early ’00s, do it. He did a great job as Hornblower through the various stages of the character’s life.
In fact, the entire cast of Fantastic Four is top-notch. It’s the rest of the film that’s the problem. And on the podcast, we delve deep into the entire rainbow of problems this film has. So many problems. So many.
So if you like having a bunch of geeks talk smack about a mediocre superhero film — with humor and grace and drinking, of course — then click here and start listening, or be sure to subscribe to the Skiffy & Fanty podcast on iTunes or your favorite podcast service. When not torturing people with bad movies, they do a ton of great stuff with authors and SF/F generally. Check ’em out.
Spoiler warning: This post was written after the last episode of Sherlock series 4, and is kind of a response/riff on that. If you’re a big Sherlock fan, like I am, or just want to view it unspoiled at some point in the future, you might just give this one a pass. On the bright side? No politics in this one!
The character of Sherlock Holmes is among the most famous in all of literature. I would venture to say only a handful of Shakespeare’s creations, a couple of superheroes and two or three horror icons have stood the test of time alongside Mr. Holmes. It’s not just the iconography — the hat, the pipe, the magnifying glass — that makes him so well known, nor the individual cases written by Sir Arthur Conan Doyle. We know Sherlock Holmes’ character: His hauteur, his uncanny perception, his unfailing intellect, his lack of social graces, his dalliances with drugs, his relationship with Dr. John Watson and, of course, his ongoing search for justice.
The latest iteration of the Holmes mythos, BBC’s Sherlock (seen here in the U.S. on PBS’ Masterpiece), is not only the best modern interpretation of Holmes, but one of the best interpretations of the character ever done. Benedict Cumberbatch had the tall task of inhabiting an icon, and yet not only succeeded, but made his Sherlock perhaps this generation’s definitive take on the character. And Martin Freeman had an even more daunting task — to turn the perpetually confused and amazed Dr. Watson and breathe life into that character, to make him more than just Holmes’ cheering section. He did so beyond any expectation — while Jeremy Brett fans may quibble with Cumberbatch’s interpretation, Freeman’s Watson is hands down the best of them all.
This is why the last episode of Sherlock series 4, “The Final Problem,” is so disappointing. It’s not because it’s poorly written or poorly acted, but because the entire concept of it, from soup to nuts, neatly disregarded all the excellent work Cumberbatch, Freeman and writers Mark Gatiss and Steven Moffat have done with the characters for the 12 episodes prior. “The Final Problem” had so many interesting ideas and moments, but ultimately became a case study in how you really shouldn’t sacrifice your characters on the altar of plot expediency.
Let’s discuss, shall we? The game is on. Continue reading
Last year, in anticipation of seeing Star Wars return to theaters with The Force Awakens, I reviewed all the Star Wars films. (You can click here to find them.) And I was quite pleased with The Force Awakens; a year later, I can report I’m still pleased as punch whenever I see it again.
So naturally, I was excited about Rogue One: A Star Wars Story. And the good folks at the Disney-owned Lucasfilm did not disappoint. However, this needs to be said right up front: This is not your typical Star Wars movie.
Last week, I saw more than a few folks on Twitter laughing at reviewers who said Rogue One was the first Star Wars movie to deal with war. “War” is in the title of all seven movies! How could they not be about war?
But I get it now. Rogue One is very much about war. This movie is about suffering, sacrifice, moral gray areas, fighting for a cause, losing and winning and the costs of both. Moreso than any other Star Wars film, Rogue One is a meditation on war and its effects. And when viewed through that lens, it does a pretty damn good job of it.
Spoilers ahead! I don’t feel like parsing my language or writing around certain topics, so I’m gonna just roll with it. It’s not horribly spoileriffic, but if you don’t want Rogue One spoiled, don’t read on. Continue reading