Recently, I got my hands on a used copy of a book I loaned and lost, Goddess by Mistake by P.C. Cast. Often, books are so similar that I don’t remember them well enough to write a decent review a week or two after I have finished them. Goddess by Mistake was memorable for me, so much so that I remembered it almost two decades after my first reading of it, so when I scored a used one on eBay, I put it at the top of to be read pile. The story still seems fresh, but the sassy narrator is the main reason I liked it then, and why I still like it. For those who want to know more, here’s a link to my “old” blog.
While all Star Trek series are worthy, some are just more interesting than others. Deep Space Nine has some great characters and acting, but initially suffered from being “stationary” rather than zipping around like the Star Trek ( the original series) or Star Trek: The Next Generation. As Roddenberry’s vision had sharpened and the syndication model freed him from many constraints, probably TNG is the overall best series. Certainly, the acting is amazing and the scrips are often really great, too. But, as special effects have become better and better, TNG suffers a bit in that area. Enter Star Trek: Voyager, which had a seriously huge void to fill, as it debut was a mere six months after TNG ended its seven year run. I also reviewed a book, Star Trek Voyager, A Vision of the Future, written during Voyager’s run, which is good, but last year, this volume, written as an anniversary edition, does a much better job of explaining the series as a whole, from development to the two part ending episode, “End Game.”
Upon receiving the book, I thought it would be one of those “coffee table” books, long on pictures and short on words. Nope, although there are many pictures. Indeed, the use of now decades old still pictures from the series is sometimes a weak point. However, there are drawings, pictures of behind the scenes contributors, and plenty of text. Overall, I really enjoyed the book, which is written in short segments which can be quickly read, but there are many sections, and these don’t necessarily need to be read in any fixed order.
The book begins, logically, with series development, and then there’s a short (two page) section devoted to the title sequence. I had no idea that this part (often “skipped” while streaming) was nominated for an Emmy award. Interspersed with the more technical aspects of the series are longer passages about the characters, beginning, of course, with Captain Janeway. The authors (two principal and two others, along with a general editor and a sub-editor) rely upon previously published material as well as newly conducted interviews with some cast members, as well as writers, producers, artist, and a host of others. Kate Mulgrew, who played Janeway, is among those who share memories in this book, and she discusses how much pressure was upon her as the first female captain of a Star Trek series, and how she approached the character as well as learning the scientific language necessary in this sort of show.
As there were many episodes (16 the first season, and 26 in each of the following six seasons) not all of them are featured, but sections devoted what are termed “key” episodes are mixed in with the other segments. The first, “Caretaker” is the two part pilot, and some of the other key episodes include “Tuvix” a character created by a transporter accident in which Neelix and Tuvok are blended into one individual. Each character gets a section, and most of multi episode villains do also. There are a couple of segments about the ship, one about the Delta Flyer, which is a smaller ship built by the Voyager crew about halfway through their journey, as well as segments about the special effects department, the makeup artists, the costumers, the writers, and the directors. As a fan of Voyager since it originally was broadcast, I knew quite a bit about the series, but there’s a lot of new material. For instance, I knew that some of the actors directed certain episodes, but I did not know that Star Trek actually fostered this by holding a “director in training” program. Roxann Dawson, who played Lt. Torres, directed a couple of episodes of Voyager, but went on to become a sought after director. She states that the program changed her life.
Bob Picardo took advantage of the DIT program and directed episodes of Voyager, but he also gets a writing credit, as he pitched a story line which was used, and he co-wrote the script. Robbie McNeil, who played Tom Paris, also directed multiple episodes of Voyager and went on to direct other projects.
When TNG was in production, many of the special effects were done with models, but by the time Voyager was being produced, digital graphics were beginning to be more cost effective, as well as allowing more creative shots, so as the seven seasons went by, more and more VFX were done digitally. However, in the show’s 100th episode, “Timeless”, the ship is depicted as crashing into a snow and ice covered planet. The visual effects crew found that digital snow wasn’t working, so they ended up doing a practical shot with a model crashing into a tray of baking soda. I’ve seen that episode several times, and I am amazed by how good it looks on the screen.
For fans of Star Trek Voyager, this book is a real treat. For readers interested in television, particularly directing, writing, and special effects, it is worthy. Casual readers or those who just “look at the pictures” might be a tad disappointed in this book, but I read it cover to cover, with a couple sections earning a second reading. For now, it has a spot on my “keeper” shelf, too.
Hubby and I have been watching Manhunt: Unabomber on Netflix, and since the storyline is anything but linear, we both looked for articles to help us understand the story. As we are chronologically gifted, we remember the case being in the news, but as it happened some 25 years ago, we wanted a refresher. Hubby looked at Wikipedia, because, as always, it comes up first on search engines. I went a bit farther and looked at the source material for that article and chose a piece in the NY Times archives. Oh, wow, is that a great article. A hell of a great read, and it helped me know more about the Unabomber case than I ever knew way back when. Also, it was a glaring reminder of how far the standards of good journalism have fallen.
One of my sisters is a journalism major, and she still thinks that journalists do a reasonable job. Oh, sure, she says, there are some bad ones, and some hacks, but that’s always been the case. My other sister works in communications and believes modern journalists are often poor writers managed by even poorer editors who are more interested in how many times articles are shared or clicked upon than actual quality. After reading the simply superb article about Ted Kaczynski in the NYTimes, I tend to agree with the sister that says journalism has fallen on hard times.
Manhunt: Unabomber is a good show if you haven’t seen it, and I recommend it, but the filmmakers do jump from scene to scene, sometimes with only a brief graphic telling the date, too quickly. In part, this seems to be an effort to create a bit of suspense, which is always tricky when telling a tale wherein the outcome is known by the audience. The folks behind the show do an excellent job of portraying the very complex man who chose to bomb those he deemed hostile to him or to his vision for the advancement of society, and it reveals the mis-steps of the initial profilers of the suspect labeled UNABOM because his targets were associated with universities or airlines. The NY Times story mentions Kaczynski’s failed attempt at getting articles (or rants, depending on one’s viewpoint) published. Indeed, only the Unabomber’s success at getting his “manifesto” published in a national newspaper actually caused him to be captured, and the FBI had a tip or it wouldn’t have happened at all.
The story in the NYT is not entirely linear either, as it jumps from witness to witness, but the story is primarily based upon a long interview with David Kaczynski the bomber’s brother, who ultimately helped the FBI identify the bomber. Still, the article is far more informative, if not as dramatic, as the television show. In particular, I was struck with the tremendous dilemma in that David had, because he knew that other instances of FBI vs. a long sought suspect ended in a firestorm (such as the Branch Davidians in Waco and the stand off at Ruby Ridge) so he was concerned. With the support and prompting of his wife, he supplied materials to support his suspicions and approached the FBI. Despite being assured that his role would be anonymous, someone in the investigation leaked it to CBS news. Nowadays, it is no secret that the FBI is more of a political organization than a crime fighting one, but even then, the younger Kaczynski brother was very wise be concerned, and even wiser to have an attorney.
One aspect of the NYT story that helps it be fascinating reading is the focus on Ted Kaczynski, from childhood on, and the use of excerpts from the manifesto. Despite being mentally unbalanced, the brilliant former math professor did have some profound observations about the deleterious effects of advancing technology on people and society. He attempted to wall off those technological intrusions by living as he did, off the grid, in Montana. For whatever reasons, whether one deems it mental illness or just plain evil, Kaczynski did try to fight technology by writing and bombing. His life, and those of his victims, would have been far better if he had written more, been a little less clueless about getting published, and never made those bombs, however.
The television series Manhunt has two seasons available. Season one is about the Unabomber and season two, entitled Deadly Games, is about Eric Rudolph and Richard Jewell, one of whom made bombs, and one of whom was falsely accused. Both shows are worthy of viewing. Sadly, I don’t think anything published in the New York Times today is as nearly as good as “PRISONER OF RAGE — A special report.;From a Child of Promise to the Unabom Suspect.”
Reader’s Alley, a nifty site for bargain eBook lovers, divides their science fiction offerings into sub-genres: sci-fi romance, sci-fi thriller, and science fiction, dystopian. While those first two descriptors would seem self-evident, the dystopian flavor is considered by some (mostly jaded members of academia) as the only serious science fiction. Typically, I avoid reading dystopias because they tend to be so darned depressing. But, with all that is happening in the news, which I also try to avoid, perhaps it is time to take a look at the genre.
One of the finest books about the history of science fiction is Brian Aldiss’ Trillion Year Spree, which covers science fiction literature from its beginnings to the early 1980s. Aldiss does discuss many sub-genres, but the thread of dystopia runs strongly throughout his encyclopedia of science fiction in printed form. The term, dystopia, is applicable to “a world in which everything is imperfect, and everything goes terribly wrong. Dystopian literature shows us a nightmarish image about what might happen to the world in the near future. Usually the main themes of dystopian works are rebellion, oppression, revolutions, wars, overpopulation, and disasters. On the other hand, Utopia is a perfect world – exactly opposite of dystopia.”
Science has, until recently, been viewed as a two edged sword; while it can make life much better, mis-use of science has been the root of all sorts of evils. Frankenstein, by Mary Shelley, is often considered to be the first science fiction novel, and the dark side of science is clearly the central theme of the novel. Dr. Heidegger’s Experiment and Rappacini’s Daughter, short stories by Nathaniel Hawthorne, also feature mis-use of science as their main themes. When teaching those stories, which used to be in many American Lit anthologies, one way to make it simple for students is to say, “Hawthorne is basically telling his readers, ‘don’t mess around with Mother Nature’.”
Later novelists fine tuned dystopian themes, with societies becoming more and more restrictive upon the populace. Aldous Huxley’s Brave New World and George Orwell’s 1984 share these themes, “including the consequences of totalitarianism, mass surveillance, and repressive regimentation of persons and behaviours within society.” Kurt Vonnegut’s short story, Harrison Burgeron is one of the most widely read dystopian stories, due to its inclusion in anthologies for students, and I recently read a news story liking our current government policies to Vonnegut’s didactic work. Y’all, it is scary when dystopia becomes reality.
Of course, many fans of science fiction today seldom, if ever, read it. Instead, what they know of utopia and dystopia is presented via video. Early episodes of Star Trek explored both sides of the scientific divide. The Ultimate Computer, rather dated today, explored the man vs. machine conflict, using future war games as a setting for its rather disturbing premise. Various dystopian novels have been adapted to long form (movies) video, including everything from 1984 to Planet of the Apes. There are literally dozens of dystopian sci fi films. Some are rather laughable now (Mad Max?) but others are quite troubling.
My own fiction, which has many conflicts for characters to attempt to resolve, certainly isn’t “happily ever after, ” but it isn’t as dark as some of these works, and that’s because my outlook on life is more pragmatic. Hopefully, there will be some gravitation away from the totalitarian policies of modern politicians and administrators. But, when I consider what I am seeing when I do go out and about, I wonder. I really do. Remember this: In each fictional dystopia, the goal was to make things better for certain segments of the population, and bad outcomes are unhappy accidents. Be careful what you wish for—
Netflix has some amazing original content, and one of its best efforts thus far has been The Crown, a somewhat fictional series based on the reign of Elizabeth II. Written and produced by Peter Morgan, this series begins while Elizabeth is still a youngster, but when her father takes over for his brother (who abdicated the throne so he could be with his “commoner/divorcé” lover) Elizabeth becomes the heir to the throne. From that time period, her father grooms her to serve the people and the royal family, a/k/a The Crown. Seasons 1 and 2 feature Claire Foy as Elizabeth, and former “Dr. Who” Matt Smith is Prince Philip. Perhaps the best performance in this award winning season goes to John Lithgow as an aging Winston Churchill, who guides and yet admires the young monarch as she works to live up to the responsibility thrust upon her when her father dies at a fairly young age.
The Crown does a fantastic job of intertwining history and some suppostion, thus educating a new generation about some of the most important (or at least entertaining) events in United Kingdom in the past few decades. Each season spans several years, so the cast changes in order to better show the aging of the characters. For instance, while Claire Foy is Elizabeth in the first two seasons, the queen is portrayed by Olivia Coleman in seasons three and four. The latter dropped onto Netflix November 15, and Coleman does a really good job as the middle aged sovereign, as does Gillian Anderson as Margaret Thatcher. Another season four cast addition is Emma Corrin, who bears more than a passing resemblance to young Princess Diana. The series has been mostly been praised, but season four is a bit more controversial. Since this season portrays the “fairy tale romance” between Prince Charles and Diana, then quickly lays out the conflicted marital mess that ensued, because apparently Charles didn’t love Diana at all, but maintained his relationship with his former lover, Camilla Parker-Bowles, during most of the marriage, some viewers (and those close to the real people) have been a bit riled.
Of course, Prince Charles and Princess Diana separated then divorced, but younger fans apparently didn’t realize the “why” in the divorce until The Crown brought this back in a big way on the small screen. Recently, the social media accounts of Prince Charles and (now wife) Camilla have been inundated with snarky posts. Furthermore, officials in the U.K. have asked producers of The Crown to assure the public that the show is fictional.
History only works after the fact. Peter Morgan (series creator and chief writer) benefits from the many publications about the British royals, and is able to pick and choose what he presents to the audience in The Crown. Mostly the characterizations and storylines seem spot on, but those close to the royal family point to discrepancies, and no doubt some “fiction” does come in. Regardless of these points, The Crown has extraordinarily high production values. The cast is first rate, the scripts mostly entertaining; and the sets, costumes, and locations all contribute to the feeling of being an eyewitness to history. If you haven’t seen it yet, this series is one of the very best shows on Netflix.
As we aren’t “cable” subscribers, sometimes we miss a show that was commissioned for a network. Halt and Catch Fire is such a series, as it was originally shown on AMC. Honestly, the title is so weird that I would have never given it a thought, but one of those “Best things to watch on Netflix” lists gave it a good review, so hubby and I decided to give it a go.
Of late, it has been our favorite binge-watch. Usually, I wait until finishing a series before reviewing it, but Halt and Catch Fire ran for four seasons, and we are mostly through season three, so it’s time to let y’all in on this excellent period drama.
First off, the title has something to do with writing computer code, but I don’t remember what it means (and it probably doesn’t matter). I like computers; I’m typing on a MacBook Pro right now! This show is about the computer revolution, and how you view it might depend upon your age. If you are younger, this show will be a bit historical. But, if you are a somewhat chronologically gifted, you probably remember the first computers. As a classroom teacher, I remember begging to put computers into my classroom so we could edit copy for the yearbook. Back in the 80s, editorial changes for typewritten copy were costing us hundeds of dollars per year, so I managed to get a couple of surplus Apple IIe computers. They had green flashing characters and those big floppy drives, but they saved us some dough and were my intro into the modern age of publishing. Then I got a Mac SE that used smaller disks. That little machine was bequeathed to use from an administrator who felt some pity for the plebes in the classroom, and it was so different that I took it home over the summer to learn how to use it. I digress, but the 80s is the era where HACF begins.
The characters who come together in the first episode represent various aspects of the nascent computer business. In season one, the show is set in Texas (the Silicon Plain) but the group moves to Silicon Valley in later seasons. Joe is the super salesman who cut his teeth at IBM and wants to create a better personal computer. Gordon is an engineer who already made a better computer, but since the machine failed, he’s slogging along at Cardiff Electric, a company that produces software for mainframes and tries to compete with IBM. His wife, Donna, is a brilliant computer developer who is relegated to support work at the Texas Instruments learning division, because she and Gordon need to feed their family. The catalyst for change is Cameron, a female college drop out who writes code better than Shakespeare wrote plays. Cameron is recruited by Joe to come to work at Cardiff Electric, where he’s a recent hire. The company manager, John Bosworth (Boz), is just trying to make the owner happy and is baffled by the changes that are coming to the company as these players all work together to build a better computer.
This show is well-written and well-acted by the ensemble cast. As I wrote that summary, it sounds a bit boring. Not! While there are a few technical aspects that are necessary in a show about the informational technology revolution, this is a show about people—their hopes, their ambitions, as well as success and failure of people and businesses. The series is a blast from the past in terms of technology, but seeing how these fictional characters helped create the computers that we tend to take for granted is both entertaining and compelling.
If you didn’t watch Halt and Catch Fire the first time, catch it on Netflix before it goes away!
After buying a new iPad, I got a freebie subscription to AppleTV and we’ve watched a couple of good things. However, my husband and I were both surprised by the appeal of “Home Before Dark,” which has a description that sounds a lot like Harriet the Spy blended with a modern gothic mystery. The first episode shows promise, but by the third, we were in “gotta see more” mode. Series television shows often have difficulty maintaining suspense, but this one does a darned good job of it.
Basically, the story follows an investigative reporter in New York, who has lost his job, and moves his family back to his hometown (and home) because his dad has had to move to a facility due to illness. As the family is in some financial distress, they have come to this small town because the house is free. The wife is a former public defender, and the couple has three daughters. The middle daughter has always wanted to be just like her dad, and she likes to carry a notebook and ask a lot of pointed questions. Before long, this daughter has found a cold case that dates back to her dad’s childhood, solved at the time by convicting a scapegoat whom the child comes to believe as innocent, and she emulates her dad by asking lots and lots of questions.
While I don’t want to spoil the story for potential viewers, suffice it to say that dad and mom get drawn into the investigation, while the older and younger daughters suffer the consequences of the backlash which comes from the townspeople, who don’t welcome the revival of interest in the case, which gets hotter with each episode.
Home Before Dark isn’t a show for kids, although older ones might enjoy the story, despite the nine year old point of view character. The script, the acting, and the setting are all top drawer, so ignore the “kiddy show” description, and enjoy a very good mystery leading up to Halloween!
Often, the best stories begin as, well, stories. Before The Wizard of Oz was a groundbreaking film, it was a book by L. Frank Baum. Before 2001 A Space Odyssey was an influential science fiction film, it was a book by Arthur C. Clarke. Television series have also been book based, including such diverse stories as Little House on the Prairie, based on a series of books by Laura Ingles Wilder, and Game of Thrones, which was based on a series of books by George R. R. Martin. There are literally dozens of others, but I’m going to discuss one that you might have missed: The Night Manager, based on a book by John Le Carré. A friend recommended this six part series, and we usually enjoy the same sorts of stories.
The Night Manager is currently on a streaming service offered by a large online reseller, the one that starts with an A. Originally, however, the series was made for British television and shown in the states on AMC. As I don’t subscribe to cable, I missed it there, but my hubby and I saw this winner of three Golden Globe awards recently. The plot, although updated a bit from the 1993 novel, is intricate enough to puzzle, but not nearly as confusing as modern teleplays tend to be. The direction is subtle but sure. The acting is simply outstanding, with a star cast including Hugh Laurie (who starred eight seasons in House M. D.) and Olivia Coleman (who dons The Crown in seasons 3 and 4 over on Netflix.) The main character is brought to life by Tom Hiddleston, who has several Marvel movies as well as a video game in his resumé. This series was rather expensive to make, by BBC standards anyway, and was filmed in Egypt, Morocco, Spain, Switzerland, Turkey, and the United Kingdom.
Here’s a bit of plot summary: A former soldier for the British army, Jonathan Pine, is portrayed as the night manager of a Cairo hotel as the story begins. He gets involved with a mysterious guest who is the girlfriend of a local gangster. Through her relationship with the gangster she has acquired information linking illegal international arms sales with Richard Roper (Hugh Laurie), an English billionaire. Just after leaking information regarding the illegal arms, she is found murdered.
(Minor spoilers ahead)
Fearing for his own life, Pine flees, and is next seen, a few years later, doing the same job at a remote hotel in Switzerland. When super villain Roper visits the Swiss hotel, Pine longs to have some revenge, and soon he is enlisted by British Intelligence to spy on Roper. Before long, he has a new identity and an opportunity to infiltrate the small network of arms dealing. Getting information out, while staying alive and undercover is quite a challenge.
One reviewer called it a “classy thriller.” That nails it, but do check out this amazing bingeable series.
Claimed (which may or may not also have the title of Rescued) came to me as an advanced review copy (ARC) which I read recently for a review site. Actually, I am glad to have the opportunity to review again, as it has been quite a while since I’ve done this. Most such sites really want a positive review, and I have written one. My comments for the site are true but censored a bit. What you’ll read here is more genuine.
First of all, sometimes minor mistakes are in an ARC, and I certainly understand that. The author used “fussed” for “fussy” for instance. That’s the kind of minor mistake that should be corrected before the final book is published. This book is a science fiction romance, with the emphasis on romance. For me, science fiction should have a bit science, but in Claimed/Rescued there aren’t many science fiction elements, apart from characters (lots of aliens) setting (a spaceship and a space station) and plot (alien abduction.) Apart from vivid descriptions of aliens, the other elements are not especially detailed.
Romance comes in several flavors these days, from very hot (nearly pornographic) to sweet (think Amish stories that talk about feelings rather than body parts.) Claimed/Rescued is skewed well on the sexy side of the continuum. For those who read romance for vicarious sex, this novel is a winner. From a science fiction standpoint, this yarn disappoints a bit. Okay, I don’t have to know how the ship goes or how the remote control on her wicked slave collar works, but a little more detail concerning the gadgets would be welcome. The most sci fi part of the book is the afore mentioned vast array of aliens, and those are described in varying levels of detail.
For me, the most annoying aspect of the book was the author’s reliance upon the “functional fragment.” Of course, lots of dialogue depends on the functional fragment. Think about one side of a phone conversation:
I have no problem with the construction in that context. But. This author. Tends to write. Like. This. The words shared in this manner tend to be feelings or observations, such as “Handsome.” “Kindness.” “To Bond.” “To become as one.” “Tenderness.” “Aroused.” “Stay strong.” “Traumatized.” “Wary.” “Forever.” Y’all, I just listed a few of the functional fragments. Every once in a while, this could be an effective technique, but Claimed/Rescued is far too reliant upon these pseudo sentences.
No doubt Claimed/Rescued will be published, and there will be enough positive reviews that some science fiction romance fans will read it. And, those who want to experience sex vicariously may well enjoy it. But. All I seem to remember. Are. Those. Fragments.
The other day, I wondered aloud why writing is so bad these days. My young adult son scoffed and informed me that he went to school with some of the staff at the news outlet that posted the story above. He didn’t view these fellow students as the best or brightest, obviously.
My sister, a media professional, informed me that these days, editors (and program directors) are more interested in how many hits an item gets on YouTube or Twitter than how well written or researched an item might be.
Considering the power our nation gives the media, it is scary how low the bar is set for those who write, edit, and direct what the rest of us consume.
Oh, and look out for the back Nissan.
Here’s another one:
That’s from a site with a big budget, but again, there’s not much editing going on.