I know I’ve read Wikihistory before a few years ago, but I was reminded of it earlier today and it’s definitely funny enough to be worth posting here:
International Association of Time Travelers: Members’ Forum
Subforum: Europe – Twentieth Century – Second World War
At 14:52:28, FreedomFighter69 wrote:
Reporting my first temporal excursion since joining IATT: have just returned from 1936 Berlin, having taken the place of one of Leni Riefenstahl’s cameramen and assassinated Adolf Hitler during the opening of the Olympic Games. Let a free world rejoice! […]
Or possibly not, as it turns out.
Also, from further along in the same Usenet discussion and very much related: The home of Adolf Hitler, 1933: Doubt creeps in.
[Via Dorothy J Heydt, posting to rec.arts.sf.written]
Peter Watts breaks the bad news to us:
A couple of months ago, its creators announced that Counterpart is dead after a mere two seasons. It just couldn’t attract enough viewers, out of all the people on two Earths. And I think that’s a shame; Counterpart was more than just SF for people who hate SF.
The first season of Counterpart got a Region 1 Blu-ray release, but that seems to be it for now.
I was looking forward to seeing J K Simmons being great in a great piece of speculative fiction, but being an old person who grew up with a TV world where US shows frequently took a couple of seasons to be picked up by a terrestrial broadcaster in the UK I took it that for a good-but-not-a-smash-hit show like this I just needed to be patient.
I guess that if I really wanted to see Counterpart I’d look to BitTorrent, but dammit I don’t want to pirate content just because this era of capitalism demands that the players only consider making shows worthwhile if those shows have a decent prospect of turning out to be megahits that generate megareturns on their investment.
I want my Fully Automated Luxury Space Communism, and I want it now!
Having caught up with the last episode of the latest series of Black Mirror, I was amused to learn that Nine Inch Nails were jumping on the marketing bandwagon, after an episode where a (real life) Pop Princess was repurposing a couple of their songs:
Head like a hole!
I’m on a roll!
Riding so high!
ACHIEVIN’ MY GOALS!
The episode felt really strange, starting as a slice of life from a distinctly average teenage girl a couple of years on from the death of her mother but then veering into pure Disney Channel TV adventure movie stuff as our teen hero and her older sister ended up teaming up and helping to bust a major criminal conspiracy that was preventing Miley Cyrus from fully expressing her love for Nine Inch Nails on stage.
It’s been an odd season of Black Mirror. After the Black Museum visit that closed season 4, it feels as if they want to shift to less bleak – dare I say “happy?”- endings, but are ending up exploring the themes underpinning their chosen stories more superficially than usual. Our two old friends getting diverted by the temptations of transgressive virtual sex in Striking Vipers X discussed how different sex feels as a man and a woman but as far as we can see never took the obvious step of switching avatar genders to find out in-game (or if they did, no mention was made of the attempt.) Our grieving taxi driver in Smithereens was never destined for a happy ending, admittedly, and I did like the way they left open the question of whether the grieving mother found resolution once he got her access to her daughter’s social media posts. Then in the last episode we find a Disneyesque teen adventure.
[Via EmpressCallipygos commenting at FanFare]
It’s almost as if they heard me: trailers for the three episodes of the forthcoming series of _Black Mirror_ are out.
So, not much sign of a turn towards the upbeat so far. I live in hope…
The trailer for Black Mirror season 5 seems mainly to exist to remind us that having access to some of Netflix’s money allows the show to cast bigger names and keep the standard of special effects up to scratch: no attempt to let us in on what any of the stories are about. Charlie Brooker seems to know what he’s doing thus far, so let’s see what sort of nightmares he’s going to share with us this time round.
I’d love to see them deliver a season of relatively upbeat tales in the vein of San Junipero, just to see how that’d feel, but I’m not going to hold my breath…
[Edited to add: ask, and ye shall receive… JR 23 May 2019]
Just before 20th Century Fox was swallowed up by Disney, they celebrated the 40th anniversary of one of their own greatest franchises with six Alien 40th Anniversary Short Films.
I doubt the Xenomorphs are going to be showing up in the Marvel Cinematic Universe any time soon, but that’s OK: they’ve done a fine job of making humanity’s corner of the galaxy a nasty, brutish place to live and die in. I can pass on seeing how Captain Marvel and friends would cope with a gaggle of facehuggers coming for them.
A couple of weeks ago I finally got round to watching the first season of Netflix’s The OA. I was well aware that it got a mixed-but-respectful response from reviewers at the time, and I’d always had in on my list of shows to catch up with some day. I’ve since enjoyed various reviews of the first season, but this one is by far the one that chimed with me most, partly because the reviewer makes a connection with a very different big budget swing-and-miss that I love:
[The OA…] is a swing and a miss on a colossal level, but oh, what a swing. Both Jupiter Ascending and The OA share a thread of DNA, a plot that you just know, at one point, made complete crystalline sense to somebody, but somewhere down the line (or more likely, when morning came) the smudges on the glass became apparent. They are filled with lines of dialogue that could sound profound or heartwarming if you don’t think about them too long, but I’m to distracted imagining the writer nodding and smirking at his computer screen. They forgo rational characters for convenient or dramatic plot developments, and cohesion for spectacle.
The thing is, I adore what the Wachowski siblings do and, slightly against my better judgement, I loved The OA too. They established a strange mood and stuck with it, and ended up with something seriously compelling even if reason didn’t get much of a look-in at times.
I’m intrigued to see what they do with the imminent second season of The OA. I do hope they don’t react to the response to that first season by suddenly trying to explain themselves. More saving the world via the medium of interpretive dance, I say. Swing away!
When Netflix started screening season 2 of Star Trek: Discovery to the rest of the world I was aware that CBS had produced a number of shorts in the same setting and featuring characters from the show under the title Short Treks, but the word was that no UK service had picked them up so we right-side-of-the-pond users would be destined to miss out, at least until someone put together a DVD release for the series. Driven by curiosity after I saw Discovery season 2’s latest episode The Sound Of Thunder which tied in heavily with one of the Short Treks stories, I went looking around the web and found that somewhere along the way, without any fanfare or publicity that I could see, Netflix do now have the four Short Treks on their site, slightly hidden away under the ‘Trailers and More’ menu option. I’m a little surprised that Netflix didn’t make any effort to let their audience know when they popped up, but I guess little stuff like this just slips between the cracks sometimes when you’re a global brand more focused on capturing an ever-higher higher percentage of users’ screen time than on catering to every show you offer’s cult following.
Having seen more of Commander Saru’s home world in The Brightest Star, one of the Short Treks, I do wonder how much the characters featured in the other shorts are going to factor into the remainder of season 2. Will Tilly find herself calling on her relationship with a newly-crowned queen from a distant planet at some point? Given the hints that the Red Angels are using time travel, will we get to see why the crew of the Discovery abandoned their ship for almost a thousand years (and, more to the point, will they return to the ship after some time-travelling adventure meet their newly-evolved ship’s AI? And then do some more time-travelling – this time taking their ship with them – to get back into their place in the timeline? Will their new hyper-advanced ship’s AI replace the Spore Drive as the USS Discovery‘s secret weapon in future seasons?) Will the crew of the Discovery run into Harcourt Fenton Mudd again? The four shorts aren’t going to set the world on fire for exploring a wild new range of science-fictional ideas, but they form a nice little look at the wider Trek universe a few years before the Kirk-captaining-the-Enterprise era that we saw back in the 1960s.
For what it’s worth, I reckon season 2 of Star Trek: Discovery is doing well at compensating for many of the issues fans had with the first season. Anson Mount is doing good work of filling in what sort of captain Christopher Pike was, to the point where it’ll be a real shame if they can’t find a way to have him return to the Enterprise yet occasionally find him and his crew backing up the USS Discovery occasionally in future seasons of Star Trek: Discovery. Whether he ends up providing backup for Captain Saru or Captain Burnham (or Captain Tilly, even) is way less important than that he’s still around occasionally to provide an injection of proper, old school Star Fleet values to the story.
John Scalzi shares a story of an encounter with Automated Customer Service in the not too distant future:
Thank you for calling the customer service line of Vacuubot, purveyors of America’s finest automated vacuum cleaners! In order to more efficiently handle call volume, we rely on automated responses. To continue in English, press one. Para Espanol o prima dos. […]
That Purge Mode is a doozy!
I suspect that Channel 4 might be a little disappointed that their screening of The First doesn’t seem to have captured the public’s imagination. I’d seen a couple of reviews after the first episode that tended to lean heavily on the “Sean Penn’s show fails to lift off” line, which is about the angle you’d expect a busy TV reviewer who had only seen the first episode to go with.
The show was originally made for Hulu, and having looked around online I’ve found a number of reactions from critics who’ve seen all eight episodes in the first season. Clearly the show isn’t imminently going to find itself canonised as part of the Golden Age of Quality Television, but it sounds a lot more promising than you’d think from the reaction to the first couple of episodes. As Todd VanDerWerff puts it in his review of the show for Vox:
This is not a show about the people going to Mars. It’s a show about the people going to Mars.
As I understand it, the show’s only just going to start the journey to Mars at the end of the first season, which is not to say that it’s pointless prior to that. Sean Penn’s character, an experienced astronaut. He finds himself bonding with the relatives of the doomed crew (who had been his crew until his being unseated as the team’s leader for reasons we’ve not gone into as of episode 2) in the wake of the accident, and making the case through the media for a manned space programme earnestly but with a certain gravitas it seems he’s earned through his previous space exploits, all while he’s also dealing with the recent return into his life of his estranged daughter, who has had her share of problems and is still coming to terms with the disappearance of her mother, his wife, a few years ago. Penn is a more than capable lead for this show, and I suspect that by the time we get to episode eight he’ll have cemented himself as the rock against whom a good cast have assembled to tell a good, mature story. It probably won’t be the flashiest of stories, but it could be something special given time.