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Jun. 22nd, 2017 08:09 pm
meganbmoore: (Default)
[personal profile] meganbmoore
 PSA that both youtube and hulu have the unaired episode of Powerless that gueststars Adam West, for other fans of the show. or the actor.

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Jun. 21st, 2017 07:36 pm
skygiants: Drosselmeyer's old pages from Princess Tutu, with text 'rocks fall, everyone dies, the end' (endings are heartless)
[personal profile] skygiants
I recently reread Nnedi Okorafor's Who Fears Death. It remains an onslaught of a book, although being somewhat braced for the barrage of ANGER INJUSTICE GENOCIDE GONNA DESTROY A WHOLE CITY NOW does allow a little more time to, uh, stop and appreciate the occasional non-fraught thing that happens along the way? Onyesonwu makes friends with a camel at one point! That's nice!

(...for the record, my review from 2010 seems to indicate that at the time I understood and appreciated what happened at the end. Well, good job, past self, because my present self has no idea. Spoilers ))

Anyway! Rereading Who Fears Death got me thinking about the kind of books that are constructed around an ancient lore or a knowledge of the world that turns out to be fundamentally wrong, cultures constructed around poisoned lies. The Fifth Season is the other immediate example that springs to mind of a book like this -- not that there aren't other parallels between The Fifth Season and Who Fears Death. It seems to me that I ought to be able to think of more, but since I can't I'm sure you guys can.

When I mentioned this to [personal profile] genarti, she immediately said "YA dystopia! Fallout!" and that's true, a lot of dystopias are built around a Fundamentally Flawed Premise that has been imposed upon the innocent population by a dictatorial government. Those feel a little different to me, though, maybe just because that sort of dystopia very clearly grows out of our own world. We know from the beginning how to judge truth and lies, we're WAY AHEAD of our naive heroine who believes the color blue is evil because the government put an inexplicable ban on it. But Who Fears Death, while it may be set in our future, is in a future so distant from our own that there's no particular tracing back from it, and The Fifth Season is another world altogether, and we don't have any home court advantage over the protagonists as they figure out where the lies are except a belief that something that poisonous has to be wrong; maybe that's the difference.

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Jun. 19th, 2017 09:12 am
skygiants: Jadzia Dax lounging expansively by a big space window (daxanova)
[personal profile] skygiants
I knew I probably should have written up A Long Way to a Small Angry Planet before I read the sequel, because I loved A Closed and Common Orbit SO MUCH that now there is no way I can do justice to the first book.

I mean, A Long Way to a Small Angry Planet is certainly a lot of fun! It feels a bit more like a season of television than a novel -- very much out of that genre of beloved, relatively lighthearted crew-is-family space TV, full of aliens and semi-incidental interstellar politics, with approximately one episode dedicated to each crew member's interesting alien culture or surprise dramatic backstory as well as episodes where Everyone Just Goes On A Shopping Trip. There is a Noble Captain, a Friendly Polyamorous Lizard Alien Second-in-Command, an Earnest Financial Assistant, a Manic Mechanic, a Caring Chef Who Feeds Other Species To Compensate For The Embarrassing Genocidal Tendencies Of His Own -- ok, some of the archetypes are more archetypal than others. In the dramatic season finale, our plucky band of space truckers reaches their long-haul destination at last and becomes involved in a major diplomatic incident, the outcome of which is the one thing in the book that rubbed me slightly the wrong way ) Anyway, if you like this sort of thing, you will almost certainly like this particular thing.

I like this sort of thing all right but the things A Closed and Common Orbit is doing appeal to my id MUCH more. A Closed and Common Orbit focuses on two characters who appear relatively briefly in A Long Way to a Small Angry Planet: Sidra, an AI who, due to compelling personal circumstances but counter to interstellar law, has been installed in a designed-to-be-instinguishable-from-human artificial body; and Pepper, the mechanic who has volunteered to take on responsibility for her.

The main present-day thread of the story involves Sidra's attempts to figure out whether she can comfortably inhabit a body that she was never designed to inhabit - not just whether she can live permanently as something like an independent intelligent biological life-form without giving herself away, but whether she wants to do so. The plot is mostly comprised of small slice-of-life events like Sidra Makes A New Friend or Sidra Considers Getting A Tattoo, all interwoven into a really compelling and thoughtful examination of artificial intelligence, self-determination, and free will.

The other half the book delves into Pepper's backstory as an artificially created human being, designed to be cheap disposable labor. As a child, "Jane 23" mostly-accidentally escapes the factory where she labors, and is subsequently raised by an abandoned ship's AI in a junkyard. The backstory plot does a couple of things: a.) serves as an excellent example of the always-compellingly-readable 'half-feral child must make home in dangerous environment, survives with ingenuity and a box of scraps' genre; b.) works in dialogue with Sidra's main plotline to complicate ideas of 'human' and 'artificial' and 'purpose' and 'free will'; c.) gives me FIVE MILLION FEELINGS ABOUT AI MOMS WHO LOVE YOU. Sometimes a family is an AI mom, her genetically engineered daughter, the daughter's boyfriend, their AI roommate, and the roommate's alien friend who honestly didn't even particularly want to be there that day! AND THAT'S BEAUTIFUL.

The Celestial River Demo!

Jun. 18th, 2017 07:41 pm
cypsiman2: I still believe in my dreams (Default)
[personal profile] cypsiman2
Link beneath the cut!

Read more... )

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Jun. 13th, 2017 10:32 pm
skygiants: the Phantom of the Opera, reaching out (creeper of the opera)
[personal profile] skygiants
Catching a chunk of the Tony Awards the other night (bless Bette Midler, who WILL NOT BE SILENCED) reminded me that I never wrote up Razzle Dazzle: The Battle for Broadway, a nonfiction account of (primarily) the Shubert Organization, Broadway's largest theater-owning company, with stopovers into the offices of other leading Broadway financiers along the way.

The book starts out with Broadway ticket-scalping scandals, jumps back to a overview of the lives of the original Shubert brothers, and lays out the drama of various generations of hard-partying Shuberts eventually being ousted by Responsible, Respectable Lawyers Jerry Schoenfeld and Bernie Jacobs.

Then Michael Bennett, legendary choreographer of A Chorus Line, enters the picture and the whole book gets sort of carried off by him for a while. A great deal of page space is devoted to the psychodramatic relationship between Bennett and Jacobs -- as recounted in this book, a wildly unhealthy pseudo-father-son dynamic in which Jacobs constantly attempted to ensure Bennett's emotional and financial dependence on Jacobs while Bennett was constantly attempting to break away and BE A PRODUCER ON HIS OWN, DAD. An excerpt featuring further Michael Bennett drama, including one of history's most melodramatic Tony Awards, is up in Vanity Fair for the curious.

And then it's Andrew Lloyd Webber and Andrew Lloyd Webber and Andrew Lloyd Webber, alongside an in-depth discussion of the various political and financial campaigns that eventually led to the Disneyfication of Broadway after its days of 1970s sleaze, and that brings us about up to the present day.

It's an interesting, rather gossippy account of the money, organizational politics, and personal quirks that underlie the eventual decisions about what makes it onto a theater stage; I read the whole thing and then left it in the airbnb I was staying in when I finished it, because I felt I had taken what I wanted from it and couldn't really imagine wanting to read it again. It's certainly interesting to know how the sausage is made, but it's occasionally a bit depressing to look at Broadway largely from the perspective of the people for whom profit is the most important consideration.
meganbmoore: (parker and sophie)
[personal profile] meganbmoore
Last weekend I watched all the available episodes of Lookout, and this weekend I’ve watched 7 episodes of Bad Thief, Good Thief (I had already seen and enjoyed the first 3 episodes well enough, but wasn’t invested yet.) For other kdrama fen who got over-invested in Rebel: Thief Who Stole the People, both of these series are pretty good followup series, though neither is a sageuk.



Neither series is perfect, but qualify for “Korean Leverage of my heart and soul” status. Bad Thief, God Thief, IMO, should have held off on various revelations until later on, and Lookout is...very clearly by a newbie writer at times-the male lead is over-complicated ( as opposed to complex) in that way where “morally ambiguous” becomes “convoluted and will anyone buy redemption at this point?” (the right actor could pull it off, but while this actor does smarmy well, he doesn’t have the screen presence and charisma to quit pull it off) and things don’t always come together the way the writer thinks they do. Bad Thief Good Thief has the more expansive and complicated plot tied to current and past politics (and almost 4 times as many episodes) but takes a few episodes to get going. It has a lot of narrative similarities to Rebel, and a few spoilery things actually had me looking to see if the two shows shared and production members or writers, but that doesn’t seem to be the case. They do share several actors, though. Lookout is much more fast paced with action scenes and a heroine who regularly is a gallant knight in shining armor rescuing other women.



They both get the “It” that Leverage had* but most shows of the type miss. That “It” is that it isn’t just cool people being attractive and witty and competent. It’s a wish fulfillment fantasy that there is someone who will see to it that the people who the law can’t or won’t punish will still be punished, an justice will be met. This is also the general “Robin Hood” fantasy, though the dynamics play out differently when it’s in a historical setting than when it’s in modern times.



Unsurprisingly, both shows, like Rebel before them, are from MBC. While SBS is floundering all over the place to figure out how to still mostly depend on an international audience when they’ve lost their biggest outlet (China) and KBS is...doing something (Like, I dunno. They aren’t the mess that SBS is, but they seem trying really hard to make their mark different kinds of dramas this year more than usual, with mixed results.) MBC is pretty much running around yelling “VIVE LA REVOLUTION” at the top of its lungs. (Ruler: Master of the Mask is also pretty heavy on the political commentary, but it’s much more focused on “Puppet ruler under the control of unseen master, BAD IDEA” while Rebel, Lookout and Bad Thief Good Thief focus more on widespread corruption and abuse of power and social standing.)



As an aside, Lookout might require trigger/upsetting stuff warnings beyond what you’d expect for these kinds of political thrillers.



*ok, Leverage had several “It”s that other similar shows lack, but I’m talking about a specific “It” here.

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Jun. 10th, 2017 11:07 am
skygiants: (wife of bath)
[personal profile] skygiants
I feel at this point that I'm sort of playing a long-term drinking game with Joan Aiken: every time an inexplicable Arthurian reference shows up out of nowhere in her fiction, immediately go to the nearest repository of alcohol and grab a bottle!

...although to be honest last night was just a really good night for drinking a beer and reading an entire [personal profile] rachelmanija-recommended Regency Gothic on the porch, and I didn't think of the drinking game angle until this morning. Also, the Arthurian references in The Five-Minute Marriage pretty much limit themselves to unusual naming conventions and are honestly the least weird I've ever encountered in Aiken. The Five-Minute Marriage overall is really only about as weird as, say, a particularly madcap Georgette Heyer. Not a murderous beehive, exploding can of soup, or immortal Queen Guinevere in sight!

Our Heroine is Philadelphia Elaine Carteret, an impoverished Regency music teacher struggling to maintain herself and her ailing, amiably confused mother, who of course happens to be a DISINHERITED DAUGHTER OF THE GREAT HOUSE OF PENISTONE.

Unfortunately, when Delphie turns up at Penistone Manor (it has a name, but I've forgotten it) to try and claim some financial support for her mother, she is met by a plot twist: there's already a Philadelphia Elaine Carteret in the family and the current lord has been supporting her for the past twenty years.

ARROGANT ALPHA HERO GARETH PENISTONE (current heir): However, imposter, you have turned up just in time! Because the current lord is DYING and he's going to disinherit both me and Elaine if we don't get married before he dies, which everyone expects to happen, like, right now, today.
FRIENDLY MORDRED PENISTONE (illegitimate relative, definitely not a villain, why would you think that?): It's OK! We'll get a FAKE bishop to write a FAKE marriage certificate and in exchange for this DEFINITELY FAKE MARRIAGE we'll slip your mother into the will. OK? OK.
DELPHIE: Every proper feeling is mortified by this offer! ... but it's true I could use the cash, and it's not like I ever actually want to see any of you again.

So Delphie and Gareth get fake married, just until the current lord dies, which is almost certainly going to happen right that night!

24 HOURS LATER, in a TOTALLY SHOCKING twist:

FRIENDLY MORDRED PENISTONE: Oops, I accidentally forgot to tell the definitely real Bishop to perform a fake ceremony, so ... congratulations on your marriage! Also, the current lord has made a miraculous recovery!

Everyone's favorite fanfic tropes follow )

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