Interview: filmmaker Lisa Stock

Posted on May 23, 2013 by Alex in creativity, faeries, filmmaking, interview, Lisa Stock, movies, pop culture, SyFy, Titania film, writers, writing, writing advice | 2 Comments

When it was announced a few years ago that Joss Whedon would be doing the new Wonder Woman movie, I was of the unpopular opinion that he was dead wrong for it. My main reason was that, in all the shows he’s produced and scripts he’s written, he has yet to show he can write about anything other than boys and girls. Wonder Woman, as her name implies, is a woman: an adult. Whedon’s female characters, from Buffy to River to anyone you care to name, are girls. In my opinion.

Whedon’s take on Wonder Woman didn’t pan out. But ever since, when I’ve watched movies (especially genre ones), I’ve tried to notice if their female characters are actually adults, or stuck in wish-fulfillment girlhood (often those doing the “wishing” are male, but that’s another topic).

Recently my friend artist/filmmaker Lisa Stock (she did the epic trailer to my vampire novel Blood Groove) commented this topic. About her upcoming project Titania, she wrote, “The heroine in Hollywood movies often becomes a warrior, while still maintaining her purity and innocence. It’s unrealistic of course, but a hard balance when movies want their females characters to go all ‘Buffy’ during the big battle at the end of the story. I’m avoiding this in Titania for a number of reasons – first and foremost my heroine is a Woman and not a Girl.”

Filmmaker Lisa Stock

Me: So what, in your view, is the difference between a woman and a girl, character-wise? And why is this important?

Lisa: A woman doesn’t need to prove anything. She’s not figuring things out for the first time, she’s probably tackling them for the 20th time, so not as much surprises her, and she comes to the game with more knowledge of who she is. That doesn’t mean she has nothing to learn, but perhaps she draws more from past lessons and applies them with more focus and confidence.

In genre film and TV, there are few female characters who truly seem like adult women. In fact, only two come quickly to mind: Ripley from Aliens and Alison from Eureka. Who would you hold up as an example of a truly adult (in terms other than chronologically) female genre character?

On TV – I just started watching Continuum on SyFy. I like Kira. She’s a woman, seasoned in her career, and not impressed by the young punks. She’s smart, thinks things through and has patience. In film – I think that Vianne (Juliet Binoche) in Chocolat is my favorite character. She remains true to herself despite being shunned by the townsfolk, and blamed for catering to all their sins. Ultimately, she wins people over by her honesty – a good trait to have. Though that is more magic realism than high fantasy – my work tends to be more magic realism. Michelle Pfieffer has created some memorable fantasy characters, Isabeau from Ladyhawke comes to mind – a true lesson in patience and endurance. And she’s still my favorite Catwoman. ;) I love anything Angelica Houston touches, including Vivianne in The Mists of Avalon - which is a very women-centric story. Morgaine (Julianna Marguiles) is also a true woman to me, not so bothered by the small things, but tackling her larger journey. Particularly, in the end, when she holds on to and recognizes her own beliefs in the “new religion.” It’s their ability to adapt and at the same time stay true to themselves – rather than force change or boast of victory – that defines these characters as women for me.

How will Titania’s adulthood manifest in your film?

She’s already an adult. Like some of the characters I’ve mentioned above, she has a journey to complete. It’s not necessarily going to change who she is, but she’ll call upon all her resources from past experiences and mistakes to overcome her wounds – both physically and emotionally. She’s more in control of her emotions, she’s more introspective, she also has a good laugh at her own expense occasionally. Much like Vianne, she’s a fish out of water, and never sees a situation in which she needs to compromise her own beliefs or be swayed by someone else’s. Not that all girl characters do this – but I find more often than not, that girl’s are up against someone else. In Titania, she’s pretty much up against herself. Perhaps that’s the ultimate obstacle we all face, ourselves. If you figured that out before you were 40, you’re way ahead of me! LOL!

What advice do you have for creators, in all forms, about being aware of the difference between a woman and a girl?

Who is your character, not what age demographic is she? How would you speak to her if you were to meet on the street and start talking? Don’t generalize about either a woman or a girl. The best characters are the ones who are unpredictable and (even in fantasy) facing challenges we can relate to or want to see them succeed in. That has to come internally even if action is involved. Make them honest and they’ll live forever.

Thanks to Lisa for taking the time to answer my questions. Follow her on Facebook and Twitter, and check out her website at InByTheEye.

What Does Revising Look Like?

Posted on February 25, 2013 by Alex in creativity, fantasy literature, movies, novel, Red Reaper, storytelling, writing | Leave a comment

The photo above is a page from the in-progress Red Reaper novel I’m writing with Tara Cardinal. The print text* is the first draft. All the notes are corrections for the second draft (or first revision, if you prefer).

This passage had some interesting challenges. Tara wrote it before she turned it over to me. Since this story is being told in first person by the character Aella, the voice has to be consistent throughout, and my first job was to try to do that. Since Tara created this character and her world, she’s the final arbiter of what’s properly “Aella-ish,” but I’ve tried to find my way to the same voice without simply mimicking her writing style. After all, if I was just going to do that, she might as well write it all herself, which she could do quite handily if she didn’t also have to, oh, make movies like Scarlet Samurai: Incarnation.

At this stage, two things are foremost in my mind: clarity, and rhythm. Clarity is simply knowing what point you want to make with the scene or passage, and tweaking the words to reflect that. Rhythm is trickier. It’s about finding the story’s (and in this case, the character’s) natural voice. The best way to do that, especially when you’re doing something in first person, is to read it aloud. At points where you stumble over words, you’ll usually find that your rhythm is off. It’s as simple as that.

Scanner issues prevented me from producing this image in full color, but the corrections are done in red ink, just like they say you’re not supposed to do in school anymore because it might hurt someone’s feelings. One advantage of this, in conjunction with the use of such a small font*, is that it gives you a quick visual idea of how close you are to a final draft. When there’s lots of red on a page, you still have work to do. When there are only one or two red marks, and they’re for minor things like commas or single words, you know you’re close to the end.

So, this is what part of my process looks like. Keep in mind, though, that every author does it differently, and every author’s process is valid. The only thing that counts is what ends up on the final page, in front of a paying reader. How it gets there is almost beside the point. Which is the way it should be.

*Yes, it’s in 8 point Times New Roman. I’ve worked in that size since I had a job proofing legal contracts, and realized I could read 8 point type fairly easily (one of the few practical values of near-sightedness). It saves both paper and ink.

Revealing a New Project: the Red Reaper

Posted on January 28, 2013 by Alex in authors, conventions, creativity, criticism, Eddie LaCrosse, fantasy literature, fiction, gender roles, heroes, Kate Beckinsale, movies, novel, Red Reaper, Wake of the Bloody Angel, writers, writing | Leave a comment

Back in November of 2009, I stumbled across a teaser trailer for the fantasy film, The Legend of the Red Reaper. It promised to be an action-adventure fantasy, and starred an actress I’d never heard of at the time, Tara Cardinal. As I watched the trailer, I realized that whatever the standard fantasy tropes on display, this was also something new and compelling. Here’s part of what I wrote to Tara back then:

“One of the things that bothers me most about fantasy films is the persistent notion that wispy, willowy girls can stand up to large, large men in a physical confrontation. I’m all for strong women characters, but at some point you have to acknowledge the laws of biology and physics…In the trailer, you look like you can stand up to the male warriors. You’re not the size of a pipe cleaner, your arms aren’t sticks, and you’re not dressed like an S&M show refugee (not that there’s anything wrong with that). You’re depicted as a warrior, and from what the trailer shows, you behave like one.”

If you’ve read this blog for very long (or endured one of my rants at a convention), you’ll know that one of my pet peeves is fantasy’s version of the Manic Pixie Dream Girl, namely the Ass-Kicking Waif. Buffy is probably the best known, but there’s also Milla Jovovich in The Fifth Element, Summer Glau in Serenity, Scarlett Johansen in Iron Man 2 and The Avengers, Kate Beckinsale in Underworld, and so forth: all tiny, busty, girl-women who appear to have just graduated from high school. Individually these characters are valid within their worlds, and there are always justifications for them (supernatural power, science gone amok, etc.). Cumulatively, it seems like this is an excuse for male creators to have their feminist cake and eat it, too. So to speak.

For my own fantasy writing, I’ve been careful to avoid that. In my Eddie LaCrosse novels, I’ve featured women who are actual adults, and if they’re depicted as warriors, they have the physique for it: they’re tall, they’re visibly muscular, and they don’t need excuses like supernatural power. And to me, that doesn’t make them any less attractive. Check out Jane Argo in Wake of the Bloody Angel and decide for yourself if I did it well.

This is the long way around to my announcment that I’m writing a prequel novel to The Legend of the Red Reaper with its creator/star Tara Cardinal.

Tentatively it’s titled, The Cave of Archerode: A Red Reaper Novel, but as always, that can change. This is a spec adventure simply because I like the material and admire its creator’s vision. It’s also new territory for me, and I hope you’ll enjoy reading about our progress.

Keep an eye out for more updates as we go. You can read an earlier interview I did with Red Reaper’s director here. And watch for the release of The Legend of the Red Reaper later this year.

Rant: the high cost of low quality

Posted on December 10, 2012 by Alex in creativity, fiction, James T. Kirk, movies, originality, pop culture, self publish, Star Trek, writers, writing | 2 Comments

Last night, the wife and I saw Skyfall. I’ve seen every James Bond movie in a real movie theater since Live and Let Die, so my streak continues. I thought Skyfall was an adequate spy thriller and action film, but not much of a James Bond movie. Perhaps, given how this one ends, the next one will be more of a return to the Bonds that had an element of distinctiveness. You’d never mistake a Bond for a Bourne back in the day, the way you can now.

But we also saw previews for Jack Reacher, Django Unchained, and A Good Day to Die Hard, none of which did their job and convinced me I needed to see them. In fact, both Jack Reacher and Django Unchained reinforced my prior decision not to see them. And that, along with the trailer for the new Star Trek Into Darkness (which might as well be called Star Trek Jumping on the Nolan Bandwagon) hitting the internet, got me thinking seriously about something.

Why are we, as fans and consumers, satisfied with this?

JJ Abrams’ Star Trek was loud, noisy, and funny. It also had plot holes big enough for the Enterprise itself, and reduced one of SFs great heroes (James T. Kirk) to the status of a punk with a chip on his shoulder. I go into more detail here, but it’s the kind of movie that diminishes in retrospect, or with repeated viewings. Now there’s a new one, with a villain Abrams is playing coy about, only letting slip that it’s a “canon” figure. Khan? Gary Mitchell? Harry Mudd? Who knows? And more importantly, why should we care? Those stories have already been told, and told well. Yet here we are, as a demographic, getting excited about this movie when we should be ignoring it until someone comes along with some real, genuine new ideas.

The original “Django”

Similarly, Django Unchained, by virtue of being a Quentin Tarantino film, is practically guaranteed to be made up of parts of other movies, most obviously the spaghetti western Django series. More so than any other filmmaker working today, Tarantino has been praised for what is essentially sampling: taking bits and pieces of original creations and recombining them. He has yet to really create anything on his own, and it seems likely that this one will also have knowledgeable film buffs nudging each other and going, “You know where that’s from?”

The new “Django,” “unchained” from originality.

I understand completely the corporate mentality behind this: they’re known quantities, they’re existing properties, and most of the heavy lifting of creating them has already been done. What I really don’t get is why fans are excited about it. Another Star Trek movie that retreads vast swaths of the existing canon instead of “boldy going,” as its own damn catchphrase says? Bruce Willis, looking really old, in another Die Hard movie?

Then again, maybe I do get it, and just wish I didn’t. We’ve devalued our artists to the point that they can only make a living cranking new versions of old things. As a popular internet meme says, we’re willing to pay more for coffee at Starbuck’s than we are for music and literature. We justify piracy as entitlement. Girl of the moment Lena Dunham gets $3.7 million for this, while many formerly published authors are having to self-publish their own ebooks now.

And it seems we, as the consumers and fans, are satisfied with this.

I don’t have an answer. I wish I did.

Who are the honorary Tufas?

Posted on November 17, 2012 by Alex in creativity, folk music, Hum and the Shiver, Jennifer Goree, music, Nashville, novel, short stories, tennessee, trivia, Tufa, writing | Leave a comment

How does one become an honorary Tufa, you may wonder?

The criteria is really pretty simple. You must have a song that you’ve written quoted (with your permission, of course) in a Tufa story.

So far, there are three honorary Tufas.

The first was Jennifer Goree. You can find out more about Jennifer and her connection to the Tufa here, but it’s safe to say she made a massive contribution, and she’s also been a staunch supporter. You can check out her music here.

Jennifer Goree, who composed the song “The Hum and the Shiver.”

Second, in order of appearance, is Andrew Brasfield. When I was thinking about a Tufa-themed story for my holiday collection, Time of the Season, I knew I needed a song that would be central to the plot: something that both captured the atmosphere, as well as becoming a literal presence in the story. I thought about using a traditional hymn, especially since the story features the young minister Craig Chess, but nothing really worked. So I reached out to Dale Short, Alabama author (you really should read his story collection Turbo’s Very Life) and host of Music from Home, and asked if he could recommend a song by a roots/folk/country indie artist that might work.

He recommended Andrew Brasfield, and pointed me toward his song, “Cold Wind.” It not only had the requisite atmosphere, but like The Hum and the Shiver before it, it provided the title. You can read an interview with Andrew and learn about the song and the story here.

And finally, we have Mississippi-born singer-songwriter Kate Campbell, whose song “Wrought Iron Fences” is crucial to the story of the second Tufa novel, Wisp of a Thing. I first encountered Kate’s music way back in the early 2000s, when I was first researching what would eventually become the Tufa. I’d begun scouring the internet for examples of current roots/folk music, and came upon Kate’s website, where I won a CD. It was her first one, Lanterns on the Levee, and it’s as good a statement of purpose as any artist can make with a first album. Even the first track, “Mississippi and Me,” stakes out the territory she would explore in her subsequent work. But it was on her second CD, Moonpie Dreams, that I found two of my favorite songs of hers, “When Panthers Roamed in Arkansas” and, of course, “Wrought Iron Fences.”

Kate Campbell, who composed “Wrought Iron Fences”

Another artist prominently mentioned in Wisp of a Thing is Matraca Berg, one of the greatest contemporary songwriters in country music. Just check out the list of hits she’s written for other people. Unfortunately, she’s also a major-label recording artist, and therein lies one of the great rubs of contemporary music: many of the most famous songwriters, because they are contracted to major labels and music publishers, lack the legal standing to authorize the use of their own songs. You have to go through these other organizations, who do not grant permission lightly or cheaply. So unfortunately, Ms. Berg will remain a mentioned but not quoted presence.

The great Matraca Berg, songwriter extraordinaire

So that’s the list, so far. Hopefully you’ll check out the music by these great people, who are out there trying to do something meaningful and substantial in a world where popular music seems to consist of auto-tuned clones and divas. Because if you don’t support the cool stuff, you won’t have it for very long.

Interview: Andrew Brasfield, songwriter of Cold Wind

Posted on November 3, 2012 by Alex in anthology, cover art, creativity, eBook sale, faeries, folk music, interview, music, short stories, tennessee, Uncategorized | Leave a comment

When I began planning Time of the Season, my holiday-themed e-book chapbook, I already had two of the stories. Both the title story and “A Ghost, and a Chance” had been around for a while. But I wanted to write something new, and I’d gotten such a good response from my novel, The Hum and the Shiver, that I decided to write a holiday story set in the that world. The Tufa stories all revolve around music, so I needed a song to form the center of this new one. So I asked around: did anyone know of an original winter or holiday song, one by an indie artist who could grant permission for me to use the lyrics in a story?

Dale Short, host of the roots-music radio show “Music from Home” in Jasper, Alabama, suggested I check out this:

The first time I heard it, I knew it was the right song.

I contacted Andrew Brasfield, and happily, he agreed to let me quote from the lyrics in the story. This is a trickier proposition than it sounds, because a lot of musicians, particularly the ones played on mainstream radio, don’t actually own the rights to their own songs. Music publishers, record labels and other for-profit intermediaries have to also grant permission, and usually require payment to do so. Happily, there’s a whole world of great music being done by people like Andrew (and Jennifer Goree, and Laura Powers, and Jen Cass, and Kate Campbell) who not only own all their own rights, they’re delighted to have them included in a story or used in a book trailer.

Andrew also recorded a new version of the song at AudioCzar Productions, and played all the instruments himself (except for percussion). That version is available as a free download when you buy Time of the Season.

Andrew was also kind enough to answer a couple of questions about the song.

1) What inspired “Cold Wind”?

I used to work in television and was sent out west to Lander, Wyoming for a documentary shoot a few times over the course of 2010. On one of the final trips we set out early in the morning to catch some college students who were waking up for the last of their 21 day trip in the Wind River Range. It was really early in the morning and beautiful and I had some time to think while we were hiking. The wind was very cold and cut through me and I thought, the cold wind is an interesting image. So I came up with the first line then thought of other natural elements. Fire and water were classic images so and made verses to go with all of them. Somehow I remembered those lyrics and committed them to a small Holiday Inn Express notepad as soon as I got back to my room late that evening.

Side note: The cover photo for the song is actually a public domain photo of the Wind River Range that I manipulated a bit.

2) Your cousin Dale Short first told me about “Cold Wind,” and directed me toward the video. I had that same thing happen with the characters in the story: they learned the song from that same video. What’s the story behind the video?

There is no real story to be honest. I knew I wanted folks to hear some of my songs and while they can get a glimpse from the three songs I wrote on the first Motel Ice Machine CD, those aren’t the only songs I have in me and some of those are arranged differently from the way I usually do them. Also, I don’t have the cash to get into a studio whenever I write a new song so YouTube seemed like a more accessible medium. I’ll be certainly be adding more videos soon.

Dale still hasn’t given me all the details on how we are kin, but he is a good guy nonetheless and I appreciate what he does for local musicians through his radio show.

3) What did you think of the story that incorporates your song?

I really dug the way you wove it all together. I actually got chills when I read my lyrics in the story. I’m a big Tufa fan and having the Hyatt’s play my song in their living room is sort of surreal. I read The Hum and the Shiver shortly after it came out and was hooked. I’m (im)patiently waiting for Wisp of a Thing.

Andrew Brasfield is from a small town in Alabama where he lives with his wife and two daughters. His main axe is harmonica, which he wields in a few different bands including Motel Ice Machine and The Lefty Collins Band. He also plays a bit of guitar, bass and ukulele. He knows a handful of mandolin chords and has a few piano tricks. You can find out more about him here.

George Lucas and Elvis: Echoes from 1977

Posted on August 16, 2012 by Alex in corruption, creativity, criticism, Elvis Presley, fantasy literature, filmmaking, home, movies, music, originality, pop culture, science fiction | 1 Comment

Thirty-five years ago, two things that fundamental changed my life happened in the same summer.

In May, Star Wars was released.

In August, Elvis Presley died.

The arrival of Star Wars turned the thing that everyone in my small town mocked, that had gotten me teased and beaten up, into the hippest thing in the world. Spaceships, aliens and robots were suddenly cool. Everyone went to see the movie, and multiple times, too. I learned a great deal of the dialogue by heart, something my kids have made me promise not to demonstrate when their friends are over. I collected everything I could find about the movie, desperate to understand what made it so awesome. Even then, I knew I wanted to be a creator, not just a consumer. My friends all wanted to be Han Solo or Luke Skywalker, but I wanted to be the next George Lucas.

On the other hand, Elvis was something that was practically in the water. We lived an hour north of Memphis, and so I’d heard Elvis all my life. The album I recall listening to the most (and we’re talking vinyl album here) was 1970′s Elvis in Person at the International Hotel, Las Vegas, Nevada. It included live and rather self-mocking versions of his greatest hits, along with covers of the Bee Gees hit, “Words.” Yes, Elvis covered the Bee Gees. He was a fact of life for me, and when he was gone, it created a vacuum that, to this day, occasionally strikes me anew with its poignancy. It’s not that I don’t understand what happened–believe me, I’ve read enough books about him to grasp the tragedy that his life became–it’s that his fall was so immense, and so thorough, and happened so young (he was only 42 when he died) that its full scale takes a long time to be fully appreciated.

As I sit here listening to Elvis (specifically, to the awesome collection Greatest Jukebox Hits, the CD I’d recommend to anyone looking for a one-disc sampler of what made the King so great), I suddenly wondered what George Lucas thought of Elvis’s death back then. Did he glimpse his own future in it? Because except for the drug abuse and dying young, he’s pretty much done the same thing.

Consider:

Like Elvis, George is financially successful, even now. Elvis packed arenas until the day he died.

Like Elvis, George’s later work is derivative and shallow compared with his earlier breakthrough creations.

Like Elvis, George’s original fans consider themselves betrayed by what he’s become*.

Like Elvis, George refuses to listen to critics. Elvis had manager Tom Parker always preaching the easiest, least challenging path. George was his own Colonel Tom.

Like Elvis, George is willingly insulated from the outside world by his wealth and position of power.

And, the most obvious,

Like Elvis, George has become physically fat and morally complacent.

Both men are legends. Both men changed the world. But if he’s not careful, George will become as big a punchline, as big a joke, as Elvis (consider the recent Gotye parody).

And both men, ultimately, brought their sad status on themselves.

*This didn’t really happen during his life, true. But once he died, and we began to really assess what he’d given us in those last years, the backlash was, and is, enormous. That’s why fat, Vegas-era Elvis is such an easy punchline.

Io9, Battlestar Galactica, and the American Idol culture

Posted on January 31, 2011 by Alex in Battlestar Galactica, creativity, io9, originality | 6 Comments

“Born Originals, how comes it to pass that we die Copies?”–”Conjectures on Original Composition” by Edward Young, 1759

***

I’ll tell you up front, this is a rant. I try not to do them often, and usually delete them after I write them. If you’re reading this one, it means I’m still fuming even after an acceptable cooling-off period.

Io9, the go-to website for SF news, recently ran this article by site managing editor Charlie Jane Anders about Ron Moore’s “bible” for the series Battlestar Galactica. In these notes for series writers, Moore claims he’s after “nothing less than the reinvention of the science fiction television series.”

That’s all well and good, except for one thing: it was a remake. All the heavy lifting of creating the concepts, the basic spaceship designs, the names of characters and their home planets, even the all-purpose curse word “frak,” was done by Glen A. Larson back in the seventies. Whatever you may think of the original show (and you won’t hear me sing its praises, believe me), you have to acknowledge that Moore is, in effect, putting a new coat of paint on the house Larson built. Painting a house is hard, but it’s not nearly as hard as building one from scratch. Or even more harshly, you could say that Moore is pissing off of Larson’s shoulders, and judging from the article’s final line–”And it’s definitely a reminder how fresh and exciting the show was when it launched.”–there’s quite a few people standing below with their mouths open.

That’s a crude judgment of creators and fans, I realize. People are entitled to make what they want, and like what they want. But goddamn, people. In her review of the movie Burlesque for Entertainment Weekly, Lisa Schwarzbaum nails it: “[In] these American Idol times…we agree to pretend that mediocre mimicry of better artists is good enough to keep us entertained.” I make no case for the original Battlestar, but its remake is certainly not unique or different enough to count as “the reinvention of the science fiction television series”; it may not be mediocre mimicry, but it’s still mimicry.

(Glen A. Larson’s Battlestar…)

(…and Ron Moore’s “totally reinvented” Battlestar)

If Ron Moore really wanted to reinvent the science fiction television series, he could’ve taken the original Battlestar as an inspiration and come up with his own ideas for setting, backstory, names, etc. In other words, he could’ve MADE UP HIS OWN SHOW. It’s okay to ‘fess up to being influenced; everyone has influences. To claim originality while doing a remake is both inane and arrogant. But really, what frustrates me most is that he’s being celebrated by an audience that apparently doesn’t know or care what originality is. Anders barely acknowledges the new show’s status as a remake; the article in question is even headlined, “The original Battlestar Galactica series bible…” To paraphrase Douglas Adams, this must be a definition of “original” with which I was previously unfamiliar.

In a New York Times article on rethinking “open source” culture, Jaron Lanier may have pegged the origin and continuing source of this level of cannibalism. “It’s as if culture froze just before it became digitally open, and all we can do now is mine the past like salvagers picking over a garbage dump.”

The next logical step–praising salvagers as creators–has apparently begun as well. For a generation now coming of age, they literally have no concept of what constitutes “creation.” Mash-ups, remakes and “re-imaginings” are all they get. And, if Moore can be praised for essentially claiming he built a house that he only repainted, they may never know the joy of encountering something truly original.

Well, except for Pixar.

Since I ranted here, feel free to rant back at me in the comments.

Interview: filmmaker Lisa Stock

What Does Revising Look Like?

Revealing a New Project: the Red Reaper

Rant: the high cost of low quality

Who are the honorary Tufas?

Interview: Andrew Brasfield, songwriter of Cold Wind

George Lucas and Elvis: Echoes from 1977

Io9, Battlestar Galactica, and the American Idol culture

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