Talking to My Daughter About Women in Refrigerators

On New Year's Day, I did some surfing through various Twitter feeds and came across this article by Caroline Pruett. Titled, "Talking to Our Daughters About Violence Against Women in Comics," she speaks to the issue of "women in refrigerators," a term for using the death and/or brutalization of female characters as devices to motivate male heroes. It's a Read more

Some thoughts on the Ghost Brothers

Recently I caught up with the cast recording of the Stephen King/John Mellencamp musical, Ghost Brothers of Darkland County. As a longtime fan of Mellencamp's, and an admirer of King's (there's a difference, and I'll explain it shortly), I was curious to see what they'd come up with working together, and in a form neither had tried before. The results, Read more

Interview with Melanie Stone and Nicola Posener from Mythica

Two weeks ago I reviewed Mythica: A Quest for Heroes, the first in a projected five-film epic fantasy series.  As well as being a great little film, it was notable for having two female characters as the driving forces of the story, with neither sidetracked into any obligatory romance.  The two actresses who played these roles, Melanie Stone and Read more

Interview: the writers of Carmilla

  Carmilla, J. Sheridan LeFanu's 1871 novella that predates Bram Stoker's Dracula, is a seminal work of genre fiction.  It introduces the idea of the lesbian vampire, something that later writers would expand into its own genre (check out Hammer's The Vampire Lovers for a fairly faithful, if overtly sexed-up, version).  It's also surprisingly contemporary in its writing style.  So Read more

Movie Review: Mythica, A Quest for Heroes

Back in 2011, I stumbled on Arrowstorm Entertainment's Dawn of the Dragonslayer, a low-budget fantasy epic that had the look of a much more expensive film. But what really got my attention was the care given to the performances: leads Richard McWilliams and Nicola Posener really dug into their characters, and director Anne Black gave them the time to Read more

George Lucas and Elvis: Echoes from 1977

Posted on 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.


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. 

Maria Scholl, the overlooked great science fiction heroine

Posted on by Alex in heroes, movies, science fiction, Uncategorized | 1 Comment

The DVD cover

A while back I wrote about Meg Coburn (Mira Sorvino) of The Replacement Killers, the forgotten great action heroine. Now I’m spotlighting Maria Scholl, the overlooked great science fiction heroine.

Scholl, played by Cox Habbema, is one of the main figures of Eolomea, a 1972 East German (i.e., Soviet-era Communist) SF film directed by Hermann Zschoche. In a nonspecific future, spaceships traveling to and from space station “Margot” begin to vanish. Professor Scholl, head of the space program’s ruling council, leads the investigation, first on earth and then in space. It dovetails with the story of Dan Lagny, a space pilot doing thankless time on an asteroid station, who also has a past romantic relationship with Scholl.

Like Meg Coburn, much of what makes Maria interesting are the things she doesn’t do. As Erich Kuersten says on the blog Acidemic, she is, “shrewd, kind, and able to have a romance with the main cosmonaut Dan (Ivan Andonov) without it clouding her judgment or weakening her authority. She doesn’t overreact or have womanly issues, or pine for something ‘real’ in her life, something ‘better than command… like a child and a family,’ the way she would have to in the U.S. [at the time the film was made.]“ When another council member suggests that her presence on the rescue mission might, ahem, distract the all-male crew, she responds easily with, “The boys have had to get used to many things. They can get used to one more.” And that scene is the only one where it’s implied that her status as a woman is in any way an issue. In everything else, her competence, authority and intelligence are simply assumed.

Dr. Scholl at work…

And make no mistake, she’s a woman. When shown in flashbacks on the vacation where she meets Dan, she’s as free with her sexuality and attractiveness as any other woman on holiday might be. She wears tight shorts, she flirts, and in the one flashback scene where her job does arise, she wears a bikini on a beach while discussing Dan’s duty assignment. The implication is that women in this version of the future don’t have to choose between career and personal life: everything is open to them, and more importantly, no one expects them to pick one or the other.

…and at play, with Cosmonaut Dan.

In fact, Eolomea as a whole doesn’t do what you might expect. The space council is an international organization, and you see more faces of color that you’d ever encounter in an American SF film of the era (or heck, even now). The moments that would seem obligatory, such as the first declaration of love between Maria and Dan, or their reunion scene toward the end, simply aren’t there. The scenes that do exist imply these other scenes happen, but it’s as if the editors (and they’re ruthless: the film is only 80 minutes long) decided that they were too obvious to leave in. The antagonist might look like Blofeld from You Only Live Twice, but his nefarious plan is really…well, I don’t want to spoil everything.

East German cinema isn’t exactly known for its masterpieces, and in the popular Western mind, Soviet-era science fiction begins and ends with Solaris. But Eolomea deserves to be more appreciated, and thanks to a great DVD release (and its availability through Netflix), now it can be.

My favorite science fiction joke

Posted on by Alex in blogs, guest blog, science fiction | Leave a comment

I’m guest blogging at The Night Bazaar about my favorite science fiction joke.

Who, at the Beginning

Posted on by Alex in Dr. Who, science fiction, television | 3 Comments

I have a soft spot for the current incarnation of the British show Doctor Who that can be distilled down to a comment made by the title character during the recent Christmas special. When told by a villainous type than someone “wasn’t important,” the Doctor replied, “I’ve never met anyone who wasn’t important.” That sort of unabashed optimism and compassion, especially when so much TV SF tends toward the downbeat and dystopian, really appeals to me.

So I decided to check out the original episodes of the original show, made and broadcast in 1963 (the same year I was made and broadcast). The first episode, the Ur-Who if you will, is called “An Unearthly Child.” And in it, you will see nothing of the show that’s so popular now.

Well, that’s not true. There’s the T.A.R.D.I.S., still in the form of a police call box. But there’s no sonic screwdriver. The Doctor is revealed to be an alien, but he’s a crotchety old man with an equally alien teenage granddaughter in tow. Susan, for reasons not really revealed in the first eleven episodes (where I stopped), is enamored of Earth in the twentieth century and tries to blend in at the local school. Two of her teachers, Ian and Barbara, decide to find out why she gave the school a phony address, and end up antagonizing the Doctor (not hard to do) into proving the T.A.R.D.I.S. is real. First they travel into the past and run afoul of cavemen, then to the future where for the first time they meet the Doctor’s greatest enemies, the Daleks.

The dynamics are so vastly different that it’s hard to believe the current Doctor (Matt Smith) is actually supposed to be part of the same continuity. Made as a children’s show, the audience identification figure is Susan, while authority is represented by Ian and Barbara, two gigantically annoying companions. The Doctor is the anarchic wild card, omnipotent one moment and completely at a loss the next. Further, the humanistic determination to help those in need that characterizes the recent Doctor(s) is completely missing. This original Doctor is quite willing to run away, abandon Ian and Barbara (can’t argue with that, really) and look out for himself and Susan at the expense of anyone else. And yet he’s not the total dickweed this makes him sound like; he abhors violence, is resourceful in a pinch and, as played by William Hartnell, is generally a hoot to watch. There’s none of David Tennant’s wide-eyed lunacy, or Matt Smith’s quirky body language, but he conveys how fast the Doctor’s brain works and how tedious normal people must be to him.

Ten Doctors later, there’s virtually nothing from this original conception left in the show beyond the T.A.R.D.I.S. The new show has a budget, terrific special effects and casts that can bring this goofy universe to thrilling life. Yet there’s something delightful in the original concept of a bad-tempered, super-intelligent alien dragging his granddaughter’s snooty teachers through space and time for no good reason. While it seems unlikely that the current run of young, handsome Doctors will end anytime soon, I have a sneaking wish for a return to Hartnell’s conception. It’s in the same wish box that has Michael Keaton in a film version of The Dark Knight Returns and Alec Guinness playing Obi-Wan Kenobi in Lucas’ original concept as Ben Gunn from Treasure Island. None of them will ever happen. But thinking about them sure is fun.

This is me and Suzie Hunt on the campus PBS station circa 1983, hosting a fundraiser during the broadcast of The Five Doctors. I was chosen for this because I was one of the few people at UT-Martin who’d ever heard of Who.