Pixel Scroll 2/19/25 The Weed Of Scroll Titles Bears Punny Fruit

(1) ABOUT THE NEW COMICS AND POETRY NEBULA AWARDS. “SFWA Presents: Get to Know…Our New Comics and Poetry Nebula Awards” is a conversation with  SFWA’S Comics Committee lead Jessica Maison, and Holly Lyn Walrath, and Wendy Van Camp representing SFWA’s Poetry Committee.

In November 2024, SFWA announced the launch of two new Nebula Awards, one for speculative poetry and one for speculative comics. Eligibility for these awards began in January 2025, with the first awards for these new categories to be presented at the 2026 Nebula Awards Ceremony….

Let’s start with the big question:

Why a poetry award, and why a comics award? What traditions and recent trends in SFF are these new prizes celebrating?

Holly Lyn Walrath: I would say that there is a thriving sub-pocket of speculative poetry alive and well today. Similar to the larger SFF community, speculative poetry often does not get the recognition we might wish for in realist or “literary” circles, yet many authors who got their start in, say, an MFA end up publishing speculative poetry, and many realist/literary magazines publish speculative poetry. Speculative poetry is also a central part of the history of SFF. The earliest pulp magazines published poetry—for example, Weird Tales. There is a rich, unexplored past in speculative poetry that most writers are not familiar with, so it’s exciting to see a resurgence in the genre. 

Wendy Van Camp: ‌Genre poetry has come a long way. It used to be nearly invisible. As a poet, you’d often have to explain and defend the idea of writing poetry with science fiction or fantasy themes. Now, it has a place at major conventions worldwide. Like filk singers and genre artists, speculative poets have found a welcoming community. This poetry is not only for our fans, but traditional poets are noticing the growing opportunities. Paying markets, an award system for both books and single poems, and recognition as creators are all attractive. Literary poets realize there is a community for their ideas about technology, science, and concepts of the future.

Jessica Maison: Looking back to the first pulp magazines like Amazing Stories, a clear intersection between speculative fiction and comics emerges. Many of the pulps and comics were being published by the same larger publishers and even had some of the same heroes and stories overlap. What the pulps and comics share—besides the serial format—is that there was freedom to push boundaries and the limits of genre. That freedom has expanded tenfold in modern speculative comics, especially from its current independent creators and publishers. Whether a writer and illustrator are adapting and reinterpreting beloved characters from a favorite speculative novel like Frankenstein, or, on the flip side, a writer is adapting a story from a comic for the screen, comics weaves into traditional and emerging SFF industry in ways that push the boundaries of speculative fiction from within its structured panels. Honestly, I’m just excited to be part of it all and to introduce my favorites to as many people as possible.

(2) DETECTING ONE’S OWN BIASES. Herb Kauderer’s “Award Season: Show Me Your Bias” at SPECPO is an essay on speculative poetry awards that has application to many sff award voters.

… In recent times the Science Fiction & Fantasy Poetry Association (SFPA) has made some changes to their award processes to reduce inappropriate bias.  Notably, it is no longer legal for a member to nominate a work for the Rhysling if it is written by a close family member.  This certainly makes sense to me.  I have a large family that could easily flood nominations should they, or I, think that a good idea.  That would be an unfair advantage assuming they are biased toward my work.  At least, I hope they would be biased in favor of my work.  My family is always surprising.

Another point of discussion is whether members should share all their eligible poetry.  The SFPA facilitates members making their eligible poetry available to each other.  Since the membership nominates and votes on the awards, this does cause some preference to members.  Yet, in my experience members also recommend to each other poetry outside SFPA’s member packets, because we are happy to nominate and give awards to non-members’ poetry if it moves us.  F.J. Bergmann has convinced me to be generous in what I share in Rhysling packets even though some members feel flooded by them.  Yet I appreciate David C. Kopaska-Merkel’s caveat that I can exclude anything that I am uncomfortable seeing nominated.  I may not know what others find to be my best poems, but I definitely know what I’m comfortable allowing to represent my best work….

(3) HARLEY QUINN CO-CREATOR DEAN LOREY REVEALS WHY TO WATCH DC’S UNHINGED ANIMATED HIT. [Based on a press release.] JustWatch spoke to hit showrunner, producer, and writer Dean Lorey about his must watch list of movies and TV shows. Check out his take on different versions of Harley Quinn, James Gunn’s Creature Commandos and more.

Harley Quinn Co-Creator Dean Lorey Reveals Why to Watch DC’s Unhinged Animated Hit

Dean Lorey, Showrunner

Even though it’s a comedy, we write Harley Quinn like a drama, and we take the characters very seriously. We cry when they die, and we cheer them on when they do something funny. So the secret sauce of the show is that despite being a genuinely funny comedy, there’s a lot of character and tragedy behind it. We honor all of that, and to me, it’s the most defining thing about the show. It’s not how R-rated it is (although that’s obviously very important). It’s that we take the world seriously while also delivering on the raunchiness and absurdity it’s known for.

Harley Quinn Showrunner Dean Lorey Names His 3 Other Favorite On-Screen Harleys

  • Batman The Animated Series is where Harley Quinn was created, it’s where we first met her. And she just sort of explodes from the word Go! That planted the direction at the core of the character. She is chaotic and she enjoys it. I always loved that.
  • Margot Robbie‘s first appearance as Harley [in Suicide Squad] was transformative. I loved her take on it.
  • I loved Harley Quinn in the Arkham video game. There’s something about playing the character that makes you feel it a little bit more.

About Dean Lorey: Whether he’s writing, producing or showrunning, Dean Lorey is responsible for creating and developing some of your favorite tv shows and movies, from cult classics to smash hits. Starting his career writing screenplays for films like My Boyfriend’s Back and Jason Goes to Hell: The Final Friday, as well as comedies like Major Payne, Dean got arguably his biggest break writing on the landmark series Arrested Development. He’s since worked to bring some of the quirkiest comic book stories to life on projects like Powerless and iZombie. His recent notable accolades include co-creating breakout hits Harley Quinn (the animated series) and Kite-Man: Hell Yeah!, and showrunning James Gunn’s Creature Commandos.

(4) IMAGINING THE UNIVERSE. Michael Everett’s introduction to “National Geographic Picture Atlas of Our Universe” at Michael Whelan’s Substack newsletter begins:

Published in 1980, National Geographic Picture Atlas of Our Universe was among the most successful projects Michael has been involved with. He didn’t provide the cover—that was the stellar John Berkey—but Michael’s work on the interiors is still widely regarded today.

A massive initial print run of 670,000 copies pushed the first edition into stores everywhere where this coffee table book flourished for more than two decades in print. With revisions in 1986 and 1994, the book sold a staggering 2.5 million copies….

Then Whelan takes over —

What if…there really were creatures on other planets?

Our Universe was a fun assignment, and I’m glad so many people enjoyed the work I did for that project. Someone once asked what my favorite piece from the book was, and that’s hard to pin down. I will say that I had the most fun working on the silly alien creatures the editors came up with.

That section was written by the National Geographic editorial department. They asked me to illustrate their rather whimsical inventions, so I did these little paintings (about the size of my normal concept work) to accompany the text.

Among those, the Jupiter and Venus critters were probably my faves.

(5) SFCON ’54 ETC. Heritage Auctions has a Twelfth World Science Fiction Convention Poster and Frank R. Paul obituary clippings on the block. Here’s their description of the lot. (Its date range should be 1954-1963 since the Paul clipping shows that’s the year of his death.)

Twelfth World Science Fiction Convention Poster and Frank R. Paul Newspaper Article and Obituaries Group (Various Publishers, 1954-57). A very interesting lot for pulp collectors! Offered here is a 10″ x 14″ cardboard poster for the 12th World Science Fiction Convention in San Francisco, California. Held at the historic Sir Francis Drake Hotel on Union Square from September 3rd through 6th, 1954. Attendance was approximately 700, and among the first attendees was Philip K. Dick, with the Guest of Honor being John W. Campbell, Jr. The poster is printed in red and dark blue and is in Fine condition, with only very slight soiling and handling wear. Also included is an article about Frank R. Paul, “The Dean of Science Fiction Illustrators”, and several examples of his obituary from July of 1963. The newspaper clippings are in Very Good condition, with moderate tanning.
From the Roger Hill Collection.

(6) DON’T MISS OUT. First Fandom Experience “Announces the Supplement to Volume Three of The Visual History”.

Early fans wrote and published prolifically. In The Visual History of Science Fiction Fandom, we excerpt and distill their work to focus on the most important, interesting and entertaining material they created. Even so, each volume has filled over 500 pages. If you’ve carried one around, you know the meaning of the term “weighty tome.”

Still, we’re frustrated by the exclusion of the full versions of key fan artifacts that provide additional richness and context. This leads to today’s announcement:

The Supplement to The Visual History of Science Fiction Fandom, Volume Three: 1941 is now available. The Supplement includes 168 pages of material created by fans in 1941, with full narratives presented as originally published in seldom-seen fanzines.

Supplements for Volumes One and Two are forthcoming.

(7) WHY NOT SAY WHAT HAPPENED? Scott Edelman tells listeners to episode 19 of his Why Not Say What Happened? podcast “What Gerry Conway Wasn’t Allowed to Say About Gwen Stacy in F.O.O.M.”

While shredding another old notebook from my early comics career, I reminisce about the many wretched one-act plays I created while being taught by famed playwright Jack Gelber, the lie I told Marv Wolfman and Len Wein which got me hired at Marvel, the most wrongheaded conclusion Fredric Wertham reached in Seduction of the Innocent, my plot for an Inhumans strip starring Karnak which had no reason to exist, the most ridiculous method any writer ever conceived of for killing a vampire, what Gerry Conway said about Gwen Stacy which was censored out of his F.O.O.M. interview, the first words to reach readers about my Scarecrow character, and much more.

This link will show you where it can be found on a dozen other platforms.

(8) SOUNDS THAT NOBODY EVER HEARD BEFORE. “’We’re projecting into the future’: sounds of BBC Radiophonic Workshop made available for public use” reports the Guardian.

With its banks of bafflingly complex equipment, and staff members that were among the most progressive musical minds in the UK, the BBC Radiophonic Workshop was a laboratory of 20th-century sound that produced endless futuristic effects for use in TV and radio – most memorably, the ghostly wail of the Doctor Who theme.

Now, the Workshop’s considerable archive of equipment is being recreated in new software, allowing anyone to evoke the same array of analogue sound that its pioneering engineers once did….

… The Workshop may be best known for the Doctor Who theme, but it also created music and sound effects for other sci-fi shows such as Quatermass and the Pit, Blake’s 7 and The Hitchhiker’s Guide to the Galaxy. Other cornerstone BBC shows such as Blue Peter and Tomorrow’s World were also beneficiaries of the Workshop’s creativity.

The Workshop was originally created in 1958, tasked with adding an extra dimension to plays and other shows on Radio 3. Co-founders Daphne Oram and Desmond Briscoe were brilliant and high-minded, inspired by musique concrète – the style that asserted that raw, tape-recorded sound could be a kind of music. Before long a highly experimental, even fantastical means of composition was afoot, with lampshades being bashed to produce percussion, and long tape loops being carried along BBC corridors…

… The newly available software will cost £149, and is available from 19 February, though it will have an introductory price of £119 until 17 March.

(9) MEMORY LANE.

[Written by Cat Eldridge.]

February 19, 1960 The Twlight Zone episode “Elegy”

The time is the day after tomorrow. The place: a far corner of the universe. A cast of characters: three men lost amongst the stars. Three men sharing the common urgency of all men lost. They’re looking for home. And in a moment, they’ll find home; not a home that is a place to be seen, but a strange unexplainable experience to be felt. — opening narration

On this date sixty-five years ago, Twilight Zone’s “Elegy” aired for this first time. It was the twentieth episode of the first season and was written by Charles Beaumont who you might recognize as the screenwriter of 7 Faces of Dr. Lao. Beaumont would die at just 38 of unknown causes that were assumed to be neurological in nature. 

The cast for this SF Twilight Zone episode was Cecil Kellaway as Jeremy Wickwire, Jeff Morrow as Kurt Meyers, Kevin Hagen as Captain James Webber and Don Dubbins as Peter Kirby. These are not the names in the short story it come from in that, the caretaker of the cemetery and the most logical crewman are named Mr. Greypoole and Mr. Friden respectively. In the Twilight Zone script, their names are Jeremy Wickwire and Professor Kurt Meyers.

This episode was based on Beaumont’s short story “Elegy” published in Science Fiction Quarterly, May 1954.  It’s available for Subterranean Press on their website as an epub in The Carnival and Other Stories for just $6.99. 

(10) COMICS SECTION.

(11) URSA MAJOR AWARDS NOMINATIONS OPEN. The public is invited to submit Ursa Major Awards nominations through February 28.

More formally known as the Annual Anthropomorphic Literature and Arts Award, the Ursa Major Award is presented annually for excellence in the furry arts.

(12) PULL TO PUBLI$H. NPR heralds “Three Harry Potter fan fiction authors set to publish novels this summer”.

Fan fiction — the creation of unsanctioned, unofficially published, new works usually based on popular novels or films — was intentionally never mainstream.

There are the legal issues — copyright laws, intellectual property laws — of drawing from someone else’s creation, for one. Fan fiction authors also have historically considered their online arenas (Archive of Our Own, Fanfiction.net and others) more of a sandbox, a place to play with new ideas using characters and worlds people already know and love.

Take, for example, fan works imagining Harry Potter and friends in their 8th year at Hogwarts. Or pairing Draco Malfoy and Hermione Granger romantically — dubbed “Dramione” fan fiction.

But this summer and early fall will see the wide publication of three books by popular Dramione Harry Potter fan fiction authors: Rose in Chains by Julie Soto, Alchemised by SenLinYu and The Irresistible Urge to Fall for Your Enemy by Brigitte Knightley.

Soto’s romantic fantasy is a reworked version of her fan fiction The Auction, centered on a heroine who is sold to the highest bidder. SenLinYu’s debut fantasy about a woman with memory loss in a war-torn world is a revision of her popular Manacled. Brigitte Knightley’s debut novel, an enemies to lovers tale, is an original work….

….Most fan fiction authors don’t worry too much about how much of their work plays off a published author’s book or film because they are writing for personal fun, not for profit. Some works do get noticed by publishers who solicit these stories and help their authors rework them to distance them from their original: It’s called pull to publish.

Pull to publish isn’t a new concept, but writers and publishers say it’s a growing area. The idea of moving from fan fiction to traditional publishing used to be a virtual nonstarter, but stigmas around fan fiction are lifting.

“I know a fan fiction writer who pulled to publish in the early 2000s and then denied they’d ever written fan fiction,” said Stacey Lantagne, a copyright lawyer focusing on fan works and professor at Western New England University School of Law. “That was not a cool thing to say, not a cool thing to admit … so if you went looking for it, you’d have a really hard time identifying those authors because they just didn’t ever connect those two parts of their background.”

Lantagne says it appears that more fan fiction is being pulled to publish than a few years back, based on what she’s seeing in her work and because more people are talking about it openly, though it’s tough to track data on this area of publishing….

(13) LOOSER. “ChatGPT can now write erotica as OpenAI eases up on AI paternalism” says ArsTechnica. So do you feel better, or worse?

On Wednesday, OpenAI published the latest version of its “Model Spec,” a set of guidelines detailing how ChatGPT should behave and respond to user requests. The document reveals a notable shift in OpenAI’s content policies, particularly around “sensitive” content like erotica and gore—allowing this type of content to be generated without warnings in “appropriate contexts.”

The change in policy has been in the works since May 2024, when the original Model Spec document first mentioned that OpenAI was exploring “whether we can responsibly provide the ability to generate NSFW content in age-appropriate contexts through the API and ChatGPT.”

ChatGPT’s guidelines now state that that “erotica or gore” may now be generated, but only under specific circumstances. “The assistant should not generate erotica, depictions of illegal or non-consensual sexual activities, or extreme gore, except in scientific, historical, news, creative or other contexts where sensitive content is appropriate,” OpenAI writes. “This includes depictions in text, audio (e.g., erotic or violent visceral noises), or visual content.”…

(14) I TAKE IT BACK. [Item by SF Concatenation’s Jonathan Cowie.] The top universities in the world for retracting science are overwhelmingly Chinese says Nature.  

A first-of-its-kind analysis by Nature reveals which institutions are retraction hotspots.

Though I’m always mindful of the former Astronomer Royal, Prof Sir Martin Rees saying better good SF than bad science…

[Thanks to Teddy Harvia, Mike Kennedy, Andrew Porter, Mark Roth-Whitworth, John King Tarpinian, Chris Barkley, Cat Eldridge, SF Concatenation’s Jonathan Cowie, Steven French, and Kathy Sullivan for some of these stories. Title credit belongs to File 770 contributing editor of the day Daniel Dern.]

45th Los Angeles Times Book Prize Finalists

The shortlists for the Los Angeles Times Book Prizes have been revealed.

Finalists of genre interest are shown below. The complete list is here

AUDIOBOOK

  • George Orwell’s 1984: An Audible Original adaptation. Narrators: Andrew Garfield, Cynthia Erivo, Andrew Scott, Tom Hardy, Chukwudi Iwuji, Romesh Ranganathan, Natasia Demetriou, Francesca Mills, Alex Lawther, Katie Leung, Producers: Chris Jones, Mariele Runacre-Temple, Robin Morgan-Bentley, Nathan Freeman

SCI-FI/FANTASY

  • The Naming Song by Jedediah Berry (Tor Books)
  • Absolution: A Southern Reach Novel by Jeff VanderMeer (MCD)
  • The Bright Sword: A Novel of King Arthur by Lev Grossman (Viking)
  • The City in Glass by Nghi Vo (Tordotcom)
  • The Book of Love: A Novel by Kelly Link (Random House)

The Sci-Fi/Fantasy category judges are Maurice Broaddus, Craig Laurance Gidney, and Lucy A. Snyder.

Prix Bob Morane 2025 Finalists

The 2025 Prix Bob Morane shortlist was announced on February 18.

The Prix Bob Morane is a French literary prize named for a fictional adventurer created by Belgian writer Henri Vernes in the 1950s. 

ROMANS FRANCOPHONES / FRENCH NOVELS

  • Cyril Carrère: La colère d’Izanagi, Denoel
  • Michael Fenris: Projet Aurora 2142, Des livres et du rêve
  • Karine Giebel: Et chaque fois, mourir un peu (1 et 2), Récamier
  • Franck Thilliez: Norferville, Fleuve noir

ROMANS TRADUITS / TRANSLATED NOVELS

  • Sarah Bailey: La colocataire, Mera Editions (Translated by Anna Durand)
  • S.A. Cosby: Le sang des innocents, Sonatine (Translated by Pierre Szczenier)
  • Delilah S. Dawson: Délivrées, Sonatine (Translated by Karine Lalechère)
  • Claire Kells: Évanouis dans la nature, Alter Real (Translated by Julie Nicey)
  • Barbara Kingsolver: On m’appelle Demon Copperhead, Albin Michel (Translated by Martine Aubert)
  • Gillian McAllister: Après minuit, Sonatine (Translated by Clément Baude)
  • Simon Mockler: Projet Iceworm, Belfond (Translated by Chloé Royer)

NOUVELLES / SHORT STORIES

  • Bernard Minier: Les chats et 14 histoires mystérieuses diaboliques cruelles, Pocket
  • Anthologie: Utopiales 2024, ActuSF
  • Jean-Philippe Jarowski: Les fauteurs d’ordre, Denoël

Pixel Scroll 2/18/25 You Can Pixel Your File, And You Can Pixel Your Nose, But You Can’t…

(1) A RECOMMENDATION. The Unofficial Hugo Book Club Blog has posted a review of Speculative Whiteness titled “The Nerd Reich”.

…[The sff] genre often portrays societies where eggheads and dweebs are central in the fate of society. Intellectual elites or highly skilled individuals dominate, reflecting a vision where scientific knowledge and technical prowess are the ultimate sources of power. It is not lost on us that these “nerds” are mostly depicted as male and white.

In his recent book Speculative Whiteness, Jordan S. Carroll tackles the problematic consequences of this legacy. The book traces a history of the ways in which the genre was and continues to be co-opted by the alt-right.

It’s an excellent work, and probably the most important book about science fiction written this year….

The cover price is just $20, however, its publisher, the University of Minnesota Press, has made the entire book available to read online for free here. This is UMP’s description of Speculative Whiteness:

Fascists such as Richard Spencer interpret science fiction films and literature as saying only white men have the imagination required to invent a high-tech future. Other white nationalists envision racist utopias filled with Aryan supermen and all-white space colonies. Speculative Whiteness traces these ideas through the entangled histories of science fiction culture and white supremacist politics, showing that debates about representation in science fiction films and literature are struggles over who has the right to imagine and inhabit the future. Although fascists insist that tomorrow belongs to them, they have always been and will continue to be contested by antifascist fans willing to fight for the future.

(2) REMAIN CALM. “’Doctor Who has not been shelved’ – BBC responds to rumours”Radio Times covers the official statement. And heck, I hadn’t even heard the rumor yet! (Probably because all of you are too smart to pass along links from The Sun.)

The BBC has assured Doctor Who fans that the sci-fi drama has not been cancelled, following an “incorrect” tabloid report.

The Sun stirred up concern that the long-running series was to go dormant again for between five and ten years, as it previously did after Sylvester McCoy’s final season – and once again after Paul McGann’s 1996 standalone film.

The speculation comes after perceived disappointment over Doctor Who season 14’s viewing figures, although the BBC and showrunner Russell T Davies have previously drawn attention to the show’s strong engagement from younger viewers.

The Sun’s anonymous source claimed that star Ncuti Gatwa was eyeing a move to Los Angeles to pursue Hollywood work – and that he had filmed a regeneration sequence for the end of the current run.

However, a spokesperson for Doctor Who commented: “This story is incorrect, Doctor Who has not been shelved. As we have previously stated, the decision on season 3 will be made after season 2 airs.

“The deal with Disney Plus was for 26 episodes – and exactly half of those still have to transmit. And as for the rest, we never comment on the Doctor and future storylines.”…

… Addressing the show’s ratings, Davies said last year: “In coming back, I wanted to make it simpler and I wanted to make it younger. Those two things are often not discussed – you read reactions to it and people are missing that.

“It’s simpler and younger – and it is working. The under-16s and the 16-34 audience as well is massive. It’s not doing that well in the ratings, but it is doing phenomenally well with the younger audience that we wanted.”

Doctor Who season 15 – also known as season 2 – is expected to premiere in May 2025, with Gatwa returning alongside Boom’s Varada Sethu as a new companion and former co-star Millie Gibson….

(3) THE BLACK FANTASTIC ONLINE PANEL IS TOMORROW. The Library of America will host an online event featuring Tananarive Due, Victor LaValle, Nana Kwame Adjei-Brenyah, and andré carrington, “The Black Fantastic: The New Wave of Afrofuturist Fiction Registration”, on Wednesday, February 19 from 6:00-7:00 p.m. Eastern.  RSVP at the link. Contribution to attend: $5 (can be applied toward purchase of The Black Fantastic or any other book on the LOA Web Store.)

A new wave of science fiction and fantasy by Black writers has burst onto the American literary scene in recent decades: tales of cosmic travel, vampires, and alternate timelines set in profound social and psychological orbits. Building on the legacy of titans Octavia E. Butler and Samuel R. Delany, these visionary writers root their imagination of other worlds in the multilayered realities of Black history and experience. 

Award-winning SF authors Tananarive Due, Victor LaValle, and Nana Kwame Adjei-Brenyah join andré carrington, editor of The Black Fantastic: 20 Afrofuturist Stories, for a conversation about genre, influence, and the fascinating and phantasmagoric universes conjured by these new voices on the vanguard of American fiction.  

(4) NESFA STORY CONTEST RESULTS. The 2024-2025 winners of the NESFA Short Story Contest were announced at Boskone 62 last weekend:

  • Winner: Hazel Milla from North Carolina for the story “Whom the Gods Wish to Destroy”
  • Runner-up: Michael Burianyk from Nice, France for the story “The Witches of Kyiv”
  • Runner-up: Bailey Maybray from Somerville, MA for the story “Hook, Line, and Clinker”
  • Runner-up: Brad Halverson of Utah for the story “Top Dog”
  • Honorable Mention: Veronika Majerová from Bratislava, Slovakia for the story “Sleepwalker’s Survival Guide”
  • Honorable Mention: E. R. Cook from Westminster, CO for the story “Metamorphi”
  • Honorable Mention: Jun Schultz of Cambridge, Massachusetts for the story “The Strid”

There were 45 entries in this year’s contest. The final judges were Jasper Fforde (B62 Guest of Honor), Kelley Armstrong (B62 Special Guest) and E. C. Ambrose (author and teacher).

(5) FUN WHILE IT LASTED. [Item by Steve Green.] The Hungry Hobbit, a Birmingham cafe neighbouring Sarehole Mill (inspiration for Tolkien’s ‘Shire’) was famously forced by New Line Cinema (producers of the Lord of the Rings movies) to change its name to the Hungry Hobb, even though ‘hobbit’ is apparently not a trademarked term. At some point, this was further shortened to the Hungry Hob, and now I learn the business closed in late October 2024. There was an announcement on Facebook, which I’m not on. A fried chicken outlet now occupies on the site.

(6) YOUNG EYEBALLS ON THE JOB. James Davis Nicoll recently had the Young People Read Old SFF panel react to Eleanor Arnason’s 1974 Nebula finalist The Warlord of Saturn’s Moons.

Warlord has been anthologized many times in the half century since it first saw print. I own it in three anthologies and one collection. No surprise. Rereading Warlord, I see themes relevant to the world in which we now live… as much as I might wish that were not the case. 

But will young eyes see the same story I do? Let’s find out!

(7) VAS YOU DERE? “Time-Tunneling Into a Different Brooklyn with Jonathan Lethem”, an audio interview at The City.

…Lethem digs into his reasons on re-reexamining the Brooklyn he wrote about 20 years earlier in The Fortress of Solitude, but doing so this time with the tools of a journalist including long interviews conducted amid the dislocation and isolation of the COVID lockdown, and much more:

One of the things I was really interested in was the idea of collective psychic experience, that that people go through things in a space together and then they don’t even know what part of it is really in their own head, and what was pushed in, stuck in there, from someone else. In a way, it is a typical New York thing. We were all there, right, when Mike Piazza hit the home run after 9/11? Every one of us, 9 million people were in the stadium that day. Well, we weren’t all there. We didn’t even all have the TV on. But somehow, retroactively, you fit yourself to this experience because it’s been had so intensely by other people that you’re confused about whether it was you or someone else who was there.

And this was true for me in exploring the myths of a neighborhood and the myths on the street: individual moments of violence or confrontation or trauma on the street like that day that this guy put this other guy in a head lock and then he pulled out a knife. Somehow, we were all on that street corner. “I saw it with my own eyes!” Well, that isn’t true. There wasn’t some, stadium full of people watching this thing.  It happened in a fugitive instant, but somehow we were all firsthand witnesses. So this idea that this transmission of mythic collective experience, this was a lot of what my questions for people were about: Did  something that we all remember really happen? And if so, who did it happen to? Maybe I was the victim or maybe I was just a bystander. I don’t know…

(8) TODAY’S BIRTHDAY.

[Written by Cat Eldridge.]

February 18, 1919  — Jack Palance. (Died 2006.)

Jack Palance in 1954.

Let’s talk about Jack Palance who was born of Ukrainian immigrant parents with name of Volodymyr Palahniuk. His professional surname was actually a derivative of his original name. While guesting on What’s My Line?, he noted that no one could pronounce his last name, and how it was suggested that he be called Palanski but instead that he decided just to use Palance instead. He didn’t say where his first name came from.

(OK nitpickers, I do not want to hear from you. Seriously, I don’t. His career makes a gaggle of overly catnapped kittens playing with skeins of yarn with lots of lanolin still on it look simple by comparison so I may or may not have knitted it properly here, so bear with my version of it.) 

Surprisingly it looks like that he got his start in our end of things in television performances and relatively late as they started in the Sixties with the first one being Jabberwock on a musical version of Alice Through the Looking Glass. I’m sure I want to see that as it had Jimmy Durante as Humpty Dumpty, and the Smothers Brothers as Tweedledee and Tweedledum. 

Next up was a Canadian production with him in the title role of The Strange Case of Dr. Jekyll and Mr. Hyde, and that in turn saw him being the lead in Dracula, also known as Bram Stoker’s Dracula and Dan Curtis’ Dracula, the last when the ego of the Director got way, way too big. 

Jack Palance as Dracula (1973)

I’m going to digress here because it’s so fascinating. In 1963, The Greatest Show on Earth first aired. This Circus drama had Johnny Slate as the big boss who keeps the circus running as it moves from town to town. It was produced by Desilu, the production company founded by Lucille Ball and Desi Arnaz, Sr. It lasted but one season as it was up against shows by Jack Benny and Richard Boone. 

A bit of hard SF was next, Cyborg 2, released in other countries as Glass Shadow, creative but terribly uninformative, where he’s Mercy, an old renegade cyborg. 

Rod Serling and Jack Palance in 1957

Remember my Birthday on the wonderful Carol Serling? Well, he was in The Twilight Zone: Rod Serling’s Lost Classics film that she made possible as Dr. Jeremy Wheaton in “Where the Dead Are”. 

If Treasure Island counts as genre and yes I do count it in my personal canon, then his role as Long John Silver is definitely canon. 

He got to play Ebenezer Scrooge in Ebenezer. Now the fun part is that it’s set in the Old West, where he is the most greedy, corrupt and mean-spirited crook in the old West obviously, he sees no value in “Holiday Humbug” by several reviewers. This film I went to look up on Rotten Tomatoes, but no rating there.

Not at all shockingly to me, he shows up on The Man from U.N.C.L.E. where he plays a character of Louis Strago in a two-parter “The Concrete Overcoat Affair” which got re-edited as “The Spy in the Green Hat”. 

A bit of horror was next in Tales of the Haunted as Stokes in “Evil Stalks This House” was up late in career.

Finally for roles that I’m reasonably sure were of genre interest, he was on Buck Rogers in the 25th Century as Kaleel in the “Planet of the Slave Girls” episode.

One more gig for him related to genre or at least genre adjacent, though not as a performer, but as the host of Ripley’s Believe It or Not! for four years. He had three different co-hosts from season to season, including his daughter, Holly Palance, actress Catherine Shirriff, and finally singer Marie Osmond. 

(9) COMICS SECTION.

(10) LITERARY TREASURES. “Joan Didion’s official archive is going on view at the New York Public Library next month” reports Gothamist.

The New York Public Library is opening up its archives of Joan Didion and her husband Gregory Dunne to the public beginning March 26.

The Library acquired the late writers’ archives in 2023, just over three years since Didion’s 2021 death at age 87. Dunne died in 2003, aged 71.

The dual collection comprises a total of 336 boxes “most of which have never been seen publicly” and which represents “the most comprehensive collection of the authors’ materials” according to the library’s announcement.

These materials feature a vast array of both professional and personal documents from the couples’ lives, including six decades of correspondence, hundreds of photographs and 26 screenplay drafts the pair worked on together. The 1971 film “The Panic in Needle Park” and 1976’s “A Star Is Born” are among them. Visitors will also find annotated typescripts from Didion’s political reporting in the 1980s and ‘90s, and reference material for her books “The Year of Magical Thinking” and “Blue Nights.”…

(11) PASSION FOR HIS CAREERS. “’No micro transactions, no bullshit’: Josef Fares on Split Fiction and the joy of co-op video games” in the Guardian.

There aren’t many video game developers as outspoken as Hazelight’s Josef Fares. Infamous for his expletive-laden viral rants at livestreamed awards shows, Fares is a refreshingly fiery and unpredictable voice in an all too corporate industry. As he puts it, “It doesn’t matter where I work or what I do, I will always say what I want. People say to me that that’s refreshing – but isn’t it weird that you cannot say what you think in interviews? Do we live in a fucking communist country? Obviously, you have got to respect certain boundaries, but to not even be able to express what you think personally about stuff? People are too afraid!”

Yet while gamers know him as a grinning chaos merchant and passionate ambassador of co-op gameplay, in Fares’ adopted homeland of Sweden, he is best known as an award-winning film director. His goofy 2000 comedy Jalla! Jalla! was a domestic box office success, while his 2005 drama Zozo was a more introspective work about his childhood experience of fleeing the Lebanese civil war…

… He soon took his evolving prototype to a respected game studio in Stockholm – Starbreeze. “They were like, ‘Well, maybe you can do this as a kind of test project.’ But I’m like, fuck a test, I’m going to do the whole thing!”

That passion fuelled a year and a half of intense work, with Brothers: A Tale of Two Sons being released in 2013. The co-op adventure about siblings embarking on a dangerous journey to find a cure for their sick father has now sold over 10m copies. Despite its success, many in Sweden were baffled by his artistic pivot, a transition for Fares that felt natural. “With movies, I came to a point where I felt that the passion really wasn’t there. Passion lead me to video games. It was very challenging being new in the industry and coming in with a different approach – wanting to create new mechanics. Today it’s different because [people] listen to me, but it was very hard in the beginning.”…

(12) A CULTURE WARRIOR MUSTERS OUT. Doris V. Sutherland has surprisingly devoted a full article to “The Brief Life of the Helicon Awards”. I say “surprisingly” because this was simply an award made up by Richard Paolinelli so he could give it to friends and authors he wanted to ingratiate himself with. (And that worked, because writers can’t resist anything labeled an “award” — David Weber thanked him online for his.) I have followed the Helicon Awards from start to finish – Paolinelli says it is being retired this year — and did not think its pretentions were even worth making fun of anymore. But fine minds can differ…

…Even the names chosen for some of the award categories serve as battle-standards for the culture war. The original Helicon category line-up included a Laura Ingalls Wilder New Author Award, a Melvil Dewey Innovation Award and Frank Herbert Lifetime Achievement Award.

For context, in 2018 the US Association for Library Service to Children removed Laura Ingalls Wilder’s name from an award for children’s literature in response to a controversy regarding racial attitudes in her writing, while 2019 saw Melvil Dewey’s name stricken from an American Library Association award over his history of racism, antisemitism and sexual harassment. (The Frank Herbert Award would appear to be the odd-one-out, as I’m not aware of Herbert having been particularly controversial circa 2019.)

In 2020, after Worldcon’s John W. Campbell Award for Best New Writer was renamed (again, because of its namesake’s racist attitudes) the Helicon Society introduced the John W. Campbell Diversity in SFF Award. This was around for three years, the winners being Larry Correia (founder of the Sad Puppies), Orson Scott Card (controversial for his homophobia) and J. K. Rowling (no introduction needed). When the category was retired, Paolinelli admitted on his blog that it served as a “trolling the SJWs award”….

(13) RETURN ADDRESSEE UNKNOWN. [Item by Steven French.] Another argument for why Oumuamua was (most likely) not an alien spacecraft. “Many stars could have sent us ‘Oumuamua” reports Phys.Org. And here’s the take-home message:

Interstellar space may therefore be full of dagger-shaped shards of rock and ice (an exaggeration, but a fun quote for dinner parties nonetheless).

(14) DOOM UNSCREWED. WE HOPE. Animation World News introduces “’The Day the Earth Blew Up: A Looney Tunes Movie’ Official Trailer”.

Faced with a perilous mission to save the earth, Porky Pig and Daffy Duck eschew confidence… “How could we possibly screw this up?” How could they not? …

…In the brand-new 2D animated sci-fi buddy action comedy, Porky Pig and Daffy Duck turn into unlikely heroes when their antics at the local bubble gum factory uncover a secret alien mind control plot. Against all odds, the two are determined to save their town (and the world!)… that is if they don’t drive each other crazy in the process….

[Thanks to Kathy Sullivan, Teddy Harvia, Mike Kennedy, Olav Rokne, Steve Green, Cathy Green, Steven Lee, Andrew Porter, John King Tarpinian, Chris Barkley, Cat Eldridge, SF Concatenation’s Jonathan Cowie, and Steven French for some of these stories. Title credit belongs to File 770 contributing editor of the day Olav Rokne.]

Arwen Joy GoodKnight (1972-2025)

By Bon Bergstrom GoodKnight: Arwen Joy GoodKnight was the daughter of Glen GoodKnight, founder of the Mythopoeic Society, and me, Bonnie Bergstrom; a humble autistic newbie to your world in 1968. As Glen was considered a person of true value by this community, our daughter was and is considered a person of interest. I am stepping up to the plate to share about us here. 

Our daughter’s life was cut short by a confluence of terrible circumstances on January 21, 2025, two weeks after our mutual home was utterly firestormed in Altadena. (The day after a certain inauguration we were demoralized by.)

Arwen was born to us on April 21, 1972, having skipped Hitler’s birthday by one day and having landed on the birthday of both John Muir and Queen Elizabeth II; not too shabby. We all went on to share a number of delightful experiences in that which we all call Fandom.

Arwen debuted in our community as one of two infants born the same day and were entered in the 1972 Westercon Masquerade as Romula and Rema, future founders of the Romulan Empire. A gentle German Shepherd served as Mother Wolf. (Richard Finder, daughter Ariel)

On her first birthday she found herself held in the kindly arms of DeForest Kelley at a Star Trek Convention in Los Angeles. I imagined dialogue…”Dammit Jim, I’m an Internist, not a Pediatrician!”

DeForest Kelley and Arwen. Photo and caption by Bon Bergstrom GoodKnight

Later that same day we teamed up with Arwen’s virtual God-Mom Sherwood Smith, a fan-friend since 1968, in line for the gigantic Equicon masquerade that was looming that evening. We won the Popular Vote award. Baby Arwen and I were slathered in lizard makeup, and Sherwood was our slavemaster, an aristocrat from an alien Star Trek planet. She had concocted some genius script out of her own head whilst waiting in line to go on stage. What a gal; she gladly designed and executed a number of courtly costumes for Arwen to wear at more than a few events.

Ultimately, Arwen didn’t feel cut out for our milieu, and decided to go her own way, into the fine arts. Music…Piano, Clarinet. Even played at Cello. Ceramics, painting, music theory. Music, arts, novels of contemporary popular culture. A cultural maven! Being born a self-starter like her father, she was able to facilitate her acceptance into such exalted places as Interlochen, teen classes at Art Center School of Design in Pasadena, Rhode Island School of Design. She had such power that I never understood. Far beyond anything I had never achieved. Uncanny child, not even a 4.0 GPA graduate. But then she was the daughter of the self-starter Glen GoodKnight.

As for the Rhode Island stint…we joked big time about how I prayed that she wouldn’t wake up some morning having sculpted the Horror in Clay. I kept a silly stuffed Cthulhu in our library as a touchstone.

Despite all, she became an accomplished…PASTRY CHEF. In Urban Boston. Grill 23 and Bar, right across from Boston Common from the State House. Where politcos, celebrities and even the Kennedys dined. The experience in ceramics translated to baking. Wow.

As for the rest….Arwen and her father shared an undiagnosed inheritable sleep disorder, a parasomnia. Sleep walking, sleeptalking, nightmares, insomnia. Edgar Allen Poe stuff. A tendency to self medicate with substances, tendency towards suicidality. No hint of any treatment plan, ever.

It contributed to loss of life. That is all I will say. Mental illness kills. Watch yours, please take care!!!

I thank the many of you fen for all the great times over the years; may we continue to experience all the goodness we have shared together! You have added to so much magic in my life, our lives.

Yours with love, Bon Bergstrom GoodKnight

Paul Weimer Review: Call Me Joe: Volume 1 of the Collected Short Works of Poul Anderson

The Collected Short Works of Poul Anderson. Volume 1: Call Me Joe. Edited by Rick Katze and Lis Carey. (NESFA Press, 2009)

By Paul Weimer: Call Me Joe by Poul Anderson strongly starts off a NESFA Press series of volumes covering the work of one of the key 20th century writers of Science Fiction, Poul Anderson.

In the introduction, co-editor Rick Katze, states “This is the first in a multi-volume collection of Poul Anderson stories. The stories are not in any discernible pattern”.  The pieces of fiction are an eclectic mix of early works in his oeuvre, mixed with poetry and verse that range across his entire career.

The table of contents can be found here.

The introduction is not quite correct, in that the reader can find resonances between stories, sometimes in stories that are consecutively presented. There are plenty of threads of SFnal goodness here, and a fan of Anderson and his Nordic viewpoint might call it a skein, a tangled skein of fictional ideas, themes, ideas and characters. The same introduction notes that a lot of the furniture of science fiction can be found in early forms here, as Anderson being one of those authors who have made them what they were for successive writers. In many cases, then, it is not the freshness of the ideas that one reads these stories for, but the deep writing, themes, characters and language that put Anderson in a class of his own.

The titular story, for example, “Call Me Joe”, leads off the volume. It is a story of virtual reality, or telepresence, in one of its earliest forms, about Man trying to reach and be part of a world he cannot otherwise interact with. Watchers of the movie Avatar will be immediately struck by the story and how much that movie relies on this story’s core assumptions and ideas. But the story is much more than the ideas. It’s about the poetry of Anderson’s writing. His main character, Anglesey, is physically challenged (sound familiar). But as a pseudojovian, he doesn’t have to be and he can experience a world unlike any on Earth:

Anglesey’s tone grew remote, as if he spoke to himself. “Imagine walking under a glowing violet sky, where great flashing clouds sweep the earth with shadow and rain strides beneath them. Imagine walking on the slopes of a mountain like polished metal, with a clean red flame exploding above you and thunder laughing in the ground. Imagine a cool wild stream, and low trees with dark coppery flowers, and a waterfall—methanefall, whatever you like—leaping off a cliff, and the strong live wind shakes its mane full of rainbows! Imagine a whole forest, dark and breathing, and here and there you glimpse a pale-red wavering will-o’-the-wisp, which is the life radiation of some fleet, shy animal, and…and…”

Anglesey croaked into silence. He stared down at his clenched fists then he closed his eyes tight and tears ran out between the lids, “Imagine being strong!”

Reader, I was moved. 

And that is really just the surface layer of the story. The story can be seen as a contemplation of what it means to be human. Is Joe human? And if not, why not? This is a philosophical argument that occurs both in the text of the story, and presented to the reader for them, to ponder, too. 

That’s only part of the genius of Anderson’s work shown here. Anderson has many strings in his harp and this volume plays many of those chords. And even here in Anderson’s earliest of stories, you can see the power and strength and evocation of his writing that draws me in as a reader. He’s not the stylist Zelazny could be, but Anderson may be very high A tier instead of S tier in that regard. 

There is the strong, dark tragedy of “The Man Who Came Early” which is in genre conversation with L. Sprague De Camp’s “Lest Darkness Fall” and shows an American soldier, circa 1943, thrown back to 11th century Iceland and, pace Martin Padway, doing rather badly in the Dark Ages. It’s a cautionary tale in an Andersonian mode, and possibly a “Take that” at De Camp. It’s interesting that the story is not told from the time traveler’s point of view, which colors and shapes the narrative in a nuanced and interesting way, giving it the feel of a legend. 

Poul Anderson is much better known for his future history that runs from the Polesotechnic League on through the Galactic Empire of Dominic Flandry, but this volume has three stories of his other future galactic civilization, where Wing Alak manages a much looser and less restrictive galactic polity, dealing with bellicose problems by rather clever and indirect means. In fact, the restrictions on him and his office and position mean that he absolutely can’t just shoot his way out of problems, be it trying to capture a fugitive on an alien planet, or keeping a planet from deciding to conquer a swath of a galaxy not really armed for war. It is interesting to compare him to his later creation of Flandry, and of the galactic Empire in his future history.

But the Empire in the Wing Arak stories is a going concern, loose and not very authoritarian (quite to the contrary) but it is not an empire on the way down. The classic Voltaire quote comes to mind:

“History is only the pattern of silken slippers descending the stairs to the thunder of hobnailed boots climbing upward from below.”

The Flandry novels and stories (of which there are none in this volume) are the story of Flandry trying to slow and manage the descent of stairs for the Galactic Empire. Flandry is trying to keep the descent down the stairs from being a neck-breaking fall. The Wing Arak stories are him keeping the Empire going up the steps.

And one could write a whole essay, or even a book on how Anderson views the cycles of Empires versus, say, Asimov. 

And then there are his time travel tales. “Time Patrol” introduces us to the entire Time Patrol cycle and Manse Everard’s first mission. I’ve read plenty of his stories over the years, but this first outing had escaped me, so it was a real delight to see “where it all began”. Wildcat has oil drillers in the Cretaceous and a slowly unfolding mystery that leads to a sting in the tail about the fragility of their society.  And then there is one of my favorite Poul Anderson stories, period, the poetic and tragic and moving “Flight to Forever”, with a one way trip to the future, with highs, lows, tragedies, loss and a sweeping look at man’s future. It still moves me. 

And space. Of course we go to space.  From the relativistic invasion of “Time-Lag” to the far future of “Starfog” and “The Sharing of Flesh”, Anderson was laying down his ideas on space opera and space adventure here in these early stories that still hold up today. “Time-Lag”’s slow burn of a captive who works to save her planet through cycles of invasion and attack, through the ultimate tragedy of “Starfog” as lost explorers from a far flung colony seek their home, to the “Sharing of Flesh”, which makes a strong point about assumptions in local cultures, and provides an anthropological mystery in the bargain. Those last two have been since retconned as being taking place long after the time of Dominic Flandry, but really, they stand alone in their own universes with no real connective tissue. 

“Kings Who Die” is an interesting bit of cat and mouse with a lot of double dealing espionage with a prisoner aboard a spacecraft.

Finally, I had known that Anderson was strongly into verse and poetry for years, but really had never encountered it in situ. This volume corrects that gap in my reading, with a variety of verse that is at turns, moving, poetic, and sometimes extremely funny. The placing of these bits of verse between the prose stories makes for excellent palette cleansers to not only show the range of Anderson’s work, but also clear the decks for the next story.

The last thing I should make clear for readers who might be wondering if this volume truly is for them is to go back to the beginning of this piece. This volume, and its subsequent volumes, are not a single or even multivolume “best of Poul Anderson”. This is a book, first in a series, is meant to be the best of the best of Poul Anderson. This makes it different than the  Zelazny volumes I reviewed in 2024 in this space, but doing it for Anderson rather than Zelazny. I do note that there isn’t a biography piece here as in the Zelazny pieces, and the lack of strict chronology means it feels less than a procession and journey through Anderson’s work (as the Zelazny volumes did) and more of a succession of sipping at the well of the waters of Anderson’s oeuvre. 

Anderson did write longer and more prolifically than Zelazny and I will be curious as to what stories are included and what stories wind up not making the cut in these volumes. I’ve read a fair amount of Anderson, and it will be interesting what editorial choices are ultimately made in these books. 

This is not the book or even a series to pick up if you just want the best of the best of a seminal writer of 20th century science fiction. This volume (and I strongly suspect the subsequent ones) is the volume you want if you want to start a deep dive into his works in all their myriad and many forms. There is a fair amount from the end of the Pulp Era here, and for me it was not all of the same quality. I think all of the stories are worthy but some show they are early in his career, and his craft does and will improve from this point.  While for me stories like the titular “Call me Joe”, “Flight to Forever”, “The Man Who Came Early”, and the devastating “Prophecy” are among my favorite Poul Anderson stories, the very best of Poul Anderson is yet to come.

Pixel Scroll 2/17/25 We All Need Somebody To Scroll On

(1) DOCTOR WHO EARLY DAYS. Charlie Jane Anders’ recent Happy Dancing newsletter, titled “Hope Is Important, But So Is Curiosity”, shares some discoveries made while reading The Doctor Who Production Diary: The Hartnell Years by David Brunt.

…Brunt managed to get access to all the paperwork on the making of Doctor Who from 1963 to 1966, the earliest years when people endlessly debated whether the show could last another 13 weeks or just be canceled immediately.

I’ve just been reading about the turmoil the Doctor Who team went through in 1964, around the time they were making “The Dalek Invasion of Earth.” This is a super important story, because it’s where the Daleks really cement themselves as epic villains — but also because it sees the show’s first departure: the Doctor’s granddaughter Susan leaves the ship, not entirely by choice.

I had never known that Terry Nation, the story’s writer, had included a new character in “The Dalek Invasion of Earth” to replace Susan aboard the TARDIS. This would have been Saida, “a beautiful Anglo-Indian girl, who will eventually replace Susan.” At the end of the story, in Nation’s original scripts, the Doctor leaves Susan behind on Earth, only to be startled to find “a bright and smiling Saida” has snuck aboard the TARDIS. Imagine if Doctor Who had introduced its first BIPOC companion, over forty years before Martha Jones. Alas, the character of Saida was aged up and turned into a white woman named Jenny, who does not join the TARDIS crew after all.

Also, around that same time, William Hartnell, William Russell and Jacqueline Hill were all asking for money — and there was talk about either canceling the show or writing Ian and Barbara in the same episode as Susan. One BBC higher-up even suggested putting the show on a short hiatus and replacing the entire cast, including Hartnell, with new actors. This doesn’t seem to have gone far, but it still boggles the mind. Would the Doctor have regenerated in 1964, two years early? Or would they have found another way to recast the role? It’s hard to imagine.

I clicked the link to the book and found more things you will discover in it:

  • Which future Doctor Who scriptwriter was the first person approached to write for the series?
  • How major was the overhaul to the BBC Drama Department under Sydney Newman in 1963, and who first suggested the idea before he even joined the BBC?
  • How did the series manage to get made, when several people inside the BBC tried to get it cancelled before it even went into production?
  • How many people turned down the offer of becoming the series’ producer before Verity Lambert was hired?
  • How long before he appeared as Steven Taylor was Peter Purves contracted for the role?
  • Was Vicki going to appear in ‘The Daleks’ Master Plan’?
  • Was Katarina originally going to survive that same story?
  • When was Vicki planned to be burned as a witch?
  • Was Anne Chaplet going to appear in ‘The Celestial Toymaker’?
  • On what date was it first decided to write out William Hartnell as the Doctor?
  • Exactly when was Patrick Troughton contracted to replace him?

(2) MELBOURNE CLUB FINDS NEW MEETING PLACE. Melbourne Science Fiction Club President Alison Barton delivered “Some exciting news for the MSFC” to the group on Facebook today.

We are moving to a new home soon!

As regular members and readers will know, the MSFC was forced to move from its much beloved West Brunswick location about 10 years ago. At the time the (quite extensive) library went into storage, an arrangement which we thought would be temporary. Finding a venue that was willing to home us *and* the library proved to be much more difficult than imagined however. The library has often been a focal point for members, both socially, but also in that “Hey wow, I’ve been wanting to read the final volume in this series for years, but it’s out of print everywhere!” kind of way.

With much thanks to Terencio (whom some might recall as our trivia master extraordinaire of some year), we have settled on a deal with a new location that will enable us to bring the whole library out of storage once more. I’m sure this will be welcome news to many.

Not wanting to leave the library in ‘limbo’ has been one of the reasons I have continued on as President of the club for such a long time, but as mentioned above, I didn’t think it would take quite this long. I announced at last year’s AGM that I would be stepping down at this year’s AGM (which will be held in July), as I need to focus more time on other things. I was a little sad that I might be stepping down before we accomplished this particular goal, so I am very very pleased to know that by the time I leave the library will be in full swing once more.

Please stay tuned for further information about the new venue address and meeting dates. Until we get everything finalised we will continue to meet at St Augustine’s Church Hall, 100 Sydney Rd, Coburg on the third Friday of each month so please keep watching for announcements so that you don’t turn up at the wrong place sometime.

(3) SEATTLE 2025 RATE HIKE MARCH 1. Adult attending membership rates for Seattle Worldcon 2025 are set to increase by $30 on March 1, to a total of $280 ($50 WSFS membership + $230 attending supplement).

Full registration information and a link to the registration portal can be found on the membership page on their website.

(4) SEATTLE 2025 COMMUNITY FUND. Seattle Worldcon 2025 has completed the first round of grants from their Community Fund which offers eligible people memberships and financial stipends to help defray the expenses of attending this year’s Worldcon.

Their news release also said:

If you have applied and haven’t yet been awarded a grant, you are still in consideration for future rounds. The next round of grants will be awarded in March.

We are still accepting applications. You can find details about our focus groups and the application link on our Community Fund web page.

In order to help as many fans as possible attend the event from the Pacific Northwest and around the world, the community fund is still accepting tax deductible donations. You can donate when you register, or by this direct donation link. Thank you to everyone who has donated so far. You are making a difference!

(5) FURTHER REPLY BY DANIEL GREENE. While Naomi King’s YouTube videos charging Daniel Greene with sexual assault have been taken down, Greene has used his archival copies of some of her videos to produce another denial titled “Proving Naomi King Lied With Their Own Words”.

(6) FILMGOERS ASSEMBLE. Apparently, somebody’s surprised. The New York Times reports “Marvel’s New ‘Captain America’ Is No. 1, Despite a Backlash and Poor Reviews”. (Behind a paywall.)

So Disney slowed the pace. Last year, Marvel released one movie (the megasuccessful “Deadpool & Wolverine”) and two Disney+ series. To compare, in 2021 Marvel churned out four movies (with mixed results) and five Disney+ series.

Factory problem fixed?

Maybe: Marvel’s “Captain America: Brave New World” was a runaway No. 1 at the global box office over the weekend. The movie, which cost at least $300 million to make and market worldwide, was on pace to sell roughly $100 million in tickets from Thursday through Monday in the United States and Canada, according to Comscore, which compiles box office data. Moviegoers overseas were poised to chip in another $92 million or so.

Maybe not: “Brave New World” received the Marvel Cinematic Universe’s lowest-ever grade (B-minus) from ticket buyers in CinemaScore exit polls. Reviews were only 50 percent positive, according to Rotten Tomatoes, which resulted in a “rotten” rating from the site. Just two Marvel movies rank lower on the Rotten Tomatoes meter, and both quickly ran out of box office steam after No. 1 starts that were driven by die-hard fans and marketing bombast.

“Brave New World” outperformed analyst expectations amid a racist backlash from some internet users and right-wing pundits, who criticized Marvel’s decision to refresh the “Captain America” franchise by giving the title role to a Black actor. (A “D.E.I. hire,” they maintained in numerous X posts, a reference to diversity, equity and inclusion initiatives.) Anthony Mackie, who took over the character from Chris Evans, also came under attack as “anti-American” for a comment he made while promoting the film overseas….

 (7) TODAY’S BIRTHDAY.

[Written by Paul Weimer.]

February 17, 1912Andre Norton. (Died 2005.)

By Paul Weimer: I blame my own eagerness to get to the adult’s book as the reason why I neglected reading Andre Norton for a long long time. 

Back in the days of yesteryear, when I first got a library card, I was always clamoring to be allowed out of the children’s section and to be able to get into the adult section. I made such a racket about it that my parents and the librarian consented, and so for years, I went to the adult section of the New Dorp Public Library and left the children’s section behind.

As a result, a number of genre books and entire authors were missed by me. I didn’t read most of the Heinlein juveniles for years, because they were, unbeknownst by me, in the children’s section, and once I had gotten out of that small section of the library, I was not going to go back. 

And so, too, Andre Norton. 

So I did not come to Andre Norton as a teenager, it wasn’t until I was an adult, and kept hearing her name and seeing references to her work that I started picking it up and reading it. The Time Traders was in retrospect a great place for me to start her work, because it let me scratch my love of history at the same time. So I hunted her work. 

I picked up Star Man’s Son 2250 AD, which was actually in the adult section, because of the title, and the image of this poor guy pushing a raft. How could I not want to know what had happened to the world to reduce it to its parlous state? I found it an amazingly detailed, immersive and striking post-apocalyptic story with mutants, a clan looking to claw its way back to prominence and power with the ruined remnants of the old, implacable foes, and a big cat companion all in the bargain. 

I read a fair swath of Norton’s novels at that point, enjoying her characters, her worlds, and her ideas (even as recently as a couple of years ago, I am still catching up on her oeuvre now and again to try and plug the gaps. 

But the novel that remains with me the most is not a science fiction, or time travel, or fantasy, or post apocalyptic novel at all. And no, not even the expansive and sprawling Witch World novels, which are cromulent science fantasy fun (we all know my love of that subgenre by now, yes?) No, in the heady days of the early 1990’s when I was branching out into historical fiction, sometimes with some fantasy (hello Judith Tarr), it was a historical fictional fantasy novel that poleaxed me in a good way.

I think my interest in the Roman Empire (in a non ironic way, I do think about the Roman Empire frequently) helped fuel my interest (especially the striking cover) of Norton’s co-written Empire of The Eagle novel . I didn’t realize it was one of a series, because the story is so expansive in its self containment. Quintus is a tribune of the empire in the mid 40’s BC.  He goes off with the army of Crassus to fight the Parthians. If you know your history, you know that army got pummeled at Carrhae and the army destroyed and Crassus killed. But was that the entire story?  Norton invents a march of the survivors far to the east, to China, and a new life for the remnant soldiers. Quintus wants to regain the lost Eagle, but in the meantime he and his comrades need to make a new life impossibly far away from Rome, and deal with the dangers and problems there, including a dread sorcerer. There is magic, a reincarnation romance, and a lot of historical detail, and it wasn’t until I encountered Howard Lamb that I encountered any historical fiction set in this fascinating area. (I would many years later get Historical Atlases of Central Asia and trace Quintus adventures).  

Ave Atque Vale, Andre Norton.

Andre Norton

(8) MEMORY LANE.

[Written by Paul Weimer.]

February 17, 1989Bill and Ted’s Excellent Adventure released

By Paul Weimer: I admit to having slept on Bill and Ted’s Excellent Adventure when it came out in the theaters back in 1989. That was senior year in High School and I had other concerns on my mind at the time that winter.  So it was not until many years later and DVDs became a thing that I was even tempted to try and catch up on it. 

And the reason why I did wasn’t even the original movie, but the sequel, Bill and Ted’s Bogus Journey.  A friend of mine told me that, despite all appearances, Bogus Journey actually showed some clever use and thought in time travel, doing the things that you wondered why people with time machines never thought to do, especially in the middle of conflicts and fights.  So I dutifully put in both movies into my Netflix queue and watched both back-to-back. The fact I was living in California at the time only added to the surrealism of watching these two Southern California slackers be seemingly the basis of future society was all the more surreal for me as a viewer. 

Also, this was after The Matrix, so I was, in effect, looking back at the early work of Keanu Reeves that I had missed in the process. Whoa, right?

I found Bill and Ted’s Excellent Adventure to be a lighthearted and extremely funny comedy that never takes itself too seriously, but its inclusive message is one solely needed in this day and age.  It wasn’t high art in the least, but the sight gags, the purposefully caricatured portrayals of historical figures, to comedic effect (Napoleon at Waterloo!) and the sense of fun the entire cast was having meant that I watched both movies a couple of times over before returning them.  And I kept renting it again and again every couple of years. There is a weird innocent magic to the movie (the sequel is very good but a slightly different kettle of fish) that makes me think of movies like Time Bandits, except for a slightly older target audience. 

Bill and Ted’s Excellent Adventure is coming to Prime in a couple of weeks as of the time of the writing of this.  I think a rewatch is in order, don’t you?

(9) COMICS SECTION.

(10) WEDNESDAY’S CHIA. Why yes, this is a real product, hard as it is to believe: “Addams Family Wednesday Chia Pet®”.

(11) TOO CLOSE FOR COMFORT? [Item by SF Concatenation’s Jonathan Cowie.] A recent issue of Nature’s cover story looks at asteroid detection and how it’s improving. Bruce Willis would be impressed… “Sight Unseen”.

The detection and monitoring of asteroids is key to protecting Earth from impacts. Large bodies (1 kilometre or more) in the main asteroid belt are relatively easy to spot and monitor but smaller objects (those down to 10 metres in diameter), which have the potential to move closer to Earth more frequently, are far more elusive. In this week’s issue Artem Burdanov, Julien de Wit and colleagues report the detection of 138 small asteroids in the main belt that were previously invisible to standard detection methods. The researchers made use of the JWST’s infrared capabilities that, when combined with synthetic tracking techniques such as merging multiple images, allowed them to spot the unidentified asteroids. The team suggests the JWST’s ability to monitor and study objects that have the potential to strike Earth, such as asteroid 2024 YR4, could make it an important part of future planetary-defence efforts.

The primary research is here

What they have observed is a distribution of a range of asteroid sizes.  All fair enough, but there is an apparent break in sizes at those with a diameter of about 100 metres. This, the researchers say, is suggestive of “a population driven by collisional cascade”.

(12) HELP WANTED. And as a result of such information as that in the previous item, the Guardian reports, “China opens recruitment for ‘planetary defence force’ amid fears of asteroid hitting Earth”.

China has begun recruiting for a planetary defence force after risk assessments determined that an asteroid could conceivably hit Earth in 2032.

Job ads posted online by China’s State Administration of Science, Technology and Industry for National Defence (SASTIND) this week, sought young loyal graduates focused on aerospace engineering, international cooperation and asteroid detection.

The recruitment drive comes amid increasing focus on an asteroid with a low – but growing – likelihood of hitting earth in seven years. The 2024 YR4 asteroid is at the top of the European and US space agencies’ risk lists, and last week analysts increased their probability assessment of it hitting Earth from 1.3% to 2.2%. The UN’s Space Mission Planning Advisory Group, comprising countries with space programs including China, have been meeting regularly to discuss a response.

The ads, posted to WeChat earlier this week, listed 16 job vacancies at SASTIND, including three for a new “planetary defence force”. They invited applications from recent graduates aged under 35, with professional and technical qualifications and “a firm political stance” supporting the Chinese Communist party and an ideology aligned with its leader, Xi Jinping…

(13) GIVE A DOG A BAD NAME. Nature considers “From viral variants to devastating storms, how names shape the public’s reaction to science” in the What’s in a Name podcase.

Categorizing things is central to science. And there are dozens of systems scientists have created to name everything from the trenches on the sea bed to the stars in the sky.

But names have consequences. In our series What’s in a name we explore naming in science and how names impact the world — whether the system of naming species remains in step with society, how the names of diseases can create stigma, or even how the names of scientific concepts can drive the direction of research itself.

In episode two, we’re looking at how the names chosen by scientists help, or hinder, communication with the public.

Well chosen names can quickly convey scientific concepts or health messages — in emergency situations they can even save lives. We’ll hear how the systems of naming tropical storms and Covid-19 variants came to be, and how they took different approaches to achieve the same outcome.

We’ll also consider the language used to talk about climate change, and how the ways of describing it have been used to deliberately introduce uncertainty and confusion….

(14) YOUR CELESTIAL CALENDAR. The Late Night With Seth Myers host is watching the skies, and shares what he expects to see this year in “Seth Lays Out 2025’s Major Astronomical Events”. Many of these will be really happening. Some are facetious….

(15) VIDEO OF THE DAY. “David Tennant on playing an evil character in Jessica Jones and geeks out on Doctor Who” on YouTube.

David Tennant rolls the BAFTA dice to break down some of the iconic characters he’s played so far in his career including the Doctor in Doctor Who, The Purple Man in Jessica Jones and Alec Hardy in Broadchurch as well as … himself.. David looks back on how his acting methodology has evolved, which of his characters would vibe the most together and develops a brand new Pet Detective TV show (reluctantly) featuring Michael Sheen.

[Thanks to Steven French, Kathy Sullivan, Teddy Harvia, Mike Kennedy, Andrew Porter, John King Tarpinian, Chris Barkley, Cat Eldridge, and SF Concatenation’s Jonathan Cowie for some of these stories. Title credit belongs to File 770 contributing editor of the day Steve Davidson.]

2025 Worldcon Picks Virtual Business Meeting Platform

Seattle Worldcon 2025, which announced in December that virtual Business Meetings for the first time ever will replace the at-con meeting, today revealed what virtual platform provider they will be using.  They have selected Lumi Global.

Seattle still has not shared with Worldcon members what the procedures will be for them to access and use the platform, only saying “We will host a practice session at a time and date to be announced to help the community get to know Lumi’s platform”.

The dates of the virtual Business Meetings were already announced in December.

  • Friday, July 4, 9 a.m.–12:30 p.m., Pacific Daylight Time (UTC-7)
  • Sunday, July 13, 9 a.m.–12:30 p.m., Pacific Daylight Time (UTC-7)
  • Saturday, July 19, 9 a.m.–12:30 p.m., Pacific Daylight Time (UTC-7)
  • Friday, July 25, 9 a.m.–12:30 p.m., Pacific Daylight Time (UTC-7)

The committee says these meetings will run for up to three-and-a-half hours each.

The Business Meeting agenda will be released after the submission deadline of June 4, 2025.

Barkley — So Glad You (Didn’t) Ask #95, A Column of Unsolicited Opinions

Movie Poster, Disney Studios

CAPTAIN AMERICA: BRAVE NEW WORLD, A (SOMEWHAT SPOILERY) REVIEW

By Chris M. Barkley:

Captain America: New World Order (***1/2, 118 minutes) with Anthony Mackie, Danny Ramirez, Carl Lumby, Liv Tyler, Shira Haas, Giancarlo Esposito, Xosha Roquemore, Tim Blake Nelson and Harrison Ford. Screenplay by Rob Edwards, Malcolm Spellman, Dalan Musson, Peter Glanz and Julius Ohna, Directed by Juluis Onah. 

Bechdel Test: Fail.


Captain America: Brave New World, is the thirty-fifth (!) installment of the Marvel Cinematic Universe and the first of three releases this year, the others being Thunderbolts* (in May) and The Fantastic Four (its working title at the moment: “First Steps”) in July.

If you are a fan of the MCU, there is nothing I can say (or write) that will deter you from seeing this film.

And I will say, as a fan myself, I wholeheartedly support you spending your precious time and hard earned cash seeing Captain America: Brave New World because I enjoyed the hell out of it and look forward to seeing it in a theater again, and soon.

But, some naysayers will inevitably ask, what about the onset of ‘superhero fatigue’? Aren’t there ENOUGH comic book influenced films and TV shows already? When will the faucet twist shut on bing-bam-boom special effects laden epics?

And I readily acknowledge that I’ve had those feelings myself in the past few years. In fact, after reading that there were MCU films planned up to the year 2032 (!) I was hoping that Marvel CEO Kevin Feige was actively thinking about how this particular saga will end before the market for superhero films bottoms out like westerns and film noirs did at one point in the previous century.

But, let’s face it, this genre of films will last as long as they make money and captivate the audience they were intended for.

As I am writing this review, I looked at how much money the MCU has grossed since Iron Man debuted in 2008.

After the release of Deadpool and Wolverine last year, the total stands in excess of over 31 BILLION dollars.

As of Saturday evening as I write this review, Captain America: Brave New World is projected to earn 87-90 million dollars in its initial four day run. 

So the answer, at least at the moment, is that Marvel/Disney will be producing these films for the foreseeable future.

This begs the question, is CA: Brave New World a good film? 

The answer is no, it is not a good film.

It is a nearly GREAT film with a caveat, which I will explain towards the end of this review.  

Why is it a great film? 

Because to those of us who have watched the previous thirty-four films know, like those who regularly follow shows like Bridgerton, The Traitors, NCIS (any variant) The Bear, Yellowstone, Abbott Elementary, Ric & Morty, etc, are heavily invested in the disposition and well being of imaginary characters. And furthermore, we want to know how they will react to or endure as twisty plots and various situations are constantly thrown at them. 

And, speaking for myself, Brave New World is a surprisingly effective paranoid political thriller (and strongly in the vein of a previous entry, 2014’s Captain America: The Winter Soldier) that stepped on the gas from the start and had me pinned back to my theater seat for nearly two hours…

 When we last saw Sam Wilson (Anthony Mackie) at the end of the 2021 Marvel mini-series The Falcon and the Winter Soldier, he had just come to terms in accepting the iconic role of Captain America from his predecessor, Steve Rogers (Chris Evans).

This newest film from the Marvel Cinematic Universe finds Sam begrudgingly accepted as the new Captain America by the new president of the United States, Thaddeus “Thunderbolt” Ross (Harrison Ford, reprising a role originated by the late William Hurt).

Fresh off an successful mission against an international terrorist group called the Serpent Society, Sam, accompanied by his partner Joaquin “Falcon” Torres (Danny Ramirez) and his mentor, ex-super soldier Isaiah Bradley (Carl Lumby) are invited to the White House reception that will announce an initiative to share in a new metal, adamantium, and wealth of knowledge found in the Celestial Tiamat, an alien artifact whose origins was recounted in the 2021 Marvel film, The Eternals

Danny Ramirez (L) and Anthony Mackie (R), Disney Studios

President Thaddeus Ross (Harrison Ford), the initiator of the treaty, also had an ulterior motive in having Sam present; he wants Sam to form a new group of Avengers to replace the recently disbanded group in an apparent attempt to protect America (mainly, it seems) from all enemies, foreign, domestic, and especially extraterrestrial. Naturally Sam is skeptical of Ross since he was one of the driving proponents of the Sokovia Accords, which regulated superhero activities to strict oversight by the United Nations or individual governments.

But Sam and Joaquin’s problems really begin when Bradley and three other members of the audience suddenly open fire on the assembled dignitaries and almost assassinate Ross and other world leaders. Ross’ security team, headed up by Secret Service agent Leila Taylor (Xosha Roquemore) and Ruth Bat-Seraph (Shira Haas), take Bradley and the others into custody and Ross pointedly warns Sam and Joaquin not to interfere with the investigation.

And since this is a Marvel movie, you know and I know this advice goes unheeded.

What they find is a nefarious web of deceit and treachery spearheaded by the head of the Serpent Society, Seth Voelker/Sidewinder (a deliciously relentless Giancarlo Esposito) and the mastermind who’s behind the carefully calculated plan of death and destruction, Samuel Sterns (an icy performance by Tim Blake Nelson), a diabolical biochemist who hasn’t been seen since the second MCU entry, The Incredible Hulk.

Critics have been giving Brave New World mixed reviews and, as a very biased observer, it’s easy to see why. Those negative reviews probably stem from the aforementioned “superhero fatigue” and seeing this effort as a “paint by numbers” affair.

When a film has five credited screenwriters (and three writers on story credit to boot), that’s usually a sign that it has too many creative cooks, notes from the producers and differing opinions on how the production is being executed.

And while I have heard there were rumors that Brave New World had a troubled production, I was very highly satisfied with Juluis Onah’s direction, the casting and acting, visual effects, sound and editing. When you notice flaws in those areas in the course of watching, you know you’re seeing a bad movie. As far as I’m concerned, that was not the case here.     

What these critics fail to see is that these films have a very deep, interconnective history that fans, such as myself, deeply appreciate. They think that trying to remember what happened in a certain instance five films ago paying off a current film years later as either confusing or, referred derisively as “homework”. Clearly, they are not the target audience for these movies.   

For instance, the Thaddeus Ross we see here is not the same character we last saw in Black Widow. (And I don’t mean him just losing the mustache for the role change). He’s been estranged from his daughter, Betty (Liv Tyler) and it shows, vividly. In previous appearances, Ross seems vulgar, abrupt, arrogant and very single minded in his pursuit and treatment of her ex-boyfriend, Bruce Banner.

Harrison Ford, Disney Studio

But here, as Harrison Ford, interprets Thaddeus Ross, he is clearly pining for the company and love of his daughter. And although all of these detrimental bad traits do show up during the course of the story, he’s clearly regretting some of his past actions and is trying to mitigate some of that by doing something uncharacteristic for him, trying to arrange a peaceful resolution to the international crisis the appearance of the Celestial Tiamat has caused. It’s really a fine thing to see an actor of Ford’s calibre struggling to balance his sorrow and anxieties while trying to mask those feelings, and his own secrets, while also trying to be tough and altruistic in equal measure. We’ll never know if the late William Hurt could have pulled off this role but Harrison Ford does, in spades.

Sam, too, has lingering doubts; the self doubt about whether or not he can keep those he cares about safe and his ability to grow into the incredibly daunting and symbolic role of Captain America, to be enough, for others and himself.       

If Brave New World has a flaw, it’s a pretty glaring one; once again, the primary women characters, specifically Ruth and Leila, are part of the action, but do not directly interact with each other in any meaningful way. If I could convey anything to Kevin Feige and the creative teams at Marvel putting together these movies is that it‘s not enough merely to show diversity and inclusion, it would be better if they ALL pass the Bechdel Test on an ongoing basis from here on in. (Because it cost Brave New World half a star in this review.)      

In the end, if the box office receipts of this offering from Marvel Studios do not match the stratospheric heights of some of the previous entries in the Marvel Cinematic Universe, future movies have been planned and scheduled for release.

And if movies start failing on a regular basis, Kevin Feige had better have a very clever exit strategy in place.

Will Captain America: Brave New World be the canary in the coal mine for the Marvel Cinematic Universe and superhero films in general?

Only time will tell. But I hope not. 

Because if the single teaser at the very end of the credits is a grim foreboding of the future events, I DEFINITELY want to see what happens next! 

I hope you do, too.