Motion to Extend Hugo Eligibility of Prospect

By Olav Rokne: Recently, JJ, Chris Barkley, and Kevin Standee helped me refine a motion that I intend to present at the next WSFS business meeting. The motion is in support of extending the eligibility of the movie Prospect, which was eligible for the 2019 nomination season, but was largely unavailable to most viewers until just over a month ago. It’s a low-budget SFF movie that I think really deserves attention from the fandom community. Getting this a Hugo nod would help it reach the wider audience that it thoroughly deserves. 

Here’s the motion: 


Short Title: Hugo Eligibility Extension for Prospect

Moved, to extend for one year the eligibility of the movie Prospect, based on limited availability, as authorized by Section 3.4.3 of the WSFS Constitution.

Proposed by: Olav Rokne, Marshall Boyd, Amanda Wakaruk, Chris M. Barkley

Commentary: The American film Prospect had its global premiere at the SXSW Film Festival in Austin, Texas on March 5, 2018. There were a very limited number of theatrical screenings in large American cities in November of 2018.

Prospect was released on video-on-demand and home media on March 8, 2019.

Due to its limited release in 2018 and early 2019, very few members of Worldcon 76 or Dublin 2019 had the opportunity to view the film before the deadline for nominating the 2019 Hugo Awards.


Hugo Awards Study Committee Report Online

The final Hugo Awards Study Committee Report is now online at the Worldcon 76 WSFS Business Meeting page along with the draft agenda for this year’s Business Meeting.

Committee chair Vincent Docherty says:

The committee got going much later than planned (entirely due to my own lack of time due to other commitments) but once we got started there was very energetic participation by the 20+ committee members. The report summarises the discussion and makes a number of recommendations, including four specific proposals which are on this year’s Business Meeting agenda (three updates to categories and continuation of the committee), as well as a number of topics for further discussion next year, assuming the committee is continued.

The committee welcomes feedback from interested fans. We’re aware of some online reaction to the specific proposals already, which might result in adjustments to the proposals when we get to the Business Meeting.

My thanks to the committee members for their work this year.

Direct link to the report: “2018 Report of the Hugo Awards Study Committee”

An excerpt from the overview of their recommendations —

…Understanding that the overall operation of the categories works well, the Committee found several places for improvement:

The Committee found that the present definitions in the Fan Artist/Professional Artist category were potentially problematic. The Fan Artist category was initially designed in 1967, seeking to honor those offering their artistic talents to the broader community of fandom for little or no compensation. Such contributions were often in the form of illustrations for fanzines and convention programs. In the last fifty years, however, the form that fandom has taken has changed, and the result is that the definition of Fan Artist was found to be outdated. This was given an extensive examination. The Committee also acknowledges that some further examination of the other fan/professional categories may be in order, and has proposed to carry forward at least one further change in this area.

The Committee found the term “Graphic Story” problematic. Just as “comic book” has come to be taken as including work not literally comic, “graphic story” has come to be taken as excluding work appearing in comic books or comic strips. The Committee proposes re-titling to “Best Graphic Story or Comic.”

The Committee feels that altering “Best Fancast” into a “Best Podcast” category and removing the restriction on eligible productions receiving money is desirable. Many podcasts generate income from either limited advertisements, tip jars, or other small streams of income. While these are often not sufficient to support someone making a living, the income can still be substantial. As also discussed in the context of the Fan/Professional Artist categories, the use of fixed income thresholds was also found to be problematic.

In addition to the Artist categories, the Committee gave some consideration to cases of category overlap and/or gaps in categories in general, and would propose to continue examining this both in the context of current and proposed awards. This arose, in particular, in discussions surrounding the future of Best Novel and the proposed Best Translated category.

The Committee also briefly considered several other questions, including how well the Hugo Awards have handled the digital/print divide and differences between how terms are used in an “industry” context in non-industry discourse (e.g. by Worldcon attendees/WSFS members who are giving the awards) and in the Hugo Award definitions themselves. Consideration of various such questions fed into the discussions on specific proposals.

The second question, ‘How well do the categories honor what we wish to honor?’, generated more questions for examination. Given the interaction of this question and the question of how many Hugo Awards should be awarded, most of these questions have been recommended for passage forward for further consideration in the next year. In particular:

A Best Translated category was proposed relatively late in the Committee’s deliberations. As a result, the Committee did not have the time to study this potential award in sufficient depth alongside the rest of its workload, and there were multiple ideas as to what form this category should take (e.g. whether it should be limited to novels, cover all written works) and, if recommended, whether the award in question should be a Hugo or a non-Hugo award given by Worldcons. In particular, the Committee proposes to examine whether such an award is presently feasible.

A potential reorganization of the Best Dramatic Presentation categories was considered, and has been proposed to be passed forward should the committee be continued. Multiple alternatives, including a possible addition of one (or more) categories and redefining the Long/Short division into a TV/Movie division, would be given consideration if the committee is reauthorized.

A readjustment of the Best Semiprozine and Best Editor categories has been proposed and will be considered if the Committee is reauthorized. In particular, the Committee feels that the nature of the internet may have reduced the advantage that professional magazines have over non-professional productions, and that allowing professional publications to compete in a “Best Magazine” category would allow them to once again be honored. The Committee also noted various complications with the Best Editor categories; several proposals, including a possible realignment into “Best Anthology” and “Best Imprint,” will be evaluated if we are authorized to do so….

The report advances three proposed changes, and recommends further study of four more:

Part II: Specific Proposals

(1) Proposed continuation of the Hugo Study Committee

(2) Proposed Changes to the Fancast Hugo Category (with slight changes to the Semiprozine and Fanzine categories to maintain consistency)

(3) Proposed Changes to the Professional Artist and Fan Artist Hugo Categories

(4) Proposed Changes to the Best Graphic Story Hugo Category

(5) Proposal Recommended for Further Study: Addition of a Best Translated Work Hugo Category

(6) Proposal Recommended for Further Study: Replacement of Semiprozine and Best Editor Hugo Categories with Professional Magazine, Anthology/Collection, and Publisher/Imprint

(7) Proposal Recommended for Further Study: Potential Alterations to Best Dramatic Presentation Hugo Categories

(8) Proposal Recommended for Further Study: Best Art Book and Alterations to Best Related Work

(9) Proposal Not Recommended for Further Consideration: Best Novel Split

[Thanks to Vincent Docherty for the story.]

Pixel Scroll 6/9/18 Scroll-The-Pooh Filed In A WordPress All By Himself Under The Name Of Pixel

(1) DAMES AND KNIGHTS. The Queen’s birthday honours list is out. The Guardian has the highlights likely to be of interest to Filers (although it does not cite any of the recipients’ genre credits).

The Queen’s birthday honours list, in which actor Emma Thompson was made a dame,…

Thompson, who is one of Britain’s best loved actors, has been made a dame, adding to a long list of awards including Oscars, Baftas, Golden Globes and Emmys.

…The damehood awarded to the classicist Mary Beard is likely to prove more popular. The Cambridge professor, author and TV presenter described it as a “smashing honour” and attributed it to growing interest in her field of work.

“I feel especially pleased that someone working on the ancient classical world gets honoured in this way,” she said. “I’d like to treat it as a bit of a tribute to the Greeks and Romans themselves, as well as to all my wonderful academic colleagues who also do so much for the study of antiquity.”

The actors Keira Knightley and Tom Hardy are awarded an OBE and CBE respectively.

The author Kazuo Ishiguro, whose works include The Remains of the Day, the film adaptation of which starred Thompson, is knighted for his services to literature. He said he was “deeply touched to receive this honour from the nation that welcomed me as a small foreign boy”.

(2) EPISODE HATE. The Late Show with Stephen Colbert concocted a hilarious “’Stars Wars’ Trailer To Piss Off Hateful Fanboys.” Starts around 2:20 of this video.

There’s a special new ‘Star Wars’ movie for all the angry fans whose racist, misogyny led ‘Last Jedi’ actress Kelly Marie Tran to leave Instagram.

 

(3) DRAGON CON TURNOVER. Early this month bloggers Francis Turner and Jon Del Arroz celebrated a Dragon Con staff firing, however, those searching for an objective explanation of what transpired had nowhere to turn until this week when Richard “Fife” Blaylock published two resignation statements on his blog, one by former Dragon Con Fantasy Literature Track director Charlotte Moore, and his own.

Moore committed what she terms “an error in judgment” in telling a ConCarolinas supporter and regular Dragon Con panelist his support of that convention made him “less welcome” by the Fantasy Literature Track. Dragon Con leadership considered that beyond her authority and a misrepresentation of the convention’s commitment to political neutrality. Almost concurrently,  Moore tweeted in support of a friend she saw being harassed in social media. Dragon Con leadership ultimately told Moore the appearance of the con’s neutrality was more important than these acts of conscience, and she was fired.

Moore initially put a farewell post on the Fantasy Literature at Dragon Con Facebook page, which was taken down by Facebook. It has been reposted to Blaylock’s blog. Here is an excerpt:

Hi, everyone. It’s Charlotte.

Effective immediately, I am no longer the Fantasy Literature Fan Track Director.

I apologize for the cryptic nature of what follows. I will, at my discretion and on a person-by-person basis, give details in private, or when plied by sufficient quantities of alcohol.

First:

I would like to thank Rachel Reeves and David Gordon for working with me to find an equitable resolution to some longstanding and, ultimately, insurmountable differences between my priorities and the convention’s.

I deeply regret that, in an effort to defend this community I love so much, I have, in moments of anger, occasionally overstepped my bounds, resorting to tactics that were unbecoming of me. My behavior has not consistently reflected the convention’s values—nor, in my better moments, mine.

While I do not regret, for one second, standing up to any person who, through their stories, statements, or behavior, threatens this community—or who, out of self-preservation, chooses not to see injustice and abuse—there are ways I might have done so without grabbing for low-hanging fruit.

Dragon Con strives to be apolitical. Perhaps that’s admirable (and perhaps it isn’t? I truly don’t know), but it strikes me that the most bombastic champions of this position are the ones most incensed by social justice, a phrase they sneer as a term of derision and ridicule.

I believe that Dragon Con’s heart is in the right place. I really do. They made it clear to me that they have no compunction with the fundamental nature of my values; that they welcome strong opinions among their track directors; and that they share a desire to create a diverse and safe environment.

They want everyone to have a seat at the table. Unfortunately, they also want everyone to have a seat at the table. And a table that seats abusers beside their abused is not, in fact, a table for all: “If you are neutral in situations of injustice, you have chosen the side of the oppressor.”

So. The convention and I are at an impasse. And perhaps it is best if Dragon Con finds a less vociferous replacement for me, though I regret that this must happen so close to this year’s event….

—Charlotte, who will miss you all very much.

Richard Blaylock, likewise, has quit the convention as he explains in “My Resignation from Dragon Con” (full statement at the link.)

The below is my resignation as Director’s Second of Fantasy Literature at Dragon Con, as I sent it in. For some quick context:

  • The prior director had acted out of line and was due some form of censure, along the lines of public apology and a warning to chill.
  • Instead of a transparent process, she was fired without being allowed to defend herself, and before she was even informed that she was being fired, they were soliciting potential new directors.
  • The “greater crime” for which she was fired was that she was vocally expressing that she would not provide a platform for bigotry and hate in her programming.

So, without further adieu, and with the intent to allow this to be shared easily across social media platforms (I’d already shared it on Facebook), my letter of resignation to Dragon Con:

To: Director, Fantasy Literature
CC: Sr. Director, Fan Track Operations; Dragon Con Board of Directors
Thank you for the opportunity to stay on as Director’s Second for Fantasy Literature. After a long time mulling it over, I regret to inform you that I cannot, in good conscience, continue on in this position.

While I do not agree with all of Prior Director Charlotte Moore’s means and methods, and I do feel she stepped out of line in her interaction with [guest name redacted] in specific, I cannot countenance the actions that have been taken—actions taken both by means of punishing her and of the convention making a political statement in her firing and its choice for her replacement.

I can appreciate that the convention doesn’t want to become accused of being a political entity for both legal and social reasons. But there is a false equivalency and a tone deafness in the convention claiming that bigotry and harassment is “just politics.” It is the paradox of tolerance that those who try to uphold absolute tolerance invite the absolutely intolerant. A political difference is how to provide health care, entitlements, and the size and role of government. It is not debating the fundamental humanness of those who are not white, heteronormative men.

A “Safe Space” is also a paradox. It is a place where those accepting of differences, willing to admit that all people have a fundamental equality, are welcome. It is not, in truth, “safe” for everyone, because it should be absolutely unwelcoming of bigots. By their fundamental nature, bigots make others unsafe. Fantasy Literature has, in the five years I’ve worked for it, always been a Safe Space, and I thought this was not just because of the actions of the director and her volunteers, but because senior convention leadership saw the value in this as well.

However, in its actions, Dragon Con has made the declaration that hate and bigotry are acceptable behaviors, and that the deluge of snide micro-aggressions that people of color, the differently-abled, women, and the LGBT community will suffer is an acceptable price for convention leadership to pay so they don’t have an angry, vocal, and harassing minority emailing them…..

Dragon Con prides itself on “running like a business.” I am sure that the mentality is you don’t care that a few offended attendees won’t come because of this decision; the numbers are still going up overall. On the whole, the masses don’t care.

But the thing is, the masses don’t care. Dragon Con could do the right thing, take a stand against bigotry and refuse to give it a platform, and you will only lose a minor handful of other bigots.

The masses don’t care. So it becomes such a puzzlement when the only action taken is to turn a blind eye and allow the tyranny of one minority over another so you don’t have to make a decision.

I have made my decision. I hope that you and others will come to see that it was correct one day.

Richard “Fife” Blaylock
Formerly Director’s Second, Fantasy Literature, Dragon Con

(4) ON THE OTHER SIDE OF THE WALL. Galactic Journey imported Cora Buhlert to 1963 where she discusses “[June 8, 1963] The Future in a Divided Land (An Overview of Science Fiction in East and West Germany) Part 1”.

…I am fortunate enough to live in West Germany and therefore the main focus of this article will be on West German science fiction. However, I will also take a look at what is going on in East Germany.

In the US and UK, science fiction is very much a magazine genre, even if paperback novels are playing an increasingly bigger role. In West Germany, there are a couple of science fiction publishers, such as the Balowa and Pfriem, which specialise in hardcovers aimed at the library market, as well as the paperback science fiction lines of Heyne, Fischer and Goldmann. The three paperback publishers focus mainly on translations, whereas the library publishers offer a mix of translations and works by German authors. Though Goldmann has recently started publishing some German language authors such as the promising new Austrian voice Herbert W. Franke in its science fiction paperback line.

However, the main medium for science fiction and indeed any kind of genre fiction in West Germany is still the so-called “Heftroman:” digest-sized 64-page fiction magazines that are sold at newsstands, gas stations, grocery stories and wherever magazines are sold. Whereas American and British science fiction magazines usually include several stories as well as articles, letter pages, etc…, a “Heftroman” contains only a single novel, technically a novella. “Heftromane” are the direct descendants of the American dime novel and the British penny dreadful – indeed, they are also referred to as “Groschenroman”, which is a literal translation of “dime novel”….

(5) TODAY IN HISTORY

  • June 9, 1790 — The first copyright for a book was given to The Philadelphia Spelling Book by John Barry.
  • June 9, 1934 —  Donald Duck made his debut in the cartoon “The Wise Little Hen”.
  • June 9, 1978 The Cat From Outer Space premiered theatrically
  • June 9, 1989 Star Trek V: The Final Frontier debuted on this day

(6) TODAY’S BIRTHDAYS

  • Born June 9, 1930 – Lin Carter
  • Born June 9, 1943 – Joe Haldeman
  • Born June 9, 1963 – David Koepp

(7) HUGO BALLOT PREVIEW. Nicholas Whyte groks “The 2018 Hugo finalists for Best Dramatic Presentation, Short Form”. At the top of his ballot —

1) Doctor Who: “Twice Upon a Time”

The Moffat era had its low points, but the return of the First Doctor for the Twelfth Doctor’s final story was not one of them. I actually thought that the 2018 season was Capaldi’s best in general, and would have rated a couple of the other episodes higher than this; but this one deserves its place on the ballot and gets my vote. Bonus points for having scenes set in Belgium.

(8) PIXAR PIONEER GOING. Yahoo! Entertainment says “Lasseter, Pixar co-founder, to step down at end of year”.

John Lasseter, the co-founder of Pixar Animation Studios and the Walt Disney Co.’s animation chief, will step down at the end of the year after acknowledging “missteps” in his behavior with staff members.

Disney announced Friday that Lasseter — one of the most illustrious and powerful figures in animation — will stay on through the end of 2018 as a consultant. After that he will depart Disney permanently.

Lasseter in November took what he called a six-month “sabbatical.” He apologized “to anyone who has ever been on the receiving end of an unwanted hug” or any other gesture that made them feel “disrespected or uncomfortable.” At the time, Lasseter signaled that he hoped to then return to Disney. Many in Hollywood were skeptical that was possible.

“The last six months have provided an opportunity to reflect on my life, career and personal priorities,” Lasseter said in a statement. “While I remain dedicated to the art of animation and inspired by the creative talent at Pixar and Disney, I have decided the end of this year is the right time to begin focusing on new creative challenges.”

(9) JUNOT DIAZ. Boston Review’s decision to keep Junot Diaz as an editor has driven three other editors to quit reports the Boston Globe “Boston Review editors resigning in protest of decision to retain Junot Diaz”.

The decision by Boston Review to retain Junot Diaz as an editor despite recent sexual misconduct allegations isn’t sitting well with some members of the magazine’s staff.

Three poetry editors have announced they plan to resign effective July 1 because they disagree with the decision of Boston Review editor in chief Deborah Chasman to keep Diaz on as fiction editor, a position he’s held since 2003.

In a statement posted on the magazine’s website this week, Chasman and executive editor Joshua Cohen said they had done a “careful review of the public complaints” about Diaz, as well as their own inquiry, and determined that “the objectionable conduct described in the public reports does not have the kind of severity that animated the #MeToo movement.”

That prompted Boston Review poetry editors Timothy Donnelly, BK Fisher, and Stefania Heim to respond with a statement of their own.

“What most distresses us are the [Boston Review statement’s] apparent arbitration of what constitutes inclusion in the #MeToo movement and its lack of attentiveness to power dynamics in a star-driven media and publishing landscape,” the three editors wrote. “Though we raised these reservations to the executive editors and asked them repeatedly to rethink their position, they went forward as planned.”

The decision-makers explained why they did not remove Dias in “A Letter from Deborah Chasman and Joshua Cohen” at Boston Review.

Junot Díaz has been Boston Review’s fiction editor since 2003. Like many others, we were deeply moved by Junot’s recent essay in the New Yorker  describing his experience as a child victim of rape, and also struck by his acknowledgment in that essay that he had hurt people with his “lies and choices.” Also, like many others, we have been disturbed by recent reports from women who have come forward to describe the ways they were hurt by him. We have read their reports carefully, taken their complaints seriously, and thought hard about how we should respond.

On the basis of what we have learned, we have decided to continue our editorial relationship with Junot. We want to give a few words of explanation.

First, during his 15-year tenure as fiction editor, we have never received any complaints about Junot’s conduct, either from our staff or from writers.

If we were only an employer, that might be the end of the discussion. But issues of gender and race are at the heart of our mission. Because of Junot’s important public role, we cannot narrowly confine our attention to his role as our fiction editor.

Second, then, we do not think that any of the individual actions that have been reported are of the kind that requires us to end the editorial relationship. To be clear: we do not condone the objectionable behavior that they describe. Instead, we asked ourselves whether the conduct they report is of a kind that—given his role and our mission—requires us to end the editorial relationship. We do not think so. The objectionable conduct described in the public reports does not have the kind of severity that animated the #MeToo movement.

Third, we considered whether, as some have suggested, the complaints point to a larger pattern of abusing power—the kind of star power that has attached to Junot as a successful writer, editor, and public intellectual. On the basis of a careful review of the public complaints, we think not. The events they characterize—including several episodes of aggressiveness in public discussion—are dispersed over a long stretch of time, and do not, as we see it, show the characteristics, repetition, and severity required to establish such a pattern….

(10) THE WHO FAMILY. Don’t ask whether Doctor Who is the Doctor’s Daughter’s father or mother now. This isn’t that kind of project. Syfy Wire reports Doctor Who’s “daughter” is back In Universe, this time in a series of audio adventures: “The Doctor’s Daughter finally returns this week but it could have been much sooner”.

It’s been a decade, but the Doctor’s daughter is finally back for a series of new Big Finish audio adventures out this week. However, if it had been up to Georgia Tennant, her Doctor Who character would have returned to the Whoniverse much sooner.

Thing is… she was never asked back.

“I’ve always been aware of what Doctor Who brings to it, and what you then carry on throughout your life,” explained the actress (who happens to be the daughter of Fifth Doctor Peter Davison and the wife of Tenth Doctor David Tennant) to Radio Times. “But because it was just one episode I thought ‘Oh…that’ll just come and go.’ But it hasn’t, and everyone’s so lovely. Everyone’s wanted me to do this, and at conventions everyone’s been like ‘Why don’t you come back and do something?’ And you know, obviously they never asked me on the TV show…”

(11) PREGAME RITUAL. HBO needs to find a way to keep the cash register ringing: “Game of Thrones: HBO orders spinoff prequel pilot”.

Game of Thrones could be getting a prequel series, HBO has announced, one of five potential spin-offs from the series.

Book author George RR Martin has created the new series alongside British screenwriter Jane Goldman.

HBO has ordered a pilot episode for the show, set thousands of years before the battles over the Iron Throne.

Executives say any spin-off will not be broadcast until after Game of Thrones’ final season in 2019.

If picked up, the prequel will chronicle “the world’s descent from the golden Age of Heroes into its darkest hour”, HBO said in a statement.

“From the horrifying secrets of Westeros’ history to the true origin of the White Walkers, the mysteries of the East, to the Starks of legend… it’s not the story we think we know.”

Gosh!

(12) LIGHTLY FROSTED. David Pogue, in the Yahoo Entertainment story “How technology brings Broadway’s ‘Frozen’ musical to life”, looks at how the current theatrical adaptation of Frozen is a very high-tech production.

In “Frozen,” technology is behind most of it. Almost none of the effects in the Broadway show would have been technologically possible five years ago.

“I mean, scenery remains scenery, but the video and the lighting equipment is changing so fast. Even by the time we take the show to London, the video technology we use here will almost be obsolete. It moves that rapidly.”

According to stage manager Lisa Dawn Cave, that technology includes an enormous video screen that forms the back wall of the stage. “Our video wall weighs about 8,600 pounds and contains more than 7 million individual LEDs,” she says.

It’s complemented by 19 projectors — six over the stage, and 13 on the ceiling of the theater, on the balcony railing, and on the box seats. “They’re laser projectors — not lasers in the sense like you see laser beams in movies,” says show electrician Asher Robinson, “but they have a laser phosphor source, which means that we’re not changing the lamps in them, and they’re not making a lot of heat.”

(13) PLANTING SEASON. Elon Musk—in the guise of SpaceX—wants a major upgrade to Kennedy Space Center and has provided NASA with a plan laying out their vision. That plan includes a 133,000 sq.ft. hangar to process used SpaceX boosters and a 32,000 sq.ft., 300 ft. tall control tower with a retro-futuristic ovoid top. “NASA Publishes SpaceX Maps and Renderings from Its Proposed “Rocket Garden”Inverse has the story. Quoting the article:

The Kennedy Space Center might be getting a major upgrade and expansion soon if Elon Musk gets his way. NASA published a plan submitted by SpaceXthat dramatically reimagines the company’s presence at KSC in Cape Canaveral, Florida. The plans include everything from a control tower that resembles a flying saucer to a “rocket garden,” showcasing futuristic designs that will expand the space company’s footprint and potential influence within the US agency.

NASA published a draft environmental review for the proposed SpaceX Operations Area, as first reported by Florida Today on Friday. According to the document, SpaceX is seeking permission to build on a 67-acre patch of land about one mile north of KSC’s visitor center complex.

…The proposal justifies the expansion by arguing that the KSC’s current offerings won’t support the 54 launches that SpaceX plans of Falcon 9 or the 10 annual launches planned for Falcon Heavy. By obtaining the space and the green light to build, the proposal says, SpaceX will have the facilities it needs to build, repair, and launch more rockets each year.

SpaceX plans to reach 30 orbital launches in 2018, which is already a record number of missions for the United States. Considering the grandiose proportions presented in the current proposal, it’s clear that the company intends to reach even further with orbital launches in 2019.

[Thanks to Todd, Chip Hitchcock, Martin Morse Wooster, Andrew Porter, Carl Slaughter, JJ, John King Tarpinian, Cat Eldridge, and Mike Kennedy for some of these stories. Title credit goes to File 770 contributing editor of the day Rick Moen.]

Pixel Scroll 5/28/18 Chapter 5 – Our Last, Best Hope For Pixels

(1) MORE ABOUT WISCON’S KILLABLE BODIES PANEL. One of the program participants, Nicasio Reed, put up “a quick mid-WisCon post”. This excerpt is about half of it.

So this morning I was on a 10AM panel at WisCon 42, and it was called The Desire for Killable Bodies in SFF. I’d been very much looking forward to the discussion, even though we’d had little pre-panel discussion about it. It’s a topic that deeply interests me, and that I strive to think deeply about while consuming and creating narratives and characters. The panel was staffed by myself, one other panelist, and a moderator. I was familiar with Molly Aplet, our moderator, who very appropriately made the call to act also a third panelist, because there were just the three of us. Lisa Freitag, my fellow panelist, I knew from one email before the start of the convention, and from a brief conversation in the Dealer’s Room on the Saturday before the panel, when we chatted about texts to bring up. My biggest fear before the panel started was not getting to bring up all the things I wanted to talk about, or not having intelligent responses to the inevitably brilliant audience questions.

Turns out I should be more creative with my fears! As was reported live via Twitter, and then on the WisCon blog, Lisa repeatedly made statements that expressed a desire to sympathize with both individual Nazis (in this context we would be talking about, I believe, Third Reich-era Nazis), and later also individual Confederate soldiers. That this happened once was confusing, surprising, and alarming. That this happened multiple times as the panel went on was flabbergasting, frightening, and finally just damaging.

A lot of people have checked in on me since the panel, making sure I was doing okay, and I appreciate all of you so much. However, I was absolutely not the most affected by what she said, and what she brought into that room. Most saliently, I’m not Jewish. I want to apologize to everyone who was there who was justly rattled, afraid, saddened, or made to feel unsafe. While I gathered myself enough to push back ideologically while on the panel, I didn’t take the step of directly turning to Lisa and saying, in however many words, “That was a fucked up thing to say, and it’s not okay.” The person who did eventually do that was an audience member, who I won’t name here without their permission. (Panelist and moderator names are, of course, public knowledge.) The onus for directly confronting those statements should absolutely not have fallen on the audience, particularly on those most directly and historically affected by the views expressed. That was my failure, and I am extremely sorry for it. So, again, to everyone in the audience who helped to push back, I’m sorry, and thank you….

The blogger Coffeeandink attended the panel and wrote a post detailing some of the discussion.

I don’t feel comfortable naming the panelist, though I wouldn’t say it was wrong to do so, either, and I do link to a post that names them. For this post, though, I’m just going to call them X.

I’m willing to answer questions about what happened. I am not willing to discuss the punishment or the con’s reaction with people who are not targeted by Nazis. If you are not Jewish, Roma, queer, disabled, or nonwhite/a person of color, please have that discussion elsewhere.

  • The discussion was focused on Nazis in Third Reich.
  • X did not express support for Nazi or Confederate ideology. What they did, repeatedly, was express sympathy for Nazi individuals and stress the need to “humanize” Nazis. They mentioned Confederates in support of this, appearing to think that saying that every soldier on both sides was “some mother’s son” was a convincing argument for extending compassion to Nazis. They argued that some Nazis were “good people”.
  • According to Wiscon’s post, X “appeared to posit that disabled or injured people sometimes ‘have to be sacrificed'”, but I was pretty distracted at the point when that came up and can’t confirm it.
  • The panel description focused on SFF “killable bodies” that are stand-ins for marginalized people, so I was not expecting the subject of Nazis as killable bodies rather than as killers to come up. It’s not innately problematic for a panel discussion to have a larger scope than its description, but I think a lot of people had this expectation and that it made the approach X took especially unexpected.
  • Multiple audience members, multiple times, objected to what X was saying. At the end of the panel, one audience member said bluntly, “There’s a difference between understanding Nazis and sympathizing with them.”
  • I remember the audience as being the ones who pushed back most assertively, but the moderator and panelist Nicasio Reed also argued with X after the audience broke the ice. I do not blame anyone for being too startled to respond firmly while in the room. I myself did not speak up.
  • It’s important to recognize and acknowledge the humanity of people who do terrible things. However, when doing so, it is a moral imperative to center the victims of those terrible things. X centered the emotions and conflicts of the perpetrators–directly in the face of survivors or people who would have been targeted, who repeatedly pointed out that this is what X was doing. I do not believe X did spoke out of malice, but this is a topic that requires great care. If X has considered the topic with that care, it was not apparent during the panel….

(2) THE LAST OF LE GUIN. David Naimon on working with a legend at Literary Hub: “Ursula K. Le Guin, Editing to the End”.

Ursula’s final words to me, her final edits on the manuscript of our collected conversations, were in pencil. We had talked in one of these conversations about technology, about how, in her mind, she was unfairly labeled a Luddite. That some of the most perfect tools—a pestle, a kitchen knife—were in fact perfected technologies. I had just received the manuscript from her days before, and the pencil on it reminded me of the aura of in-the-world magic this whole endeavor, bringing a book into the world together, had assumed.

The manuscript had traveled in the world as an object, one carried by foot and passed hand to hand. Our publisher, Tin House, located literally in a house of tin on the corner of a leafy boulevard in Northwest Portland, was just down the hill from Ursula’s home. And by a remarkable twist of fate, as if sharing the same street were not enough, Ursula’s own granddaughter worked as an intern there. It was often her or the book’s editor Tony who would walk up the hill to deliver the pages, or walk up the hill to walk them back down again. …

She could have published most if not all of her books at one of the big five publishers in New York. She could’ve economized and maximized her time by only granting interviews to the likes of Terry Gross, Bill Moyers, and Charlie Rose. And yet she continued to choose small presses, and often ones distant from the hierarchy of the publishing powers in NYC, whether an anarchist press from San Francisco or a feminist science fiction press from Seattle. Similarly, she never said no to her hometown community radio, KBOO, a station that is not Portland’s NPR affiliate, but whose mission statement is to give voice to the voiceless, with shows like Rose City Native Radio, Transpositive PDX, and Black Book Talk. By conventional metrics, KBOO is a small station, both in reach and listenership, and yet you wouldn’t get that impression when Ursula speaks of it…

(3) CALLING ALL HOLLYWOOD ACCOUNTANTS. We Got This Covered puts its flopologist to work: “Disney Responds To Solo: A Star Wars Story Flopping At The Box Office”.

Although the full four-day estimate won’t be released until later today, it’s probably safe to say that the Anthology pic won’t be gunning for the Memorial Day holiday weekend record anymore. As you’ve surely heard, the Ron Howard-directed space western hauled in $83.3 million in its opening weekend and will finish off Monday with about $110 million, nowhere even remotely near the current record holder, Pirates of the Caribbean: At World’s End ($140M).

In a year that’s seen three releases enter the domestic top thirty for all-time opening weekends, Deadpool 2 ($125M), Black Panther ($202M) and Avengers: Infinity War ($257M), the box office failure of Solo: A Stars Wars Story is only amplified that much more.

(4) DANCING IN AND AROUND THE MAY POOL: At Featured Futures, Jason has compiled another month of choice reading to dip into with “Summation: May 2018”.

This month’s baker’s dozen of noted stories (four recommended) comes from the pool of ninety (of 440 Kwds) published between April 30 and May 28. The print zines were individually strongest with Analog and F&SF each contributing multiple tales but the web combined to contribute seven.

While not applicable to the monthly recommendations, I did review a collection this month which had eight reprints (three recommended) that I especially liked.

(5) TODAY’S BIRTHDAY REDWOMBAT

  • Born May 28, 1977 – Ursula Vernon

(6) TODAY’S BIRTHDAY SPOOK

  • Born May 28, 1908 – Ian Fleming. Happy Chitty Chitty Bang Bang!

(7) COMICS SECTION.

(8) WORD TO THE WIS(E)CON. I wish I could transplant this axiom to the comment section here. Beware the free-floating harshers of squee.

(9) HARDLY A MARVEL. Nicholas Whyte chimes in with his preferences for “The 2018 Hugo finalists for Best Dramatic Presentation, Long Form”. Landing well below No Award is —

7) Thor: Ragnarok

This is the fourth Marvel Universe film I have seen, but only the third in chronological order – the others were the first Iron Man, which didn’t impress me much, and nor did Captain America: The First Avenger, which I also ranked below No Award. On the other hand there is also Black Panther, made after Thor: Ragnarok but which I saw earlier this year, and loved. I’m afraid Thor: Ragnarok is back to the usual form for me. Not being terribly invested in the characters of the Marvel Universe, let alone the Thor storyline, I could see that the whole thing was trying to be funny but it wasn’t really my fandom. At least Jeff Goldblum was treating it with the approriate level of seriousness. I am sure it will do better than seventh place in the overall vote.

(10) DINING (WAY) OUT. NPR reports “Great White Sharks Have A Secret ‘Cafe,’ And They Led Scientists Right To It”.

“We expected it to be the desert that the textbooks sort of advertised it would be,” said Bruce Robison, a senior scientist at the Monterey Bay Aquarium Research Institute.

But this was no desert.

A layer of nutrient-rich plant life exists deeper under the ocean than satellites could detect. Tiny creatures feed on it, and larger creatures feed on them. And up and up. It represents “a complete food chain, a ladder of consumption, that made us believe that there was an adequate food supply out here for big animals like tunas and the sharks,” Robison said.

(11) LET’S ALL TWEET LIKE THE ROBOTS DO. Too sensitive: “Bulgarians tweeting in Cyrillic confused for Russian bots”. Twitter has several criteria, ANY of which can cause a tweet or account to be suppressed; using Cyrillic is one of them, despite it being used in 11 countries beside Russia.

Speaking at a United States Senate Committee inquiry into extremist content and Russian disinformation online, Twitter’s acting general counsel Sean Edgett shed some light on why this might be happening.

He said in October 2017 that Twitter’s tools “do not attempt to differentiate between ‘good’ and ‘bad’ automation,” when looking for Russian-linked accounts.

“They rely on objective, measurable signals, such as the timing of tweets and engagements to classify a given action as automated.”

What can qualify as a Russian-linked Twitter account?

  • Created in Russia
  • Registered with a Russian phone carrier or email address
  • User’s display name contains Cyrillic characters
  • Tweets are frequently in the Russian language
  • Logged in to Twitter via a Russian IP address even once

“We considered an account to be Russian-linked if it had even one of the relevant criteria,” said Mr Edgett.

(12) DINO DANDER. Might be evidence of the first step towards birds: “Dinosaur dandruff reveals first evidence of skin shedding”

An analysis of fossilised dandruff fragments has given scientists their first evidence of how dinosaurs and early birds shed their skin.

Found among the plumage of these ancient creatures, the 125-million-year-old flakes are almost identical to those found in modern birds.

It shows that these dinosaurs shed their skins in small pieces, and not all at once like many modern reptiles.

It’s more evidence that early birds had limited flying skills, the authors say.

(13) FUN FOR ALL. Here’s video of the Anime North 2018 religious protesters. (There’s several posts about them in Reddit’s Anime North thread.)

These guys show up every year. The congoers also do this every year [play songs on a loudspeaker].

 

[Thanks to JJ, Cat Eldridge, John King Tarpinian, Brian Z., Chip Hitchcock, Carl Slaughter, Andrew Porter, and Mike Kennedy for some of these stories, Title credit goes to File 770 contributing editor of the day Peer.]

Who’s on First – Every Year

Dale L. Skran Jr. declares in his guest editorial for The MT Void #1720 that it’s time to end Doctor Who’s dominance of the Best Dramatic – Short Form Hugo:

The 2012 Hugo awards have just been announced, and the DOCTOR WHO Episode “The Doctor’s Wife” won Best DOCTOR WHO Episode of the Year. The 2nd place was taken by “The Girl Who Waited,” and the 3rd place by “A Good Man Goes to War,” also a DOCTOR WHO episodes. This Hugo was once given to non-DOCTOR WHO dramatic presentations, but since this has not happened in a while, the term “Short Form Hugo” will no longer be used, and instead was replaced by “Best DOCTOR WHO Episode of the Year.” …

It is too painful to continue. I submit to you that DOCTOR WHO was *not* the best SF TV show during the entire period from 2006 to 2012 with the exception of one program produced by this Whedon, who has the unfair advantage of being very talented and inventive.

Mark Leeper counters with some interesting points in his follow-up editorial:

You cannot determine quality democratically. You can only determine popularity by a vote. It is a misinterpretation of the Hugo to assume that the voting picks the best nominee. It chooses which nominee has delivered the most pleasure. And in theory that really can be DOCTOR WHO year after year.

Skran wants to redefine the category to cover series instead of individual episodes: at least that way Doctor Who can’t take up more than one slot on the ballot.

This Time BDP Voters
Dodge the Bullet

Rotten Tomatoes has picked the 100 worst movies of the current decade, according to critics’ ratings. At the very bottom is Ballistic: Ecks vs. Sever (2002), named the worst movie of the past 10 years.

So congratulations Hugo voters! Not a single movie on the list of 100 made the final ballot as a Best Dramatic Presentation nominee.

That’s better than fandom did the previous decade. Alternative Reel’s list of 50 worst movies of the Nineties ranked 1993 Hugo nominee Bram Stoker’s Dracula as #8.

Did the fans or mundanes call that one right? Think Keanu Reeves in blue granny glasses and there’s your answer.

1971 BDP: No Award Really Did “Win”

David Klaus commented that Wikipedia’s entry about Jefferson Starship’s album “Blows Against the Empire”, nominated for the 1971 Best Dramatic Presentation Hugo, makes the claim:

Although the album garnered the most votes for the award, no award was given in 1971 for this category.

The article gives no cross-reference. That outcome should have been impossible under the 1971 rules (or today’s) where voters must rank “No Award” along with the nominated works. I wondered if the statement had a basis in reality or if it was sheer nonsense? Fortunately, the person best able to answer the question was easy to find: Tony Lewis. He replied:

Mike, I was chair [of Noreascon, the 1971 Worldcon] and also Hugo administrator. I ruled that Jefferson Starship’s Blows Against the Empire was eligible. Some people disagreed because it was a record (remember them) and thus not been performed on tv, film, or radio. I told them it had been played publicly. Another argument was that it was just singing with brief narrative threads to connect them; well, that’s Grand Opera also.

It received the largest number of votes for actual items in that category but No Award received a majority of the votes–I seem to remember that that happened on the first round.

The statement in Wikipedia might be considered true in some sense but it is certainly incomplete and misleading.

Thanks Tony. Add me to the list of people who are glad you broke down the walls in the Best Dramatic category. A friend of mine played the album for me in 1970 and when I saw it on the Hugo ballot I remember thinking it was exciting that sf music could compete for the award.

100 Best Movie Villains

Josh Board in the San Diego Reader got a column’s worth of material from analyzing one of the many lists of 100 Best Movie Villains.

Leaving aside villains from horror movies and James Bond movies, which are a different breed of cat, 18 of the fiends on his list are from fantasy and science fiction films. They are, in order of appearance:

Darth Vader (David Prowse / James Earl Jones – voice) – The Empire Strikes Back (1980).

HAL 9000 (Douglas Rain – voice) – 2001: A Space Odyssey (1968).

The Queen (Lucille LaVerne – voice) – Snow White And The Seven Dwarfs (1937).

The Wicked Witch of The West (Margaret Hamilton) – The Wizard of OZ (1939).

Alex DeLarge (Malcolm McDowell) – A Clockwork Orange (1971).

Terminator (Arnold Schwarzenegger) – The Terminator (1984).

Maleficent (Eleanor Audley – voice) – Sleeping Beauty (1959).

Senator Palpatine (Ian McDiarmid) – Star Wars III: Revenge Of The Sith (2005).

Count Dracula (Bela Lugosi) – Dracula (1931).

Graf Orlok (Max Schreck) – Nosferatu (1922).

Captain Vidal (Sergi López) – Pan’s Labyrinth (2006).

The Joker (Jack Nicholson) – Batman (1989).

Khan Noonien Singh (Ricardo Montalban) – Star Trek II: The Wrath Of Khan (1982)

Gollum (Andy Serkis) – Lord Of The Rings: Return Of The King (2003).

Roy Batty (Rutger Hauer) – Blade Runner (1982).

Lex Luthor (Gene Hackman) – Superman (1978).

White Witch (Tilda Swinton) – Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005).

Mr. Smith (Hugo Weaving) – The Matrix (1999).

I wondered why there weren’t more from the fantasy and science fiction fields. But I wasn’t able to think of very many great villains to add to the list.

The alien from Alien and Aliens? No villainy there, because there’s no perception that the alien is making moral choices any more than a mosquito does. Chris from Westworld? Well, a villain most people hardly remember probably doesn’t belong on the list either. His niche is much better filled by the Terminator anyway.

I suspect the real reason there aren’t a lot more great sf/fantasy movie villains, after looking at the list of Hugo-nominated films, is that very often threats to the survival of the hero or heroine come from an abstract source, whether a self-obsessed, unimaginative society, or a smothering, restrictive government (frequently, our own.)

In E.T., the government appears to be villainous until the truth is revealed, when it merely seems ham-handed. Hazel’s ultimate problem in Watership Down is land development, and we know who’s to blame for that. The Sandmen from Logan‘s Run are a nemesis, but it’s a youth-obsessed society that made the choice to call them into service. The black-helicopter variety of government tries to keep Roy off the mountain in Close Encounters of the Third Kind. And WarGames, that most unsubtle story, makes its villain the idea of war itself, and an idea is as far from villainy personified as you can get.

Harry Potter Falls Off NYT Best-Seller List

The Toronto Star reports: “This Sunday’s New York Times will be Potter-less for the first time since Dec. 27, 1998, when Harry Potter and the Sorcerer’s Stone (as series opener Harry Potter and the Philosopher’s Stone was titled in the U.S.) made its debut on the paper’s bestseller list. The streak has ended with the dropping of Harry Potter and the Deathly Hallows, published last July.”

Best-selling sf or fantasy novels rarely get any play from Hugo voters, but a lot of fans enjoyed the stories and even more were grateful to Rowling for inspiring many children’s love of reading. Harry Potter and the Prisoner of Azkaban was a Best Novel Hugo nominee in 2000. Harry Potter and the Goblet of Fire actually won the award in 2001.

The ensuing controversy over a fantasy novel winning the Hugo (completely within the rules) does not seem enough to explain why another Harry Potter novel never made the final ballot. After all, every Harry Potter movie has been a Best Dramatic Presentation Hugo finalist: Harry Potter and the Sorcerer’s Stone nominated in 2002, Harry Potter and the Chamber of Secrets in 2003, Harry Potter and the Prisoner of Azkaban in 2005, Harry Potter and the Goblet of Fire in 2006, and Harry Potter and the Order of the Phoenix in 2008.