Too few genre publications pay their associate editors. We know it’s a struggle. We also know its a struggle that can be overcome, and is a vital part of demonstrating that every contribution to a creative project is worthy of respect, recognition, and pay. Compensate the Creative is one of EA’s core values and we are delighted (and, to be honest, relieved) that every single member of the EA team will be receiving pay for their contributions.
EA credits audience support for making this possible.
It has also been a year of remarkable generosity. We are incredibly fortunate and honored that so many of our audience have chosen to support us in such turbulent circumstances, many increasing longstanding donations or making first-time contributions. We received floods of messages sharing how our stories were part of coping mechanisms, offering much needed stress relief and escapism. And the effect of this generosity has been the ability to do something we’ve been longing to do for a very long time:
They also hope to improve compensation down the line
Our Patreon goal in pursuit of associate editor pay remains unchanged. This rollout doesn’t represent the full level of pay we’d like to be able to provide. But as most creatives know, starting can be the most difficult part of any project, and so we’re using this opportunity — this imperative — to get started.
CoNZealand Fringe organizers Claire Rousseau, Adri Joy, Alasdair Stuart and Marguerite Kenner, Cheryl Morgan and Cassie Hart have assembled “a series of complementary genre fiction programming at European-friendly times.”
In the tradition of Edinburgh Fringe and other international collateral events, CoNZealand Fringe has been created as a complementary programming series to the annual science fiction convention Worldcon. All our livestreams take place outside core CoNZealand programming hours and are not official CoNZealand programming items. CoNZealand Fringe is not endorsed by CoNZealand.
File 770 contacted the CoNZealand chairs about whether the Fringe had permission to use the convention’s name. David Gallaher, Vice-Chair, Business for CoNZealand replied, “They do not have our permission to use the CoNZealand name. And they don’t need our permission to do what they are doing.”
The following two completed items, and one in progress at this writing, are available on YouTube.
Stuart told File 770, “The letter was workshopped by the entire group, and wasn’t published before they gave express approval so it very much is a group of co-signees.”
The group includes: Charles Payseur, Benjamin C. Kinney, Jennifer Mace, SL Huang, Shiv Ramdas, SB Divya, Jenn Lyons, Sarah Gailey, Paul Weimer, Sarah Pinsker, Claire Rousseau, Maria Haskins, Tasha Suri, Marguerite Kenner, Alasdair Stuart, Jonathan Strahan, Pablo Defendini, Elsa Sjunneson, Brent Lambert, Freya Marske, Julia Rios, Alix Harrow, Gideon Marcus, Janice Marcus, Lorelei Marcus, James Davis Nicoll, Neil Clarke, Cora Buhlert, Charlie Jane Anders, Brandon O’Brien, Erica Frank, Jen Zink, Adri Joy, Fran Wilde, Suzanne Walker, Chimedum Ohaegbu, Navah Wolfe, John Picacio, and Max Gladstone.
The letter says:
We applaud the courage and conviction of the CoNZealand organisers in pivoting to a virtual Worldcon during an unprecedented global event. Their work has been admirable and — in many aspects — both innovative and successful.
We are a group of Hugo Award finalists who identified concerns with our programming when we received our “final schedules” this week, and came together to help CoNZealand recognize and address these issues.
In brief, our key concerns are:
Many Hugo finalists have not been offered programming and panels relevant to their nomination.
We believe that many of our panels cannot be adequately performed without more diverse participants and/or a reframing of the topic.
Communication with Hugo finalists about the financial requirements for participation has been inconsistent or absent, with contradictory information on whether or not we were able to participate in programming without a full attending membership. This issue particularly impacted Black, Indigenous and people of color (“BIPOC”), leaving them more likely than other finalists to receive no programming.
We present our concerns in the hope that these issues represent not intentional choices on the convention’s part but the unavoidable consequences of Worldcon’s discontinuous structure, and the necessary prioritization CoNZealand has had to undertake in order to pivot successfully to a virtual event.
We have tried to be brief and targeted in our recommendations so as to remain sensitive to the time pressure CoNZealand is under. Accompanying this letter is a spreadsheet containing specific examples of the issues above. We have listed (1) which panel topics we are missing; (2) which panels have problematic design or membership; (3) which panels we finalists want off or are willing to leave to create space; and (4) finalists that were deterred from participation due to lack of membership.
Our data are incomplete because we could only recruit a limited number of Hugo finalists to provide input without further delaying the process. Among our group of finalists, about 25% entirely lack relevant panels, and about 45% are dissatisfied with the fit of the programming they have.
We recognize there is a difficult balance to strike when raising concerns to an overtaxed team less than two weeks before an event, however many of us have repeatedly raised these issues or volunteered only to receive no response. We have intentionally not sought to assume ownership of programming items, but we are committed to assisting where possible and desired by CoNZealand. However, we emphasize that our bringing awareness to these issues does not obligate us to single-handedly resolve them.
As part of our offer to assist, we have begun identifying additional and replacement panelists who could add necessary diversity. If CoNZealand lacks sufficient BIPOC attendees, we hope you will provide free attendance to needed panelists who aren’t members. Moreover, there remain issues we cannot address on our own, especially (1) communicating with all finalists whether paid membership is required for programming; and (2) making sure all finalists with memberships are on relevant programming.
We are not united in what actions we intend to take if our concerns are not addressed. Many have already begun the process of asking to be removed from programming in its entirety, while others are actively working to locate replacements for the programming items they feel need improvement. Our focus at this stage remains taking action to make our concerns known, and to support CoNZealand addressing them in the combined spirit of fostering an environment for all to share in the celebration of our genre.
We appreciate your volunteerism in contacting all those people for us. As you know, due to privacy regulations, we cannot contact people more than once without a response from them. We hope they will get in touch with us directly and soon, to see if we can fit them in.
All the best, Jannie
Shea points to CoNZealand’s inclusion initiative in answer to the letter’s question “whether paid membership is required for programming.” Typically, only people who have bought attending memberships become Worldcon program participants. The introduction to the inclusion initiative explains what help is available:
Marginalised communities are overrepresented in the group suffering the greatest fallout from this pandemic, and as such, we want to ensure that our community does not suffer a loss of its hard-won diversity. We want to lower the barriers for participation for those from underrepresented communities.
We want the convention to be a global one, where all communities and viewpoints are represented, and this fund is intended to help those who would otherwise not be able to participate fully in the activities of the Worldcon.
The initiative upgrades eligible members from supporting to attending memberships. …There are a small number of attending passes available.
CoNZealand is especially challenged in its efforts to answer these needs because, as a virtual convention, it isn’t limited to programming people who can afford to come to Wellington, as would have been the case before the pandemic — it could draw people from everywhere. But like most non-U.S. Worldcons it has a smaller membership base from which to draw the financial support needed to make its budget.
Following the jump is a roundup of Twitter comments from participants.
…This sorry mess started in January, as Mignogna’s most recent film, Dragon Ball Super: Broly, soared to box office records. Its release also set off another round of allegations on social media about the 57-year-old actor’s aggressive kisses, hugs and unwanted sexual advances.
Mignogna repeatedly has denied all allegations of inappropriate actions, although he acknowledged in a June 26 deposition that people have commented negatively for years about his behavior.
As a columnist who writes regularly about these issues, I became interested in this case because of the voice actor’s decision to go on the offensive — digging in and fighting back against what he and his devoted fans have labeled lies, exaggerations and ploys for attention.
… The voice actor’s legal fight is apparently backed by a GoFundMe war chest, which has reached almost $250,000 since Minnesota lawyer Nick Rekieta opened it in February.
But even that large a sum may not cover all the plaintiff’s costs. Next up for the court is to sort out attorney’s fees — which could total up to half a million dollars given the multiple defendants and their legal representation — and mandatory sanctions.
Mignogna has provided the English-language voice for hundreds of animated shows, films and games created in Japan. He’s long been among the most popular actors at conventions across the nation that allow fans of the genre to meet their heroes.
His lawsuit named Funimation, voice actors Jamie Marchi and Monica Rial, and Rial’s fiancé, Ron Toye. The lawsuit painted the company and three individuals as a band of conspirators leading the charge to ruin Mignogna’s career. In response, those accused have maintained that the legal action is aimed at unjustly silencing them
Marchi, Rial and Toye were among the scores of anime talent and fans who, beginning early this year, tweeted critically about the actor’s behavior. Rial alleged that Mignogna grabbed her in a hotel room and forcibly kissed her without her consent at an anime convention in 2007. Marchi accused him of violently pulling her hair in a tense office encounter….
…the defendants challenged the suit under Texas’s Anti-SLAPP law (the TCPA), and a hearing was held on the matter about a month ago.
At that hearing, Judge John Chupp dismissed the case against Jamie Marchi entirely, along with most claims against the other defendants. A week and a half after that, Judge Chupp ordered both parties to attempt mediation to attempt to settle any remaining issues.
As that settlement resulted in an impasse, Judge Chupp has now issued his ruling on the TCPA motions. In it he has dismissed all remaining claims against the defendants under the TCPA. You can read the full dismissal here.
(2) “FORCEFUL” COOKWARE. How can we live without the ”Han
Solo in Carbonite Signature Roaster”?
What is your favorite winner of the Hugo award for best novel? Why?
Participants include Charlie Jane
Anders, Casey Blair, Cheryl Morgan, Elizabeth Bear, Michael J. Martinez, Beth
Cato, Marguerite Kenner, Sara Megibow, and Jaime Lee Moyer.
Marguerite Kenner picked this book —
My favorite best novel Hugo winner is from 1982 — ‘Downbelow Station‘ by C. J. Cherryh. I still own my first copy of it, a dog-eared, well-loved paperback. Captain Signy Mallory was the first ‘unlikable woman’ protagonist I remember resonating with, and I think I still know all the words to the filk song…
…In the first place, why do we need to know the origin of the Joker? For all his iterations through film, television and comics, what bearing does who he is and where he came from matter in the slightest? He is a villain for the sake of being a villain, which is a luxury most people writing fiction aren’t allowed, despite it being allowed in real life 2019. It works for the Joker precisely because he is The Joker – insane, given to sadistic whimsy, crafting ornate plans while simultaneously not having one at all. He works because he doesn’t have an origin. His adversary, Better Elon Musk, is all backstory. Rooted in his childhood trauma, he puts on a mask to keep it all out. Joker is what he is, unapologetically, always in pursuit of his mercurial goals, but doing what it takes to achieve them – Bats will give up his to protect a life, never willing to make the sacrifices truly needed.
In short, Joker works narratively because he is the perfect antagonist for Batman…
The figure is above the $10 million in previews that was earned a year ago by “Venom,” which posted an $80 million opening weekend — both records for October. It’s the biggest preview number since “The Lion King” pulled in $23 million in July and portends a potential record opening. “Joker” has been forecast for a similarly massive debut in the $80 million to $95 million range from 4,374 North American theaters for Warner Bros.
[…] “Joker” premiered on Aug. 31 at the Venice Film Festival, where it won the Golden Lion, the festival’s highest prize. The pic polarized critics — while Phoenix’s performance has been lauded, the comic-book adaptation’s dark tone and handling of violence have generated a divisive response. “Joker” currently has a 69% score from critics on Rotten Tomatoes.
In the comics and cartoons — and on film, as played by Jack Nicholson, Heath Ledger and (checks notes) Jared Leto — the Joker, Batman’s archenemy, is an agent of chaos.
…One of the many things Christopher Nolan’s The Dark Knight got right about the character is that we only think we want to know who he is and where he came from. The Joker works best, most purely, when unencumbered by the humdrum of the everyday. His motivations must and should remain mysterious, unknowable.
Director Todd Phillips’ new film seeks to strip all mystery from the character and make his motivations very knowable. And in that much at least, he succeeds.
…Certainly, Joker is tense, grimy and claustrophobic, and Phoenix’s performance is a big swing, and a risky one — the kind of big, risky swing that Oscar voters historically eat up with a big ol’ spoon.
But the film so desperately strives to reject comic book trappings — so aches to be seen as edgy, provocative, serious, adult — that it simply apes the tone, style and content of other, better, edgier and more provocative films like Taxi Driver and The King of Comedy and Fight Club.
(8) MELODIOUS REFERENCES. Fanac.org has posted
video of filksinger Julia Ecklar’s 1989 concert at Tropicon.
Julia Ecklar was the special filk guest at Tropicon 8, held in Dania, Florida, in 1989. This recording captures her concert at the convention, and includes 10 songs (of which Julia wrote four). The last song is beautifully signed by Linda Melnick. In the 1980s and early 1990s, Julia was a sought-after filk performer at science-fiction conventions worldwide. As a published author, her skill with words is very evident in the songs she writes. Filk songs are often strong on narrative, and you’ll notice that a number of these are about science fiction novels that were popular at the time. If you’ve read the books, the impact of the songs is increased, but they are enjoyable even if you haven’t. Can you identify the novels? Because Tropicon didn’t officially sponsor filk guests, the local community raised money to bring in one filk guest for each Tropicon. Concerts like this were held as a benefit for those who had donated.
(9) CARROLL OBIT. Famed TV actress Diahann Carroll died October 4
at the age of 84. The two genre roles in her resume were The Man in the Moon, a
musical fantasy from 1960 which features Andy Williams as an actual Man in
the Moon who visits Earth and meets up with an array of human talent, including
Carroll as a singer, and The Star Wars Holiday Special where she played Mermeia
Zaslove began his career in 1942 as an “office boy” at Leon Schlesinger’s Studios, and then went on to work on many UPA shorts and series, including Gerald McBoing-Boing and Mr. Magoo. During the 1960s and ‘70s, he worked as an animator on TV and feature projects such as Popeye the Sailor, Fractured Fairy Tales, Roger Ramjet, The Famous Adventures of Mr. Magoo, The Gumby Show, A Charlie Brown Christmas, The Phantom Tollbooth, A Chipmunk Christmas, Tom Thumb, The Night Before Christmas and Stanley the Ugly Duckling.
…He was nominated for Emmys for his work on DuckTales, Smurfs, Chip ‘n Dale Rescue Rangers, Darkwing Duck and the Aladdin TV series.
(11) TODAY IN HISTORY.
October 4, 1972 — Night of the Lepus starring Janet Leigh appeared on movie screens. This horror film is based upon the science fiction novel The Year of the Angry Rabbit by Russell Braddon. It scores 27% at Rotten Tomatoes.
October 4, 1985 — The Misfits Of Science series debuted. starring Dean Paul Martin and Courteney Cox, it would last just sixteen episodes before be canceled due to low ratings.
(12) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge.]
Born October 4, 1860 — Sidney Edward Paget. British illustrator of the Victorian era, he’s definitely known for his illustrations that accompanied Arthur Conan Doyle’s Sherlock Holmes stories in The Strand. He also illustrated Arthur Morrison’s Martin Hewitt, Investigator, a series of short stories featuring the protagonist, Martin Hewitt, and written down by his good friend, the journalist Brett. These came out after Holmes was killed off, like many similar series. (Died 1908.)
Born October 4, 1904 — Earl Binder. Under the pen name of Eando Binder, he and his brother Otto published SF stories. One series was about a robot named Adam Link. The first such story, published in 1939, is titled “I, Robot”. A collection by Asimov called I, Robot would be published in 1950. The name was selected by the publisher, despite Asimov’s wishes. As Eando Binder, they wrote three SF novels — Enslaved Brains, Dawn to Dusk and Lords of Creation. There’s lots of Eando Binder available on iBooks and Kindle. (Died 1966.)
Born October 4, 1923 — Charlton Heston. Without doubt, best known for playing astronaut George Taylor in the Planet of the Apes. He retuned to the role Beneath the Planet of the Apes. He’s also Neville in The Omega Man. By the way, once at the LA Music Center he played Sherlock Holmes in The Crucifer of Blood, opposite Richard Johnson as Dr. Watson. His IMDB credits show him as being on SeaQuest DSV in the “Abalon” episode. (Died 2008.)
Born October 4, 1928 — Alvin Toffler. Author of Future Shock and a number of other works that almost no one will recall now. John Brunner named a most excellent novel, The Shockwave Rider, after the premise of Future Shock. (Died 2016.)
Born October 4, 1929 — Scotty Beckett. He costarred on Rocky Jones, Space Ranger which ran for thirty- four episodes from February to November 1954, lasting only two seasons. Because it was recorded on film rather than being broadcast live, it has survived. You can the first episode of the series here.
Born October 4, 1932 — Ann Thwaite, 87. Author of AA Milne: His Life which won the Whitbread Biography of the Year, as well as The Brilliant Career of Winnie-the Pooh, a scrapbook offshoot of the Milne biography. (And yes, Pooh is genre.) In 2017 she updated her 1990 biography of A.A Milne to coincide with Goodbye Christopher Robin for which she was a consultant.
Born October 4, 1941 — Anne Rice, 78. She‘s best known for The Vampire Chronicles. Confession time: I’ve not read them. So how are they? Same goes for Lives of the Mayfair Witches series which I’ve been told is excellent. It’s just that she’s too damn popular and I really don’t do popular all that well.
Born October 4, 1946 — Susan Sarandon, 73. She make Birthday Honors just for being Janet Weiss in The Rocky Horror Picture Show, but she’s also been in Enchanted as Queen Narissa, The Witches of Eastwick as Jane Spofford, The Lovely Bones as Grandma Lynn and The Hunger as Sarah Roberts. An impressive genre list indeed!
Born October 4, 1956 — Christoph Waltz, 63. He portrayed James Bond’s nemesis Ernst Stavro Blofeld in Spectre , he is set to reprise the role in No Time to Die. Genre wise, he also portrayed Qohen Leth in The Zero Theorem,Benjamin Chudnofsky in The Green Hornet (I lasted ten minutes before giving up), Cardinal Richelieu in The Three Musketeers, himself in Muppets Most Wanted, Léon Rom in The Legend of Tarzan and Dr. Dyson Ido in Alita: Battle Angel.
Born October 4, 1975 — Saladin Ahmed, 44. Hi Throne of the Crescent Moon was nominated for the Hugo Award for Best Novel and did win the Locus Award for Best First Novel. He has also written in Kamala Khan (The Magnificent Ms. Marvel), Black Bolt, Exiles and the Miles Morales (Spider-Man) series, all on Marvel Comics. Oddly only his Marvel is available on iBooks and Kindle.
I thought I’d post the individual questions+answers here in the blog first–which gives a chance to get more feedback–and then migrate them to their own page once the series is finished. If you have a general-interest question about the series that you think might not occur to me, let me know in the comments! Or if you want more details or further explanation on a topic.
… This treasure trove of secrets, presented in a generously illustrated hardbound volume, is like a gateway into science fiction’s inner sanctum. Though it may seem squarely aimed at science fiction fans, the fact that SF so pervades our culture makes it an attractive coffee table book for anyone. Everyone will find something to relate to here, whether it’s reading about a favorite author, like Philip K. Dick or Angela Carter; or about the rock band The Who and their never-fully-materialized concept album follow-up to Tommy called Lifehouse, set in a near future where reality is experienced through a worldwide network called The Grid. The topics are simply too attractive for even the casual science fiction fan to ignore…
To celebrate the lead-up to Episode IX: The Rise of Skywalker, today we’re all about exploring the next major novel in the Star Wars Expanded Universe: Star Wars: Resistance Reborn, written by Hugo and Nebula-winner Rebecca Roanhorse.
Set in-between the shocking climax of The Last Jedi—which saw the Resistance against Kylo Ren and the ruthless First Order nearly collapse, costing the life of an iconic character—and the opening scenes of the new film, Resistance Reborn serves as “Episode 8.5” (VIII.V?) of the saga, introducing crucial new characters and setting the stage for the a climactic clash more than four decades in the making.
Lucy in the Sky is an ideal vehicle for Natalie Portman, cast as an astronaut who finds outer space thrilling and life back on earth somewhat less so. Affecting a Southern accent and sporting a short haircut, she creates a character who is thoroughly relatable, at first. We understand her exhilaration during a spacewalk and her dissatisfaction at home, despite the fact that she has a loving husband (Dan Stevens), a salty grandmother (Ellen Burstyn) and congenial colleagues. As it unfolds, however, the story takes this character to extremes.
…Seanan McGuire uses the Mira Grant pen name to write stories with a somewhat darker tone, but Spindrift House shares one major commonality with some of her best work as McGuire. As in the Wayward Children series, the theme of “found family” plays a major role here. Harlowe and her friends understand each other’s quirks, help each other through difficulties both major and minor, and generally act as siblings to each other.
Martin Scorsese, one of cinema’s most venerated current directors, has decried superhero movies – the dominant force in today’s industry. The director of films such as Taxi Driver, Raging Bull and Goodfellas told Empire magazine that his attempts to get up to speed with contemporary superhero films had failed.
“I tried, you know?” the director said when asked if he had seen Marvel’s movies. “But that’s not cinema.”
In the name of the moon, I will protect you… from unwanted pregnancy and STDs! Japan’s Ministry of Health, Labor and Welfare has partnered with Naoko Takeuchi to distribute free Sailor Moon condoms! These condoms, which come in cute heart-shaped wrappers, will be distributed for free at STD/STI prevention events throughout October. The first takes place tomorrow, October 5 in Fukuoka, with another taking place in Hiroshima, on Monday, October 14 in Hiroshima.
[Thanks to John King Tarpinian, JJ, Mike Kennedy, Todd Mason, Olav
Rokne, Martin Morse Wooster, Eric Franklin, Chip Hitchcock, Michael Toman, Cat Eldridge,
Daniel Dern, StephenfromOttawa, and Andrew Porter for some of these stories.
Title credit belongs to File 770 contributing editor of the day Joel Zakem.]
The Dublin 2019 juggernaut coasted slowly to a stop today. Here is
a sampling of people’s farewell tweets.
(5) FEEDBACK SESSION.
(6) OOK OOK. Something from the HOAX daily newzine:
(7) CLOSING CEREMONIES.
(8) SLOW GETAWAY.
(9) COMPLETE AND UNINTERRUPTED. Ada Palmer, whose Campbell presenter speech was interrupted by absurdities appearing in the closed captioning behind her, has posted the text online: “2019 Campbell Speech + Refugee Charity Fundraiser”. This excerpt comes from the post’s introduction –
…I hope I find a video somewhere so I too can enjoy such disasters as “dog mechanism” for “dogmatic” and “Bored of the Rings and Cream of Thrown” for Lord of the Rings & Game of Thrones. More seriously, it was a great honor to speak again at this year’s Worldcon, and I couldn’t be more proud of Jeannette Ng‘s courageous acceptance speech, bringing attention to the crisis and violence happening right now in her home city of Hong Kong, and to the great responsibility we in the science fiction and fantasy community have to make sure that the theme of empire–which has numerous positive depictions in genre literature from space empires to the returns of kings–does not end up celebrating the dangerous, colonial, and autocratic faces of empire, and that as we explore empire in our work (including in my own work) we do so in ways which examine empire’s problems and advance versions of empire which reverse or rehabilitate it, and which affirm the greater values of free-determination, autonomy, and human dignity.
(10) GROWING UP. In an article for the September WIRED, “We
Can Be Heroes: How the Nerds Are Reinventing Pop Culture”, Laurie Penny
discusses how fandom–and, specifically, writing Harry Potter fan fiction–led
her to a writing career, including stints as a writer for Joss Whedon’s HBO
show “the Nevers” and “The Haunting of Bly Manor.”
But fandom also helped me meet people unlike myself, and that was just as important. There comes a time in the life of very lonely, misunderstood, intelligent child of privilege when they must confront the fact that being intelligent, lonely, and misunderstood is not the worst thing that can befall a person, that some people have a great deal more to contend with on top of being an unsalvageable dweeb. I was and remain a clueless Caucasian shut-in with a lot to learn, but that part of my education started when I began following fans and creators of color. My first real friends who weren’t white lived thousands of miles away, and I knew them through jerky avatars and punnish screen names and an exhaustive knowledge of Tolkien lore. I educated myself with the articles and books they linked to. There were long, torturous flame wars. I listened. I took notes.”
(11) MORE ABOUT HUGO LOSERS PARTY. Marguerite Kenner
pursued more information about why there were problems (Hugo finalists who
couldn’t get in when they arrived). Thread starts here.
Ada Palmer also pointed out the effect on people with
(12) ADMIRING UNCANNY. Their local
newspaper covered the Hugo won by Lynne and Michael Thomas’ Uncanny Magazine
in the Semiprozine category: “Urbana-based Uncanny Magazine lands another rocket at
Hugo Awards”. Jim Meadows sent the link with a note: “Of course, you
already know who the Hugo winners are, but I thought I’d pass along the local
coverage from the Champaign-Urbana area, where the Thomases now live. Uncanny
has received local coverage before, and I’m impressed by the degree of media
support it gets in the area. I don’t think this would have happened to this degree
a few decades ago, but even a print version of Uncanny would have been
more difficult to do a few decades ago.” The article appeared on the website of
the (Champaign, IL) News-Gazette on Sunday evening, and appeared on the
front page (below the fold) of the paper’s print edition on Monday morning.
(13) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge.]
Born August 19, 1807 — Jane C. Loudon. A very early SF writer as her novel, The Mummy!: A Tale of the Twenty-Second Century, was published in 1827. If you’d like to read it, the Internet Archive has it available. (Died 1858.)
Born August 19, 1893 — Hans Waldemar Wessolowski. An artist best remembered for his cover art for pulp magazines like Amazing Stories, Astounding Stories, Clues and Strange Tales. Wesso was the name most commonly cited wherever his art is given credit. Wesso painted all 34 covers of the Clayton Magazines Astounding Stories from January 1930 to March 1933. (Died 1947.)
Born August 19, 1921 — Gene Roddenberry. Oh, you know who he is. But did you know he wrote a lot of scripts for Have Gun – Will Travel? Indeed, his script for the show, “Helen of Abajinian” would win the Writer’s Guild of America award for Best Teleplay in 1958. (Died 1991.)
Born August 19, 1950 — Mary Doria Russell, 69. The Sparrow series, The Sparrow and its sequel Children of God, are awesome. The Sparrow won the Arthur C. Clarke, BSFA, and Tiptree Awards, and it was the reason she won the John W. Campbell Award for Best New Writer.
Born August 19, 1950 — Jill St. John, 69. She’s best remembered as Tiffany Case, the Bond girl in Diamonds Are Forever. She was the first American to play a Bond girl. She shows in The Batman in “Smack in the Middle” and “Hi Diddle Riddle” as Molly. And she played Jennifer Holmes in the 1960 film version of The Lost World. Fascinatingly, she’s an uncredited dancer on Rowan & Martin’s Laugh-In!
Born August 19, 1952 — Jonathan Frakes, 67. Best known for his portrayal of Commander William T. Riker in Next Gen though I’m fond of his voicing David Xanatos on the Gargoyles series. Interesting bit of trivia: For a time in the Seventies, he worked for Marvel Comics at cons as Captain America.
Born August 19, 1988 — Veronica Roth, 31. She’s best known for her Divergent trilogy, consisting of Divergent, Insurgent, and Allegiant; and also Four: A Divergent Collection. The first two were made into films, a proposed series was cancelled.
Obi-Wan Kenobi promised a young Luke Skywalker that he would “never find a more wretched hive of scum and villainy” than the Mos Eisley Spaceport. This Hollywood Boulevard bar does its best to top the cantina where Han shot first, complete with war room-style maps and customers milling about in their best First Order cosplay. It wouldn’t be accurate to say Scum & Villainy is only a Star Wars bar. All fandoms are welcome at weekly game nights, karaoke, trivia contests and occasional cosplay evenings. Leading up to the final season of Game of Thrones, it transformed into Fire & Ice Tavern, with a sad-faced Weirwood tree, an Iron Throne and Stark and Targaryen sigils. As for the menu, expect beer, themed cocktails and bar bites such as quesadillas, tots and chicken fingers, which were one of Greedo’s favorite snacks, as any real Star Wars fan knows. 6377 Hollywood Blvd., Hollywood. 424-501-4229.
It’s actually not the teeth that get your attention first.
It’s the eyes.
The velociraptor’s yellow eyeballs don’t exactly look at you but through you, a soul-piercing kind of stare that suggests she’s wondering just how salty your skin tastes.
At least that’s how I feel when I’m stalked by one of the dinosaur puppets from the Jurassic World Live Tour, a traveling stage show that arrives in dozens of U.S. arenas starting Sept. 26 in Columbus, Ohio, and runs through 2020.
My raptor encounter takes place in a nondescript building that looks like a dentist’s office and smells like freshly baked bread. The first clue that I’m in the right location (which is located next to a bakery): A sign on a door that reads “DINOSAUR CROSSING.” I walk inside, and it turns out to be a portal to the Jurassic era where dinosaurs roam.
Lisa Cameron is a member of the British Parliament. She’s also a victim, and survivor, of online trolls.
Cameron was new to politics in 2015, when she was elected in East Kilbride, Scotland. She’d been a clinical psychologist, a wife, a mom, and a trade union representative — the kind of political newcomer democracies want to run for office.
But the sludge of the Internet began to attack her — and not just for her policy stances. Her inbox, Facebook and Twitter accounts filled with insults about her appearance, rape fantasies, pictures of decapitated bodies, threats to her family, and anti-Semitic slurs (Cameron is Jewish).
Cameron’s #MeToo story — and those of her female colleagues in Parliament — has helped usher in a new era in the United Kingdom: digital assault is understood as a real threat, one that is pushing the government to hold tech giants accountable for their role as hosts to these attacks.
Cameron says the ugliness got to her. “It makes you question whether you are doing something wrong in your job, whether politics is right for you.” She also wondered if running was unfair to her two children.
Then, a horrific attack — not against her, but against a female colleague who was sworn into Parliament in the same class — changed the conversation for Cameron, and for the entire country.
In 2016, Member of Parliament Jo Cox was gunned down and stabbed on the streets by a white supremacist. According to prosecutors, he was radicalized on the Internet, where he viewed Nazi materials and, on the eve of the attack, researched right-wing politicians and the Ku Klux Klan. The motive appeared to be policy-oriented. The killer was pro-Brexit. And Cox, a member of the Labour Party, wanted Britain to stay in the European Union. But some believed she was targeted because she was a woman.
The Prime Minister’s office reached out to men and women in Parliament to ask if they had been intimidated online. The final report, published in December 2017, coincided with the rise of the #MeToo movement in the United States. U.K. regulators didn’t set out to spotlight female leaders. But they did, because women had horrific anecdotes to share.
…In late 1940, over a year before Pearl Harbor, while the Nazis were Blitzkrieging London, Simon, an entrepreneurial freelancer for Funnies, Inc, was hired by Goodman to write, draw and edit for him directly. Simon showed him the cover concept for a new superhero that he and Kirby had dreamed up – a hero dressed like an American flag with giant biceps and abs of steel has just burst into Nazi headquarters and knocked Hitler over with a haymaker to the jaw. Goodman began to tremble, knowing what an impact this book would make and remained anxious until the first issue of Captain America, dated March 1941, landed on the stands. Goodman had been terrified that someone might assassinate Hitler before the comic book came out!
Captain America was a recruiting poster, battling against the real Nazi super-villains while Superman was still fighting cheap gunsels, strike breakers, greedy landlords and Lex Luthor – and America was still equivocating about entering the conflict at all. No wonder Simon and Kirby’s comic book became an enormous hit, selling close to a million copies a month throughout the war….
A giant hand which has been described as a “Lovecraftian nightmare come to life” has been lifted into place atop Wellington’s City Gallery in New Zealand.
Ronnie van Hout’s “Quasi” installation was carried by helicopter to its new home on Monday overlooking the city’s civic centre.
The artwork, which was created in 2016, originally stood on top of the Christchurch Art Gallery. It is on loan to Wellington, where it will stand for the next three to four years.
The operation has cost NZ$74,000 (US$47,000; £39,000), which includes transportation, designing the hoist, and “Wellington-proofing” the hand against the local elements, Stuff news website reports.
The relocation of the five-metre tall (16 feet) sculpture, which weighs 400kg (880 pounds), has stirred up a mixture of revulsion and civic pride in New Zealand’s capital.
[Thanks to Cat Eldridge, JJ, Hampus Eckerman, Chip Hitchcock, John
King Tarpinian, Martin Morse Wooster, Mike Kennedy, Jim Meadows, and Andrew
Porter for some of these stories. Title credit goes to File 770 contributing
editor of the day Andrew.]