Category Archives: Entertainment

“Shallow”

Yesterday was “Radio Gaga”; today is Lady Gaga!  Long-time readers know that Lady Gaga is pretty big around here, so no suprise!  This is her duet with Bradley Cooper from the new version of A Star is Born.  Enjoy!

Pat Benatar: Metropolis Mix

One could cogently argue that the 1980’s Giorgio Moroder cut of Fritz Lang’s seminal science fiction movie Metropolis is not the best or definitive version.  I would argue, though, that Moroder’s soundtrack for Metropolis is one of the best soundtracks of the 80’s, or, in fact, of that latter part of the last century.  The soundtrack album, though, has different versions of the songs, though, and is in my opinion substantially inferior.  This is most evident with Pat Benatar’s contribution.  She sings “Here’s My Heart”, which recurs throughout the film; and the version in the film is far superior to that on the soundtrack album.  The version above is a spliced-together mix of the movie version of the song.  Despite the inferior production values of the album version, Benatar does great on it; but in the movie version, she sings like an angel.  I dare you not to fall in love with her after listening to this!  😉

Fandom

Last time we looked at the rise of mass media and the resultant birth of pop culture as we know it.  Over time, as even cheaper forms of print came into being (penny dreadfuls, dime novels, and pulps) and new media were developed (movies, radio, and television), there came into being the phenomenon we know as fandom.

“Fan”, of course, is originally an abbreviation of “fanatic”.  A fan is fanatic about his favorite books, TV show, band, or whatever.  The term originated in America in the late 19th Century–not surprising, since America at that time was rapidly becoming the epicenter for all the various media that made fans and fandom possible.  “Fandom” appears around the same time, but is very rarely seen until the second half of the 20th Century, becoming more and more common from the 1970’s onward.  “Fandom” is the subculture of fans of a given franchise, property, or other media entity.  Such subculture includes, but is not limited to, networking among fans, fan clubs and societies of various sorts, fan-produced magazines (“‘zines”, often produced on the cheap with mimeograph machines in decades past), fan-written fiction (“fan fiction” or “fanfic”–with modern technology, fan films have become common, too), fan conventions (“cons”), cosplay, and various forums, discussion boards, and zones on the Internet.

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Too Much Meta!

“What is meta,” you may ask, “and how is there too much of it?”  Those are excellent questions.  In order to answer them, I’ll need to give a little background on just what it is I’m talking about.  “Meta” comes from the Greek preposition μετά, which simply means “after” or “beyond”, among other things.  It can also be a prefix in which the basic meaning is attached to the root word.  For example, “metamorphosis” pairs meta– with with a derivative of μορφή (morphē), “form” or “shape”, giving the meaning, “beyond the [original] form”.  Thus, in a metamorphosis, something (such as a caterpillar) goes beyond the form it has into another form (such as a butterfly).

A subtle shift in this straightforward meaning began with the works of Aristotle, and rather inadvertently, at that.  Aristotle’s books on various topics derived from what we would now call lecture notes for the talks he gave at the school he founded, the Lyceum. These were either written by Aristotle himself, or taken down by his students.  After his death, these notes were collated and arranged by topic.  The book dealing with the working of the natural world was called the Physics, from the Greek φυσικά (physika), which simply means “having to do with nature”.  The name stuck, and we still call the study of mass, energy, motion, and such “physics”.  The book that was placed next in the sequence after the Physics dealt with abstract topics on the nature of being, what we can know and how we can know it, causality, and so on.  Whoever it was who arranged the texts very pragmatically called this text τὰ μετὰ τὰ φυσικά (ta meta ta physika), literally, “the things coming after the Physics”).  In other words, it was the next book after the one on physics, so its title was essentially After Physics!

This was shortened by the Romans who translated Aristotle into Latin to Metaphysics.  From early on, the tendency was to interpret “meta”–“beyond”–as meaning not “beyond” in the sense of “the next book in the sequence”, which was its original connotation, but “beyond” in the sense of “transcending”.  Thus “metaphysics” was understood to mean “that which goes beyond ordinary physics” or “that which transcends nature”.  This has been the standard connotation of “metaphysics” ever sense; and this connotation has determined the use of “meta” in other contexts, as well.

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Einstein and the Millennium Falcon–the Timeline of The Empire Strikes Back

After forty-one years and counting of the Star Wars franchise, which has brought us ten movies, seven television series, and God knows how many books, comics, works-in-progress, and various other media artifacts, I still maintain that the pinnacle of them all was the second movie (Episode V), The Empire Strikes Back.  I will take that statement as self-evident 🙂 and thus I don’t intend to make that argument here.  Rather, I recently wrote a post about space in which I mentioned time dilation in The Empire Strikes Back, and said that that would be material for another post.  This is that post.

I watched The Empire Strikes Back when it came out in 1980, the summer after my junior year in high school.  It was long-anticipated, and as I’ve mentioned before, some loud-mouthed acquaintances, having read the book before the movie came out, spoiled the big reveal about Darth Vader being Luke’s father.  Despite this, I found I enjoyed the movie enormously, more even than I had the first.  I think this is a good demonstration of an argument made by the Plaid Adder, a blogger I follow.  She says that if a reveal is properly done, then a spoiler–finding out about it ahead of time–doesn’t, in fact, spoil the show.  This was definitely the case with me and Empire.

Anyway, I don’t know when I got to thinking about the specific issue I want to discuss today, but it gradually presented itself to me over the course of a few years.  I don’t think I was aware of it at the time I watched the movie for the first time; but I think I had the matter articulated by the time I was in college.  To make it clear just what I’m talking about, let’s have a quick recap of the relevant events of the movie.

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Ennio Morricone’s Soundtracks Live in Concert

Star Trek or Star Wars?

Star Trek, of course–what kind of question is that?  Actually, if I’m going to write an essay, I should have more to say….

Star Trek, in its original incarnation (which I will henceforth refer to by the standard fan abbreviation TOS for “The Original Series”) began its prime-time network run on NBC in 1966, at which time I was three years old.  Its last season ended in 1969, at which time I was six, and about to begin the first grade.  I know Mom and Dad watched it, so I no doubt did, as well.  I’ve seen every episode multiple times since, and given that, it’s hard to sort out any genuine memories of the series’s original airing.

It doesn’t really matter, though.  Throughout my childhood and young adulthood, TOS was more or less constantly in syndication somewhere on one channel or another.  Every time it was available on any of the channels we got, I always watched it.  For reasons that are obscure, certain episodes (e.g. “The City on the Edge of Forever” and “A Piece of the Action”) were in very heavy rotation, whereas others (such as “Errand of Mercy” and the insanely elusive “The Mark of Gideon”) were rarely if ever aired.  I made it my goal to watch every one of the original seventy-nine episodes at least once.  I set this goal at the age of around twelve or thirteen, and it took into my mid-twenties to complete it, but complete it I did.  In the meantime, my involvement with Star Trek was expanding far beyond watching reruns.

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A Slight Side Excursion on Fanfic

Someone I follow on Tumblr  had a post recently discussing what makes for good writing in a fan fiction context.  The conclusion was “good technical skills”.  The idea is that, while writers and readers of fanfic may have different criteria of what makes a fic “good” than do the gatekeepers of “mainstream” fiction, and while those differing criteria are valid, good technical skills are universal, allowing you to develop the story you want to tell and to say what you need to say.  Technical skills may not be the end-all and be-all; but you have to be able to control what you’re saying if you want to get anything across to the reader.  I totally agree with this.

Anyway, I reblogged and added a response dealing with an aspect of fanfic that I think isn’t often realized or understood.  It occurred to me that it might be worth putting up here, too, especially since I’ve been discussing pop culture–which of course includes fanfic–in the course of writing my series “Religion, Role-playing, and Reality“.  I have edited it very lightly for publication here, but it’s substantially the same as the original form.  Enjoy!

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Mass Media and Lifestyle Fantasy

Last time we looked at the effects of the Enlightenment and the final disenchantment of the world, as both organized religion and everything perceived as being “irrational” were banished from polite society; or at least from the worldview of the elite.  The perfectly rational, logical man of the Enlightenment who would shake off the superstitions of his ancestors and move confidently into a Utopian future of reason and humanism never materialized, though.  Human nature being what it is, the loss of the transcendent and the supernatural left a void that needed to be filled.  Nietzsche expressed this poetically in his famous writing about the “death of God” (the quote below is from Walter Kaufmann’s translation of The Gay Science):

God is dead. God remains dead. And we have killed him. How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives: who will wipe this blood off us? What water is there for us to clean ourselves? What festivals of atonement, what sacred games shall we have to invent? Is not the greatness of this deed too great for us? Must we ourselves not become gods simply to appear worthy of it?

Nietzsche’s answer–that we must become gods–foreshadows his idea of the Übermensch, the “superman”.  As we’ve seen over the last century and a quarter since Nietzsche’s death, that didn’t work out so well.  The void remained unfilled.  What could fill it?  At this point, we must leave that question hanging for a bit while we look at another of the great societal changes to come out of the Enlightenment.  In the last post, we looked at the religious and philosophical changes brought on by the Enlightenment.  Here I want to look at a change that was partly technological, partly educational, and partly cultural–the rise of mass media.

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What Is Needed for Good Science Fiction

This is a follow-up of sorts to my recent post on aliens, robots, and perpetual motion.  There, I rather harshly criticized the tendency of many science fiction (henceforth SF) writers to portray robots, androids, and sometimes aliens as being capable of functioning with no energy inputs of any kind.  It gets a bit irritating for those of us who are scientifically inclined, and it would be nice, once in a while, to see someone actually address the issue—having a robot being charged, for example.

Despite this, I have still enjoyed many books, movies, and TV series with such perpetual-motion robots.  I watched Star Trek:  The Next Generation throughout its run, despite the fact that Data never once was shown being charged.  I also have read all the robot stories of the granddaddy of robot stories, Isaac Asimov.  Even he, to the best of my knowledge, never explained how robots are powered (I am open to correction on this if anyone has any references).  Certainly, Asimov knew better.  The thing is that, as he himself pointed out, the appeal of robots in fiction is not mainly about how they work, but our fascination with human-like beings we ourselves have created.  It is the mixed fascination and fear, expressed as far back as Frankenstein—fascination that we ourselves become like God; fear that our creations will rise up against us.  The very play that gave us the word “robot”, R.U.R. (an abbreviation for “Rossum’s Universal Robots”), by Karel Čapek, expresses this fear explicitly—the robots rise up and overthrow mankind.

The point is that sometimes SF gives us potent themes that are more important than details that get the science exactly right.  This leads to the topic I want to talk about here:  What should one expect from good SF in terms of scientific accuracy?  That is a long-debated topic, and I make no claims to come to a definitive conclusion here; but I do want to look at some of the things that work for me, personally, at least.

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