another change in direction

Okay, so I decided against using this site to update my life. Maybe somebody noticed, but I doubt it.

The new (and improved!) plan is to start sharing links to the reviews that I’ve been posting on a totally different site…a totally different site with reviews about everything, from the new items at your local convenience store to the expensive wines served in upscale restaurants…located in exotic countries. The Las Vegas Critics site is one of the reasons that this particular blog has stagnated, but Secret Undersea City will soon host links to all of the reviews I’ve been writing during the time I’ve been gone. Get ready.

Dr. Horrible’s Sing-Along Blog

The widget wasn’t working out for me, so here’s a direct link to the site:

Dr. Horrible’s Sing-Along Blog

Starring: Neil Patrick Harris as Dr. Horrible, Nathan Fillion as Captain Hammer, Felicia Day as Penny
Screenplay By: Joss Whedon, Maurissa Tancharoen, Jed Whedon, and Zack Whedon
Directed By: Joss Whedon
Produced By: David Burns, Michael Boretz, and Joss Whedon
Plot Outline: The story of a low-rent super-villain, the hero who keeps beating him up, and the cute girl from the laundromat he’s too shy to talk to.

Music by: Joss Whedon and Jed Whedon
Lyrics by: Joss Whedon, Jed Whedon, and Maurissa Tancharoen
Score and Orchestration by: Jed Whedon

want some good news?

you might want to try this:

www.goodnewsnetwork.org

recipe for Doomsday (with posters!)

Neil Marshall’s simple recipe for

Doomsday:

Should we add some High Tension to the recipe? (click for trailer)

4 cups of 28 Days Later…
2 pounds of Mad Max
5 pints of Thunderdome
2 1/2 cups of District 13
fresh squeezed official* Rhona Mitra
2 tablespoons of Running Man
3 1/2 teaspoons of Resident Evil
4 ounces of Aliens
1/2 tablespoon of Equilibrium
1 teaspoon of V for Vendetta
1 small can of No Escape
some dried Abyss
1/2 ounce of Silent Hill
a dash of 300
3 teaspoons of Gladiator
1/4 teaspoon of Ultraviolet
a dollop of Judge Dredd
a dash of Tank Girl (optional)
a sprinkle of Underworld

Mix all of the futuristic elements in one bowl and all of the apocalyptic elements in another. Slowly fold the dystopic items into the futuristic mixture and carefully combine them all into one script, being careful not to add too much wirework. Drizzle the official Rhona Mitra (see below) throughout and be sure to throw in a gratuitous ass shot. Make sure plenty of the people involved have cool accents and then give it to Neil Marshall (the guy that wrote and directed Dog Soldiers and the Descent) and hopefully it will turn out to be half as good as either of those movies.
I’m not sure if this is a good thing or a bad one, but I’ve never seen a trailer that reminded me of so many other things. I have faith in the writer/director based on his previous projects though, so this film’s definitely going on my to-see list. Besides…Rhona Mitra looks like a girl that I could freshly squeeze watch for way, way longer than movies ever last.

Garnish with The Transporter and add some bikers from Weird Science to taste.

Serves millions.

*the official website of Rhona Mitra

edit:

Sci-Fi is the Rodney Dangerfield of the book world

a completely sci-fi idea: the FT (FemaleType) robot

I just encountered an interesting article (that has absolutely nothing to do with robots) by Clive Thompson on WIRED. He says: “If you want to read books that tackle profound philosophical questions, then the best — and perhaps only — place to turn these days is sci-fi. Science fiction is the last great literature of ideas.” I completely agree…and that’s probably why I’m such a huge fan of science fiction. It’s all about the ideas.

He also asks: “So, then, why does sci-fi, the inheritor of this intellectual tradition, get short shrift among serious adult readers?” …and that is a question I’ve thought about many times. (Mostly when I recommend some type of sci-fi story to a friend and they act like I just asked them to eat their own poop. The only thing I’ve encountered that gets less respect than science fiction is comic books. And sci-fi comics? I keep those to myself…some of you just aren’t ready for things like Dreadstar. At least not until someone makes a movie. Anyway, I digress.) I’m sure the pulp adolescence of science fiction doesn’t help it’s credibility, but it seems like somebody might have noticed that sci-fi authors think. And the readers do too.

The evidence is right here: Sci-Fi Is the Last Bastion of Philosophical Writing

edit 1-29-08:

I just finished reading Children of the Mind by Orson Scott Card and in the afterword he mentions the term “junbungaku“, which apparently means “pure literature or belles lettres“. He then goes on to say:

“I do not believe the tools of science fiction are any less suitable to the task of creating junbungaku than the tools of contemporary serious literature, though of course we who wield the tools may fail to use them to best advantage.”

I completely agree…and that’s probably why I believe that science fiction is as equally valid as contemporary serious literature. We just need more great minds wielding those sci-fi tools. And the best way for that to happen is to remove the stigma on science fiction.

OiNK is dead, R.I.P. OiNK

I have no words to describe how the death of OiNK makes me feel, so I will share what some others have said:

Paraphrased Wikipedia: Copyright agencies described Oink as an online pirate pre-release music club; former users described it as one of the world’s largest and most meticulously maintained online music repositories. There were around 180,000 members at the time of closure and all of their avatars had to be cute.

“If you’re not familiar with Oink, here’s a quick summary: Oink was was a free members-only site – to join it you had to be invited by a member. Members had access to an unprecedented community-driven database of music. Every album you could ever imagine was just one click away.”

[Read the rest on: When Pigs Fly: The Death of Oink, the Birth of Dissent, and a Brief History of Record Industry Suicide.]

…and it wasn’t just me:

What do you think about OiNK being shut down?

Trent Reznor: I’ll admit I had an account there and frequented it quite often. At the end of the day, what made OiNK a great place was that it was like the world’s greatest record store. Pretty much anything you could ever imagine, it was there, and it was there in the format you wanted. If OiNK cost anything, I would certainly have paid, but there isn’t the equivalent of that in the retail space right now. iTunes kind of feels like Sam Goody to me. I don’t feel cool when I go there. I’m tired of seeing John Mayer’s face pop up. I feel like I’m being hustled when I visit there, and I don’t think their product is that great. DRM, low bit rate, etc. Amazon has potential, but none of them get around the issue of pre-release leaks. And that’s what’s such a difficult puzzle at the moment. If your favorite band in the world has a leaked record out, do you listen to it or do you not listen to it? People on those boards, they’re grateful for the person that uploaded it — they’re the hero. They’re not stealing it because they’re going to make money off of it; they’re stealing it because they love the band. I’m not saying that I think OiNK is morally correct, but I do know that it existed because it filled a void of what people want.

[the rest of the interview is on: Trent Reznor and Saul Williams Discuss Their New Collaboration, Mourn OiNK]

Disney cartoons, pretty girls, fair use and free culture?

How one Walt Disney Cartoon was made:

(Snow White and the Seven Dwarfs behind-the-scenes)

Here are a couple quotes from the documentary:
“…the thousands of pencil drawings go to the inking department. Here, hundreds of pretty girls…”
“The inked celluloids next go to the painting department where more pretty girls apply the final colors.”

Damn…Walt Disney was a bigger genius than I ever realized. Unfortunately, to some degree, we also have the Disney Company to thank for possibly being detrimental to cultural diversity. One can argue that a rich, continually replenished, public domain is necessary for continued artistic creation. Disney as we know it wouldn’t exist if the current copyright laws were in place years ago because many of Disney’s animated films are based on Nineteenth Century public domain works, including Snow White and the Seven Dwarfs, Cinderella, Pinocchio, The Hunchback of Notre Dame, Alice in Wonderland, and The Jungle Book.

There has never been a time in history when more of our ‘culture’ was as ‘owned’ as it is now. And yet there has never been a time when the concentration of power to control the uses of culture has been as unquestioningly accepted as it is now. (pg. 28 of Free Culture)

Free Culture is a book about the social dimension of creativity: how creative work builds on the past and how society encourages or inhibits that building with laws and technologies.

get a digital copy of the book for free

 

And here’s a humorous, yet informative, review of copyright principles delivered through the words of the very folks we can thank for nearly endless copyright terms:

A Fair(y) Use Tale

the work that must have gone into this…woah.

Blade Runner: the Final Cut

I’m so out of the loop that I just found out about the 25th anniversary Blade Runner plans by watching the trailer for Dangerous Days: Making Blade Runner. (also: I think it’s particularly interesting that the unicorn clip is included on that page.)
Here’s some more info:

Blade Runner (Five-Disc Ultimate Collector’s Edition) (2007)

In celebration of Blade Runner’s 25th anniversary, director Ridley Scott has gone back into post production to create the long-awaited definitive new version. Blade Runner: The Final Cut, spectacularly restored and remastered from original elements and scanned at 4K resolution, will contain never-before-seen added/extended scenes, added lines, new and improved special effects, director and filmmaker commentary, an all-new 5.1 Dolby® Digital audio track and more. Harrison Ford, Rutger Hauer, Edward James Olmos, Joanna Cassidy, Sean Young, and Daryl Hannah are among some 80 stars, filmmakers and others who participate in the extensive bonus features. Among the bonus material highlights is Dangerous Days, a brand new, three-and-a-half-hour documentary by award-winning DVD producer Charles de Lauzirika, with an extensive look into every aspect of the film: its literary genesis, its challenging production and its controversial legacy. The definitive documentary to accompany the definitive film version. The Ultimate Collector’s Edition will be presented in a unique 5-disc digi-package with handle which is a stylish version of Rick Deckard’s own briefcase. In addition, each briefcase will be individually numbered and in limited supply. Included is a lenticular motion film clip from the original feature, miniature origami unicorn figurine, miniature replica spinner car, and collector’s photographs, as well as a signed personal letter from Sir Ridley Scott.

Disc One
RIDLEY SCOTT’S ALL-NEW “FINAL CUT” VERSION OF THE FILM
Restored and remastered with added & extended scenes, added lines, new and cleaner special effects and all new 5.1 Dolby Digital Audio. Also includes:

• Commentary by Ridley Scott
• Commentary by executive producer/co-screenwriter Hampton Fancher and co-screenwriter David Peoples; producer Michael Deely and production executive Katherine Haber
• Commentary by visual futurist Syd Mead; production designer Lawrence G. Paull, art director David L. Snyder and special photographic effects supervisors Douglas Trumbull, Richard Yuricich and David Dryer

Disc Two
DOCUMENTARY DANGEROUS DAYS: MAKING BLADE RUNNER
A feature-length authoritative documentary revealing all the elements that shaped this hugely influential cinema landmark. Cast, crew, critics and colleagues give a behind-the-scenes, in-depth look at the film — from its literary roots and inception through casting, production, visuals and special effects to its controversial legacy and place in Hollywood history.

Disc Three
1982 THEATRICAL VERSION
This is the version that introduced U.S. movie-going audiences to a revolutionary film with a new and excitingly provocative vision of the near-future. It contains Deckard/Harrison Ford’s character narration and has Deckard and Rachel’s (Sean Young) “happy ending” escape scene.

1982 INTERNATIONAL VERSION
Also used on U.S. home video, laserdisc and cable releases up to 1992. This version is not rated, and contains some extended action scenes in contrast to the Theatrical Version.

1992 DIRECTOR’S CUT
The Director’s Cut omits Deckard’s voiceover narration and removes the “happy ending” finale. It adds the famously-controversial “unicorn” sequence, a vision that Deckard has which suggests that he, too, may be a replicant.

Disc Four
BONUS DISC – “Enhancement Archive”: 90 minutes of deleted footage and rare or never-before-seen items in featurettes and galleries that cover the film’s amazing history, production teams, special effects, impact on society, promotional trailers, TV spots, and much more.

• Featurette “The Electric Dreamer: Remembering Philip K. Dick”
• Featurette “Sacrificial Sheep: The Novel vs. The Film”
• Philip K. Dick: The Blade Runner Interviews (audio)
• Do Androids Dream of Electric Sheep Cover Gallery (images)
• The Art of Blade Runner (image galleries)
• Featurette “Signs of the Times: Graphic Design”
• Featurette “Fashion Forward: Wardrobe & Styling”
• Screen Tests: Rachel & Pris
• Featurette “The Light That Burns: Remembering Jordan Cronenweth”
• Unit photography gallery
• Deleted and alternate scenes
• 1982 promotional featurettes
• Trailers and TV spots
• Featurette “Promoting Dystopia: Rendering the Poster Art”
• Marketing and merchandise gallery (images)
• Featurette “Deck-A-Rep: The True Nature of Rick Deckard”
• Featurette “–Nexus Generation: Fans & Filmmakers”

Disc Five
WORKPRINT VERSION
This rare version of the film is considered by some to be the most radically different of all the Blade Runner cuts. It includes an altered opening scene, no Deckard narration until the final scenes, no “unicorn” sequence, no Deckard/Rachel “happy ending,” altered lines between Batty (Rutger Hauer) and his creator Tyrell (Joe Turkell), alternate music and much more. Also includes:

• Commentary by Paul M. Sammon, author of Future Noir: The Making of Blade Runner
• Featurette “All Our Variant Futures: From Workprint to Final Cut”

The above information is copied directly from: Blade Runner (Five-Disc Ultimate Collector’s Edition) (2007). (I hope it’s correct.)

The Encyclopedia of Life

“Comprehensive, collaborative, ever-growing, and personalized, the Encyclopedia of Life is an ecosystem of websites that makes all key information about life on Earth accessible to anyone, anywhere in the world. Our goal is to create a constantly evolving encyclopedia that lives on the Internet, with contributions from scientists and amateurs alike. To transform the science of biology, and inspire a new generation of scientists, by aggregating all known data about every living species. And ultimately, to increase our collective understanding of life on Earth, and safeguard the richest possible spectrum of biodiversity.”

And it all starts now. With you.

 

 

Another Giant Leap: Back to the Moon

One of the things that I’ve not yet mentioned on this blog is the fact that I’m currently working on several fiction writing projects. One of those projects is set in the near future after we’ve established some kind of base on the moon.

NASA has released a trailer of sorts that outlines their plans to return to the moon again. They’re really trying to make it as exciting as possible…it’s kinda neat:

The newest NASA animation about the constellation program.
The NASA Lunar Exploration Trailer in higher resolution.