It’s always surprising that Star Wars can still surprise. Here we are 20 years after Episode IV hit the silver screens, and the franchise still has the power to keep fans on their toes.

Take the little know fact that the script for what is still considered the best of all the films in the series – The Empire Strikes Back (1980) – was co written by female sci-fi pulp writer Leigh Bracket. An interview with her was broadcast as part of the BBC’s documentary We Are the Martians: Seeing Is Believing this March. In this her personal literary influences were mapped out with Edgar Rice Burroughs and Robert E Howard pushed to the fore, plus she was a friend and associate of Ray Bradbury. Through her novel writing career she was engaged with Sci-Fi and, like her influencers, she focused on crafted story telling, high adventure and the red planet. Look to her screen writing accolades as well, and you’ll discover the film noir classic The Big Sleep (1946) and western classic Rio Bravo (1959) – both of which fed into the smart plotting and smarter dialogue of Empire. Which makes her being eclipsed by a host of other, lesser writers, all the more baffling.

The death of Carrie Fisher at the end of 2016 was one of the worst surprises of what we can magnanimously call an ‘eventful’ year. Thankfully, we still get to see her final performance. Scinecefiction.com has confirmed that The Last Jedi will remain unchanged despite the fact that the actress won’t return for the third installment. It’s a great mark of respect for Fisher and, as with Leonard Nimoy and John Hurt, there’s no doubt her Sci-Fi legacy will continue on to the next generation of fans.

Finally, in this triptych of Star Wars curiosities, Wired has released a behind-the-scenes peek into the workings of Rogue One (2016) director Gareth Edwards. What’s surprising in this five minute mini documentary isn’t the fact that Edwards manages to sneak in a cameo role, but rather that Darth Vader’s iconic scene wasn’t even filmed until the cutting room edit. Just goes to show that sometimes last minute pivots can still create something outstanding.

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There’s a wider cyberpunk theme resonating through the first of this month’s posts, triggered predominantly by one of the sub-genre’s originators, Bruce Sterling. Presenting yet another provocative keynote speech at this year’s SXSW festival, his focus – among myriad topics – was on the social exclusions a post-work society would produce. Putting forward a world in which robotic labour makes humans redundant, he then went on to consider the rise of a patriarchal, techno aristocracy and the resentment that such a ruling class would generate among a breadth of minorities. He also argued that we should forego our egotistic narratives about being dominated by machines, get to grips with global warming and take charge of the legacy we’re leaving to our children – all great topics to dig into another day. For now, though, this notion of exclusion within the realms of modern cyberpunk is already generating traction.

Originally the core novels that presented the internet as a virtual space that could be experienced were replete with marginalised voices. Assassins disguised as Japanese tourists, Rastafarians commandeering space habitats, female protagonists with eye glasses continually connected to the web, an indigenous Alaskan islander on a revenge mission against America because his father had survived being nuked by the USA not once, but twice…

Japan, although approaching this burgeoning digital world from a very different set of cultural sensibilities, still led the way for female protagonists during the 1990s. Chief among these was Mamoru Oshii’s Anime Ghost in the Shell (1995). Jump forward 27 years and we encounter a round of controversy centering on the Hollywood re-imaging of this iconic film, and the casting of Scarlett Johansson as Major Motoko Kusanagi. Some native Asian fans have put time and effort into complaining about this cultural “white-washing”, news channels within fandom have investigated rumours of post-effects ethnicity, while the original studio thinks that the lead actress is “well cast”. There’s also an argument that this will bring Masamune Shirow’s original Manga to a wider audience, plus it’s another Hollywood film with a woman – albeit a sexualised cybernetic woman – at the centre of the action. However, the need to erode narratives that perpetuate an inaccurate view of our current society remains – especially within the non-conformist genre of Sci-Fi.

Look briefly to games like Deus Ex: Mankind Divided (2016) and the upcoming Cyberpunk 2077 and we still find sexualised women and white male protagonists sustaining Hollywood stereotypes. Return to film, and we have the imminent Ready Player One and Blade Runner 2049. Both fall under the umbrella of cyberpunk, and both feature white male leads. It’s a far cry from the diversity that Bruce Sterling, William Gibson, Neal Stephenson and their compatriots originally imagined. At least Bruce has promised that his next project will be a book based upon his adopted homeland of Italy. Let’s hope he continues his good work pushing boundaries, and those trying to sanitize the sub-genre take note.

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Away from all the ‘scandal’ of a lost public opportunity to lampoon the ongoing horror-show of Trump’s administration, this year’s Oscars did generate a notable genre-based highlight. Science-Fiction led the charge in an overall 29% uplift in female protagonists across all films in 2016, which is a fantastic counter to the current rise in retrograde thinking.

As we reported in the last post, Hidden Figures played into these statistics, as did Amy Andrews in Arrival alongside Felictiy Jones in Rogue One. Paul Feig’s all female reboot of Ghostbusters should also be recognised for its quadruple boost, as should Luke Scott’s first feature length endeavour, Morgan. Away from the leading lights, though, we should also call out Sofia Boutella’s portrayal of Jaylah in Star Trek Beyond, Mary Elizabeth Winstead in 10 Cloverfield Lane and Jennifer Lawrence in Morten Tyldum’s Passengers. A mixed bag of quality to be sure, but a disproportionate number of headlining women compared to other genres.

Emma Watson, currently adding to the 2017 female protagonist quota with Beauty and the Beast, has also highlighted to Entertainment Weekly the schism that stops male identification with female leads. She’ll also be adding further improvement with her role as Mae Holland in James Ponsoldt’s adaptation of The Circle. Sadly, the film is also the last outing for Sci-Fi legend Bill Paxton, whose recent death has saddened anyone who remembers him from such films as Weird Science (1985), Aliens (1986), Slipstream (1989) and Apollo 13 (1995). Hopefully the ladies of February won’t mind his inclusion here. I’m sure they’d be in the best of company.

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So it seems we have a feminine theme developing throughout February with our second entry of the month focusing on singer Jenelle Monáe. We’ve referenced her previously on Drozbot as a result of her Sci-Fi influence Metropolis album and, more specifically, the Many Moons video and single. Aside from her melodic vocal skills, she’s recently shown off her acting abilities in Theodore Melfi’s Oscar nominated Hidden Figures. In this she plays Mary Jackson, one of NASA’s engineers who helped get astronaut John Glenn safely into orbit and home once again.

As part of the film’s promotional campaign, artists were commissioned to create images of the three black female leads. Tor.com reported on this earlier in January 2016, focusing on the above image by Stella Blu. It’s an interesting take on Monáe’s already genre-friendly image, while also harking back to a less risk-adverse NASA – something that seems to be returning with their upcoming Orion project.

In a recent interview with the Salt Lake Tribune, Monáe clarified her combination of acting and singing. “I always did both,” she said, “and I consider myself not just an actor or a musician or singer, but an artist-storyteller, and my hope is to continue to tell untold, unique universal stories in unforgettable ways.” Here’s hoping she gets a full-blown, well-written Sci-Fi android feature when she next takes to the silver screen.

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We’ve talked about the work of Brit Marling here on Drozbot before, and it’s great to see her quirky brand of indie Sci-Fi finally crossing-over to the mainstream. With The OA receiving a bunch of accolades and the fans picking through the minutia of every scene, it’s high time to have a brief retrospective of what she’s already bought to the genre.

Not one but two cinematic releases bearing her name appeared in 2011. With Another Earth audiences were presented with an identical home planet appearing in the sky, and how this seemingly cosmic happening affects the intimate tragedies of a few central characters. Sound of My Voice meanwhile, opened with a tense drama about two investigative journalists working to infiltrate a cult but, in true Marling style, the plot soon spirals out into the realms of conspiracy and time travel.

Three years after this storming genre introduction and she appears again, this time in a supporting role in Mark Cahill’s I Origins. While the film lacked heart – without Marling looking after script writing and directorial duties – themes of synchronicity, resurrection and the continuation of some sense of existence after death seems to have peculated into some of The OA’s thematic landscape. Talking of which, two weeks ago Netflix confirmed that there will be a season two and both Brit Marling, and co-creator Zal Batmanglij, have reported that there’s more than enough material for many more hours of mystery. You’ll find no complaints about that here on Drozbot, despite the mild trepidation about whether a second series can ever be as well-crafted – fears of season two of Heroes still rankle in these parts.

So there’s not much for the fans to speculate on at this point. There is, however, one juicy titbit that has emerged via some of the more observant viewers – we’ll leave you with this and the full acknowledgement of its spoiler potential. Regardless, check this climatic clip out and see if that chef in motion towards the gunman might just be none other than a relocated Hap. Till next time, keep it interdimensional!

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When ex-President Obama US President talks about his love of literature – citing Liu Cixin’s The Three-Body Problem and its scientist protagonists as one of his favourite books of 2016 – we can’t help but take note. Something in a lab coat this way comes.

Meanwhile in the realm of pure science, Richard Dawkins takes to the offensive once again – no surprise really considering the global slump towards more reactionary views. The radical Darwinist is calling for a more militant approach to the sciences, battling as ever in the hope that rational thought can banish religious preconceptions. It’s interesting to note the running theme with both Liu Cixin’s lead characters and Dawkins’ call for scientific radicalism, namely a push to popularise science’s role within a wider culture.

Carl Sagan (above) referenced the “poetry of science” as being a drive to get cosmology into the homes of as many people as possible via his enormously influential TV series. He also penned one of io9’s Great Novels That Will Make You More Passionate About Science with Contact (1985) and its scientific heroine Eleanor Arroway – sadly doubly relevant as a result of the recent death of John Hurt who starred in the film adaptation. Sagan’s lead character has been referenced as one of science fiction’s most believable scientific protagonists, and the book is a worthy effort to transfer the time-consuming achievements of research from the back room to the fore.

There’s a definite need for more personal and compelling scientific narratives to counter the still attractive, and yet misplaced, stereotype of Doctor Frankenstein. There’s also no doubting that there are some increasingly difficult choices on the horizon for humanity. But it’s reassuring to note that science’s more impirical approach to complex problems may well be our brightest beacon in this new dark age of reductionist thinking.

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When looking forward seems to only generate more dystopian fiction in a genre already filled with ‘end of days’ scenarios, perhaps it’s better to see what can be learned from the past.

Science Fiction day was first coined by US fans in 2012, and celebrated Isaac Azimov’s birthday on the 2nd January. Although those embracing the more pluralistic narratives of the New Wave and beyond might question the choice of venerating such an advocate of ‘hard Sci-Fi’, there’s no doubting Asimov’s faith in science.

Paul Mutter, over at GeekTime, pulls together some of the writer’s most prophetic ideas and shows how an increasingly robotic world driven by algorithms, ‘big data’ and false news were commonplace themes within his work. Asimov, although a natural pessimist, never gave up on the hope that human ingenuity would ultimately come to our collective aid. “Science fiction writers foresee the inevitable, and although problems and catastrophes may be inevitable, solutions are not.” It’s a quote that still resonates today.

Meanwhile, James Cameron, director of Aliens and Avatar, is also looking to pay a debt of gratitude to a genre that helped fuel his career. He’s currently filming a six part documentary called the Story of Science Fiction that will be aired in 2018. Andrew Liptak over at The Verge has the full overview of what is promising to be a much deeper exploration of some of the less commonly recognised names within the genre.

Closer to home, here in the UK, The Barbican will be hosting a summer collection of all things Sci-Fi – including an outdoors screening of Stanley Kubrik’s 2001 A Space Odyssey. Exhibits will be bolstered by loans from Microsoft’s Paul Allen, with his personal collection ensuring numerous opportunities to see iconic artifacts that rarely leave America. Mark Brown over at The Guardian gives a detailed overview of what fans visiting London can expect.

Perhaps such retrospectives are just exercises in navel gazing; a self pleasuring activity for fans trapped in their own echo chamber – albeit one of interstellar proportions. However, when you consider all the genre protests against oppression, the misuse of power and mankind’s environmental folly, there’s more than enough to inspire a wealth of similar creative solutions to the issues that face us today.

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Science Fiction has taken on a whole new meaning with the inauguration of Donald Trump. Once again we’re in the realms of presidential confabulation matching the aspirations of Ronald Reagan when he took the ultimate ‘high ground’ with his doomed Star Wars initiative. This time, however, it’s not missile killing satellites, rather the fictions that Trump is spinning around global warming that need to have light shone upon them.

A Chinese hoax, the erosion of American jobs and tax dollars being fed into United Nation’s climate change programmes, just a “bullshit” [sic] theory… Trump’s general opposition is well recorded, in spite of such visual evidence as yet another massive chunk of the Antarctic ice shelf breaks free. What has changed now that he’s taken office, are his ploys and personnel appointments in order to help sell these fictions to the American people. Admittedly, this might all just be a tactic of his destabilising rhetoric, but it’s still disturbing to hear evidence of what’s already been put in place.

October 2016 saw him appoint climate change skeptic Myron Ebell to oversee the transitional efforts at the Environmental Protection Agency. In the meantime, the president’s belief in ‘clean coal’ – i.e. a process where all harmful emissions generated by energy production are completely neutralised – is pure Sci-Fi. The technology doesn’t currently exists and ongoing research projects have been plagued by delays and financial overspends. Then we have Trump’s claims that US wind farms are manufactured abroad and are lethal to local bird populations – both accusations countered in a recent Huffington Post story.

NASA plays a pivotal role in the data capture on climate change, and while Trump’s transitional team heading into that organisation aren’t as divisive as Myron Ebell, there is an indication that environmental data will be ‘revised’. Thankfully, as reported in Wired, a group of activists were already on the case nullifying such a revisionist approach by data mining numerous government pages.

So science and fiction merging in the most insidious manner, which could well add to an increasing despondency in any readership. But, as relayed in one of November’s posts, we’ve spent too long retreating into our virtual playgrounds. Thankfully, there are plenty of opportunities to channel our collective interests in the future into actions that may actually help shape it.

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A couple of posts ago we identified that both 1997 and 2009 were both vintage years as far as cinematic Sci-Fi was concerned. Which, by some fag packet maths reckoning, means it’ll be 2021 before we get another cluster of quality films. It’s no shock then to realise, in hindsight admittedly, that 2016 won’t be bucking this spurious trend. Despite the superlative reviews for Rogue One, and Star Trek Beyond being completely serviceable, there’s still not enough to make it a stand out year. Even Denis Villeneuve’s Arrival, with its emphasis on narrative over special effects, still didn’t mark itself out as being a classic – although we can but hope for more movies in this cerebral vein.

So what does the New Year hold for fans of the genre?

We’ve called out Seth Ickerman’s vanity project on Drozbot before, but the film’s premise of merging the real world with the virtual remains intriguing. Plus there’s now a dedicated website where you can witness the film’s impressive opening trailer.

Ridley Scott is a name that ends up being frequently mentioned on these pages, and 2017 has not one but two films returning from his oeuvre. However, the sad reality is that both Blade Runner 2049 and Alien Covenant have some tough acts to follow. The former needs to take one of the most iconic Sci-Fi movies of the 1980s to a new and relevant space, whereas the baggage that surrounds the latter already weighs heavily against its hopes for success.

In other quarters, we have another film heavy with heritage about to receive the live action treatment – Rupert Sanders’ Ghost in the Shell. Scarlett Johansson is once again showing off her interest in Sci-Fi by taking up the role of the female cyborg protagonist – although her recent outings with Under the Skin and Lucy make us cautious for another mixed reception. And, talking of Lucy, we have a new endeavour from director Luc Besson with Valerian. We’ve not been complimentary about his output over the years here on this site, but we’ll reserve judgement despite the opening trailer seeming to hint at a Jupiter Ascending clone.

Daniel Espinosa’s Life, with both Jake Gyllenhaal and Ryan Reynolds bringing some serious acting skill to the production, is also of interest. But our greatest hope for the year sits with the sequel to a surprising 2014 tour de force. Guardians of the Galaxy Vol.2 is scheduled for release this April, and we’ll be hunting out our “super awesome” mixes in anticipation!

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Science Fiction has always taken a bold stance on the subject of death. A final frontier that can take even the bravest and best of us and leave those behind with a very palpable reminder that everythig here on Earth is, for the time being, wonderfully transient.

Captain Kirk can, and did, die on screen. As did Spock, only to miraculously return and then be taken from us again in a very real sense. Death has always been a reality in Gene Rodenberry’s creation ranging from the sublime – with the Next Generation showing ongoing grief at the absence of Tasha Yar – to the risible with John Scalzi’s Red Shirts.

Like Spock, a similar trick of resurrection was also performed by Han Solo in Star Wars. I remember being traumatised at a trailer shown on a British children’s TV series, Screen Test, which displayed my personal hero being frozen in carbonite. No explanation was given as to what was going on, and the death of central figures had already been highlighted as a result of Darth Vader cutting down Obi Wan Kenobi. Lesson learned. The Star Wars universe was a dark and capricious one. Much like our own.

This year has been a tough one for Sci-Fi fans, whichever way you look at it. From the death of David Bowie at its beginning, then with the demise of Alan Rickman, Nicholas Fisk, Anton Yelchin, Kenny Baker and now Carrie Fisher. Their departure is, however, vitally important to those who remain. There’s a growing appreciation for Fisher as someone much more than just Princess Leia – an actress who bemoaned the sterotypic depition of her character while simultaneously bringing a gun-toting, wise cracking female commander to life within the leading ensemble.

Death is real, but its anthesis is creation – both bilogcal and artistic. Thanks to these dearly departed, and their drive to create while they were with us, we all lead richer lives. As such, a debt of gratitude is owed to them all.

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