First, the Short Review
6 Reasons I Recommend THE SILENT SEA
- Beautiful production overall, including visuals that underlie the creepy vibe
- Featured a number of my favorite Korean actors, a few you might recognize if Squid Game was on your watch list this past year
- Plenty tension and surprises/frights
- A number of science fiction and haunted house tropes embedded in the story and various characters (see more in longer review)
- The relationships and particularly, the relationship to authority feel authentically Korean. (also, see longer review)
- You know I love the miniseries genre, 1-hour installments of great storytelling that comes to a conclusion without an agonizing cliffhanger
SILENT SEA is the story about a mission to the moon to find water. I rate this series PG-13. No sexual content in this production, but there are dead bodies, and some gore.
The first episode quickly gives the viewer the high stakes for this mission. Drought has plagued the Earth. Water is the resource most valuable and due to its scarcity, the planet has become a wasteland. Water is rationed to such a degree, many have suffered physically, billions have died. The wealthy nations have gone into space to find a water source. Most abandoned the idea of finding water on the moon after searching, but the South Korean government kept snooping. There has been a top-secret program at a large moon station that was believed to have borne fruit, but suddenly…the experiment falters. Everyone dies all at once on the moon station. The earthbound directors, including Heo Sung-tae (pictured near end of review) initiate another mission to go to the station and investigate the truth, but secrets pulse underneath the surface of this mission and become one aspect of tension in the story. The authorities hold their cards close and the military and science leaders do not push back, though they suspect something fishy. This may or may not be an aspect of Korean-specific deference to authority, but the screenwriter exploits what I understand as deference in a way that serves the story. Also, this is where the nuanced acting plays such a powerful role in the unfolding of the narrative. The audience can see in the face of Bae Doona, the slight suggestion of twitch, a blink, a stern jaw…we see it, but barely and it helps us know that she understands that she is being deceived. Yet, in most of the outward behavior, she acts the true soldier. Doona is great at this nuanced acting, but she’s just one, among a number of these performers, who pull off such nuance. In my mind, THE SILENT SEA showcases superb writing and better acting than Squid Game. Click for a review of Squid Game
Once the mission lands on the moon, what unfolds reminded me of Ridley Scott’s Alien, in all the best ways. Yes, there will be corpses, tunnels, darkness, betrayals, a terrible and contagious sickness, but there will be one character who keeps her eyes on the prize. Dr. Song (Bae Doona) is intent on discovering the truth. In part, she seeks the truth because her sister is one of the corpses and the holder of many of the secrets. Doona as Dr. Song, pictured above, is a female lead in the Korean zombie series, Kingdom. To see my review of Kingdom, click here
I beat this drum a lot but I do feel that Netflix streaming continues to find the best international productions and when it comes to science fiction, the Korean film/media community is putting out a lot of great product. Produced by Jung Woo-sung, directed by Choi Hang-Yong, who deftly handles the brilliant storytelling of screenwriter, Eun-Kyoi Park. Honestly, I think I could teach a five-hour course on writing with this series, moving scene by scene through the screenplay, in terms of a classic sci-fi thriller. Fun fact, this story (as did Scott’s Alien), closely follows the haunted house template. That means there are a few predictable tropes. The audience knows that the mission is doomed (at least the mission as it was originally conceived) as one by one, the team gets whittled down. Who will remain in the end…that is what the audience wonders. Regarding the various characters, the majority of them hold their own, each having his/her own arc, including the wise-cracking military scrub who just wants to go home…a longing the audience suspects will not be realized.
I highly recommend. THE SILENT SEA, and suspect that Netflix now has me pegged in its algorithm as a person who loves Korean-produced thrillers/sci-fi. I might need to give the Koreans their own category on my site. The product is so good, I can’t stop watching and when I watch, I always review.
ALL SYSTEMS RED is a 127 pages story, entertaining and well-written, that one can read in about 4 hours. Rated PG-13 for adult themes. I read this novella on a flight from Minneapolis to Seattle. I flew on Delta and none of the airline’s tv/film options seemed very thrilling to me. I often try to see HBO or Showtime options when on a flight because I don’t subscribe to either of those services in real life. Thank goodness I had taken this book with me, hardback, but thin, lightweight and easy to pack because it’s only 127 pages.
And now, for my Short, No-Spoiler Review
I highly recommend ALL SYSTEMS RED for these 5 reasons.
- Original voice…the narrator has the appeal of an innocent, he/she is like a child, yet holds the capacity to narrate a futuristic society inhabited by humans and AI living and working together
- Genre bending…science fiction merged with mystery…in other words, a page-turner
- Thought-provoking ideas about AI and how future humans might understand morality/humanity in regards to AI
- Interesting world-building and a great set-up for subsequent stories
- ALL SYSTEMS RED would make a great audiobook. See the longer review for more
Martha Wells has created a fascinating universe of humanity working and living off Earth, in space, in places that can only be reached via light-speed travel. She doesn’t fixate on the physics of the issue (regarding traveling across vast distances) but focuses on the gritty work life of humans and their bots. In the author’s futuristic world, full AI exist as sex workers and security units (SecUnits) and other helps in life. Also, some humans adopt robotic parts (augmented humans). So, there is a mix of how humans have integrated with tech and within the story world, there is little “judgment” about these realities.
While this is all true, the AI mind that narrates this story has a judgment about itself and humans. The view is not completely skewed toward disgust for humans, though there is some leaning in this regard. Granted, I’ve only read the first 1.5 novellas. But what works in the narrative is that Wells has put forward a more dispassionate, yet charming view of the world the way it is. I highly recommend these novellas as entertainment and am slowly discovering how they speak into deeper moral questions around humanity’s race toward the future, a future in which robots and artificial intelligence will be embedded.
Regarding the narrator. The voice is absolutely charming. I did not listen to the book, but can imagine the voice. This book would be a pleasure to listen to.
To buy the first book, click on All Systems Red
Four of the series in hardback can be bought together. Click on Murderbot Diaries
For the least expensive version to try out novella #1, click on Kindle version: All Systems Red
For the audio version of novella #1, click on Audio of All Systems Red
What to expect when watching SPACE SWEEPERS…Great storytelling, compelling characters and a science fiction setting that evokes the best of a well-produced space opera. This film is free on Netflix. I rate it PG-13 for some violence, but it’s a bit like Star Wars type violence. Not a lot of blood, but definitely carnage.
5 Reason to Watch Space Sweepers, The Short Review
- characters, they’re funny, quirky and smart…They reminded me of many beloved STAR WARS characters
- Special effects, on par with cinematic space opera’s like Star Wars
- Family friendly, nothing offensive for parents trying to figure out what to show their kids
- Excellent space battles
- An ultimate choice for the main character(s) that packs an emotional punch
The Longer Review
This film assumes a space opera vibe and so reminded me of Star Wars, yet felt original. The pacing of this screenplay gave exactly the right amount of info while embedding a few nuggets that made me go back a rewatch portions. That was rewarding and I loved the heartbeat of the story’s core…the transformation of a rogue…think of Han Solo and his journey.
Not that this story only bleeds a happy ending. There is a tragic trade that takes place, a brutal choice for the main character. However, the overall adventure ranked above my expectations. When I’m streaming something online like this, I’m not expecting brilliance, but when it’s Korean made, I am coming to expect top-notch production. The Korean film industry is doing something right by focusing on great storytelling and upping the game at every turn when it comes to investing in the visual feast. SPACE SWEEPERS is no exception.
To note: The villain in SPACE SWEEPERS reminded me (visually) of Jack Dorsey, former Twitter CEO, former CEO as of today, November 30, 2021. I wonder if the film maker has/had a bone to pick with Twitter.
I will continue to seek out, watch and review Korean-produced scifi/horror/speculative fiction because in the last 2 years or more, the flow of great content is undeniable. For more Korean-productions that I’ve reviewed, see:
DUNE, the 2021 film is a true hit and a must-see large screen theater event. It drew millions across the globe to the theater. I was among those who saw it and loved it. I saw it a second time within a week and the film was still breathtaking, and I’ll see it again though probably via my television.
In a similar way that Peter Jackson pleased both the non-reading audience and the hyper fan of the books, LOTR, it’s looking like Villeneuve will do the same for the average viewer and fans of the novel. First installment of George Herbert’s universe, check. To read my review of the novel DUNE, click here. For my review of the film, please continue.
DUNE is the first of two films, and there could be more if Villeneuve decides to continue with the DUNE’s sequels. We’ll see how that goes. The later books are brilliant but probably more challenging for the average audience member to consume. Herbert’s world is a complex and mostly unhappy place on almost all counts.
First, The Short Review
5 Reasons You MUST See this Film if you are a Scifi Fan…
- Mostly pitch perfect and accurate (close to the novel) storytelling
- Herbert’s DUNE is a foundational work in the scifi genre and has a huge international following. AKA, without Dune, Star Wars might never have happened.
- A vision within the story that transcends culture and era
- Great casting
- An epic visual feast
Now, for the Longer Review…
If you want to go deep, super deep on DUNE, there are papers written, blog posts and articles that speak to why the story DUNE is one that has reverberated in many cultures, especially subjugated cultures, since it was released in 1965. This article is a good one, in case you want more breadth about the history. Click on the link for the Guardian’s penetrating reflection. DUNE article, Guardian.
As a viewer of the film, what I wanted was something of the depth of the novel, a compelling vision of the world of Arrakis, Caladan and the politics surrounding the story. I also wanted characters who made sense within that world. They had to feel real. DUNE delivered on all counts.
True, the viewer is only getting a third of the character depth in the film version and for that reason, I encourage all to read (or re-read) the novel. It ages well. But, even if you don’t read the novel, Paul, Leto, Jessica, Duncan, Kynes and the Fremen come across very close to the novelist’s vision. I had two observations of change that caught my attention: Villeneuve did not portray the Atreides, mostly male in-house staff accurately in terms of their suspicion of Jessica as the betrayer. Their suspicion of the one woman in the mix comes through in the novel, not in the film. Also, the gay Baron Harkonnen is a known child predator in the novel. I can guess there are many reasons Villeneuve decided to forgo this portrayal of the only gay character in the story world. Let him be obese and disgusting in the visuals, but diminish his child predator persona. That seems like a wise decision on many fronts.
The portrayals I loved:
Arakkis, the worms, the Fremen, the sitch, the general feeling of the Bene Gesserit, the Harkonnens, the Sardaukar, the ornithopters, Arrakeen, the costumes (including the stillsuit)…these are all perfect, as are the actors’ portrayals of their characters.
Overall, DUNE was worth the money. I highly recommend this film. Rated PG-13 for violence.
Science fiction fans were delivered a treat over the weekend. Asimov’s Foundation Series is finally consumable via screen, television streaming to be precise. Writers/Creators, David S. Goyer (Batman Begins, 2005) and Josh Friedman (Terminator: Dark Fate, 2019) have teamed up to attempt what many had believed unthinkable.
Why unthinkable? The Foundation Series, which began as a few short stories, but over the course of Asimov’s life, evolved into something much more vast, portraying the slow downward spiral of an empire in a sprawling universe over many centuries.
Apple, having bought the rights to the Foundation Series in 2019, invested a large sum to make this happen. The story is definitely being tweaked by Goyer and Friedman, but I am appreciating the adjustments because the Foundation Series novels did not appeal to me. Too many supposedly smart dudes sitting in rooms and talking at one another. Too many ideas delivered in a way that felt preachy to me, therefore dull. Characters that felt interchangeable and almost zero females.
But how about the series? So far I am loving what is evolving on screen. If you’re a scifi fan, here’s why I think it’s worth watching.
- The core of Asimov’s ideas are all there, the story well told so far
- The production design, the sets and costumes are fabulous
- The acting has been surprisingly good
- The screenwriters have changed some of the male characters to female, including Gaal Dornick, the lead character in these first 2 episodes. Dornick, pictured below, is played by Spanish actor, Lou Llobell.
If you’re one of those people who subscribed to Apple Plus because of Ted Lasso, FOUNDATION might just convince you to stay a little longer. I rate this production PG-13 for some violence and sexual content.
The third episode drops this Friday, October 1st.
Spoilers below. If you want to read a review of the novel without spoilers, click here.
I happen to be in a writing critique group that started up this past week. A couple of the folks in this group are writing novels and sent in first chapters for a swipe at getting critique. So, I read a few Chapter 1’s yesterday and in the course of that reading, I began to wonder…Do these seem like first chapters to me? How do I feel as a reader as I am taking in the narrative for the first time? Do I begin to have a strong sense about the story, the characters and about the writing style? Absolutely. I did and do have feelings and ideas. Some of those made me want to keep reading. Others did not.
That led me to the question: How does a novelist write a brilliant chapter one?
I wonder about my own first chapter, the beginning of my novel that is undergoing an extensive edit. How do I feel about my first chapter? What is it accomplishing and what is it not accomplishing? Have I done the necessary work to hook my reader, keep them interested and engaged, settle them into the world I am creating?
All writers of any genre ponder this question when they sit down before the blank page because the possibilities are endless, as endless as stories themselves. However, I do think there are ways to understand first chapters, to critique and edit them for the purpose of making them better.
Therefore, I begin a series of posts devoted to the question of beginnings. My focus will be on science fiction and fantasy novels and the hope is not to be prescriptive. Telling the writer what to do or not do detracts from originality and art. However, paying attention to how great authors craft a narrative is worthwhile. We learn from the greats. Study enough of them and we begin to see common threads.
So, my goal in this series of posts is to plunder first chapters and see what I can glean about my own writing and will record my findings for the sake of other writers.
Today, A Look at DUNE, chapter 1
Frank Herbert is a great writer and though the novel DUNE isn’t perfect, it’s very close to perfect. How does that first chapter set us up for a marvelous journey?
I see it accomplishing four things.
-Gives us a sense of the setting of the story
-Introduces the primary characters, even putting the main character through a first test
-Hints at the coming conflict
-Tantalizes the reader with compelling mysteries
First, chapter 1 of DUNE give us a sense of the setting.
Here is the first sentence of the novel.
In the week before the departure to Arrakis, when all the final scurrying about had reached a nearly unbearable frenzy, an old crone came to visit the mother of the boy, Paul.
Most of us have experienced moving houses, cities, states. We know what it feels like to change locations. In this first sentence of DUNE, the reader is alerted immediately to the fact that a change in location is taking place for this particular family, for this particular person, Paul. Moving is disruption. Paul’s family is about to be disrupted. He will soon be leaving Caladan for a planet called Arrakis, sometimes called Dune.
Soon after, in the early paragraphs, Herbert repeats this series of words three times as paragraphs. They jump out on the page like a refrain. They are written in italics, which in Herbert’s style, represents thought. Paul, the main character continues to mull over this reality.
So, not only will Paul be leaving his current location, but the new location is harsh. There is a sense of foreboding about this desert planet. Paul will move from Caladan, a land where water is plentiful to Arrakis, where water is scarce. Caladan is known, comfortable, secure, a virtual paradise. Arrakis is mysterious, uncomfortable in so many ways, in part because of its climate. Climate will be a large issue in the rest of the novel. Herbert wants the reader to begin thinking about ecology and its importance to a planet and a people.
Here is the second sentence of DUNE.
It was a warm night at Castle Caladan, and the ancient pile of stone that had served the Atreides family as home for twenty-six generations bore that cooled-sweat feeling it acquired before a change in the weather.
When Paul’s family leaves Caladan, they are not only leaving their current comfortable home/castle, but they are leaving their home of twenty-six generations. This move is an epic move. The reader is left asking…why? Why leave this lovely planet and this home of so many years? We get a few clues as to why this move it taking place. Power and political maneuvering are introduced, a profound subject of the story.
Thufir Hawat, his father’s Master of Assassins, had explained it: their mortal enemies, the Harkonnens, had been on Arrakis eighty years, holding the planet in quasi-fief under a CHOAM Company contract to mine the geriatric spice, mélange. Now the Harkonnens were leaving to be replaced by the House of Atreides in fief-complete—an apparent victory for the Duke Leto. Yet, Hawat had said, their appearance contained the deadliest peril, for the Duke Leto was popular among the Great Houses of the Landsraad.
Arrakis is the place where the empire derives its most important resource: Melange, or spice, as it is sometimes called. Melange is the secret to space travel in this particular universe.
We can already see now how the chess pieces are stacking up.
This brings us to the second accomplishment of Herbert’s chapter one, the introduction of most of the main characters.
Paul is mentioned in the first sentence. So is his mother. Paul’s mother and Paul are on the stage for the very final scene of the novel as well. In fact, his mother gives voice to the final paragraph/speech.
Not only that, but the crone mentioned in that first sentence, the one who will test Paul later in the chapter, will also be on that stage at the finale. This is great writing.
Add to the list the Bene Gesserit, the Fremen, House Harkonnen…all are mentioned, Thufir Hawat, (who will be present in the final scene) and Dr. Yueh, important as the one who betrays House Atreides…all are introduced in chapter 1.
Note this paragraph early in the chapter.
Paul awoke to feel himself in the warmth of his bed—thinking…thinking. This world of Castle Caladan, without play or companions his own age, perhaps did not deserve sadness in farewell. Dr. Yueh, his teacher, had hinted that the faufreluches class system was not rigidly guarded on Arrakis. The planet sheltered people who lived at the desert edge without caid or bashar to command them: will-o’-the-sand people called Fremen, marked down on no census of the Imperial Regate.
The Fremen will become important to the story, of primary importance, but the reader is simply introduced here. There is mystery surrounding these people. I am curious. I want to learn more and Herbert will plunge me into Fremen culture before too long.
It’s interesting to note who is left out of chapter 1.
The Duke Leto, Paul’s father, does not get a speaking part until chapter 4. Even the emperor, the most powerful political person in the Landsraad, receives little attention. These are important omissions. It says something about how the story will be focused, that despite the powerful political figures on the scene, Paul and his mother, the two of them in particular, will take center stage.
Chapter 1 hints at future conflict.
As Paul is undergoing the test, the gom jabbar, here is what the Reverend Mother, the crone says to him.
The old woman said: “You’ve heard of animals chewing off a leg to escape a trap? There’s an animal kind of trick. A human would remain in the trap, endure the pain, feigning death that he might kill the trapper and remove a threat to his kind.”
As I was re-reading the chapter last night, this nugget stopped me in my tracks. I had not realized, not seen how this Reverend mother quote foretells the remainder of the story.
Paul does feign death on Arrakis, so that he might kill the trapper and remove the threat to his family. That is, in essence, a summary of the novel. These two sentences are so brilliantly placed, subtle in all the best ways. We don’t understand consciously upon first reading, but Herbert has just told us what we can expect.
Lastly, chapter 1 teases the reader with mysteries.
This is an odd world, a mysterious one in which a mother of an only son, will give him up to a religious figure, knowing he might die.
Jessica stepped into the room, closed the door and stood with her back to it. My son lives, she thought. My son lives and is…human. I knew he was…but…he lives. Now, I can go on living.
This we absorb and I, at least, want to read to find out more about this bizarre world where such a thing would happen. In order to know more, I must keep reading.
Then, there is the planet Arrakis and the Fremen. In chapter one, we learn very little about them, but we wonder about them as Paul does. The planet is a desert and the Fremen seem to live off the grid. They are wild and uncounted by the empire. Who are they? We are meant to wonder, and to find out, I have to keep reading.
And lastly, in Chapter 1, Herbert introduces the reader to the idea of the Kwisatz Haderach, a messianic figure. Is Paul the Messiah? The reader suspects he is, though Paul himself struggles with this identity throughout the novel, mysterious even to him. We will have to keep reading if we want to figure out the true identity of the Kwisatz Haderach.
So…all of this in Chapter 1. I am wowed and I am hooked. I am also set up well in the world to take in more of the details as they unfold. Moreover, I have enough sense of the main characters to be able to navigate this complex world where many more characters will soon be introduced. It makes me wonder how many times Herbert went back to edit and perfect his beginning…because I don’t think he could have written a better version than the one we read today.
This is my second time reading DUNE, with probably about twenty years in between readings. My first took place as a fan, consuming for pleasure. This time, I re-read DUNE as a writer of science fiction. It was still a thrilling ride.
DUNE, the novel holds up well to post-modern scrutiny and the writing is mostly perfect.
This is a PG-13 story, for sexual and violent themes, although those scenes are not explicit in this novel.
The Short Review
5 Reasons the Science Fiction Fan Needs to Read this Book Now
- DUNE, the film will be released in 2021…at least the first film of two will be released…unless pandemic interferes. In this case as in most, I recommend reading before viewing
- Compelling villain and compelling hero, with complex motives for each
- Dynamic characters around the main character, including a number of strong females
- Among the best world-building you will find in science fiction
- Without simplifying the complexity of good versus evil, this story gives the reader a vision of truth, goodness and honor
The Longer Review (mini spoilers below):
When George Herbert created the character Paul Atriedes, he stumbled upon a savior-type, a hero, a character who could embody a kind of leadership that most of humanity longs for. Hero stories are nothing new, certainly not new to the science fiction audience, but great ones are to be treasured.
In the case of DUNE, Paul is not the only treasure. The people of the planet Arrakis, the Fremen, also embody an ideal. They are oppressed, but intelligent, pushed to the margins of society, but resourceful and willing to sacrifice for the cause. Their discipline is akin to the greatest armies of literature and history. They are as creative as tenacious as a Roman legion, as fierce as Khan’s Mongols and as disciplined as the Spartans.
(Spoiler here) So what is supposed to get under our skin about DUNE? How can one argue with a story where the overly confident and utterly powerful Emperor is outsmarted, out-gunned and defeated by an honorable and humble tribal people? That feels so right and good.
But there are complexities that go along with this storyline. Paul is not as pure a hero as he might seem. His role as Messiah is an idea that plagues him throughout the novel because he knows he is not simply fighting for the Fremen. He is also motivated by vengeance and honor. He uses the Fremen to avenge his father, so his victory is an uneasy one. Even as he negotiates a marriage to the Emperor’s daughter for status and honor, but keeps his Fremen lover as concubine, the audience sees the inherent politics that will inhabit Paul’s governing. How Paul will rule the Empire is a story for later books, but the seeds of the struggle are sown well and deep in the original novel. So, even as the audience breathes relief at the victory over injustice, there is more to ponder.
To purchase the novel, click DUNE
There is also an amazing graphic novel version which is being released book by book. Dune is made up of three sections, called books. The first installment in graphic novel form is available here. To purchase, click DUNE, Graphic Novel The second installment will be released in the Spring of 2022. No date yet on the third and final.
Lastly, the 2021 theatrical trailer is out and worth a view, perhaps best seen after reading the novel…but then, maybe not.
Click here to see DUNE, film trailer
THE ANDROMEDA STRAIN, by Michael Crichton, was the first novel published by Crichton under his actual name. He had published previously under a variety of pen names. His reason for publishing under other names…he was a medical student at Harvard and was actually thinking he might practice medicine someday and didn’t want his patients to know that he was writing on the side. This must have been a “thing” in that era because it strikes me that wouldn’t phase anyone now.
However, Crichton soon after became a best-selling author and gave up the idea of practicing medicine.
I read this novel because of a recommendation by a friend during Covid19…
Do I recommend this novel? No, I don’t and here are 5 reasons why:
- The novel puts forward an interesting premise, but not fully baked (I am pretty sure this novel would never get published today)
- Bland main characters. It’s hard to keep them straight, they all seem like the same guy (except they attended different Ivy League schools and have slightly different occupations)
- So-so tension, but nothing like one of his better books, Jurassic Park, for example
- Characters are all white dudes in lab coats and even the non lab-coat characters are all white dudes. *note…when THE ANDROMEDA STRAIN was turned into a film in 1971, the screenwriter changed one of the dudes to a female…even in the 70s the character line-up was thought to be way too monochromatic.
- Too much data and exposition and not enough heart. I felt nothing for all the people (except for the infant…who seems to be completely neglected)
So…this novel became a best-seller and gave rise to a film that bears the same title. Both were hits/made a lot of money. In fact, this book catapulted Crichton’s career. I can only surmise that there was a great hunger for techno-thrillers at the time and that Crichton scratched an itch that had be itching for a long time.
The funny thing is, immediately following this read, I’m consuming Philip K. Dick’s, DO ANDROIDS DREAM OF ELECTRIC SHEEP and I am so wowed by the writing and how different it is from Crichton’s. Dick knew how to flesh out a character. Crichton did not, at least he didn’t yet. He got much better at it in subsequent novels, many of which I have enjoyed.
So, let me just nit-pick a little…
If I was ever to teach a writing class on the development of a writer…I might choose Crichton and force my class to read this book and then give them the pleasure of Jurassic Park as examples of how one gets better at the craft. THE ANDROMEDA STRAIN almost feels like a “freshman novel”, that novel written by an aspiring author who has one great idea, but can’t quite figure out how to tell the story.
In that class, I would also ask the students to read DO ANDROIDS DREAM OF ELECTRIC SHEEP, by Philip K. Dick, written in the same era.
There is a reason that BLADE RUNNER, a brilliant film and subsequent franchise, emerged out of Dick’s novel, published in 1968, one year before THE ANDROMEDA STRAIN.
The character of Rick Deckard is brilliantly written, fleshed out. The reader feels his pain, his angst, his story as he/she reads. Not only that, the secondary characters are complex, mysterious and full of emotion even when Dick writes about androids. His androids seem more human than Crichton’s actual human characters.
I do believe that Crichton saw his errors and improved immensely, but it will be a mystery to me for a long time that this book, THE ANDROMEDA STRAIN, was published and was sold and was read by so many, including me!
If for some reason you want to buy this book, click here.
To watch the film via Amazon Prime, click here.
The second season of HANNA was released July 3 of this year, the dreaded year of Covid, and since all of us are streaming our content each night/day/allday/allnight (until recently, there have been no sports to watch and no air-conditioned movie theaters in which to view the latest fun film)…However, most of us are still suckers for a well-crafted drama. The release of Hanna’s second season by Amazon Prime found me in just the right place for a conspiracy-laden story, inhabited by teens.
I rate this series R, mostly for its violence. HANNA, created and written by David Farr, also portrays a disturbing picture of childhood, so if you have young children/teens who want to watch, you may want to preview this before allowing them to enter into the violent world of Hanna. Other than that, I highly recommend this series. It skirts the line that is science fiction and dystopian.
Short Review of HANNA. 6 Reasons You Want to Watch…
- Well written story and well-crafted characters
- Outstanding performances by Joel Kinnaman, Mireille Enos (they’re reunited here…having starred together in the award-winning detective series, The Killing.) Hanna is played by Esme Creed-Miles. She’s a British actor, but pulled off the German accent. I don’t think she actually speaks German, but she did speak French fluently. Kinnaman is Swedish. He also carried the German accent and spoke a lot of German to make this role believable.
- Timely. A US intelligence service, broken into factions, clawing at more power? Perhaps too real…
- Truth and morality emerge in the most unlikely places and the story reminds us of that.
- I love the way the characters rarely shout. Erik (Kinneman) and Hanna (Creed-Mills) both have this quality. They speak with intensity, but always quiet and measured, understated. I found myself loving this vibe more than I thought I would, maybe my Scandinavian roots…
- A story set in Europe, especially Berlin, London and Paris. Hurray, given we cannot travel there right now.
One of the things I liked about this production was its willingness to go slow. That might sound weird because the story moves at a pretty fast clip, but there is also time in each episode to absorb what is taking place in the character’s lives, in their hearts. I attribute part of that pacing to the editing. THANK YOU DIRECTORS AND EDITORS! It surprised me sometimes what was not put on the screen/what was skipped, but it also revealed what was most essential for the story. I found my brain willing to allow the holes in the plot because the true drama was not withheld from my view.
In season 1, the audience is introduced to Hanna as a baby, also to her mother and to her mother’s savior, Erik (Kinneman) who ends up rescuing Hanna from destruction. Erik, though German, is an insider with the US intelligence agency that is accepting babies in order to turn them into super assassins. Erik becomes Hanna’s guardian and the audience believes he might actually be her father. He isn’t. When Hanna finds out he has lied to her about his biological relationship to her, she is enraged.
Telling the truth is VERY important to Hanna. This seems consistent throughout and is refreshing as a character trait. It grounds the viewer, even when Hanna’s allegiance to the “good” or the “evil” entities in the world seems confusing. Hanna punishes those who lie to her, even when those individuals are her allies.
That dynamic of telling truth versus lying, or shrouding the truth reminds me of how teens (I’ve raised a couple and counseled many) have a nose for truth or fiction. They sense when adults are lying to them. Just tell me the damn truth and don’t protect me from it because you think I can’t handle it said every teen ever.
And I love that about them. I loved that about Hanna. She is so pure in that sense, the audience is ready to root for her in just about any circumstance, even when it feels like she is about to give in to evil.
Hanna has been renewed for a third season. I look forward to seeing how the writers develop this story.
This morning, I finished reading the classic science fiction novel, A CANTICLE FOR LEIBOWITZ. I rate this novel PG for violence.
First, the short review…
To purchase the novel, click A CANTICLE FOR LEIBOWITZ.
5 Reasons I Recommend A CANTICLE FOR LEIBOWITZ
- If you are a science fiction fan and want to be fluent in the genre’s history, Leibowitz is on many lists of must read sci-fi.
- The novel’s world is depicted plainly and purposefully, capturing the tragedy of a post nuclear holocaust world without sentimentality. The prose is often lovely and the story becomes more and more gripping as it unfolds.
- Especially for the philosopher and the theologian, A CANTICLE FOR LEIBOWITZ puts forward some of the most profound ideas around human evil and our propensity for self-destruction.
- Even if you’re not a philosopher, the characters and ideas come together in a way that does not allow the reader to ignore our society’s seeming dance toward self-destruction.
- In a similar vein as On The Beach, by Nevil Shute, A CANTICLE FOR LEIBOWITZ is a story that has the capacity to change our minds about nuclear arms and warfare.
A CANTICLE FOR LEIBOWITZ was originally published in three parts.
Fiat Homo…Let there be man
Fiat Lux…Let there be light
Fiat Voluntas Tua…Let thy will be done
The first two section titles refer to the Biblical account of creation, when God spoke the earth and humankind into being. The third section’s title refers to the Christian New Testament. Not that the idea lacks foundation in the Hebrew Bible, but the phrase itself is taken from The Lord’s Prayer and Jesus’ prayer in Gethsemane before his death. “And he went forward a little, and fell on his face, and prayed, saying, My Father, if it be possible, let this cup pass away from me: nevertheless, not as I will, but as thou wilt.”
A fair amount of Latin is spoken in this novel and I did not understand all of it, but most phrases are translated within the story or the context makes the meaning clear. All of the main characters and narrators are associated with a religious order, the monks of The Leibowitzian Order, that was established following what the novel calls The Flame Deluge.
The monks, much like Irish monks during the Dark Ages, copy, preserve and make available ancient knowledge to those who will have it. For the most part, the barbarians who dwell around the monastic fortress, whose setting is the old American West, hate this knowledge and see it as the reason destruction came to the planet.
An excerpt from the novel:
“After the bombs and the Fallout came the plagues and the madness. Then, in the bloodletting known as the Age of Simplification, the people – those few who remained – rose up against their teachers, their scientists and their rulers, those they held responsible for turning the world into a barren desert…”
A CANTICLE FOR LEIBOWITZ, published in 1959, channels the zeitgeist of an era when people were genuinely terrified of and preparing for nuclear war. For many readers, especially, younger readers, that period of history can feel like a long time ago in a galaxy far far away…but given Covid19, the economic shock that has hit the globe through the shutdown as well as the rise of a belligerent Communist China and a perpetually divided United States, war and/or chaotic one-upsmanship between two superpowers seems less far distant than it has since 1989, when the Soviet Empire collapsed. If World War III were to happen today, what would be the fallout?
Many of the questions posed by Miller in A CANTICLE FOR LEIBOWITZ are relevant today. There is wisdom and a degree of sobriety that can be gained by our society paying closer attention to stories like this one.