Hello, Skiffy and Fanty crew! It is I, your resident Geekomancer, back from my travels on the internet through memes and gifs and pilots and digital bundles. And this time, I’ve brought back word of recent goings-on in the geekiverse. A TV pilot for an award-nominated comic, a new story for a beloved geek icon, and the latest developments in a cable TV juggernaut. Enjoy!
Plato’s Republic is a book that has been debated and studied since its composition nearly 2400 years ago. It delves into some of the deepest questions of society. How do we design a city, a world, a political entity to benefit the most people? How should people be ordered? What is Justice? What is the practical upshot of creating a society, a city, ordered on the lines of The Republic? And what happens when the Goddess Pallas Athena decides that the thing to do in order to respond to Plato is to create a city based on The Republic, and populate it with people drawn through time and space, and several thousand children to be raised in the ways of the Republic, to carry the experiment truly forward? To create an experiment in a time and place where it cannot affect history but the pursuit of its excellence can be sought free of entanglements?
Blended (2014; dir. Frank Coraci) can be summed up in a single sentence: an exhausting two hours of jokes about androgynous daughters, lesbians, and Africa. There are few films I can legitimately say should be consigned to the fires where “art” goes to be mercifully removed from human consciousness. Blended, unfortunately, is one of those films. Contrived and painfully anathema to comedy, Blended may be one of the worst films of 2014; it may even be the worst Adam Sandler film to be presented to the public. Starring Adam Sandler and Drew Barrymore, Blended follows two single parents, Jim (Sandler) and Lauren (Barrymore), who meet on a blind date and realize they pretty much hate one another. But as fate would have it, they can’t seem to avoid meeting, especially when both Jim and Lauren decide to take their kids on an African safari, not realizing that they’re each going on the same trip. As a result, they become engrossed in one another’s lives, sparking, as to be expected, a romance and giving meaning to the title.
Those even slightly familiar with Gene Wolfe’s prolific work may recognize its persistence in theme and style. Critics, colleagues, and readers in general praise his unique voice, which is often challenging to penetrate with its unconventionality, but usually end up making his stories hugely rewarding experiences. Despite the now conventional expectation of idiosyncrasy in Wolfe’s prose and plots, he somehow manages to keep stories inventively unpredictable and engrossing. Recently released in trade paperback format by Tor Books, Wolfe’s 2013 novel, The Land Across, is typical Wolfe: a young, possibly unreliable narrator, evocative descriptions, shifting plots that play with expectations, sophisticated incorporation of the political and religious, and beneath it all a perpetual sense of foreboding.
The Muse of Research is a monthly column in which E. P. Beaumont interviews poets, medievalists, and speculative writers about their research. This week, E.P. Beaumont talks to Lev Mirov. E. P. Beaumont: Talk about your nonfictional obsessions! (could be academic training, stuff you like to read about, topics that pique your curiosity) Lev Mirov: I’ve studied medieval Europe widely, and I have put a lot of time and energy into the history of western magic, folk Christianity, 12th century England, ritual studies, and the relationship between western religion and esotericism and indigenous cultures. In 2011, I wrote an undergraduate thesis on gender and military leadership in 12th c. England and France, and, in 2014, a master’s thesis about magical rituals as expressions of religious life in later medieval England.
To say that reviewing Nightcrawler (2014; dir. Dan Gilroy) is a difficult task would be an understatement. Nightcrawler haunts the viewer like something out of Poltergeist (1982; dir. Tobe Hooper). It’s the kind of experience that I find impossible to forget, not simply because of its focus on Los Angeles’ late-night chaos but also because its examination of that life is in so many ways uncompromising and disturbingly logical. Talking about such a film without blathering on endlessly becomes a difficult task indeed, which may explain why this review is so focused on a single element: Bloom. Nightcrawler follows Louis Bloom, an eccentric small-time thief who literally steals his way into the “nightcrawler” business in Los Angeles after witnessing a “nightcrawler” taping a car accident (Bill Paxton). Determined to “make it,” he begins selling to a low-rated local news station and sets out to dominate the market at any cost.
