Se, nu har jeg allerede sagt noget forkert. Det her er Patrick Stewarts regler. Dem, der skulle følges, hvis han skulle spille Picard igen. De giver mening. Og min respekt for ham stiger bare.
Never a dream. (Almost never.)
No Borg. (Instead xBs.)
No uniforms. (Almost.)
Nothing familiar unless it’s earned.
Kilde: mini-dokumentar “Make It So”, 10 minutter lang. Patrick’s tenets.
Jeg elsker, at der var nogle betingelser. Det her skal opfyldes, ellers kan vi ikke gøre det her.
Der er også andet guf i de 10 minutter. Fokus på Data. Der er gået mange år, siden vi sidst så Picard, der er sket meget, og han har ændret sig. Det tillader en ny serie, der på en ny serie reflekterer sin samtid.
Men jeg er vild med, at Stewart ikke gider uniformen længere. At vi i hvert fald ikke skal have den samme slags borger som før. At vi ikke skal vade rundt i profetiske drømme eller “det var bare en drøm”. Og endelig, ja, vi kan fx godt have Riker med. Men der skal være en bedre grund end en gruppe glade fans.
Ja, ja, jeg ved det godt. Sir Patrick Stewart. Han var ikke en sir, da jeg lærte ham at kende, så det er svært at vænne sig til.
Julen 2002 havde Star Trek: Nemesis premiere. Her så vi bl.a. Picard være begejstret over at have en all-terrain buggy. Woohoo!
Nogle af os kunne ikke helt finde ud af, hvor det nu kom fra. Det passede ikke helt sammen med den værdige og eftertænksomme fyr, der roligt havde styret Enterprise gennem et eventyr om ugen i 7 halvår, foruden 3 andre film.
Der var mange gode grunde til, at den næste film ikke havde Picard med.
Men nu er han tilbage! Og trekkies.dk føltes også pludselig som gamle dage igen, da en flok af os mødtes for at se første afsnit af en ny serie sammen.
I den virkelige verden er der gået sådan noget som 17 år. Og i trekland er det omtrent det samme. Picard er i 90’erne, men der er stadig liv i ham. Og hvad kan man derudover sige?
Spoilers!
Når Picard siger, at romulanere og syntetiske livsformer bør behandles som alt andet liv. Når en ung dame dukker op og fortæller lidt om sig selv. Så bliver hans blik intenst. Det er så godt. (Til gengæld kunne jeg godt tænke mig at vide, hvordan der pludselig kan være bunkevis af “synteter”.)
Picard kan ikke længere løbe op ad trapper. Godt.
Dahj kæmper på en elegant måde. (Og lad os så håbe, at serien primært byder på andre ting end slåskamp.)
Det virker, som om Picard er ved at få rodet sig ud i et mysterie. Måske endda en konflikt. Mja.
Af gode grunde kan Data ikke være med her. Men “Data 2.0” kan.
Selv om der var masser af ny information, så føltes det ikke tungt.
Post Atomic Horror has reviewed the last episode of Deep Space Nine, “What You Leave Behind”, in episode 235. And Irish Gav has summarized the episode in poem form.
Way back, I made one of these lists for every season of Star Trek. New trek, new lists. I ask every episode: Why do I love trek? Most episodes demonstrate some of the reasons.
Number / Name
Why I liked it
1 / 1:1
“The Vulcan Hello”
WOC leadership.
Revealing a new ship.
Delight at being in space.
What is the right balance between emotions and logic?
An unusual upbringing.
Faced with potential conflict, is it ever the right choice to fire first?
2 / 1:2
“Battle at the Binary Stars”
Mutiny has consequences.
The enemy is nationalism.
3 / 1:3
“Context Is for Kings”
Some new things in this new show turn up here.
Revealing a new ship.
Social awkwardness is not a barrier to a good job.
WOC leadership.
Fighting and war have rules.
A second chance.
4 / 1:4
“The Butcher’s Knife Cares Not for the Lamb’s Cry”
Tardigrade.
Looking like a monster is not the same as being a monster.
Science is open to all possibilities.
Science takes time.
Cool space suit helmet.
5 / 1:5
“Choose Your Pain”
“This is so f***ing cool.”
Animal cruelty is bad. Person cruelty even worse.
Gay love.
6 / 1:6
“Lethe”
Telepathy.
Give newly released POWs a little time.
Truth.
7 / 1:7
“Magic to Make the Sanest Man Go Mad”
Fun with time.
Montage of repetition.
Intelligent people with a good plan.
8 / 1:8
“Si Vis Pacem, Para Bellum”
A planet making music. Gaia.
An end to anxiety.
9 / 1:9
“Into the Forest I Go”
PTSD shown realistically.
10 / 1:10
“Despite Yourself”
Alternate history. And blending in.
Disqualified, knows the patient too well.
Faking self confidence.
A significant change in crew.
11 / 1:11
“The Wolf Inside”
Can you pretend to accept slavery, only pretend? Or the death penalty?
“You’re my tether.”
Learning authority.
Female leadership.
12 / 1:12
“Vaulting Ambition”
Excellent revelation.
13 / 1:13
“What’s Past Is Prologue”
Nationalism is punished.
Something hard actually goes a little wrong.
Awesome high kick.
14 / 1:14
“The War Without, The War Within”
Suspicious events are treated with suspicion.
Can you forgive someone, who was not an enemy but “possessed”?
Yeah, men cry too.
15 / 1:15
“Will You Take My Hand?”
There are unbreakable principles.
Also, there’s a very strong sense of continuity. Somebody knew how the whole season would go and planned accordingly. This is delicious going through the episodes the 2nd time.
So, I’ve already said a great deal about the podcast Post Atomic Horror. But I’d like to say more! So here’s an episode guide, I’m working on.
I include quotes and such, but most of the time only in keyword form.
I include the date, because I find it easiest to find the corresponding blog post with that info.
I include errors and stuff, because you (the fan) might wonder: Don’t they get the facts wrong here? Isn’t there a lot of noise in this episode? Then the guide will say: You are right.
“In our exhibition catalogue, Alondra Nelson refers to the seminal Star Trek episode “Plato’s Stephchildren” (1968) featuring a kiss between Captain James T. Kirk and Lieutenant Uhura, the first interracial kiss on US television. There’s also the subsequent year’s “Let That Be Your Last Battlefield” (1969) which I distinctly remember seeing as a re-run as a child in the 1980s: Lokai and Bele are two — literally — half-white, half-black aliens, but their color separations are mirror images of one another. The final scene reminded me so much of Dr. Seuss’ “The Butter Battle Book” (1984) and both had a profound impact on me about race and intolerance at a young age. Maybe I was a strange kid…”
Future Movements: Black Lives, Black Politics, Black Futures—An Introduction; tobias c. van Veen, Reynaldo Anderson
Vi skal vade lidt rundt i, at afrofuturisme kan defineres på mange måder. Og at alting ændrer sig over tid, også dette felt.
Afrofuturisme er dødsens alvorligt. Racisme er noget, folk dør af.
Hm. Blev “The Comet” først opdaget, da en akademiker så den? Jeg tror, der var et par andre indover også.
Whip My Hair: John Jennings on the Black Liberation Technology of TOPIA’s Cover; tobias c. van Veen
Forsiden på tidsskriftet er vist lavet af en tegneserieskaber. Så vi skal snakke tegneserier.
Reading Black Resistance through Afrofuturism: Notes on post-Apocalyptic Blackness and Black Rebel Cyborgs in Canada; Robyn Maynard
Abstract – Taking seriously the temporal aspects of Public Enemy’s assertion that since the advent of slavery, “Armageddon been-in-effect” for the African diaspora, this paper examines Canada’s black radical tradition through Afrofuturist methodologies that disrupt the linear progress narratives of modernity. As the project of modernity positions black life as outside of humanity, the black condition can be conceived of as cyborg: figured at once as machine, fungible commodity and monster. Yet despite the foundational, apocalyptic violence exerted upon the black Atlantic, subversion and resistance have also defined the black experience, embodied by those who refused, often at great risk, to fight against incorporation into the violent structures of the New World, working instead toward new ways of black becoming. These individuals have been described by Joy James and João Costa Vargas as “black rebel cyborgs.” Taking up Kodwo Eshun’s elaboration of “chronopolitics,” in which interventions in our pasts can help to rewrite new futures, this article examines flashpoints of black futurities elaborated by the history of black rebel cyborgs in Canada. This article does not undertake a comprehensive historical narrative, but seeks instead to explore subversive moments in the black rebel cyborg history of Canada, turning to the “runaway slave” and freedom seeker Marie-Josephe Angélique, accused of burning down Montreal’s Old Port in 1734; the resistance of black vigilance committees against slave catchers at the border in Chatham, Ontario, in 1858; and Haitian taxi drivers who organized against racism in 1980s Montreal. These flashpoints are explored alongside the Afrofuturist science fiction and speculative myths created by Drexciya, Kaie Kellough and others, with an emphasis toward infiltrating the past and the present with new black futurities.
Jeg er med på en forbindelse mellem slaveri og apokalypse. Men hvordan kommer vi derfra til sort = cyborg?
Artiklen starter med noget overordnet, teoretisk, før vi kommer til de konkrete eksempler fra Canada.
Som er konkrete, historiske eksempler. Annoncer, referater osv., der beskriver sortes kamp. Dog omtales der også noget, der lyder som sf: Navette.
Unenslaveable Rapture: Afrxfuturism and Diasporic Vertigo in Beyoncé’s Lemonade; Valorie D. Thomas
Abstract – Drawing from African diasporic cosmology, Beyoncé’s Lemonade pivots on the tension of black being and unbeing constructed through and situated in a global order structured by the production of antiblackness. While bowing to Afropessimism’s acknowledgement of the black unbeing produced by the precondition of antiblackness, and to the inescapability of social death and actual annihilation, I assert that Lemonade advances a black womanist aesthetic that articulates the complex effects of diasporic vertigo. Diasporic vertigo signals a fundamental effect of antiblackness that is at the same time the condition of its healing and resistance, calling forth the balancing forces of black femme resilience to counter its destabilizing effects. In this article, I formulate the concept of Afrxfuturism to explore Lemonade‘s investment in African-derived futurist cosmologies and the ethos of the crossroads that destabilizes polarizations of time, space, gender, and raced identity. In the place of black unbeing and erasure, Lemonade reflects and advances a black womanist Afrxfuturism that asserts Itutu, precision of self-expression and direction within instability. Conjuring balance in the maelstrom of antiblackness produces an Afrxfuturist aesthetic teeming with seeming paradoxes that can be best understood through the idiom of diasporic vertigo.
Omhyggelig gennemgang af nogle af symbolerne i Lemonade. Elsker sådan noget.
Hvis der er sf i Lemonade, så har jeg ikke opdaget det.
Black Mecha Is Built for This: Black Masculine Identity in Firedance and Afro Samurai; Alexander Dumas J. Brickler IV
Abstract – Through a reading of Steven Barnes’s science fiction (SF) novel Firedance (1994), this article investigates the allegorical character of the black cyborg through the motif of “black mecha.” Black mecha, I contend, proffers a means of investigating representations of trauma that haunts the origin of black masculine identity. Situating this motif in what I propose as the “prosthetic communities” of Afrofuturist fiction, I engage the concept of “AfroAsia” and deploy it as a methodological tool for inscribing blackness across ethnonationalist boundaries. Placing Firedance in conversation with the Japanese black anime series Afro Samurai (2007), I focus upon themes of masculine identity, rehabilitation, and return to sites of original trauma in the contestations of black mecha. Though the mechanized bodies in Afro Samurai and Firedance can be readily understood through the mecha conventions of technological conflict and control, the black mecha bodies of protagonists Afro and Aubry represent something more than the contest for antagonistic hierarchal domination and instead can be read as effecting a reconciliation, if only partial, of black male identity.
Et nyt ord, sankofarration.
En roman. Og en tegnefilm. Jeg kender ikke nogen af dem.
The Grapevine Telegraph “Jes Grew”: Sonic Materialism, Afrofuturism and Information Theory in Ishmael Reed’s Mumbo Jumbo; Myungsung Kim
Abstract – Ishmael Reed’s Mumbo Jumbo situates the history of African American culture in the language of genetics, information theory, biocultural evolutionism and sonic/vibrant materialism. Reed’s motif of “Jes Grew,” as an evolving acoustic entity vibrant through radio technology, signifies a codified medium of information storage and transfer; it stores and transfers black cultural information in a viral form, articulating it to the physicality and orality of the antebellum grapevine telegraph. Such a biosonic construction of African American experience provides fertile terrain to explore the marginalization and rehabilitation of black ontological forces. By dramatizing the production and transmission of black tonality, Reed’s trope of “Jes Grew” signals vibrational forces that counteract Western, white cultural norms. Thus Mumbo Jumbo’s trope of the Jes Grew virus participates in, and advances, the aesthetic politics of Afrofuturism, in which Jes Grew’s bio-sonic effects enable us to contest the narrow humanism of Eurocentric biopolitics with an Afrofuturist sonic materialism. By the same token, the novel’s description of 1920s Harlem revolves around an epistemological framework of modern technoculture in which biological research becomes a textualization of nature and DNA becomes an information storage and transfer system. Mumbo Jumbo perceives the biological human body as an outcome of dynamic interactions in which information networks and social, cultural and biological relations are scripted in textual and coded platforms of sonic materialism.
Aha! Jes Grew. Just grew. Tidlig ragtime “voksede ligesom bare”.
Så … lyd og musik og sådan noget. I en science fiction-bog.
Minority Reports from 2054: Building Collective and Critical Forecasting Imaginaries via Afrofuturetypes and Game Jamming; Lonny J. Avi Brooks, Ian Pollock
Abstract – Imagined affordances reflect the imagined applications that users have for technology compared with what designers intend, including their own values and expectations that inform these imagined actions. For our purposes, imagined affordances enable black people in the diaspora to strive for affirmation within hostile environments that have accompanied slavery and its traumatic aftermath. This article presents pedagogical research in speculative black futurism, turning to our Minority Reports 2054 Game Jam, first held at California State University, East Bay in spring 2017, as a model for forecasting Afrofutures. In our forecasting pedagogy, we ask students from marginalized working-class communities to reimagine their social, media and digital spaces into the year 2054—the imagined year for the film Minority Report—thereby highlighting the “minority reports” of future visions too often ignored. We explain the forecasting processes developed for systematically imagining viable black futures by revisiting ancient black cultural rituals, such as the Brazilian adaptation of the African Kongo cosmogram. We also meld the latest methodological tools for scanning future trends to reposition them as “Afrofuturetypes” that trace past, present and future. Afrofuturetypes describe the building exercises of and outcomes via the Game Jam, whereby students create socially interactive games that aim to generate stories of 2054 with black futures in mind.
Det her er vist fremtidsforskning. Nej, det er udvikling af spil.
Det er som om, den her artikel ikke er redigeret helt færdig.
Ja. Get Out er vel egentlig også sf.
Flere nye ord. Så overvældet af nye ord.
The Thing from the Future er et spil, der blev hacket, så dets fremtidsprojektioner kunne inkludere sorte.
25 Years of Afrofuturism and Black Speculative Thought: Roundtable with Tiffany E. Barber, Reynaldo Anderson, Mark Dery, and Sheree Renée Thomas; Tiffany E. Barber
Tja. Det er en diskussion.
Destination Saturn: Sun Ra’s Afrofuturist Utopias in the Art of Stacey Robinson; tobias c. van Veen
SR laver vist tegneserier. Eller tegninger i den stil.
There’s this podcast, called the Post Atomic Horror. It reviews Star Trek. Lots of it. In a fun way. And I listen to it, and I giggle. And I steal their greetings 😉
Now, what do you do, when you like a review podcast? You review it of course! So that’s what I’m going to do today.
The short review: It’s great. But that won’t do. We need something longer.
How do you review a podcast with 400+ episodes? You pick a few.
This is the Post Atomic Horror podcast, with Ron “AAlgar” Watt and Matt Rowbotham.
(Click to enlarge.)
Episode #148, “Emissary”
Summary: So, Matt and AAl start out with an impartial and balanced, ahem, intro to this series, Deep Space Nine. A gushing summary of “Emissary” is followed by a brief discussion of spoilers. Then they gush over the pilot, gush over the strangeness of Sisko, gush over the cast, and gush over the number of aliens in the cast. The opening credits disappoint a bit, and Matt loses his train of thought. But you can’t really blame him, he’s about to get married. Gosh!
Good thing: The mnemonic for the quadrants. Which lead me to find this picture. Remember: Good guys in the Gamma Quadrant, dummies in Delta.
(Click to enlarge.)
Bad thing: Women being called “chicks”. Which is weird, because they claim to be feminists.
Drink *:
The difference between something you hate and something you love to hate.
Matt not liking religion.
“Without really spoiling anything…”
Serialization being new in the 90s.
Quote: This one is better if I don’t set it up. 17:46, AAl: “My house is a bit like [the space station] Deep Space Nine.”
* “Drink” means: You can use this cue in a drinking game.
Congratulations to Matt.
Episode #162, “Second Sight” / “Sanctuary”
Summary: After a short meditation on the badness of bad things, the summary of the first episode is presented: Sisko wants to bang someone. We discuss the happiness of Sisko and the age of Jake, and then detour to Community. Arrogance can be fun and Sisko is a builder. Matt and AAl count their Irish friends, laugh attack #1. The second episode is summarized. The hideous dress was fun. Ingratitude is bad. Don’t look gift horses etc., laugh attack #2. Kira shouts, AAl’s wife shouts, Kira/Dax, Bert/Ernie, John/Paul, segue!
Good thing: So much laughing. But I could say that with most episodes.
Bad thing: So. These aliens show up and say “according to our prophecies, your planet is our new home”, and they are not welcomed, and they are surprised/angry. They should be happy! The Federation found them another planet! – Guys, I know you don’t like the whole religion thing. But saying they should be happy, that’s not cool. – This is related to the bitching about The Maquis. – Sometimes I just don’t agree with Matt and AAl.
Drink:
Colm Meaney is off making movies.
“Chose poorly.”
Noh-Jah Industries.
Quote: Regarding the origin of some very alien aliens. 43:40, AAl: “This is a whole other side of the galaxy.” Said with great enthusiasm.
AAl made a segue, that worked. And then called attention to it. But still. Great! (And I learned how to spell segue. Great!)
Episode #176, “Past Tense”
Summary: We start with some important information: Matt is about to have a garage sale. Then comes the summary: Men are wearing hats. AAl reminisces (not) about seeing this episode the first time. Then we go through all the problems with the episode. The main characters are not characteristic and they don’t learn anything. Show, don’t tell. No solution is presented. Inconsistencies with other parts of the franchise. Oh, and it’s boring and preachy. Interlude: Matt checks his email. We briefly touch on talk of other people liking this episode. (So, this isn’t really a spoiler: This is the beginning of something, that spans many later podcast episodes.) Finally: The news.
Good thing: Apparently “Past Tense” references “City on the Edge of Forever”. Didn’t know that.
Bad thing: Okay, so some episodes fail, because we don’t know the persons in trouble. I’ve heard that particular issue so many times in basically the same (numerous) words. I tire of it a little.
Drink:
“San Francisco, the only city on Earth.”
“This isn’t really a spoiler.”
“Mullety rebels.”
Quote: About the preachy no-solutionness. 9:10, AAl. “I’m pretty sure there’s nobody in the world who’s pro homeless.”. Unfortunately there are.
Let’s never speak about this again. Yeah, right.
Episode #184, “The Way of the Warrior”
Summary: One is excited about Worf joining DS9. One summarizes some of the double episode. One summarizes some more, including a phone call. One can’t tell the difference between Scots and Klingons. One validates and is in turn validated. One produces Star Wars fanfic. One giggles. One Worfs! One nostalgizes about long distance relationships. One plans to kill Alexander. One plays the quotes. One spoils. One signs off wrong. One realizes, that if one wants things done correctly, one has to do it oneself. – One should have thought about the limitations of this format a little longer.
Good thing: There’s a reference to a math/Trek joke I love.
Bad thing: Loving space battles. What to say. I don’t love space battles.
Drink:
Worf can’t remember Wesley’s name.
Sisko can’t count.
Worf always takes vacations.
“I don’t give a damn!”
Quote: Imagine Gowron getting his head stuck in a bannister. 10:43, Nate: “Somebody get the blood butter!”
Lots of laughing, giggling and happy improvisation. This can’t go on.
Episode #207, “Soldiers of the Empire” / “Children of Time”
Summary: After some talk about drinking and a little summarizing we get to the existential questions: Are Klingons boring? How do spaceships work? Would Harry Mudd be friends with Penguin? Further summarizing leads to further questions: Is Lost bad? Did Old Odo go quietly crazy? Is Dax a timelord? Are freestanding ladders important?
Good thing: A short discussion finds, that Sisko is adorable with kids. I like guys understanding that kind of thing.
Bad thing: The chick thing. Sigh.
Drink:
Worf needs a vacation.
“We’ve said before…”
Sisko can’t count.
Worf can’t remember Alexander.
“This isn’t really a spoiler…”
Quote: An old Klingon being atypical. 3:54, Flonk: “He even let a Jem’Hadar baby keep his candy.” Just a tiny bit of a funny and energetic summary.
Will AAl and Matt recover from the reset button in that episode?
Episode #219, “In the Pale Moonlight” / “His Way”
Summary: Greatness ahead! Summary! Wonderment! Squeeing! Quoting! Crying at this climax! Historicizing! Batmanning! Defining principles by their absence! Summary! Punning! Improvising! Music appreciating! Fanficcing! Quoting! Plugging! Disclaiming!
Good thing: Breaking the rule of always having a bad thing. They are your rules, break them if you want to.
Bad thing: A lot of this episode is jubilation that Sisko and Garak lied and cheated. While I find that kind of stuff fascinating, ultimately I condemn lying and cheating and couldn’t wholeheartedly like an episode, that depicts it as necessary.
Drink:
“Major.”
“Wesley has killed a guy.”
“Who says there is?” (Or isn’t.)
Shipping Garak and Bashir.
Quote: Garak intimidates a guy by saying “I’ll come by your quarters to check on you later.” 18:03, Gav: “Imagine how Julian feels when he says that to him.”
The hosts certainly didn’t cheat out of recording that episode.
Episode #235, “What You Leave Behind”
Summary: AAlgar Productions! We just have time to debate this being the end of DS9, and then we get a summary from Speedy AAl and Musical Matt. There’s also a poem. Ship porn leads to drooling. Of course Bashir and Garak are shipped. (A different kind of ship porn.) (If they do it on the Defiant, space ship porn.) Oprah hands out ambassadorships. We learn through punning that kanar is made from (bespooned) eagle juice. Is that spunning? Pooning? Weyoun apparently died a million times. I just think AAl can’t count. Oh, there should have been more Jack and Sisko. Quick, what’s the difference between the Gorn and the Breen? Between Garak and Bashir? (And if you can’t tell the difference, is Garak just a narcissist?) Is Dukat the best villain ever?
Good thing: That poem is just superb.
Bad thing: The podcast has already covered Nemesis. I would’ve done the podcast in chronological order. I think.
Drink:
Shipping Garak and Bashir.
“I don’t give a damn!”
“Honey.” (Like “muffin”, rare, take 2 drinks.)
Sisko can’t count.
Keeping an open mind about Voyager. (Without the jingle, only half a drink.)
Quote: 1.03.00, AAl: “I will say, I do love, all of the listeners, and I’ve heard this a lot, the listeners who are like, yeah, I’ve just never watched that one, but you guys are so enthusiastic about it, I gave it a shot and it’s great.” Hurray for more Star Trek being watched! Hurray for people watching stuff, before dismissing it!
So, that’s 7 episodes for 7 seasons of trek, right? I don’t know, I can’t count.
So. What else to say? There are some memorable episodes spread out over the whole run. The ones where AAl was jingling an open mind about Voyager (maybe episode 225 was one of them?). The one Matt did while being dead (episode 64). The one AAl did from a bucket (episode eh). The one where Matt simply wrote a fanfic instead of a summary (episode hm). All the episodes with a live audience, and among them I especially recommend this one:
Yeah, that’s video! Although I really could use a good video interview as well.
And then I haven’t mentioned the supplementals. I’ve just discovered I’m mentioned in #28. Squee! Surprise! ETA: And in #43, at 0.52. And #46, at 32.30. (Woohoo!)
Maybe you have a burning question now. Cup and mouse? Listen to episode 148 and on, just a few episodes, and you’ll get it. For those who haven’t listened to a lot of PAH, this review is also a pastiche of their style. And the shield above is fanart. And of course there’s the beginning of a drinking game. And a review!
Stuff from ommadawn.dk (Lise Andreasen) 