Over on The Cultural Gutter, I’m writing about Nalo Hopkinson’s dystopian science fiction novel Brown Girl in the Ring. A Relative Dystopia is a look at how our culture, upbringing, and personal experiences can shape what we define as a dystopian future, and how people of a different race can look at the exact same…
A fan of silent serials and a precursor to the French Nouvelle Vague, Georges Franju was inspired by the early thrillers of Louis Feuillade when he made the haunting, at times shocking, story of a disfigured woman, a driven scientist, and the horror of physical beauty.
Over on the Cultural Gutter, I’m writing about the musical science fiction spectacle Just Imagine. Vaudeville on Mars is a look at the similarities between the lavish 1930 Fox Studios production and the 1928 Soviet film Aelita, Queen of Mars; as well as a celebration of the outrageous costume and set design.
The short-lived television program Space: 1999 taught us many things about our depressing universe. Chief among its concerns: reminding us every week that our fellow inhabitants of the galaxy are at least as awful as we are, only with magic powers. Space: 1999 taught me two valuable lessons. The first is that space is depressing…
Over on The Cultural Gutter, I’m following up last month’s article about the Han Solo Adventures with …In a Galaxy Far, Far Away, a look at 1983’s Lando Calrissian Adventures, a trilogy of pulpy space adventures written by a mad libertarian futurist and full of Lando thinking about fine tailoring, fine women, fine cigars, fine gambling, and in his spare time, rescuing multiple advanced alien races from obliteration while foiling the best laid plans of an evil space sorcerer.
Over on the Cultural Gutter, I’m ringing in Yule, midwinter, and whatever other Pagan festivities we can dig up with A Long Time Ago…, the first of a two-part article celebrating the oddball pulpy adventures that served as the basis for the Star Wars Expanded Universe. This round, it’s Han Solo and Chewbacca in three nutty adventures from 1979.
Redline possessed the same frantic energy, the same boundless enthusiasm, and the same eye-popping obsession with background detail as the best the medium had to offer in the decade of excess that made anime fandom so huge in the United States.