We are developing the social individualist meta-context for the future. From the very serious to the extremely frivolous... lets see what is on the mind of the Samizdata people.
Samizdata, derived from Samizdat /n. - a system of clandestine publication of banned literature in the USSR [Russ.,= self-publishing house]
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Captain America is probably remembered as one of the worst films spun off the Marvel franchise. Whilst the film wrought untold damage to the origins of Steve Roger’s alter ego, it did strike one historical chord. In the comic book, Steve Rogers is a sickly individual, denied the chance to demonstrate his patriotism, until he takes the serum that transforms him into a super soldier. In the film, Steve Rogers is a polio victim, perhaps the only plot device that provides some insight into the historical context of Captain America and the rise of the superhero.
The definition and origins of the superhero are traced back to the nineteen-thirties even though there are a number of forerunners in the pulps. The genre coalesced around costumed heroes with a variety of powers, often enhanced beyond human norms, who had strong moral codes, a secret identity and fought off evil in a variety of guises, usually the enemies of World War 2. The cultures that informed the origins of superheroes came from both contemporary sources and Judaeo-Christian narratives.
Superman’s backstory was Biblical in tone. Richard Donner, director of Superman, recognised the parallels between the Man of Steel and Christ, as referenced by Anton Karl Kozlovic, in his paper, “Superman as Christ-Figure: The American Pop Culture Movie Messiah”, published in the Journal of Religion and Film.
However, many years later, Donner gladly admitted to the Christic subtext: “It’s a motif I had done at the beginning when Brando sent Chris [Reeve] to Earth and said, ‘I send them my only son.’ It was God sending Christ to Earth.” It was a dramaturgical decision that made good sense, for just as Superman was literally a super-man, Jesus was “the ultimate Super Jew of his day,” the “Christian super-hero,” the pop culture “God with us” (Matt. 1:23). Indeed, many Jesus-Superman parallels exist within S1 and S2 because both films were planned, scripted and partially shot back-to-back.
Whilst Superman bundled biblical myth into a new package, Steve Rogers as Captain America transformed another demographic. We forget the large numbers of the debilitated and disabled who suffered from a young age with consumption or polio during the interwar period. The sickly Steve Rogers is a recognisable figure from the Depression, and his transformation acts as the inclusion of suffering invalids into the superhero myth and the war effort. Superman is an alien but Captain America is drawn as an everyman, and a patriot.
It is possible that superheroes would never have acquired their longlasting popularity without the war. The diverse backdrops that authors used to appeal to as many readers as possible proved an important innovation. Yet, just as the new pulp genre of science fiction showed that the horizons of plausibility were widening, the Macguffins deployed by the creators of superheroes hinted that such transformations were not too far away for humanity itself.
One of the oldest themes in science fiction writing has been the idea of eternal youth. Robert A. Heinlein wrote arguably the definitive book on the subject, Time Enough For Love, which I have read several times. Poul Anderson’s The Boat of a Million Years also takes eternal youth as a driving theme. And in recent years techniques such as cryonics have been in movies and books such as the interesting crime thriller Chiller, by Sterling Blake.
One of the most recent treatments of the issues of anti-ageing and its impact on society is Peter F. Hamilton’s Misspent Youth, which like a lot of his books is set in the near future in deepest Cambridgeshire, where he lives. I rather like that. He projects an age, set about 20-odd years from now, where our understanding of genomics and nano-delivery of medicines has partly halted the ageing process and also made it possible for some very rich folk to have decades removed from their lives. It also raises issues that are extremely relevant now: such as what happens to tax-funded state pensions if people live for far longer.
Hamilton nicely shows how a father – in his 70s in Earth-time – has decades wiped off his physique and how this affects his relationship with the rest of his family and friends. I love the twists and turns of the plot, showing how the main character, Jeff Baker, has troubles dealing with his teenage son and family. The story works so well since the technology is kept to a minimum in order not to intefere with the human story.
Hamilton also holds up a picture of an England now totally absorbed in a Euro-superstate, while much of human life is now subject to draconian environmental laws regulating things like transport and energy use. There is a violent British separatist movement and culture dominated by fear of risk and danger. Yes, it does not become all that long before one realises that Hamilton ought to be writing for this blog. If he is not a free-market libertarian then I would be very surprised.
No prize for now guessing why not much blogging got done today…As Paul Marks got his review up first, I will content myself with just a few observations about Joss Whedon’s magnificent Serenity.
It is what the last three Star Wars movies were trying to be but failed. Serenity has an engaging story, good direction and brilliant writing (it is a tour de force of quips and memorable one liners) and as Paul points out, it is extremely sound politically.
It is also very well cast, with Nathan Fillion truly marvellous as the charismatic Captain ‘Mal’, playing it every inch the Wild West hero (for this movie is nothing if not a Western which just happens to be set in outer-space). Also convincing is the bizarrely named Summer Glau, whose strange looks and lithe moves are well suited to the demented character she plays.
Highly recommended! Run, do not walk, to your nearest cinema. Do not wait for the DVD!
When first hearing of the film Serenity, people are most likely to say something like “it is made by Joss Whedon, the man who made Buffy the Vampire Slayer”.
This is true and the film does indeed have some touches that are in tune with this – for example a young women with unusual fighting ability, and characters who sometimes talk in a flippant way at very serious moments (although, of course, people sometimes do talk that way at very serious moments).
However, Serenity is rather different from “Buffy”. It is a serious science fiction film (yes there are such things) rather than a fantasy work (although I have nothing against fantasy works).
Serenity is based upon Joss Whedon’s short lived science fiction series “Firefly”.
It is about a group of people aboard a space ship named “Serenity” after the battle of Serenity Valley in which the Captain of the ship fought – on the losing side.
The ship is a borderline economic case, often in need of repair and the Captain undertakes jobs that are semi-legal or downright criminal.
The crew are a ragbag of people of different backgrounds and temperaments, brought together by a mixture of their own choices and force of circumstances.
In the film many of the questions raised in the series are resolved.
The film is also a good piece of work, well plotted, well acted and well filmed.
It does have some of the problems that plague so many Hollywood productions today – such as a tendency for people to say too much and too quickly (this may be hard for a British audience especially as many of the characters, unusually for an American film, speak with southern-western accents indeed more than accents, they use different words than people in the metropolitan areas of the English speaking world normally do now – although one of the experiments that Mr Whedon makes is to try and explore how ways of speech would change, and change back, over time).
However, what is interesting from a political standpoint is the basic story of the film.
The characters are lead, for a variety of reasons, in to a head on clash with the government – “The Alliance” its Parliament and those who serve it.
They are not fighting the government because it does not spend enough on welfare or education, or because it does not issue enough fiat money (indeed many people in the outer planets do not accept the government’s credit money, it has to pay in cash even some of the security forces who work for it), nor are they fighting the government because it is a selfish or corrupt dictatorship.
No, in the end, the characters are fighting the government because it wishes to create a better, more civilized world (or rather worlds) and because it is prepared to violate the nonaggression principle in order to achieve this objective.
Of course the film is not “realistic” all the time (even if one accepts the existence of technology that we do not have yet and people who hate science fiction will not do that – although there is less “high tech” stuff in this film than in most science fiction films). Some of the characters, sometimes, win fights that they most likely would not win.
However the basic feel of the film is realistic and good people die. The “baddies” have noble motives, and some of the “goodies” are far from saints.
The characters do not destroy “The Alliance” but they try and do what they can, and the film shows they are right to try.
Joss Whedon is sometimes considered a baddie because he does not like President Bush, and I certainly doubt whether he would call himself a libertarian (although there are not many reasons why a libertarian should like President Bush), but Mr Whedon could call himself a Maoist for all I care – he has still made a libertarian film.
And every libertarian (and non-libertarian for that matter) would be well advised to go and see Serenity.
“I’ve had enough of running…It’s time to misbehave”.
“Mal” Reynolds, captain of the very excellent Serenity.
Take my love, take my land, take me where I cannot stand.
I don’t care, I’m still free. You can’t take the sky from me.
Take me out to the black. Tell ’em I ain’t comin’ back.
Burn the land and boil the sea. You can’t take the sky from me.
Have no place I can be since I found Serenity
But you can’t take the sky from me.
– Joss Whedon
I just saw Revenge of the Sith with a group of chums and I must say it was interesting to see how varied the reactions were. For me, anyone looking for profound meaning in a George Lucas movie is well and truly in the wrong place. With that in mind I went expecting breathless fights, awe inspiring battles between vast starships and Padmé Amidala (Natalie Portman) wearing interesting outfits. And that is exactly what was delivered.
Lucas is at his best when the battlecruiser starships are blowing the crap out of each other whilst the heroes weave their nimble fighters in and out with guns blazing in cheerful disregard of the laws of physics. He also knows a thing or two about choreographing some pretty nifty lightsabre duels. The Yoda vs. Palpatine showdown is a particular eye-popper… who would have thought a 2 foot high gremlin could actually look plausible in a swordfight!
But, and you knew there was going to be a ‘but’, when it really comes down to it, George Lucas is just not that skilled a director. He does fine until it requires people to actually interact other than when they are trying to slice each other in two. At which point he proves that he can produce weak performances even from a splendid actress like Natalie Portman (who was from good to great in everything else I have ever seen her in) and Ewan McGregor (who is debatably my favourite actor). The ‘doomed romance’ between Natalie Portman (Padmé) and Hayden Christensen (Anakin Skywalker) is central to the whole story of the creation of Darth Vader and yet I could not escape the impression that neither of them really cared for each other, for which I mostly blame Lucas’ leaden hand more than the actor and actress in question. Ewan McGregor is a splendid Obi Wan Kenobi when it comes to laying waste to the bad guys with his lightsabre but again, when it comes to his relationship with Anakin, it all seemed a bit unengaged. Only Ian McDiarmid (Palpatine) really managed to transcend the stilted feeling of much of the dialogue and sound like he really meant when he said.
And although I said one does not go to a George Lucas movie to seek profundities, there was one rather splendid line uttered by Padmé whilst in the senate chamber listening to the delegate enthusing whilst Palpatine seizes power to ensure ‘justice and security’:
“This is how freedom dies. To thunderous applause.”
Pity the rest of the movie did not have more such memorable lines. 7.5 out of 10, mostly for the sheer spectacle.
How do scientists work? Do they spend a lot of their time holed up in big buildings with lots of fancy equipment, work in large teams or mostly alone, with rumpled air and just a blackboard and lump of chalk trying to figure out the laws of physics? What sort of social lives do they lead and how do they handle the political, business and personal demands that come their way? How do they deal with hostility from jealous colleagues, skeptical review boards and college principals worried about expanding their budgets?
If you ever wanted to know some of the answers to these questions as well as have a rattling good yarn told, then this book, an old classic by Gregory Benford, fits the bill. I have been engrossed in it for the last few days and I won’t spoil for any would-be readers by giving the ending or basic plot away. Let’s just say that this book actually gave me the feeling of actually working and living in a science lab, of hanging around scientists in the early 60s and later, in a sort of crumbling, environmentally troubled 1990s. Strongly recommended.
It would be fair to say that when I heard that 70’s space opera ‘Battlestar Galactica’ was going to be remade, I was dubious: face it, the original made Star Trek seem like Shakespeare. Moreover when I later discovered that a leading character in the original series called ‘Starbuck’ (well before the term became synonymous with coffee) was going to be ‘re-imagined’ as a woman, I became downright contemptuous: “Oh gawd, another sickeningly politically correct bit of drivel spewing forth from Hollyweird”. Moreover womanising hard drinking cigar smoking Starbuck was one of the few engaging characters from the original series.
In a sense I acquired the DVD of the mini-series more as something to blog about, so I could actually say I had seen a piece of science fiction that was worse than that hymn for a limp-wristed California vision of ‘inclusive transnational socialism’ (well, maybe not all that inclusive), called Star Trek, a series which hit its nadir with the execrable Enterprise. So yes, I fired up this disc with extremely low expectations.
The show starts slowly, setting the scene in some detail, such as the fact we foolish humans were the ones who actually created the Cylons, the show’s homicidal robotic bad guys, and that Battlestar Galactica itself (more or less an aircraft carrier in space) was an obsolescent relic of a pervious war against the Cylons some 50 years earlier and was due to be retired from service after many years of peace. We see the back story of Gauis Baltar, who in the original series was a comical pantomime style ‘villain’ and arch-traitor, and who is this time ‘re-imagined’ as a deeply flawed genius (sort of a cross between Albert Einstein and Bill Gates, brilliantly acted by James Callis) who is psychopathically self-centered and thus tricked by an all too human looking ‘female’ Cylon into unwittingly dooming humanity. All better acted, better directed and far better written than I expected but only Baltar was particularly engaging initially.
But then the Cylons make their move…
Wow. A show which truly, truly, truly does not pull any punches and proffers a middle finger to the sugar coating of so much of Hollywood’s offerings that are aimed at the mainstream. We see nothing less that genocide: the steady nuclear annihilation of the human race. We see men women and children (yes, children) killed pitilessly in one of the darkest bits of sci-fi TV drama I have ever seen: the Götterdämmerung on 12 planets. Moreover we see the handful of dazed and traumatised survivors on the Galactica and the refugee fleet which forms around this last remnant of the human military, act like, well, people who have just seen their entire civilisation and 99.9% of their species exterminated by an implacable enemy.
In many ways this is a story that owes much to the dramas set in World War II that were made in the 40’s and 50’s and posit that there is a great deal more to being in command than saying “Make it so”. Even the look of the Galactica itself is a million miles away from the antiseptic interiors of Star Trek’s spaceships: it has manually opened pressure doors, old fashioned wire cable intercoms and chinagraph pencil plotting tables that would not have looked out of place on USS Yorktown during the Battle of Midway. As in that earlier genre of movies from a less timid era, heart rending decisions are forced on characters, and not just the military commanders (who I am pleased to say actually act like real military commanders in Battlestar Galactica) but also the new president of the colonial government (very well played by Mary McDonnell), who is faced with desperate no-win life and death choices. The biggest surprise for me however was the character of Starbuck, who I was simply determined to hate. Actress Katee Sackhoff plays Starbuck as a hard drinking cigar smoking tomboy and does so with an almost feral gusto and real panache. Her hard bitten mocking grin, snappy dialogue and the almost maniacal gleam in her eyes had me won me over within about 15 minutes.
I have no idea if the series following the mini-series will live up to its potential but damn, it is nice to see such a refreshing bit of drama in the science fiction genre.
Arthur C Clarke has stated via Jose Cordeiro, roving ambassador for the World Transhumanist Organisation, that he is safe and well. Here is his brief message on the catastrophe, including websites for providing aid in Sri Lanka.
I am enormously relieved that my family and household have escaped the ravages of the sea that suddenly invaded most parts of coastal Sri Lanka, leaving a trail of destruction.
But many others were not so fortunate. For over two million Sri Lankans and a large number of foreign tourists holidaying here, the day after Christmas turned out to be a living nightmare reminiscent of The Day After Tomorrow. My heart-felt sympathy goes out to all those who lost family members or friends.
Among those who directly experienced the waves were my staff based at our diving station in Hikkaduwa, and my holiday bungalows in Kahawa and Thiranagama all beachfront properties located in southern areas that were badly hit. Our staff members are all safe, even though some are badly shaken and relate harrowing first hand accounts of what happened. Most of our diving equipment and boats at Hikkaduwa were washed away. We still don’t know the full extent of damage — it will take a while for us to take stock as accessing these areas is still difficult.
This is indeed a disaster of unprecedented magnitude for Sri Lanka, which lacks the resources and capacity to cope with the aftermath. We are encouraging concerned friends to contribute to the relief efforts launched by various national and international organisations. If you wish to join these efforts, I can recommend two options.
– Contribute to a Sri Lanka disaster relief fund launched by an internationally operating humanitarian charity, such as Care or Oxfam.
– Alternatively, considering supporting Sarvodaya, the largest development charity in Sri Lanka, which has a 45-year track record in reaching out and helping the poorest of the poor. Sarvodaya has mounted a well organised, countrywide relief effort using their countrywide network of offices and volunteers who work in all parts of the country, well above ethnic and other divisions. Their website, www.sarvodaya.lk, provides bank account details for financial donations. They also welcome contributions in kind — a list of urgently needed items is found at: http://www.sarvodaya.lk/Inside_Page/urgently%20needed.htm
There is much to be done in both short and long terms for Sri Lanka to raise its head from this blow from the seas. Among other things, the country needs to improve its technical and communications facilities so that effective early warnings can help minimise losses in future disasters.
Curiously enough, in my first book on Sri Lanka, I had written about another tidal wave reaching the Galle harbour (see Chapter 8 in The Reefs of Taprobane, 1957). That happened in August 1883, following the eruption of Krakatoa in roughly the same part of the Indian Ocean.
Arthur Clarke
29 December 2004
I must say I am quite a sucker for the recent spate of films based on comic strips. I liked the Spiderman films, the Hulk, and even quite enjoyed the Batman films (the one with Michael Keaton, anyway). Well, another one off the conveyor belt is Sky Captain and the World of Tomorrow.
It has been panned by the critics, which is usually a promising sign given the nature of most snarky film reviewers these days, and I hugely enjoyed it. It has numerous fine qualities: WW2 fighter planes which can go underwater; futuristic aircraft carriers in the sky with great big Union Jacks on them; spiffy uniforms with Angelina Jolie wearing them; hot female journalists in classic 1930s garb with rakish hats and wavy hair (Gwyneth Paltrow), and big, biiiiiiig metal robots that do not talk but stomp menacingly around New York.
The film has no great ‘message’, I suppose, apart from showing how in the middle of the 20th century mankind, or at least the western bits of it, dreamed of a mechanised, high-tech future. The vision appears a bit comical to us now, but perhaps our age, with our interests in the Web and so on, will appear no less bizarre to generations hence.
But never mind all that highfalutin’ stuff. Go and see the film and have a feast of art deco kitsch with two of the most ravishing actresses now working. What’s not to like?
This is without a doubt the movie I have most anticipated seeing since spotting a certain trophy in the background of a few frames at the end of Predator 2 back in 1990.
Oh yeah. I mean, OH YEAH!
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Who Are We? The Samizdata people are a bunch of sinister and heavily armed globalist illuminati who seek to infect the entire world with the values of personal liberty and several property. Amongst our many crimes is a sense of humour and the intermittent use of British spelling.
We are also a varied group made up of social individualists, classical liberals, whigs, libertarians, extropians, futurists, ‘Porcupines’, Karl Popper fetishists, recovering neo-conservatives, crazed Ayn Rand worshipers, over-caffeinated Virginia Postrel devotees, witty Frédéric Bastiat wannabes, cypherpunks, minarchists, kritarchists and wild-eyed anarcho-capitalists from Britain, North America, Australia and Europe.
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