Prestige science fiction series

I've posted here first as a comment reply on reddit.

Prestige sci-fi, in order of appearance:

* Star Trek: The Next Generation (1987−1994)

* Star Trek: Deep Space Nine (1992−1999) — very much stands the test of time, especially all the episodes featuring Cardassians and Garak (Andrew J. Robinson).

The first American tv show to talk about comfort women in "Wrongs Darker than Death or Night" (1998).

Behind the camera: Ira Steven Behr, Ron D. Moore and Naren Shankar.

* Farscape (1999−2003, 2004) — Made in Australia. Great animatronics and puppeteering, fantastic sci-fi.

Starring: Ben Browder, Claudia Black, Virginia Hey, Lani Tupu, Wayne Pygram (once played Tarkin, btw), Jonathan Hardy (voice), Gigi Edgley, Rebecca Riggs, and many others.

Behind the camera: Brian Henson, Rockne S. O'Bannon and Naren Shankar.

* Star Trek: Enterprise (2001−2005). There was a lot of fan disdain for it, but it seems to have gained a resurgent following. 9/11 changed the world, and took the show with it.

* Battlestar Galactica (2003, 2004−2009) — upped the space physics realism part. Created and ran by Ron D. Moore. Score by Bear McCreary.

* Stargate Universe (2009−2011) — Starring Robert Carlyle, Louis Ferreira, Brian J. Smith, Elyse Levesque, David Blue, Alaina Huffman, Jamil Walker Smith, and Ming-Na Wen (The Mandalorian and The Book of Boba Fett).

SGU features the first LGBT primary character in a space-based sci-fi show, and is one of the earliest to have a gay starring actor in a sci-fi show in Brian J. Smith (not related to the in-show character), though he wasn't out yet at the time. Brian J. Smith has starred in Sense8*, *Treadstone*, *Matrix 4*, and the upcoming series Essex County

Stargate Universe features an awesome score by the late Joel Goldsmith (son of Jerry Goldsmith), comparable in quality to that of Andor, and musical montages with the eclectic music of the day.

Some of the episodes depict in some detail what it's like to live with a family member who has HIV/AIDS, a life-long disability, and separately shows the progression of ALS and explains what it is.

By the time SGU aired, Star Trek: TNG had become dated in terms of style and presentation.

* The Expanse (2015−2022) — upped the space physics realism and greatly raised the standard on that. Shohreh Aghdashloo steals the show.

* Westworld — Season 1 and Season 2 stand out and raise the bar. Seasons 3 and 4 are weaker.

* The Mandalorian — the great space western. The Book of Boba Fett is good, too, once I disregard the inclusion of the teen biker gang. Boba Fett fills the lone ranger genre very nicely.

* The Boys — A very gory anti-superhero show, but worth watching for the gallows humour. Serious issues through and through. Adults only!

* Invincible — A bloody, gory, and messy cartoon, and a very good one at that. If you're an adult, it's worth the watch.

I must add extra caution wrt The Boys and Invincible, because they are so gory, that anyone who has seen bloody deaths, war, and battle trauma, might find these two shows very triggering.

Invincible is like the superhero version of Happy Tree Friends. If you know what that is, you'll get the gist.

* Andor — hugely raises the bar, and is on par with SGU, BSG, Farscape, DS9, and Westworld. (I've lost interest in The Expanse, though.)

Edit:

• Star Trek: Strange New Worlds is great Star Trek and captures some of the classic feel with Captain Pike and Lt. Spock.

• Star Trek: Lower Decks is a lot of fun, captures the TNG feel, and has some lovely moments.

• Star Trek: Prodigy is a great choice for children.

The other Star Trek shows are meh.

Science fiction and fantasy in Estonian music videos

This began as a comment reply under Wateva's music video, but quickly expanded into something more.

(all dates are upload dates on YouTube, given here in the dd.mm.yyyy format)

As the comment and this blogpost expanded, I noticed roughly two phases of Estonian music video production.

Based on the songs linked in this post alone, the earlier phase spans the years 2014–2017. Its main characteristic is Estonian nature in a romantic setting, often interlinked with various elements of fantasy, as ancient Estonians were once fond of finding a spirit in each item, even a rock.

Estonian Fantasy and Nature

In 2014, Trad.Attack! released a fantasy-themed production Kuukene / Moon (15.07.2014) with the Moon as the main character in the song and video, filled with flying Estonian berries and greenery (and plenty of fan service :).

In 2015, Kõrsikud released "Tähetolm" ("Stardust") (uploaded on 15.05.2015), with space-based lyrics, including a passage of an 'angel's wings'.

In 2016, the Mother Earth theme was introduced in Kerli's "Feral Hearts" (25.02.2016), which contains strong fantasy elements set in beautiful Estonian nature.

Curly Strings also produced a magical video, one of the few having the Estonian winter as the main character: Hommik (09.03.2016)

A year after that, Trad.Attack! released a beautiful and emotionally risible song and video Säde / Spark (02.04.2017). The video depicts a flying golden spehere (a disco ball) in the dark of the night spreading around magical energy and life across the the nature of my country. As it was, Arthur C. Clarke's quote puts it best: "Any sufficiently advanced technology is indistinguishable from magic."

The same month of that year, Trad.Attack! published Imepuu / Magic Tree (21.04.2017). The pipe sounds are perhaps too imposing at the start. But the video shows the band playing next to a "magical" tree (in Estonia, obv.), with three lights as substitutes for yellow spheres.

In the Summer that followed, Curly Strings dropped "Miks sa murrad mind" (06.07.2017), showing amazing flyover scenes of Estonian nature. No special effects or anything.

Space, science fiction, and fantasy

The second phase presents a generational shift, and so shows productions from people heavily influenced by science fiction. These would be people who got to see the various Star Trek and Star Wars movies and series, Japanese anime, and much more.

This collection totals six Estonian sci-fi music videos, released in what is a very short three-year timespan of November 2018 and September 2021.

• Nublu – tmt (tujud, mitte tunded) (17.11.2018) — the music is the main point, and the lyric video displays a shiny animation of a viewer's point-of-view traversing above the ground of a sphere;
• nublu x Mikael Gabriel – Universum (06.11.2020) — the video (feat. Valdis in a cameo) is shinier than the music, but features both space and a planet suffering various stages of apocalypse;

2021

Alone in the year 2021, Estonian musicians have released four music videos featuring heavy science fiction. (I'm not in any way claiming 'realistic' or 'hard' sci-fi.).

Much of the same energy musically and thematically is cast in their videos: dark undercurrents in music, dystopia, and apocalypse and the Earth (or a random planet) —

• Maarja Nuut & Ruum – Kuud Kuulama (NOËP remix) (01.03.2021)
• Raul Ojamaa – Moonstrk (feat. NOËP) (lyric voyage) (08.03.2021)
• WATEVA ft. Manna - Disposable Society (03.09.2021)

Thematically, "Kuud Kuulama" presents an apocalypse, "Moonstrk" has that same world in a post-apocalyptic setting as a follow-up, and Wateva's "Disposable Society" probably depicts the rebirth of Earth.

And the latest splash:

• 5Miinust – "Koptereid" (24.09.2021) — a dystopian anime cartoon in Japanese style, with car chases, blood and and gore, and a fight between good and evil. Space is probably adjunct to the main themes of the video. I won't link to it due to its adult themes, but it's searchable on YouTube.

In the first three, the dark undercurrents as one of the backing sounds (for fail of knowing a better term) are now characteristic to modern Estonian music, and the use of background undercurrents in contemporary compositions shows the maturity of Estonian-made soundscapes.

I'd noticed a similar trend in 1990s music from mostly the United States, the music of which was then at its very height, and UK and Canadian songs of that same decade, which could have erroneously been construed as having originated in America. So there was a lot of influence to and fro.

Food on the cheap in Tallinn, Estonia (May, 2021)

Inspired by a video under which I wrote a comment.
This post applies, when one is on a very, very tight budget.

The Grossi store in Tallinn has the "Säästusai" white bread (sai) for 18 cents/220g. Maxima and Grossi have cheap pasta (macaroni) for 20 cents per 400g pack. Grossi has some kind of a tomato paste at 54 or so cents for a tiny jar. Tin cans of beans or chickpeas can be between 55 cents (on a good day in Maxima), but usually hover around 65–75 cents. Grossi has one or two kinds of ground tea that's below one euro/pack, too. If memory serves, cooking oil can be around 1€ or so. Prisma has the best prices for a pack of broth / bullion cubes (puljongikuubikud).

Prisma has the best big-store prices, while Selver is the most expensive. Prisma has the best website, which also has an English-language section. All products available at Prisma are searchable.

For comfort food at affordable prices, Prisma has "Xtra" crisps (potato chips) that are at 1.10€, with the best price-to-weight ratio. Maxima has the cheapest 100g slates of chocolate (45 cents), and both Grossi and Maxima have the cheapest lemonades (fizzy sugary drinks). Grossi usually has the most affordable ice creams, though Prisma can sometimes have really good sales for certain ice creams.

Survey company gift certificate

OTOH, Norstatpanel, which is a survey company, offers only Selver gift certificates ("Partner kinkekaart") for completed surveys.

Norstatpanel is free to sign up with, and the survey company needs to know the participant's name, phone number, and home address in Estonia. This is likely meant to prevent fraud, and verify a person's identity.

On their website, you'll need to reach at least 83 points to order a 5€ gift certificate. This takes filling several surveys, which are usually in Estonian or Russian. They also have a mobile app, though some surveys must be filled in desktop computers.

The Partnerkaart gift certificate is a printable PDF via e-mail that is sent within three weeks of ordering. You can get a different gift certificate for Circle-K, or a bookstore, but Partnerkaart is the only one that a person can use in a grocery store, which happens to be Selver.

The Partnerkaart gift certificate for Selver (the store in the chain that sells groceries) is reusable for as long there is money left on it. One can check how much money a gift certificate has, at the Partnerkaart website (Estonian or Russian only). For that, you'll need an ID card, Mobile ID, or SmartID to sign in and verify your identity. These authentication services obviously requires a valid Estonian residency.

Return bottles, get cash

Returnable bottles of water, fizzy drinks, tonics, and beers (but not wine and vodka) can get one a small paper cheque from reverse vending machines, with a sum printed on it. Cashiers in a nearby store exchange that for cash (they get the cheque and you the cash), or one can use that cheque to buy stuff in a shop, and/or get a price reduced from the total with money purchases.

Each bottle or can is 10 cents, so two returned bottles can get one pack of pasta for 20 cents, for example. If you've bought less than the sum on the cheque, the cashier will return the unused difference in cash (usually coins). Banknotes are given in exchange only, if the unused sum on the reverse vending machine cheque is greater than five euros; all depends on how many bottles have been returned.

The reverse vending machine bottle cheque can be good from 30 days to 3 months, I think, and is valid only in the store near which the bottles were returned to. Beware the terrible smell near some reverse vending machines. The reverse vending machine sections near Prisma stores are some of the cleanest.

Best prices on medicines

For the best deal on medicines, check out raviminfo.ee. It's only in Estonian, but if there is something specific you need from a pharmacy, you can make a search (otsing), and limit that to the big city or county you live in. If you have a favourite pharmacy that serves you in English (still good to know Estonian), then ask for generic drugs, if a doctor has only specified the type of medicine in your prescription, and not its brand name.

Trains and roads in Europe and America

This was in reply to a comment in YouTube about trains.

The reason that European high-speed train routes from London to Athens and Paris to Athens are not there, is, because they have not been built yet. A lot of it had, and still has plenty to do with world history.

Romania and Bulgaria joined the European Union in 2007, and this formally connected Greece with the rest of the Union on contiguous land. Romania and Bulgaria have yet to join the Schengen Area.

Italy's problems have more to do with mismanagement of their money, and Greece is only slowly emerging from its debt crisis (due also to then-really-bad finances).

Now that there's Brexit, the UK's position with regard to future rail connections to the rest of the EU is uncertain.

In the U.S., the Insterstate Highway System was built, because Dwight D. Eisenhower and other leading politicians noticed, that existing roads were below standard to support a modern state; the historic Route 66 was particularly overused. While the congestion of Route 66 supported all manner of roadside businesses and livelihoods, then it was also an infrastructure bottleneck.

On the other hand, the flipside to having built the Interstate Highway System is, that a large number of private traffic and short-haul business moved to the asphalt, with rail infrastructure displaced — "thanks" in no small part to then-the Big Five automakers greasing the wheels of politicians. Perhaps less intentionally, but with greater disruptive effect, rail got sidelined by airplanes and jumbo jets. The latter reduced travel times so much, that the jets and the Interstate in combination substantially decreased demand for passenger rail services, reducing the status of rail in America the even further.

To the best of my knowledge, California's problems with high-speed rail have been related to the politics almost anywhere in the U.S. of habitually not wanting to dish out enough taxpayer money for any large project, while at the same time, nursing pipe dreams of federal funding, when the state (any state) is legislated and governed by one party, and the federal government by another.

I've been so late to Star Trek memorabilia

This was a reply in Google+ to a comment, which encouraged people not to go to watch any new Star Trek movies.

Well, unfortunately, the first 'Trek movie I saw in a cinema, was Into Darkness.
• My first physical Trek item was a keychain I got from my sister in 1995, who returned from a student trip to Florida. I loved the keychain, but after years of use, the appended Trek Star pendant was unable to hold itself onto the keychain, and is now lost somewhere. I still have the keychain part.
• My first 'Trek DVD is "Star Trek: Nemesis" (a present from a close relative).
• I bought my first and only Trek toy just a couple of years ago, and it was a small JJ-Enterprise by Hot Wheels.

I'm 34, and so late with all that fan stuff, though I've been a Trek fan since I first saw "Q Who?" on Finnish tv at a classmate's house.

And when I was a kid, I first heard of Star Trek in a hospital from an older kid (a teenager). It was the second or fourth time I was in a hospital, because I had had an ear infection (again). I still remember how he drew the outline of Enterprise-D, and said that people lived there and stuff. It was truly fascinating.

I can't exactly remember which year it was, but Estonia had not yet regained independence, and Finnish tv was officially verboten, but change was in the air already.

Not all people could see Finnish commercial tv channel MTV3 (launched in 1986), because their sets didn't have the "Finnish block" or "the Finnish antenna" (probably PAL support), but those that could see, salivated at all the yoghurt ads, and cried the most bitter tears for not having all that yummy goodness :9

Whilst we had the deficit. And there were block-long queues for sugar, for milk, for butter, for meat (any kind), for oranges (rare!),

for tangerines (only during holidays),

for bananas (the nomenklatura and the wives of Soviet officers could have a lot of everything from special shops meant for the nomenklatura, but bananas were on occasion sold to families with lots of children),

for cotton (important for the ladies),

for ciggies, for vodka, and for almost everything else.

Basically, anywhere you saw a queue, you joined it and then information about what people were standing in the queue for, was eventually passed down the grapevine. Like in that children's game of "Telephone" (-:

Corrida (Estonia, 1982)

Synopsis

Osvald and Rita, a successful academician with his young wife and former secretary go to live away from city sprawl on a small island and enjoy their idyllic marriage.

Suddenly, a young man Tarmo appears from the sea.

Rita suggests from the outset that he's her ex, and the handsome Tarmo begins to capture her fancy, much to Osvald's chagrin.

The ensuing bad seas trap the three on the island, and both Tarmo and Osvald and Rita are aware of the situation between the three.

Constrained in one place, Tarmo and Osvald become in time more acquainted with one another: Tarmo shows that he's familiar with Osvald's work, but also critical; while Osvald realises that Tarmo is intelligent, he does not let Tarmo know this, and chooses to taunt him back.

Still harboring feelings for Rita, and believing that Osvald stole her from him, Tarmo encourages Rita to bring out her youthful streak in order to woo her to his side.

Rita's is only able to interpret Tarmo's encouragement of youthfulness in one way, but begins instead to let out her primal self, which turns for the worse.

Alone with Osvald, Tarmo lets slip that Rita has a child from before their marriage, and confides further that he doesn't know if he wants to raise another man's child.

Rita's deteriorating conduct has turned her restless, then uncontrollable, cruel and indifferent.

Tarmo sees that Rita is unable to handle herself in a critical situation, and realizes that she's not intelligent enough to do so in the first place, and therefore not really worthy of his attention.

Having made up his mind, Tarmo leaves the island.

(In the interim, Tarmo and Osvald appear to have resolved their dispute, as Osvald is more willing to put up with the restless Rita than Tarmo, who, as a young man, has more choices before him.)

---

Text in this post is under a
Creative Commons Attribution-ShareAlike 3.0 Unported License (CC-BY-SA-3.0).

Today in History (04.07.2013)

* News that Douglas Engelbart, inventor of the computer mouse, has died at 88 (passed away on 02.07.2013);
* NASA decommissions weather satellite Jason-I (11), because the satellite's last transmitter finally failed;
* King Albert II of Belgium (79) announced that he will abdicate on July 21.

In other news:

Europe
* France apologizes: Je Suis Sorry;
* And now it's been reported that France's own French Fries are not much different from Freedom Fries somewhere far, far away;
* while in

United States
* ...most everyone else rather ungratiously confirms what has been going on all along at the Ministries of Peace, Love, and Truth.
* A huge wildfire in Arizona still remains out of control.

Middle East
* Egypt's military stage a coup yesterday, installing a judge to be acting president today. The U.S. threatens withdrawal of aid to Egypt, while Israel tries to be nice.

Science and tech
* Vine and Instagram fight like a cat and dog: competition in video sharing functionality heats up. Ten years ago we would not have known what these things even are;
* Livers can be grown in laboratory from stem cells. We really are living the future.

Independence Day 2. What might have happened in-between

This was in reply to a similar post in IMDb, a post which speculated on what might have happened in the 15-odd years on Earth since the events set in "Independence Day" (1996). Because IMDb forums for a movie or personality are cleaned up from time to time, I've decided to simultaneously publish this here along with the reply on IMDb.

Disclaimer: This blogpost does not contain spoilers to the movie, because I am not aware of its actual content.

My favourite ideas revolve around relations between humans and surviving aliens from the first war.

Of the surviving party (parties), there would be at least two or three 'factions', put this way:
* Those that want to destroy humanity and much of Earth and reconnect with whatever future mothership comes. These would be fighters and their ilk (the alien hard-liners);
* Those who somehow automagically decide that humans are worth something, too, and the Earth preserving.
* And maybe those that kinda-sorta like Earth, but not humans, only that they can't do much about it. The undecided (?).

It's possible that maybe one of the city-ships somehow survived to the point that it's established a state-like territory on its own, but that the ship itself is unable to become airborne. Maybe there are more than one and each has formed a different faction and attitude towards Earth and humanity.

Then the structure of the alien society: What was it like before, during, and after the invasion?

Then the very serious problems around whether and how to integrate surviving aliens into society (à la "Alien Nation", but it wouldn't work out like that anyway) — Because if we're better than them, then we can't just kill them all off. I'm aware it's very pacifist and stuff.

And then about how humans treat or mistreat the surviving aliens — look at Guantánamo; and would there even be trials? Does the whole species need to be convicted, or just the ones who set the agenda? How do you find out the surviving alien leaders (given that they all seem to look alike), and whether there are any, if the social structure and ways of communication are so different?

It's likely that humans and (former) invaders would mostly feel mutually repelled by one another and keep up some form of segregation ("District 9"). Would be interesting to know if that's in the new movie.

Then all the issues wrt biocontamination. Organic as they all are, there must be observable changes in Earth's nature. Did the first strikes also hit nuclear plants and was there any fallout and thus any possibility of a nuclear winter? Then I'd imagine the use of cars with internal combustion engines has perhaps lessened alot first due to destruction of major population centres and because of new technology.

The idea of a third and fourth species is also very intersting, given that a large explosion in space can be noticed by a civilization with at least similar advancement.

Oh, the "Pocahontas" scenario of two kindred spirits meeting one another would never work. No, no. But I wouldn't rule out several accidental hybrids. There's a possibility that if some alien surviors managed to form a workable faction within the confines of their previous social structure, then they might have made several experiments with human survivors until releasing one or more, or even a group of human-alien hybrids. And I suppose those in turn would have very dangerous properties. Maybe alien-human infiltrators.

Then what has happened to different human societies on Earth. Suppose some states rebuild and develop military technology, but at the cost of freedom. Some countries decide to keep individual freedoms, but maybe or maybe not risk being less secure. Or countries who decide not to adopt alien technologies and develop native technologies (Not Invented Here syndrome), or countries that don't want to sacrifice freedoms and develop slower and on their own pace compared to those that might sacrifice freedoms and might want to adopt all the latest alien tech.

Vertigo. Review. Analysis.

Reaction and reply to this IMDb post
Agree about the time capsule effect; pity they didn't show the trolleybuses.

I just saw the movie a few hours ago and thought it this way:

Judy Barton somehow decides to start dating Scottie, afraid that Scottie — having recognized Barton — has already put all the pieces of the puzzle together, while in fact he has yet not. This probably hints to the less sophisticated background of both, despite Scottie being a detective and Judy being part of an elaborate plan.

Were the actor playing Scottie different than John Ferguson, who was 49 at the time, the interpretation of the film could have been different, too. — Such that if the actor were much younger and more handsome, it would have been much more plausible to believe Judy's claims of loving Scottie in the final scenes of the movie. This also applies to the relationship between Midge and Scottie, where in some scenes Midge plays the mother figure.

Hitchcock was therefore correct to complain about mis/casting an older guy, despite 'early retirement' at 49 (going on 50) still sounding about right in 1958.

Midge is clearly smarter than Scottie and knows what Scottie is looking for in a woman (a mother-like figure, that is). Scottie hasn't so far taken the bait from Midge, and it is likely that he innately knows that she knows what he wants and so would feel uncomfortable to progress from friendship to something else, as Midge's play would feel unauthentic just because she knows and that Scottie knows that she knows.

The other reason could be that Midge is far too independent; Scottie wants to dominate, but knows that Midge wouldn't let him. Scottie is also old-fashioned, as he doesn't know much about women's wear.

This is when Scottie, after meeting "Madeleine", sees in her exactly what he wants to see: a young and pretty woman with the look and mannerisms of a lady, reasonably independent, but apparently subservient on an interpersonal level. Here we see how Scottie exercises his right to dominate by saving "Madeleine" from drowning, by taking care of her, and so on.

Scottie has become completely obsessed with Judy/"Madeleine".

As Judy and Scottie keep on dating, Judy realizes that Scottie doesn't know about the ruse and lets her guard loose. She chooses to be with Scottie with designs for a better life with him (We see from Judy's family photos that she seems to be from modest surroundings in the state she grew up in).

Maybe she'd thought that Scottie, almost 50 and still not married yet, might be gay and is perhaps looking for a beard. This is alluded to in "Madeleine"'s question about why he hasn't been married yet.

At the time of the ruse, Judy as "Madeleine" was willing to appear subservient, as she was instructed to be like that by Elster. Scottie falls for it.

I remember Elster at the beginning of the movie had no intention to go and wanted to stay with his enterprise. In the scene where Judy has walked up the stairs of the church tower and Elster throws his real wife down, Judy screams and Elster realizes that this could give away the charade, which causes him (uncharacteristically) to part ways with the city and his company as soon as possible. Scottie only attributes this to Elster's grief.

Once Judy has fulfilled her role as "Madeleine", she doesn't need to appear subservient and we get to see a decidedly more independent Judy than Scottie ever thought. It's hinted about when she decides to leave Scottie's home on her own, instead of letting Scottie bring her to Elster.

The masks start falling when Scottie demands Judy to be more like Madeleine and Judy thinks that Scotty is on to something; and while she plays along out of fear of discovery, she is also pushing back, because Scottie 'doth protest too much.'

The masks fall futher after the detective in Scottie has realized that Judy was in on the charade and when Scottie takes Judy to the murder site.

Several scenes follow where Scottie is overly dominant with Judy, short of being violent. It shows why Scottie is unable to have steady relationships with women, and how this is the real reason for his being unmarried.

Scottie forcibly takes Judy up the tower while overcoming his fear of heights, tells all to Judy and forces her to confess. Judy, trying to save herself both from the situation and to tame the much too overbearing Scottie, expresses the words of love to him, but is startled by the nun, who I think was there all along, who heard everything and only used the excuse of having heard voices to appear as if she just arrived.

Whether Judy was startled or felt no other way than to fall to her death is a matter of debate.

The reason why I think the nun heard everything was because after Judy fell to her death, the nun started pulling the bell ropes and so ringing the bell right away. — A person who just woke up usually takes some time to wholly wake up, so I understood that the nun was completely alert by the time Judy's confession escaped her lips.

The ending is left a bit open, because Scottie could be implicated in Judy's death. His saving grace is the nun, who apparently heard everything... but chose not to reveal this.

Or, if the nun really heard "some sounds," and only witnessed Judy fall down, then Scottie would be in a difficult position. Scottie would think that the nun would tell and would want for the nun to be silent. The old and wise nun probably knows this, too (by way of having observed Scottie's mannerisms with Judy), and rings the bells as soon as possible to make sure Scottie doesn't get any chance to impove his position on account of another person's life.

---

In a later post, I added this:
I remember the "gay old bohemian days" phrase was uttered by Midge's librarian friend.

If we allow ourselves to assume that Scottie might be gay, then the librarian friend somehow recognizes this in Scottie, but Scottie dismisses it, because he doesn't know it yet himself. We might see it when Judy (perhaps still as "Madeleine") and Scottie stroll in a park full of young people being together and cuddling. I then saw a cut to Scottie and Judy, where Judy seems to wistfully look at the young people with want, but Scottie appears conflicted — almost wanting to be there, too, but restraining himself.

Then what I forgot to add to my original writeup is this point:

While Judy is actually more independent and despite that still willing to be with Scottie for various reasons, then by very the end of the film she sees her decision backfire, as Scottie becomes more dominant. By the time Judy actually realizes this and starts pushing back, it's too late to break free, as Scottie is almost violent and takes Judy out of the car to the church tower.

Scottie's demands on Judy to be like "Madeleine" is an exercize of a series of warning signs, which Judy doesn't recognize.

So, if the actor playing Scottie were younger, I'd more readily believe Judy's love for Scottie, while with the current version of her "love" might more than anything be for reasons of fear.

"Something good..."

There is an English-language phrase about "something good coming out of something bad". Such sentiment would only serve as a fallacy with regard to gravely horrible history anywhere, as if this kind of wording were to justify the means to an end.

Stargate Universe, Star Trek: The Motion Picture, and 2001: The Space Odyssey—A Perspective

This was published first to make sure that the post lasts longer than in IMDb forums.
I've reminisced a bit since first replying in this [IMDb] thread, so got some new ideas in support for TMP.

"Star Trek: The Motion Picture" (TMP) was released ten years after "2001: A Space Odyssey" (2001), so it's historically placed within the timeframe of a generation that also had first-hand experience of 2001, which there is a huge fanbase of, and which extensively features elements of observation and contemplation. And, so, this is what the creators of TMP probably leaned on, most likely to offer an intelligent and ethereal view of space, in order, perhaps, to unintentionally counteract the "pew-pew-pew" effect of Star Wars.

So, when I think of Stargate Universe (SGU) and TMP having similarities, then a fair amount of all of that was borne out of 2001. Now that I'd thought of it, 2001 must have provided the people over at SGU quite a bit of influence in how SGU was presented.

When 2001 was initially released, it was lambasted by critics and a rather incredulous public, while only later was the film accepted as a classic. I hope for the same trend to happen with SGU, and, to a certain extent, to have happened already with TMP.

Rich Juzwiak's glasses. A critique.

So the video is here, the start is set to 1:27.

The following is a list of which glasses I liked the most on Rich Juzwiak, the writer at Gawker.

All in all I counted 19 different pairs.

Disclaimer: I'm gay, too, so all this is meant from my rather reserved (and maybe conservative) perspective of (gay) fashion.

So, if anyone gets to read this, I hope ye won't feel offended, 'cuz I meant to have fun with this :>

And, so, here goes...

1. Light ones. The colours match, but proportions seem wrong;
2. Best light frames;
3. (Black with thickish frames) Best in a dark-lit club or intellectual event;
4. (red ones) Too fabulous;
5. (golden ones) - kinda fabulous, but not in a good way;
6. < This one is the favourite, for some reason, but they're pink, too. Only that the pink colour there is not so in your face. So, if the frame colour were slightly different...
7. Blue - too fabulous, too 1970's;
8. Black ones with white edges - Too Apple. "I want to hide myself."
9. (light frames) Too fabulous and outdated;
10. Black shades. This must have something to do with retrofuturism, but I somehow like it. "I hide myself, but I still want to see you."
11. Police Cruiser shades. The most form-fitting, except that it accentuates the nose the most (sorry, Rich, I like you the most when you're not wearing spectacles (;
12. Dark ones. It's warm and light outside. Yuppie style;
13. Square shades. I like those. 1980's (retro)futurism. Still accentuates the nose.
14. Black shades. Fabulous, 1979 going on 1982. I don't know, which way, though.
15. Red, again. Too fabulous.
    
16. Dark shades. I don't know.


17. Dorky, Gotham style. Maybe if you meet The Dark Knight one day...


18. 1970's, def. Southern states;


19. Big black ones. The Fly. Jeff Goldblum.

What went wrong with Star Trek: Nemesis

This is in reply to a post on IMDb's Stuart Baird forum thread regarding what his input was to "Star Trek: Nemesis". The advantage to this post here is that threads on IMDb get sometimes deleted as a matter of cleanup, and I can also edit this one here for further comment.

It is soon almost ten years since the film was released, well past the 2009 "Star Trek" movie directed by J.J. Abrams, and I am making my review only now.

The post herein lists some of the things I thought went wrong with making Star Trek: Nemesis and contains an opinion about the stuff that I would have made.

Indeed, it is yet another and one of many posts that list the things that were and went wrong with Nemesis. Many people, of course, do vouch to be the expert storymaker and director after a flop, yet hindsight also gives us the opportunity not to repeat the mistakes and do things better.

So, for starters, I noted a poster there was actally correct in terms of who actually ran the show, and I made a conclusion:

All in all, it was a confluence of bad calls and decisions:

* John Logan is an awesome team writer. With him doing a solo job on Nemesis, the studio should have assigned someone to take a critical look at the script before it was put into production.

The Reman storyline was ok, though fairly one-sided, as it is. I would have never allowed such a terrible name as "Shinzon". Pieces of "B4" on another planet was also a great idea, but I would have certainly scrapped the car chase for better VFX, and perhaps given the non-space-faring planet a greater role in the dispute over Scimitar the ship and weapon of mass destruction.

* Tom Hardy is a really nice actor and played his bit with vengeance. I can't really see how the appearance of his face is in any way similar to that of Patrick Stewart. Hardy also has really luscious lips :-9

* Stuart Baird is an accomplished film editor, but his directorial effort is something right out of "An Alan Smithee Film: Burn Hollywood Burn".

The more I thought of it, the more I realized that the Nemesis directing situation was almost exactly out of Burn Hollywood, where an editor by trade becomes the director (I admit I haven't seen Burn Hollywood properly, but I'm sure the situation described has happened aplenty in this industry) and is hostage to the whims of the producer, in addition getting into conflict with the actors and everyone else involved. btw, Burn, Hollywood has Whoopi Goldberg in it <:

And one more thing: "Skyfall" has John Logan as one of the writers and Stuart Baird as the editor. Skyfall has raked in a gross of almost $800 million dollars worldwide.

I believe the TNG cast still deserves another movie, one that has a polished script for starters, and preferably with Denise Crosby in it as the wily Sela. But the clock is ticking.

A.I. Artificial Intelligence. The need to be loved.

This was in reply to a comment on IMDb. I posted it here first, because forums on IMDb sometimes tend to be cleaned up from threads.

I'd assume the makers of androids managed to gather and digitize some amount of brainwaves from humans, which data were then either constricted, or made free within certain baseline contexts (such as love, as in the case of David, or only a simulation of it, as it was with Gigolo Joe).

What you might be asking for is either the level of self-awareness of androids, or the extent to which their programming was free enough to be unpredictable in their actions to explore that self-awareness.

The movie offers what I see to be a dichotomy between the unique David's apparently self-serving and self-aware purpose of [wanting to be] "a real boy, so Mother can love me", that of needing to be loved; and the other less self-aware androids' selfless purpose of service to others. And how all this correlates with the human condition, which can vacillate around variations of these options: Most (well, nearly all) of us want to be loved, but what is the extent of service we are willing to give to others?

The story reveals that several androids became increasingly self-aware and were through various misshaps (intentional or otherwise) forced to become "free agents", but the hardware and programming of the less fortunate ones was limited; imagine people from the autistic spectrum, where their social skills are to some extent or other known to be less adaptive.

Here, Gigolo Joe was one of the few lucky ones to be not just self-aware but also reasonably adaptive. While David was all those things more by an order of magnitude, then the differentiator between David and Joe were experience, skills (both social and practical), heritage, and purpose. What held Joe back were heritage and somewhat constricted social skills which gave him so easily away; while David was aided by the 'more human' fortune of being in these respects a clean slate, and importantly, having an existential and non-materialistic purpose towards the person he related to.

David's primary uniqueness stood in having a (self-aware) purpose, wherein he was not aware of the fact that his being was there to satisfy a very similar (if not exactly the same) human desire — out of which happiness could ultimately be derived. Whereas Gigolo Joe knew precisely what women wanted, and even what would happen to humanity in the longer term.

The juxtaposition of the two shows the differences in how they sought to derive happiness from others. Incidentally, the happiness that either were wired to seek was also different.

While thinking more of it, the future androids in their evolution seemed to have found that very fine balance of satisfying the needs of one (David) and the many, without putting said needs into conflict with one another. This would follow how the early androids' relation to others, despite their being hardwired for service to others, was more, well, binary.

What was lacking in androids, both past and future, was consciousness, or how we humans understand it. Suppose the evolved androids finally managed to reach a level of primary consciousness, but not the subconsciousness, as some cosmological lore has it that in humans this is connected to upper densities of existence. (Not that real-life academics would take seriously or even corroborate, so you can consider it as crackpot science. I might as well add that religion often falls into that same place.)

That is why human consciousness was envied by future androids, so they needed David.

Why Falling Skies is too 'family-friendly'

And why is there little to no swearing.

This was in reply to a Falling Skies IMDb thread posing just these questions.

Well, people do swear in real life, but it's probably very difficult to make that balance right on television.

If you'll ever see an episode of "The Borgias" (a historical tv series produced in Canada and filmed mostly in Hungary), then people there don't swear either, but you'll see everything else: death, murder, battles, intrigue, sex, whores, flogging (torture), subterfuge and politics. Even urination.

Most of the time, people don't swear and generally discourage swearing (in public) in a prude, vain, and hopeless attempt to instill polite (aka more 'cultured') language in children, while in real life all it amounts to is just procrastinating the use of such verbiage by young people.

One of the reasons swearing is not used on American tv is that it would turn off many older/prude/conservative viewers, who would then prohibit their children from watching a show. That would result in dismal ratings from those with Nielsen boxes, no matter how flawed that system is (I have a suspicion these boxes aren't distributed all that evenly, either).

On the other hand, Falling Skies seems to be meant for a slightly younger audience than your average teenager who already knows foul language.

So, for example, if you want to know which is the youngest demographic a show is catering to, see who's the youngest major character (babies don't count). In Star Trek: The Next Generation, that was "Wesley Crusher" (played by writer and actor Wil Wheaton, who now has over two million followers on twitter). So, the older the youngest character in a show, the greater likelihood there is to encounter more mature themes.

And if suddenly the characters in "Falling Skies" started swearing as they actually would in real life, then by now it would be very out of character of them to do so. In a way, they should have done that from the outset, but now it's most likely far too late, because we all know now that they are coincidentally a very polite lot.

In conclusion, the only recourse to actual people with children would be not to swear themselves, or at all — just in case them kids accidentally overhear something — and suggest the youth not to use such language in polite company. This would basically ensure the kids learn by example. (Disclaimer: Your mileage may vary.)

Alternate dialogue between Weaver and Tector

Warning: Here be spoilers of some sort regarding the episode "Death March" from "Falling Skies". I wanted to write this as a comment on IMDb in a forum post, but then started having doubts about its policy on publishing fan fiction on its forums, so moved my ideas here.

I found it very disrespectful of Weaver to push Tector like that and so blatantly play on the feelings of a person who's driving a large truck. If I were Tector, I would have asked Weaver if he wanted to take over driving, or I would have stopped the truck and gone to the back just to avoid Weaver asking questions, but maybe that's just me.

I guess Tector couldn't stop driving, because they were low on fuel anyway, and there was no immediate reason to stop driving and unnecessarily spend fuel on slowing down and then later going on again. Weaver, of course, was using the situation. I think then I would have given Weaver "Don't push it. Sir."

We don't really know what was Weaver's reason to start pushing so hard on Tector. One reason could have just been the plain lack of manpower, and perhaps he wanted to find out if Tector has more in him than he has so far let know. Maybe it's that he's looking for someone who would in the future be able to command just in case something happens to Weaver himself.

So here I'm playing around with an alternate exchange between Weaver and Tector:

(Not exactly spoilers, but hey, I had like two options of how this would go, so here's one... I considered adding a Southern accent to Weaver, but might have fumbled it, 'cuz I can't distinct Black Southern and White Southern in writing. And it all may be a cliche of my own, so beware)

Option #1

- T: "Don't push it. Sir."
Here, Weaver would pause to process the Sir, as it alludes to Tector deferring to his command. Weaver now knows that Tector is alot more trustworthy, but realizes that Tector said as much just to avoid Weaver pushing him.

And after a while,
W: So you were a soldier?
Tector is silent and avoids eye contact.

Weaver realizes that his assumptions have been correct, but doesn't feel they've been completely confirmed to stop asking. Out of boredom, and to try to pull more out from Tector, Weaver would start talking about himself, maybe about some ambush he experienced, and some similar stuff, about the deaths, and such and such.

Tector, who is not really as stupid as he lets on, would pre-empt this by cutting off Weaver's speech:

- T: Don't tell me about some ambush, and that you lost people and that you regret it, and that you wished you were the one to go...

Tector's breathing has become heavier, while Weaver stops, realizing he hit one of Tector's sweet spots. Weaver is silent, while Tector tries to keep his calm.

But,
Weaver then explains his realization that what keeps him going are all the people there behind him, which he then calls responsibility, "Ya know?"

- T: I know. I know what it's like to be in a battlefield. And what it's like to lose your mates.
- W: I just wanted to know.
- T: I don't think I want you to know. Yet.

This at least is a second confirmation to Weaver that Tector has had advanced military training of some sort. This would make Weaver want to know more about Tector, but he knows he has to tread gently.

- W: What if somethin' happened to me again?

This makes Tector think.

- T: Tom can take over.
- W: He was on the alien ship.
- T: What, you distrust him now?
- W: No!
- T: Hal?
- W[with doubt]: He's a good boy, but he ain't got long-term experience.
Tector pauses a bit, and then, almost non-chalantly:
- T: Well, Pope's a good shot.
- W: Pope?! Pope's a firebrand! Yer too good to know it yerself!

[A pause ensues.]

Here I thought Tector would start opening up by explaining his two tours of duties in Iraq and Afghanistan. But not the ambush.

- W: So you are a soldier?
Tector tells his rank and where/who he was stationed with.


I relized that the second dialogue option would be even more intersting:

Option #2

- T: "Don't push it!"

Here, Weaver learns that there might be soft spot in Tector.

- W: Ya know, I've been thinkin' about givin' it all up, too.
- T: Oh yea, tell me abot it! [said dismissively]

Weaver takes it as if Tector is challenging Weaver to humour Tector, so Weaver (perhaps out of feeling insulted about it) starts blathering about his experience of loss from his past military experience and into the post-invasion times; all the while progressing into more and more desolate and macabre descriptions, whilst Tector becomes at first slowly, and then more visibly distraught. As Weaver continues without at first actually looking at Tector, we see Tector breathing more heavily and wiping his left cheek onto the left jacket arm (assuming Weaver doesn't notice from that angle, or intentionally doesn't pay attention), while Weaver goes on and on [insert somewhere Weaver's wish to give it all up and a death wish, too] until Tector audibly sniffs, crying his eyes red while trying to drive a truck, which starts veering off-course. Noticing this, Weaver stops his blather, realizing he's taken it much too far, and helps guide the driver's wheel that Tector somehow holds to turn the truck's course straight.

(This is actually a dangerous situation in another sense, as here Weaver could lose Tector's emotional trust.)

Weaver is silent and keeps his left hand on the wheel of the truck, as Tector tries to regain composure so as to be able to drive the truck on his own.

Weaver just says:
- W: I'm very sorry.
- T: No you're not.

Weaver is very angry (because he did feel really sorry for Tector, knowing that he had experienced a traumatic event before the invasion), but doesn't show it. Weaver eventually becomes really sad himself, looking down, and then forward, but without all the water.

After a minute or so silence:
- W: So you were a soldier?
- T: I was.
- W: Something happened, right?
- T: Yeah. Lots of things.

Weaver finally, but much more shortly, explains his past feelings of despair and then his rationale for going on, and the case for responsibility for the people behind his back.

Tector then says that he knows, like he understands, and starts telling how he was deployed in Iraq and Afghanistan, his rank and which group he was deployed with, and about the ambush. Some moisture exits Tector's eyes again, but he maintains composure.

Weaver finally pats Tector on the shoulder:
- W: I honestly didn't know.
- T: I didn't want you to know.
- W [looking at Tector]: We really need people like you.

Here's a pause, to let Tector calm down completely.

- Weaver: So you are a soldier?
- Tector [who is now more determined and looking at Weaver for a moment]:

Yes, Sir, I am.

Weaver feels moved. Maybe he'd say something cliche, like
- W: It is an honor to have you with us.

Tector, though begins explaining his doubts, that his initial plan was only going to take the 2nd Mass to Charleston, until he suddently stops the truck because of the broken bridge.
[spoilers end here]

Gay actors and coming out

Preface
This was first written as a reply to a witty post on IMDb about a possibly gay actor (no, not the usual suspects), whom I have decided not to name here.

First it came to be almost about justifying his coming out — if he is gay — and if he does that, then about the harshness of the film and tv industry towards gays. Then the post's idea moved to be about why some people choose to be closeted and that on one hand it's okay to rather concentrate on out gay actors, while bemusing the chances of coming out making a chage for the better in the future.

So I ended up making a long one instead: herein follows the post about the actor, without naming him (oh yes, names of out actors are featured).

The Post

If he is gay and chooses to come out to the world, then we would be very proud of him, and young gay people would have a great role model. There aren't many young gay actors right now ('cept for Zachary Quinto) who've hit it this big, and who play or have played not just the gays, but other interesting characters. This is what we have a deficiency of on screen: men and women who are not just gays, but who portray hereoes and role models of all good kinds.

The industry should change its tune for the better on gays, so LGBT people could play their roles as out actors, with pride and confidence. But alas, there are still lots of homophobic bigwigs calling the shots :/

I remember reading how Rupert Everett's career took a nosedive after he came out and he advised against actors coming out still in 2009. So, many entertainers and television personalities have come out when they've hit it big, and there are many who have come out very late in their careers (or life).

But otherwise, if he is gay and if he is not coming out, then it's his personal choice (disambiguation: Sexuality is not a choice, but coming out is). — There will be other great gay actors who will be out before he will, and there are many who aready have. We the gays just have to wait a little. I do admit the wait is sometimes difficult :\

On another note, there are many gay people who beyound industry fear may have personal reasons not to come out. If that's the case, then it's just as understandable. So, most gays clamoring for their favourite actor to come out might not realize that many closeted actors very possibly have personal (=family) reasons not to come out yet.

Nevertheless, young talented gay guys and gals aspiring to be actors should never be discouraged from pursuing their dream. The "It Gets Better" project and coming out are important, because then many gay youths who feel alone and desperate would see that there is reason for them to live. Oh, and yes, we just can't force anyone to come out against their will, unless they are flaming hypocrites.

My personal opinion is that Zachary Quinto's coming out has taken the heat off other actors who are suspected of being gay. The activism of Dan Choi, "It Gets Better", the coming out of many others (Jake Shears is out from the outset, for example) also means that there are many kids who because of these guys' courage have decided to spare their own life.

Revolution OS

Film review

Ahh, the good times :-)

This film was made during the dot-com boom, and, per release information on IMDb, first screened at the South by Southwest Film Festival in March 2001.

Only in its end titles does the film show the first casualties of the dot.com crash (a second release of the film was in 2002), so this documentary really well reflects the spirit of the times, just as the original series of "Star Trek" was the best science fiction in 1960's.

Despite its shortcomings of appearing propaganda-like (see some of the more balanced IMDb reviews) and not the most stellar music editing, I still kinda like the documentary, as it was filmed during a time when life seemed really nice: The dot com crash had yet to happen, and 9/11 hadn't happened yet... And so the times were quite a bit more hopeful than in the years that followed.

Alas, many of the companies mentioned aren't there anymore: VA Linux, Cygnus, Netscape, and many-many others. Not long after, Corel stopped making Linux. Sun Microsystems was purchased by Oracle. Red Hat is still here, but it's not exactly in the desktop business. Netscape itself was purchased by AOL, and subsumed into it, and then not much is left of it. Netscape's move to open-source its Communicator suite (which included the Navigator browser) was indeed pivotal, as it laid the ground for Mozilla and eventually Firefox.

Nobody at the time saw the emergence of Google. Or that the principles of this freedom would lead to Lawrence Lessing to found the Creative Commons movement, which gave additional impetus to found Wikipedia. Incredible.

I somehow failed to notice at the time how even the modern men's haircuts and hair styles were different back then, short of being less astute. I guess since these styles were ubiquitous, then nobody really noticed S:)

When Angela Merkel is Fabulous

Because photos are not my own, I'm not going to show them here, but instead link to them and their articles.

Yes, this is a photo from 03.04.2009., but still holds relevance, as Mrs. Merkel is usually all business. So, sometimes it's good to highlight the lighter side of politicians who have to save the (financial) world. (Greece was then only a worry.)

• Jezebel: German President Angela Merkel Demonstrates Her Signature Dance Moves
• More image in story:
  xfinity.comcast.net/slideshow/news-michelleandcarla/10/
• Biggest possible image that I could find within a few minutes

And E24.ee features a very nice image of Mrs. Merkel's slight change in style, where the top piece is much taller than usual. Maybe even puritanical, but in a good way, reinforcing her image as "The Iron Frau", and given how the 4th most powerful woman in the world must politick Europe out of its financial woes.

So, using all black is not new for her. (In the two photos, Mrs. Merkel gives a speech to the German Parliament.)

The Way We Were

In reply to a post on an unrelated movie on IMDb.

I guess your parents were hoping that you'd understand the point of "The Way We Were", because in some way, it probably related to them, but weren't able to convey it in any other means than having you watch it. The film is actually more difficult and relates to themes that a ten-year-old might find hard to grasp.

Long story short for "The Way We Were":

If memory of the synopsis of "The Way We Were" (which I haven't seen) read from Wikipedia serves me right, then the point of it was that two people deeply in love with one another had to give up a lot to be together in tenuous times, but eventually split for greener pastures to have a life — or what they thought life meant for them at the time — lest they be forced to be much worse off by events and powers beyound their control.

Time moved on and they met again, being in an age past their prime youth. Reminiscing, they realized that they were actually at their best when staying together when young, yet far too many events had gone past, and they had grown too much apart of one another throughout all that time to be like the way they were.

In my view, the movie probably warns people not to break precious relationships too easily, advising them to ponder the merits of a loving relationship further than just face value. The film also suggests that young people (perhaps by their nature) possess lesser amounts of detachment to recognize the gift of love in their midst.