Loved the comments from actor Peter Capaldi, set to play the 12th incarnation of the title role in Doctor Who. As some one who is inherently interested in geeky things, but went through a phase where I stepped away from it all for a while, only to be drawn back into it, I totally related.
It’s very comforting to know that the role will be in the hands of some one who has been a fan of Doctor Who since its early days.
I’ve enjoyed reading Mahonri’s pieces on Orson Scott Card, Ender’s Game, and homosexuality. I’ve actually been hard at work for the past few months working on an article about Ender’s Game to coincide with the release of the movie. Although my article doesn’t address the topic of homosexuality itself (it’s a more general look at how Mormon themes are exhibited in Ender’s Game), I’ve recently re-read several of of Card’s works. I’ve also observed for years that he, like Robert Heinlein, has gradually been adding more and more overt politics to his works as he gets older. On the one hand it’s easy to mock the tendency of older, successful men rambling on about their pet politics, but on the other hand I think the world generally needs more straight talk and not less. And, as I pointed out with Heinlein, this is sort of a tradition for the sci fi genre.
In any case, the first comment on Mahonri’s most recent post finally provoked a response from me on the topic of Card and homosexuality. I started to write it out in the comment section, but when I realized I was closing in on 500 words and still not finished, I decided to just write an independent post. Here’s the part about Danny’s comment that I’m responding to:
Glenn Beck, Sean Hannity, Bill O’rielly etc., all started off as main stream conservatives, as soon as they allowed their hate/prejudism to take control of their programs their Rhetoric has become a hateful propaganda that only hurts political dialogue in the US! Sadly, OSC has allowed his prejudism of “gays” to effect his beliefs on racism and sexism. OSC has put himself on the same path as the previously mentioned conservative talk show hosts.
This analysis is deeply flawed in OSC’s case in particular, and I suspect that it’s deeply flawed in relation to Beck, Hannity, and O’Reilly as well. But let’s start with OSC. Although he was a friend of my grandfather’s, I’ve only exchanged a single email with him and we didn’t talk about any of these issues. Instead, I’m relying on the testimony of American songwriter, singer, musician, columnist and science fiction author Janis Ian who A – does know OSC personally and B – is openly a lesbian and has been since 1993. Here is what she has to say about OSC in her own words and on her own website. Here’s a selection:
After reading novelist and political commentator Orson Scott Card’s bizarre “thought experiment,” titled “Unlikely Events,” I really am quite mystified. In the article he plays a “game” in which he imagines President Obama becoming a fascist overlord ruling with an iron fist over America and being a figure akin to Hitler. Although he tries to reassure his readers that, of course, he doesn’t believe this stuff, and that he’s just wearing his hat as a “fiction” writer, yet he still also insists that “it sure sounds plausible, doesn’t it? Because, like a good fiction writer, I made sure this scenario fit the facts we already have — the way Obama already acts, the way his supporters act, and the way dictators have come to power in republics in the past.” He says that “the writer’s made-up characters and events must seem truthful. We must pass the plausibility test.”
But then Card shovels in comparisons to Hitler and every other dictator he can think of. When people start comparing their ideological rivals to Hitler, they have shown their refusal to speak with nuance and distinction. They have immediately lost the argument, in my mind. He then throws in a huge number of broad generalizations and hyperbolic statements such as this:
Obama is, by character and preference, a dictator. He hates the very idea of compromise; he demonizes his critics and despises even his own toadies in the liberal press. He circumvented Congress as soon as he got into office by appointing “czars” who didn’t need Senate approval. His own party hasn’t passed a budget ever in the Senate.
In other words, Obama already acts as if the Constitution were just for show. Like Augustus, he pretends to govern within its framework, but in fact he treats it with contempt.
Ro picked the last tagline for the website, but I like to change it up pretty frequently. I also like to use song lyrics. The last one came from a Presidents of the United States of America song. The new one comes from Imagine Dragons.
A wonderfully breezy Keri Russell in _Austenland_.
As I looked around the movie theater last weekend in Scottsdale, AZ, it was pristinely clear that Austenland had attracted its target audience. The estrogen in the theater was potent, with only a few sparse men present, attached to girlfriends or husbands. I was definitely the only man there who wasn’t with his female significant other. Despite that fact, I couldn’t have been happier to be there.
Now, granted, my wife Anne was originally supposed to come with me, but she ended up not being able to come (and will instead be attending this weekend with a group of women). But it says something about me that, despite that hiccup, I was still intent to go to the film by myself (not just so I could write the review, but because I was super excited to see it). Blame it on my seven sisters, but, in my heart of hearts, I’d much rather watch Downton Abbey than the Superbowl. As a result of that brainwashing at the hands of my sisters, I’m very affectionate towards Regency/Victorian literature, BBC period dramas, black and white Jimmy Stewart films, and even a well made rom-com. Thus the new film Austenland, a tongue in cheek love letter to the hordes of Jane Austen fans that span the globe… well, it was right up my alley.
There’s a stunning comic at ZenPencils that splices together text from a commencement speech Bill Waterson gave in 1990 with new, original artwork intentionally mimicking the beauty of Calvin and Hobbes.
The art and text are an incredible and thoughtful call to a life of independent, existential creativity. If you don’t feel a deeper drive to live life fully after reading this, you’re probably beyond all help.
ASU’s Binary Theatre Company’s production of A Roof Overhead, October 2012
WARNING: Spoilers ahoy! If you want the context of the play referenced, A Roof Overhead, the majority of the production by ASU’s Binary Theatre Company was recorded and is up on You Tube. It’s not the highest quality recording, and it was a matinee (thus, historically, less audience engagement and laughing), but you get a good sense of that particular production. The Utah production, unfortunately, was not recorded due to technical difficulties (so not even I got to see it!). Of course, I think the issues the essay raises go beyond the actual play, so feel free to read it if you haven’t the time to watch an entire play at the moment.
James Goldberg’s award winning one act play “Prodigal Son” is a stirring play that flips Jesus’ proverb of the same name, showing the relationship between a former Mormon turned atheist and his son Daniel, who joins the faith his father had long since rejected. The tension and conflict caused by the reversal of the parental disapproval is both ironic and effective. Set in this gem of a play is a haunting monologue addressed to the audience by Daniel’s father:
We’re far too casual, I think, in the way we talk about losing. “I’ve lost my keys,” for example, really means you’ve mislaid them. We say we’re “lost” when we’re just disoriented. And we lose our tempers all the time, only to find them again a few minutes later—
I wish we wouldn’t dilute the best word we have for when things are truly and permanently gone. “Lost cause” is a good phrase. It’s a cold, hard dose of reality. No one goes out to find a lost cause. It’s just lost. That phrase understands the power of the word’s finality…
So when I tell you that a long time ago I lost my faith, I don’t want you imagine that I’ve misplaced or that I could be capable of finding it again. Lost faith is like a lost limb…if it’s broken and bleeding, if you try to patch it up and ends up being inflamed and infected…at some point you have to cut it off. And after you’ve lost it the only thing left is the occasional flash of phantom pain.
I lost my faith. Twenty years later I lost my wife. And now maybe I’m losing my son.
Don’t take away from me the only word I have to cope with that.[1]
Coming from a practicing Mormon like Goldberg, the monologue is unusually and beautifully sensitive towards this fictional father’s disbelief in God and religion. It shows a well of compassion and charity on Goldberg’s part towards what really amounts to a religious minority (at least in the United States and other predominately religious countries, although that trend is fast reversing in many places in the world). It’s an unexpectedly poignant moment in a beautiful play.
In this way, Goldberg has shown that he is particularly ready to clarify the way of the atheist to believers, and pleas for understanding on the his atheist friends behalf—perhaps even to the point of being a warm ambassador or a defensive patron when discussing atheism among believers. Thus it makes sense that, in his review of my play A Roof Overhead, he was quick to come to the defense of the doubter, even though such a vigorous and heated defense was hardly needed considering the context of the play’s intended message of tolerance and pleas for mutual understanding.
As Goldberg is not the only critic to misrepresent my representation of atheism, including a handful of antagonistic reviews written against my plays Swallow the Sun and Prometheus Unbound, I feel compelled to address the issue directly. I normally like my plays to stand on their own artistically, so that people may interact with them based on their own experiences and what they personally bring to the play, without constant and intrusive commentary from me.
However, some have tried to tie me to a pattern of intolerance towards atheists, even resorting to rather personal slights and warnings to others against my work. Thus, in the name of my reputation, I feel it best to clear up what my intent is, and what my intent decidedly isn’t, towards atheism and atheists. After all, if I’m to be lambasted on the matter, I would prefer to be lambasted for something I actually believe.
My monthly post at the Association for Mormon Letters’ blog Dawning of a Brighter Day just went up. This month I explore the interesting possibilities that have opened up with the Mormon female helmed release of the film Austenland in my post “Ms. Molly Goes to Hollywood: Mormon Women Authors and Filmmakers Represent with Austenland.” Check it out by clicking on the link!
My love of James Bond films knows no end. It has been a torrid affair since sixth grade. My excitement for Skyfall‘s release in November actually overshadowed my anxiety over the presidential election. Part of my adoration for Bond films is the mix of the absurd with the awesome.
One of the most pristine examples of this absurd awesomeness is found in Goldfinger. In the pre-titles sequence, Bond accomplishes a mission in a wet suit, only to remove the suit to reveal a crisp white tuxedo underneath (while I suggest watching the whole thing, this specific scene is at 2:13):
Silly? Unrealistic? You’d think. Except that it really happened in the Nazi-occupied Netherlands during World War II:
Peter Tazelaar
Peter Tazelaar was under orders from the exiled Dutch queen, Wilhelmina, to slip into the country to extract two fellow countrymen to join the government-in-exile in Britain.
He and his fellow secret agents – Eric Hazelhoff Roelfzema and Bob Van der Stok – had often spent time at the seaside resort of Scheveningen, near The Hague, and knew that the Palace hotel there had been taken over by the Germans as a headquarters, and that every Friday night they held large and boisterous parties there.
Their plan was simple but audacious – approach Scheveningen in darkness by boat, and take Mr Tazelaar into the surf by dinghy, from where he could scramble ashore. Once there, he would strip off his wetsuit, to reveal his evening clothes underneath, to enable him to pose as a partygoer and slip past the sentries.
…[J]ust after 4.30am on November 23 1941, after several false starts, Mr Tazelaar, Mr Hazelhoff Roelfzema, and another Dutchman, Chris Krediet, and Lieutenant Bob Goodfellow, disembarked from a British Motor Gun Boat into a small dinghy.
Once they neared the surf, Mr Hazelhoff Roelfzema and Mr Tazelaar slipped off the boat and waded onto the beach. Mr Hazelhoff Roelfzema then helped his comrade unzip his specially designed wetsuit to reveal his immaculate evening clothes.
Mr Hazelhoff Roelfzema then poured a generous measure of Hennessy XO – Mr Tazelaar’s favourite – from a hip flask over his friend, and returned to the dinghy. Reeking of brandy, Mr Tazelaar managed to stagger convincingly past the sentries stationed around the hotel.
Think twice the next time you scoff at a Bond movie. It just might be true to life.
Loved the comments from actor Peter Capaldi, set to play the 12th incarnation of the title role in Doctor Who. As some one who is inherently interested in geeky things, but went through a phase where I stepped away from it all for a while, only to be drawn back into it, I totally related.
This analysis is deeply flawed in OSC’s case in particular, and I suspect that it’s deeply flawed in relation to Beck, Hannity, and O’Reilly as well. But let’s start with OSC. Although he was a friend of my grandfather’s, I’ve only exchanged a single email with him and we didn’t talk about any of these issues. Instead, I’m relying on the testimony of American songwriter, singer, musician, columnist and science fiction author Janis Ian who A – does know OSC personally and B – is openly a lesbian and has been since 1993. Here is what she has to say about OSC in her own words and on her own website. Here’s a selection: 
After reading novelist and political commentator Orson Scott Card’s bizarre “thought experiment,” titled “Unlikely Events,” I really am quite mystified. In the article he plays a “game” in which he imagines President Obama becoming a fascist overlord ruling with an iron fist over America and being a figure akin to Hitler. Although he tries to reassure his readers that, of course, he doesn’t believe this stuff, and that he’s just wearing his hat as a “fiction” writer, yet he still also insists that “it sure sounds plausible, doesn’t it? Because, like a good fiction writer, I made sure this scenario fit the facts we already have — the way Obama already acts, the way his supporters act, and the way dictators have come to power in republics in the past.” He says that “the writer’s made-up characters and events must seem truthful. We must pass the plausibility test.” 
