David W. Brown’s profile of Dr. Margaret Kivelson How Do You Find an Alien Ocean?
Dr. Kivelson, who will turn 90 this month, is professor emerita of space physics at the University of California, Los Angeles. For forty years she has been an active part of almost every major NASA voyage beyond the asteroid belt. She has a wry sense of humor, and her modesty belies the magnitude of her scientific achievements.
Also I’m not into the film’s Cinematography. I’ve watched the film several times to understand why I don’t like it and I can’t seem to finger on it but I did not want to dive deeper into any of that nonsense. I did not watch this 7-part interview with Roger Deakins because I’m not a Deakins fanboy and def not signing up to be a member of his forum. Absolutely did not read this American Cinematographer cover story. And nothing could make me read this interview with Production Designer Dennis Gassner. I’m sure the British Cinematographer magazine did not have an interview with Deakins.
And, by the way, why would I spend hours poring over all the screen grabs of films Deakins has photographed? Who do you think I am?
I don’t know how this video got embedded. My blog must have been hacked!
Patriot is easily my favorite among Amazon Originals lineup, beautifully written & directed by Steven Conrad. Here’s a day in the life of Conrad during filming of Season 1 by Nina Metz who writes about TV, Film, and Theater for The Chicago Tribune from 2016.
The show is not for everyone.
BELOW: Playlist of original songs from Patriot Season 01
Behind the series’ original music
A segment from a recent The New Yorker Radio Hour podcast in which Daniel Radcliffe visits the magazine’s office to get a shot at fact checking a review of Oxomoco, a Mexican restaurant in Brooklyn. Publicity stunt? Of course, he’s playing a fact checker in a play. But some stunts I don’t mind if I get to learn something new.
This from the podcast after Radcliffe finishes his call with the restaurant owner:
Some articles on fact-checking around the dude whose quote I’ve used above.
King first tapped the Dartmouth-trained practitioner to help him fact-check the terrifying supervirus he'd conceived for The Stand. King knows better than anyone the golden rule for horror and sci-fi: Make it as real as possible.
Bloody Business, by Will Grunewald for Down East magazine.
Next, 11/22/63, a work of historical fiction about a time-traveling English teacher from Maine who tries to stop the Kennedy assassination, required exhaustive archival research, plus site visits from Maine to Texas. “When I was done,” Dorr says, “I had a thick three-ring binder Steve could flip through, from 1958 to 1963, and within each year he could see things like sports scores, newspaper headlines, what was on TV Friday night, and how much a root beer cost.”
Here’s a great Q&A Errol Morris did with Stephen King on 11/22/63. Good stuff on process.
Q: I also wanted to ask you about the difficulty of actually writing something that is connected with real history.
A: Well, I never tried anything like that before, and I’m not sure that I would ever want to try again, because, man, it was too much like work. I mean, I’ve done stuff that’s used reality as a base before. In this case, that’s why I stopped the first time I tried it. I was teaching school, and it was 1971 and I was in the teachers’ room and people were talking about the Kennedy assassination. The 22nd would roll around and people would talk and write about the assassination and stuff. I guess somebody must have said, “What would it have been like if Kennedy had lived?” And I thought to myself, “I’d love to write a story about that.”
In 2011, Hany Farid, a photo-forensics expert, received an e-mail from a bereaved father. Three years earlier, the man’s son had found himself on the side of the road with a car that wouldn’t start. When some strangers offered him a lift, he accepted. A few minutes later, for unknown reasons, they shot him. A surveillance camera had captured him as he walked toward their car, but the video was of such low quality that key details, such as faces, were impossible to make out. The other car’s license plate was visible only as an indecipherable jumble of pixels. The father could see the evidence that pointed to his son’s killers—just not clearly enough.
This is the first New Yorker piece I’ve listened to vs read via the AUDM player embedded at the top of the page. I didn’t know much about the company and was pleasantly surprised to learn that they employ professional actors to read the pieces. AUDM is partnered with some major publications and there are some samples here.
Playwright Ian Allen’s Op-Ed in the New York Times from July, 2018, titled Inside the World of Racist Science Fiction.
The books act as a kind of binding agent, a Bible-like codification of basic principles that underpin the various denominations. And yet, for understandable reasons, they remain largely unknown. Journalists are inclined to avoid name-checking the books publicly, for fear of inadvertently promoting them. This is no longer a winning strategy.
Also check out:
Black science fiction writers face 'universal' racism, study finds. via The Guardian (2015)
Derwin Mak’s The Perpetual Foreigner Syndrome in Chinese North American Science Fiction and Fantasy for The New York Review of Science Fiction.