- Boskone — Boston February 17th-19th
- Helsinki Worldcon Agust 9th - 13th
- Bubonicon August 25th-27th, Albuquerque, NM
Reality is so damn unforgiving. I’m working on the third book of the IMPERIALS Saga, and one of my main character is the heir to the throne. Her aides aren’t going to let her go into actual combat unless it’s absolutely unavoidable, and she’s not stupid enough to lead the charge. She’s also now an admiral in command of a large battle group that’s going in to rescue some captured soldiers. So, she’s on the bridge, giving orders and others are carrying out those orders. They’re going to be the bullet magnets, not La Infanta.
But I’m a TV writer and a very visual writer so this is making me crazy. All the exciting stuff is going to be happening on this orphan moon, and my view point character is on a ship far removed from the action, just watching through the helmet cameras worn by her troops. But if I put her in the thick of the action she looks like an idiot, and I look like an idiot for making that choice.
So I’m balancing the frustration of readers who might feel dissatisfied by the lack of a big action sequence versus the readers who will decide I’m an idiot if I let the freaking heir to the throne lead a party of marines staging a rescue, and thus give up on reading my books.
Okay, back to the Word Mines.
“Your representative owes you, not his industry only, but his judgment; and he betrays instead of serving you if he sacrifices it to your opinion.” Edmund Burke (1729-1797).
I first heard this quote while watching a performance of the musical 1776. The representative from Georgia, Dr. Lyman Hall, was sent to the Continental Congress with the instruction not to vote for independence. After listening to John Adams passionate cry of “Is Anybody There?” he quotes the line from Burke and changes his vote to aye. That quote has been much on my mind over the past 48 hours since the revelations of Donal Trump’s sexual predation. As a result over the ensuing two days large numbers of Republican senators, representatives, former office holders, etc. have begun running for the exits.
Really? Now? This is the thing that made you abandon a man so clearly unqualified for the office he seeks? What about his mainstreaming the racist “Birther” conspiracy? You all winked at that. What about his false claim that “thousands of Muslims in New Jersey celebrated after 9/11”? What about his mocking of a reporter with disabilities? The unconstitutional statement that he would use a religious test to ban people from this country? The accusation that undocumented Mexican immigrants were rapist and murders? The degrading of respect for the judiciary with claims that a judge of Mexican/American heritage could not fairly judge him? The demeaning of a veteran and war hero? The attacks on the grieving parents of a fallen soldier? The incitements to violence at his rallies?
This is but a small sample of the grotesque statements and stances taken by the Republican candidate for president. So forgive me Republican leaders if I’m unimpressed with your road to Damascus moment and your sudden conversion. Frankly your cries of shocked outrage carry as much weight as Captain Renault’s in Casablanca — “I’m shocked, shocked to find that gambling is going on in here!”
Donald Trump never hid what he was. You all knew. You’ve known for five years when he began the racist Birther movement but you stayed silent. Sadly the Republican party began its dance on the edge of the abyss long before the rise of Donald Trump. It began with Richard Nixon’s “Southern Strategy”, with Ronald Reagan giving a speech about states rights in Philadelphia Mississippi the site of the brutal murder of three civil rights workers in 1964, with Willie Horton; please listen to the statement by Lee Atwater on how to use racism to win elections and be warned there is offensive language in this audio recording. Lee Atwater Southern Strategy.
Everyone is shocked with Donald Trump’s calm discussion of using his status, wealth and power to grope and fondle women without their consent (and yes, that is sexual assault. I say this as a women who has endured exactly what he described doing — and I don’t mean the kissing.) Yet this is a party that has been unrelenting in its efforts to control women’s bodies and choices. All of these men un-endorsing Mr. Trump talk about how they have daughters. Well you could start to protect and honor your daughters by not treating women like children or chattel.
So how does this all relate back to Mr. Burke? If establishment Republicans had heeded the advice of the man often credited with being the founder of modern conservatism they would have stopped Mr. Trump at the Republican convention. Yes, millions of people voted for him, but that was a terrible choice and these elected figures in the Republican party knew that. But instead of using their judgment they acquiesced to the opinion of angry, low information voters who are unwilling to accept that this is becoming a minority-majority country. The brave thing would have been to set aside Mr. Trump and select a normal candidate. I probably wouldn’t have agreed with the policy positions of a John Kasich or Jeb Bush or Marco Rubio, but I wouldn’t have been embarrassed to be an American in the eyes of the world. Yes it would have angered those primary voters and the Republicans probably would have lost the election, but they would have maintained their dignity and honor while they lost. Now it appears they are going to lose anyway, and they are left without even a shred of dignity and decency. They bear the stain of Donald Trump — his racism, his misogyny, his authoritarian attitudes.
Did I say that Republicans were running for the exits? That’s too kind. This is rats abandoning a sinking ship; a ship they should never have boarded in the first place. I hope they can tread water for a long time.
A Man for All Seasons – Act One
Roper: So now you’d give the Devil benefit of law!
More: Yes. What would you do? Cut a great road through the law to get after the Devil?
Roper: I’d cut down every law in England to do that!
More: Oh? And when the last law was down, and the Devil turned round on you — where would you hide, Roper, the laws all being flat? This country’s planted thick with laws from coast to coast — man’s laws, not God’s — and if you cut them down — and you’re just the man to do it — d’you really think you could stand upright in the winds that would blow then? Yes, I’d give the Devil benefit of law, for my own safety’s sake.
Written by Robert Bolt (1924-1995)
This is the major reason I fear a Donald Trump presidency. Not the outrageous tax cuts or the trade war he has threatened either of which will crash the economy. Not the ridiculous spats he will launch against world leaders. Not even his control of the nuclear codes because I have to believe that the people around him are smart enough not to want to die in a nuclear conflagration.
I fear him because he has displayed a fundamental disrespect and lack of understanding of the Constitution of the United States, and about the role of the judiciary in our country. Without faith in the rulings of our courts and the primacy of the Supreme Court everyone’s personal safety is at stake. If a president says he can flout the rulings of a court then political opponents can be thrown in jail (we’ve seen this attitude on display at Trump rallies). Unpopular minorities can be harassed, arrested, deported without regard to our laws or our founding documents — a stated goal of Mr. Trump’s and one that has been vigorously applauded by his supporters. Voting rights can be eroded and ultimately removed. Remember it has been the courts that over the past few months have reversed blatant attempts by politically motivated legislatures to deny the franchise to vulnerable segments of society.
There is a crises of faith in all of our core institutions, but I think this constant assault on the judiciary is the most alarming. It can be seen in a Cliven Bundy who refuses a court order to pay the required grazing fees. In a Senate who will not seat a ninth justice to the highest court in the land in direct contravention of the Constitution that they swore to uphold. A supreme court justice in Alabama who refused to accept the ruling of the Supreme Court of the United States as regards the right of LGBT people to wed. A county clerk (a government position) who refuses to issue marriage licenses and placed her religion over the law of the land and the rights of minorities.
“We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America.”
We can achieve none of these things unless we all agree to honor certain core institutions. This is not to say they can’t be improved, the rights expanded, the meaning of “we the people” broadened, but we all have to agree not to burn down the edifice that has been built for us with the sacrifice of those who came before us.
I fear that Donald Trump believes he can fly above the flames and use them to propel him to what he wants, and that many of his supporters have forgotten in their anger that oft times the arsonist can be immolated along with the building.
There’s a saying in writing that you have to be able to “kill your babies”. Which means that sometimes there is a scene or a character that you just love, but it has to go. It can’t stay in the narrative. I’ve faced two of those in the past week. Both times, on the Wild Cards story and on the novel, I wrote a scene or in one case a set up, and in the back of my head a tiny little voice went “Ah, come on!”
It behooves writers to listen to that tiny voice because when your reader or viewer hits that moment it’s not going to be a tiny voice it’s going to be a bull horn going “AH COME ON!!!” When that happens you’ve lost the audience’s trust and that’s death for a book or a movie. There is a compact or a contract or a promise that flows between writer and reader/viewer/player and it all rests in trust. I believe you are going to take me on an adventure and not disappoint me.
The audience gives us money and in return we promise that we’ll play fair. We won’t tell you the book is one thing and then not deliver. Now that doesn’t mean we can’t surprise readers, but we can’t violate the promise we make in the beginning and if we are good at our craft we keep reinforcing that promise all the way through the book until we deliver a satisfying conclusion. We have to be authentic. A reader can spot inauthenticity from a hundred miles away. If a writer is just doing romances because they sell and doesn’t actually love that genre 99% of the time that will show. That’s also a form of cheating your readers
But back to making cuts — this inability on the part of some writers to lose things they love is why Hollywood is so wary of allowing the author of a book to do the screenplay adaptation. You’ve got to be brutal when adapting. Keep the theme, the feel, the basic narrative but the exact moves that told the story in prose form may not work in this different medium. Scenes are cut. Other scenes are added. Multiple characters get merged into one or cut out all together.
My advice to anybody starting out in this business is “if it doesn’t feel right it probably isn’t.” I don’t sit down to write without a detailed outline, but this is one place where I do listen to my hind-brain.
Over the past two weeks I’ve seen two movies. STAR TREK: BEYOND and last night SUICIDE SQUAD. I only went to see the Trek film because I had been asked to do an interview about it. I had been actively looking forward to Suicide Squad. My reactions to both were polar opposites of what I expected.
NOW THERE ARE GOING TO BE SPOILERS!!!!!!! YOU HAVE BEEN WARNED
I ended up enjoying Beyond far more than I expected, (I kept murmuring to myself, “why oh why couldn’t we have had some humor and charm in Next Generation?” while I was watching, but I digress. It wasn’t until I sat down for the interview that I realized why it worked. And it all comes back to something that I write about with great regularity — Simon Pegg who penned the script, had an actual theme.
Kirk in the opening is a man who is finding his role as captain of the Enterprise confining. It’s routine missions, patrols. Nothing very exciting is occurring. He chafes in the harness.
Krall is a former Star Fleet officer who had led men into battle against alien threats. When the Federation was formed and forged peace with many of these former adversaries Krall was furious and disgusted. He viewed the peace as a betrayal of the men and women who had fought. Then his ship gets stranded, Star Fleet doesn’t send help and his bitterness becomes rage.
Of course in his own mind he is the hero of the piece. Krall is a man trying to make it clear that human kind can only advance through conflict, war, loss, and ultimately military victory. He leads the assault on the space station partly for vengeance, and mostly to shock the humans out of their complacency. He does not believe that through unity there is strength.
Krall is the cautionary tale for James T. Kirk. During the course of the film Kirk realizes that his chafing at the confines of the Federation could lead him to the same place as Krall. He accepts that his duty is to his crew. It is in this movie that his full maturation occurs. He was a callow, cocky man in the first film. The second film — well, lets just pretend that one didn’t happen. In Beyond Kirk becomes a man and a leader.
There is a wonderful visual moment at the end of Beyond when Krall sees his reflection in a shard of glass and realizes he has become a monster. Which led to one of the major missteps for me in the film. If this had been classic Trek Krall would have recovered his identity as Captain Edison and helped Kirk save the station. Instead he continued to fight. I actually viewed the final fight through that lens and assumed he had helped Kirk, but apparently that was me reading into the moment.
There were silly little things in the movie that bugged me. How is it that Krall and his remaining crew forgot where they parked their ship? Why didn’t anybody stop by now and then and check on the old bucket? How did they learn that the missing part of the alien bio-weapon was aboard the Enterprise? And who flies around with a motorcycle parked on the bridge? But again, those are nits. What worked was there was a narrative that had subtext, dealt with larger issues and didn’t beat me over the head with The Message. (I couldn’t help but feel the script was a direct rebuke of Trumpism, but of course that is serendipity.)
And then there is Suicide Squad. *sigh* I have no idea what this movie was trying to say. That the only way you accomplish anything is to be a stone cold killer? Even our supposed good guy Amanda Waller portrayed by Viola Davis (who made a heroic effort to salvage this film) is a murderous psycho.
Will Smith also gave it his best to inject some humor and honest emotion into the movie, but it fell flat.
When a movie has to spend the first, at least, thirty minutes doing a “let’s look at the files and give you the backstory” to introduce the characters you’re in trouble. Truthfully it felt like an hour had passed while Waller briefed government guys. When Rick Flag was introduced I thought he was going to be the tough but compassionate commander who brings them all together. At last, I thought, this will become the Dirty Dozen. Instead he had all the personality of a wet dish rag. I can’t fault the actor. He literally had nothing to work with.
The story was an incoherent mess. Was the Joker the villain? The Enchantress? Granted she was building a big unexplained argle, bargle, gazpacho (hat tip to Jim Wright Stonekettle Station for this wonderful turn of phrase) machine to destroy all the humans. Because they no longer worshiped her and her brother? Hey, honey, if you kill all the humans then there’s no one at all left to worship you. Tiny flaw in your plan.
If I’m incredibly generous I could say the theme of the film was people acting out of love. Deadshot out of love for his daughter. Flag for the archeologist. Joker for Harley Quinn, El Diablo trying to expiate his sin for not loving his family enough or the right way. But man am I being generous.
I am so glad to be home. No moon, so the sky is like black crystal. The Milky Way looks like a gossamer shawl thrown over Heaven’s shoulders. The longer I look the more stars seem to appear. There are the big, bold ones trying to see who can throw the most light, and then the small, shy ones peeping out from behind them like elf children. There is a soft breeze carrying the scent of piñon and juniper, and making the trees sigh and dip. My wind chimes are singing to each other. Together they create an A sharp major chord.
And the quiet. Oh god, how I’ve missed the quiet.
**************************************************************HERE BE SPOILERS!!!!!!!!!*****************************************************************************************
Saturday night I took myself off to the Cinepolis to see the new X-Men film rejoicing in the rather ominous title X-Men: Apocalypse. I’ve greatly enjoyed X-Men First Class and Days of Future Past. I’ve been a big James McAvoy fan and Fassbender is perfect as young Magneto so this wasn’t going to be a hardship. However, I was dubious about this new film because it looked like character proliferation which usually leads to a frenetic mess as they try to service all the characters. I’m also getting really tired of apocalypses. I’m reaching the point with these superhero movies where I’m like — “Okay, just destroy the world already!”
I came away from the movie feeling like it was two films that had melted together, and I liked one of the films much better than the other. The small, personal stories were lovely. Scott’s brother, Alex, getting him to Xavier’s school. Mystique/Raven being a hero to mutants around the world. Magneto having made a life for himself. Quicksilver in search of family and father. Charles as gentle mentor and wise teacher.
I liked the dark underbelly where mutants are used and abused in fight clubs. (We went there in the last Wild Cards novel Lowball, and it makes sense), but I didn’t buy that there was all this mutant hate and distrust after the events in Days of Future Past. Also the time line between the final scene in Future Past with Wolverine back at the school and everything fine and dandy, and this new timeline where entire cities had been destroyed and millions killed had my head spinning. How exactly did that happen?
But I get ahead of myself. So our big villain, Apocalypse, arrives and once again we had a megalomaniac determined to destroy the world because…. why? Exactly? And after the destruction of major cities and the deaths of millions we’re going to all end up back at the mansion with the school just humming along…..?
Character motivation was another problem for me. I didn’t get why the three kids joined up with Apocalypse so willingly? I could buy it with Magneto. He had lost everything so Let It Burn seemed like a place he would go, but Storm and Angel and Psylocke ? Wouldn’t they want to get an eight track, and some tapes and go on a date? I guess there was some hint they were mind controlled but it felt very forced to me. Rather like the engineered conflict between Batman and Superman in what had be this year’s absolutely, positively worst superhero movie. It’s like nerd wet dreams — Wouldn’t it be cool if Batman and Superman fight. Even cooler if various X-Men fight just ‘cause.
There were points where I thought I was going to end up liking Apocalypse better than Civil War, but ultimately X-Men lost me when it went to a very comic book place in the final scenes.
Putting aside for the moment the fact that Cairo was completely destroyed and millions of innocent people were killed not to mention other cities with massive destruction, we have Eric murdering six or seven cops because a terrible accident occurred. The cops had come to confront Magneto because of the events from 10 years before. He was, in fact, a wanted criminal. It wasn’t just mutant hate. Then things go pear shaped his daughter dies, and he kills them. Next up the whole world destroying thing, and then the school gets rebuilt and Charles wistfully suggests that he wishes Eric would stay. We once again have the “farewell, old friend” moment. Your old friend just murdered a gaggle of cops and then wiped Cairo off the map!
I’m all for redemption and salvation, but there are some crimes that are beyond forgiveness. Magneto’s actions fall into that category for me. But again, no consequences, no revulsion from Charles or Quicksilver, or Jean, or the pious (and darling) Nightcrawler.
I understand these movies are fantasies, but at least nod toward the bigger issues. And that’s where ultimately Civil War ends up being the better film. I still felt like the fight between Ironman and the Cap was forced, but at least they were discussing big issues about a world in which there are superpowers. Ultimately in Apocalypse the blood of innocents cried out from the sand and rubble, and no one answered.
If only it were a delicious frothy drink. Or a fun game to be played at picnics. But it’s not. The Stasi (Ministerium für Staatssicherheit) was the secret police of East Germany. The organization that had neighbors spying on neighbors and citizens reporting each other. It’s a common creation of authoritarian states. Stalin had the NKVD. Nazi Germany had the Gestapo. I wonder what President Trump will call his secret police?
Here are a couple of quotes from the presumptive Republican nominee for president made on Monday June 13th, 2016 —
“If it can be proven that somebody had information about any attack, and did not give this information to authorities, they must serve prison time.”
“We need to make sure every single person involved in this plan, including anyone who knew something, but didn’t tell us, is brought to justice. These people need to have consequences, big consequences.”
An entire class of American citizens has been deemed guilty and worthy of suspicion solely on the basis of their religion. That is the very definition of unAmerican. It is contrary to our founding documents, our ideals, our sense of ourselves.
If it doesn’t send a shiver down the spine of any thinking citizen then the grand experiment that was American representative democracy is truly ending.
When I was five or six grownups asked me what I wanted to be when I grew up. I said a jockey. They laughed at me and told me “girls can’t be jockeys”.
When I was ten grownups asked me what I wanted to be when I grew up. I said an astronaut. They laughed and me and said, “girls can’t be astronauts”.
When I was thirteen or fourteen grownups asked me what I wanted to be when I grew up. I said President of the United States. They laughed at me and said, “Girls can’t be President.”
Tonight I’m watching history being made. And perhaps more history will be made in November. The world has certainly changed since I was a little girl and a teenager.
Saturday was my day to finally see the latest Captain America movie though it really wasn’t a Cap movie. It more of an Avengers movie. I liked it — with reservations — and feel like I need to see it again. One thing it did very nicely was start a passionate discussion among the folks with whom I’d seen the movie. What did I like — the new Spiderman was adorable. He really was a teenager. It was fun to see Antman return. The Black Panther — OMG what a gorgeous, interesting man. My heart has belonged to the Captain ever since the first film, and I could look at Sebastian Stan all day. One of my friends rather ironically said it was the best superhero/kung fu movies and he’s not wrong. The fight sequences were gorgeous. Here’s where I stand. I think I need to watch this movie again, but here are my initial thoughts.
*********************************************************************AND NOW THERE ARE SPOILERS!!!!!!!!!!!!!!! YOU HAVE BEEN WARNED!!!!!**********************************************************************************************
Where I ran into problems was with motivations and set ups. What threw me was how Captain America, a man who reached adulthood during the Depression and WWII would suddenly turn into McArthur. The one thing I thought would always be front and center for Steve Rogers is the idea that the military needs civilian oversight. It’s been one of the founding principles of our country since the Constitution was drafted. So now he thinks the heroes (who are like armies in terms of their powers) should make all the calls about when to fight and when to refrain? Is it because it’s the UN and he’s an America First kind of guy? It just seemed odd.
Then there was the cryptic exchange with Tony near the end of the film about how Bucky/Winter Soldier had killed Tony’s parents. Tony asks Steve “Did you know?”, and the Captain says “Yes.” Okay did I blink and miss something during the movie? How did Steve know? He was in the ice when Howard and Mrs. Stark were killed. Did Bucky tell him? Did he see the video? And who shot that? And why was Stark driving around with what appeared to be super soldier serum in the trunk of his car? This guy knew the threats that existed but he just heads off to the airport with a powerful weapon in the trunk of the Impala?
Which brings me to Tony’s OTT reaction when he realizes Bucky was the killer and now Tony goes absolutely Biblical on the Cap’s ass. Tony is smarter than this. By this point in the film he knows he’s been manipulated, they have all been manipulated to fight each other. So now he suddenly sees this footage and he doesn’t go — “Oh, okay, somebody is fucking with me. Well, I’m not playing.” It felt almost as contrived as the incredibly stupid throw down between Batman and Superman in Batman versus Superman (which was a terrible movie. Don’t go see it. See Civil War instead.)
Okay, I’m back. Where was I?
My other question was “who is this movie about?” Ostensibly Captain America, but you could argue it’s Tony’s movie, and then you’ve got Black Panther who ends up being the most mature of the supers along with Vision. It sees like those guys should be put in charge with the authority to send people to their rooms and ground them from superhero play time for at least three weeks.
Ironically by the end of the movie I realized that in many ways this movie was about Zemo, and he was frankly more interesting then a lot of the bickering heroes. He was clearly smarter then they were, but I kept wondering how did he find all these secret documents? I wanted to know more about his journey, his search for the tools to exact vengeance on the people who had destroyed his life.
I think the film does raise really interesting issues and questions. I think some of my disquiet is due to the fact it is just so busy. I’ve found that for me I like these movies more when the are more focused, more about a single individual in emotional pain and conflict. The first Iron Man movie, the first Captain America movie, the second Toby McGuire Spiderman movie, X-Men First Class and X-Men Days of Future Past. I was also watching the movie with friends who aren’t as immersed in the Marvel cinematic universe as I am, and they were utterly baffled. We face this problem with Wild Cards. When have we become too self-referential? When is backstory too much backstory? It’s probably why people keep falling back on origin stories even though I am so sick of them. You aren’t carrying around all this history.
Bottom line — I’m going to see it again, and see if it works better for me. I didn’t dislike the movie. I just found it not as strong as I’d hoped.
I started my new novel (book 3 in the Imperials Saga) a few days ago. Starting a book is always the hardest part of writing for me. I circle the computer warily. I sit down, stare at the screen, remember I should really do some laundry, or wash my hair or go to the market. It’s not that I don’t know where I’m going — the elaborate outline is off to my left, scrawled across my white board, the colored pens showing the arc of the three POV characters I have in this book.
No, the reason I’m always hesitant is I’m certain that this will be the book/script/short story that will pull back the curtain and reveal that I’m really a giant fraud and I can’t actually write. Ultimately the fact I have a contract and my sense of responsibility kick in and I force myself to put down that opening sentence.
When I write I film the movie in my head. I hear the dialog, I move my actors around the set. I had written a fairly long scene, but it still felt wrong to me. Too linear, too familiar. I realized that what I had filmed in my head had a different structure. One that we use a lot in movies and TV. I wanted the moment where we see our protagonist in a point of crises or emotional turmoil and then we do the 36 hours ago. Or my favorite opening of a Firefly episode that starts with Mal sitting naked on a rock in the middle of a desert and he says, “Well that went well.” And we roll back to show how he ended up on that rock naked in the desert. While we use flashbacks in prose they aren’t usually this really fast scenes and that’s what I wanted to try.
I’ve said before that writing for Hollywood made me a better prose writer so I decided to try it. I added a new scene in front of what had been the opening scene using a dialog bridge that in a film would have been a voice over the black screen break. The dialog in the opening scene — “We were going to be rich.” segues into the next scene with the same character saying, “We’re going to be rich.”
I figured if it didn’t work I had only written a few pages, and I could revise them and move them back into the more linear flow of the story. So I tried it. And I think it worked great. Of course I’ll have to wait and see if my crit group and beta readers agree, but for right now I’m happy which meant I’m now past chapter one and happily typing away with all fear removed.
Well, a little bit remains, but that’s just normal. Writers are such neurotic little flowers.
I can’t watch every show that out there. Not with some 144 scripted dramas currently showing on various platforms, however, in the shows I do watch I’m noticing a trend that is bothering me. Extremely interesting and charismatic male leads, and woman characters that aren’t as strong or interesting. It really hit me last night as I was watching the latest episode of Lucifer. A very problematic show that I keep watching because of the amazing job being done by Tom Ellis in the lead role as Lucifer. The show has improved once they got away from the “case of the week” set ups and are dealing more with supernatural issues. It also drives me crazy that women are all ready to drop their panties for him, but not men. They tried to take some of the curse off that by showing him in bed with both men and women, but it hasn’t taken away the bad taste. But I digress.
Here’s the problem when it comes to gender issues and I’m going to stay on Lucifer since it’s the one that made my head explode — Chloe has to be the worst cop ever to wear the badge. The violations of basic evidentiary rules make me nuts, but putting all that aside. She’s not a strong character. The actress just can’t hold her own against Ellis or D.B. Woodside who is compelling as Amenadiel. They are finally giving the demon Mazikeen something to do, and that’s helping, but it seemed to take a long time for them to realize she might be interesting, and instead we were treated to the psychiatrist and the police captain, and every random woman going cross eyed for Lucifer and Chloe being maudlin and incompetent.
Then there’s Arrow and the problematic Laurel. Up against the sister Sara played with great verve by Caity Lotz poor Laurel is very weak tea. Felicity was great but the ditzy but brilliant thing was starting to wear a bit thin for me, and her reaction to Oliver’s decision to keep his son secret weakened her in my eyes. I liked Thea a great deal, but the character seems to be less and less present in the cast. Which leaves us once again with powerful male figures in Oliver, Diggle and Malcolm Merlyn.
Castle — I gave up on the show because the only thing propping up Beckett was Nathan Fillion in the lead role and the two cops in her unit who where terrific.
Gotham — the only stand out female character is Cat Woman.
The Magicians — Poor Alice is no match for Elliot and Penny or even Quentin. Julia — everything she tries seems to end in disaster.
The Flash — the woman portraying Iris is improving, Caitlin gets to mope a lot, and they are playing against Barry, Joe, and the terrific Tom Cavanagh as Harrison Wells.
Last night I found myself longing for Buffy.
Some of this is the fault of the writers for not giving these women something meaty and powerful to do, but some of it is due to casting choices picking actresses who aren’t able to show strength and I’m not just talking about the ability to kick ass. It’s their ability to be as compelling, charming, threatening, witty, in short as interesting as the men with whom they are matched.
And it’s not impossible. I’ve already mentioned Buffy where we had not only Buffy but Willow and Arya and Dawn. On Agents of SHIELD we have Skye/Daisy, and May. Person of Interest — dear god, what incredible characters starting with Detective Carter, Root, Shaw, Zoe. Orphan Black — many of the various clones are fascinating and of course you have Tatiana Maslany in the role and she’s stunning.
I’m sure people will be able to come up with shows that have powerful female leads of which I’m unaware — The Good Wife, How to Get Away with Murder, Scandal? But for a lot of the genre shows that I have been watching the presence of powerful, interesting women are pretty slim. I find this depressing and I’m not sure how this can be countered. But I’m going to try when I have the opportunity.