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When Is A Spinoff Not A Spinoff?

When Is A Spinoff Not A Spinoff?

BuffyIt’s impossible to talk about remakes of any kind, as I do here, here, and here, without eventually having to consider spinoffs. I want to start by saying that by “spinoff” I mean that an existing character is given their own show, either after the end of the original series, or concurrently with it. And by TV franchises, on the other hand, I mean two or more different versions of the same show.

Aside: I think movie franchises are more a species of sequel. Star Trek? That’s tricky. Are they spinoffs? Reboots? Franchises? All of the above?

It looks as though comedies are the most likely type of TV program to be successfully spun off. If we go back to the early 1970’s we’ll find that All in the Family (1971-1979) was spun off into two series, The Jeffersons (1975-1985), and Maude (1972-1978). What people often overlook, is that the series Good Times (1974-1979) was actually spun off from Maude. Making All in the Family a kind of grandparent program.

These new series were all true spinoffs, going by my definition. Both George Jefferson and Maude Findlay were recurring characters on the original series who captured the interest of the audience enough that they were given their own shows. The same was true for Maude’s maid/housekeeper Florida, whose home life was spun off into Good Times. You’ll notice that there was a considerable amount of overlap in terms of TV seasons between all 4 shows.

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Verne – The First Federally Funded Robot

Verne – The First Federally Funded Robot

The Mechanical Man – Texas Centennial 1936

In my last column I talked about the hugely exciting and popular Sinclair Oil robot dinosaur exhibit at the 1933 Chicago Century of Progress Exposition. As an aside I mentioned that the exhibit traveled to the Texas Centennial Exposition in 1936.

Few people remember that the Texas Exposition had another robot exhibit. This one was quite a contrast. What would qualify if you wanted to imagine the most boring robot exhibit ever devised? C’mon, you might say, a boring robot exhibit is an oxymoron. Not for the government. They rose to the challenge. The U.S. Department of Labor choose to build a talking robot to justify machines taking away jobs from people. In the middle of the Depression. Triumph! Let’s go, gang! The sarsaparilla’s on me!

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Birthday Reviews: July Index

Birthday Reviews: July Index

Cover by David Christiana
Cover by David Christiana

Cover by Mel Odom
Cover by Mel Odom

Cover by Oscar Grand
Cover by Oscar Grand

January index
February index
March index
April index
May index
June index

July 1, Genevieve Valentine: “ From the Catalogue of the Pavilion of the Uncanny and Marvellous, Scheduled for Premier at the Great Exhibition (Before the Fire)”
July 2, Kay Kenyon: “The Executioner’s Apprentice
July 3, Michael Shea: “Fast Food
July 4, Peter Crowther: “Cliff Rhodes and the Most Important Voyage
July 5, Jody Lynn Nye: “Theory of Relativity
July 6, John Langan: “The Unbearable Proximity of Mr. Dunn’s Balloons

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Into the Night: She Is the Darkness by Glen Cook Part 2

Into the Night: She Is the Darkness by Glen Cook Part 2

0812555333.01.LZZZZZZZI think this reread of She Is the Darkness (1997) took me so long because I subconsciously remembered how disappointing it is. The first half (reviewed last week), despite a bunch of problems, is all right because of Cook’s usual talent at creating cool characters and sticking them into tough situations. It also had some epic battle scenes. As the Black Company inched its way toward the Shadowmaster’s fortress, the good managed to outweigh the bad. This was not the case for the book’s second half, despite some crowning moments of awesome. Not at all.

We left off last week’s post with the siege of Overlook about to begin. The Taglian legions raised and trained by Croaker and Lady invest the fortress. The great castle eventually falls not to starvation or the walls being thrown down, but to a coup de main. Overlook is so vast and so undermanned that Lady and her most loyal troops were able to secretly bore their way into its foundations and operate from within. After much planning (and magical scouting by Murgen), Lady is able to capture Longshadow.

Back in Taglios the Prince’s sister, the Radisha Drah, starts hunting down the Black Company’s allies. She has always feared the Company; now that Longshadow is defeated the time is ripe for its destruction. Having assumed a betrayal would come (as it always does for them), Croaker has readied the Company for the for the final trek to Khatovar.

The road to Khatovar lies to the south of Overlook, through something called the Shadowgate. From the gate come the shadows — deadly spectral things Longshadow and the Shadowmasters could control to a certain extent. Beyond the gate lies a great barren circular plain. From the gates (turns out there are more than one) are roads leading to the plain’s center, like the spokes of a wheel. And there stands a ruined fortress even greater than Overlook. Its inner courtyard measures nearly a mile across.

Certain the answer to where or what Khatovar is lies within, Croaker leads the core of the Black Company, along with its most important prisoners, — Longshadow, Howler, and Soulcatcher — into the ruins. But instead of answers, what lies behind the broken walls is a devastating trap. The book ends with the most important military commanders and veterans of the Black Company in stasis, and Soulcatcher racing back to Taglios in order to unveil some yet-undescribed scheme.

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Modular: Pathfinder Planar Adventures

Modular: Pathfinder Planar Adventures

Planar_AdventuresFor as long as it has existed, Dungeons & Dragons (and its spin-off game, Pathfinder) have not been about a single world, but a multiverse of different worlds and dimensions. The entities that exist within these realms can be good or evil, or sometimes merely strange and exotic. But regardless of their precise nature, they are distinctly other than us, because these different realms and dimensions are governed by rules different than event he fantasy rules that govern the main adventuring worlds.

As Pathfinder First Edition begins slowing down its cycle of new rules releases, paving the way for the upcoming Pathfinder Playtest starting at GenCon and, ultimately, the release of Pathfinder Second Edition at GenCon 2019, it’s good to see that their final First Edition hardcover rulebook release, Planar Adventures  (PaizoAmazon), provides a mix of setting material that will be broadly applicable to any game set within the multiverse that contains the Pathfinder world of Golarion.

Following a general tradition within Pathfinder rulebooks, the first chapter focuses on characters. There are a dozen new planar-related archetypes, such as the Azatariel (Swashbuckler champions of Elysium), the Gloomblade (a Shadow Plane-influenced Fighter), and Progenitors (Druids with powerful bonds to the First World of the fey). Character options include new feats, spells, and magical items related to travel throughout the planes.

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Godzilla: City on the Edge of Battle (2018) — Good Science Fiction, Not Great Godzilla

Godzilla: City on the Edge of Battle (2018) — Good Science Fiction, Not Great Godzilla

Godzilla-City-Edge-Battle-Roadshow-PosterLast week was a significant one for the Big G. The first trailer for 2019’s Godzilla: King of the Monsters was unveiled at San Diego Comi-Con, displaying staggering scope and beauty set to the improbably perfect sound of Claude Debussy’s “Clair de lune.” Meanwhile, as fans salivated in anticipation of the next installment in the US Godzilla series after 2014’s Godzilla, the next Japanese Godzilla film made a quiet debut in North America via Netflix — Godzilla: City on the Edge of Battle (Gojira: Kessen Kido Zoshoku Toshi). It’s also a second installment: part two of a trilogy of animated Godzilla films from Toho Animation and Polygon Pictures that started with Godzilla: Planet of the Monsters.

I was roughly satisfied with Planet of the Monsters. It explored the theme of Godzilla as a deity and introduced intriguing science-fiction concepts, but it never found a solid adventure throughline for its apocalyptic Earth setting and left the potential of an animated Godzilla largely unrealized. City on the Edge of Battle makes forward strides as it deepens its SF backstory, now freed from having to go through the set-up that was necessary in the first movie. But as a Godzilla film, it still doesn’t work, and this makes me wonder exactly who the movie is targeted at. Godzilla fans? Anime fans? Science-fiction fans not-otherwise-specified? The last group may be the most satisfied, but I predict general dissatisfaction all around.

For those who came in late (and there’s no way to keep up with this movie unless you’ve seen Planet of the Monsters), here’s how events stood at the conclusion of Part One:

The remnants of the human race, in exile among the stars after Godzilla drove them off the Earth, choose to return to their homeworld and attempt to reclaim it from the monster. Although twenty years have passed on the refugee spaceship the Aratrum, over twenty-two thousand years have passed on Earth. Over the millennia, Godzilla’s biology has radically altered the ecosystem into a bizarre and hostile environment. With the assistance of two humanoid alien races, the mystical Exif and the technological Bilusaludo, the humans mount an offensive to destroy Godzilla. The plan of young Captain Haruo Sakaki succeeds — then immediately fails when it turns out the monster they killed (Godzilla Filius) was only an offspring of the original Godzilla that ravaged the planet (Godzilla Asu, “Godzilla Earth”). The true Godzilla emerges, grown in size and strength over thousands of years to unimaginable power. So was the fight all for nothing?

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Birthday Reviews: John D. MacDonald’s “Ring Around the Redhead”

Birthday Reviews: John D. MacDonald’s “Ring Around the Redhead”

BG_MacDonaldOtherWorldsEvery so often, I prove that the Black Gate firewall needs some serious tightening up by jumping in and putting up a post where I don’t belong (many readers and fellow bloggers believe that would be the entirety of the Black Gate website…). So, if you’re reading this, the crack web monitoring team hasn’t seen it yet. Don’t tell Steven Silver. He might gnaw through the restraining chain around his ankle and crawl over to my desk in the cellar…basement…journalist’s suite to thrash me.

John Dann MacDonald, my favorite author and one of the best writers of the twentieth century – in any genre – was born on July 24th, 1916. MacDonald, Harvard MBA and a lieutenant colonel in the Office of Strategic Services during World War II, was thirty years old when he began writing for the pulps in 1946. Through hard work and talent, MacDonald quickly became successful, selling to the mystery and sports magazines.

He graduated to the slicks more quickly than most pulpsters and he began writing paperback novels in 1950, mostly for Fawcett Gold Medal and Dell. And in 1960 he created his famous non-private eye, Travis McGee, in The Deep Blue Goodbye. MacDonald wrote over 400 short stories and five dozen novels.

It’s less well-remembered that in the late forties and early fifties, MacDonald wrote a great deal of science fiction: over fifty short stories and two novels. He tired of the genre and essentially quit cold turkey in 1952, writing only seven more stories and one novel (The Girl, The Gold Watch & Everything, which was made into a movie with Robert Hays and Pam Dawber) in the final thirty-four years of his life. He wrote that he tired of science fiction and simply quit writing it.

“Ring Around the Redhead” appeared in the November, 1948 issue of Startling Stories (His “Shenadun” had been in the September issue). It was anthologized in 1953 and again in 1967. I read it in Other Times, Other Worlds, a collection consisting entirely of science fiction stories by MacDonald.

Bill Maloney, an inventor, is on trial for murdering his next door neighbor. There’s no body, just some brain and hair bits. Anita Hempflet, the classic nosy neighbor (you know, the kind that says “I don’t mind anybody’s business but my own” and then proceeds to gossip like it’s an Olympic event) weighs in with her nose in the air, saying that Bill has been shacked up (remember: it’s 1948) with a pretty redhead who seems to be deaf and was wearing some odd, metallic clothing when she appeared.

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Next Year in Khatovar: She Is the Darkness by Glen Cook Part 1

Next Year in Khatovar: She Is the Darkness by Glen Cook Part 1

oie_2353716i3KOHmsdA skinny, mangy mongrel raced past and on the dead run clamped jaws on a startled crow. He got a wing.

All the crows in the world descended on him before he could enjoy his dinner.

“A parable,” One-Eye said. “Observe! Black crows. Black dog. The eternal struggle.”

“Black philosopher,” Croaker grumbled.

“Black Company.”

One-Eye and Croaker from She Is the Darkness

It’s summer, I’m busy living a summer life. As Glen Cook books go, She Is the Darkness (1997) is a long one. Um, something, something, something. All that’s to say I’m breaking my review into two parts. It’s not what I’d normally do, but I don’t want to lose the momentum of reading the books back to back. Remember: beyond here lie spoilers.

At the end of the previous book, Bleak Seasons, the Black Company under the restored leadership of Croaker, aka the Old Man, aka the Captain, was girding its loins for the final march on the last stronghold of Longshadow, the last Shadowmaster.

Overlook is pretty much Glen Cook’s version of Barad-dûr. Its walls rise to a hundred feet, and are covered in protective spells. Inside lurk untold numbers of soldiers backed by the terrible sorcery of the erstwhile Taken, Howler, and Longshadow himself.

In the field, ex-Black Company chief-of-staff Mogaba leads Longshadow’s last remaining army. Aided by another defector, Blade, Mogaba cannot imagine himself being beaten, and lies in wait for the Black Company and the soldiers of Taglios to attempt to force the pass over the Dhanda Presh Mountains.

Oh, and the wife of new Black Company Annalist Murgen was murdered by the Deceivers. During an assassination attempt on Croaker in the Palace of Taglios, a group of killers found their way into the living quarters of Murgen’s family and left his wife Sahra and her son dead. While not a completely broken man, Murgen is allowing himself to become addicted to traveling through time and space on the spirit of the comatose wizard, Smoke. Officially, Murgen’s doing this to spy on Longshadow and other things important to the health and welfare of the Black Company, but really it’s to avoid the depression brought on by the killing of Sahra. It continues to be a poorly explained and clunky device.

The death of Sahra is also not as simple as it seems. There’s a terrible secret surrounding it, and even though his late wife’s family, including the thoroughly kickass Uncle Doj, know what happened, Murgen doesn’t uncover it for many months. In a series flush with emotionally raw events, what really happened the night of Sahra’s death is one of the hardest in the whole series.

The entire first half of She Is the Darkness concerns the movement of Croaker’s forces towards the showdown with Mogaba’s and Blade’s. Meanwhile Murgen, flying on the wings of Smoke’s psyche, spies for his commander and fills in all the gaps for the reader, giving us an inside look at the doings of the Company’s enemies. There’s no getting around it, much of the first half of the book’s a slog. It might reflect some sort of logistical and strategic masterpiece if it occurred in real life, but on the page it moves like molasses on a winter day. Nonetheless, the book isn’t a disaster, just frustrating.

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TV At The Movies

TV At The Movies

Addams originalIn my last couple of posts I’ve looked at TV to TV remakes, and film to TV remakes. It’s reasonably easy to judge the “success” of these endeavours by the number of seasons a TV series lasts. It’s not that easy when the remake is a film, and the original material is a TV program. Sometimes what we have is a true remake, in the sense that the movie stands alone, recreating the circumstances or premise of the TV series. However, we also have films which aren’t remakes as such, but rather continuations of story arcs that began on television.

In the true remake category, we often see a classic TV show that was either very popular in its day, or that developed a cult following film producers felt would generate a hefty audience for a remake as a movie. Cynics will say that these producers are usually motivated by financial considerations, not nostalgic ones, but surely that couldn’t always be the case?

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