ARTS ISSUE: FALL 2012

THE ARTS ISSUE

WASHINGTON SQUARE NEWS PRESENTS

VOL. 40 NO. 48 THURSDAY, DECEMBER 6, 2012

2 WASHINGTON SQUARE NEWS | THURSDAY, DECEMBER 6, 2012 | NYUNEWS.COM

DEAR READERS,

THE TROUBLE WITH SPACE TRAVEL IS THAT ITS HISTORY CONSISTS OF A LONG STRING OF CRUSH-

ING DISAPPOINTMENTS. WHEN APOLLO 11 TOUCHED DOWN ON THE MOON, THE WORLD REJOICED

— FOR A TIME. AFTER A WHILE, THE MUNDANE REALITY BEGAN TO SET IN: THERE’S NOTHING TO DO

IN SPACE. WE MUCKED AROUND A BIT IN THE LUNAR ROVER AND THEN LEFT, NEVER TO RETURN. IT

IS THE CONSTANT DILEMMA OF THE EARLY ADOPTER — SURE, YOU MAY HAVE A NEW HOLOGRAPHIC

TELEPHONE, BUT WHO WILL YOU TALK TO?

THE REALIZATION THAT PROGRESS WAS ACTUALLY CRUSHINGLY BANAL MAY HAVE BEEN RESPON-

SIBLE FOR THE SPACE OPERA REVOLUTION THAT BEGAN WITH “STAR WARS” IN 1977. OUR UNFUL-

FILLED STELLAR AMBITIONS HAD TO FIND A NEW HOME, AND SO THEY TURNED TO THE ARTS FOR

SUSTENANCE. BOWIE’S “ZIGGY STARDUST,” ASIMOV’S CATALOGUE OF SUBLIMELY THOUGHTFUL SCI-

ENCE FICTION NOVELS, SHOWS LIKE “STAR TREK: THE NEXT GENERATION” — ALL FANTASTIC EXAMPLES

OF WHAT THE GENRE WAS CAPABLE OF, AND ALL EMERGING FROM THE POST-MOON LANDING ERA.

NOT EVERYTHING FROM THAT PERIOD WAS A “BLADE RUNNER” OR AN “EMPIRE STRIKES BACK,” BUT

AT LEAST THERE WERE SPACESHIPS.

WHILE SCI-FI NEVER ENTIRELY VANISHED, IT LOST ITS PLACE IN THE CULTURAL SPOTLIGHT FOR

MANY YEARS. IN THE SPAN OF LESS THAN A DECADE, WE WENT FROM “TERMINATOR 2” — STILL

AMONG THE BEST ACTION MOVIES EVER MADE — TO “BATTLEFIELD EARTH,” A FILM OF SUCH BAF-

FLING STUPIDITY THAT IT APPROACHED GREATNESS FROM THE OTHER DIRECTION. FILMS LIKE “THE

MATRIX” PROVIDED ONLY MOMENTARY RELIEF. IN THE END, IT TOOK ADVANCES IN REAL-LIFE TECH-

NOLOGY — WHETHER IN SPECIAL EFFECTS FOR FILM AND TELEVISION, SYNTHESIZED SOUND FOR

MUSIC OR EASY INTERNET DISTRIBUTION FOR BOOKS — TO BRING SCIENCE FICTION BACK TO LIFE.

BUT THIS YEAR — AS ILLUSTRATED IN THE FOLLOWING PAGES — WE CAN AT LAST SAY IT WITH SOME

CONFIDENCE: SCIENCE FICTION LIVES AGAIN. THE GREAT STORYTELLERS OF OUR AGE NOW HAVE A

COSMIC CANVAS ON WHICH TO PAINT THEIR MASTERWORKS. AND IF THEY’RE NOT ALL TOURS DE

FORCE, AT LEAST THERE WILL BE SPACESHIPS.

L E T T E R F R OM T H E E D I T O RCOMMANDER’S LOG ENTRY 120612

STEFAN MELNYK

a r t s e d i t o r

NYUNEWS.COM | THURSDAY, DECEMBER 6, 2012 | WASHINGTON SQUARE NEWS 3

FILM

TABLE OF CONTENTS

TV

BOOKS/THEATER

P G 4

P G 6

P G 8

P G 1 0MUSIC


IT IS HARD TO IMAGINE A SCIENCE FICTION LANDSCAPE — OR, INDEED, A

WORLD — WITHOUT “STAR WARS.” FILM HAS BECOME ONE OF THE MOST

VALUABLE SOURCES OF SCIENCE FICTION STORYTELLING OVER THE

LAST FEW DECADES AND LOOKS SET TO LEAD THE CHARGE INTO A NEW

WAVE OF SCI-FI MASTERPIECES.

The future of science fiction can be found in the minds of Tom Tykwer, Andy Wa-chowski and Lana Wachowski, as evidenced by their collaborative effort “Cloud Atlas.” Breathtaking in ambition and vast in scope, the interconnected epic spans space and time and brings together common themes of reincarnation and love.

Based on David Mitchell’s equally expansive 2004 novel, “Cloud Atlas” revolves around six different souls who each play a part in one another’s tales as the film’s six narratives play out. The impressive cast — led by Tom Hanks, Halle Berry, Ben Whishaw, Jim Broadbent, Doo-na Bae, Hugo Weaving and Jim Sturgess — tack-les a bevy of roles that transcend race, gender, sexuality and even the space-time continuum.

In addition to the stunning feats of the actors, the visuals — as expected for a film involving the Wachowskis (directors and writer of “The Matrix”) — are equally brilliant.

The plot of “Cloud Atlas” is equally stunning. The Wachowskis and Tykwer have managed to successfully adapt Mitchell’s book, which many had deemed to be unfilmable. The story does

not resemble a traditional narrative in any way, shape or form. While that may drive some mov-iegoers away, many audiences have been thrilled by the filmmakers’ lyrical storytelling.

This is not a film that can be absorbed in one viewing, instantly judged and then casually tossed aside. “Cloud Atlas” does not spoon-feed the audience for even a second of its nearly three-hour running time. To truly experience what the three directors attempt to share with the world, viewers must experience the film in a theater. The ride is a thing beyond imagina-tion, and viewers will want to return as soon as the film comes to its conclusion.

Of course, everyone’s experience will be dif-ferent. At the very least, “Cloud Atlas” bears one common denominator, no matter who the viewer: a message that could foreshadow the bold future of science fiction cinema. It’s an adventure that fans will remember long after they bid the film’s six different worlds good-bye and return to their own worlds outside of the theater.

— C H A R L I E S P E C T O R

‘Cloud Atlas’ brings literary magic to the big screen

New zombie film wages war on genre tropesThe trailer for “World War Z” exposes viewers to

the constant paranoia and ongoing pandemonium of a world engulfed in a maddening war against zombie hordes. The swarms flooding the screen are unlike anything audiences have witnessed before, as Brad Pitt fights them with what puny defenses humanity has left at its disposal. The trailer is frantic, dramatic and eye-catching, but it raises the question of whether fans will accept this new type of zombie menace.

The post-apocalyptic novel by Max Brooks on which the movie is based has become surprisingly popular since its release in 2006 and seemingly lends itself to an epic adaptation on the big screen. The book is in-fluenced by Studs Terkel’s World War II oral narrative “The Good War” in its anecdotal and multi-story format, taking a singular event and telling it from the perspec-tive of a number of characters. The film does not seem to adhere to the narrative at all in this regard, following only Pitt’s character and a supporting ensemble. How-ever, the individual tales from the book could still be portrayed through the lens of Pitt’s character.

Most of the novel’s strength derives from its strik-ing realism — even while portraying a zombie apoca-lypse. “World War Z” includes extensive background research on the science, politics, economy, military and other aspects of such a scenario, with the hope that it will allow the adaptation to revolutionize the zombie film genre.

One point of concern is not the medium but the direc-tor. Based on the trailer, it is questionable whether Marc Forster will follow the novel’s emotional core and acute attention to character, as he did with another book-to-film adaptation, “The Kite Runner.” Perhaps Forster will take the flashy and violent approach, as he did in “Machine Gun Preacher” and “Quantum of Solace.”

Ultimately, anxious audiences can do nothing but re-main cautiously optimistic in their hope that the film will be the poignant and entertaining adaptation t hey deserve.

— N I K O L A S R E D A - C A S T E L A O COUTESY OF PARAMOUNT PICTURES

COUTESY OFWARNER BROS. ENTERTAINMENT INC.


Orson Scott Card’s Hugo and Nebula Award-winning 1985 novel “Ender’s Game” is finally hitting the silver screen next November after years in development hell. The tale about a boy groomed to become a military commander is an odd fit for Hollywood, with its analysis of hu-man society, its dark moral complexities and its futuristic setting. Yet Card prevented the film from entering production for so long to ensure the story wouldn’t be viewed as simply another “Star Wars” ripoff. Now, Lionsgate — likely see-ing the potential for a franchise in the book’s many sequels, prequels and side tales — is releasing the film via Summit Entertainment, a studio it acquired earlier this year.

Despite the studio being home to the “Twilight” saga, there is still much hope for a

true sci-fi film rather than another brainless action flick.

The sole caveat thus far is in the choice of Gavin Hood as director. Although Hood’s break-out hit “Tsotsi” won an Oscar for Best Foreign Language film, his introduction to Hollywood blockbuster filmmaking was the much-decried “X-Men Origins: Wolverine.” Regardless of that failure, the re-writes of the script by Hood and the team of Roberto Orci and Alex Kurtzman (co-writers of 2009’s “Star Trek”) are attracting some marquee talent.

For the main character of Ender, the filmmak-ers made the wise decision to cast Asa Butter-field, whose breakout performance in Martin Scorsese’s “Hugo” marked him as a talent to watch. Butterfield is surrounded by a strong

group of child actors who play his classmates, among them Abigail Bre-slin (“Little Miss Sunshine”), Brandon Soo Hoo (“Tropic Thunder”) and Hail-ee Steinfeld (“True Grit”). Harrison Ford plays Colonel Graff, the head of Battle School, and Ben Kingsley, another “Hugo” cast member, ap-pears in the second half of the film as Ender’s mentor — to say any more about his character would spoil one of the book’s greatest surprises.

Science fiction in film usually fol-lows only interstellar battles, but “Ender’s Game” deconstructs this trope with its focus on the potential dehumanization of future military systems. If done right, the film could treat audiences to a new kind of space opera next year.

— J . R . H A M M E R E R

‘Ender’s game’ adaptation shows early promise

‘Looper’ matures Modern Sci-fi

Why would anybody mess with Joseph Gordon-Levitt’s face? The controversy behind “Looper,” this season’s groundbreaking block-

buster, reached beyond the boundaries of most sci-fi films, with the bulk of it centering on the lead actor’s visage. Since Bruce Willis plays an older version of Gordon-Levitt’s character, director Rian Johnson wanted the young actor to appear more like the grizzled action star.

However, the film’s core stretches far beyond such perceived superfi-cial oddities. “Looper” does not take itself too seriously in its handling of the tricky subject of time travel. Every element of the film has a pur-pose, and “Looper” is both elegantly crafted and uniquely practical, con-sidering its genre. Presenting a more mature take on the sci-fi genre, the film is flashy without trying too hard.

The media culture is at a point where most art is inspired by — or a near replication of — earlier work. “Looper” breaks the mold, present-ing a captivating film that is reminiscent of few other cinematic adven-tures. It does not insult the audience’s intelligence, choosing instead to be an example of science fiction at its best. Even those who have no interest in science fiction may be shocked by how “Looper” will engage them. It thrives on its ability to meld the best of multiple film genres, combining character study, mystery, suspense, action-adventure and science fiction into a compelling two hours.

Riddled with metaphors of self-control and centering on a man who sets out to kill all of his enemies, “Looper” is geared toward a more mature audience. The film weaves the common thread of love through every conflict, developing a strange yet beauti-ful sentiment without the associated clichés. Complemented by an all-star cast that includes Gordon-Levitt, Willis and Emily Blunt, the success of “Looper” hopefully means that science fiction will never be the same.

—I S A B E L J O N E S

‘star wars Episode VII’ revives sci-fi staple for new generation

With the current surge of interest in fantasy and comic books, science fiction will enjoy a fur-ther rise in popularity after Disney’s purchase of Lucasfilm and the announced development of “Star Wars: Episode VII.” The news caused fans everywhere to put on their Wookie masks and roar — either in celebration or in fury.

Plans for the sequel trilogies dates back to as early as 1976 when George Lucas envi-sioned four trilogies while on the set of the first film. The plans never truly took hold, and uncertainty about their fate arose. More than 20 years later, with the planned release of “Star Wars Episode I: The Phantom Menace,” Lucas confirmed these doubts by stating that he did not plan any films beyond the three prequels. It seemed as though the resolution of the Skywalker storyline represented the perfect ending.

A new hope surfaced in 2012 when rumors of Lucas’ change of heart emerged. Finally, under Disney’s ownership, a release date for “Episode VII” has been set for 2015. Lucas will remain connected as a consultant, and while no direc-tor has been announced, Michael Arndt (“Little Miss Sunshine” and “Toy Story 3”) is attached to write the screenplay. The film will be an original story that will take place in a post-“Return of the Jedi” period. Arndt plans to have older versions of main characters and fan favorites return.

With a new story outside of the Skywalker sto-ryline, “Episode VII” has the potential to become

a blockbuster for all age groups. While older au-diences will receive a sweet taste of nostalgia, viewers who are less familiar with the franchise can still appreciate a fantastic film set in every-one’s favorite galaxy far, far away.

The announcement, followed by intense media coverage and speculation, also signified a resur-gence of interest in science fiction. The timing could not have been better. It is only fitting to have the franchise that ignited a passion in countless sci-fi fans put the genre back on the map for a generation that has long forgotten the joy of playing around with toy lightsabers.

— B O B T E O H

COURTESY OF EZHIKOFF VIA FLICKR

COURTESY OF TOR BOOKS

COURTESY OF LOOPER, LLC


TVPERHAPS NO ARTISTIC MEDIUM HAS CARRIED ON

A MORE PASSIONATE LOVE AFFAIR WITH SCIENCE

FICTION THAN HAS TELEVISION. SHOWS LIKE ‘STAR

TREK’ AND THE ‘TWILIGHT ZONE’ CULTIVATED AN

ENTIRE GENERATION OF SCI-FI LOVERS. TV MAY HAVE

LOST SOME OF ITS FUTURISTIC MOJO, BUT SCI-FI IS

STILL PERMANENTLY ENTANGLED IN ITS DNA.

nbc hit revolutionizes network television

For the past few years, NBC has been the underdog of television networks. It frequently came in last in ratings and was known for its smart comedies that, despite critical acclaim and passionate fans, just couldn’t deliver ratings. Then J.J. Abrams’ “Revolution” premiered, and everything changed.

NBC is having its best season in years, drawing large audiences and often win-ning over the key 18-49 demographic. The credit for this is largely given to the science fiction show “Revolution.” Thanks to partially to the smart choice to air it directly after reality hit “The Voice,” millions of people are tun-ing in to the post-apocalyptic drama. The show is largely based on its high-concept core: Fifteen years ago, all forms of power stopped working, and the world was plunged into a post- apocalyptic free-for-all. Until now, view-ers had been rejecting sci-fi shows with such detailed origin stories, as short-lived series like “V” and “Flash-Forward” demonstrate. But somehow, “Revolution” has thrived.

Quality alone cannot account for its success, as “Revolution” still has many issues. Tracy Spiridakos’ performance as main character Charlie needs some

work, as she often comes across as whiny and unlikeable. There are also some extraneous characters, with Charlie’s band of travelers at least one member too large and many overdeveloped, villainous characters. Then there is Charlie’s brother Danny, whose kidnapping is the impetus for the trek at the plot’s center. But from what we have seen so far, he is better off staying locked up with the militia.

Yet even with these flaws, the audience returns, with last week’s midseason finale even seeing a jump in the ratings. Billy Burke deserves some recognition for a great portrayal of former militia leader Miles, as his scenes are often riveting — though this may be be-cause his scenes are often the most action-packed the show offers.

Out of all of the failed sci-fi shows in recent years, “Revolution” may be a success partly because, in spite of the high-concept backstory, it is still relatable. In a time of growing techno-logical dependence, people are drawn to the idea of a world where it has all disappeared. We watch “Revolution” and wonder what we would do in such

a situation. The same idea can be ap-plied to the record-breaking success of AMC’s “The Walking Dead.” The world it presents is clearly removed from our own, but it is also scarily familiar.

But that is what good science fiction does. It presents a completely changed world, rendered almost unrecogniz-able by some futuristic force — but only almost. When successful, it lays

out threads for the audience to hold on to, reeling viewers into the world it creates. It needs some fine-tuning, but “Revolution” has made those threads strong enough and has created a world intriguing enough to bring viewers back to NBC.

— S A M A N T H A R U L L O

COURTESY OF 2012 NBC UNIVERSAL MEDIA, LLC


When FOX canceled “Firefly” ten years ago, there was an uproar among science fiction fans everywhere. Created by Joss Whedon, father of “Buffy the Vampire Slayer” and its subsequent spin-off, “An-gel,” the show was guaranteed cult status among his legions of fans. However, that did not seem to convince network execu-tives of its staying power, and the series’ poor ratings translated to a quick demise.

Six years later, the J.J. Abrams-produced “Fringe” debuted on FOX. Like “Firefly,” the much-anticipated show was not the ratings darling the network hoped for. However, it did attract what could be considered a niche audience. And this has made all the difference.

Not only have the network execu-tives held off pressing the cancel button for four years, but they’ve also granted “Fringe” a fifth and final season consist-ing of just 13 episodes. This has allowed the series to wrap up all its story lines and prepare for a series finale, giving fans the closure “Firefly” was never able to.

Often likenedto“The X-Files,” the show follows FBI agent Olivia Dunham (Anna Torv of “The Pacific”) as she investigates a series of un-explained and often para-normal events with the help of civilian scientists and father-son duo Walter and Peter Bishop (John Noble of “The Lord of the Rings” and Joshua Jackson of “Dawson’s Creek”). The team forms the FBI’s Fringe Division as they use a combination of fringe science and investigative techniques to solve their cases, which mostly revolve around the discovery of a parallel universe.

Over the past four seasons,

the show has grown broader in scope, delving into mythology and exploring al-ternate timelines and parallel universes. In doing so, it has garnered a lot of praise for its imaginative and highly detailed sto-rylines along with high-quality special ef-fects, making it one of the best-produced science fiction shows currently on the air.

Fans seem to recognize this, with “Fringe” television panels being a big hit at science fiction conventions all over the country. The show’s popularity with its audience, in addition to its growing complexity, has led to its translation into other media. Last September, DC comics released the first issue of the “Beyond the Fringe” comic series, which has become quite popular. There is also talk of a pos-sible feature film in the future.

Fringe airs Fridays at 9 p.m. on FOX. The series will conclude with a two-hour finale on Jan. 18, 2013.

— N I V E A S E R R A O

Fox favorite explores fringes of sci-fi

Geeks around the nation rejoice — Joss Whedon is re-turning to the small screen with a new sci-fi television show set in the Marvel comic universe. After turning “The Avengers” into Marvel’s best superhero movie so far and one of the highest-grossing movies ever made, Whedon signed an exclusive contract with the Walt Dis-ney Company, which owns Marvel and ABC.

Shortly thereafter, news broke that over the next few months, Whedon would write and direct a TV adapta-tion centered around S.H.I.E.L.D, Marvel’s espionage and law enforcement agency that deals with superhu-mans. Eventually, ABC greenlit the production of a pi-lot episode involving Whedon’s brother Jed and sister-in-law Maurissa Tancharoen, as well as Jeffrey Bell and Jeph Loeb as co-executive producers.

The duo, who have most recently worked on the Starz show “Spartacus,” are known in the Whedonverse for their involvement with Whedon’s most recent TV show, “Dollhouse,” and the critically acclaimed Internet short series “Dr. Horrible’s Sing-Along Blog,” which has gathered a massive fan base over the last few years. In addition, they have also worked with Whedon unoffi-cially on “The Avengers,” as he wrote in an open letter following the success of the movie.

As announced at New York Comic Con, “S.H.I.E.L.D” will feature agent Phil Coulson from the Marvel movies,

played by actor Clark Gregg. Along with his team of agents, he will probably fight super-natural villains and deal with characters from the Marvel universe. The show’s main characters have all been cast with mostly unknown ac-tors, including Ming-Na Wen, Elizabeth Henstridge, Iain De Caestecker and Brett Dalton. Knowing Whedon, however, viewers are likely to encoun-ter Whedon alumni like Amy Acker and Summer Glau should ABC pick up the show.

As of now, there is not enough known about the se-ries to predict whether it is going to be next year’s big hit or just a big letdown. Judg-ing from superheroes’ recent newfound popularity in the TV landscape, it’s likely ABC will pick up the show, espe-cially after the network’s recent cancellations like “Last Resort” and “666 Park Ave.” As production is expected to start sometime between wrapping Marvel’s “Thor 2” and shooting “Captain America 2” in March, we should have

more information by the beginning of next year. Hope-fully, “S.H.I.E.L.D” will be closer to Whedon’s hits like “Buffy” and “Firefly” than to his misses like “Dollhouse,” because a genius sci-fi Whedon show is sorely missing in the current television lineup.

— T O B I A S K E U N E C K E

Whedon brings blockbuster glitz to small screen

Bloggers who love to hate “American Horror Story” continually rail against its excessive fetishization of the horror genre. And they aren’t wrong — the second season has included exor-cisms, devilish children, serial killers and the An-gel of Death, all within the first seven episodes. But now the second season is moving in a new direction with a new genre: science fiction.

“American Horror Story: Asylum” is not the first time sci-fi and horror have gone hand-in-hand. Re-cently, the 2012 film “Pro-metheus” attempted to combine the genres as well — albeit unsuccessfully — with a mishmash of brutal violence and alien life forms.

So why would “American Horror Story” place alien abductions along-side exorcisms if the point is not to tackle something new? Where does maniacal medical experimentation fit within the horror-infused realm of a haunted mental asylum? The answer to both of these questions lies not within the Wagnerian theatricality of the show but rather in the show’s central concept: genre critique.

“American Horror Story” is, more or less, a puzzle of genre tropes, the pieces of which are recycled motifs. The show is all about how those pieces come together.

Simply put, the show is not any less original than a film belonging to those genre styles, and by adding sci-fi to the mix, it proposes that even films like “Prometheus” — films that claim to be bold and unique because

of their pastiche of genres — are nothing we haven’t already seen. It is a very peculiar way of going about it, particularly because something this intellectual might not be ex-pected from the provocateur behind “Glee” and “The New Normal,” Ryan Murphy. But even among genuinely smart shows, rarely is science fiction used to form a pop-cultural thesis.

More importantly, “Asylum” experi-ments with what the sci-fi genre can do. Alien pregnancies now tie into demons and the like, and somehow it works, lending a signature moody at-mosphere to the show. Where sci-fi is headed on the show will be dictated only by where the genre of sci-fi is headed in general — sometimes, the only inspirations for genre works are other genre works.

— A L E X G R E E N B E R G E R

New kind of horror Experimentation on fx

COURTESY OF 20TH CENTURY FOX TELEVISION

COURTESY OF WARNER BROS. ENTERTAINMENT INC.

COURTESY OF GAGE SKIDMORE


BOOKSAND

THEATER

LITERATURE AND THEATER ARE TWO FORMATS

THAT DEPEND ON THE AUDIENCE’S IMAGINATION

ALMOST AS MUCH AS ON THE ARTIST’S. THINK,

WHEN WE TALK OF SPACESHIPS, THAT YOU SEE

THEM PRINTING THEIR PROUD LASERS IN THE RE-

CEIVING MOON. MAYBE IT IS FOR THIS REASON

THAT FUTURISM HAS HAD A MIXED EXPERIENCE

IN THE WORLD OF HIGH CULTURE.

In this tech-savvy day and age, we might as well be living in the world described by last century’s science fiction novels. Our lives have been stream-lined, automated and electrified. And, whether we like it or not, the old days of analog technology will never return.

With newspapers and magazines moving online, it seemed for a time that hard copies of books were the last stand of the print medium. Now, even that spine-and-cover bulwark has been converted to the electronic medium.

In the past century, there have been innumer-able mechanical innovations — most notably the invention of the personal computer and the In-ternet. And while many such projects are now necessary to the modern lifestyle, this does not mean that we should abandon any links to our technologically limited past.

In November of 2007, Amazon launched a new product: the Kindle e-reader, a handheld electronic device capable of storing and displaying any kind of published written material. The Kindle’s vast cata-logue includes novels, periodicals and even blogs.

Reasonably priced, eco-friendly and undeniably convenient, this nifty e-reader appeals to an vast demographic. However, we must consider the pos-sibility that these new gadgets simply entrench us further in the tech-heavy futuristic society predict-ed by sci-fi writers of the past.

Spoken language has been the foundation of hu-man society since the emergence of man himself. With the emergence of alphabets and, later on, the printing press, literacy easily tops the list of most important human traits.

But the scholastic traditions of reading and writ-ing have evolved over time — in 2012, the average college student might not even pick up a printed book in a full day of school. We can get our read-ings online — or on our Kindles and iPads — so

why should we lug around a backpack full of pa-perbacks when we can access the books’ text while chatting with friends through an altogether different sort of book?

In reality, tangible paper books are better than their electronic counterparts because they are more effective. E-readers only serve to simplify and perhaps trivialize the experience of reading. One learns better, and in a more rewarding way, from picking up a canvas-bound volume than by simply pressing a button on one’s Kindle to switch win-dows from a game of solitaire.

When they invent that ultimate sci-fi gizmo, the time machine, perhaps some devoted readers will simply use it to re-live a time spent flipping through the real-life pages of a favorite novel.

— C L I O M C C O N N E L L

For a city that is supposed to have everything, New York can sometimes fall the teeniest bit short. The theater scene is one of the world’s best, but when it comes to science fiction, New York fails to deliver.

Broadway has “Spider-Man: Turn Off the Dark” playing at the Foxwood Theater, but even if comic book adaptations count as sci-fi, the Spider-Man musical is hardly a triumph of the genre; the show is mostly famous for its injured actors and its astronomical production costs.

The Lucille Lortel Theater recently presented “Carrie,” a mu-sical adaptation of Stephen King’s novel of the same name. The show was an improvement on its previous production, but that was a low bar to reach — when “Carrie” opened on Broad-way in 1988, audience members booed the opening number; it ran five performances.

Straight theater companies have also steered away from sci-fi. The Flux Theater Ensemble attempted science fiction with its “Deinde” last spring but delivered instead a long and preachy disaster of a production.

New York’s ambitious actors, directors, and playwrights seem to avoid even attempting the genre. Maybe they know something the rest of us have not yet realized — that sci-fi just is not meant for theater.

Great science fiction has always moved beyond its science roots into human stories of politics and the heart. Jules Verne’s stories are now so antiquated that it is easy to forget they were once futuristic. But the novels still make for thrill-ing adventures.

“Battlestar Galactica” featured humans in spaceships waging war on robots, but viewers knew the show was essentially about human rights and terrorism. These themes were so relevant that the United Nations even invited the actors to sit on a panel.

Just a few years ago, the written word took on the form of digital text, and wireless communication became the invisible icon of our generation. What was once a fantastical daydream of seamless international connection now sits comfortably in our pockets, frequently blamed for our dwindling attention spans.

Today the stuff of science fiction is inherent in daily routines. From the buzzing plea that wakes us to the flick-ering screens that entertain and lull us back to sleep, our everyday lives are monitored by monitors.

With all this in mind, is there still a demand for books about science fic-tion? Why read a novel about a specu-lative fantasy that, for all intents and purposes, is now reality, already pack-aged and stocked on shelves?

As with any genre of literature, the science fiction novel has evolved over time. Some things, however, remain constant: The best writers can integrate a universal theme in any story so every reader can forge a connection with the chosen protagonist. Most science fiction readers are drawn to and relate with the potent struggles of the characters.

One of the most popular science fiction authors today is Stephanie Meyer, best

known for the “Twilight” series and who moved into more mature literature with her sci-fi novel “The Host.” Whether or not you like Meyer’s work, her nov-el has connected to count-less readers with its themes of control, personal change, social pressure and love. These topics maintain the novel’s relevance even in a world in which parasitic aliens are not occupying human minds.

At the same time, sci-ence-fiction literature presents strange new re-alities to be explored. The untouched innovation of imaginative realms is something that will continue to attract explorers, even if they are armed with only a pair of reading glasses.

Aside from providing a window into fantastical worlds while leaving the reader unscathed, the science-fiction genre offers a platform for new cre-ative thought. For example, the ubiq-uitous giant plasma screens of today were described by Ray Bradbury’s “Fahrenheit 451” in 1953. Such cases serve as a comical reminder that the

Digital age must not abandon pen, paper Fantasy literature

crucial as society advances

New York theater offers no space

for sci-fi

VIA AMAZON.COM


With her advanced intelligence, a child out-wits an evil headmaster and earns back the inheritance owed to her beloved teacher. With a fairly basic premise, “Matilda: the Musical” is preparing to bring a more character-driven form of science fiction to Broadway this March.

No monsters are created, no science experi-ments go horribly wrong and no one travels to space. However, considering Matilda’s teleki-netic abilities, “Matilda the Musical” can cer-tainly be considered science fiction theater.

“Matilda” tells the story of Matilda Worm-wood, a young girl with special powers, who is trapped in an oppressive environment by her dim-witted parents and wicked principal, Miss Trunchbull. Through her interactions with her devoted teacher, Miss Honey, Matilda discovers a crucially specific talent: telekinesis.

This precocious little girl first appeared in Roald Dahl’s classic 1988 book “Matilda.” Eight years later, young Mara Wilson played the char-acter in the movie version, directed by — and co-starring — Danny DeVito. On Nov. 22, 2011 “Matilda” stepped onstage at the Cambridge Theater in London’s West End. Now, “Matilda” is moving to Broadway with previews scheduled to begin on March 4, 2013.

The audience is able to witness these effects not only through the reactions of the characters involved, but also through the actual demon-stration of her abilities.

The special effects featured in this production are

neither as grand as the chan-delier falling on the audience of “Phantom of the Opera,” nor as quirky as those in “Mary Poppins,” when Mary pulls an entire showroom of furniture out of her bag. However, the effects necessary to showcase Matilda’s special talent still mesmerize the audience.

Although “Matilda: the Musical” has a youth-ori-ented storyline, the production can still be enjoyed by audiences of all ages. With a script by Dennis Kelly and music and lyrics by Tim Minchin, “Matil-da: the Musical” received seven Olivier awards and is still playing to full houses on the West End.

The Engle family of Madison, Wis., who viewed the production in London, very much enjoyed the effects the production featured. “One of the best magical elements … was when Matilda [used] her powers to write on the chalkboard,” said Julian Engle. She also said that her family “had an interesting time thinking about what machines were used to make that happen.”

At what seems like long last, youthful science fiction has found its niche in theater through “Matilda: the Musical.”

“Matilda: the Musical” opens April 11, 2013 at the Shubert Theater, 225 W. 44th St. For tickets and more information, see matildathemusical.com.

— A L Y S S A D V O R A K

For a city that is supposed to have everything, New York can sometimes fall the teeniest bit short. The theater scene is one of the world’s best, but when it comes to science fiction, New York fails to deliver.

Broadway has “Spider-Man: Turn Off the Dark” playing at the Foxwood Theater, but even if comic book adaptations count as sci-fi, the Spider-Man musical is hardly a triumph of the genre; the show is mostly famous for its injured actors and its astronomical production costs.

The Lucille Lortel Theater recently presented “Carrie,” a mu-sical adaptation of Stephen King’s novel of the same name. The show was an improvement on its previous production, but that was a low bar to reach — when “Carrie” opened on Broad-way in 1988, audience members booed the opening number; it ran five performances.

Straight theater companies have also steered away from sci-fi. The Flux Theater Ensemble attempted science fiction with its “Deinde” last spring but delivered instead a long and preachy disaster of a production.

New York’s ambitious actors, directors, and playwrights seem to avoid even attempting the genre. Maybe they know something the rest of us have not yet realized — that sci-fi just is not meant for theater.

Great science fiction has always moved beyond its science roots into human stories of politics and the heart. Jules Verne’s stories are now so antiquated that it is easy to forget they were once futuristic. But the novels still make for thrill-ing adventures.

“Battlestar Galactica” featured humans in spaceships waging war on robots, but viewers knew the show was essentially about human rights and terrorism. These themes were so relevant that the United Nations even invited the actors to sit on a panel.

“Battlestar Galactica” could afford the extra baggage of cos-tumes, special effects and intricate backstory, but theater is an in-herently minimalist art form. Actors fly onstage in “Spider-Man,” but the effect is not as convincing as it would be on the screen.

Theater companies, especially ones with small budgets, rely on their audience’s imaginations to produce even the simplest of settings and special effects. Whizzing planets and aliens tax the imagination, so playwrights know not to include them unless they are absolutely essential to the show’s story. But the great thing about sci-fi is that the sci-fi itself is never the essential part.

— L E O R A R O S E N B E R G

known for the “Twilight” series and who moved into more mature literature with her sci-fi novel “The Host.” Whether or not you like Meyer’s work, her nov-el has connected to count-less readers with its themes of control, personal change, social pressure and love. These topics maintain the novel’s relevance even in a world in which parasitic aliens are not occupying human minds.

At the same time, sci-ence-fiction literature presents strange new re-alities to be explored. The untouched innovation of imaginative realms is something that will continue to attract explorers, even if they are armed with only a pair of reading glasses.

Aside from providing a window into fantastical worlds while leaving the reader unscathed, the science-fiction genre offers a platform for new cre-ative thought. For example, the ubiq-uitous giant plasma screens of today were described by Ray Bradbury’s “Fahrenheit 451” in 1953. Such cases serve as a comical reminder that the

innovations that propelled our current technological era began, like all the most popular science-fiction novels, as mere ideas.

Science-fiction literature, therefore, remains relevant to our generation and will continue to proliferate and welcome new readership. For a gen-eration brimming with creative talent and the tools to create new wonders, there should be no limitations placed on the innovations to come.

— T A L I K U H E L

‘Matilda’ adaptation brings childhood magic to stage

Fantasy literature crucial as

society advances

New York theater offers no space

for sci-fi

COURTESY OF BALLANTINE BOOKS

VIA WIKIPEDIA.ORG

VIA WIKIPEDIA.ORG


THERE MAY BE NO SOUND IN SPACE, BUT THAT

HASN’T PREVENTED FUTURISTIC MUSIC FROM

MAKING ITS MARK ON THE LISTENING LAND-

SCAPE. FROM SPACE ODDITIES TO INNOVATIVE

ELECTRONIC TUNESMITHS, MUSIC MAY NOT

HAVE EMBRACED SCI-FI AS HEARTILY AS NAR-

RATIVE MEDIA, BUT IT CAN STILL ROCK ITS WAY

INTO THE FUTURE WITH THE BEST OF THEM.

Predicting the sound of star wars episode V11

producer blends futuristic sounds

with classic rhythm

Now that “Star Wars” is in the hands of Disney, it’s time to part ways with the great John Williams score and adopt a more modern soundtrack for-mat. With this in mind, WSN presents a prospec-tive soundtrack to “Star Wars Episode VII,” com-prising 2012’s best songs. Additionally, because no one has the slightest clue what the story of the next Star Wars movie will be, we have created one.

“WHEN NO ONE’S WATCHING” — Craig Finn

The title of Craig Finn’s debut solo album, “Clear Heart Full Eyes,” plays off the slogan from the television show “Friday Night Lights.” Finn denied that the album shared any relation to “FNL” outside of the title, but “When No One’s Watching” certainly reflects the show’s sensitive bad boy, Tim Riggins, played by “John Carter” star Taylor Kitsch. Though “John Carter” failed spectacularly at the box office, Hollywood could give Kitsch another chance as Tim Riggins Sky-walker, Luke’s rebellious, womanizing son who fails to heed his father’s Jedi teachings until he realizes he must avenge the death of his father.

“THE GRAVEDIGGER’S SONG” — The Mark Lanegan Band

Mark Lanegan could sing about daisies and rain-bows and his voice would still sound like pure evil, and “pure evil” is a good way to describe our villain in Episode VII. A student in Luke’s Jedi training program, he finds himself overtaken by the Dark Side, rises up against his teacher and kills him. This is when TR drops the rebellious at-titude and goes out to avenge his father’s death.

“DYING CRAPSHOOTER’S BLUES” — Two Gallants

The last time we saw Han Solo, he was happily together with Princess Leia. However, our favorite scruffy nerfherder can’t be tamed, and saying “I know” in response to “I love you” probably is not as suave the second time around, especially with liquor on your breath and gambling debts piling up. “Dying Crapshooter’s Blues” is a song about a gambling man’s unrequited love for a woman, and it features a guitar riff that is just plain dirty.

“FREEDOM AT 21” — Jack White

When Jack White sings “Two black gadgets in her hands/That’s all she thinks about,” he is probably referring to cell phones and tablets. Replace those with two blasters, and you’ve got the perfect femme fatale to go toe-to-toe with TR. Hopefully this time around, the writers can create a romance for a Skywalker that is age-ap-propriate and does not have creepy undertones of incest.

“HOUSE OF BALLOONS/GLASS TABLE GIRLS” — The Weeknd

While on his father’s home planet of Tatoo-ine, TR makes a stop at the Mos Eisley Cantina, where a hip DJ has replaced the happy and up-beat house cantina band. The Weeknd’s dark, psychedelic R&B pumps through the speak-ers of the revamped cantina. It’ll be like that dance scene in “The Matrix Reloaded,” except a lot less lame.

“BEEN AWAY FOR TOO LONG” — Soundgarden

Guess who’s back? It’s Boba Fett! How did he come back from the dead? Who cares! It’s Boba freaking Fett! The return of the coolest character in the Star Wars universe should be set to Sound-garden’s triumphant opening track from their way-better-than-it-should-be reunion album.

“KASHMIR (LIVE)” — Led Zeppelin

You want an epic final battle? Then you need the song that puts “epic” on the map. The live version of “Kashmir,” released this year as part of the live recording of Led Zeppelin’s reunion performance five years ago, will roar as TR picks up a lightsaber to fight his father’s murderer. He will defeat his en-emy, and realize his destiny as a Jedi warrior. But don’t worry, TR Skywalker will be back for Star Wars: Episode VIII. In the words of Robert Plant, “All will be revealed.”

— J O S H U A J O H N S O N

Already known for his stage name’s psychedelic influence — derived from Pink Floyd concert posters — Derek Vincent Smith, a.k.a. Pretty Lights, combines experimental soul and hip-hop samples with a heavy dose of science fiction and synth. With songs such as “Out of Time” and “Still Rockin” from the albums “Glowing In The Darkest Night” and “Making Up A Changing Mind,” respectively, Pretty Lights takes listeners on a ride akin to traveling through space in a 1971 Coupe de Ville with the top down.

As he includes both a flashback to some great funk grooves and a leap into more futuristic beats, Pretty Lights displays the mysteries of science fiction through his music, as well as through his album artwork. Artist Dan McPharlin has crafted the artwork for three of his albums, including the two previ-ously mentioned works as well as “Spilling Over Every Side.” The large space landscapes depicted on these albums are filled with imagery ranging from a triple moon to elaborate machin-ery. The album titles are placed at the top of the art in a simple font in order to visibly demonstrate the contrast between high concept and minimalism with which each track is built.

Pretty Lights will be playing at the Roseland Ballroom on Dec. 30 and 31. The holidays are right around the corner, and if you want to usher in the New Year with some killer sounds and an even better light show, then Pretty Lights is not to be missed.

— D A N I A D U R A N

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WASHINGTON SQUARE NEWS

Chicago rockers take listeners on

inter-galactic rideFinding a way to flawlessly mix sci-

ence fiction and music is no easy feat. But then again, rock band I Fight Drag-ons is no stranger to tackling unique challenges. When these Chicago na-tives aren’t busy battling reptilian beasts, they are touring the country with their quirky blend of chiptune and pop-rock music, even incorporat-ing specially modified classic Ninten-do controllers into their live show.

Last year, the band released its first full-length album, the enthusiasti-cally titled “KABOOM!” They followed it up earlier this year with a music video for their song “Save World, Get Girl.” The video spoofs old-school science-fiction movies and TV shows. Set in A.D. 2023, the visual compan-ion to “Save World, Get Girl” features I Fight Dragons as the crew of a space-ship, demonstrating that they know how to deal with more than just dragons.

Our heroes narrowly escape a hoard of enemy ships only to land on an alien planet. There, they meet a unicorn-octopus hybrid, a man with psychic powers and a cyclops, all of which they must defeat in time to

save the world’s green-skinned alien beauties. And as if such an adventure would not suffice, they must return to their ship to defend it from invaders before it’s a game over for everyone. Thankfully, the band brings along Space Buddy, a friendly, rhinoceros-headed extraterrestrial, to help save the day in this bizarre yet endearing sci-fi-inspired music video.

Read our interview with I Fight Dragons on WSN’s arts blog, The Highlighter.

— B E C K Y K O V A C H

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ARTS ISSUE: FALL 2012