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The 1938 Trilogy that Predicted 2020
June 28, 2023
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It’s a weird quirk of life that art and artists often seem to anticipate the future with startling accuracy. Perhaps the most bizarre is the story Futility: or the Wreck of the Titan, by Morgan Robertson, written 14 years before the wreck of the Titanic yet eery in its details. Mental Floss has a good summary if you’re not familiar. There are other examples, too. If you want a really wild one, check out the Donald Trump Time Travel Conspiracy, with its roots in a novel from the 1890’s.

That one’s a doozy!

As I mentioned a few weeks ago, I recently got my hands on The Spider VS. The Empire State, a three-novel collection by Norvell Page written in 1938. It too is seemingly prophetic, though no one but me has noticed. Yet. In throes of the Great Depression, there was a growing sense that the republican form of government wasn’t adequate to solving the nation’s problems. Some (according to the book’s introduction), mostly conservatives, were arguing a dictator might be just what we needed. At the same time, Americans were wondering how anyone as evil as Hitler could rise to power in Germany. Meanwhile in their own backyard Louisiana governor Huey Long was setting up his own fiefdom.

Look around Twitter for a few minutes today and you’ll find plenty of support for King Trump.

In the opening of The City that Paid to Die, a new political party, “The Party of Justice,” swept the last election. While the branding is good, Richard Wentworth (aka: the masked vigilante, The Spider) knows that it’s just a facade for organized crime. He perceives that the new governor of New York is just a puppet and quickly finds out that a shadow figure known only as The Master is pulling the strings.

You can’t oppose The Party of Justice any more than Black Lives Matter without sounding like a bigot. And a weak-minded, puppet political leader? That’s crazy talk.

One of the first things The Master does is empty the prisons and enlist the inmates as his Black Police (which could only happen in Russia, right?), who collect taxes like mobsters take protection money. After the people have been taxed to death and suffering, the government sets up a social credit system, where anyone who donates to the “Save-a-Life Relief Fund” gets a purple cross with their donation amount stamped on the back. Anyone not properly signaling their virtue will be persecuted, no doubt. 

Don’t forget to wear your mask and social distance, or you want Granny dead.

Speaking of social distancing, The next book, The Spider at Bay, sees The Master unleashing a plague to discourage opposition. Yeah, a plague. Not only that, it’s a sort of leprosy which keeps the populace in fear and anyone who has it is shunned for health and political reasons. The government controls the vaccine, but The Spider is able to secure the cure, thwarting them once again.

Sound familiar?

Naturally, the federal government is unable to get involved because this is what the people voted for in a fair and honest election. Wentworth goes to Washington and breaks into the White House(!) to ask the president for help, and even runs for governor in the next election. But it’s stolen from him in a second fair and honest election, and a warrant is put out for his arrest.

No comment.

As things continue to deteriorate in New York, what with the public executions, internment camps, and so forth, The Master decides a distraction is required. At this point he could have wrecked a train full of toxic chemicals in Ohio and I wouldn’t have been surprised, but instead he bombs a dam in neighboring Pennsylvania to the same effect. 

Spoiler: In the end The Spider wins.

I loved these stories for their slam-bang, breathless action. And it shouldn’t have to be said that this is about as “America! F-Yeah!” as Norvell Page could get at the time. Guns are essential. Liberty is everything. There’s an amazing scene where The Spider leads a town into the fray and they spontaneously burst into “The Battle Hymn of the Republic.” 

It’s like Batman meets Braveheart!

In the final story, Scourge of the Black Legions, The Spider discovers (SPOILER!) that the man who controls the technology is The Master. Shocking. While The Spider is able to use this new tech against The Master, he’s only successful because he taps into the citizens' American values and builds a culture that can’t help but celebrate and defend them. As The Mandalorian would say, “This is the way.”

Was Norvell Page a sage?

Not really. There are only so many ways that things can be done, but in the limitless reaches of the human imagination anything can happen. History repeats itself because people never change, and as long as artists pursue truth every so often they’ll appear to predict the future. Which is clearly what happened here. Now we need to ask, if Page was right about the development of the problem, might he also be right about the solution?

I think yes.

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Tuesday Update

New article is on the way, but I'm feeling too overwhelmed to crank it out.

00:01:17
Update!

I cover it in the the video, but I've got some new professional writing opportunities coming up and I'm trying to finish my next novel, all while navigating a change in schedule. So look for more pictures and videos, and new articles here on Tuesdays and Thursdays.

00:02:47
He Who Rides on the Clouds - Conclusion

Leo and Britt come face to face with a prehistoric god a new cult on Saturn. Can they save the children doomed to sacrifice and escape?

He Who Rides on the Clouds - Conclusion
He Who Rides on the Clouds - Part 2

Leo and Brittany have arrived on Saturn, but not in the way they'd hoped. Captured by a pagan cult, they don't have time to stop the unthinkable from happening. But they'll try anyway.

Content warning: language and sexual situations.

He Who Rides on the Clouds - Part 2
He Who Rides on the Clouds - Part 1

Star Wars is dead and the more apathy you show the faster it will be allowed to rest in peace.

Instead of griping about what Disney has done, why don't you listen to my space adventure story? He Who Rides on the Clouds is supernatural noir that spans space and time. When children on Mars go missing, Alexis Leonard and his ex-wife Brittany go looking. Their search leads them to a pagan temple and an ancient religion.

If you'd like to buy the story and read ahead, it's available in the Fall 2020 issue of Cirsova, available here: https://amzn.to/3yRRywY

He Who Rides on the Clouds - Part 1
No Posts This Week

Hey everyone, with BasedCon coming up this weekend I'm busy catching up on things and getting ready to go. But I'll be back next week with lots of new thoughts!

Big Changes Ahead

Hey Friends, I've got some big life changes on the horizon and should be able to create more content. What would you like to see? More fiction? More fitness? Maybe you'd like more video or audio content. Let me know in the comments.

Also, if you aren't a paid subscriber, what would get you to pay $5 a month?

Is Ladyballers Doomed from the Start?

The most honest analysis I've seen.

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Girl-Power Isn't the Problem: Stop Treating Movies Like TV Pilots

Last weekend I was able to sneak off the theater for a screening of From the World of John Wick: Ballerina. Did I feel silly, telling the high school girl at the ticket counter, “One for Ballerina, and a small drink”? Well, not in the moment. 

I probably drank a liter of cherry vanilla Coke Zero, and that didn’t feel so great.

Plenty of box office analysts and Hollywood types are wracking their brains, trying to figure out why movies like Furiosa and Ballerina aren’t drawing huge crowds. Mad Max and John Wick are popular franchises, but apparently telling the stories of the women in those worlds isn’t working. Even if the movies are pretty good.

I’ve seen both, and they’re pretty good.

Some are arguing that no one will go near a movie that looks like it’s feminist girl-bossing. Others counter that movies like Alien and Kill Bill are female-led action films that were successful. Now, I’m not going to say that Ballerina is on par with those modern day classics. But I will say that, as a man watching the movie, it didn’t offend me. The movie never challenged me to confront any internalized misogyny. The small girl doesn’t take down John Wick in hand-to-hand combat.

Honestly, if you like franchise, whether you’re male or female, you should watch Ballerina.

In short, from a purely cinematic experience perspective, neither Furiosa nor Ballerina would be any better or worse with a male lead. Maybe that’s a hot take. But that’s mine, for whatever it’s worth. Well, okay, I wouldn’t watch a movie called Ballerina if it stared a dude. Nevertheless, I think you get my point. Petite women warriors aside, the plots and action are exactly as expected.

So what’s the deal?

Well, what no one seems to have noticed is that Ripley and The Bride weren’t replacing anyone. As we were watching their movies for the first time, we weren’t thinking about other characters for whom we already had a preference. Movies are more like TV than TV right now, and replacement characters have always been a hard sell, regardless of gender. We all remember Sam and Diane. Who still talks about Sam and Rebecca (even though Kirstie Alley won an Emmy and a Golden Globe for the part)? I had to look up her name. 

No, they aren’t technically replacing them. It’s a spin-off, set in the same world.

Spin-offs tend to succeed when the characters are already well established (eg: Frasier). Furiosa and Ballerina are more like backdoor pilots, where new characters are dropped in for a single episode to sell us on the idea of a new show. This technique is very hit and miss on TV, and I can’t think of a single example of this working in a movie franchise. Film and television are very different mediums, and should be treated as such.

Still, if it doesn’t work on TV, it’s probably not gonna work at the movies. Not where new characters and spin-offs are concerned. 

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Going Back to 1995

Maybe I’m just getting old, but it doesn’t feel like we had the thriving and distinct pop culture of past generations. Has there been a look or stye, or feeling, that defines this moment? Everything seems to have stagnated for the last twenty years. And it’s not as if I don’t pay attention. 

It’s making me nostalgic. 

Consequently, for the rest of the year, I’m prioritizing movies from 1995, the year I was twelve. At that time, my family didn’t really go to the theater, and when we did rent VHS tapes, more often than it is was older Disney movies or entirely forgettable Christian titles. Now that I’ve grown tired of trying to keep up with new releases, not there’s much worth watching anyway, it feels like a good time to catch up on those 30 year old movies that have become ingrained in what’s left of our pop culture.

So over on Criticless, I made a list.

Some of these are movies I’ve seen before, but not in a long time. Others will be first time watches for me. There’s really no rhyme or reason to what I put on my list. It’s just movies that either interest me, or are currently in my collection, sadly unwatched. As things become available on streaming, I may add to the list. And if I don’t get to everything before the end of the year, no big deal.

Hopefully, they aren’t going anywhere. 

I’ll be posting some reviews and analysis as I go, so be sure to follow me here. 

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Ironheart and Superman: A Failure to Launch

Yesterday two trailers were released for upcoming superhero projects. First, we had Marvel's Ironheart, which Disney has been sitting on for years at this point. Apparently it follows Riri Williams (Dominique Thorne), a young black woman at MIT who is (was?) intended to take over for Tony Stark as Ironwhathaveyou. If you haven't seen the trailer yet, take a look.

I stopped paying too much attention to the MCU a long time ago, but apparently Riri was introduced in Wakanda Forever, and her fans have been clamoring for a standalone show ever since (/sarcasm). Watching the trailer, I can't help but notice how many times we're told she's smart and capable. Any suggestion that she can't do something is shot down immediately. We're supposed to believe that The System is against is her because she's poor, I guess, and doesn't have Tony Stark's advantages.

Remember Tony Stark? Sure, he was rich. But he was also a self-absorbed man-child who found himself in a cave in Afghanistan who had to engineer his own escape with scrap parts. Tony Stark, who had to learn about self-sacrifice and the consequences of his actions. Robert Downey Jr. make us like the guy, with his easy charm, even though we wanted to see him grow up. There was room for a character arc. No offence to Dominique, but she doesn't have the charm, and her character clearly has nowhere to go.

A few hours later, Warner Bros./DC released the trailer for James Gunn's Superman, the latest reboot of the iconic superhero. We've been waiting for a good Superman for a long time. Something to reunite the fans, the casually interested, and possibly the entire country. And to be honest, I don't think this is gonna do it. Take a look.

Before I go any further, I want to spin my theory on the interview scene, which is a little different from what I'm hearing from most anyone else. Notice how David Corenswet pitches his voice really high when he says, "Sure!" At this point in the movie, I don't think Lois (Rachel Brasnahan) knows that Clark is Superman, and thinks he's just playacting. But when Clark drops his voice, he's showing his cards a little bit. Then, when he completely loses his cool, he's just acting how Lois thinks Superman would respond. In context (the scene is reportedly ten minutes long!), it might be interesting. Out of context, in a trailer, it's a stupid decision.

Throughout the entire trailer we see Superman smacked around, knocked out, screaming out in self-defense, and made fun of for having a dog. There are some super-heroics, to be sure, but they're mitigated by the overwhelming amount of thrashing he takes. Unlike Riri, I guess he's got some room for growth. But it doesn't inspire me to see the movie. Some are defending this approach, suggesting that someone with such a clear cut understanding of right and wrong would be frustrated and confused by our complex, political climate. And I agree. But his moral compass and grace towards an unfair world should have been set before leaving Smallville and going out into the world.

So on the one hand, we've got a flawless female character. And on the other, we've got an immature Superman. Neither character is attractive, warts and all. Neither character is relatable or inspiring in the ways the filmmakers intended, as presented. Maybe the show and movie will be good. But someone else will have to let me know. Because right now, I'm not inspired to see either one.

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