Asking the Wrong Questions

Somewhat surprisingly for a film that has so little time (and possibly also inclination) to explore any interesting ideas raised by its premise, Infinity War has resulted in a rather vibrant conversation.  I'll say from the outset that most of the links I've collected proceed from the point of view that the film is at the very least flawed, if not genuinely bad.  This is probably my selection bias speaking, but I really haven't seen any interesting positive discussions of the film--any in-depth engagement with it, it seems to me, must inevitably grapple with the film's myriad, foundational flaws.  Also rooted in my own preoccupations is the fact that a lot of these links end up talking less about the film, and more about how it exposes some uncomfortable truths about how Marvel sees its franchise, its long-term goals, and its audience. Of the mainstream reviews--that is, those prohibited on pain of death of discussing the film's ending, AKA the only thing that i...

My latest Strange Horizons review looks at E.J. Swift's time travel novel Paris Adrift .  I've been hearing Swift's name spoken with admiration for several years now, as more and more readers I trust became absorbed by her Osiris Project trilogy ( Osiris , 2012; Cataveiro , 2014; Tamaruq , 2015).  As a standalone, Paris Adrift seemed like a perfect opportunity to hop on, but unfortunately what I found was a classic case of what is good is not interesting, and what is interesting is not good.   Paris Adrift is a rather slight story of a lost young person becoming even more lost when she discovers the ability to travel in time--the sort of thing that would probably have worked very well as a novella but is stretched into shapelessness by the novel length--combined with a political story that doesn't really bear much scrutiny. It's perhaps unsurprising that a novel so rooted in the notion of special people will also filter its politics through the lens of great m...

My latest Political History of the Future column takes the opportunity of the BBC having released a miniseries adaptation of it to discuss China Miéville's The City & The City , a novel about two cities that exist side-by-side but have erected a convoluted mechanism of psychological self-deception to "unsee" one another.  When I reread my 2009 review of the book, I was struck by how much it emphasized Miéville's poking at core fantasy tropes over what feels now like a blatantly political premise.  But as both that review and the miniseries have reminded me, that imbalance exists in the book itself. despite a surface feeling of relevance, the premise of The City & The City doesn’t map to any real-world political situation. Unseeing isn’t a way of ignoring an inconvenient or ugly reality, but a hefty psychic burden that the citizens of the two cities undertake out of ingrained habit and fear of retaliation. And despite multiple attempts to read it as such by...

#AvengersInfinityWar is the DC superhero movie of the MCU. — Abigail Nussbaum (@NussbaumAbigail) April 28, 2018 For the last ten years, Marvel Studios has been doing the impossible.  Just look at the list of decisions they've made on the road to total dominance of the movie box office, Hollywood's action-adventure machine, and sizable chunks of the cultural conversation.  Every one of them, at the time it was made, elicited loud cries of "why?", and more importantly, "how?"  How can Marvel create a movie universe without the rights to tentpole heroes like Spider-Man and the X-Men?  How can they launch their new franchise with C-list weirdos like Iron Man and Thor?  How can they create a successful team-up movie combining the heroes of five previous films?  How can they incorporate genuinely out-there concepts like the Guardians of the Galaxy, Doctor Strange, and Ant-Man into their burgeoning cinematic universe?  How can they re-incorporate Spider-...

Avengers: Infinity War is just around the corner, which in some way feels like the true beginning of 2018's movie year.  We've mostly wrapped up last year's Oscar hopefuls, and the more experimental action-adventure fare of the year's early months, and now it's time to get down to business.  I'm not feeling terribly hopeful about Marvel's fourth attempt to wring a coherent dramatic work out of mashing all of their characters together (on twitter, I did the traditional thing and ranked all the MCU movies, and the team-up movies all ended up in the bottom half of the list) but I do think it offers a useful opportunity to sum up the last few weeks' movie-watching.  This is probably the last batch of "grown-up" movies to reach my part of the world for several months, so this is also an opportunity to look fondly back before world-destroying mayhem takes over our screens. I, Tonya - A semi-mockumentary about the rise and fall of competitive fig...

Just in time for its third season premiere on Wednesday, I dedicate my latest Political History of the Future column to The Expanse , a show with tremendous potential as a piece of political storytelling that is mostly being squandered. I haven't written about The Expanse since I reviewed the first few episodes, and the impressions I formed then have mostly persisted--the worldbuilding is still great, the production values are still amazing, and the story is still pretty dull.  And, as I observed back then, the show's tendency to downplay the importance of popular organization has led to some frustrating blind spots.   The Expanse has a premise that should naturally lend itself to depictions of labor unions, political parties, and liberation struggles, but like a lot of Hollywood products it is reflexively suspicious of all such bodies.  It thus falls into the traps of dividing the underclass into those who suffer passively, and are to be pitied, and those who act, ...

The first reading roundup of 2018 covers an eclectic bunch of books, some of which I really liked and others I found pretty meh.  It veers back and forth between rather experimental fare and stuff that sits squarely in the mainstream of literary fiction.  It's not the best possible start to the year, but it's a solid one, and one that reminds me that being adventurous in my reading usually pays off. Wonders Will Never Cease by Robert Irwin - Part literary fantasy, part historical fiction, Irwin's novel takes as its subject Anthony Woodville, a 15th century knight, courtier, and scholar whose sister Elizabeth's marriage to king Edward IV destabilized the tentative peace achieved after the initial York victory in the Wars of the Roses, and set in motion a chain of events that left both sides in the dispute decimated.  I've written in the past about the different approaches that historical novelists have taken to this period, and more generally , about the way tha...