The Cultural Gutter

dangerous because it has a philosophy

"We are all in the gutter, but some of us are looking at the stars." -- Oscar Wilde

“Mad As Hell: Thoughts On Aaron Sorkin”

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At Asking The Wrong Questions, Abigail Nussbaum writes about Aaron Sorkin, the “Oh Shenandoah” episode of  Sorkin’s The Newsroom, The Newsroom writer Alena Smith and women speaking out about their experiences. “What we’re seeing here is Aaron Sorkin becoming an Aaron Sorkin character, making the same arguments as Don.  In his conception of reality, a […]

Interstellar and a certain kind of science fiction

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Abigail Nussbaum considers Christopher Nolan’s Interstellar at Asking The Wrong Questions.  “As much fun as it is to watch this sort of story–and the enjoyment is only increased by Interstellar‘s refreshing rejection of Hollywood’s standard save the cat story template, with multiple complications and decision points that give the film an almost novelistic feeling–there’s no […]

4600 Words on Reamde

Over at Asking the Wrong Questions, Abigail Nussbaum takes on the task of figuring out Stephenson’s Reamde. Like this:Like Loading…

Star Trek: The Next Generation: To Boldly Stay

In her series of essays looking over the entire run of Star Trek: The Next Generation, Abigail Nussbaum gets to a more pround change from the original Star Trek than tunic colors. By the second season, the Starfleet has decided to boldly stay within Federation borders.  “[I]t’s clear that The Next Generation became a better […]

The Superiority of Game of Thrones as a Show

Abigail Nussbaum writes about how television has improved George R. R. Martin’s Game of Thrones. ” I can think of no response that more thoroughly encapsulates how much Game of Thrones improves on Martin’s novel–the same death that left me yawning on the page when I only suspected it was coming, riveted me on screen […]

The Encyclopedia of Science Fiction

The Encyclopedia of Science Fiction, 3rd Edition will be free online, according to Abigail Nussbaum, who’s been writing tv entries for the encyclopedia. Like this:Like Loading…

Home Stretch

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I have a theory that television shows get a lot of practice in the cliff-hanger, in hooking the viewer to come back next week, but almost zero experience in creating satisfying endings. Structurally, commercially, the need for such a thing just doesn’t compute. A few genre shows in the throes of concluding long-term stories right […]

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    Watch Nigerian writer and director Nosa Igbinedion’s Oya: The Coming Of The Orishas here.

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    At Bitch Media, Sara Century wonders why Michonne isn’t in charge and considers which medium is better for the ladies of The Walking Dead: comics or tv. “As I was thinking about the numerous questionable writing choices made with these could-be-so-great female characters, I got to wondering, which medium is better for the ladies of The Walking Dead: the TV show or the comic? In other words, which one is less sexist?

    I wrote up a short list of the main female characters that appear both on the show and in the comic to decipher the differences in how these women are written. These descriptions contain spoilers through season five of the TV show, because it’s impossible to write about The Walking Dead without talking about how people die all the time.”

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    Vixen Varsity shares Olufemi Lee-Johnson’s tribute to Milestone Media and Dwayne McDuffie. “For the first time in my life, I was around comic writers of color telling stories that mirror or surpassed the storylines of America’s favorite heroes. Icon dealt with being the ultimate immigrant and not understanding current black culture. Rocket (Raquel Irvin) was his guide, but also aspired to be more than just a woman in the projects. Static (Virgil Hawkins) was just a normal teenager dealing with fitting into school and then was put into this extraordinary circumstance of being a hero. Hardware (Curtis Metcalf) wanted respect from his mentor, but later learned about the bigger picture when it came to being a hero and the characters from Blood Syndicate…they were just trying to make it day by day and maintain their respect as a gang.”

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    At Soundcheck, John Schaefer talks with Jim Jarmusch about “making music for someone else’s films, and a penchant for walking the tightrope between narrative and abstract art in his own movies. And if you thought his C.V. was looking a little thin, Jarmusch is also working on an upcoming opera about the Serbian-American inventor Nikola Tesla, with Robert Wilson and composer Phil Kline.” (Thanks, Kate!)

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    Alex Deuben interviews artist Nate Powell about the second volume of The March and working with Rep. John Lewis and Andrew Aydin. “We are taught — and we tend to perpetuate this myth — that the Civil Rights Movement was nine words long: ‘Rosa Parks, Martin Luther King, I Have a Dream.’ I think what you’re saying really backs up that notion. In terms of John Lewis’ personal journey, ‘Book Two’ is certainly a deepening of discovery and involvement. Not just a worldview broadening, but becoming much more personally aware of the counter-escalation to any progress that the Movement made.”

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    At Vox, Alex Abad-Santos interviews Kelly Sue DeConnick about feminism, raising girls and her new comic, Bitch Planet. “DeConnick says Bitch Planet, which debuted late last year, is her take on the exploitation films she loved as a kid. The sci-fi prison saga is confident, slick, and hilarious on multiple levels. But it also vibrates with frustration over the sexism still alive today and the impatience in wanting to eliminate it.”

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