Category Archives: War of the Worlds

Review and analysis of adaptations of HG Wells’s “The War of the Worlds”

Deep Ice: The Aliens possess the means to make us block out the incident (DG Leigh’s Sherlock Holmes vs. The War of the Worlds)

It is November 27, 2015. In France, a memorial service is held for the victims of the November 13-14 attacks. Earlier this week,Turkey shot down a Russian fighter jet. Stateside, Robert Dear shoots up a Planned Parenthood clinic, killing three. Because he was a white man, the news never once described him as a terrorist, and indeed Fox spent a few hours claiming it was actually a robbery gone wrong because he’d mistaken the clinic for a bank or something. Though SWAT teams were used to bring him in, he was taken alive, and isn’t even in jail, since he was deemed incompetent to stand trial, again, because white.

Earlier this week, reporter Serge Kovaleski was mocked by GOP hopeful and costar of the 1989 film Ghosts Can’t Do It Donald Trump for his physical handicap. This was widely considered to be the end of his political career. I’m going to just lay down and cry for a bit.

Creed, eighth film in the Rocky franchise (Rocky, Rocky II, Rocky III, Rocky IV, Rocky V, Rocky Balboa, The Rocky Horror Picture Show), premiered this week. So did the James McAvoy/Daniel Radcliffe bomb Victor Frankenstein. Shaun the Sheep is released on home video. One Direction takes Artist of the Year at the AMAs, Taylor Swift’s “Blank Space” takes Song of the Year. Adele’s 25 has the single best sales week for an album ever. Correspondingly, “Hello” continues to to hold the top spot on the Hot 100 for the third week in a row, and it’ll stay there for the rest of the year. I won’t bother you with the rest of the top ten since it was only like a year and a half ago. It’s got Drake and Bieber and Taylor Swift, because of course it does. The Game Awards are next week, where The Witcher 3: Wild Hunt will be named best game, while Her Story will get Best Story and Best Character Performance.

I release this Tales from /lost+found. This is weird. Real Doctor Who airs the penultimate episode of series 9, “Heaven Sent“. I liked it; it’s kinda when I started the healing process toward finding a new way to like Doctor Who. Not like I used to, but, like, some. Chris Evans announces the return of Top Gear next spring with himself as the new presenter following the, ahem, retirement of the previous hosts. Matt LeBlanc’s addition to the cast is not yet revealed. In the US, Superstore will be premiering this week, while Minority Report is ending. Power Rangers Dino Charge airs “Wishing for a Hero”, which introduces the characters of Hekyl and Snide, who will become the Big Bad for much of the following season. I don’t watch a lot of TV any more, so I’m not really up on what’s airing. I guess they based a TV series on Limitless? We’re so close to the present day that Chris Brown is Trevor Noah’s guest on The Daily Show.

And D. G. Leigh releases an ebook titled The Massacre of Mankind: Sherlock Holmes vs. The War of the Worlds. Or possibly Sherlock Holmes vs. The War of the Worlds: The Massacre of Mankind. It’s rendered one way on the cover and the other way on the page headers. But never mind that, it’s Sherlock Holmes fighting the Martians. Fuck. Yeah.

Y’know how last time I was expecting The Last Days of the Thunder Child to be crap and it turned out to be good? Yeah, that’s not happening this time. This book… Okay. This book is not irredeemable. In fact, it’s got a cool premise, it’s well-engaged with its source material, the plot is fairly solid, and frankly, there’s really only one thing wrong with it.

Unfortunately, that one thing is the writing. The writing is bad. The writing is very bad. Sentences so frequently omit such niceties as subjects or verbs, to the point of sounding downright telegraphic at times. And the word choice is frequently wrong, such as “beneficiary” for “beneficial”, or the charmingly off-kilter, “The delicious soup didn’t satisfy the hungry I had growing inside me.”

It’s so clumsy that you almost could’ve saved it with the right conceit. The prologue explains that this is one of those cases that Watson had held off publishing for fear of, “Thus diminishing both mine and Holmes’ creditably but now my companion’s brilliance is legendary fact I consider our reputations safe and firmly respected for me to reveal the most astounding case file of them all.” (The sentence actually does begin “Thus”. Like I said.) In Holmesean scholarship, it’s a common conceit to pretend that the Sherlock Holmes stories really did happen, and rather than writing works of fiction, Sir Arthur Conan Doyle acted as a literary agent for a real Dr. John Watson. Now, some people view Doyle, in this model, as little more than a middle-man, but others propose that he really was a legitimate writer, responsible for the heavy lifting of tooling Watson’s case notes into a narrative, albeit with the occasional misstep such as relocating Watson’s war injury from time to time.

Leigh could have bought himself some goodwill, then, if he’d framed this story as one that The Literary Agent had passed on, forcing Watson to publish his own unpolished words. While it might not have made the book less cumbersome to read, it would’ve been a cool idea and helped to account for the fact that, while Leigh has his Sherlockiana down pretty solidly, he’s not even close to emulating the narrative voice of the Canon.

We start out with a forward that isn’t especially promising, but does give us an honest sense of what we’re getting:

This is a serious and intelligent interpretation and not a comical fusion of two classic genres. Using pivotal sequences portrayed in Wells’ masterpiece, we’ll accompany Holmes & Watson as they experience and tackle the horror of a full scale Martian invasion. Includes new plot twists with updated science.

Y.Yay? He goes on to do something that sends up a bit of a red flag for me. He offers a kind of glossary of two terms he’s “not happy with”. One of them is “Underground” to describe the London subway system. He’s unhappy because the Underground technically refers to a later incarnation of the London subway system, and the one in use at this time is more properly the “Metropolitan Railway”, but he’d feared that readers would be confused and not get that he was talking about a subterranean train system.

The other word he apologizes for is “Darkie”.

G’head. Let that sink in. He was exactly as bothered by being “forced” to use a racial slur for the sake of, ahem, historical accuracy, as he was about being “forced” to use an anachronistic term for a subway system. It’s one stupid throwaway line, too, that comes up in the context of someone mistaking the Martians for an unlikely counter-invasion by one of the African nations nineteenth-century Europe had been exploiting. It doesn’t have to be there, it adds nothing, and if he really were as unhappy about using the word as he claims, he could have just not used it.

And I haven’t gotten to the story yet. As the foreword explains, this is a retelling of Wells’s story, hitting on many of the famous scenes, but re-imagined in the style of a Sherlock Holmes story. And there is some solid imagination behind it. The general story feels like a very legitimate candidate for “How would Holmes behave if he were thrust into these events?” even if the actual text itself doesn’t work.

So how do you approach Sherlock Holmes in The War of the Worlds? Rewriting the story so that Holmes is actually responsible for the Martian defeat is a possibility, of course. It’s been done before, in books I may or may not get around to. But what Leigh does strikes me as somewhat more interesting. He sticks to the plot of the novel: the Martians are felled by common bacteria, through a lucky break for humanity. Holmes himself is largely powerless against them. Holmes’s genius, then, is directed not toward defeating the Martians, but more straightforwardly toward survival. Despite the “vs” of the title, this is less a story about Holmes taking on the Martians, and more a story of Sherlock Holmes using his great intellect to survive an apocalyptic scenario.

The major divergence from Wells’s novel comes with Watson’s assertion that the Martian invasion was covered up by the British government. “The August invasion got officially documented by our trusted scholars as the Great London Hurricane of 1894. The millions that perished died from an outbreak of cholera as a direct result of the storm’s aftermath.” The cover-up is implied to be motivated by a desire to keep secret the recovery of Martian technology, which Watson fears will resurface in the twentieth century as weapons of war. The impossible scale of the cover-up is facilitated by Leigh’s alteration to the nature of the black smoke. Rather than being deadly, it is imagined as an “amnesia gas”. Holmes, in the first of many places where Leigh drops in an adroit reference to Holmes arcana, likens it to the smoke used by beekeepers. The smoke pacifies anyone who breathes it, allowing the Martian handling machines to collect humans with ease for consumption (Rather than simply drinking human blood, Leigh’s Martians are described as pureeing their victims’ whole bodies). And I find it interesting that even this change is presented in a way that you could imagine Wells’s version as being an honest mistake: that another observer might see the smoke released, see only dead bodies remaining when it dissipated, and draw the obvious conclusion. There are other additions in a similar vein: the aliens are said to emit a sound which humans find subtly enticing. Holmes likens it to a dog whistle. I get the impression that Leigh wanted to reconcile the fact that the Martians are interested in harvesting humans for food. There’s some friction in the original book between the fact that the Martians clearly came with the intention of harvesting humans for food and their wholesale wanton slaughter of humanity. So Leigh’s Martians, though as deadly as ever, slightly modify their tactics toward harvest rather than slaughter.

Holmes, of course, recognizes the impending invasion from the time the flashes of the Verne Gun first become visible on Mars. He calculates that they are too regular to be a natural phenomenon, and more, that the slight variations in timing correspond to the gun tracking Earth as the planets pass each other. (I will apply greater Holmes arcana, though, and note that canonically, Holmes doesn’t know shit about astronomy because he can’t be bothered to waste space in his brain with anything he doesn’t think will be relevant to casework) Watson is slower to believe, and claims that, “The chances against anything manlike on Mars are a million to one.”

Holmes also fails to find a receptive audience when he drags Watson to the Greenwich Observatory. They meet Ogilvy, and Watson recognizes something of Holmes in the brilliant, addled astronomer who’s been without sleep for days as he observes the unique phenomenon. But Ogilvy dismisses Holmes’s theory of an inhabited Mars launching an invasion, and is disappointed to conclude that the great Sherlock Holmes is a disappointment in person. He first objects on the grounds of Mars being lifeless — he does not contest the existence of alien life, but considers Mars an unlikely source of it. He then challenges the level of precision necessary to hit Earth from Mars via cannon, then the unlikely utility of attacking another planet with a single shot per night. On this point, Watson surprises himself by defending Holmes’s theory, citing from his own military experience that many guns firing simultaneously would look the same from their vantage point. Ogilvy also challenges Holmes’s certainty that such an action must indicate an attack, rather than a means of communication, particularly when Holmes calculates that the first projectile would arrive in three days.

Holmes’s theory is confirmed in part, though, when the Martian armada passes through a meteor shower, causing explosions visible on Earth. This is also Leigh’s explanation for the invasion limiting itself to England: without justification for knowing this, Watson claims that nine cylinders destined (or rather, “destine”) for France were destroyed.

The best weather in recent years, skies crystal blue clear. Our thriving world must’ve looked so appealing against the vast empty backdrop of space. The Martians regarded our Earth with envious eyes. Drew plans against us. So unbelievably close to their own stricken planet, what fortune.

Nice reference, but, I mean, you coulda just actually quoted the line from Wells directly. At least it would’ve been gramatically correct.

Watson assumes Holmes has been shooting up with heroin when he turns up at dawn the morning after the first cylinder lands at Horsell Common. This is… neither straightforwardly right nor wrong. Cocaine was Holmes’s drug of choice in the cannon, though he was known to use morphine on occasion. Since The War of the Worlds is set some time around the turn of the century, “Heroin” would still be a new drug: it had only come on the market in 1898 — it was a brand name owned by Bayer. It’s entirely reasonable to suppose that Holmes might have dabbled in an exciting new opium derivative, but there’s no direct evidence for it.

Watson allows himself to be dragged out to Woking, but does not pass along Holmes’s warning that his wife should flee the city and hide in the Yorkshire coal mines. They meet Ogilvy at the landing site, and the two geniuses argue over the provenance of the cylinder. Ogilvy suggests that it might be copper, to explain its green glow, though Holmes counters that copper’s melting point is too low for a copper meteor to survive reentry. Ogilvy’s objections seem weak at this point, since the cylinder is clearly manufactured. Watson offers up the possibility that it’s a stray piece of ordinance from nearby Longcross — Leigh showing off some sound knowledge of the relevant geography and history, and again referencing Watson’s military background. But he’s so obviously wrong that he doesn’t even convince himself.

One of Leigh’s more interesting innovations on canonical characters is how Ogilvy reacts when the Martians emerge from the cylinder, mooting the question of its origin. Seeing absolute evidence of life from Mars coming to Earth. Ogilvy does an about-face, and this brilliant astronomer draws what he thinks is the only possible conclusion:

He reckons the Martians are Nephalim.

Yeah.

“I understand completely.” Ogilvy’s face beamed with enlightenment. “My whole life I’ve studied the heavens. God left us originally on Mars. When there was still a breathable atmosphere, that’s why they went there first. Those were the flashes we saw. There wasn’t a flood that Noah had to navigate. It was a drought of oxygen. The Ark’s voyage came here, to Earth, carrying the seed of man.”

Hey, that’s an interesting thing for someone to conclude. Kind of an inversion of the Curate becoming convinced (particularly the Parson Nathaniel version) that the Martians are demons. There’s obvious parallels to Pastor Matthew from the George Pal film as well, and I kinda suspect that’s the main motivation for it, given that, for its flaws, Leigh’s adaptation is the one I like the best for not pretending it was birthed in a vacuum and homaging the breadth of its influences. Even so, it goes farther than anything else I’ve seen. Maybe it’s even an oblique reference to the Ray Bradbury story Mars is Heaven.

And does jack all with it. Ogilvy runs toward the ship and gets squished by a falling hatch when it opens up to disgorge the tripods and that’s the last we hear of this whole “Mars is Eden” thing.

Leigh makes a change to the tripod armaments. The normal heat-ray is present, of course, described as two funnels which alternate firing. But this weapon has a third funnel with a different function: “The demonic third tube. Nobody deserved to die like this. An almost invisible beam that disintegrates the human skeleton. Still conscious men collapsed in a heap. God sparingly this terminal metamorphosis was fleeting.” Perhaps a reference to the film’s “skeleton beam”? Watson witnesses a man reduced to jelly by the weapon and tries to comfort the dying, boneless victim. It never comes up again.

Watson twists his ankle during their retreat, and takes shelter along with Holmes in a hollow log, which gives them a vantage point from which to witness the rout. “What I’m about to describe will sound crazy,” says Watson, sounding nothing at all like Watson ever, but the tripods are basically made like that liquid metal Terminator, and their legs deform around obstacles rather than having to navigate them. Holmes pockets some beetles that are, like humans, drawn by the dog whistle sounds of the tripods and try to drink their legs. The liquid metal poisons the beetles, but also seems to irritate the tripod.

When our heroes finally make it to Woking, they luck into meeting up with a cameo by recurring guest star Inspector Lestrade, who’s escorting a VIP sent by the government to help formulate a defensive strategy. The VIP is a genius, a professor of high regard, from Whitehall, whose field of study includes the occult and unexplained and we all know who he’s going to turn out to be, right?

In Leigh’s continuity, this is the first meeting of Holmes and Moriarty, which is a reasonable adaptation, though in the canon, Holmes and Moriarty have both died and at least one of them has gotten better again by now. Well, maybe. I don’t think Leigh directly mentions the year. I’d been assuming the story was set between 1898 (The publication of War of the Worlds and time most often assumed in adaptation) and 1900 (The closest we get to an actual date in the text), with Watson’s reference to heroin by brand name affirming this. But Watson is married in this story, and his wife is named as “Mary”, and as it happens, Mary Watson died in 1894. She was his only undisputed wife, though there’s a variety of opinions among scholars as to when and how many times Watson married. So maybe Leigh is implicitly setting this invasion earlier?If Holmes suspects the professor, he doesn’t let on, though Watson is put off by Moriarty’s almost-admiring tone toward Martian technological prowess. Moriarty explains his charge: “An approaching cylinder shattered the windows at Buckingham Palace. Overshot London crashed into the Thames estuary [sic]. Vanished beneath the frothing waves before a line could be gotten to it [sic]. A second craft came to settle in Highgate Woods. That’s one of Her Majesty [sic] favourites. She’s not impress [sic] with it being flatten by an uninvited lout. That’s when I was appointed on her behalf. Make contact, establish a dialogue. That’s before the Martians fired on civilians.”

Watson is knocked unconscious by another Martian attack which interrupts the exchange of information between Holmes and Moriarty. Though Lestrade had high hopes that an organized military counterattack would stop the Martians, these tripods are equipped with a “bell jar barrier”, which has to be a reference to the protective shields in the George Pal movie. Moriarty is seemingly killed fleeing the attack. Though Holmes wants to withdraw to the Isle of Wight to formulate a battle plan, he abandons the plan to accompany Watson back to London when his friend reveals that he hadn’t passed along Holmes’s warning to Mary. Holmes proposes they sneak into London via the Underground (There’s that word Leigh didn’t like), “Right under their feet.”

Continue reading

Deep Ice: Standing firm between them, there lay Thunder Child (CA Powell’s The Last Days of Thunder Child)

It is December 28, 2013. Dylan just turned two, and we just celebrated his third Christmas. I think this is the year I somehow damaged my leg to the point where for the next three months, every time I stood up, ten seconds later, I’d get a crippling pain like I’d been shot through my calf. I think most of the rest of my family had a good Christmas. Dylan’s fairly verbal now. A couple of weeks ago we had a cute little incident over some candy and a boo-boo.

Wars continue in Syria and Afghanistan, and there’s continued protests in Egypt following the coup d’etat and the ouster of President Morsi. And, of course, Iraq. Police in Newton, Connecticut release a batch of information about the Sandy Hook Massacre a year earlier. All chance of meaningful reform of our gun laws dies forever when we decide that even the murders of a score of children by a 20-year-old man-child is just something we all have to live with in order to avoid cutting into the profit margins of gun manufacturers or the racial paranoia of white people. Yes, I am angry. This will probably be a theme whenever we drift too close to the present.

James Avery, best known as Uncle Phil on The Fresh Prince of Bel Air and as the voice of the Shredder in Teenage Mutant Ninja Turtles, will die this week. Ronda Rousey will retain the UFC middleweight championship title by defeating Miesha Tate. Ice prevented the Chinese ship Xuě Lóng from rescuing the Russian research vessel Akademik Shokalskiy, which has been icebound in Antarctica since Christmas. Xuě Lóng would become trapped in the ice itself during rescue attempts, but both vessels would eventually break free on January 7.

Eminem and Rhianna hold the top spot on the Billboard charts for the second week with “The Monster”. Also in the top ten are Pittbull and Ke&dollarsign;ha with “Timber”, OneRepublic with “Counting Stars”, A Great Big World and Christina Aguilera with “Say Something”, and Lorde with “Royals”.

Chris Pine just became the fourth Jack Ryan in Jack Ryan: Shadow Recruit. It’s probably the most interesting thing to happen in the world of film this week, unless you’re one of the people who liked The Secret Life of Walter Mitty. Chrismas, you know. Not a lot going on. Final Fantasy III comes out for Windows Phone. Good Morning America host Robin Roberts comes out of the closet. Bryant Gumbel and Jane Pauley return to Today this week, and Soapnet goes off-the-air. Nikita, the fourth or fifth adaptation of the 1990 French spy-action thriller La Femme Nikita, ends its run. Power Rangers Megaforce aired its last episode, “The Robo Knight Before Christmas” a couple of weeks ago. It’s one of two seasonal episodes that aired after the proper season finale because Nickelodeon wanted Halloween and Christmas episodes. And, yeah, can’t let it go unmentioned, Matt Smith bowed out of Doctor Who in “Time of the Doctor”, an episode that I haven’t actually watched yet, here on December 28, 2013. I’m putting it off because I’m afraid of what it will do to me if this thing which has always given me joy in my life when I needed to have something to look forward to and feel better no longer brings me any joy. (Spoiler: it doesn’t).

But enough of that. We’re here now because of the first book I ever bought for the Kindle, on account of it wasn’t in print at the time. The Last Days of Thunder Child (Victorian Britain in Chaos!) is yet another retelling of Wells’s story, this time from the point of view of the crew of HMS Thunder Child, the torpedo ram which succeeded in providing one of humanity’s few victories against the Martians.

We begin with this oddly-phrased preface:

June 1898:
From HG Wells WAR OF THE WORLDS

They really came and this is the alternative history of that coming. Let us join the crew of H.M.S. Thunder Child as she prepares to embark upon her doomed voyage—before her demise and courageous battle with three Martian tripods at the River Blackwater in the county of Essex, England.

The obvious problem with this endeavor is that the Thunder Child incident in the novel is… Pretty brief. Even the song’s not that long. The Thunder Child shows up, shoots one Tripod, rams another, then gets sunk. Thunder Child actually can’t get involved until the very end of its story. You may be predicting that this book is going to be pretty slow getting started.

And you’re right. In fact, for the first couple of chapters, it looks for all the world like this book is going to spend the overwhelming majority of its length just being a litany of the abuses heaped upon Boy Seamen in the Victorian-era Royal Navy, with all the rum and sodomy that implies. I was all set to write a scathing article about the book being a dull slog that was mostly about the author showing off his historical acumen (Powell is the author of four books, all of them historical adventures) But as it goes on, an actual story does develop.

But not, curiously, on the Thunder Child. See, Powell’s solution to the conundrum set up by the plot constraints is to alternate chapters between Thunder Child and ashore. Thunder Child spends most of the book hanging out off the coast, doing boring slice-of-life nineteenth century Royal Navy stuff, while on shore, a mid-level government man wanders up the coast having narrow escapes from the Martians in a way that sort of mimics the structure of Wells’s novel, though with quite a bit more excitement.

The downside to this approach is that the actual meat of the book is largely segregated from the thing the book is actually about. It’s not a complete tangent, though. The Thunder Child‘s last stand was made in defense of civilian steamers fleeing with refugees. So as we follow Thunder Child on its slow march toward destiny, the other half of the story is bringing us into position on one of those civilian ships, and that’s an ultimately clever move in that it gives us a very personal attachment to the people that the Thunder Child is going to ultimately die for. Possibly too strong an attachment; I ended up caring much less about the men sacrificing their lives than for those who were saved. The characters from the two halves of the plot only interact in the epilogue.

Mister Albert Stanley, of the Ministry of Defense, comes off at first as a bit of an officious windbag. His physical description makes me think of one of those awful fathers in British fiction who ends up getting thrown out by his son in the end, or blown up by touching a piece of evil or something. He’s balding and pinkish and big-nosed, and described as always imagining, “There was another him lavishing praise upon himself, while in the background, his proud old mother looked on with the appropriate smile.

But he shapes up quickly once he’s thrown into it, and its his side of the plot that is the more interesting bit. I should qualify that by saying that it’s the most interesting bit for me. Because the other half of the book, I think, isn’t bad or anything, but it’s targeting an audience that I’m not a part of. The main characters — though we end up spending a lot of time away from them and with the Captain instead — are a pair of young seamen, Perry and Jolly. They’re kind of wet and the first third of the book or so is about them being a pair of fuckups who spend a lot of time making the Quartermaster angry and getting in trouble. But they’ve got an arc to them, and their side of the book is mostly structured around them getting dumps of exposition about why things are the way they are in the Navy, and finding their respective places where they can grow and thrive. And it’s well-written, but it’s the sort of thing that’s very sharply targeting a naval history buff, which I am not.

He watched the surf erupt over the descending bow, drenching the deck’s capstans and anchor chains with slithering white foam that rushed out through hawse pipes and spilt over the side as the forecastle lifted again. […] Walking to the next stairway that descended from the main deck to the quarterdeck, he paused, thinking the vessel was most odd indeed. Almost like a Devastation class in looks, but too small. If she had one funnel, then she might be a Cyclops class, though he had to admit—her layout was more like that of a miniature H.M.S. Devastation…

Later on, Perry has a long infodump with Fancourt (a gunner who the narrative treats as important though he’s barely in the thing. I think. Confession: most of the Thunder Child crew kinda blend together for me) about the Thunder Child‘s unusual design and history. I think this section is probably easier to comprehend by someone more versed in Royal Navy history, but what I gather is that Powell’s version of Thunder Child was built during the transitional period between sail and steam, when ship-builders were trying out a lot of new designs and trying to work out what was best for this new generation of iron-clad steam-powered ships. I mentioned some time ago that torpedo rams turned out to be popular in the public consciousness, but never really caught on as practical ships of war in the real world. Powell uses this by having the Thunder Child be a bit of an unwanted stepchild of the Royal Navy for largely political reasons. He attributes large parts of its design to Cowper Phipps Coles, a real-world ship designer who’d pushed through some unpopular design concepts against the misgivings of some of his contemporaries on the HMS Captain, which subsequently capsized, taking Coles with it. Powell posits that Thunder Child had incorporated some of Coles’s designs, and that there had been a bit of a resulting embarrassment when it came out that one of the people who’d approved the design had previously spoken out against him over the Captain, so if anything had ever gone wrong with Thunder Child, there would have been a scandal over the Royal Navy having knowingly built a ship based on the flawed designs of a discredited designer. The ship is described as a “compromise” between the designs of the Captain, and the more famous and successful HMS Devastation, designed by Edward James Reed. The historical Reed had resigned in protest when Coles’s design for the Captain was funded over his protest.  So Thunder Child had spent her career on low-key duties and out of harm’s way, and staffed with officers who were similarly kind of embarrassing to the Admiralty despite not having done anything wrong enough to get court-martialed (One example is Commander Scott, who is said to have made enemies by pushing for better gun training and discipline to the point of insulting the general state of the navy’s gunnery). Though not the captain. They make a point of Captain McIntosh not knowing what he could possibly have done to get stuck on Thunder Child.

Also, Thunder Child is one of the last ships to still have muzzle-loading guns. This must be really important and interesting to naval history buffs, because they bring it up about a dozen times, with excruciating detail about how muzzle-loading guns work and how all the other ships on the Island of Sodor look down on poor little Thunder Child for having those nasty old-fashioned and quite possibly working-class muzzle loaders instead of proper modern English breech-loaders from respectable families in semi-detached houses. (Seriously, did you ever notice just how racist the engines are in Thomas the Tank Engine?).

Powell’s backstory for Thunder Child does a lot to justify the inclusion of this slightly weird technological dead-end  in Wells’s accounting, a justification more diagetic than “Wells clearly just thought torpedo rams were cool.” And it gives some justification for Thunder Child having a story in the war that keeps them at arm’s length until the critical moment.

What works less well is that we — well, me at least — never really get a fully clear idea of what Thunder Child‘s actual mission is or why it’s on it. Thunder Child spends the opening phase of the war patrolling up the coast, meeting with foreign ships, and wildly speculating, specifically ordered not to engage the enemy. Now sure, a ship with Thunder Child‘s provenance wouldn’t be the first line of attack, but why would one of the Royal Navy’s private embarrassments merit being sent out to liaise with foreign navies, or be given secret hand-delivered orders? There’s repeated references to Thunder Child being here because she’s considered expendable, but at the same time, her orders seem to be very specifically to stay out of harm’s way. The very explanation that justifies Thunder Child being away from the front precludes the sense of weighty destiny — characters even talk about this, that they sense that Thunder Child has some important fate in the stars for it — the narrative wants it to have.

This rough spot in Powell’s backstory also extends to the Albert Stanley side of the plot. On both sides of the plot, people ponder on the fact that Great Britain is disadvantaged here because so much of her strength is in her navy, which is largely irrelevant in the context of an invasion that literally drops down in the middle of the country from outer space. So why is the Ministry sending Albert Stanley — a minor paper-pusher — on a special mission to hand-deliver special orders to a slightly embarrassing ship that’s on its way to the scrapyard on the eve of an invasion? The question is raised, but never answered. And more, there’s a distinct sense that the government is taking action from an early stage, takes the Martian threat seriously, and is well-plugged-in to what’s going on. And this… Is a hard fit with Wells’s novel. As I’ve mentioned in the past, one sense I got from the original novel that rarely carries over to adaptations is that the Martians’ advantage came less from them being outright invincible, and more from the defenders being hampered by the sheer unthinkability of being attacked on their native soil by a technologically superior invader: a real sense that had the British been prepared and been quicker on the uptake, they might not have been able to defeat the invaders outright, but they could have at least avoided the utter rout they faced. Here, though, it seems like the government understood the scale of the danger early, and was taking proactive steps to prepare for it, and were just straightforwardly outmatched.So in the A-plot, Jolly and Perry get in trouble with the quartermaster for being fuckups, as I said, and while on a punishment detail, they overhear something they shouldn’t from the officers about the Thunder Child‘s mission, and end up basically being isolated from the rest of the crew for a few days to keep them from gossiping. And then, I wasn’t really clear on why, Jolly and Perry get in a fight. They lie transparently about it to the officers, Jolly claiming to have walked into a doorknob or something. But this, weirdly enough, actually ingratiates them, I think in that it it displays that the pair are starting to “get it” about life in the navy.

This is something interesting about the general arc of the naval stuff. It would have been easy enough to just depict the navy as straightforwardly hellish to the crew, full of abuse and sadism and the aforementioned rum and sodomy. It was the Victorian era, when being really unspeakably awful to people below your station was basically what powered the empire. But there’s something more subtle here. Now, I have no truck with the philosophy of forging bonds through abuse, but I can certainly accept it as a historically accurate thing for people to have believed. And heck, I went to my high school reunions, and I understand now that the distinction between victimizing abuse and fraternal hazing aren’t always clear-cut, particularly to the people on the receiving end. Powell moves his characters through a world where, yes, it’s par for the course for the new men to be abused by the old timers, but regardless of whether it’s right or fair, they do it under the belief that what they are doing to them is indoctrinating them into a family.

Quartermaster Middleton visibly warms to Boy Seaman (I’m never going to get used to that title) Perry in particular after his falling out with Jolly, and Perry spends most of the rest of the book finding his place assisting the signalmen (which, conveniently, lets the narrative stick with him and pick up the news as it is relayed by semaphore along the coast. Jolly, for his part, becomes closer with Boatswain Pickles and finds his place in the engine room.

Continue reading

Deep Ice: Gone. They’re all gone. (Howard Koch’s War of the Worlds II, Episode 3: The Tor)

Three episodes in and they still haven’t managed to show us the right planet.

Wanna know what the eight most beautiful words in the English language are? “I can’t find a copy of episode 3”.

I looked. I really did. This isn’t even a case of “Used booksellers were offering it for more than I was willing to pay.” I literally couldn’t find a copy up for sale anywhere.

To set things up a bit for the final episode, I’ll include the recap of episode 3 from episode 4’s opening narration:

It was the worst of times. Water was expensive. Life was cheap. Ronald Ratkin, the world’s first trillionaire is tightening his stranglehold on the world. Using his influence with bureaucrats and businessmen, Ratkin has ensured that his water conglomerate, April Showers, is now the sole supplier of water throughout the globe. He has put ice sectioners on strike and water purifiers on hold indefinitely. Mission Red, President Sandra DeWitt’s desperate attempt to thwart Ratkin, has met with disaster. While searching Mars for water, the crew of Orion 1 encountered the Martians, who invaded Earth sixty years ago, only to discover that these same Martians are now slaves of a conquering alien species, the Tor. And the Tor are on their way to Mars to evaluate humanind’s suitability for servitude. While attempting to flee Mars, Orion’s crew is trapped by Jessica Storm, commander of Ronald Ratkin’s personal shuttle, the Artemis. Her orders are to eliminate Orion’s crew and claim Martian water for Ronald Ratkin. Commander Jonathan Ferris had no choice but to submit,. because Ratkin had kidnapped his wife, Nancy. Meanwhile, unemployed water purification technician J. D. Clark became obsessed with radio personality Tosh Rimbauch’s opposition to the President. He took it upon himself to right the wrong caused by the President, and attempted to assassinate her. Now, President DeWitt lies paralyzed, perhaps for the rest of her life. In our last episode, Tosh Rimbauch, suspended by WXXY for his role in the assassination attempt, decided to set out on his own. More outrageous than ever, he starts a JD Clark defense fund. He knows that his listeners will support him if he can get into syndication. But in order to produce his own radio show, he needs to find money. Nancy Ferris managed to escape Ronald Ratkin by kidnapping his son and heir, Ethan. She brought him to the home of her friends, Thomas and Jennifer Connors. But before they could decide what to do with him, Ethan escaped, headed for Steinmetz Psychiatric Hospital. On the way, he teamed up with streetwise Kyle Jordan. Together, they travelled to Connecticut in search of Ethan’s long-lost mother. But Ronald Ratkin has other ideas. After years of sheltering and grooming his heir for greatness, he knows that allowing Ethan to see his mother, Mrs. Ratkin, in a pitiful state, with horrible memories, could turn Ethan against his father. Ratkin sent Doctor Geoffery Evans to Steinmetz, where Evans administered a lethal concoction to the unsuspecting Mrs. Ratkin. Just as Jessica Storm was poised to erase Orion’s crew from existence, first mate Mark Rutherford appeared, sent by the Martians to bring them all back to Mars. Curious and cautious, Jessica Storm accompanied the crew to the tunnels, miles beneath the Martian surface. The earthlings found themselves trapped in endless tunnels that slowly drove them mad. In a savage battle of wills, Jessica Storm kills both Nikki Jackson and Mark Rutherford. Suddenly, she finds herself facing the Tor. It was all a test, and she passed. Now she alone will escape the destiny that awaits Orion’s crew. The fate of the world rests in the hands of the Orion crew. But the Tor have other plans. Both for the crew, and for Earth.

You may have noticed that about two thirds of that recap is of events that actually happened on the last tape of episode 2. Yeah. I did get a chance to listen to episode 3 once, years ago. I think I got it out of the library. It’s a lot of filler.

I don’t remember there being any development in the plot with DeWitt, but we get what might actually be payoff for the stupid, boring dinner party scene back at the beginning with Rimbauch coming up with the idea of trying to get Clark off on the whole assassination thing by claiming that he was suffering from Incompetent-Leadership-Induced-Insanity: he wants to establish the legal precedent that if the government is terrible, someone who tries to kill them is not culpable for their actions, the plausibility of which was established back when we found out that people have successfully gotten off on murder charges by claiming overpopulation-induced-madness. It’s very this stupid thing’s obsession with insulting society.

I don’t recall the bits about Nancy and Ethan at all, though I do recall Ratkin sending Evans to off Ethan’s mom. I don’t remember how they get back to Mars either. I remember episode 2 ending with Jessica giving the order to kill the Orion crew, and I remember that they’re on Mars in episode 3, but not how the transition worked. I do recall that the cliffhanger was a real bummer. The ending is pretty unambiguous: Mark Rutherford’s dead. Nikki Jackson’s dead. Ethan’s mom is dead. The narrator failed to mention it, but Jonathan Ferris is dead too, killed by Jessica’s sidekick Walsh (The guy Ratkin calls right before Artemis launches to tell him to kill Jessica Storm if she shows any signs of being insufficiently evil). And two of the others, Pirelli and Talbert, I think, get into a fight and almost beat each other to death. It’s completely clear and unambiguous that our heroes have been completely defeated and the bad guys won.

I bet that’ll stick.

Deep Ice/Tales From /lost+found 121 CROSSOVER: Maybe it’s how they make little baby aliens (Doctor Who 4×18: Invaders From Mars!, Continued)

Previously, on A Mind Occasionally Voyaging

I’m going to end up getting filtered by google for this, aren’t I?

The ninth Doctor (Hugh Laurie) and his companion Lizzie Thompson (Sarah Michelle Gellar) are prisoners of the Cathulans, gangster aliens attacking New York on Halloween, 1938. Also, Orson Welles is getting ready to put on a radio play. Also, the aliens’ heads kinda look like a penis made of smaller penises.

In exchange for his freedom and safety, the Doctor takes a swing at reparing the Cathulan ship, supposedly so that the Cathulan commander can lead the coming armada when they invade the Earth. Right away, though, the Doctor notices that something’s not kosher; the ship is old and run down, and the damage is more due to lack of maintenance than a crash. There is battle damage to the ship, but it isn’t affecting any of the ship’s systems. The Doctor brings up a file while he’s working, and it turns out to be a schematic for the Empire State building. The Cathulans, who assume that the Doctor doesn’t have a stake in the matter, admit that they plan to announce their invasion by destroying the Empire State Building by crashing their ship into it.

Yeah… That’s awkward. That’s somewhere around the level of that episode of Power Rangers Turbo where the monster of the week knocks over a skyscraper and the Megazord catches it and just sticks it back on its foundation. This is not a plot point they would be able to use in a year and a half (See also, the post-9/11 Power Rangers SPD episode in which a monster suddenly declares, “I HATE EMPTY BUILDINGS!” Or the myriad episodes set in the town’s “Abandoned warehouse district,” which sounds like poor urban planning until you realize that it is, in fact, pretty sound strategy if you live in a world that features weekly attacks by giant monsters who hate empty buildings).

I won’t lie. Parts of this episode are uncomfortable to watch. I never really connected with the need to digitally edit the towers out of movies after 9/11, and I thought it was stupid when an episode of Friends got pulled. But this one is… Kind of on-the-nose. And I can’t really gloss over it, because it’s a pretty key point in the plot. The specific thing that’s broken on the ship is its shields, and without them, that whole “fly it into a building” plan will destroy the ship too. The Doctor points out that they could crash the ship by remote control and have one of the other ships in their armada beam them up.

Ahem. The Doctor suggests this. Casually. I mean, we know the Doctor’s going to end up foiling this plot, but he’s just completely casually trying to help these aliens come up with a workaround so they can carry out their plan to destroy the Empire State Building. Even the aliens are visibly uncomfortable about this. I mean, actually they’re uncomfortable because they’re up to something, but it does come off like even they can’t believe the direction this is taking.

Once the Doctor and Lizzie have a private moment as he’s repairing the shield generator, they work things out: there is no invasion fleet. The Cathulans aren’t launching an invasion; they’re working a protection racket. That’s why they want to crash the ship rather than using its weapons. They want to make a big, dramatic entrance, claim to represent a big old battle fleet, and then suggest that, “Nice planet you got here; be a real shame if it got caught in the crossfire during our interplanetary war.”

It’s the mention of a fake invasion that finally gets our heroes to cotton on to where the plot has been headed this whole time. Lizzie remembers the story of Orson Welles’s War of the Worlds broadcast, and tells the Doctor the accepted wisdom about the panic that ensued. The Doctor points out that Welles is planning to do Lorna Doone tonight, but he quickly formulates a plan, and it hinges on ensuring that the Mercury Theatre puts on the right show tonight.

When the Cathulans return, the Doctor starts musing out loud about how attractive the Earth is to the various galactic powers. He references the past few episodes, noting the Ogron expedition in Baltimore last century and last week’s business with the Jokari and the Red Baron. He muses that he’s even heard rumors that the people of Mars were planning an invasion. That makes the Cathulans nervous. There’s always been a bit of weirdness with Mars in the American series. The Ice Warriors don’t properly show up until season 8, but there’s references to a dangerous race on Mars all through the FOX era, going all the way back to episodes 3 and 4 back in the first season. They’re never actually shown or referred to as anything other than “Martians”, but there’s little hints here and there. References to them looking like turtles, or being sensitive to heat.

Sarah Michelle Gellar was best known as a soap opera actress when she signed on to Doctor Who. Then they found out she could do high-kicks, and a lot of writing excuses for her to do them ensued.

The Doctor “casually” mentions that the humans have been talking about signs of an approaching Martian fleet over the radio for days, and the leader decides to follow up on that, leaving them alone with his lieutenant. The time travelers decide that it’s time to make a break for it, which involves Lizzie roundhouse-kicking the remaining Cathulan. We get one of those classic “running down corridors” chase scenes as the Doctor and Lizzie escape into the subway tunnels. But, of course, they get separated, and Lizzie ends up getting recaptured.

And here’s where I’d personally have preferred they take the episode in a different direction. Because I reckon they gave the wrong parts of the story to the wrong characters. Once safely away from the Cathulans, the Doctor heads for the Columbia Building to convince Orson Welles to do War of the Worlds tonight, while Lizzie is stuck with the aliens, and her role for the rest of the episode is basically going to be to persuade them not to listen to Charlie McCarthy.

I’m serious. The big conflict in her end of the plot is that they turn on NBC rather than CBS and nearly spend the evening listening to The Chase and Sanborn Hour. (For clarity’s sake, no one ever actually says the names of the networks. They don’t even mention Charlie and Edgar by name.)

Continue reading

A Memorial

I was out of town the last week of May, and in the preparations, I missed this piece of news. I probably would have missed it anyway, because it’s not the sort of thing that makes the big news sources, and I find it too morbid to google random people whose stars have faded to see if they’re still alive on a regular basis.

Jared Martin died May 24, of pancreatic cancer (The same cancer that recently relieved us of John Hurt, Alan Rickman, and Steve Jobs. Cancer is an asshole). He is, of course, best known for his role as Dusty Barlow on Dallas. Though readers will know him best as Dr. Harrison Blackwood on War of the Worlds, even among science fiction fans, he’s more often remembered for playing the time-traveling musician Varian on the short-lived ’70s series The Fantastic Journey (No relation to The Fantastic Voyage; this is from the popular ’70s genre of “Contemporary family falls through a hole into a weird otherworld and fails to get home week after week”). And though it would be a prime time soap that made him a household name, Jared Martin had a long history with genre TV, firmly in the stable of “Hey, it’s that guy!” actors. Think someone like Mark Sheppard today. He appeared in Columbo as an incredibly sympathetic murder victim, a recovering addict killed as part of a cover-up by a ruthless surgeon played by Leonard Nemoy. He played a double role in an episode of Wonder Woman, as an amusement park owner and his disfigured brother. He played the son of a corrupt senator on The Incredible Hulk. Martin was often cast as sophisticated villains: a professor who used remote-controlled cars in the third season opener of Knight Rider; a murderous doctor in Hart to Hart, a gentleman thief in Scarecrow and Mrs. King, a ruthless businessman’s Number 2 in Airwolf. He appeared in two episodes of Murder, She Wrote, including one of that series’ crossovers with Magnum, PI. (Not all of his villain roles were sophisticated, though; he also played a mutated pacific islander in The Six Million Dollar Man). He also appeared in the original Westworld and an episode of the TV adaptation of Logan’s Run.

Harrison Blackwood was his last regular leading role. He spent his later years teaching acting and directing in Philadelphia, and as an art photographer. He was 75.

Regular programming resumes next week. Sorry for the delay.

Tales From /lost+found 119/Deep Ice CROSSOVER: It wasn’t like the radio show at all (Doctor Who 4×18: Invaders From Mars!)

WARNING: MEMORY CORRUPTION. RESTORING UNIVERSE FROM BACKUP…

If they were making this today, they’d have totally CGI’d New York instead of badly colorizing old newsreel footage.

It is February 18, 2000. It’s a pretty solid time in my life. Leah and I are starting to get serious. We’d recently had our first kiss after the Valentine’s Day dance at school. In obvious analogies, Arianespace launches the Japanese communications satellite Superbird-B2. Space Shuttle Endeavour is currently in orbit, halfway through its final solo mission (its remaining dozen missions would be to the ISS). The final Peanuts strip ran this past Sunday, following the death of Charles Schulz a week earlier. Microsoft released Windows 2000 yesterday. With the withdrawls of Gary Bauer and Steve Forbes, the GOP primary race is down to George W Bush and John McCain. McCain’s five points up in South Carolina, and he just might take this thing. I mean, unless some kind of evil, ham-shaped mastermind spreads a rumor that he fathered a black child out of wedlock.

Mariah Carey tops the Billboard charts with “Thank God I Found You”, a song I do not recall at all. Also in the top five are Christina Aguilera with “What a Girl Wants”, Blink 182 with “All the Small Things”, Savage Garden with “I Knew I Loved You”, and Santana featuring Rob Thomas with “Smooth”. Savage Garden will unseat her next week, the others are all on the way down from the top. In two weeks, Savage Garden will hand over the top spot to Lonestar with “Amazed”, currently at number 18.

The 1950 film adaptation of Born Yesterday is released on DVD. Loyola will do the stageplay this year, and I wonder if that’s related at all. Among movies opening in theaters today are two Vin Diesel films: the securities fraud crime drama Boiler Room, and Pitch Black, the first Chronicles of Riddick movie. Bruce Willis vehicle The Whole Nine Yards, and Walter Matthau’s final film, Hanging Up. Eastenders celebrates its 15th anniversary on British television this week. Stateside, this week’s The West Wing is “Celestial Navigation”. Sam and Toby go on a road trip to get a SCOTUS nominee out of jail (He’s falsely accused of drunk driving by a probably-racist cop), CJ has a root canal, and Josh makes an ass of himself. 7 Days this week is “The Backstepper’s Apprentice”. Without looking it up, I’m just going to assume the plot is “Something goes wrong with the time machine and the actual mission takes a back-seat to sorting out the consequences of that,” because that is the plot of about 75% of all 7 Days episodes. Buffy the Vampire Slayer is “Goodbye, Iowa” in which Big Bad Adam escapes from fake-out Big Bad The Initiative. Really moving performance from Charisma Carpenter. Angel gives us “I’ve Got You Under My Skin”, a demonic possession story with a clever twist. Over on Showtime, Stargate SG-1 gives us “New Ground”. The gang arrives through a recently-unburied stargate, causing trouble for the locals, a creationist culture that’s fighting a cold war with a neighboring country that has a more accurate theory of human origins. They bring a scientist back with them to become a research assistant while he waits for his people to get their heads out of their asses. He is never heard of again, but his backstory is broadly similar to the one they’d give Jonas Quinn two years later. On Sci-Fi, The Phoenix Banner: Crusade airs “Bigger Bugs Have Lesser Bugs”. Sunday’s The X-Files will be “X-Cops”, a crossover with the police reality show Cops. Speaking of reality shows, earlier this week, FOX aired Who Wants to Marry a Multi-Millionaire?, which culminated with the marriage of Darva Conger to Rick Rockwell, and I’m sure those two crazy kids will be very happy. (Spoiler: The marriage was annulled in April.)

And, of course, Doctor Who. Now you probably already know that season four of Doctor Who is a little bit controversial among fans. The show had been doing well for three seasons, but it was ridiculously expensive. They’d tried to reign in costs by having the Doctor destroy the TARDIS to defeat the Master back in the season opener. This left the Doctor Earth-bound, hearkening back to the original UNIT era in the 1970s, and let them replace expensive alien and period locales with location shooting in Vancouver. And introducing a recurring humanoid enemy saved them on alien make-up and visual effects.

And while it’s certainly true that these changes brought a sharper focus on the writing and led to more complex character development and storylines, it just was not what Doctor Who fans wanted out of the show. The ratings slumped and word on the street was that FOX was unlikely to renew the show.

So as a last, desperate saving throw, they massively retooled the show mid-season, ushering in the Christmas hiatus with a cliffhanger that saw the Doctor and Lizzie thrown back in time two thousand years. The return of time travel to the format, along with a break from the season-long recurring enemy, was a fresh change of pace, but it proved to be too little too late, and the show was only saved when the Sci-Fi channel bought the rights and they jumped to basic cable.

In our defense, can you really say these look less like legitimate alien creatures than, say, Alpha Centauri?

If you skipped this period in Doctor Who history, the show works a little differently now from the rest of its run. As I mentioned, the Doctor and Lizzie are trapped in the past. They’re working their way forward through the centuries using something called the “Toynbee device”, which is slowly pulling them back to their own time, but needs a random amount of time to recharge before it will work. And yes, more than a few fans, me included, objected to the similarities between this setup and that of a certain other FOX show which had jumped to the Sci-Fi channel and whose run ended a couple of weeks earlier.

This week is the last episode of that arc. After leaving World War I France, the Toynbee device pops them forward twenty years to New York, 1938. Last week’s cliffhanger found the time travelers accosted on the streets of New York by a pair of strange, unwieldy creatures. They’re quickly revealed to be costumed revelers: it’s Halloween.

Cut to the vortex and the John Debney version of the theme song.

Oh yes, Halloween in New York, 1938. You can see where this is going. Now, based on our experiences so far, between Global Dispatches and “Eye for an Eye“, there’s two obvious ways for this to play out:

  • Orson Welles’s radio play really was a news broadcast, documenting real events
  • Welles’s radio broadcast was faked as a cover-up for a real invasion.

What I’m pleased to report is that the path they went with is… Actually something different. We meet up with Welles in a bar, where he’s arguing with Howard Koch about the script. Leiv Schreiber plays Welles, and it’s a refreshing take. Casting Orson Welles is tricky business; hell, Orson Welles could barely handle playing Orson Welles. But playing a 1938 Welles has its own challenges, because Welles is such a huge, imposing trope of a man that everyone is going to go into a project like this with really concrete ideas about how the character should be played. But the Orson Welles that lives in our imagination, demanding Galvatron capture the Autobot Matrix of Leadership, refusing to sell wine before its time, and wigging out over a commercial for frozen peas, that Orson Welles took decades to form. What we have here is Welles at 23. Someone who’s up-and-coming, sure, and certainly a little arrogant (who wouldn’t be if they’d just had their picture on the cover of Time at 23. Hell, I’ve heard some people have to fake that), but his potential is still largely yet-to-be-proven, and to a great extent, he’s still in the process of finding his voice. So Schreiber plays a surprisingly subdued Welles, one that’s far more restrained and moderate than you’d expect, he said, just before inserting an animated gif of him flipping a table in anger:

And how dare you license your name to a bullshit sequel that’s mostly a political farce!

Welles thinks Koch’s script is dull and is close to dropping the whole thing and doing Lorna Doone instead. John Houseman, Welles’s long-time collaborator, who you might remember from The Paper Chase and also me having mentioned him recently (Also, fun fact: Houseman died on October 31, 1988, fifty years to the day after the War of the Worlds radio broadcast, and, of course, the same day “Eye for an Eye” aired), calms him down, promising to work with Koch on some last-minute rewrites to make it more exciting.

Houseman is played by, of all people, David Suchet, best known for Poirot. And he’s great, obviously, but I can’t help feeling a little sad that they got an actor of such amazing talent and repute and used him in such a minor way. Also, I spent the whole episode waiting for him to refer to his “leetle gray cells.”

Continue reading

Deep Ice: As if a vast intelligence was pouring into my mind (“Howard Koch’s” War of the Worlds II, Episode 2, Side 4)

Previously… Nancy Ferris got kidnapped, the gang on Mars got reunited, and a guy names Jefferson Davis Clark is totally not going to do anything rash or dangerous…

Side four, like the preceding one, begins with Jessica Storm aboard Artemis. She receives a message from Ratkin, informing her of Nancy Ferris’s kidnapping, so that she can use it to compel surrender out of her husband. He cautions her that Commander Ferris will undoubtedly threaten her life in an attempt to force her to send a message back to Ratkin. His confidence of this is bizarre given that there’s nothing we’ve seen of Ferris that indicates as much. Probably projection. The point of saying it is so that Ratkin can subtly threaten Jessica, hinting that he’ll pretty much have her rubbed out if she were to cave under pressure. This in turn prompts Jessica to allude to the fact that Ratkin had his first two wifes murdered. Whenever Ratkin makes a point about how he seriously wants Jessica to make sure the entire Orion crew is good and murdered, she always responds with an oddly robotic, “I will do what I must.” Halfway through the call, she has to change encrypted channels, because someone is trying to intercept their signal. As far as I know, this never comes up again and never has any payoff.

Hey, check it, the people who built the prop 30 years ago had a broken link on their website to a picture of it!

At Castle Volcania, Doctor Evans cautions Ratkin that Jessica is, “Not your typical woman,” and that Ratkin underestimates her at his peril. Ratkin assures Evans that Jessica can’t possibly prove anything. Doctor Evans, in case you’ve forgotten, is Ratkin’s personal physician from his very first appearance. Why is Ratkin letting his doctor — who, don’t forget, hates him and is blackmailing him — listen in as he confesses to abduction, conspiracy, attempted murder, murder for hire, and crimes against humanity? Because it’s fun to listen to Ratkin insist to Jessica that there must not under any circumstances be any witnesses while he’s telling his plans in detail to basically every person he has ever interacted with?

Nah, it’s actually an excuse to segue into a flashback of Ratkin and Evans at the funeral for said first wife. Well, I assume it’s the funeral because there’s organ music in the background, though their dialogue would make more sense by her hospital bed, since the scene seems to take place within moments of her death. Literally every line of dialogue sounds like a threat out of a gangster movie, whether the line makes sense that way or not, with those drawn-out pauses in the middle to punctuate a euphemism or a threat. “The nature of her ailment was so… mysterious. It’s so hard to predict the course of such a… wasting disease.” Ratkin, for his part, sounds genuinely mournful, despite his words conveying a far more mercenary tone. “If only we’d caught it earlier. She might still be… alive.”

The “mysterious wasting disease” instantly gets changed into a series of miscarriages. Evans says that she was too small to carry a child to term, which Ratkin blames on her “aristocratic” breeding, but Evans points out that, “Chronic anorexia can make it almost… impossible to bear a child.” Ratkin swears off the aristocrats and promises that his next wife will be “pure peasant stock” with good birthing hips. Evans suggests Ratkin’s personal assistant, but hopes she’ll be able to fulfill his… requirements, because it would be a… real crime if she, “Had to end up like the first Mrs. Ratkin.”

This scene, like all the flashbacks, is pointless and stupid. Okay. Ratkin killed his first two wives. This is not exactly news. We already know the broad strokes of what he did to his third wife, and we know he had the nanny offed, and we know that he’s ordered the murder of the Orion crew. There is nothing in particular new or exciting that we learn from having a flashback to his wife’s death, unless possibly the point is so that we’ll know Evans was involved. But that isn’t much of a revelation either.

Ohm appears to the Orion crew on Mars, and after the obligatory moment where everyone other than Townsend mistakes him for Ari, they ask him to help fix their rover. Ohm is happy to help, and lets them know that there’s no hurry: Tor is running late, so they’ll have plenty of time to explore and look for water and whatever. More than that, they should have Orion land and bring everyone else down here, and this is not suspicious at all and he totally is not delaying them as part of a trap. They ask about the fact that they’ve only met a grand total of two Martians. Ohm explains that the budget will only stretch to do that flange voice effect for two actors that they decided to minimize their contact with the others to reduce their chance of discovery by the Tor.

Ari shows up and they barely have time to tell him that Ohm wanted them to stick around longer when he up and kills Ohm, who disappears with a flanged “Eeeee!” Sure enough, Ohm had betrayed the humans under Tor mind-probing. The humans are at first horrified by this, but Ari explains rationally that the death penalty for people who do things you don’t like against their own will is actually the rational thing to do, and locking Ohm up for the rest of his life so he could become embittered and vengeful would actually be less humane than just offing him. Everyone sees the wisdom of this because it is a view shared by the author, I’m guessing.

With the Tor now aware of the humans, and certain to move fast once they notice Ohm’s death, Ari pressures the Orion crew to leave quickly. Besides — and here’s another thing that seems like it should be important but as far as I know will not come up again — there’s unrest among the Martians, and the possibility of an uprising fomenting. Mark casually drops the possibility that the unrest is related to the Martian warship he saw the previous day and didn’t think to mention until now. Without any indication of anything new having happened that would cause this warship to suddenly be a point of contention after sixty years. Or why they left their only remaining warship where Mark could just happen upon it by accident, especially in light of the fact that the Martians don’t have doors; they just open and close holes in the walls to travel between disconnected chambers, so either someone let Mark into the chamber where the ship was, or there was an open path he could just walk down to get there.

According to Ari, it’s the only remaining ship the Martians have, and even Ohm didn’t know about it, meaning it’s a secret from the Tor as well. But between Tor’s extermination of all of their pilots and the need to keep it a secret from the unwilling Tor collaborators, no one knows anything about operating it. Rutherford’s hero complex plays up again and he starts getting starry-eyed about the possibility that he could figure out the controls himself. Nikki gets snippy with him over it. Ari agrees to fix the rover for them, but warns that they have very little time before the Tor come looking for them.

DeWitt engages in a hopelessly padded scene before her address to the Ice Sectioners. Her Secret Service head briefs her on security arrangements because they’ve found the building impossible to completely secure. DeWitt can’t back out in spite of the elevated risk, since polling shows that most Americans will decide who to vote for based on how she handles the strike. She hopes that if she plays up the idea that the strike is hurting Americans, they’ll make their congressmen’s phones, “Ring so loud the congressmen won’t be able to hear the NAIS lobbyists.” They can’t pay the ice sectioners any more because the people won’t stand for a tax increase, but somehow they could force the ice sectioners back to work if it weren’t for the lobbyists, and congress is more interested in fellating wealthy donors than in protecting their constituents, to the point that they are literally letting a comic book super villain charge ten dollars an once for the only potable water in the world and hundreds of people are dying daily from dehydration. The level of contempt that the government shows for its duty to promote the general welfare would be completely fantastical except that it’s 2017 and the actual government is basically doing the exact same thing in order to redirect billions of dollars away from Medicare and into tax cuts for the super-rich and now I’m angry again.

The only time DeWitt will actually be vulnerable is on the walk out to the bulletproofed podium, so of course she takes about two steps out onto the stage when Clark shouts “Down with the tyrant!” from the audience and fires off a volley of gunfire, killing the Secret Service head and hitting DeWitt twice. As she lingers in critical condition, a series of news briefs explain that Clark was a former janitor at the auditorium, and had retained a key to an “obscure basement entrance.” I know that technically, “obscure” could be a legitimate word to use here, but that phrase does not scan like something an actual English speaker would say.

Continue reading

Deep Ice: Turn it off! Turn it off! (“Howard Koch’s” War of the Worlds II: Episode 2, Part 3)

No no no no no no no.

Okay. We’re back. No need for a recap because nothing happened last week. We left off with Jessica Storm having a flashback to how she broke up with Mark Rutherford and Nikki Jackson, and why she wants to kill them. In the present, she meets with the rest of the Artemis crew to discuss how to kill their rivals. Predictably, she insists that Nikki be left for her to kill personally, though this does not actually go on to happen. They show stolen files on the Orion crew, identifying all of them as being good in a fight, except for Doctor Morgan, who is a (spit) pacifist, though Jessica calls out Mark’s hero complex and Ferris’s over-protectiveness toward his crew as weaknesses for them to exploit.

Space is warped and time is bendable!

Immediately after the briefing, one of Jessica’s underlings announces that interference from the Martian surface has blocked their feed from Orion 1. It’s not any NASA signal, or any other transmission Jessica is familiar with. This is, presumably, the same interference we heard about before that had stopped NASA from warning Orion about the approach of Artemis. Which means it’s probably time to point out just how few fucks this series gives for anything resembling a coherent sense of how time and space work. I won’t bother faulting them for the fact that there’s no time lag between Earth and Mars, because frankly that would just slow the plot down more. But different parts of the story take radically different amounts of time. They never say how long the trip to Mars actually takes, but it’s long enough that Orion was equipped with hibernation equipment. Artemis will catch up “several months” before Orion is scheduled to depart Mars, and DeWitt was surprised that it could achieve that speed even with bleeding-edge upgrades. Now, technically, that could mean that Artemis is expected to reach Mars only a few days after Orion does, but would you phrase it that way if it were the case? No, of course not. By framing Artemis’s arrival as being “several months before Orion is scheduled to depart”, it implies that Orion will be well into a long mission. And the ordering of scenes so far placed Artemis’s launch after Orion arrived at Mars. But don’t forget, Ratkin and Jessica anticipated that Japan could launch a Mars shuttle in about six months (spoiler: we won’t hear any more of any other country even attempting a launch). In general, events on Earth all seem to be progressing at a normal sort of narrative pace, with gaps of hours or days between scenes, while events in space have large, multi-month gaps in them, yet the events interleave with those on Earth. Even worse, the story on Mars is paced much more tightly; the only time there’s a real gap where you could fit a lot of downtime is before they arrive in Martian orbit, or maybe right before Rover 1 is sent down. Yet the implication is that Artemis’s entire trip from Earth to Mars takes place after half the Orion crew disappears into the Martian underground. The closest we’ll get to a duration for how long they ultimately spend underground is “more than 72 hours”. Things which should take weeks or months are continually interleaved with things that could take at most hours or days.

At this point, something a little funny happens, and I initially misinterpreted it completely. So just for a minute, let’s go with my mistake for a bit, because I’ve got to take some pleasure where I can in this thing. Jessica is trying to figure out what the strange signal from Mars is. She’s sure, with her 180-IQ, that she knows every kind of signal, cipher and encoding used on Earth, and it’s none of those. So she listens to it.

We’re treated to a sample of the audio. Pretty quickly, I recognize what I’m hearing: it’s backmasked. Pull out audacity and reverse it, and it turns out that it’s a clip from much later in the episode:

˙sɹǝʇunoɔ ᴉʞʞᴉN ,,’ssǝſ ‘ʎɹoǝɥʇ uᴉ ʎluO,, ,,˙sʎɐʍl∀ ˙noʎ uǝʇɐǝq ʎɐʍlɐ ǝʌ,I ˙˙˙uǝɯ uǝʌǝ ‘ɹǝǝɹɐɔ ‘ǝƃǝlloƆ ˙ʇsɹᴉɟ pɐɥ ǝʌ,I ‘ᴉʞʞᴉN ‘pǝʇuɐʍ ɹǝʌǝ ǝʌ,noʎ ƃuᴉɥʇʎɹǝʌƎ ˙ɯɐǝʇ ƃuᴉuuᴉʍ ǝɥʇ uo ɯ,I ‘pǝʎɐld ɹǝʌǝ ǝʌ,ǝʍ ǝɯɐƃ ʎɹǝʌƎ ˙ǝɹoɔs ʇsǝq ǝɥʇ ʇǝƃ I ‘uǝʞɐʇ ɹǝʌǝ ǝʌ,ǝʍ ʇsǝʇ ʎɹǝʌƎ,, ‘ʍoɥ ʇnoqɐ ᴉʞʞᴉN ƃuᴉʇunɐʇ ǝʇnuᴉɯ ɐ spuǝds ɐɔᴉssǝſ ˙ǝɟᴉʍ sᴉɥ pǝddɐupᴉʞ sɐɥ uᴉʞʇɐɹ ǝsnɐɔǝq ɹǝɥ oʇ ɹǝpuǝɹɹns oʇ pǝɔɹoɟ uǝǝq p,ǝɥ ʇɐɥʇ sǝssǝɟuoɔ sᴉɹɹǝℲ ˙ɹǝʇɔɐɹɐɥɔ ɹǝɥ ɹoɟ ǝlʇʇᴉl sʎɐs uosɐǝɹ ou ɹoɟ ɯɹoʇS ɐɔᴉssǝſ ƃuᴉɥʇnoɯpɐq spuoɔǝs ǝʌᴉɟ-ʎʇuǝʌǝs puǝds oʇ ǝpᴉɔǝp ᴉʞʞᴉN ƃuᴉʌɐɥ puɐ ‘ǝuoʇ s,snפ uᴉɐldxǝ ʎllɐǝɹ ʇ,usǝop sᴉɥʇ ˙ɹǝɥ puᴉɥǝq ʇɥƃᴉɹ ƃuᴉpuɐʇs sᴉ ɯɹoʇs ɐɔᴉssǝſ ʇɐɥʇ sᴉ ‘ǝsɹnoɔ ɟo ‘uosɐǝɹ ǝɥ┴ ˙ɹǝɥ ʇdnɹɹǝʇuᴉ oʇ ƃuᴉlᴉɐɟ puɐ ƃuᴉʎɹʇ ʎlʇuǝnbǝɹɟ snפ ɥʇᴉʍ ‘pɹɐǝɥ ʇsnɾ ǝʍ ʞɔɐqɥsɐlɟ ʇɐɥʇ ɟo sʇuǝʌǝ ǝɥʇ ɟo dɐɔǝɹ ʞɔᴉnb ɐ sn sǝʌᴉƃ puɐ ‘qoɾ ǝɥʇ pǝʇdǝɔɔɐ ɐɔᴉssǝſ pɐɥ ʍǝɹɔ uoᴉɹO ǝɥʇ pǝuᴉoɾ ǝʌɐɥ ʇ,uplnoʍ ǝɥs ʍoɥ ʇnoqɐ ǝnƃolouoɯ ɐ oʇuᴉ sǝɥɔunɐl ᴉʞʞᴉN ˙spuoɔǝs ǝʌᴉɟ-ʎʇuǝʌǝs ʇnoqɐ uᴉ ɹɐǝlɔ ǝɯoɔǝq ɟo-ʇɹos llᴉʍ ɥɔᴉɥʍ suosɐǝɹ ɹoɟ ,,’ɯɹoʇS ɐɔᴉssǝſ,, ‘sǝɹɐlɔǝp ʎluǝppns snפ ˙ʎlᴉɯɐɟ sɐ ʍǝɹɔ ǝɥʇ ɟo ʞuᴉɥʇ oʇ ǝɯoɔ s,ǝɥs ʍoɥ ʇnoqɐ ɥɔǝǝds ǝlʇʇᴉl ɐ sǝʌᴉƃ puǝsuʍo┴ ‘pɹɐoqɐ ǝɔuo puɐ ‘uoᴉɹO ɥʇᴉʍ sʞɔop ɹǝʌoɹ ǝɥ┴ ˙sᴉɹɹǝℲ llᴉʇs s,ʇᴉ ‘llɐ ɹǝʇɟɐ ‘ǝsnɐɔǝq ‘uoᴉʇoɯǝ ƃuᴉʍoɥs ʎllɐnʇɔɐ ʇnoɥʇᴉʍ uɐɔ ǝɥ sɐ ʎlʇuǝƃɹn sɐ dᴉɥs ǝɥʇ oʇ ʞɔɐq ɯǝɥʇ ƃuᴉɹǝpɹo ‘ǝɔuǝsqɐ sᴉɥ uᴉɐldxǝ oʇ ǝɯᴉʇ ɯǝɥʇ ǝʌᴉƃ ʇ,usǝop sᴉɹɹǝℲ ɹǝpuɐɯɯoƆ puɐ ‘ɯǝɥʇ ɥʇᴉʍ ʇ,usᴉ pɹoɟɹǝɥʇnɹ ˙(Ɩ ɹǝʌoɹ ʎlɹɐǝlɔ s,ʇᴉ ‘ʇxǝʇuoɔ uᴉ ;ǝʞɐʇsᴉɯ ɐ sᴉ sᴉɥʇ) ᄅ ɹǝʌoɹ uᴉ sɹɐW ɯoɹɟ uɹnʇǝɹ sʇnɐuoɹʇsɐ uoᴉɹO ɹnoɟ ǝɥʇ ɟo ǝǝɹɥʇ ʇɐɥʇ sn sllǝʇ ɹoʇɐɹɹɐu ǝɥʇ ‘dᴉlɔ ǝɥʇ uI

Now okay, backmasking legitimate audio to stand in for an alien transmission is fine. But this goes on for four minutes. Which just played into my sense of this episode being padded all to hell. I didn’t cotton on until I got to the end of side four and the same thing happened again.

Yeah. Turns out that the tape had just gotten twisted when I was ripping the tape to CD. There isn’t meant to be four minutes of backmasked audio here. The reason I didn’t realize it is that it just fits in so well in context. I mean, it happens right when Jessica Storm is trying to interpret this signal from Mars. And it’s not like any of the story is missing here. Plus, there’s places later on where there are actual for-real production errors, like big silent gaps between scenes, or incorrect fades in the music during transitions. So it didn’t tip me off when the next scene cuts in for a second three-quarters of the way through and then switches back to backmasking.

In the scene which the backmasking replaces, Jessica doesn’t pay any more mind to the signal from Mars, but instead just fiddles with the controls until she can hear NASA, and orders the signal jammed to prevent Orion learning of their approach. The remaining three minutes are taken up with a scene which isn’t entirely pointless, but is close enough to it that the episode frankly flows better without it.

We’re introduced to a new pointless character, Hiro Protagonist Stephen Ulysses Perhero Victor Fries Remus Lupin Edward Nygma Eric Magnus Victor von Doom Richie Rich Captain Jonathan Power Moon Bloodgood Jefferson Davis Clark. He’s an unemployed water purification technician who sounds like an unholy fusion of a fourteen-year-old redneck and… a nebbishy Rick Moranis character. And he lives with his mother. Of course. He’s an obsessive Tosh Rimbauch fan, and blames DeWitt for his unemployment. His mother thinks Rimbauch is unfair to DeWitt, who inherited a mess, and disagrees that she’s responsible for him losing his job at the water plant. This thing can’t go more than a few minutes without shitting on the populace, so she patiently explains that he actually lost his job because, “Citizens didn’t want the cost of the operation of the water purification plant added to their taxes.” I mean, that and the public masturbation, I assume. He vows to be at DeWitt’s upcoming speech to the Ice Sectioner’s Union, in a tone that is supposed to be menacing, but just sounds whiny.

Clark and his mom are watching The Freida Kahlo Cohen Show, which I assume is a reference to someone, but I can’t figure out who. Sally Jessy Raphael, maybe? She sounds kinda like a drunk Terry Gross. She’s interviewing Tosh Rimbauch about his new book, Better Luck Next Time. He leads off by insulting her weight, though, “I’ve always found heavy thighs real attractive.” “Well then, you must think you’re just gorgeous,” she retorts. They trade barbs for a while (There is an actual good one where Freida says she’s not dumb enough to ever agree to go on Tosh’s show, and he throws back, “I wouldn’t say that”) before getting into the content of his book, which is all about trashing President DeWitt. Predictably, there’s no real content to his arguments other than, “She’s a woman.” He’s proud of his misogyny, as he’d, “Rather insult some desperate short-haired pantsuit-wearing women’s movement than insult the intelligence of decent American people.”

He lays it on thick, blaming DeWitt for literally every problem facing America, and insists that things would be better if voters had followed his advice in ’96 and voted for — they really mean for us to take this seriously as the name of the Republican presidential candidate — Napoleon Creed. Okay, admittedly, there are real actual people named Newt Gingrich, Jefferson Beauregard Sessions III, and Reince Preibus. Freida doesn’t have any better counterargument than, “But his name is Napoleon” either. Freida suggests that it’s “price wars and bureaucracy on Wall Street”, rather than DeWitt that is responsible for the current state of affairs, but Tosh dismisses her claims, without even addressing the fact that she seemed to just be stringing random words together with no sense of what they meant. No, he simply asserts that having a woman in the Oval Office meant “all hope was gone.”

He shows off a red baseball cap black armband of mourning for his lost country, and insists that until DeWitt is “gotten rid of”, “we” won’t be able to have “our country” back and “Make America Great Again”. “Mark my words, Freida: the world will be a better place when DeWitt is out of here.”

Continue reading

Deep Ice: It was my special thing and you took it away from me (Howard Koch’s War of the Worlds II, Episode 2: Lost in Space, Part 2)

Previously…

You know what? It doesn’t matter. Side two is a really shocking amount of filler and backstory, since that bit with Ohm and Ari and the Tor was too much interesting happening too fast, so let’s slow the plot down for the next forty-five minutes.

Is there a canonical explanation why the Legion of Doom headquarters looks like a Darth Vader Novelty Condom?

At Mount Doom, Ratkin’s pet boy comes in to say goodnight. Ever since Nurse Mary “accepted another position mua ha ha,” he’s been having nightmares about being torn from the arms of a beautiful, singing woman who is thrown to the ground violently as his father watches. Ratkin panics briefly when it becomes clear that the boy is remembering how Ratkin got rid of Ethan’s mother. This scene takes much longer than I’m making it sound, but nothing of substance happens.

Jump-cut to an insane asylum nearby, where one of the patients is a nameless woman the staff refer to as “Mrs. Rochester” after the character from Jane Eyre. She’s kept sedated into a state of catatonia because, on her admission a dozen years earlier, they were told that she became violent during her lucid periods. And they’re being paid a huge amount of money to never ever reevaluate her or do any sort of psychiatric treatment to try to improve her condition, and they are cool with it, except possibly the optimistic young doctor who’s just started here and thinks he sees hints of intelligence in her eyes, and possibly in some later episode help break her out to confront Ratkin, provided Sharah Thomas can keep all these stupid, pointless plot threads going. This scene takes much longer than I’m making it sound, but nothing of substance happens.

“Mrs. Rochester” carries around a baby doll and sings lullabies to it, to make sure the audience gets that she’s connected to the woman in Ethan’s dream even if they missed the segue about how Ratkin’s secretary was making out a check to the asylum (“Mrs. Rochester”‘s story is kinda inconsistent; they claim she was found catatonic and soaking wet from falling off a bridge, with no ID, and no one ever claimed her… But someone is also regularly sending them massive checks for her upkeep. Untraceable anonymous checks, which identify whose upkeep they’re paying for without revealing her name… Never mind.). The only thing that stirs her to action is if someone tries to take the doll from her, as an orderly found out earlier that day. Though she also gets riled up while Optimistic Young Doctor Who’s Just Started Here meets her, due to what’s on the TV. Segue!

That ‘Stache, tho.

What’s on TV is The Obvious Expy For Geraldo Rivera Show. Yes, Geraldo Rivera. The Fox News Person. Back in the ’90s, he was best known for hosting a trashy daytime talk show in the vein of Jerry Springer. His show today is on Husbands Who Carry Out Needlessly Complex Agatha Christie-esque Plots to Kill Their Wives. This scene takes much longer than I’m making it sound, but nothing of substance happens.

I hope they actually give some reason why Ratkin, who has shown absolutely no qualms about murdering people even when he’s doing it so obviously that there could be absolutely no doubt of his culpability, had his wife drugged and institutionalized at great expense rather than just killing her. But I’m not optimistic.

The “Renaldo” show is interrupted by a CNB news special report (Aww. It’s adorable. They’ve learned how to do a segue between scenes. So grown-up!). The water purification plant in Detroit has just closed up shop, and at least six people are dead in the resulting riots. The Water Refinery (Is “refinery” the right word here? It’s the word they use) had been bought years ago to produce potable water. But after outfitting the plant at great cost, the owners had been forced to operate at only minimal levels due to “bureaucratic debate”. This is that thing they kept banging the gong about in the previous episode, about how water purification was a non-started because of “bureaucratic gridlock”. What was this debate about? Who cares! Bureaucracy, amirite? Arguments aren’t about things; they’re just useless government officials wasting time. After years of losing money hand over fist, the owners of the water refinery have gone bankrupt. Despite not actually doing anything, the refinery was the largest employer in the city, so twenty-thousand people are out of work, hence the riots.

The CNB reporter hands over to a press conference by President DeWitt. In her usual, stilted fashion, she repeats what we already know and sort of vaguely blames greed. She also announces that she’s brokered a deal with the former Soviet block to buy ice from them, and sent in the National Guard to put down the riots in Detroit. Questions from the press corps go all over the place. There’s a rumor — and DeWitt confirms it — that the White House indoor pool hasn’t been drained, though she maintains it hasn’t been filled either. They’re just, y’know, storing it. Fun fact: the White House doesn’t have an indoor pool. It used to. The press briefing room, the room in which this scene is set, was built over it. Someone else asks about reports of a five billion dollar earmark for submarines to collect water from undersea freshwater pockets, and what impact it would have on the environment. DeWitt denies that any funds have been allocated, but does say that they’re still looking into it. (Turns out that undersea freshwater pockets are a thing, and might actually be a more realistic way to provide potable water in the future than ice mining or flying the fuck to Mars. Five billion does seem pretty steep, though, given that it’s the same cost as Mission Red)

Continue reading

Deep Ice: Nobody is listening (Howard Koch’s War of the Worlds II, Episode 2: Lost in Space, Part 1)

That’s still not Mars.

Well shit. Back to this, I guess. The story so far, according to the continuity announcer:

The world was in chaos. Fresh water, the lifeblood of every lifeform on the planet, was in short supply. Efforts at water purification met with fierce opposition and bureaucratic squabbling, orchestrated by Ronald Ratkin, the richest man on the Earth. It was his goal to gain control of the world’s water supply, and by doing so, control the world.

In our last episode, the entire world watched, riveted, as a moon-bound shuttle was launched. Little did they know, the shuttle, Orion-1, was really bound for Mars. In a desperate, last-ditch attempt to find a new water supply, United States President Sandra DeWitt charged NASA to send the shuttle to find the water believed to be trapped within the red planet. Sixty-one years ago, a Martian army had launched an attack on Earth, which the world had barely survived. Now, a team of seven courageous astronauts and scientists, led by Commander Jonathan Ferris, were chosen to confront the unknown, hostile inhabitants of the planet Mars, and return with water to save their dying planet.

But Ronald Ratkin, ever vigilant, had plans of his own. With his unlimited resources, he purchased his own shuttle. He chose Jessica Storm to command the Artemis. Her mission: to eliminate the Orion crew and return with the secrets of Martian water. And Jessica was only too happy to carry out her assignment: she had a few scores to settle. One with NASA for not picking her to head the Orion mission, one with Jonathan Ferris for winning the position she coveted, and one against Orion crewmembers Mark Rutherford and Nikki Jackson. This score was personal.

As Orion’s crew landed on Mars and began its exploration, people began to disappear, starting with first mate Rutherford and geologist Gloria Townsend. Then, in an attempted rescue, mechanic Gus Pierelli and assistant commander Nikki Jackson were swallowed up in what looked to be a vortex of pure rock.

With four of his seven crewmembers gone, ignorant of what dangers lurked beneath the surface, and unaware of the danger that approached from Earth, Commander Ferris and his remaining crew had a difficult decision ahead of them. They could either risk their own lives to save the missing four, abort their mission and return to Earth, or continue their original mission and abandon all hope of ever seeing their friends again.

Got all that? Good. Now, let’s pick up with that exciting cliff-hanger on Mars… In about eight minutes, because the actual narrative is going to pick up with DeWitt in the Oval Office listening to Tosh Rimbauch. Rimbauch spends his time calling for DeWitt to be “deposed” (not, I note, “impeached”) due to high unemployment and the high cost of April Showers Spring Water, and insults her husband’s manhood. He reminds voters that he didn’t vote for her, and this gives him license to say, “I told you so.” Technically, no one voted for her, since they mentioned last episode that she’d succeeded her predecessor upon his death in office, which is the way we all assumed the first female president would end up happening except for a few glorious days in 2016 and FUUUUUUUUUUUUUUUUUUUUUU—

Anyway, Ed comes in with the grim news of the launch of Artemis (the mythological Artemis killed Orion, hence the name. Too bad space-murder isn’t illegal I guess, because Ratkin’s pre-confession would probably work against him in court). Ed is super coy about it, delivering revelations in a calculated order to make it seem like a progressive reveal. Of facts we already know from last episode. It makes it sound like he is somehow getting new information passed to him in the middle of this private meeting. What I mean is this: he starts out by saying that there’s been an unscheduled shuttle launch. Then he says that he contacted the various world space agencies, who confirmed that it wasn’t them. Then he offers DeWitt “one guess” who’s behind the launch, and then offers her “one guess” where it’s going, and “one guess” what they plan to do when they get there. Then he reveals the name of Ratkin’s ship. So he actually knew all along that it was Ratkin and even knew the name of the ship. So why would he bother contacting the other nation-state space agencies? And why were they acting like Ratkin being behind the launch was still just a guess? He speculates that Ratkin could have easily bought a ship from a former Soviet state, which he already stated as a known fact last episode. They estimate Artemis will reach Mars months before Orion leaves, which DeWitt finds hard to believe: it would require extensive engine modifications and the world’s best shuttle pilot. Ed reveals that NASA top scientists jumped ship to Ratkin months earlier, and also that Ratkin does indeed have the best pilot ever. DeWitt realizes the thing which they already discussed as a matter of fact in the previous episode: Ed’s talking about Jessica Storm. And they recap her musing over whether or not she made the right choice in picking Ferris over her. Jessica is said to be a “brilliant tactician”, which doesn’t strike me as a normal space shuttle piloting skill. There is no consideration of how Jessica Storm being a murderous sociopath affects her qualifications.

Remember Boness, the NASA project lead who grumpily resigned back on side two of cassette one? Well, he’s still in charge of Mission Red, and they call him to pass along a warning to Orion. Boness grumpily says that he can’t, because a signal from Mars is blocking their transmission. He speculates that it is something akin to a radio signal, but traveling faster than light, and aimed at a planet in a distant star system. In the Oval Office, they reflect, with very little obvious interest, that this means the Orion crew isn’t alone on Mars.

DeWitt’s husband interrupts to suggest she turn the radio back on. Rimbauch is breaking the story of Artemis’s launch, though he doesn’t know who’s behind it. He praises the unknown benefactor for setting out to murder the Orion crew, because clearly, we need a man to go fix this mess, not some so-called “Lady President” with her icky girl parts. And what about her emails?

Continue reading