Universal Fan Con, run by Black Girl Nerds and the Black Geeks, aims to be “the first large scale multi-fandom convention dedicated to inclusion”. It’s currently raising $25,000 for its inaugural 2018 convention, so kick them a few dollars if you can.
I spent my formative years on RollerCoaster Tycoon and The Sims. The former is now available on iOS, for murder death trap roller coaster creation on the go.
Shazaam, a nineties movie starring Sinbad as a genie, does not exist. But dozens of people have memories of it. Why? This was a really fascinating look at how unreliable memory can be—Shazaam is completely plausible, but there’s no record of it ever existing and nobody remembers making it, just seeing it.
The National Museum of American-Jewish History is prepping for an exhibit on queer American Jews. If you’re queer, American, and Jewish, submit your story to this tumblr to contribute to the exhibit!
I finally saw The Great Muppet Caper and Arrival this week, two films that could not be more different. The Great Muppet Caper is, like The Muppets Take Manhattan, a deeply uneven film that soars when it lets the Muppets lay waste to the fourth wall. The segment where Miss Piggy breaks into a house in order to pass it off as her own is pure befuddled delight. It certainly helps that Diana Rigg, whose visage I literally keep enshrined over my vanity, plays Lady Holiday to the hilt with careless panache. Although the horror show of seeing human performers in Muppet skin suits for stunts is almost more than I can bear.
Arrival has been hailed as one of the best science fiction films of this year, for good reason—it’s part of the practically microgenre niche of intellectual near-future sf films not based on an existing property. (Although I suppose being based on a short story might count against it in that regard…) The linguistic challenge is fascinating and the film itself gives itself a major cinematic challenge—how to depict nonlinear time in an art form based on linear time? I don’t think it rises to the second as much as the first, but it’s thoughtful and methodical in a way so few films are these days. I especially appreciated Amy Adams’ Louise looking like an ordinary woman as she does extraordinary things. It’s a small but necessary thing.