Monday, November 25, 2024

Putin Must Go: Navigating the Path to a Peaceful Russia

Sunday, November 24, 2024

Errors in a Published Book?

Before I get started...

I just switched internet hosts to Hostinger where I got a great deal and I like their interface more. So, I revamped my websites. I haven't gotten around to being 100% done with them yet (I haven't touched the Purpleism site yet, but I have high hopes there.).
From ChatGPT

Now, on errors in a book...

When asked, "If an author presented you with their book and you noticed editing errors, how would you approach it?" 

My answer depends on several factors, especially the edition and publisher.

First editions, even from major publishers, can have errors. What matters most is whether the book is good. For instance, "The Martian" was self-published and still went on to become a bestseller and a major motion picture.

I had a similar experience with my horror/sci-fi book DEATH OF HEAVEN (which has garnered incredible reviews and won the 2024 NYC Big Book Award Horror for Horror). A reviewer initially criticized it as being “full of errors.” However, the issue turned out to be that the book’s longest story was written from a British perspective, so I used British spellings. Once I explained this, they kindly updated their review.

Ultimately, it all comes down to whether the story is compelling and well-written. Ideally, books should be polished and error-free, but perfection isn’t always the standard. Any student of medieval literature knows that spelling inconsistencies were the norm due to a lack of standardization. Context matters.

That said, dismissing a self-published book outright smacks of elitism and can mean missing out on some incredible reads. Researching whether a book is worth your time is a reasonable first step—after all, not all self-published books are great. But I’ve also read poorly written books from big publishers, so the problem isn’t exclusive to self-publishing.

If an author handed me their book with visible errors, I’d approach it based on the severity. A couple of typos? I’d mention them. Dozens or hundreds? I’d still give feedback but might suggest prioritizing the story’s quality over nitpicking, depending on whether fixing them would be worthwhile.

Finally, my university professor once told us, “Sharing a first draft with anyone is like showing them your shit. Don’t do it.” If it’s in published form, significant errors become less forgivable because they reflect on the finished product. That said, even perfectly written manuscripts can go through the publishing process and still turn up with errors.

Cheers! Sláinte!

Friday, November 22, 2024

Is Trumpian MaGA at All Akin to Irish Sinn Fein in Fighting for Freedom?

Can the MaGA Christian nationalist movement in America see themselves as a kind of Sinn Fein in Ireland, fighting for freedom and righteousness?


An Phoblacht (Irish for "The Republic") is a longstanding Irish republican publication that serves as the official voice of Sinn Féin, the Irish nationalist and political party. It plays a significant role in promoting the party's policies, perspectives, and broader republican ideals. 

Back to America...

While there might be some parallels in rhetoric or self-perception, the comparison between MAGA Christian nationalists in America and Sinn Féin in Ireland is not straightforward. Here's why:

Similarities in Self-Perception

  1. Freedom Fighters: Some MAGA Christian nationalists may see themselves as defenders of traditional American values and freedoms, portraying their actions as a battle against perceived moral or societal decay. This could echo how Sinn Féin historically framed their struggle as a fight for Irish freedom and self-determination.

  2. Religious Justification: Both groups have leveraged religious or moral narratives. Christian nationalists often tie their mission to a divine mandate, while Sinn Féin’s support base historically included individuals who framed Irish independence within a Catholic cultural context.

  3. Opposition to a Perceived Elite: Both movements may see themselves as opposing powerful, entrenched elites or systems that they believe oppress their communities or values.

Key Differences

  1. Historical Context: Sinn Féin was directly tied to the Irish republican struggle against British colonial rule and was associated with violent resistance through the IRA. MAGA Christian nationalists operate in a democratic context and are not fighting an occupying force but rather opposing shifts in cultural and political power within their own country.

  2. National Identity vs. Religious Identity: Sinn Féin's focus was primarily on national sovereignty and independence, while MAGA Christian nationalists focus heavily on cultural and religious identity, seeking to align American laws and governance with their interpretation of Christian values.

  3. Use of Violence: Sinn Féin’s struggle was linked to armed conflict, whereas most MAGA Christian nationalist actions remain within the bounds of political advocacy, protests, and legal battles. However, there have been fringe elements engaging in or advocating for violence, such as during the January 6th Capitol attack.

  4. Ideological Breadth: Sinn Féin evolved into a political party with a broader left-wing platform, while MAGA Christian nationalism is a subset of the larger MAGA movement and focuses on specific cultural and religious issues.

Concluding Thoughts

While some MAGA Christian nationalists might view their actions as a righteous struggle akin to movements like Sinn Féin, the contexts, objectives, and methods are quite distinct. The comparison may resonate rhetorically for those framing their efforts as a moral crusade, but the historical and political differences are substantial.

It really seems the comparison is more likely that American liberals against Trumpian MaGA nationalism in a reverse kind of similarity than MaGA's theistically (weaponized) base of authoritarianism could be considered.

If we look at the comparison in reverse, with American liberals or progressives being likened to Sinn Féin in terms of their opposition to perceived authoritarianism or domination, the analogy does gain more traction in several ways:


Comparing American Liberals to Sinn Féin (In Reverse)

  1. Resistance to Perceived Oppression

    • Sinn Féin: Fought against British colonialism and what they saw as systemic domination over Irish identity, culture, and sovereignty.
    • American Liberals: Often position themselves as resisting the rise of authoritarianism and Christian nationalism, advocating for pluralism, equity, and individual rights.
  2. Advocacy for Inclusion and Rights

    • Sinn Féin: Historically associated with efforts to uplift the marginalized, including Catholics in Northern Ireland under systemic discrimination.
    • American Liberals: Champion causes like racial justice, LGBTQ+ rights, reproductive freedom, and protections for minorities, often arguing against structures they see as exclusionary or oppressive.
  3. Grassroots Movements and Popular Resistance

    • Sinn Féin: Rooted in grassroots organizing and seen as a voice for the Irish working class and those disenfranchised by British rule.
    • American Liberals: Rely heavily on grassroots movements (e.g., Black Lives Matter, climate activism) to counteract conservative or nationalist policies.
  4. Framing the Struggle as Moral and Ethical

    • Sinn Féin: Framed their resistance as a fight for justice and righteousness against oppression.
    • American Liberals: Often portray their resistance to MAGA nationalism as defending democracy, human rights, and the moral fabric of a pluralistic society.

Why This Reverse Analogy Fits Better

  1. Sinn Féin's Struggle Against Domination
    Sinn Féin resisted what they saw as an oppressive power structure, which mirrors how American liberals see MAGA Christian nationalism: an attempt to enforce a specific cultural and religious hegemony over a diverse society.

  2. Liberal Resistance to Authoritarian Tendencies
    Sinn Féin opposed the British government’s authoritarian grip on Ireland. Similarly, liberals often criticize MAGA nationalism for its tendencies toward authoritarianism, suppression of dissent, and undermining of democratic norms.

  3. Liberals’ Use of International Solidarity
    Sinn Féin’s struggle gained international sympathy, particularly from Irish-Americans. Similarly, American liberals often appeal to global values, such as human rights and environmentalism, to build solidarity.


Differences That Temper the Analogy

  1. Sinn Féin's Use of Violence
    Sinn Féin was historically linked to armed resistance, which contrasts with the largely peaceful strategies of American liberals, even in the face of far-right extremism.

  2. Power Dynamics
    Sinn Féin represented a colonized group with little systemic power. While American liberals are not an oppressed group in the same way, they see themselves as defending the democratic balance against what they view as an authoritarian threat.


Conclusion

Your suggestion makes sense: the struggle of American liberals against MAGA Christian nationalism could indeed mirror Sinn Féin's fight, but in reverse. Sinn Féin represented the underdog fighting against a dominating force, which aligns more naturally with how liberals view themselves opposing a MAGA agenda they perceive as authoritarian and culturally monolithic. Meanwhile, MAGA nationalism might more closely resemble the imperialist and hegemonic power Sinn Féin resisted.

On An Phoblacht

Here's a breakdown of what the magazine is and its history:

Overview

  • Purpose: An Phoblacht acts as a platform for Sinn Féin to advocate for Irish reunification, socialism, and the end of British rule in Northern Ireland. It addresses social, political, and cultural issues from a republican perspective.
  • Name: "An Phoblacht" reflects its commitment to the vision of an Irish republic as outlined in the 1916 Proclamation of Independence.

History

  1. Origins (1906): The title was first used in the early 20th century by various republican groups. The modern version is most closely tied to Sinn Féin.
  2. Merger in 1970: Two republican papers, An Phoblacht (based in Dublin) and Republican News (based in Belfast), merged in 1979 to form the magazine as it exists today.
  3. Peak Circulation: During the height of the Troubles in the 1980s, the magazine was a major outlet for republican viewpoints, both in Ireland and internationally.
  4. Digital Shift: While originally a weekly print publication, An Phoblacht shifted to an online-only format in 2018, aligning with modern media trends.

Content

  • Political Commentary: Articles on Irish reunification, Brexit's implications for Ireland, and Sinn Féin’s policies.
  • Historical Perspectives: Features on Ireland's struggle for independence, the 1916 Easter Rising, and events during the Troubles.
  • Cultural Content: Commentary on Irish culture, language preservation (especially Irish Gaelic), and republicanism in the arts.
  • Social Justice: Advocacy for workers’ rights, environmentalism, and equality, aligned with Sinn Féin's leftist ideals.

Role During the Troubles

  • Platform for Republicans: During the Northern Ireland conflict (1960s–1998), An Phoblacht was a critical platform for the republican movement to communicate its message, counter British narratives, and address its supporters.
  • Controversy: It faced criticism for its close ties to the Provisional Irish Republican Army (IRA) and was accused of being a propaganda outlet for armed republicanism.

Modern Relevance

  • An Phoblacht continues to champion Sinn Féin's vision of a united Ireland and addresses contemporary issues like economic inequality, housing crises, and climate change.
  • It remains a voice for Irish republicanism globally, appealing to the Irish diaspora and supporters of Sinn Féin's political agenda.

In summary, An Phoblacht is more than a magazine; it is a key historical and political tool for Sinn Féin, shaping and amplifying the republican message for over a century.

Choose your side, because the losers are about to be in power. 

Remember, losing doesn't mean you're wrong. But thinking you're winning and that you're Right? Not true either. Especially when you're on the side of crime and authoritarianism in a country primarily and wholly set to exist to be against monarchy.

Cheers! Sláinte!

Compiled with aid from ChatGPT

Thursday, November 21, 2024

Options on End of MS Windows 10 Service - October 14, 2025

If your devices can't upgrade to Windows 11 because they don't meet the hardware requirements, you have a few options.


Windows 10 support ends on October 14, 2025:



 

Wednesday, November 20, 2024

"Lost in Space"...the movie, the TV show (old AND new), Blade Runner, and...Whatever?

Last night my son and I was texting and he said he just finished watching the DVD series I sent him last week, "Childhood's End" by Arthur C. Clark. He said he was great and "pretty messed up". He said he was just starting to watch the old "Lost in Space" movie from 1998. His DVD player had broken so I had also sent him one of those and he was going through his old DVDs.


Yesterday I had been watching the new Apple+ show, "The Day of the Jackal", which is very entertaining. And was binging the new Amazon Prime series, James Patterson story, "Alex Cross" with Aldis Hodge. I've liked his performance through many a series, so I was looking forward to it. But I hadn't seen "Lost in Space" for a while so I said now I wanted to watch it tool

Today I went into my DVD library to find it and watched it. Then I put on the director and writer commentary which I'm listening to now while rewatching the film and writing this.

All this got me thinking.

In 1993 I had started LgN Productions with a friend so we could shoot the 25th anniversary documentary for the Lost in Space TV show. My son and I also liked the more recent Netflix Lost in Space series. Much more mature version. 

When my friend and I realized no one was going to do a 25th-anniversary LIS tribute show, we were stunned. HOW? Why? Someone should make something for it! By the way, I'm mentioned on the IMDb page as executive producer. Last good Nerve Productions was restarted for my 2018 short film homage to Edgar Allen Poe in, "The Rapping".

He had worked on one of the LIS "Tech Manuals". There was a devoted fan base as there was for Star Trek, though I suspect not as big. We found many years later there was another done in Australia, but hey, we did our in America. 

There's was 25th anniversary from its first airing (1965) while ours was from its last year (1968). Ours had a lot of unknown info from my friend vast fan knowledge as host, and some interesting bits, even if rather low production quality. For ours, my video editor at the cable station broke and we had to wait for it to be sent to California, fixed, and returned. 

Why didn't we use one of the other five editing bays? We tried, the master tape wasn't working properly on them. When the fixed machine returned a month later, the master tape worked perfectly. Which is why I think when it was cablecast to the public, the mainstay of the music soundtrack did not play. I'm hoping now to somehow get that back and make a digital copy that includes all the soundtrack. Thankfully this had not affected the on-set recording of our host's speaking.

It never worked quite right with my master VHS videotape. Some of the video clips we used had been from multi-generational recordings and are not clear but are of video footage that many would never have seen. You can see it here, but I'm warning you, it's rough. My films these past so many years are much better and the many awards I've won prove it. That work decades ago taught me a lot about managing talent, producing, editing, crew, creation, all kinds of things that came into play more recently and really paid off.

There is a listing of music at the end credits which are never heard during the film. That's an issue with the damaged editor and I just a couple of weeks ago bought an old Panasonic editor from a Canadian production company to try to clean it up a bit. As was public access cable in the 90s, licensing wasn't an issue as it is today. So when I uploaded it to Youtube years ago, I got a lot of license hits for it, but it's good to go, just can't make money off of it. When I never had anyway. 

As it turned out it's an interesting experience in what we did with a problematic  Panasonic VHS tape editor. It was cablecast around the Greater Seattle area in early 1994, twice for public access cable TV at Viacom Public Access Cable station on Roosevelt Street near the U District where I lived in various places for a while as I spent a very memorable seven years or so working at various jobs at the University of Washington. Public Access back then was the Wild West of TV. Some amazing stuff on there and some who had shows then eventually moved into commercial cable.

My friend and I had previously for years argued about the Lost in Space vs Star Trek issues of which was better? I couldn't stand Dr. Smith, who as a hardcore sci fi reader since childhood found to spoil the series most of the time. He however loved that character. I saw Star Trek as science fiction and speculative fiction but LIS as silly fantasy. He would laugh and say, "you don't think ST was fantasy too?" Well...I'd counter that it was far more pure sci fi than LIS. An argument we used to have back then about the Star Trek vs Star Wars, sci fi vs space fantasy.

I would like to point out a serious flaw in the original LIS TV show. They seemed to utterly forget about a medical doctor on the flight. You send a family to the other side of a galaxy with no medical personnel? Or did they expect Dr. Smith to trap himself during a moment of sabotage? That was fixed in the movie by making Judy a doctor. They also updated gender roles in the film so the women (and kids) had more purpose than existing. Or homemaking.

Eventually, we agreed both were good (but ST was better, yes, he'd disagree). He had convinced me of one thing. The first five b/w episodes were good. After that something changed. He'd argue the ridiculous Smith had his brain broken because he wasn't cryogenically frozen and lift-off had damaged his brain. I would counter with "Uh huh, didn't happen to our real astronauts. But we agreed in the end if that was the conceit, then, maybe...OK.

I did as a child however, love the boy and robot B line plots. I saw it as a series from the boys point of view. My friend contends that it's actually from Dr. Smith's POV and so he is the focus of much of it and some of the skewed orientations are because they are from mad Dr. Smith's versions. Some apparently think it was from Penny's diary. Whatever.


I also had (have? I can't remember) a copy of the Space Family Robinson comic book (the one shown above from a stock photo I found online).

Was there ever a Lost in Space movie director's cut released?

Yes, sort of. It turns out there was an extended cut of the 1998 Lost in Space movie directed by Stephen Hopkins, but it wasn't officially marketed as a "Director's Cut." My DVD has extra cut scenes, so maybe it was just putting those into the film. The extended version includes about seven minutes of additional footage and was released on DVD. The added scenes provide more character development and context to the storyline but do not significantly alter the plot.

However, as to a fully reimagined director's cut that changes the film in a major way, such as what happened with Blade Runner or Justice League, no such version exists. Stephen Hopkins has not indicated dissatisfaction with the theatrical release, and the extended cut is the closest to an alternative version of the film.

Regarding the Blade Runner versions. I loved both versions. The original for its originality and the narration never bothered me as I was also a fan of old noir. And the director's cut for it's pure sci fi format which was confusing a bit, but only made it more enjoyable to a sci fi/noir purist.

Regarding Blade Runner, and as exposition for this type of thing...

Anyway, back to the original thread about a director's cut of LIS...

Too bad, I'd like to see the original version where they had made it as a more adult-oriented film.

Apparently, I'm not alone in that wish! The 1998 Lost in Space movie initially aimed for a darker, more mature tone, closer to science fiction epics like Aliens. However, studio decisions shifted the film toward a family-friendly blockbuster, reflecting the source material's campy charm but losing the grittier edge some fans hoped for.

Reports from production hint at a more complex, ambitious script that was trimmed down, with certain darker elements and character-driven moments removed. For example:

  • Doctor Smith's arc was allegedly more sinister and layered, in line with his morally ambiguous nature in the original series.
  • The time-travel subplot and character relationships were more intricate but got streamlined to prioritize action and effects.
  • Some more adult themes, like the struggle for survival and psychological stress of the Robinson family in deep space, were likely toned down.

While no full "adult cut" or original version has surfaced, the idea of revisiting that concept in a modern adaptation would certainly resonate with fans of grittier science fiction. It’s also worth noting that Netflix’s Lost in Space series leaned into a darker and more serious tone, possibly reflecting what the 1998 movie might have been with more creative freedom.

But how does that compare to the series released many years later?

The Netflix Lost in Space series (2018–2021) takes a much darker and more serious approach compared to the 1998 movie, aligning more with modern science fiction storytelling while still appealing to a broad audience. Here's how they compare:

Tone and Themes

  • 1998 Movie: The film aimed for a balance between family-friendly adventure and darker science fiction but leaned heavily on late-90s blockbuster tropes, including campy humor, flashy CGI, and action sequences. The darker themes that were initially intended were toned down for broader appeal.
  • Netflix Series: The series embraces a more grounded and serious tone, focusing on survival, family dynamics, and moral dilemmas. It explores themes like resource scarcity, the psychological toll of isolation, and the moral ambiguity of characters like Dr. Smith.

Characters

  • 1998 Movie: Characters retained their archetypes from the original series, but some, like Dr. Smith (played by Gary Oldman), were given a darker, more villainous edge. The Robinsons felt a bit one-dimensional, with their personal struggles largely overshadowed by the action.
  • Netflix Series: Characters are more nuanced and complex. Maureen Robinson is portrayed as a strong, resourceful leader, while John Robinson grapples with being a distant father. Each of the kids has distinct arcs, and Dr. Smith (played by Parker Posey) is a master manipulator, making her a compelling and unpredictable antagonist.

Visuals and Technology

  • 1998 Movie: Relied on early CGI, which was groundbreaking for its time but now looks dated. The Jupiter 2 and robot designs reflected the era's love for sleek, futuristic aesthetics.
  • Netflix Series: Utilizes modern VFX and practical effects to create a realistic and immersive look. The alien environments and the robot have a more organic, mysterious design, adding to the sense of wonder and danger.

Storytelling and Pacing

  • 1998 Movie: Condensed storytelling with a focus on spectacle over substance. It tried to introduce time travel and emotional arcs but struggled to balance them effectively.
  • Netflix Series: Episodic format allows for deeper exploration of the story and characters. It builds tension gradually and often focuses on problem-solving and teamwork under duress, which aligns with classic science fiction storytelling.

Dr. Smith

  • 1998 Movie: Gary Oldman’s Dr. Smith was overtly evil, with less emphasis on cunning manipulation. His transformation into a spider-like monster in the finale was a bold but divisive choice.
  • Netflix Series: Parker Posey’s Dr. Smith is a master manipulator who survives through deceit and psychological manipulation. Her character is morally ambiguous, making her both relatable and terrifying.

Overall Reception

  • 1998 Movie: Mixed-to-negative reviews, with criticism for its uneven tone and dated effects but praise for its ambition and Gary Oldman’s performance.
  • Netflix Series: Generally well-received, with praise for its visuals, character development, and emotional depth. Some criticism centered on pacing issues and occasional reliance on conveniences in the plot.

The Netflix series is closer to the "adult-oriented" version of Lost in Space that the 1998 movie might have been. It balances the family-friendly appeal with serious, thought-provoking science fiction, while the 1998 film is more of a flashy, popcorn adventure that now feels like a product of its time.

Well, sooner or later, someone will re-envision it.

Compiled with the aid of ChatGPT

Tuesday, November 19, 2024

"What we think, we become," Buddha - Now, About American Politics

Compiled with the aid of ChatGPT