Stargate SG1 season 2
We go straight from defeating Apophis in the first episode (following a cliffhanger at the end of the last season!) – including truly hilarious CGI of NASA’s shuttle, and also the hilarious suggestion that the shuttle could be launched with zero notice – to Sam getting infected by a Goa’uld, and suddenly we discover the existence of the Tok’ra. Again, not something I remembered starting this early.
Across this season we get reference to “the System Lords” as if it’s something we’ve been talking about for many episodes, but I’m pretty sure it’s not. Plus I remain confused as to why Daniel is compelled to wear that ridiculous floppy hat while Jack and Sam get caps. I mean, I understand it’s meant to make him look goofy – it’s the sartorial equivalent of his equally floofy and floppy hair. But still.
“The Gamekeeper” is one of the more harrowing episodes so far – Jack and Daniel being put through the emotional wringer as a game. And then very soon after, Daniel being corrupted by the sarcophagus – it’s fascinating that he’s played as the most vulnerable of the whole team because of his depths of compassion. Of course, this gets more complicated in later seasons, and I do love it as a continuing exploration of his character. It’s also an example of Michael Shanks actually being a good actor – he doesn’t get much opportunity to showcase a range of emotion usually.
Poor old Daniel only gets a bit of personal development in the first half of this season: in “Gamekeeper” we learn his parents were also archaeologists or similar and they were killed in a museum accident; his wife is largely forgotten. Still that’s more than either Jack or Sam gets. Teal’c gets much more – the whole Rya’c storyline is interesting enough, although I don’t love it. And I can’t begin to say how much I loathe the fact Teal’c calls his wife “woman” – something about a heroic culture requiring misogyny?
… the problem with writing this as I watch, rather than at the end – so that I don’t forget these oh-so-erudite points – is that then things change completely: the episode after I wrote the above, we get an episode I had completely forgotten: Sha’re is back home, pregnant with Apophis’ child. Daniel has to decide whether he can still love his wife after she has been raped (happily, doesn’t take very long to choose Yes – which is an interesting difference from Teal’c, who struggles to deal with his wife having agreed to a new husband so that she and their son could have a decent life). Tragically, they only have a brief period together before the Goa’uld returns. (Daniel also gets to threaten Apophis when the SGC have him as a prisoner.) And we get Sam’s dad in the same episode, an Air Force general still trying to organise his daughter’s life while he’s dying of cancer. Both of these events – the child and the fact that Papa Carter chooses to blend with a Tok’ra – have enormous repercussions for the next few seasons… and further in personal lives. we keep playing on the loss of Jack’s son, too, giving him new sons to connect with (and lose).
Meanwhile, the SG1 must finally face some consequences of their actions: they destroyed the anti-Goa’uld defence system set up by Thor, and then that planet gets invaded, so SG1 goes back to try to help out. And hooray, we get The Real Thor! – another case of “already??” Plus they go to a planet where they fear they might have introduced a disease – and for the first time there’s concern that this is something that might happen when meeting new folks. Along those same lines, I appreciate that the show does sometimes examine moral quandaries. Like whether they should just shoot that snakehead Apophis out of hand, or take him prisoner and try to make use of him.
Remember those useless end-of-season recap episodes that occurred when you had 22-24 episodes dropping weekly? At least Stargate has so far been somewhat clever – last season, Senator Kinsey being an arse but nonetheless making some uncomfortably sensible points; this season, the team seem to be in the future but are actually being held captive, and made to remember some of the peoples they’ve encountered. Still, I forwarded through all of the recap bits (again). The joys of the DVD.
Further opportunities for actual acting: Daniel being inhabited by Marcello, Jack and Teal’c swapping bodies (mostly this is a Chris Judge opportunity, not so much for Richard Dean Anderson).
Costuming hilarity: there’s one planet where the humans appear to be naked, with body paint. It’s very obvious that they have zips up the back of their outfits; there’s also wrist and neck edges. (Most of the actors in this episode, though, are wonderful physical actors.) PLUS I am 100% certain the only reason for the episode “1969” is so that they could put the team into those ridiculous outfits.
Stats:
- Sam gets a raw deal for being female: 0 (hooray! Progress!)
- Someone falls madly in love Sam: 1
- Sam reciprocates: 0
- Jack gets seduced: 0 (impressive! or sad, take your pick)
- Daniel gets seduced: 1
- Sam gets seduced: 0
- Teal’c gets seduced: 0
- The team brings dangerous stuff back to Earth: 7 (urgh Linea) (I’m including black hole gravity)
- Something timey-wimey happens: 4
- Daniel apparently gets killed: 0
- Jack apparently gets killed: 0
- Sam apparently gets killed: 0
- Teal’c apparently gets killed: 0
- This lack of dying is truly impressive across this season. Made up for by…
- Jack gets replaced / becomes an alien avatar: 3 (including swapping with Teal’c, etc)
- One instance of which basically turns him into MacGyver, I realised on this viewing)
- Sam gets replaced: 1 (inc. Jolinar)
- Daniel gets replaced: 2 (ish; can we count the whole multiple-sarcophagus-use experience? I say yes)
- Teal’c gets replaced: 1 (by Jack, etc)
- Sam and Jack have A Moment: 2 (sometimes they’re really brief but I see them)
- Maybourne gets thwarted: 1
- Extra special episodes where it’s not Maybourne: 1
- Specific human cultures represented:
- Native Americans (I don’t know enough about the history of representation of Native Americans to know just how racist this portrayal is… I suspect it’s a combo of somewhat progressive – they’ve got technology! they keep their culture despite the changes! – and racist: the costuming, apparent naivety… plus their spirits are “actually” aliens: which is true for every other culture too; is it worse to do this to a culture still living today? I suspect it might be)
- Goa’uld encountered:
- Apophis and Klorel (poor old Skaara)
- Heru’ur
- Amaunet
- Sokar (kinda)
- Hathor (my girl! that wig is so impressive)
Stargate SG1 season 1
I just realised I should have started this rewatch next year… for the thirtieth anniversary of season 1.
Across this season, many things have happened! There’s a lot of Teal’c background, which I find fascinating: we meet his mentor, Bra’tac, who will become much more important across the seasons; and also his son, Rya’c, and wife, Drey’auc. There’s a whole episode about whether Teal’c is responsible for the deaths that he caused in the service of Apophis, which is a rather remarkable focus for an episode of 1997 television. There’s Daniel’s pain at losing his wife Sha’re, which is an ongoing feature across this season – Daniel is driven by the desire to get her back. There’s also an episode on Jack and his pain at the death of his son Charlie. Interestingly we get basically no background on Sam: there’s a brief mention of her having a brother, and that she misses her nieces, but that’s all. No tragic backstory! Oh also Sam has an ex-fiance, but given he goes fully Kurtz on an ultra-UV planet, that’s no loss.
Meanwhile, the SG1 team destroy a Goa’uld trap in order to rescue Teal’c, challenge the legal structure of another society, and get totally condescended to by the Nox because humans are still incredibly juvenile (but they’re a lot nicer about it than the Tollans). A new sarcophagus is discovered – surprise, Egyptian hieroglyphs rather than Mayan ones! – and it contains Hathor, who proceeds to entrance every man on the base; it’s unclear whether there are no lesbians or bi women, or if Hathor is just regressive. Also we get an episode featuring Catherine, the woman who brought Daniel on to the Stargate programme in the first place – and she’s definitely got a little intergenerational crush on Jack. I appreciate this further nod to the film enormously. And this episode is when we properly understand there’s more aliens out there – there was earlier the suggestion of Thor and his kin, but here we see script from four races that sends Daniel into conniptions. And ah, the Antarctic episode.
And then you get Senator Kinsey, asking questions about the Stargate programme – and for all he’s presented as a bit venal, a self-serving politician who cannot possibly understand the heroics of SG1… it’s hard not to see that he kinda has some points about military secrets, and the military wanting to spend money on fun new toys, etc. My goodness why am I now half on Kinsey’s side?? Do I miss this sort of filler episode? I really do not. Do I understand why they made them back in the day? Sure.
We learn there are more women in the SGC than Sam, Janet, and a few nurses!
Maybourne arrives!
Chris Judge’s downturned mouth gets more and more ridiculous across the season!
And in this season Richard Dean Anderson is the age I am right now.
Stats:
- Sam gets a raw deal for being female: 1
- Someone falls madly in love Sam: 1
- Sam reciprocates: 1
- Jack gets seduced: 2
- Daniel gets seduced: 1
- Sam gets seduced: 0
- Teal’c gets seduced: 0
- The team brings bad stuff back to Earth: 3 (sorry Cassandra)
- Daniel apparently gets killed: 2
- Jack apparently gets killed: 1
- Sam apparently gets killed: 1
- Teal’c apprearntly gets killed: 0
- Jack gets replaced: 2
- Sam gets replaced: 1
- Daniel gets replaced: 1
- Teal’c gets replaced: 1
- Sam and Jack have A Moment: 2 (not including alt!Sam & Jack)
- Maybourne gets thwarted: 1
- Specific human cultures represented: Mongols, Mycenaean, Minoan, Norse
- Goa’uld encountered:
- Apophis
- Hathor (dec.)
- Nirrti, indirectly
- Things I hadn’t realised turned up this early:
- The Nox
- Replicators
- Teal’c’s cap
- Daniel’s bandana
Stargate SG1 s1, e1-4
So I’ve finally caved. It’s been on the cards for a long time, but now seems to be the moment.
I’ve started a rewatch. How long will I last before I give up? How often will I watch? These are not questions I can answer – although I do have a big knitting project to complete…
The things I remembered from ep1: the tissue box; Sam making the comment about reproductive organs. I knew Charlie got a Goa’uld early on, but I forgot it was in the pilot.
So, things we already get in the first three episodes:
- The entirety of the early cast, including the dude in charge of the iris. I don’t remember whether the medic is the same one for a while or not. (But Janet appears in ep4 already, which I’m watching as I type.)
- Sam is already faced with the challenges of travelling while female, and the team are completely fine with her going along with the sartorial expectations. They do at least immediately interfere when they learn she’s going to get raped that evening.
- I won’t deny that I’m 100% here for the sexual tension between Jack and Sam (and yo, Primitive Sam trying to jump Jack’s bones in e4 is hilarious and I’d forgotten it already started at that point) (and I’ve changed this to be e4 not just e3). However, my delight in the Daniel/ Jack dynamic knows no bounds, and we already have that in spades.
- There’s a MacGyver reference in the very first episode. I giggled.
- There’s interesting questions about racism and misogyny in the show. On the one hand: out of four of the SG1 team, one is a black man and one is a woman. That’s good! There are a few black marines/ other SG personnel, and a few folks of Asian descent on base as well early on. There’s Dr Janet, and some of the nurses are women. But there’s no other women on SG teams – in fact I don’t think there ever is. Of the planets the team visits, there’s the excuse that the Goa’uld nabbed people from different regions on Earth, and that explains their general ethnic homogeneity. I don’t have a clear enough memory of the series to recall whether there’s something to be said for the planets they visit over all… but the Mongol-based planet is pretty primitive, with regressive patriarchal attitudes as well as simplistic clothing and ways of living; and then the Minoan planet is a lot prettier – amusing, and unsurprisingly, a distinct lack of bare boobs.
- Speaking of misogyny and boobs: when Apophis is choosing a new bride, he brings first the white, blonde woman – and we see her bare back, and that’s it. Sha’re, though – a brown woman – we see naked, full frontal, for a moment, and her boobs several times. It’s an interesting choice.
- The Jack / Teal’c dynamic is also delightful. Honestly most everything about Teal’c is a delight at this point.
- Episode 4: the first time the team brings back a disease and they Do Unexpected Things. I think this might be my favourite trope of all – definitely more than the “let’s visit a planet and fundamentally challenge their way of life.”
I’m not regretting having started this rewatch. Some of the stories, at least, definitely hold up. Can’t say the same for some of the prosthetics….
The Old Drift
I believe I bought this when it won the Clarke Award, so late 2020. I didn’t read it then – I think I assumed it would be too heavy for that particular year, and then that assumption has coloured my way of thinking about it ever since. I finally picked it up this week: partly gesturing to my endeavour to at least read the oldest books in my TBR pile.
This is not the book I expected it to be, given the Clarke Award. It definitely has SF elements towards the end, when it’s projecting into the future – and goodness it’s weird, in 2026, reading a book that was published in 2019, therefore written the few years before that, and/but has significant things happening in 2020 that are not Covid.
Rather than feeling like “a science fiction novel,” the connections I more strongly made for The Old Drift are the works of Edward Rutherford – his place-based historical novels that followed a few of families through many, many generations. Serpell does that here, following three main families as they interact across four generations. The central location is (what is today known as) Zambia, and in particular Lusaka. As befits modern Zambia, some characters are descended from pre-colonial inhabitants of the area; some are descended from British migrants, some Italian, and some Indian. Some of the actions happens in England, some in Italy, and some in India, as well as a couple of other sites in Zambia.
Across the novel – around 550 pages – Serpell traces the fortunes and misfortunes of the families. Marriages and births, infidelities, education, employment, tragedy – and only rarely triumph; illness (the last third or so revolves significantly around “The Virus”) and cleverness and revolution. Some of what Serpell portrays is based in truth: Edward Nkoloso plays a role – a real figure in Zambian independence, who proclaimed the country would send “Afronauts” to the moon and Mars; and one of the characters is Matha Mwamba, one of those Afronauts. Percy Clark, one of the progenitors and an early British colonialist, was real; and the fictional characters interact with some other historical figures. I don’t know much about modern Zambian history, but I know that a lot of the moments that appear in the background – like the issues around Northern Rhodesia becoming part of the Federation and then eventually getting independence; “Rhodes Must Fall,” the fight to remove the statue of Cecil Rhodes at Cape Town University – are real.
What Serpell does in this novel is show both how individuals can be deeply affected by larger historical moments, and how sometimes personal issues are far, far more important. And neither of those experiences de-legitimises the other.
It’s fair to say that this isn’t an easy read. None of the characters do not spend their lives in comfort and ease, with no problems beyond what to have for dinner. They experience heartbreak and personal tragedy; families are difficult, opportunities are lost, life simply doesn’t go the way they hoped. Racism and misogyny play enormous roles – unsurprisingly. While there are moments of triumph, and doggedly continuing despite setbacks, Serpell has not set out to write inspiration porn. It’s much more real than that.
A connecting thread across the generations is a plural first-person narrator: mosquitos. Which, of course, have an important role to play in disease transmission; I’m fairly sure characters comment on their pesky existence in every section of the novel. Precisely why mosquitos are used as an almost Greek chorus isn’t entirely obvious, except for the fact that they’re ubiquitous – which I guess is enough.
The Old Drift is by turns bawdy, clinical, grim, lighthearted (occasionally), earnest, and reflective. It’s also beautifully written – while I wouldn’t say easy to read, it doesn’t require a quiet room and intense concentration to follow. I’m glad I bought it and have finally read it.
Sugar, season 1
I was spoiled for The Big Reveal before I started watching Sugar. I’m a bit mad about it, I’ll admit – it would have been tantalising; it was still tantalising enough; but it did also make me move watching the show further up the list. So there’s that.
ALL THE SPOILERS FOR SEASON 1, stop reading now.
Seriously.
Continue reading →As You Wake, Break the Shell
I read this courtesy of the publisher and NetGalley. It’s out in October (sorry).
A more complete review of this will appear in Locus eventually, but: it’s brilliant.
I read Long Way to a Small, Angry Planet when it first came out, I think, and I bounced off it hard. Why? I do not remember. Not a jot. Probably I was in the wrong frame of mind – at least, I can only assume so; after reading this I wonder if actually I was too much in a ‘big space adventures’ mode.
Chambers does some clever narrative things across this novel. Firstly, the chapter sequencing: it starts with Chapter 1… but then all of a sudden you’re in Chapter 764, and no you didn’t skip a lot of pages. So there’s two parallel timeframes. Which means one of the big character questions is resolved very quickly, which means that you can get on with looking at the other questions: how do the characters get from here to there? What changed?
It would be easy to read this mostly as an almost domestic novel, focused on two people and their experiences; there are even recipes! But the reality is that Chambers is doing some really cool political stuff here. The reality of the initial planet’s colonisation, the way the two societies structure themselves, how difference is viewed… yeh, there’s a lot going on.
It’s really good.
The Book of Bots
I received an ARC from the author. It’s out in August – but preorders are love!
I often love a robot story; I also enjoy a well-thought-out AI story. And thus, James Patrick Kelly’s The Book of Bots: completely in my wheelhouse.
Covering around 25 years of his career – which is impressive in itself – the range of stories in this collection is fascinating. Some of the robots are actively meant to be caring for humans, in very different ways; stories like “Itsy Bitsy Spider” could come across as cutesy but it is deeply, deeply creepy, from my perspective anyway. Indeed, several of the stories end up crossing into the Creepy realm, because of the way they imagine bots interacting with humans – and, more to the point, humans interacting with bots. “Bernando’s House” is, if anything even more creepy than “Itsy Bitsy Spider;” a house has a personality, and a human figure to represent it, aaaaaand then things go weird. “Yukui!” confronts the idea of humans owning bots, and questions of sentience/slavery. “Your Boyfriend Experience” likewise asks questions about humans creating bots to their own specifications, and how that plays out with and around other humans. And “Je ne regrette rien” is kind of the culmination of the stories about human-like bots, and a quest to be more than they have been created to be.
On slightly different notes, “Undone” brings in a sentient spaceship – the concept itself not unique, but the playing-out and ramifications are what make it worth reading. “What it means to be a car” consists of dialogue between a car and a passenger – the only story that has a particularly different narrative structure, and one I enjoyed for that reason.
The collection also has two essays, one about the modern use of bots and one doing a short history of robots/ AI in literature. Both are entirely appropriate in the context of the collection, and add to the overall story of “what do we mean when we talk about bots.”
This is a great collection. Highly recommended.
The Hunger of Those Who Built It
Read courtesy of the publisher, Stelliform Press. It’s out in September; you can preorder it now.
Wendy Waring does an intriguing narrative thing in this novel. The first 60 or so pages alternate between Lou, who has managed to infiltrate The Oxbow – an exclusive and exclusionary colony, basically, set up in the middle of a crumbling Paris – and Diane, Lou’s aunt, Green architect/designer and largely responsible for The Oxbow.
Then all of a sudden we get a timeshift: back 16 years, before The Oxbow exists. Diane is offered a job in Paris, creating vertical farms and helping to green part of the city, at the same time growing food for the inhabitants. It’s a world where in theory, at least, technology is greening, and so some aspects of early-21st-century urban life can change – massive highways, for instance. But, as Diane slowly learns, there are still privileged groups seeking to keep all the good stuff to themselves.
Basically, the majority of the novel is following Diane as she learns how her dream gets turned into the gated community of The Oxbow.
So on one level, it’s a story of a woman watching her dreams get manipulated and changed away from her vision. And it’s powerful for that: how hopeful intentions can be subverted, how good plans can be made to go astray, and so on. How corporations can destroy individual hopes. And, as well, there are some intriguing ideas for how cities might indeed change – for good; this is being advertised as solarpunk, after all.
The novel is not only about ambition and technology and urban infrastructure, and the big picture, though. It’s also focused squarely on the smaller picture: Diane wants to go to Paris because she is seeking reconnection with her sister, from whom she has been estranged for many years. There are many reasons for their separation; some familial, others political and philosophical. None of them have easy solutions, and Diane is frequently conflicted about her own as well as her sister’s attitudes. What I liked about Waring’s story is how very real it feels. Siblings are exactly those people who know how best to get under your skin, and who are also (often, not always) the people you want to be drawn back to.
I have one quibble with the story: an event in Diane’s history turns out to be very different from how she understood it, which has serious ramifications, many of which are part of the point of the story. But one consequence, about the dating of other events, doesn’t seem ever to be addressed, which is unfortunately something I really struggled to reconcile.
However! All up, I very much enjoyed this novel. It’s well written – I devoured it – and Waring balances the macro, urban issues with the micro, personal issues beautifully. They each feel as important as the other.
As a debut, I am deeply impressed, and hope that we can expect more of the same in future from Waring.
Department of the Vanishing
This is another book I read because of Ian Mond. If you’re interested, here’s the publisher, Transit Lounge.
Poetry is very much not my vibe. I have always worried that I just don’t get it and so almost feel I shouldn’t be allowed to read it, and certainly not comment on it. Is this ridiculous? Of course it is. Well, mostly. Am I actually afraid of some beret-wearing, cigarillo-smoking, pretentious white man tut-tutting me?
Well. A little bit. Yes.
Anyway, I’m going to comment on this book despite my fears. And it is poetry – almost all of the text is set out as couplets, with almost no punctuation. Sometimes the story is hard to follow as a result, when it’s not clear how the clauses fit together. Which is, I presume, part of the point. A lot of the time, it’s completely clear, and a delight to read.
This is not, though, just a poetic novel. It’s also playing with the idea of found footage.
Almost every poetic page has a library stamp on it: RESTRICTED, or an accession stamp, or the link. In between poetry pages, there are collages of newspaper headlines; excerpts from the narrator’s police interviews; photographs and stills from video; pages where birds sounds are turned into text; transcriptions of the narrator’s mother’s maybe-dementia ramblings; and many lists.
Some of the found footage includes excerpts from other books, and friends, I dogeared a page because I didn’t have a bookmark handy when I got to the bit about Shifting Baseline Syndrome: “a gradual change in the accepted norms for the condition of the natural environment due to a lack of experience, memory, and/or knowledge of its past condition. (Soga & Gaston, 2018).
Ava lives in a too-near-future Australia, in 2029. She works for the Department of the Vanishing, archiving references to birds that are, or are nearly, extinct. (There’s a moment where she’s allocated the pelican: where to start? With Stormboy, of course – and my mid-40s-heart gave a great big heave.) She is also caring for her ailing mother, grieving her long-lost father, and seeking connection through a series of flings. Plus, of course, all the heartache that comes with her work.
It’s almost eye-rollingly trite to call this novel is a wake-up call, but of course that’s what it is. The idea that I would no longer hear kookaburras or magpies or the various teeny little tweety-birds I hear on the regular is horrifying. Is there something I can personally do? Probably not. Maybe I should send a copy of this book to some politicians.
It’s a splendid piece of art and I hope it gets more attention.
Platform Decay, Martha Wells
I read Platform Decay! Of course! And of course I liked it! Although… it’s a bit different from what I was expecting.
What was I expecting? I think I was expecting more pew-pew space adventures with ART, to be honest. It’s where System Collapse appeared to be leading, after all.
Instead, we get a story that’s focused on very few characters – none of whom we’ve had much, if any, interaction with in the past (Murderbot excepted, obviously) – on a new and potentially hostile space ring. There is a tie back to the previous two stories; there always is, because the Corporates are small-minded, vindictive, petty, bullies who can’t let anyone get away with anything if they can possibly do something to them.
TL;DR there is a good amount of action, there is an excellent amount of banter and snark, we get to experience quite a different space habitat, and Three is still around. I won’t be sad to come back to this one as part of my maybe-it’s-annual re-read of the series.
A few more thoughts:
Murderbot: continues to be an absolute delight to follow. I wouldn’t keep reading if I didn’t find its style immensely enjoyable. I like that we can see real change in the way it thinks about humans, more along the lines of ‘weary acceptance’ but in reality it’s a little bit more… well… emotional than that. Although it wouldn’t appreciate me using the word. I also continue to take great joy in its competence. I am a sucker for competence. Also, it’s actively learning about its organic side and taking steps to look after itself, and following other people’s suggestions (sometimes). How healthy is that??
Slight spoiler:
Continue reading →
