What I wanted this year was one of the greatest animated series ever, created by one of the greatest animators ever, to blessedly return for a second chance at changing programming as usual.
Harman’s animated anti-war masterpiece is both a harrowing and instructive climate fiction about what happens when humanity pushes itself and its planet (and that planet’s myriad species) to the brink of extinction.
Stephen King’s horror novel never saw this real-time nightmare coming. A state-sized dead zone at the bottom of the South, which is so deprived of oxygen it might as well be deep space — which is, recalling Alien, where no one can hear you scream.
The National Film Board of Canada is responsible for some of the finest animation the world has ever seen. It has also created world-changing documentaries exploring and analyzing how and why our world changes as it does, for better and worse.
Last year, I once again interviewed Samurai Jack creator and animation auteur, Genndy Tartakovsky, who told me the samurai’s arrival was imminent. Now here he is, in all of his glory and wonder, when we need him most.
You can’t get more cli-fi than a death machine pretending to be a planet.
The Man Who Broke My Brain
Cli-fi is the cultural prism through which we monitor and experience ourselves as we bleed our planet dry while trying to become machines.
Digital dragnets like Stellar Wind, PRISM and other psy-fi boondoggles have evidently not been surveilling enough of neither Us nor Them to predict or prevent terrorist attacks.
The award-winning sci-fi writer’s worthy reboot of cult ’60s series.
Transforming transfixing genre fiction into memorable cinema is no simple task.
Pinback’s Rob Crow and Zach Smith touch down on a prehistoric planet in the new music video, “Sherman.”
Star Trek’s longest-running television series, which alternately bored and blessed us all with a sci-fi optimism now long since buried, blows out 25 candles
“This record has a pretty heavy gnostic sci-fi element.”
“Both dinosaurs and aliens can be seen as representatives of where we are as people right now.”
“Tesla’s true story is more surreal than any fictional account I’ve seen of him.”
“‘Sophistructure’ is the idea of creating a structured lifestyle plan around sophistry,” Crow told me. “Which is, of course, impossible.”
Those in search of an imaginative writer who makes you feel bad you didn’t find him earlier should take a head-trip through my recent Cornell coverage.
Payback is a shiny metal ass, fully bitten.
The situation is made worse by the bot’s relationship with the hottest human cheerleader in school, and by his realization that he can analyze Jackson Pollock‘s splatter art in multiple dimensions but still can’t penetrate its meaning.
Czech playwright Karel Capek popularized the term robot in the 1921 play R.U.R., spawning a deluge of artificial life forms in popular culture.
“Animation has always had the problem of being perceived as purely for kids,” Tartakovsky told me before Sym-Bionic Titan’s stellar launch. “I think things are better than a few years ago, but the stigma still exists.”