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Posted by Natalie Zutter

I Am Not a Serial Killer movie adaptation Melies prize

Author Dan Wells shared some exciting news earlier this week: The feature film adaptation of his novel I Am Not a Serial Killer received the Méliès d’Argent prize, or the Silver Méliès Award, at the Strasbourg European Fantastic Film Festival. Not only is that an honor in and of itself, but all films that receive the Méliès d’Argent are eligible to win the Méliès d’Or, the most renowned prize for the best European fantastic film.

I Am Not a Serial KillerWells explained on his website:

So over the weekend I announced that I AM NOT A SERIAL KILLER had one the Silver Melies award at the Strasbourg film festival, which I and many of you thought was awesome, but it turns out that I was grossly underestimating it’s actual awesomeness. The Olympics have trained me to think of Silver as second place, but looking into the award I have learned the truth: the Silver Melies is Strasbourg’s top prize for international films. The top prize. First place. That’s a big honkin’ deal.

But there’s more: there are a whole bunch of European film festivals that have a Silver Melies, and throughout the season they give them to their favorite films, and winning one means that you are eligible for the Golden Melies: the straight-up Best Film in Europe prize, awarded by the European Fantastic Film Festivals Federation. This year that prize will be awarded at the Lund International Fantastic Film Festival in Sweden, coming up in just a few weeks. So basically, I AM NOT A SERIAL KILLER is now on the short list for one of the biggest honors European film has to offer.

Created in 1995, the Méliès awards are named after George Méliès, the French filmmaker who pioneered fantastic films and special effects. You might know him for one of his most famous pieces of work, the 1902 silent film A Trip to the Moon, which features the iconic image of the Man in the Moon:

George Melies A Trip to the Moon

Wells has written about the terror and wonder of watching your book become a movie; he talks more about the project in his Reddit AMAI Am Not a Serial Killer is now available on Video OnDemand; read our review.

Is There Anything R2 Can’t Do?

Sep. 30th, 2016 04:15 pm
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Posted by Stubby the Rocket

R2-D2 coffee press in action

It’s entirely possible that we here at Tor.com have been screaming “R2-D2 coffee press!!!” at each other all morning already. (We can do that because, as Chris Lough pointed out, unlike R2 we have mouths, and sometimes we must scream.) Like for instance when we learn that we can buy a tiny R2 who will give us delicious life-giving coffee. As if the creepy Jawa lawn ornaments weren’t enough, the mad geniuses of ThinkGeek have decided to bestow this piece of loveliness upon us.

We can only hope it beeps with increasing fury as the coffee brews.

Here’s R2 with a belly full of coffee, just waiting to pour:

R2-D2 Coffee Press


And here’s a side view:

R2-D2 Coffee Press side view


The R2-D2 coffee press!!! will be available in early November from ThinkGeek, which gives you plenty of time to procure blue milk for lattes.

[via io9!]

Dark Angel: Suck it, Succubus!

Sep. 30th, 2016 04:00 pm
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Posted by Grady Hendrix

Dark Angel_small

Welcome to Freaky Friday, that day of the week when we all eat fish and have a good think about the sexy demons from Hell who are, right this minute, plotting ways to have sex with us and corrupt our immortal souls, according to paperback horror novels written in 1982.

Early Eighties horror loved succubi and incubi and horny ghosts, who filled the pages of Bedroom Intruder novels like Incubus (1976, Ray Russell), The Entity (1978, Frank De Felitta), The Night Visitor (1979, Laura Wylie), Succubus (1980, Kenneth Rayner Johnson), Queen of Hell (1981, J.N. Williamson), and Satyr (1981, Linda Crockett Gray). There was also a massive fascination with the Catholic church and horror novels like The Guardian (1979, Jeffrey Konvitz), The Piercing (1979, John Coyne), Virgin (1980, James Patterson), and In the Name of the Father (1980, John Zodrow) capitalized on the ascension of A New Pope.

Dark Angel was where the hunger for succubi collided with the fascination for Catholicism in an overheated hothouse of a novel that tells the story of how Pope John Paul II was stalked by a flesh-hungry succubus who wanted his baby, and how one lone wolf Irish-American priest risked everything to slake her insatiable thirst for man flesh and save the Pope’s sperm.

In 1978, after the 33-day reign of Pope John Paul I, the Catholic Church elected its first non-Italian pope in 400 years, Pope John Paul II. Despite being seen as a relatively conservative figure today, at the time he was a compromise figure between traditionalists and reformers within the Vatican, splitting the difference by dispensing with a lot of the formal pomp of his coronation while also shoring up the faith by toeing the line of tradition where it mattered.

In Dark Angel, the fictional Pope is not called Pope John Paul II, but come on. He’s Polish, a compromise candidate elected to appease both the traditionalists and conservatives, and while he’s dedicated to the idea of human progress he pushes a stricter dogma to shore up the faith and unite the faithful. When this book came out JP2 had just become the first Pope to visit the White House and his visit to Soviet-occupied Poland brought 13 million Catholics out in the streets in a country where, officially, no Catholics actually existed. He was a mega-celebrity. Let’s just assume Sean Forestal was excited.

Forestal has no other credits that I can find except for a writing credit on the post-apocalyptic film No Blade of Grass (1970), but he is clearly a man who knows when his hour has come. Looking at JP2 fandom, and the hunger for succubi, he knew that these were two good tastes that went great together. Horny Succubus who wants a baby by the Father of the Church + Studly Catholic Priest = Blockbuster.

In Dark Angel, assisting his fictitious-but-not-really Pope, are the only two Americans in the Vatican, Cardinal Ricci, the elderly secretary of state, and his protege, Joe O’Meara, a tough Irish kid born to Pennsylvania steelworkers who became a college football star known as “The Wolf” before attending seminary in Boston. Now he functions as Cardinal Ricci’s valet and bodyguard, and the three men are known as the Basilica Trinity. Which quickly becomes the Basilica Duo when Cardinal Ricci is humped to death by a succubus.

She’s not just any succubus, however, she’s the most Eighties succubus of all time: a hot blonde in a little white dress driving a jet black 928 Turbo-C Porsche. She leaves Ricci dead with a hickey on the side of his neck, and only Joe bumps into her as she makes her getaway. Everyone says that Cardinal Ricci died of being old, but Joe knows that he died from succubus sex because the image of the last thing the cardinal saw is imprinted on the dead man’s retina: the face of the blonde Joe just passed in the hall, disguised as a nun.

The Cardinals think Joe’s “obsession with diabolism” and his claim that Cardinal Ricci was sexed to death by a hot nun is enough for them to sign him into a psychiatric hospital where they’re going to have him lobotomized in order to protect the reputation of the church, but Joe escapes and flees with nothing but a Vatican credit card and a hunger to avenge his mentor. He hasn’t left the Vatican in 16 years, so he is not only a sexual virgin but a “social virgin” too, as Forestal is careful to tell us. He seeks assistance from his friend, Thom Cross, “the English sculptor and stonemason, vegetarian, and gardener” who maintains a home where Joe burns his credit card and finally feels safe. Thom and Joe pick up the succubus’s trail because Joe remembers the scent of her perfume and is prepared to stalk her by smell across Europe, but unfortunately Thom is murdered by the succubus and hung from his own necklace when he catches her desecrating a church (the succubus is destroying all ugly sculptures of Satan because she finds them offensive to her lord and master).

Full of thick blooming flowers and ripe nightmares in which hugely pregnant nuns give birth to clawed monsters with the face of Cardinal Ricci, Dark Angel exists in a state of maximum hysteria. When Joe decides to snap some innocent photos he winds up on a nude beach and is tormented by all the flesh on display, “He was in the wilderness now… and these were part of the temptations,” he moans. It also turns out that Thom, whose house is full of half-naked young men and whose home office is lined with vintage torture devices, is gay—which horrifies Joe and kind of makes him sad when Thom is strangled to death because now his soul will burn in Hell for all eternity. The succubus—Angela Tansa, who only drives Porsches—must have sex every seven days or she dies, and her latest rented Romeo is a Eurotrash aristocrat who says things like “I want to fuck that fatness out of you!” as she gorges on artichokes and Mexican food… because she is carrying Cardinal Ricci’s baby!

Oozing black breast milk, Angela flees from Joe and winds up hiding in Germany, giving birth in the snow, then he tracks her to a hospital where she has stashed her half-evil, half-Catholic twins: one succubus and one incubus. In an attempt to kill her demonspawn, Joe sets an entire nursery on fire, killing five non-succubus babies, but whatever. It’s all in a day’s work for a man who must stop the evils of sex. Then Joe tracks Angela to England as she tries to get pregnant again by a racecar driver with half a face. And we haven’t even gotten to the really crazy stuff yet.

This is the kind of book where a priest resists fleshy temptation by jamming a nail through his palm, people vomit their souls into toilets, and men refer to “the ovulation that started in Hades” in casual conversation. And when Joe discovers that the succubus can only be destroyed if she’s decapitated at the moment of orgasm, well, you know that the good times are only just starting to roll.

best-friends-exorcism-thumbnailGrady Hendrix has written for publications ranging from Playboy to World Literature Today; his previous novel was Horrorstör, about a haunted IKEA, and his latest novel, My Best Friend’s Exorcism, is basically Beaches meets The Exorcist.

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Posted by Quita Tinsley

Back in August 2012, members of a wealthy Atlanta neighborhood joined the Midtown Ponce Security Alliance to lead a campaign against sex work in the city’s Midtown neighborhood. This racist and transphobic campaign was targeted directly at trans and gender non-conforming people, identified by the Alliance as “transvestite thugs.”

Now a Black and trans-led coalition has come up with a solution to fight oppressive attitudes like these and support low-income and marginalized members of the Midtown community.

The Alliance campaign was based on the false claim that prostitution gangs were working throughout the neighborhood, even though crime rates in Midtown showed no such spikes. While these claims were not based in reality, they had a very real impact.

In the year after the campaign was launched, an ordinance was introduced in Atlanta that would allow the city to jail and exile people convicted of sex work from any given neighborhood. The ordinance was so extreme that it gave communities the power to exile people permanently if arrested more than once for sex work. Many Atlanta residents and activists immediately came out in opposition of the bill, not only because of its underlying racism, transphobia, and discrimination against sex workers but also because it didn’t address the systemic oppressions that force so many people to turn to sex work for survival.

Thanks to the work and analysis of local advocates, the ordinance was put on hold by the city, but it didn’t curb the Midtown community leaders from continuing their racist and transphobic campaign. It also didn’t end the profiling of Black trans and gender non-conforming people – particularly trans women – by Atlanta police.

Although the details of this particular campaign and ordinance are unique to Atlanta, the hyper-policing and criminalization of trans and gender non-conforming people of color is not. According to a report recently released by the Center for American Progress and the Movement Advancement Project, trans and gender non-conforming adults make up 5% of the population in the United States, yet 16% of all people who report having experienced at least one period of incarceration. The report highlights that 21% of transgender women and 47% of Black transgender and gender non-conforming adults have reported being incarcerated. These statistics lead me to ask: what could communities look like if policing was done differently? One local Atlanta group is working to find an answer to this question.

The Solutions Not Punishment Coalition (SNaPCo) is a “Black, Trans-led, broad-based coalition working for a new Atlanta where every person has the opportunity to grow and thrive without facing unfair barriers, especially from the criminal justice system.” The coalition and its anchor organizations LaGender, Trans(forming), Women on the Rise, and the Racial Justice Action Center developed a pre-arrest diversion program that works to “divest from policing and re-invest services and resources into communities.”  Instead of making arrests in the cases of low-level, quality-of-life criminal offenses, police officers would connect a person with resources and social services based on their needs.

After presenting the city with the potential solution, a design team was created for the Atlanta-Fulton County Pre-Arrest Diversion Initiative. While the program will be modeled after similar programs in  Santa Fe and Seattle, ultimately the team will be creating an initiative that is tailor-fit to the needs of Atlanta.

This pre-arrest diversion initiative is revolutionary for several reasons. One, noted by Che Johnson-Long, Co-Coordinator of the program, is that it will intervene to stop “repeat offenders” (air quotes used by Johnson-Long) from being circulated through the revolving door of the criminal justice system. Johnson-Long also notes that it will prevent people from being continuously criminalized for being low-income, addicted, or mentally ill. In addition, by reducing the prison population, the program will also reduce the costs of running a jail, money which could be routed towards social services for communities.

Following this line of logic leads me to an abolitionist’s dream: the closing of the Atlanta city jail. If quality-of-life offenses were no longer criminalized, there would be a drastic decrease in the number of people in jail, which could ultimately shut down the jail itself. Through SNaPCo’s harm reduction model, Atlanta could see the end of policing in our communities as we know it, with particularly significant improvements for trans and gender non-conforming people of color. This program will guide Atlanta toward a model of liberation, deconstructing a system which criminalizes the most marginalized among us.

A Step Along the Way, by Ken Untener

Sep. 30th, 2016 08:40 am
jazzfish: Jazz Fish: beret, sunglasses, saxophone (Default)
[personal profile] jazzfish posting in [community profile] poetry
It helps, now and then, to step back
and take the long view.
The kingdom is not only beyond our efforts,
it is beyond our vision.

We accomplish in our lifetime only a tiny fraction of
the magnificent enterprise that is God's work.
Nothing we do is complete,
which is another way of saying
that the kingdom always lies beyond us.

No statement says all that could be said.
No prayer fully expresses our faith.
No confession brings perfection.
No pastoral visit brings wholeness.
No program accomplishes the church's mission.
No set of goals and objectives includes everything.

This is what we are about:
We plant seeds that one day will grow.
We water seeds already planted, knowing that they hold future promise.
We lay foundations that will need further development.
We provide yeast that produces effects beyond our capabilities.

We cannot do everything
and there is a sense of liberation in realizing that.
This enables us to do something,
and to do it very well.
It may be incomplete, but it is a beginning, a step along the way,
an opportunity for God's grace to enter and do the rest.

We may never see the end results,
but that is the difference between the master builder and the worker.
We are workers, not master builders,
ministers, not messiahs.
We are prophets of a future not our own.
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Posted by Emily Asher-Perrin

Daernerys Targaryen, HBO Game of the Thrones, Emilia Clarke

As it stands, HBO’s Game of Thrones will have two more shortened seasons before wrapping on the stories of Arya Stark, Jon Snow, and Daenerys Targaryen… but that doesn’t mean that’s the last fans will see of Westeros on the small screen.

The Hollywood Reporter caught up to HBO programming president Casey Bloys during Westworld‘s premiere, and Bloys insisted that while no concrete plans were being made currently, the network absolutely intends to continue the franchise: “There are so many properties and areas to go to. For us, it’s about finding the right take with the right writer.”

Showrunners David Benioff and D.B. Weiss have stated that they will not be the ones to do it, but Bloys was encouraging on that front as well, stating that they could absolutely be involved in some capacity, though he knows that both will undoubtedly want a break once the series is complete. No writers have been assigned to a new project all the same, so the development of any Thrones related material is a blank slate at the moment.

But would the series be a prequel, or some form of continuation? That, too, is up in the air. George R.R. Martin himself made a comment at the Emmys to that end, pointing out that he has a plethora of reference material that would be useful down the road: “I do have thousands of pages of fake history of everything that led up to Game of Thrones. So there’s a wealth of material there and I’m still writing more.”

[via The Hollywood Reporter]

Hippo, Birdie, Two Ewes

Sep. 30th, 2016 08:22 am
onyxlynx: Festive pennants in blue & purple with word "Birthday" centered. (Birthday)
[personal profile] onyxlynx
 to [personal profile] jonsinger !  Happy and gorgeous and fabulous day, with excellent dinner (and lunch and breakfast.  Why not?)!

(And let us not forget les jumelles!  Bonne anniversaire, mesdemoiselles!)
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Posted by Cheryl Eddy

We already knew Ash vs Evil Dead was one of the goriest shows on television. But it’s incredible to see how much prep work goes into staging those splatter-y scenes—and how many practical effects are used. This new featurette offers a peek at some of the show’s grosser effects. (Two words: “blood cannon.”)


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Posted by Melissa McEwan

I've got a new(ish) piece at Shareblue: "Why older women are so enthusiastic about Hillary Clinton." It's an essay from the primary, refreshed for the general, with additional text and new photos of some of the glorious older women supporting Clinton.

So some of it may seem familiar if you read the first essay, but there's new stuff for those who saw it the first time around, and, for those who didn't, I hope you enjoy it! Here's an excerpt:
One of the pervasive (and inexplicable) storylines of this election has been that there is "low enthusiasm" for Hillary Clinton.

This is, of course, entirely false. A candidate does not get to be a major party's presidential nominee if they inspire little enthusiasm — and Clinton certainly wouldn't break a 227-year barrier against female nominees if there was no enthusiasm for her candidacy.

One of the ways this narrative has been perpetuated is simply by invisibilizing the evident enthusiasm with which she is greeted at every campaign stop. A browse through her Flickr account shows a campaign that looks very different from what we are typically shown by the corporate media.

It also matters that among her legions of enthusiastic voters are countless older women, whose representation across all media is inexcusably scant.

...Older women occupy a very particular space in our culture — a space frequently defined by an abandonment of listening. Rather than valuing the lived experiences of older women, and the wisdom those lives have imparted, we turn away from them, dismissing them as irrelevant; we neglect to listen, just at the moment where they may offer insights most profoundly worth listening to.

...Clinton has a voice. And people listen to it. She has experience, which people respect. She has knowledge, and it is widely valued.

This is not the typical experience of older women, who are devalued at the intersection of misogyny and ageism, and whatever other parts of their identity (race, disability, body size, sexuality, gender) are used to devalue us, too.

Witnessing Hillary Clinton, an older woman, fight her way to get into the most exclusive boys' club on the planet, and seeing her succeed, inching ever closer, is exciting. And more than that: It is validating.
Head on over to read the whole thing.
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Posted by Melissa McEwan

[Content Note: Video may autoplay at link.]

In their 34-year history, the editorial board of USA Today has never made a presidential endorsement, but this year, they made an exception. They didn't do an endorsement, exactly. Instead, they took a position against a candidate. And I bet you can guess who it is!
This year, the choice isn't between two capable major party nominees who happen to have significant ideological differences. This year, one of the candidates — Republican nominee Donald Trump — is, by unanimous consensus of the Editorial Board, unfit for the presidency.

From the day he declared his candidacy 15 months ago through this week's first presidential debate, Trump has demonstrated repeatedly that he lacks the temperament, knowledge, steadiness, and honesty that America needs from its presidents.

...By all means vote, just not for Donald Trump.

2016 Rainbow Awards Cover Contest

Sep. 30th, 2016 05:08 pm
reviews_and_ramblings: (Default)
[personal profile] reviews_and_ramblings
To make the event more fun for everyone, this year all the covers will remain in the poll till the end. BUT I will push your competitive profile letting you know, week by week which covers are in the top 10 :-) this week there are 11 since there is a tie-in. Enjoy! and continue to vote until the end nothing has been written out!

Vote here: http://www.elisarolle.com/rainbowawards/covers.php

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Posted by Karin L Kross


Miss Peregrine’s Home For Peculiar Children landed at Austin’s Fantastic Fest with an almighty splash. The Alamo Drafthouse has been gearing up for the release of this film with Septemburton, a celebration of Tim Burton’s work that includes special menu items, a Tim Burton issue of BirthMoviesDeath, and a slew of Burton programming. At the festival itself, each screening has been preceded by choice picks from the Burtonize This! contest (many of which have been uproariously funny, it must be said), and the day of the film’s screening was declared Keep Austin Peculiar Day—and Burton himself put in an appearance on the festival red carpet.

It’s quite a lot of froofraw, and there was a certain amount of high expectation going in. After all, the fit between Burton’s filmic sensibilities and the Gothic eeriness of Ransom Riggs’s bestselling novel and its sequels is one of the most natural imaginable. And for the most part, the movie delivers on its potential, save for a a third act that is overwhelmed by the sheer weight of CGI flash.

Up until that point, though, the film is, for the most part, lovely and thoughtful. There are echoes of Burton’s Big Fish in the tensions among the men of protagonist Jake Portman’s family—Jake (Asa Butterfield) can’t really connect with his unimaginative, easily discouraged father, who himself has always been distant from his own father Abe (Terence Stamp). Abe enthralled his grandson with stories of a special home in Wales for children with strange abilities, presided over by a shapeshifting woman-falcon named Alma Peregrine—stories that Jake thought were true until he learned about the all-too-human monsters that plagued central Europe in the 1930s. One night, after a frantic phone call from Abe, Jake arrives at his grandfather’s house to discover the place has been ransacked, and something terrible has happened to Abe.

In the wake of the tragedy, Jake’s therapist (Alison Janney) advises a trip to the Welsh island that featured so prominently in Abe’s stories. Accompanied by his dubious father, Jake initially finds only disappointment—the children’s home spoken of by his grandfather turns out to have been destroyed in World War II, which apparently puts the lie to letters from Miss Peregrine that post-date the war. But soon Jake discovers—or is discovered by—some of the very children from Abe’s stories. They lead him into the loop in time—a beautiful September day, replayed over and over again—where Miss Peregrine (Eva Green) keeps her peculiar charges safe.


So far, so good. And for a while, the story unfolds in a series of carefully paced reveals. Jake learns what it means to be a “peculiar”—which, not to put too find a point on it, is something like being an olde-timey X-Man, with Miss Peregrine as their time-manipulating Professor Xavier: to name just a few, Emma (Ella Purnell) can control air, Olive (Lauren McCrostie) sets things on fire with a touch, and Enoch (Finlay MacMillan) can animate puppets and the dead. Jake learns the truth behind his grandfather’s stories and his extensive travels, and about the dangers posed by Hollows—horrible creatures that murder peculiars and devour their eyes—and by an evil peculiar called Barron (Samuel L. Jackson), whose dastardly plans endanger everyone.

It’s when Jake and Miss Peregrine’s charges ride off to rescue their protector and stop Barron’s diabolical schemes that the film descends into a kind of overstimulated dullness. (That it is also a significant departure from the source material is another discussion altogether.) The story becomes dominated by spectacular set pieces, like the raising of a wrecked ship and a battle against invisible Hollows on the pier at Blackpool; and there is the requisite showdown between the children and Barron and his cronies, in which everyone’s peculiarity plays a part in winning the battle. It’s all extravagantly rendered, loud, and flashy, and completely lacking the charm of the first two thirds of the film.

Which is disappointing, because up until that point Miss Peregrine feels like one of Burton’s better recent films. He avoids self-parody even when the story and aesthetic lure him in that direction, and he creates a mood of genuine melancholy around the peculiar children and the fact that their safe existence is at the cost of a normal life. They will never grow to adulthood or grow old, and they can never leave the time loop, or else grow old and die in an instant.



And the cast is a joy. Eva Green is sheer perfection as Miss Peregrine—surpassingly elegant, knife-sharp, witty, and deeply protective. The young actors playing the various peculiar children are all excellent, with Ella Purnell notable in particular for the delicacy with which she plays the awkward nature of Emma’s long-ago romantic feelings for Abe and the new attraction drawing her towards Jake. Asa Butterfield occasionally seems slightly overwhelmed by the proceedings, but carries on bravely, even when the set dressing threatens to overwhelm him. And then there’s Samuel L. Jackson, devouring scenery by the handful and apparently playing a near relation of the character he played in Kingsman: The Secret Service in terms of bombast and ambition (and, troublingly perhaps, in terms of being the only prominent cast member of color, whose significance as a character is entirely villainous)—but he seems to be enjoying himself so much that you can’t hold his over-the-top hamminess against him.

Miss Peregrine’s Home For Peculiar Children will doubtless be held by many as a solid return to form for Burton after the unevenness of Big Eyes, Dark Shadows, and Alice in Wonderland. And it very nearly is but for that third act. There is much to enjoy, but it’s hard to escape the conclusion that a large effects budget is perhaps not always a good thing for a film’s health.

Karin Kross lives and writes in Austin, TX. She may be found elsewhere on Tumblr and Twitter.

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Posted by Stubby the Rocket

Hugo Awards logo

Worldcon 75, which will take place in Helsinki, Finland in 2017, has announced the trial inclusion of a new Hugo Awards category: Best Series. Worldcon 75 will test Best Series in 2017, with the potential for inclusion in 2018 based on fan response and suggested revisions.

If it goes through, this will be the first time that a new category may be added to the written fiction Hugo categories in fifty years. Eligible works will be multi-volume (at least three) series that are united by elements including plot, characters, setting, and presentation.

The full press release is below.


The 75th World Science Fiction Convention, (“Worldcon”) taking place in Helsinki in August 2017, announced today that a special Hugo category for “Best Series” will be included in the 2017 Hugo Awards.

The Hugo Awards are the leading awards for excellence in the field of science fiction and fantasy, and have been presented at Worldcons since 1953. They are voted on by members of each year’s Worldcon.

Fans voted in August 2016 to trial a new Hugo award for “Best Series”, which could be added in 2018. Each Worldcon Committee has the authority to introduce a special category Hugo award, and Worldcon 75 has decided to test “Best Series” in 2017. This follows the precedent of the 2009 Worldcon, which trialled “Best Graphic Story” before it became a regular Hugo the following year. Fans at Worldcon 75 will be able to decide whether to ratify the “Best Series” for future years and suggest revisions to the award definition at the World Science Fiction Society Business Meeting held in Helsinki during the convention.

Nicholas Whyte, Worldcon 75 Hugo administrator, said, “The proposed Hugo for “Best Series” is a big change, the first time that a new category may be added to the written fiction Hugo categories in fifty years. There is clearly a great deal of interest in how this new award will work, and what might be nominated.”

An eligible work for this special award is a multi-volume science fiction or fantasy story, unified by elements such as plot, characters, setting, and presentation, which has appeared in at least three volumes consisting of a total of at least 240,000 words by the close of the calendar year 2016, at least one volume of which was published in 2016.

The 75th World Science Fiction Convention, Worldcon 75 will take place in Helsinki, Finland, 9-13 August 2017. For more information about the convention, including current membership rates, visit http://worldcon.fi.

The Guests of Honor for Worldcon 75 are John-Henri Holmberg, Nalo Hopkinson, Johanna Sinisalo, Claire Wendling, and Walter Jon Williams.

Media questions or requests to be removed from the Worldcon 75 press release mailing list should be sent to press@worldcon.fi. Contact info@worldcon.fi with general queries.


Founded in 1939, the World Science Fiction Convention is one of the largest international gatherings of authors, artists, editors, publishers, and fans of science fiction and fantasy. The Hugo Awards, a leading award for excellence in the fields of science fiction and fantasy, are voted on by the Worldcon membership and presented during the convention.

“World Science Fiction Society”, “WSFS”, “World Science Fiction Convention”, “Worldcon”, “NASFiC”, “Hugo Award”, the Hugo Award Logo, and the distinctive design of the Hugo Award Trophy Rocket are service marks of the World Science Fiction Society, an unincorporated literary society.

Which currently eligible series do you think warrant this new Best Series Hugo Award?

RIP: Ethrosdemon/Kassie

Sep. 30th, 2016 11:05 am
sparkymonster: (Default)
[personal profile] sparkymonster
ethrosdemon/Kassie passed away on Tuesday due to liver failure. She died with her mother at her side. ethrosdemon did not want anyone to know she was dying.

ethrosdemon did not want a service or memorial of any kind. She didn't want flowers or cards sent to her family. Kassie's mom suggested that people if people want to do something, they should donate to a local animal shelter or rescue. I think we all know how much ethrosdemon cared deeply about her animals. I think she would also appreciate donations to local LGBT youth centers and organizations that help people living with HIV and AIDS.

Missyjack wrote an obit talking about Kassie's presence in fandoms & fannish activity.

Please feel free to pass this information around to people you think would want to know. Unfortunately ethrosdemon did not make a list of people she wanted contacted after she died. Also ethrosdemon did not let people know what she wanted done with her online presence and fic. Her family needs space to grieve and this is not a good time to ask.

ethrosdemonwas a complicated person to be friends with. She was smart, charming, passionate and loving. She was also volatile, narcissistic, stubborn and harsh. My feelings about her life and death are complicated. It's OK to feel a bazillion different things. Kassie always had a hard time with goodbyes and it's not surprising this final goodbye is difficult.

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Posted by Lisa Wade, PhD

Flashback Friday.

Does the modeling industry fetishize whiteness?

It turns out that the answer is: it does and it doesn’t.  Ashley Mears, a model turned sociologist, found that high fashion models are overwhelmingly white, but that commercial modeling — the kind you see in catalogs for stores like Target, TJ Maxx, and JC Penney — is much more racially inclusive.  Similarly, extreme thinness is more pronounced among high fashion models, whereas commercial models tend to have a few more inches around their waists.

Mears says that the difference has to do with the contrasting purposes of the different modeling worlds.  High fashion is supposed to be, by definition, unattainable.  The women used in high fashion, then, should be the most idealized, with bodies that are among the most difficult to attain and beauty that is the most rareified.  In this context, whiteness is a marker of elite status because white femininity, thanks to white supremacy in U.S. culture, is the most purely feminine femininity of all.

In contrast, the commercial market is actually designed to sell clothes to everyday people.  In this case, they want consumers to identify with their models.  Their models aren’t supposed to signify social distance, they’re supposed to be just like us.  Using more diverse models and models who are less waif-like helps accomplish those goals.

Screen shot from the JC Penney catalog, thanks to reader Chelsea S.:

Originally posted in 2010.

Lisa Wade, PhD is a professor at Occidental College. She is the author of American Hookup, a book about college sexual culture, and a textbook about gender. You can follow her on Twitter, Facebook, and Instagram.

(View original at https://thesocietypages.org/socimages)

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