Category Archives: Reviews

The Right Stuff: Enormous Egos and Wristwatches to Match

Tom Wolfe’s 1979 novel about the Space Race (late ’50s-early ’60s) is a portrait of the test pilots who became the first astronauts. The film based on the book is an artistic rendering of history as myth.

Wolfe compares the Space Race to single combat in ancient warfare: rather than armies clashing in the field, a champion was chosen to represent each side. Whichever champion prevailed sealed a victory for his city or nation. (Think Achilles or Goliath). This was what the Americans and Soviets were doing with their astronauts, according to Wolfe.

Once the Americans got rolling, they were unstoppable. The first to reach the moon, they could have gone well beyond if the ambition of the space program wasn’t seriously scaled back. But in those early days the soviets had a head start.

Americans relied on bombers to deliver bombs, should a nuclear war become reality; but the Russians concentrated on cheaper unmanned missiles to compensate for their inferior aircraft technology/industry, and used their captured Nazi rocket scientists to get the jump on the Yanks. The US Air Force was already working on an aircraft that could break out of our atmosphere, but when Sputnik shot into orbit, all effort was redirected at catching up to the USSR’s capsule-launching method.

Wolfe’s character portraits of the first American “star voyagers” was both fascinating and hilarious. I’ve never forgotten his colorful expose` on the collective subconscious of the test pilots/astronauts, in particular. Like the ziggurat metaphor used to describe the egocentric construct of the unspoken hierarchy according to how much of the Right Stuff each individual thought he and his peers possessed.

The Mercury astronauts were alpha males to an almost comical degree. It’s rare in this world to get so many of them crowded together in one place. You’ll usually only find such groupings in elite military units or perhaps professional sports teams. The egos are huge, but also fragile. Deep down, each of these men feared getting left behind (not making the cut) at every stage of their climb up the ziggurat.

Except, probably, Chuck Yeager. This penultimate test pilot was never invited into the space program–possibly because he’d never been to college. (Sad to think of how many potential Yeagers who will never even get a chance to fly because of this snobbery.) But in both the book and the movie you get the impression that despite all the hype about “Spam in a can” (astronauts in capsules), he remains alone and unchallenged at the top of the ziggurat, with that heavenly light shining on his aloof indifference.

I wish the clip above included just a few seconds prior, when Yeager asks his buddy about the latest high altitude record. Nobody cares about that, his buddy informs him; it’s all about capsules and astronauts these days. After a pause, the undaunted Yeager looks at the test prototype jet and opines that it just might be capable of breaking the record. Next thing you know, he’s going through the Beeman’s chewing gum ritual with his comrade, and up he goes.

Anyway, the psychological insights are only dressing for the thorough investigative reporting Wolfe wove into an informative and entertaining inside story of an elite subculture in history.

For those who haven’t both read the book and seen the film, I encourage you to correct that. It’s not a case of one being better than the other; instead they compliment each other.

Post-Apocalyptic Affirmative Action: The 100

You can find this series on Netflix or Amazon.

The scenario:

Earth was destroyed in a nuclear war. Hundreds of people survived in space stations orbiting the planet. The space stations were sent up by different nations.  They eventually found “unity” and combined all their stations into one impossibly gigantic station called “the Ark.” Cute, huh?

This multinational colony all speaks English. No biggie–we can accept that, as it makes it easier to tell a story. There is artificial gravity everywhere in the Ark, too–even the sections not spinning. The ace mechanic (a woman, of course) manages to fix heavy machinery on a regular basis without even getting her hands dirty, and while maintaining a perfect manicure. Because booty. (That’s right, this actress, though typically skinny, has the nicest rump you may see on TV, and she’s also smokin’ hot above the shoulders. But you’ll only get treated to the full package when she’s first introduced.)

So much for technical realism.

Air and resources are running out on the Ark, so they send 100 juvenile delinquents down to Earth to both get them out of the space station, and to serve as lab rats and demonstrate whether the environment is survivable. There are some legitimate criminal types mixed in, but most are just misunderstood teens.

It turns out the Earth is survivable (or there would be no series). In fact, the “Grounders” (a primitive society descended from survivors who never left the planet) are doing just fine, biologically. They also speak English with no dialectic variation from the multinational space station contingent.

So what we have here is potentially a TEOTWAWKI survival story with plenty of conflict within and without the “100” culture for a competent writer to work with and keep interesting.

PC Utopian tweaks:

Every single leader of import is either a woman or a minority–with occasional antagonistic exceptions like a white male who leads a sort of lynch mob. And of course the best leaders are the females. Even the Grounders–a hunter-gatherer society where survival depends on physical prowess–have a female leader and plenty of pixie ninja “warriors.”

Ri-iiiiight.

There are a couple bad-boy types. One becomes the bleeding heart pacifist “voice of conscience” type after the ship lands. The other was a janitor on the Ark, and becomes co-leader with a Strong Female Character who is star of the show. Of course she is the stronger, wiser, more rational leader of the two. Bad Boy #1 has, as his girlfriend, the hottest chick on the show (the aforementioned “mechanic”), but, in a society where females are apparently in short supply, he ditches her for the plain-faced blonde protagonist with the body of a teenage boy.

In fact, within a couple episodes, the show began to resemble a soap opera. The question the audience is prompted to ask is not “How will they survive this catastrophe?” but “Who’s sleeping with who this week?”

Maybe that’s the root problem: Much like what feministas and SJWs want to do to video games (what #gamergate is all about), they have invaded genres like TEOTWAWKI/post-apocalypse and have twisted it into just another pop culture tool to sell their agenda and condition an audience that would rather just be entertained.

They weren’t content to have their own gynocentric gathering places and their own gynocentric entertainment. They have to take over what few male sanctuaries are left and ruin them, as well.

If you want to watch something in this kind of modern-people-dealing-with-prehistoric-challenges flavor, a much better choice would be Terra Nova. It only lasted one season, and is certainly not perfect, but is far superior to this flotsam.

Captain Gringo #1: Renegade

Lucky for us, many of the men’s adventure series of yesteryear are being re-released as E-Books. Renegade is one of those shoo-in canditates, I thought…and somebody at Piccadilly Publishing evidently agreed with me.

I only read a few paperbacks from later in the series, so this was an opportunity for me to go back and see how it all started without breaking the bank or straining my already-overloaded bookshelves.


Lou Cameron originally wrote these men’s adventures under the pseudonym “Ramsay Thorne.” They are being advertised as westerns now, but that’s not exactly accurate, as they take place in Central and South America during the 1890s. I guess I’d call them “jungle mercenary” adventures.

In this one we meet Dick Walker AKA Captain Gringo as he’s awaiting execution by the US Army. As a commissioned officer, he allowed some prisoners to escape because he thought they were getting a raw deal. That earned Richards himself a raw deal. I found it interesting that he had been assigned to the “Buffalo Soldiers”: the 10th Cavalry–a unit I once researched extensively for a project I may or may not ever undertake.

The Renegade escapes, and almost immediately runs afoul of crooked authorities in Mexico. He also makes acquaintance with Gaston Verrier–a middle aged soldier of Fortune who originally came to Mexico as part of the Foreign Legion. In almost-believable fashion, the two of them team up to survive against bleak odds, and raise a lot of hell along the way. Surprisingly, they part ways before the novel is finished (Gaston is Captain Gringo’s consistent sidekick in the series).

The Renegade series reads almost like a Foreign Legion adventure, only with a XXX rating. And the sex scenes in this book are much raunchier than I remember them being in the later ones I read years ago. Cameron seems to have been more of an “anything goes” perv than I took him for back in the day. I now wonder if he didn’t spend some time in Hollywood adapting screenplays, or some other moral cesspool (Greenwich Village, maybe?) that erased any notion of taboos. But I’m getting ahead of myself here and reacting perhaps as much to #2 in the series as to this one.

The ethnic stereotyping is also much more pronounced than I remember, and occasionally grates.

Based on the typos in the new E-book, I would guess they put the original into digital format by running a scanner over one of the paperbacks, then trusting software to sort out the spelling and punctuation. It’s plenty readable, just annoying if you have OCD concerning syntax…like somebody I know. Ahem.

One asset to reading any of Cameron’s work is the nice little historical and cultural tidbits he mixes in with the plot, whether it be Latin customs or mindset; unexplained natural phenomenon; obscure historical events; or the function and employment of a water cooled machinegun. Though pulpy to the extreme, it can’t fairly be called “mindless entertainment.”

Pre-Flood Fiction

You ever have a really  cool idea, but are too busy with other stuff to make it a reality before somebody else comes along and does it? Then you grumble under your breath when other people rave about what a cool idea it was.

It’s happened to me too many times over the years. One of the latest is this one: Brian Godawa’s fantasy series set on antedeluvian Earth.


Intending to read the whole series, I started with this one in order to follow it chronologically. Maybe that was a mistake.

Chronicles of the Nephilim was a good idea and pre-flood Earth is a great setting for a fantasy tale. Also, the author had to have done some homework in Enoch, the Bible, possibly Jasher and some other sources. All props to him for that.

I think I would have enjoyed a summary of his research more than this novel.

What grates on me are major selling points for the average feminista reader. In particular the “cute” romance elements didn’t sit well with me at all–especially the smarmy syrupy pet name exchanges . And I get a little more irritated every time I run into the obligatory amazon superninja character.

In the author’s defense, my patience had been sorely taxed before I ever heard of him, so it only takes a straw or two to break my camel’s back.

My camel’s name is Suspension of Disbelief.

The author did build a quest tale, of sorts, around the historic sketch left us via Genesis and Enoch 1, with some plot twists and such. I can’t say I liked any of the characters enough to become absorbed, or even smooth over the parts that ruffled my feathers. I set the book down for a couple months before forcing myself to finish it. Having heard raves about the Noah book, I’m almost tempted to give him another chance, but it’s certainly not a priority.

Some Red Pill Truths in Gone Girl

There’s no way to avoid spoilers in this post, so if you plan on watching Gone Girl but haven’t yet, read no further.

The author/screenwriter (same person, as I understand it) had fun messing with the audience’s mind. There is a series of revelations which has you, at first, liking the Ben Affleck character (Nick Dunne), then despising him, then sympathizing with him again. Feelings toward the character of his wife (Amy Dunne, played by Rosamund Pike) will be mirror-opposite at each stage.

So first of all, Nick uses alpha game to woo and seduce Amy. My damaged old ears didn’t catch all their witty banter, but apparently Nick taylored his game just right for her. He fell into the wonitus (“1-itus”) trap that so many men do, and after dating her for a couple years, married her.

Here’s where it gets kinda muddy from the red pill perspective, because she had the money, not him, which makes her the provider I guess. They do wind up living on her money; she makes him sign a pre-nup; and she buys a bar for Nick and his sister to run. What you learn about Amy over the course of the flick is, on top of being a diabolical psychotic mastermind, she’s also a domineering skank who likes to keep her man on a leash. This isn’t always obvious because the plot unfolds partially from her point of view…and she’s an accomplished, remorseless liar.

It seems Nick becomes a lot more beta once he’s married to Amy and, predictably, she grows to despise him because of it. There are other complications too, like losing jobs, a sick mother, and a relocation from New York to Missouri. After finding work as a teacher, Nick begins an affair with a former student. This is what kicks Amy’s twisted psyche into high gear.

Amy masterminds the faking of her own murder and framing Nick for the crime. And it works pretty well for most of the movie–both on the police and the audience. But Nick catches wise and there’s a bit of a cat-and-mouse dynamic for a while.

There are a couple especially noteworthy scenes for the manosphere.

In one, Amy admits privately to Nick that she became disgusted with him when he stopped using game; and when he demonstrated a form of game again (during a television interview), she just had to get him back, and so came out of hiding.

In another scene, we see that another woman (a detective) is the only one in law enforcement who sees right through Amy. But Amy’s got the white knight federal agents eating out of the palm of her hand, and they stifle the valid suspicions of the detective because V.

(V for Vagina; victim… take your pick. One equals the other to a white knight.)

I confess that, the way the movie ended, I felt like a rape victim myself. I have no intention of reading the novel it was based on. Nick resigns himself to staying in the clutches of this evil, murderous whore, and confessing on national TV to crimes he never committed (abusing her; money-grubbing; etc.) because, after faking a pregnancy earlier, it turns out she really is pregnant now.

It’s tempting to wonder if the author/screenwriter pulled all these themes right out of the manosphere.

And yet the author/screenwriter is a woman. Is this a warning, or what?

When the Other Shoe Drops

I’ve banished cable from my house and never did get the converter for over-the-air TV broadcasts, so the only thing coming into my living room is internet. Still, there’s a lot of movies and even TV shows you can watch via Netflix, Amazon Instant Video, etc.

While I usually avoid TV series like the plague, there’s one I began watching as part of bonding time with my young son.

Lincoln Heights is only a few years old, and is part cop show; part family drama. Some of the drama is really contrived, and the first two seasons had some typical TV stupidity (which originates at the writing stage, usually), but there were some positive aspects that made it worth the pain.

Eddy Sutton, the father/husband character, is the kind of cop I wish still existed. He doesn’t sit on his lard ass eating doughnuts at a speed trap, waiting to gouge taxpayers out of their hard-earned wages for not wearing seat belts or tinting their windows. He’s not on a power trip. He didn’t join the police so he could get stick time, taser people, have sex with prostitutes for free or get away with murder. Unlike real cops, he’d probably even give a damn when you’ve been robbed. He might even have fingerprints taken at the crime scene when the victim’s not a V.I.P.

Eddy Sutton wants to serve and protect the citizens who foot the bill for his paycheck. It might be a stretch, but you might even argue that he knows his job is to protect individual rights. In other words, a fictional cop. If not a fantasy cop. He’s a guy I would actually tell my son (or daughter, or wife) to run and find if I’m not around but some sort of threat is.

Jenny Sutton (his wife) is a nurse, a good woman and a good mother. The three children are written and acted realistically for their ages. Their screen time tends to be laden with melodramatic angst…which is a little too much reality for me but I think it’s what sucked my own child into the narrative.

Then we got to Season Three.

Episode One ramped up the stupidity, but everybody has bad days (especially writers and directors) so we hung in there.

Then in Episode Two or thereabouts, whoever calls the shots for Lincoln Heights jumped on the homosexual bandwagon. Somehow a TV show slipped through the cracks and for two whole seasons failed to display a sodomite character and ram a homophile message down our throats. In Homowood, Commiefornia that’s a reckless, inexcusable oversight.

And wouldn’t you know, the Sympathetic Gay Character is the child of the new preacher in town and his stereotypical phony hypocrite wife. Are TV writers still patting themselves on the back for stale bupkus like this or has it sunk in yet how hackneyed their plot devices are?

I don’t know why, but rather than just quit cold turkey, I skipped forward to get past the cut-and-paste sodomite soapbox. I noticed that, though they’re trying to be subtle about it, they’re also sneaking an anti-gun theme into the series. In Season Three the show goes downhill fast.

My best guess is, whoever wrote the first two seasons moved on to something else. A typical establishment hack took over and, as predictably as a bowel movement after prune juice, began tweaking every thread in the show to align it with every other show on the idiot box.

It’s surprising that it took two seasons before this happened.

 

A Desert Called Peace

I haven’t read much science fiction in the last several years. I knew there must be some good sci-fi being published somewhere…I just hadn’t found any for quite a while. When I saw the cover for Tom Kratman’s The Rods and the Axe, I had to say, “Hmm…”

Someone advised me that I should read the Carrera series in sequence, and the first one in the series was free, so no risk, right?

Kratman sets out an alternate history post-9/11, but chose an interesting method to present it.

A space probe discovers a wormhole (or something like that) to another solar system, where there is a planet just as delicately balanced as Earth is (read that: able to sustain human life). Colonization begins. Then, partly by design, partly by accident (coincidence? Cosmic symmetry? The manipulation of Galactus?), the geopolitical landscape on Terra Nova turns out nearly identical to Earth’s in the 20th Century.

I think reading the series in sequence was good advice. By doing so it was easy to grasp that FSC=USA; Taurus=Europe; Volga=Russia; Balboa=Panama, the Great Global War=WWII, etc. I didn’t know whether to groan or to chuckle at references like “Operation Green Fork” and “Amnesty Interplanetary.”

Carrera (whose real name is Hennesey) is a veteran of Green Fork who remained in Balboa afterward. When his family is wiped out in the 9/11ish attacks, he is presented a unique opportunity for revenge. He builds a de facto private army in Balboa, and obtains a contract to assist the FSC in their War on Terror.

Much of the book focuses on the building of this army. The rank and unit structure is based on the Roman model–legions, cohorts, centuries, etc. The rest of the book illustrates a better way to have conducted the occupation of Iraq. This was interesting, and enough effort was put into Carrera’s character that it never devolved into a field manual.

While the average writer tends to highlight the use of torture to get information from terrorists, and use it to horrify the reader, a few writers take pains to justify the use of torture in interrogation. Kratman keeps justification to a minimum, but describes the methods just a bit too precisely for the more squeamish readers. Personally, I’ve never been remotely involved with a decision to torture or not; and I’m thankful for that.

The closest I came to irritation was with the sketch of future history on Earth. Specifically, the assumption that the USA as we know it will still exist into the late 21st Century, and will still be a superpower. If this was written soon after the 9/11 attacks, I guess the naive optimism among Neocons would lead to assumptions like this. But these days a person has to really be blind to make such a forecast.

Oh, and speaking of naivete`: the theatrical gimmick used to embarrass the bleeding-heart from Amnesty Interplanetary would have SOOOOOO backfired. I found the concept silly to begin with–like a plan hatched by the Little Rascals or something. And the success of the whole venture hinges on the integrity of the press. In other words: epic fail. Since when does the press let something as trivial as the truth keep them from pushing a narrative they endorse? And you just handed them video footage on a silver platter!

As a set-up to a series, Desert Called Peace was effective. I’ve already got the second book, Carniflex. I’ll see how things progress.

Operation Perfida–Len Levinson’s Take on the JFK Plot

 

 

Since I began blogging, I’ve been fortunate to meet some of the authors of my favorite books, including Jim Morris and the late Jerry Ahern. It should be no surprise  that high on that list is Len Levinson, one of the best action adventure authors from the 1970s and ’80s. I’m very familiar with his work in the war genre, but hadn’t delved into his other dabblings until recently.

Since I’ve long been fascinated with the JFK assassination, and Piccadilly Publishing has released a Levinson novel with a connection to that historic turning point, I just had to get this book on my Kindle.

A strong main character makes this one too engaging to put down.

 

True to Levinson form, Operation Perfidia is a really fast read and hard to put down. He is a master storyteller and the first two thirds of the novel just crackles along. Last year I read two novels of cold war intrigue–Ken Follett’s Code to Zero and Ian Fleming’s Moonraker. There are many similarities between this story and Follett’s, but to me this was the most enjoyable of the three books and I attribute this to the main character, David Brockman. The CIA field agent is tough, smart, and good at his job. His Achilles’ heel is the mile-wide blind spot he has for the woman he loves.

This book supports the most popular spin on the facts and rumors surrounding the mystery of the JFK snuff–the “vast right-wing conspiracy” theory. It is fairly obvious just from reading the blurb that the culprits will turn out to be anti-Castro Cubans. Of course anti-Kennedy CIA good ol’ boys collaborate. Nothing new here, but then this book was originally published in 1975, 16 years before the Oliver Stone film would make this hypothesis a household assumption.

But it does leave room for improvement…

 

The most disappointing aspect of the book was in the climax and ending. I don’t want to ruin it for anyone, but I read the last words wishing there was more to it. Not that the reader needs more concrete plans for the hero’s future–best to leave it uncertain as-is. I guess I wanted a little bit more expose` on Brockman’s wife Mirallia. Flesh out that angle a bit more. After all, Brockman only stumbles upon the JFK plot as a side-effect of chasing his wife, anyway. She’s his primary motivation through the bulk of the novel; then when he finally tracks her down, it unfolds a touch on the anti-climactic side.

All in all, this is a nice espionage thriller to cuddle up with. You can get it for your Kindle here or by clicking the cover image at the top of this post.

Alone and Unafraid

Peter Nealen arrived home from the Sandbox not too long ago and immediately set to work as a novelist. I’ve reviewed his other two Praetorian Security novels. I asked Pete if this was the capper to a trilogy and he said that he envisions this as an ongoing series.

One thing that set his first two efforts apart from the other new military fiction by young veterans (some of which is bloody good stuff) is his commitment to verisimilitude. Told in first person by the paramilitary protagonist Jeff Stone, these books make an admirable effort to immerse you into a grunt’s eye view of the chaos in the near-future Near East.

Jeff’s Private Military Company is like a man trying to navigate a forest fire barefoot. Alliances are constantly shifting. Friends become enemies overnight and vice-versa. Praetorian seems to be only a half-step in front of the Grim Reaper most of the time, in a world with a violent power vacuum in the absence of American interventionism after the collapse of the dollar.

In Alone and Unafraid, Nealen really ramps up the action. Some of the complex regional politics might be challenging to follow early on, but don’t let that deter you, because it takes off soon thereafter. Once it gets going, it just about never stops.

This is my favorite novel in the series so far. Pete has found a nice balance between plausibility and entertainment, and I expect his audience to expand after this.

If you like paramilitary adventure, you need to read this book.

The Arroyo

Critics are people who get paid to spout off their opinions. Often they have college degrees. So you can’t really call me a critic since I don’t get paid to blog here. That distinction might help make sense of my next statement.

If critics hate a movie, I’m often tempted to watch it on the hunch that Hollywood sometimes hides the good ones under a pile of horrible reviews. Looks like critics hate this movie, so you might not have even learned it exists yet.

Let’s start with the “tangible” aspects:

Yes, it is low-budget, and indie. No multi-million-dollar special effects or big name actors. But no cheesey effects, either. The cinematography, sound work and editing were all competent.

The acting is a mixed bag. The major players were good…which is not to say photogenic. None of them will likely ever appear in People Magazine by virtue of their aesthetic appeal. Furthermore, the actor in the starring role has an unfortunate facial disposition which keeps his mouth in the shape of a smile even when he is clearly not smiling; yet his performance was solid.

The supporting actors performed at a level you would expect from friends, relatives and neighbors of an indie filmmaker. The screenwriter compensated for their inadequacies by not asking much of them. So they came off wooden, which is not as bad as grandiose. Underacting is preferable to overacting, I believe. So the supporting players weren’t good, but neither was it painful to watch them.

I saw real potential in the writing and directing. This was a movie with a message, and frankly, more was accomplished in the dialog than what many establishment directors can manage with an elite cast. I found a few clips on Youtube that, for all I know, report the story this film is based on.

The main character is a rancher in a border state. Every day illegal aliens swarm across the border through his property, leaving piles of garbage, vandalizing his fences, stealing from him and, far too often, leaving dead bodies.

The federal government refuses to do its job, and the local government (in the form of the sheriff) turns a blind eye as well. Gunmen for the drug cartels routinely trespass on the rancher’s property and occupy his deer stand. They are using illegals as “mules” to haul controlled substances into the country, and are also raping (or at least coercing sex from) the female illegals, then tying their panties to a “trophy tree.”

When the rancher and a friend decide to chase the cartel off his property, that’s when “shit gets real” in modern hood parlance. The cartel brings in a hit man  before long, and he’s about as slimy as they come. Yet he has the best lines in the film.

There is some action, some drama, and plenty of thought provocation Hollywood would never allow. I suspect that last item is the true reason critics hate the movie.