These are my film reviews as well as other review pieces that I’ve written. My film and other media reviews do contain spoilers a fair amount of the time, and not all of the reviews are tagged with SPOILER! notices. Consider this fair warning.
I went on and read/listened to volume two of the Dark Tower saga, the Drawing of the Three. I wasn’t nearly as impressed with the second volume, and I can’t recall a significant moment of the film purportedly based on the first book, which means I’ll have to go back and watch that movie again (Look for this to be updated then) in the meantime Stephen King’s afterword in the second volume, citing how this work was such a departure from his normal writing endeavors, made me pick up and start reading/listening to the Shining.
The one thing I noticed about the second volume of the Dark Tower saga that stuck (other than did-a-chick) was the references to the movie interpretation of the Shining that Stanley Kubrick graced the screens with back in 1980. Very little of what you saw on screen in that movie was even in the novel that Stephen King penned. No elevator full of blood, no encounters with the dead twin girls, no hunt through the hedge maze, no “all work and no play makes Jack a dull boy” repeated ad nauseum as a demonstration of the father’s madness. King’s tangential reference to that movie, as well as other movies of the time, leaves you thinking that King wasn’t very impressed with Kubrick’s vision of what the Shining was about.
It’s hard to translate the written word to the screen, even when what is written is written specifically to be filmed. Stephen King’s books are a lot like other novels that are worth reading. The language on the page draws images in your head, and those images will never be the exact same images that any other person has. The script writer/director/actor all have to agree on what the image on the screen should be, and they are all hampered in their ability to get their interpretation of the words onto the screen by the limitations of the technology that exists at that moment to realize the images.
When a book relies on the internal horror of the individual’s mind to advance the plot, every attempt to turn that into a movie is doomed to failure. It is doomed to failure because every single reader will come in expecting to see their mental pictures on the screen, and they aren’t going to see them there.
I take great pains to reserve judgement on a movie based on books that I’ve read. I try to set aside what I know about any given character that I’m watching on screen. Set aside what I know that isn’t in the movie I’m watching. This helped me get through all the Marvel movies based on characters that I’ve followed since childhood. Helped me watch the Harry Potter movies without demanding that this or that scene from the book just had to be in the movie.
There will be enough time to reflect on the whole achievement of the movie after the credits roll. Time to reflect, unless the movie lacks the hooks to make it relevant to your experiences outside the movie theater. That movie is soon forgotten. Does that make the movie a bad movie? Only a second viewing will answer that question.
Then there was this episode of Planet Money: The Disease Detectives or this segment from Morning Edition. It was beginning to look like everyone was talking about this movie. I remembered watching it, or at least starting to watch it. But I couldn’t remember more than the first few minutes of the film.
Wesley Morris, writing for the New York Times, calls it an explanatory drama in his article. I think of it more as a detective story that understands why we might turn on a movie about a fictional pandemic while we are caught up in a very real pandemic all around us. We want answers, and by the end of the film we have those answers. The closing scenes alone are very rewarding, making the sometimes dry delivery of the film worth the wait, if any of you who watch it find that you feel like you are waiting.
I know why I didn’t remember watching the movie to the end the first time. When they start trepanning open the first victims skull and folding back her scalp, I’m pretty sure I bailed on the film. I almost did that again the second time, even knowing what it was I signed up to watch. We will be getting the most out of that frew week of Cinemax that got us access to the movie for free that first night.
After watching Contagion, I surfed over to check out the Netflix documentary that I had heard someone else talk about.
I wasn’t clear on whether this series was a documentary series or not until I tuned in to watch it. The first episode makes this very clear. It’s a documentary. All the episodes inter-relate, but there are different segments in each episode about the different facets of the problem of dealing with a pandemic in different countries. You come away with a pretty clear view of the problems we face dealing with any kind of healthcare crisis in the world, much less one as broad and crippling as the current coronavirus pandemic.
From doctors to anti-vaxxers and back again, the series gives you a broad but shallow look at healthcare in the world today. Since we all have a lot of time on our hands these days, and are probably curious about why we have a lot of time on our hands, this series should help you understand why that is.
Neither venture delivers the punch of an epic disaster movie, though.
Outbreak is just the kind of disaster movie you are probably looking for, if those two offerings aren’t to your taste. From devastating viral death rates to government cover-ups to an edge-of-your-seat ending, this film is everything the others are not. Including it being completely unbelievable to anyone with a shred of understand of how infections spread successfully or how government programs work. But it is a good popcorn movie with a rewarding ending. You can’t ask for much more in these times of stress and worry.
I picked up The Silmarillion after reading The Hobbit and Lord of the Rings on a suggestion from a fellow reader that I was sweet on during my senior year in high school. The other works of J.R.R. Tolkien that I read had been a wonder to experience, but I wanted desperately to know more of the Elves, and to dig into the rich history of Middle Earth that was hinted at in them. The Silmarillion satisfied that curiosity, but left me wondering what the notes that Christopher Tolkien had used to create the compilation that was The Silmarillion had looked like before he had tried to arrange them into a cohesive narrative after his father’s death in 1973. I can only imagine the size of that herculean task, given the scattering of notes that every writer generates over the course of their lifetime.
Many people have complained over the years about the heavy slog that The Silmarillion was for them to read. That was not my experience of the book, but I could tell that The Silmarillion was not the direct works of J.R.R. Tolkien, or rather that the work it represented was not as refined as his later published works had been. I don’t place blame on Christopher Tolkien for this lack of refinement. He had nothing but notes to work from, a loose framework of tales written over several decades, as J.R.R. Tolkien pursued his passion for telling fantastic tales of Elves, Dwarves and Men. Tales that publishers of the time refused to publish for fear that the works simply would not sell.
I wonder what would have happened to his best-loved works, had his earlier passions not be frustrated by recalcitrant publishers? Would we even have the stories of Hobbits, the creation of Hobbiton as a location in Middle Earth, if Tolkien had been satisfied to see his earlier labors rewarded? We’ll never know.
I have wanted to get my hands on the twelve volume set of The History of Middle Earth, what was promised to be the definitive collection of the works of J.R.R. Tolkien, published serially from the years 1983 to 1996, since I first heard rumor of its existence. I was desperately trying to stay in the business of architecture by that time, trying to raise two children to boot, and I had little time for reading for fun during those years. But I kept my eye out on the rare occasion that I made it into libraries and bookstores, hoping that I might run across them so that I could at least touch them on a shelf somewhere. I never have had the chance to find all twelve of them at a bargain price, and when I looked on Amazon.com today there are several sets of books listed that promise to be the definitive collection of the works of J.R.R. Tolkien, some of them even calling themselves The History of Middle Earth, but aren’t the originally published twelve separate books. All of them requiring more cash than I’m willing to spend just to set them on a shelf in my library.
The back and forth eye motion of reading text on a printed page has gotten difficult, sometimes even producing minor bouts of vertigo when I have tried to push myself to read for any lengthy amount of time. I doubt that I could ever bring myself to go through all twelve volumes of the set all on my own, if I had to read them directly. The last few times I tried reading anything on the printed page I became fatigued so quickly that I had to resort to buying the works on audiobook just to be able to finish them.
When The Wife and I ran across the Children of Hurin on Audible recently, read by Christopher Lee, we both agreed that we needed to get it. She loves Christopher Lee having grown up watching him play Dracula in all the old Hammer films. His narration of Children of Hurin was beautiful to listen to. I couldn’t have asked for a better voice to bring J.R.R. Tolkien’s words to life. The story itself is a major improvement on the rough draft of the story that is preserved in The Silmarillion. There is more depth to the work in this form, the story of Turin Turambar and his sister made all the more tragic by the voice of Christopher Lee. It is a credit to both of the authors who have worked on these stories over the course of their lives that this version flows so well from beginning to end. I can’t recommend it highly enough to any Tolkien fan.
This is how you do a movie review. The film he is reviewing is the one that I felt I had to write a Movie Rating for Dummies post for just to help the entertainment challenged understand that if you sat through the entire movie, it’s probably at least a three star experience. This guy gets it, and he understands how to mix praise with criticism.
Virgin Cheerleaders in Chains is better than three stars, as Jacob Anders does a much better job of explaining than I can. He’s nicer to the movie than I was, and he doesn’t have to sleep next to the producer of the film knowing she could kill him in his sleep if he trashes her movie.
Which I wouldn’t do to this movie anyway because it is hands down the best made movie she’s worked on. The credit goes to the writer, the director, the cast and crew, all of whom would never have found each other without the producer, the woman I sleep next to. So she gets credit too, even if she isn’t one of the named credits in the movie. The editing job is superb, the acting is excellent, the script won awards. It’s a great movie. Go see it.
I’m simply not a person who watches horror films and enjoys them. I’m still haunted by The Ring after watching it more than a decade ago. I laughed at and was traumatized by Scream when it came out. Halloween still gives me goosebumps, and I’m a certified John Carpenter fan. Don’t ask my opinion on horror films if you want more out of me than it’s not my kind of movie. I’m more at home with dry, intense dramas than I am with action and horror.
This movie scared me, too. So if you like scary movies, go see it. You’ll enjoy it.
Picture the Emerald city as seen in the 1939 movie The Wizard of Oz. Imagine that you had lived there all your life. Born there, raised there. It was what was normal for you. Then one day you wake up and you live in Kansas, the dull, drab black and white existence from the same film. No one has ever seen or heard of the beauty of the Emerald city. No one knows what the hell you mean when you say Emerald city to them.
Wouldn’t you try to create a version of the Emerald city? Just so that the beauty that you remember could be shared by everyone you know? So that they would know what you mean when you say the words Emerald city.
That is the essence of Yesterday. The story of a man who wakes up in a world in which the greatest influences of our past no longer existed. It is a movie with soul. A movie that makes you want to shout to the rafters about the beauty and inspiration that was the Beatles, and quite a few other things as well. Watching Yesterday was one of those rare instances when the movie that I’m watching is better than the movie I expected to watch when I queued it up. Give this movie a chance and it will surprise you.
For my own sanity, I feel that I need to say something about ratings systems and how to rate entertainment fairly. Specifically, rating movies fairly, although the descriptions for the basis of giving a particular rating can be broadly applied to more than just movies. But it’s movies that I’m going to be talking about here.
Full disclosure.The Wife’s latest film project has just been released. It is the fourteenth film she’s worked on, the second that she has produced. The title of the film is Virgin Cheerleaders in Chains. No, it is not that kind of movie. It is a horror-comedy with strong female leads, a reasonably well-known director and a reasonably well-known leading actor. I give the film a solid eight out of ten stars on IMDB, four out of five everywhere else.
Why did I give it this rating? There is a logic to it that most people should recognize. First off, I liked the film. When I got to the end of it, I didn’t feel like I had wasted my time, and I didn’t feel like I had been sitting there for too long. If you look on Netflix you can see that logic reflected in their star rating system. For those who don’t have a Netflix account, I’ll go through the generic descriptions using my own language.
Two stars – I didn’t like it. I made it to the end and for whatever reason, the movie didn’t make me feel the way I expected to feel at the end. This is not to be confused with feeling sad when the film is a sad film (See Schindler’s List) paranoid when the film induces paranoia (see the Matrix) Or angry when the film wants you to be angry (pick any work by Michael Moore) If you need happy endings, stick to solid hollywood releases. They are the movie creators that will feel compelled to leave you with a happy ending.
Three stars – It was OK. There was no particular reason why I couldn’t watch the entire film. It didn’t feel too long, it worked the way I think the creators wanted it to work, but it didn’t make me want to recommend it strongly. Most films are going to rate a solid three stars because most films are made by people who want the average moviegoer to feel like they weren’t wasting their time watching the movie.
Four stars – I liked it. The movie spoke to me in a way that was unique to the movie. A four star movie is one you can remember, and you can remember it fondly. A movie you might even watch again with a friend so that they can experience it too. This is perhaps the most unambiguous rating because most people know when they like something. Either they do or they don’t, there isn’t any uncertainty about it.
Five stars – I loved it. The film is near-perfect in execution. The soundtrack adds to the film, the cinematography is beyond reproach, the subject matter is something that people will relate to in later generations. You feel compelled to tell people to watch the movie, because it is just that good. For me, it’s hard to rate a movie five stars that I don’t feel was a singular experience. Few movies will rate five stars in my estimation. The vast majority of them simply do not measure up to that high standard, not even films made by a lifetime companion who could kill me in my sleep if she wanted to.
For a ten star system like IMDB, you double the star rating you would give it on a five star system, with some added granularity. Five instead of six stars because I really did feel like the movie lost me somewhere. Seven instead of eight stars because there were some technical flaws that I just can’t get past (see the duplicate droid scene in the original Star Wars) nine instead of ten stars because you don’t think the film will be that timeless, but it was damn good all the same.
You don’t, for example, give a film a one star rating and then offer a wishy-washy description of why the film was so bad that you felt like you had to gouge your eyes out rather than watch it. Either you hated it, and you can describe why, or you are trashing the film because the mood struck you and you went for it. Or you are simply an idiot that doesn’t understand what the correct star rating for the movie you just watched was. For those of you who made it to the end of this short guide, you can now be excused from the class of idiot that doesn’t understand what the star ratings mean. You are welcome.
I’m just sorry that I wasn’t in time to save the idiots that gave Virgin Cheerleaders in Chains a one star rating and then said I thought it was meh. Meh is three stars, moron.
I half-jokingly tell people that it’s kind of autobiographical. I had written a script called Creature From Blood Canal, which was an entry and official selection at the NoLa film festival screenplay competition, and that’s where I met [director Paulo Biscaia Filho]. Now Creature was a $100 million script, and I couldn’t get anyone to read it, and Hollywood wouldn’t read it, so basically that’s the same thing that Shane says in Virgin Cheerleaders.
The release date for the ninth and last of the originally slated sequels to the 1977 blockbuster, Star Wars, has been announced. When George Lucas was rewarded for his work on the original film, put together with a shoestring budget (judged by today’s movie budgets) he was floored by the fanbase that he had unwittingly created. People who willingly shelled out money for tickets to see the same film, over and over again for over a year, a feat that hadn’t been witnessed in movie history since Gone With the Wind had been released, a full human generation previously. When George Lucas saw how much money he could make in creating sequels to his original work, he abridged his stand-alone creation and let it be known that he had a lot more story to tell, if people were interested.
…and they were interested. The Empire Strikes Back was the second-best selling film after Star Wars when it released. Mr. Lucas went outside of the group that made the first film possible in order to realize the second film, but the movie made big bucks and set us on the course that we’ve been on, Star Wars and movie-sequel-wise, ever since.
Return of the Jedi, the third film in the franchise, didn’t do as well as the previous two films, even though Mr. Lucas brought the film back home to have it made under his direct supervision. It was at this time that the nine film series narrative emerged. After the third film was in the can and George Lucas was looking for his next project. This was when Star Wars became Episode Four, and the plotting of the three prequels began.
Of course, we had to have the digital updates of the original trilogy first. And then we got the forgettable Star Wars episodes one, two and three. The kids liked them, so they sold well enough. There was a cartoon series about the Clone Wars and there were other spin-offs too numerous to mention. For someone who was let down watching the first Star Wars because the novelization was better than the film, it is hard to imagine waiting on the edge of your seat for anything Star Wars after those prequels dropped.
There were no theaters in Leoti, Kansas or Stinnett, Texas, the places where I was trapped during the year 1977, when Star Wars first hit movie theaters. The family had zero funds and bigger problems than my desire to see the epic adventure of our time, to deal with. So I didn’t get to see the movie when it released. I had to borrow a paperback copy of the novelization from the library in one of those two places. It was probably Stinnett. I didn’t get to see the original film until Empire Strikes Back was in release, and then I managed to catch the two films back to back in a new-fangled, dual screen twin cinema, constructed on the edge of my place of exile in 1980, Garden City, Kansas. One of the last things I did in that town before being shipped back to Texas.
It should be no surprise to long-time readers of the blog that I was much more impressed with the second Star Wars than I was with the first. An impression only strengthened after watching the third film, and then in witnessing the digital cheapening of the first trilogy in preparation for the release of the prequels.
I knew that what would come out after that would be questionable, and my impressions of all six of the later films is filtered through that doubt, the unwillingness to be suckered once again into paying money for an experience that couldn’t possibly be as good as what my own imagination could create in just reading the screen plays. Enjoying fantasy requires the suspension of disbelief, and I don’t have the willpower to suspend disbelief for something so clearly created just to manipulate my feelings with familiar characters. One. More. Time.
Is anyone waiting to see this film? Waiting like I waited to see Empire Strikes Back? Wanting to know what will happen next? Will Luke and Leia get together? They blew up the Death Star but the Emperor is still out there. Surely he has more versatile weapons at his disposal? We know all that stuff now, and none of the original characters have survived to be part of this last film.
Everyone has known the name of the ninth film for awhile now. The Rise of Skywalker. Does anyone care about these new characters? Just curious. I don’t. I’d like to care about Rey, but episode seven was just an orgasm of special effects loosely hung around the bare bones of the exact same story that George Lucas used in the original Star Wars. I watched episode eight specifically because Mark Hamill was going to be in it. It too was largely forgettable and I have mercifully forgotten it over the course of the last few years.
The best Star Wars film I’ve ever seen isn’t even one of the nine films. The best Star Wars film was Rogue One, with Solo coming in for a close second. Rogue One spins out a tale about how the plans that are mentioned in the original film’s crawler came to be in the hands of the rebel alliance. (h/t to screenrant) no, the film does not follow the previously established narratives for how the plans were stolen. None of them were in movies, so their relevance to the canon as established in film is really irrelevant, unless you are a die-hard fan.
Solo of course is all about Han Solo, my favorite character from the first and second films. I followed Harrison Ford from then to now, watching every film that I could afford to go see that has had him in it. Harrison Ford has been worth the effort to follow. His career has encompassed many movies that cannot be described accurately with words. You simply have to experience them to appreciate them. Movies like Blade Runner. The man is a master on screen, like few movie stars can be. The actor for the Solo movie did a passing good job of capturing Han Solo, the character, not Han Solo as portrayed by Harrison Ford. A subtle but important difference lost on people who aren’t movie buffs. He did well enough on screen following the master that I have to give him credit for trying, even if he fails to be Harrison Ford in presence on screen. No one but Harrison Ford could be Harrison Ford, in much the same way that no one but Morgan Freeman can be Morgan Freeman.
So we’ve discovered the genesis of IOI then? Well, that’s good news.
What’s IOI? Innovative Online Industries. You know, the corporation from Ready Player One. If you haven’t read it, get the Audible version read by Wil Wheaton. It’s excellent. Don’t watch the movie of the same name; or more exactly, don’t watch the movie of the same name and expect to see the story from the book. The movie contains an entirely different narrative, with different characters and different FX sequences. The plot for the book would have been far less exciting on screen, and would have made for a much longer film. As far as video stimulation goes, the movie has excellent FX sequences, they just aren’t plot points that occur in the book. At all.
How do I know that Amazon is the corporation from Ready Player One? Well, for one thing, that cage looks like something that IOI would think was OK for workers to spend the majority of their lives in. For another, the links to the book and the movie both go to Amazon. I could point other places, but they’ll all be owned by Amazon eventually.
The Wife and I watched the film a few weeks back. I had never read the book at the time, she had read the book. We set the viewing up on purpose as a test to see who enjoyed the movie more. I’m pretty sure I won that contest. I had nothing to compare it to and so had no expectations for it to fulfill. She spent the first thirty minutes of the movie just trying to figure out where in the book the scriptwriter started the narrative at, because it certainly wasn’t anywhere in the first half of the book in spite of the fact that the first scenes have him living in the stacks, which is only in the first part of the book.
Having watched the movie I then fell asleep to Wil Wheaton’s voice in my ear for the next week or so, describing the world of Ready Player One. A world that is either a post-apocalyptic hellscape or a capitalist paradise depending on your point of view going into the book. In any case, as usual, the Hollywood version has cardboard cutouts for villains and the novel has pretty well-fleshed characters that you can believe exist somewhere. Neither tale is free of flaws, but both have their own moments of entertainment value.
Just understand that, when I envision the giant robot battle for capitalist dominance of the globe, I will now picture Jeff Bezos inside the Mechagodzilla.
In 1983, 100 million Americans watched an ABC made-for-tv movie called The Day After, depicting the immediate fallout from a nuclear exchange between the US and the Soviet Union. Tensions between the two powers were high, with President Ronald Reagan calling the USSR an “evil empire” and building up the country’s nuclear stockpile. Just weeks before The Day After, NATO war exercises were nearly mistaken by Soviets for a real attack.
The movie wasn’t very good, but what it showed was so horrifying that it inspired a national conversation about US policy. Following the broadcast, Ted Koppel hosted a panel debate on deterrence and disarmament with prominent thinkers like Carl Sagan and Robert McNamara. Schools organized discussions for classes, ABC distributed a viewer’s guide, and psychologists warned that children under 12 shouldn’t even watch the movie. Marsha Gordon, professor of film studies at North Carolina State University, wrote about The Day After for the website The Conversation in January. In February, she and Brooke spoke about the public debate sparked by the movie, and what it might mean for a new generation to see a remake.
So who else remembers watching The Day After with the family? I remember watching it quite well, even if I can’t remember much of the film itself. I remember it was depressing. I remember the reassurance from Koppel afterwards that none of this was real. ABC was anxious to not start any panics, so they went to great lengths to make sure everyone knew this was a staged event.
Their care in making sure that audiences knew the show was a fake stands in stark contrast to today’s reality TV programs, where the very same people working in the media today fake everything in front of the camera and then proceed to tell the audience all of what they saw was real. Try explaining the false sense of surety that comes from seeing something happen to your pre-teen children. No, dear. It isn’t real. It’s Youtube. Nothing on Youtube is real. I know this because they still use cameras to focus your attention where they want it. Try explaining to a stormtrumper that the guy on The Apprentice wasn’t really Donald Trump. Let me know how that works out for you.
I also remember discussing The Day After with the Wife a few years later, and her insisting we watch Threads so that she could show me what a nuclear holocaust was really like. After watching Threads I had to admit that they soft-pedaled the effects of nuclear war in The Day After. I don’t blame them for soft-pedaling the harsh reality of nuclear winter. Watching Threads made me want to die.
Later that same year another friend insisted I watch Koyaanisqatsi and later Powaqqatsi in an attempt to show me that nuclear winter was a walk in the park compared to what some humans endure today. After watching those two films, I wondered if nuclear winter might actually be a blessing in disguise. So, you know. It’s all a matter of perspective.
Let me spell out just how dumb this idea is, from the perspective of decades of Science Fiction reading. The Earth sits at the bottom of a pretty deep gravity well. It’s face would be more visibly pockmarked than it is were it not for the wind and water action on the surface, not to mention the verdant tree growth, masquing the damage inflicted on the Earth from simple rocks that it has encountered in it’s annual journey around the sun. There are tons of rocks out there in space. Tons of them. Asteroids that could extinguish all life on this planet, in an instant. If we want to destroy any spot on the globe, that potential is out there right now. It is just waiting for anyone, anyone, to go out there, strap a rocket motor to the thing, push it this way or that and hey, presto! you’ve vaporized the target of your choice on the surface of the earth, and probably several hundred square kilometers around it.
The stupidity of believing we could continue our warlike ways into space was spelled out quite well in Robert A. Heinlein’s libertarian exploration novel, The Moon is a Harsh Mistress. In that book we accompany the main character as he plots revolution against the Earth that sent him to a penal colony on the Moon. In order to avoid any major spoilers, I will simply observe that lobbing rocks at the Earth figures heavily in the plot of that novel. A Space Force is akin to the stupidity of placing the exiles from the Earth at the top of the Earth’s gravity well and daring them to get back at us. I expect a lunar penal colony will be the next great idea that the OHM will come up with, that’s how dumb the idea of a Space Force is. The world of Starship Troopers is waiting for us down that route through time, and I don’t recommend that future, either.
What life on this planet needs to understand is that we are at war with the rest of the universe, because the universe wants to kill us. Everywhere outside of the blanket of atmosphere that covers the Earth, death awaits. Gasping, freezing, boiling, death. We don’t need a Space Force because we don’t need to militarize space. Everything about going to space is a weapon. The rocket engines are weapons, the ships are weapons, that lug nut you forgot to tighten properly is a weapon after it comes loose, hurtling through space at thousands of miles an hour just waiting to intersect some habitat somewhere and destroy it. We cannot be at war with other people in space, because killing each other is far, far too easy to do out there. A moment of carelessness and everyone dies. Not exactly the place for the murderous or the stupid. Our only hope for the future is demilitarization, and it’s a pretty faint hope at that.
The demilitarization of space is the opposite of a Space Force. This is all aside from the fact that a Space Force is probably just another boondoggle like Reagan’s Star Wars. A boondoggle that will go nowhere and cost billions. It’s a stupid idea endorsed by stupid people. Or as Stonekettle Station put it, the money goes in the black hole and never comes out.
Splitting this so-called space force off from the Air Force (and presumably pulling the space-related components out of the other services as well), what does that give us that we don’t have now — and not just give us, but give us to such a degree that it justifies the cost and significantly increased complexity? What are the distinct requirements, the technology, skillsets, logistics, communications, training, facilities, targets, strategies, tactics, objectives, and missions that will define this space force? And how are those distinctly different from the current Air Force, distinct enough to warrant an entirely separate service with its enormous associated cost?
Why both an Air Force and a Space Force, instead of a single Aerospace Force?
Like everything else with Trump: what are the details?
Apparently I was being too subtle in the article above. Let me be more blunt. If you think that militarizing space is a good idea, if you think that the OHM isn’t proposing this project just to the line the pockets of his donors, then you are a member of group I refer to as stupid people. You are the kind of person that watches Iron Sky and masturbates to the images of swastikas on the screen.
Just FYI, if you watch Iron Sky and find you can’t laugh at it, then you have no sense of humor. You take yourself too seriously. You take your country too seriously (if you are an American) It is a European film made specifically to poke fun at Americans. Watch it again and again until you find the humor in it. That is my suggestion to anyone who finds they can’t laugh at themselves. If you undertake this effort maybe, just maybe, you will cease to be a member of the group I labeled stupid people.
We can’t realistically militarize space. Believing otherwise is to fall for storytelling tropes. If we don’t get past this self-hatred, we are done for as a species.