It’s becoming almost a biannual (that one means once every two years, right?) for the New Year to open with a new episode of the BBC’s Sherlock. The absolutely excellent, but excruciatingly infrequent, show usually airs once about every two years, and has now made a habit of helping Sherlockians and geeks the world over ring in the New York with complex puzzles, convoluted plots, and clever dialogue. This year was a special treat: eschewing (seemingly) their modernization of Sherlock Holmes, Sherlock went back to the Victorian period for a Christmas (New Year’s?) special. It’s an episode the hype, hysteria,
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The new special intricately weaves three different threads of plot and leaves the viewer with dozens of puzzles to tide them over until the next season.
Two "thinking machines" face off in this excellent pastiche that pits Sherlock Holmes against a Victorian precursor to the computer.
Early in the third season of Elementary, one of its episodes offered an intriguing premise: a sentient computer was suspected of killing its creator, and Holmes’ job was to perform a Turing test in order to ascertain whether said machine could really have the intelligence to intentionally kill a human. Of course, the answer was an unsurprising “no,” because the universe of a procedural just doesn’t have space for sentient machines. Nonetheless, the episode was possibly the most interesting one of the show, as it offered an intriguing and deeply relevant theme for Sherlock Holmes: that of man vs. machine.
The choice of films makes the usefulness of this book…well, not very useful.
The author purports to make a relatively comprehensive guidebook to sci-fi films since the '70s- with the caveat, of course, that he gets to choose which sci-fi movies are significant, and which to include. That’s his prerogative, of course, but it makes the book a bit unhelpful. This book (which isn’t really an FAQ - it’s not in a question an answer format) - is divided into several sections: an introduction, which includes biographies of important science fiction writers, and then a number of chapters about movies of various types (space travel, time travel, virtual reality, etc.) Though some sections
This book relies too much on quotes from famous names and not enough on imparting facts.
It’s been said that we’re living in the Golden Age of Television - a fact that’s easy to believe. While Hollywood seems to be cranking out an endless number of sequels and remakes, television has truly mastered the art of storytelling - making some cutting edge stories of science fiction, fantasy, history, and human drama. Behind each of these marvels of storytelling stands one person: the Showrunner. Or so we’re told, at least. In an age when television has reached perhaps its greatest potential, the Showrunner is that powerful, mysterious person in charge of every aspect of telling a story.