As a matter of interest as an independent author, with some affection for science fiction … (principally Lois McMaster Bujold’s Vorkosigan series, and once upon a time for Marion Zimmer Bradley’s Darkover series, both of which explored in an interesting and readable way, a whole range of civilizational conceits and technologies with a bearing on what they produced vis-a-viz political organizations, man-woman relations, and alternate societies of the possible future … oh, where was I? Complicated parenthetical sentence again; science fiction. Right-ho, Jeeves – back on track.) … I have been following the current SFWA-bruhaha with the fascinated interest of someone squeezing past a spectacular multi-car pile-upon the Interstate. Not so much – how did this happen, and whose stupid move at high speed impelled the disaster – but how will it impact ordinary commuters in their daily journey, and will everyone walk away from it OK? So far, the answers to that are pretty much that it will only matter to those directly involved (although it will be productive of much temporary pain) and yes – pretty near everyone will walk away. Scared, scarred, P-O’d and harboring enduring grudges, but yes, they will walk away, personally and professionally. Some of these are walking away at speed and being pretty vocal about why.
television
Hollywood and Flyover America
I must have been in college (or possibly even just high school), when I read a thoughtful essay in TV Guide, of all places, to the effect that people all over the world who had never met an American, or been to the United States, almost always formed their impressions of us based on what they saw in the movies, or in television shows. As one of our AFRTS public service announcement tag-lines had it – foreigners don’t know America, they just know Americans – and the Americans which the overseas movie and television audience saw was usually not a very favorable one. This essay must have been put out in the early 1970s, so I imagine the general picture is even less favorable now. Just think of current popular TV shows with an American setting – and consider how America would look to you if that was all you saw, and all you knew was Breaking Bad, a dozen cop shows set in big cities, and half a dozen sit-coms where the characters spend most of their time in suspiciously well-decorated living rooms.
Julian Fellowes and an American Downton Abbey?
Seriously, I hope they have better luck than the last time American TV producers tried to riff off the success of the original Upstairs, Downstairs – it was called Beacon Hill, as I recall and a routine googlectomy confirms. It started with great fanfare and interest, and promptly fizzled out, probably confirming expectations that American TV just cannot do family saga/period drama in anything other than as a TV miniseries with a limited run. It’s certainly a wise choice to go back to the rip-roaring decades of what Mark Twain called the Gilded Age. Twain did not mean it as a compliment, though – he meant something vulgarly over-ornamented, cheap pot-metal covered with a microscopic layer of gold. All flash and glitter, trashy glamor to fool the tasteless and/or newly-rich, of which there were a lot in post Civil War America, which was going industrial in a way and in a degree that made the genteel old-money established families, with fortunes based on land, trade, banking and the occasional eccentric invention look on in horror.