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So What Are you Reading?: Generations

Teddy, a graphic novel adapting Laurence (Sybok} Luckinbill's one-man play, Teddy Tonight!, illustrated by Eryck Tate.

First, some background. In 1918, former president Teddy Roosevelt embarked on a speaking tour of the United States to drum up support for Liberty Bonds and World War I itself. (Film footage of that speaking tour here.) Roosevelt had been a proponent of the United States entering the war since its beginning, he offered to raise a division of volunteers before the United States officially entered the war, and his four sons were all serving in the war. On July 14, Roosevelt's youngest son, Quentin, a pilot in the Army Air Forces, was shot down and killed over France.

The graphic novel. Teddy Roosevelt steps on stage to regale an audience with a speech extolling his vision of American patriotism. Over the course of his speech, he talks about his own life, his military exploits in the Spanish-American War, his love of his children, and his expectations that they would do their duty for their country. As his speech goes on, we learn that Roosevelt is carrying the telegram that informs him of Quentin's death, and Roosevelt may be speaking as much to himself -- to convince himself that his views on patriotism and military service were right and good, even though they just cost him his son -- as to his audience.

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Luckinbill's script does two things. It provides a basic overview of Roosevelt's biography -- a sickly and clever child who overcomes a frail, asthmatic body through sheer determination; who excelled at Harvard; who went into politics and made enemies everywhere; who lost his mother and his wife on the same day and ran from his pain by trying to become a rancher; who reentered politics as a reformer, made enemies, and got put on the presidential ticket in 1900 because the powers that be thought he could do the least harm there; who led a vigorous life, even if threatened to kill him; who lived in the shadow of a father he both idolized and felt disappointment in; and who tried to instill his values of patriotism and duty on his children. It also explores the tension between Roosevelt's beliefs and the costs of his vision of America's role in the world.

Tait's art does a nice job of illustrating Roosevelt's life. Yes, the young Roosevelt really did have those massive, absurd mutton chops.

Overall, it's nice. If Teddy leaves you with the impression that Roosevelt blamed himself for Quentin's death, it's supposed to. Prior to July 1918, Roosevelt was giving serious consideration to running for president in 1920. Quentin's spirit broke his spirit -- and for a man who suffered various ailments, his health, leading to his own death a year later. It could go deeper in places -- Roosevelt's antipathy for Woodrow Wilson, for instance -- and Roosevelt's thinking on World War I and America's role in it could be better explained. (Partly, it stemmed from Roosevelt's feeling that his presidency had no major international crises that demanded American involvement, and Roosevelt that that the United States could prove itself as a world power and he himself could, as the head of a volunteer regiment, prove his worth.) But, as a basic introduction to Roosevelt's life and thought, for readers today who know Roosevelt best as one of the Washington Nationals' four Racing Presidents, Teddy is a nice package, a pleasant and informative read on one of the most colorful characters to occupy the White House.
 
I finished How to Be an Antiracist this past weekend, and began Brad Parks' Interference (which is not to be confused with Sue Burke's Interference).

I found out about it from a recent issue of Hearing Health, where it was the subject of an article because one of the main characters has a hearing loss, which was portrayed with painstaking accuracy. It's a mystery involving quantum entanglement, and a brilliant physicist suddenly beset by unexplained seizures.

On deck is James Swallow's The Dark Veil. And I have an ADF anthology, The Flavors of Other Worlds, on its way from Amazon (along with a Blu-Ray copy of Edwards & Stone's 1776).
 
After watching Batman: Soul of the Dragon, which was dedicated to the late Denny O'Neil, I decided to reread Denny's run on The Question, with art by Denys Cowan et al.

After that, I'm going to read L. Frank Baum's Oz books.
 
After that, I'm going to read L. Frank Baum's Oz books.
Good choice. Will this be your first time?
As a child, I had a pop-up book of Wizard, a Little Golden Book abridgement of Road, a book-and-record audio drama adaptation of Scarecrow, and the complete Wizard in a Companion Library edition with an illustrator other than Denslow. As an adult, I snapped up and read the Ballantine/DelRey edition of the complete Baum canon as fast as it came out. (I then read the first RPT novel, and stopped there. The Baum canon was released as MMPBs, but would have been well worth the price if released as TPBs; the succeeding authors' novels were released as TPBs, even though they were barely worth the price [or the shelf space] of MMPBs.)
 
Good choice. Will this be your first time?
As a child, I had a pop-up book of Wizard, a Little Golden Book abridgement of Road, a book-and-record audio drama adaptation of Scarecrow, and the complete Wizard in a Companion Library edition with an illustrator other than Denslow. As an adult, I snapped up and read the Ballantine/DelRey edition of the complete Baum canon as fast as it came out. (I then read the first RPT novel, and stopped there. The Baum canon was released as MMPBs, but would have been well worth the price if released as TPBs; the succeeding authors' novels were released as TPBs, even though they were barely worth the price [or the shelf space] of MMPBs.)
Yup. Never read the Baum books before. Found a good deal for the whole set of 14 for a buck on BN.com, so I'll be reading them on my smartphone as I fade off to bed each night, which is, finally, a way to do leisure reading.
 
Yup. Never read the Baum books before. Found a good deal for the whole set of 14 for a buck on BN.com, so I'll be reading them on my smartphone as I fade off to bed each night, which is, finally, a way to do leisure reading.

If you are looking for good novels I recommend the Precint novels ;)
 
Yup. Never read the Baum books before. Found a good deal for the whole set of 14 for a buck on BN.com, so I'll be reading them on my smartphone as I fade off to bed each night, which is, finally, a way to do leisure reading.
Most likely they're so cheap because they fell into the Public Domain a few years ago. In fact, they may all be free for the asking on Project Gutenberg.

Maybe after reading at least the first six, you'll understand why I regard a certain very famous 1939 MGM movie musical as a total hatchet-job.:p
 
Just finished reading Sandstorm by James Rollins. Really enjoyed it, it was a nice introduction to the world of Sigma Force. Next up is the Star Wars Kanan Vol. 1: The Last Padawan, written by Greg Weisman, with art by Pepe Larraz and Jacopo Camagni.
 
(Copy of review I just posted on my personal Facebook timeline...)

Late last night I finished reading These Are the Voyages: Gene Roddenberry and Star Trek in the 1970s: Volume 3 (1978-1980) by Marc Cushman, the last in Cushman's three-volume series looking at the decade of the 1970s in Star Trek and, in this third volume, focusing entirely on the development, production, reaction, and after effects of Star Trek: The Motion Picture (1979).

After a so-so volume two in my opinion (due largely to the material in the second book covering a period when nearly everything Roddenberry was working on didn't actually end up getting produced, so it was mostly about various scripts in development which didn't interest me as much), Cushman's standard format of chronologically working through a Star Trek project (in this case Star Trek: The Motion Picture), day by day, from speculation in the fan press regarding a new Star Trek project to the deals being struck to the script being written and directors and producers being hired, and on through actors being resigned or cast, production design, sets being built, cameras rolling, post production (special visual effects, sound design, editting, musical score being composed and recorded), and post release box office returns and newspaper reviews from across the country, again makes for a very interesting read, for the most part.

For fans of Star Trek, a lot of this material has already been covered in other books (including the wonderful Return to Tomorrow: The Filming of Star Trek: The Motion Picture: An Oral History of the Legendary Production Documented As It Happened by Preston Neal Jones, which I'm also reading at the moment.) However, Cushman's writing style and rapid day-by-day pacing kept me from ever getting bored even it is was information that I was already familiar with.

My biggest interest is nearly always in the actual shooting of a television series or movie, so these are the most interesting chapters to me. I do like how Cushman also includes chapters on the peripheral tie-in merchandise that was being released alongside the movie, such as the Pocket Books tie-in novel written by Gene Roddenberry, the Marvel Comics comic book adaptation, and the various magazines and tie-in books such as The Making of Star Trek: The Motion Picture, Chekov's Enterprise: A Memoir of the Filming of Star Trek: The Motion Picture by Walter Koenig, Star Trek: The Motion Picture Official Blueprints set, etc.

Cushman spends a huge amount of pages recording snippets from newspaper and magazine reviews that saw print immediately after the release of the movie. He even acknowledges how lengthy that chapter is but states he wanted to give as wide a sampling of all of the positive and negative critical reactions to the movie as he could. I did start to find a lot of the reviews to be basically the same thing over and over again, but those not interested can easily skip to the next chapter.

The other thing that kind of was off putting to me was Cushman's tendancy to, like the the previous two volumes of this 1970s trilogy, feel that he needs to keep defending Roddenberry against perceived slights caused him by the powers all around him, including the various studio heads pulling the strings and making the important decisions. If Cushman feels that Roddenberry was slighted he switches to his editorial type voice, rushing to Roddenberry's defense and at times being critical and derisive of others who didn't recognize Roddenberry's creative talents.

A big element of this particular period in Star Trek history, when the motion pictures were beginning after a decade of no new Star Trek material except for the animated series, is the slipping of Roddenberry's authority and ability to control his creation as the copyrights now belonged to Paramount Pictures, who would end up marginalizing Roddenberry from executive producer on the original 1960s television series to just producer on the first movie and then to merely an executive consultant starting with Star Trek II: The Wrath of Khan. From that point on, the powers creating the movies didn't have to do anything Roddenberry wanted them to anymore, which was something he became quite bitter about (and probably justifiably so). Eventually he would take a more active role again in the development and production of the first season of Star Trek: The Next Generation, but then his failing health would again sideline Roddenberry.

All of this is important and legitimate material to cover during this period in Trek history. However, in this one area Cushman is not the least bit objective. If there is more than one "take" on a conflict, he nearly always supports and sympathizes with Roddenberry's position, which can be a bit off putting.

That said, I still found this third volume to be a very enjoyable read, right up there with his first three These Are the Voyages: TOS series where he chronicled the production of all three seasons of the original Star Trek television series.

I'm sure there will be more of these books to come. Next up is the 1980s, which would cover the release of Star Trek II: The Wrath of Khan, Star Trek III: The Search for Spock, Star Trek IV: The Voyage Home, Star Trek V: The Final Frontier, and Star Trek: The Next Generation (the television series). Cushman already goes into the early development of Star Trek II: The Wrath of Khan in the final chapter in this book, framing it as the "after effect" of Star Trek: The Motion Picture (how Roddenberry ended up being pushed aside for producer Harve Bennett and director Nicholas Meyer and also the big controversy of the leaking of Spock's death in the second movie well before they began shooting the movie).

I highly recommend this (although, again, there are numerous other books on the making of Star Trek: The Motion Picture that would probably be just as good). I gave this four out of five stars on GoodReads.
 
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who would end up marginalizing Roddenberry from executive producer on the original 1960s television series to just "producer" on the first movie

You can't really compare the two, since "producer" and "executive producer" have different meanings in TV and movies. In series TV, the executive producer is more important, but in movies, it's the producer that's more dominant. The executive producer is more of a general studio boss overseeing various different productions while the producer is more central to a specific movie.

So going from executive producer on TV to producer on a feature is a lateral move, not a demotion. They're basically the same job in terms of creative control. Indeed, IIRC, that's why Roddenberry was bumped aside after TMP -- because the buck stopped with him, and he was blamed for the film's production overruns and delays.
 
In film, "Executive Producer" is also sometimes a courtesy credit -- the person secured financing, the person was significant in development at another studio (like Harvey Weinstein on The Lord of the Rings trilogy), etc.
 
In film, "Executive Producer" is also sometimes a courtesy credit -- the person secured financing, the person was significant in development at another studio (like Harvey Weinstein on The Lord of the Rings trilogy), etc.

Often in TV as well. The reason TV series today have so many different EPs listed is that the title is used for many different things: the head of the writers' room, the head of the technical/logistical production, the head of the business side of the production company, the creator/owner of the intellectual property, a financing partner, a senior director who supervises the other directors, a lead cast member whose contract gives them a financial stake, etc. It's gotten ridiculous.
 
You can't really compare the two, since "producer" and "executive producer" have different meanings in TV and movies.

Thanks. I had a feeling that I probably wasn’t getting that exactly right. I do know that it comes across in Cushman’s book that Roddenberry felt frustrations at times during the production of ST:TMP because Robert Wise as director had a higher level of creative control over the production (the directors having more control than they do in television) and that at times Roddenberry could only make suggestions as to which lines or shot footage to use. Example: Roddenberry didn’t want probe Ilia to point to the actual physical Voyager I when they arrived and say, “See— V’ger!” He wanted her to say, “See— the beginnings of V’ger!”

Indeed, IIRC, that's why Roddenberry was bumped aside after TMP -- because the buck stopped with him, and he was blamed for the film's production overruns and delays.

Of course, that’s where he did get a lot of the blame unfairly as a huge part of the budget overrun was due to Paramount lumping the already spent money on the various false starts leading up to production of ST:TMP (including the cost of the scripts written, sets constructed, and shooting models built for the scrapped “Star Trek: Phase II” television series, practically nothing of which could (or would) be used for ST:TMP) as well as the scripts written and production designs created for the various Star Trek tv movie and feature film versions they worked on prior to that.

And as for the production schedule going long, part of that is probably on Robert Wise for his more leisurely paced shooting style, but *most* of it had to have been all of the problems related to the films visual effects problems (“debacle” probably being a better word for it). Over a year of Robert Abel’s company working on the effects and not a bit of usable footage to show for it. It’s actually quite amazing that Trumbell and Dykstra were able to come in so late in the game and manage to create such beautiful visual effects in such a short amount of time (against an ironclad “got to be ready for release to theaters” deadline).

I found it interesting to learn just how many times Shatner and Doohan had to do that whole slow flyby/inspection/admiration sequence of the newly refit Enterprise, just the two of them inside that tight shuttle pod set. At least three times, as I recall, and at least one of those times due to problems with what they shot being compatible with the corresponding visual effects shots that would need to be paired with it.

They likewise had to shoot the transporter accident scene where the two crew members were killed more than once, and (something I found of particular interest) was the entirely different version of both Spock and Kirk entering into V’ger’s massive “memory banks” in space suits instead of just Spock and Kirk’s getting attacked by V’ger’s defensive systems (a scene that is apparently still in the Marvel Comics adaptation of ST:TMP and perhaps—I can’t recall now—in Roddenberry’s novelization, too).
 
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