Random Musings: Gifted examines the meaning of family and the value of letting children be themselves

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Frank Adler (Chris Evans) has been raising his 7-year-old niece, Mary, (Mckenna Grace) in a Florida beach community since she was 6-months-old and had been homeschooling her, but feels she needs to attend the local public school so she can get a more comprehensive education — “I’ve taught you all I know,” he tells her — and socialize with other kids.

“She’s got to get out in the world,” Frank tells his neighbor (and Mary’s regular baby sitter), Roberta (Octavia Spencer), who worries that he’s made the wrong decision. “She has no friends her age, no social skills. She doesn’t know how to be a kid.”

But Mary, a math prodigy like her late mother, Diane, is bored with first grade arithmetic (we later learn that she’s at least at the level of differential equations), telling her teacher, Bonnie Stevenson (Jenny Slate) that everyone knows 3 + 3 = 6.

Mary expresses her annoyance at having to do simple math.

Mary provides the answers to some addition problems Ms. Stevenson gives her without hesitation. The teacher then asks if she knows the answer to 57 X 135. Mary hesitates and Ms. Stevenson moves on with the lesson, only for Mary to announce the solution a moment later. She subsequently volunteers the square root of the product, both of which Ms. Stevenson confirms on a calculator.

When she later meets Frank outside the school, she tells him Mary might be gifted. Frank says she just used the Trachtenberg method, something he himself learned at age 8.

“Do I looked gifted to you?”

Bonnie and Frank meet.

After Mary races through a number of math problems during a lesson — including some extra ones — Ms. Stevenson, who’d previously looked up the Trachtenberg method, looks up Frank and finds the obituary for his sister, a mathematician who’d been working at MIT to solve the Navier-Stokes equation and who’d died by suicide.

She confronts Frank about lying to her and he tells her Diane had come to see him one day, baby in tow, with something important to discuss. But he’d hurried off because he was late for a date, promising to talk with her when he got home.

He never got the chance.

He also says his estranged mother, Evelyn (Lindsay Duncan), turned her back on Diane when Diane became pregnant.

“Didn’t fit into her plan,” Frank says. “She’s an exacting woman, my mother. Uncompromising.”

Later, in a meeting with the principal, Mrs. Davis (Elizabeth Marvel), after Mary hit a 12-year-old who’d tripped one of her classmates on the school bus, causing the boy to drop his diorama, Mrs. Davis offers to use her influence with the headmaster of a private school for gifted children to get Mary a scholarship.

Frank, who works freelance fixing boats, appreciates the gesture (the $30,000 tuition is well beyond his means), acknowledging that it’s a great school and that he’d looked into it.

“But this family has a history with those schools,” he says. “I think the last thing that little girl needs is reinforcement that she’s different. Trust me, she knows.”

He says he thinks Mary needs to remain where she is.

Mrs. Davis decides to find out everything she can about Mary and before long Evelyn shows up at Frank’s doorstep.

Evelyn, wealthy and influential, wants to fight for custody (Mary’s father was never in the picture) and bring her up back in Boston, in an environment where her mathematical gifts are developed to the utmost.

But Frank replies that Diane didn’t want Evelyn to have her.

“Diane didn’t always think things through,” Evelyn says.

“Arguably one of the brightest minds on the planet. Good luck going down that road.”

Frank and Evelyn discuss Mary’s future.

Evelyn asks if he thinks Diane would be pleased if she saw how Mary is living now.

“That she’s living a somewhat normal life? Yes. I do.”

“She’s not normal,” Evelyn replies. “And treating her as such is negligence on a grand scale.”

While Frank doesn’t want Evelyn to raise Mary, he later confesses to Bonnie his greatest fear is that he’ll ruin her life.

A custody hearing follows and Mary tells Frank she wants to remain with him, even after a two-day visit to Boston with Evelyn, which includes a trip to MIT to see if she can solve a complex math problem.

Evelyn and Mary at MIT.

At one point, Frank’s lawyer, Greg Cullen, (Glenn Plummer) — who says the judge is likely to side with Evelyn’s money — comes to him with a compromise that Evelyn’s lawyer had suggested — one that would keep Mary close by (and allow her to attend the private school). What’s more, she’d be able to decide on her 12th birthday where she wants to live.

Neither Frank nor Evelyn are wild about this compromise — which Mary sees as a betrayal (Frank had promised her they’d stay together) — but they agree to it.

But then, thanks to Bonnie’s timely intervention, he discovers an unacceptable aspect to this compromise and decides to take action.

He also decides it’s in both Evelyn’s and Mary’s best interests that Evelyn know certain facts about Diane and to ignore some very definite instructions his sister had given him about their mother.

“Diane didn’t always think things through,” he says.

In Gifted (2017), written by Tom Flynn and directed by Marc Webb, both Frank and Evelyn believe they’re acting in Mary’s best interests.

His primary concern is that she be raised as a normal kid, something Diane never got a chance to be.

“She wanted her to have a life,” he says during the hearing regarding his sister’s wishes about Mary. “She wanted her to have friends and to play and to be happy.”

For her part, Evelyn believes in cultivating Mary’s mathematical gifts. At one point under cross examination about Diane, she tells Cullen “the greatest discoveries which have improved this planet have come from minds rarer than radium.” It’s clear she believes Mary has the potential to be just as brilliant as her mother.

And despite the custody battle and the fact that they aren’t close — geographically or emotionally — mother and son are pleasant and agreeable with each other, even joking over Frank’s stepfather’s decision to buy a ranch in Montana, despite the fact that, as Frank puts it, “he puts on a Brooks Brothers suit to take out the garbage.”

Evelyn and Frank discuss his stepfather.

At the end of that scene, Evelyn tells him she has no desire to hurt him.

“I hate that we’re at odds,” she says.

“We’re always at odds.”

While Frank has self-doubts about his parenting abilities, he seems to be a natural at it and both Roberta and Bonnie give him their support.

At one point Mary is devastated to learn that her birth father — whom she’s never met — was in town for the hearing and didn’t make any effort to see her.

“He didn’t even need directions,” she tells Frank. “He could have followed you here.”

Accompanied by Roberta, Frank takes her to a local hospital waiting room and says they’ll wait however long it takes. It’s not immediately clear who or what they’re waiting for until a man comes out and tells his excited family, “it’s a boy.”

Frank leans over to Mary.

“That’s exactly how it was when you were born.”

“This happy?”

“This happy.”

“Who came out and told everybody?”

“I did.”

“Can we stay for another?”

Roberta, Mary and Frank in the waiting room.

While Mary is bored at the local elementary school — she yelled at Mrs. Davis on her first day, which led to Frank and Bonnie’s initial meeting — she is supportive of her fellow students. Not only does she hit an older bully in defense of her classmate Justin (Michael Kendall Kaplan), but after having to acknowledge before her class that hitting people is wrong, she says Justin’s diorama had been the best art project and leads the class in a round of applause, cheering him up.

She also has a sly sense of humor. She hates the way the class says “good morning, Ms. Stevenson” in a sing-song tone, but can’t resist greeting the teacher in that same tone — and with a smile — during an awkward encounter.

One amusing bit of dialogue comes after Frank apologizes for getting mad at Mary when he was mad at himself — “can’t I get five minutes of my own life?” — he’d asked.

She asks if he’d meant what he’d said.

“Last month, you said I was the worst uncle in the world and you wished death upon me ‘cause I didn’t buy you a piano. Did you mean that?”

“No, not entirely.”

Which part of her statement hadn’t she entirely meant?

At MIT, Mary didn’t even attempt to solve the math problem, telling Evelyn on the way to the car that it was wrong.

“For starters, he forgot the negative sign on the exponent. It went downhill from there. The problem was unsolvable.”

Evelyn takes Mary back to the classroom, where she adds the missing elements to the problem and then solves it.

Mary works on a math problem.

Asked why she didn’t say anything if she knew the problem was incorrect, Mary replies that Frank had told her not to correct older people.

“Nobody likes a smart ass,” she says.

Gifted is a worthy addition to your home video library.

Copyright 2024 Patrick Keating.

Random Musings: Has The Writer Magazine come to an end?

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In April 1887, William H. Hills and Robert Luce established The Writer in Boston as “a monthly magazine to interest and help all literary workers.” The magazine continued to be published under various editors until last year when then-owner Madavor Media sold it (and other publications) to “The BeBop Channel.” The most recent physical issue was August 2023, while both that issue and September are available on the Writermag.com website — but only if you provide an access code — in a format where a woman reads aloud the contents of the issues (except for the ads and the editorial).

More on that in a bit.

I have been a long-time subscriber to The Writer (and have bought gift subscriptions) and have issues going back to 1887. I consider it the best writing magazine around.

My first issue of The Writer

Up until this most recent sale I’ve never seen any problems arise out of change in ownership and/or editorial direction. Unfortunately, that hasn’t been the case this time and trying to get information has been an exercise in frustration.

Once I did get some answers, I decided to wait and see what would happen with the magazine, which is why I held off on writing about its uncertain fate until now.

In August, I received an E-Mail that said, in part:

Dear Subscriber,

We want to first thank you for your support as a loyal reader of The Writer magazine.

In keeping pace with the bold new world in which we live, beginning on September 12, 2023, your publication will be transitioning to the very exciting video magazine format on The BeBop Channel Television Network.

You will also receive in your inbox a digital copy of your magazine as each issue is published.”

Naturally, I had a lot of questions, including whether there would still be a physical magazine and how, exactly, a video magazine format would work.

Will there be video interviews or, as it seems to say in your E-Mail, will it just be someone essentially reading a particular issue aloud?”

And, of course, how my subscription would be affected.

No reply.

And, for the record, I never received a digital copy of the September issue.

The last issue physical issue of The Writer?

No replies to subsequent E-Mails to customer service, either. So I tried calling and got transferred to the voice mail of the woman listed on the masthead as the chief financial officer. Why customer service inquiries would go to the chief financial officer is beyond me, but I left a message.

And never heard back.

Same with subsequent phone messages.

In late October, I decided to bypass customer service and contact editor T. J. Murphy, who had assumed that job with the April issue and had written in the August one about challenges to the magazine and how it might move forward. One of his suggestions was to return to a past practice. In the 1926 issues the masthead read, “Short practical articles on topics connected with literary work are always wanted for The Writer. Readers of the magazine are invited to join in making it a medium of mutual help, and to contribute any ideas that may occur to them. The pages of The Writer are always open for anyone who has anything helpful and practical to say.”

In that editorial, Murphy invited readers to submit their ideas “as The Writer makes an old-school return to ‘an author’s forum.’”

I figured I’d reach out to him and let him know that his wishes for the magazine to keep going for another century would be problematic if its own customer service staff ignores E-Mails and phone calls from long-time subscribers.

Which brings me to that access code, one of the things I intended to mention in that E-Mail. By this time, the website showed images of the August and September issues (the latter of which I’d still not received in any format). When clicking on those issues, you’re asked to enter an access code.

I never got one. Neither did my cousin, for whom I’d bought a gift subscription. Presumably, no other subscriber did, either.

In searching online for a way to contact Murphy (I figured his madavor.com E-Mail address might no longer be valid), I came across a post he made on Substack titled “The Writer goes nebulous.”

In it he says, in part, I may have earned the dubious distinction of being the last editor-in-chief of a magazine that started back in 1880s.

The magazine may come back to life… it’s hard to tell. What I can tell you is the remaining staff at Madavor Media have just been let go, myself included. There were only six of us left after about eight months of constant layoffs.”

That explains the unanswered E-Mails and phone messages.

So I contacted him and he told me the last of the staff was laid off in September. He also said they’d produced a September issue, but a print version was shut down. He then provided the only contact information he had, the new owners at the BeBop Channel.

I contacted them with my questions and on Oct. 26 got a reply with the access code. No PDF of the September issue; just the online version with someone reading it.

In a separate E-Mail, I was told the PDF download link is on the Madavor website. It’s not. The only PDF copies are Oct. 2022 to July 2023.

I followed up with E-Mails in November, asking about the future of the magazine, including whether it had ceased publication or just gone on hiatus, and what’s happening with our subscriptions.

No reply.

The Writer has had brief publication pauses in the past. No issues were published for the last eight months of 1892, from June 1904- March 1905 (in both instances owing to issues of editor William H. Hills’ health, as he said in editorials in the May 1893 and April 1905 issues) or in July and August 1927 (no explanation given), so it’s possible this could be another temporary suspension in the magazine’s publication history.

In late November, I came upon a message at the top of the Writermag.com website stating that The Writer and other magazines “will be on hiatus until 2024 as we continue to transition these titles to streaming on The BeBop Television Network.”

With that news in mind, I decided to wait until January and see what developed with the magazine. On Jan. 10, I sent an E-Mail with some questions, including whether future issues would also be read aloud or if print and/or PDF versions would be available?

I said I’d prefer to read the issues myself.

I also asked if “streaming on the BeBop Television Network” means that The Writer will become a “video magazine”, with the articles and interviews being produced on the air rather than in a print format, what the expected date of this transition is, what happens with our existing subscriptions and — a key question when it comes to keeping a publication alive — how they plan to attract new readers/viewers to the magazine?

I got a reply on Jan. 22, which stated, in part:

NOTICE: If you have contacted The BeBop Channel Corporation… for any business regarding Madavor Media, LLC and its publications, please be advised that as of December 21, 2023, the former owner of Madavor… sought a return of Madavor’s assets. Madavor Media, LLC, “the business”, was returned to them effective December 21, 2023.”

The E-Mail went on to say to direct all Madavor inquiries to that former owner. So I sent him an E-Mail asking about the status of the magazine. He wrote back saying BeBop still owns Madavor and that he hasn’t been involved with the company in almost a year.

I sent another E-Mail to the BeBop address and got that same statement in reply.

So, has The Writer, which survived for more than 136 years, come to an end with the September 2023 issue? Or is this another momentary pause in publication? I hope it’s the latter.

The final issue of The Writer?

I’ve always recommended The Writer as a useful resource to anyone interested in writing, editing or related fields. What’s more, many articles are “evergreen.” As I’ve often said, you can pick up pretty much any issue and find at least one article with something of relevance to your interests.

Go to a library (such as a big city main library or university library that carries back issues going back decades), take a random issue off the shelf and something in it will be relevant to you. Maybe an entire article; maybe a few paragraphs.

By way of example, the May 1957 issue has an article titled “Ideas for TV writers.” Some of those ideas might still apply, as we still have TV.

The July 2017 issue has an article titled “Building Believable Fictional Worlds.” That could apply to a novelist, a screenwriter or our hypothetical TV writer.

Those are just two random examples.

To give another one, in the Jan. 2023 issue, outgoing editor Nicki Porter quoted from an essay in the April 1959 issue that spoke to her personally when she’d first started at the magazine.

It’s possible that whatever plans the owners of the BeBop Channel had for The Writer would have helped keep the magazine going, whether in a digital format, through video interviews with writers, editors and others, or some combination of both (but don’t have someone reading an issue aloud as the only option). However, the lack of communication raises doubt in my mind. Still, perhaps The Writer will return soon, whomever the publisher.

In her editorial in the April 2022 (135th anniversary) issue, Porter quoted columnist Allen Marple, writing in “Off the Cuff” in the April 1957 70th anniversary issue, “a magazine is not really print and paper — it is people.”

Copyright 2024 Patrick Keating.

Random Musings: A review of The Otherworld

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Orca Monroe has lived her entire life on an island off the coast of Washington State with her lighthouse keeper father and has longed to visit the mysterious mainland, which she refers to as “the Otherworld.” But her father has told her the mainland is “full of danger and darkness” and that people have “thunderstorms” inside them. He also emphasizes that she doesn’t belong there.

Even so, she still desires to see it and now that she’s 18-years-old, she feels that it’s apropos that her transition to adulthood should include a visit to the mysterious mainland. When her father (who normally never leaves their island) says he has required business on the mainland she sees this as the perfect opportunity and begs him to take her. But he refuses, telling her to stay and tend to the lighthouse.

She agrees, because he’s right that someone has to do that. And there’s just the two of them.

As Orca goes about her daily routine, which includes walking along the beach with her dog, Lucius, she finds a backpack washed up on the shore and a cell phone inside. This leads to her first conversation with someone from “the Otherworld” (the satellite phone to the Coast Guard being used only for emergencies and off limits to her), which brings her into the lives of brothers Adam and Jack Stevenson. Adam is a pilot still missing after his sea plane crashed somewhere off the coast of Whidbey Island four days earlier and for whom Orca searches, while Jack is on the other end of the phone call.

For Jack — the only member of his family who believes Adam is still alive — Orca is a potential lifeline even as he (and the ruminations in Adam’s journal) provide her with insights into the outside world beyond what she’s heard from her father or read in his natural history books.

Orca found the pack and had her first conversation with Jack before her father left and could have told him about both, but chooses not to in part because she reasons that if she’s successful in finding Adam it’ll prove to her father that she has the strength to face the Otherworld.

Her searches prove unsuccessful, but one stormy night an injured Adam turns up at the door of the lighthouse and she tends to his wounds. Continuing poor weather keeps her father on the mainland longer than he intended and also keeps Jack from flying out to pick up Adam. During these days together Orca and Adam fall in love, but Adam, who is 10 years her senior, decides its best to give her up.

But after Adam has returned home, Jack, who is Orca’s age and has no idea of his brother’s feelings for her, takes it upon himself to “rescue” her from her island “prison” and show her the world she’s always dreamed about.

Orca’s travels to the brave new world of the mainland not only let her discover what lies beyond the shores of her island home and experience the complexities of both first love and sibling relationships, but also to learn something about her own family and what led her father to choose such an isolated lifestyle for the two of them.

The Otherworld is the third novel by Abbie Emmons. As with her previous two books, 100 Days of Sunlight and Tessa and Weston: The Best Christmas Ever, she writes in first person and the present tense, with alternating chapters giving us the viewpoints of Orca, Jack and Adam.

Unlike those other two books, which take place in the present day, The Otherworld is set in the summer of 1997.

Abbie Emmons with her latest book

In a launch party and book signing YouTube video she posted the day of the book’s release, Emmons said The Otherworld is the result of an idea that popped into her head one day several years ago — of a girl who lives in a lighthouse in the Pacific Northwest and who had never had communication with the outside world finding a cell phone washed up on the beach.

She added that she also really wanted to explore themes of isolation and complicated family relationships.

“One of my favorite things to write about,” she said.

In that same video she also said that her childhood desire to be a pilot is one reason she included an aviation aspect in the book.

She also said Adam was the most relatable character to write, but her favorite is Orca, because she can really sympathize with her. She’s also her favorite of all the female characters she’s written.

“She was fun to write and I like how she was kind of like this wild flower child, home schooled, just very much lives on her own terms,” Emmons said. “She’s cool; lot of fun to write.”

Orca is very self-assured and also intent on proving she can handle anything on her own. At one point Adam, on the phone with Jack, realizes that Orca has gone. At first he figures she must be up in the lantern room, tending to lighthouse duties. But a moment later, she comes in out of a torrential downpour, having been to the greenhouse to harvest some vegetables.

When Adam points out that it’s storming out, she says it had to be done.

The next day, she realizes they need more firewood and starts chopping some logs. Adam (who has a broken rib) protests that it’s a man’s job, but Orca won’t hear of it. She’d promised her father she would manage everything on her own and that’s what she’ll do.

In the YouTube video, Emmons said her favorite line from the book, which is on the back cover of the hardcover copy under the dust jacket, is “perhaps we are all butterflies and the world is our hurricane.”

She said that comes from philosophical thoughts Orca has about the butterfly effect, adding that it — the idea that one small action can create a ripple effect in the world, for good or bad — is a theme in the book.

“We never know how one little decision we make could greatly impact the world,” Emmons said. “So that’s kind of the concept. And towards the end of the book, Orca’s reflecting on some of the decisions that all of the characters have made that have led to different conflicts in the story and she’s wondering ‘which of us caused this conflict? Maybe we’re all butterflies and the world is our hurricane.’”

In addition to her own books, Emmons, who has a YouTube channel dedicated to the craft of writing, is working on what she describes an an “action adventure, urban fantasy” series with her sister, K. A. Emmons, with whom she co-hosts the “Kate and Abbie Show” podcast.

As with Emmons’ other two books, The Otherworld is an engaging read, well worth adding to your home library.

Copyright 2023 Patrick Keating.

Random Musings: Fighting for justice with the Gotham Knights

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In Gotham City, three kids, Duela (Olivia Rose Keegan) and siblings Harper and Cullen Row (Fallon Smythe and Tyler DiChiara) — the children of some of Batman’s enemies — are hired to break into Wayne Tower and steal something from Bruce Wayne’s safe, but it’s a set-up so they’ll be blamed for his death (the circumstances of which also reveal that he was Batman). Wayne’s adopted son, Turner Hayes (Oscar Morgan), is set up to appear to have hired them and paid them the $100,000 for the job.

The prevailing theory is that his motive was Wayne’s decision to change his will.

With help from one of Turner’s classmates at Gotham Academy, Carrie Kelley (Navia Robinson), who reveals that she’d been working as Batman’s partner — Robin — they escape police custody.

They’re also assisted by his best friend and fellow classmate, Stephanie Brown (Anna Lore), a hacker and coder who uses her skills to help the others prove their innocence.

Duela realizes, based on the image of an owl on the back of a watch Cullen took from a dirty cop during their escape, that the Court of Owls — which has allegedly controlled Gotham City from behind the scenes for more than a century — is responsible for both Wayne’s murder and the frame up.

Turner recognizes the owl image from a coin District Attorney Harvey Dent (Misha Collins) — one of Bruce Wayne’s closest friends — had showed him (sixth century Athenian, according to Dent) that had been discovered near Wayne’s body.

The young fugitives realize that in order to clear themselves, they not only have to prove that the Court of Owls actually exists (it’s considered a Gotham City fairy tale), but also murdered Bruce Wayne.

Cullen, Duela and Harper look down on Batman’s dead body.

They also have to avoid the cops (and anyone seeking the hefty award for their capture), as well as the Court’s assassin, “the Talon.”

For his part, Dent heads up the investigation into Wayne’s death and the search for his alleged killers. He comes to believe both that the Court is real and that youngsters are innocent, but belief is far from proof.

That is the basic premise of Gotham Knights, which ran for one season on the CW and which aired its series finale last week.

I enjoyed this show and hope that it somehow gets a second life on another network. It had a lot of potential.

Apparently one of the things that worked against it was the release of a video game of the same name last year, one that involved costumed characters from the Batman mythos, creating certain expectations about the TV show. The series didn’t involve costumed superheroes.

But maybe it would have in future seasons.

One reason I hope Gotham Knights gets a second season (however unlikely that is) is that by virtue of not being a traditional superhero show, it could go in any number of directions.

For example, my thoughts while watching the first episode were that Turner Hayes and company would presumably clear their names at some point. But then what? Bruce Wayne’s identity as Batman is now public knowledge, so even if he were so inclined, what would be the point of his adopted son adopting the mantle?

But then I thought what if they weren’t able to clear their names because the Court of Owls is too deeply entrenched in every aspect of Gotham society? It would have been interesting to see Gotham Knights take on a Blake’s 7 vibe where these “criminals” work to take down the corrupt Federat — er, the Court of Owls that controls Gotham.

The character of Turner Hayes was created for the show. Presumably, the writers and producers didn’t have the rights to the characters of Dick Grayson, Jason Todd or Tim Drake (or even Bruce Wayne’s biological son, Damien) and/or they figured that a new character gave them a blank slate to work with.

Turner — who discovers the Batcave along with Stephanie in the first episode — didn’t know his adopted father was Batman. He doesn’t understand why Wayne didn’t tell him.

Turner and Stephanie discover the Batcave.

Carrie, who’d once saved Batman’s life — which led to her becoming Robin — said he didn’t want Turner to “follow down that path.”

“You both lost so much,” she says. “He was impressed that you never gave in to the darkness like he did. Your father may have been a hero to all of Gotham, but he always used to tell me that his hero was you.”

On top of discovering that his adopted father kept secret that he was Batman, being falsely accused of his murder and having to live as a fugitive, Turner also has to contend with the apparent fact that the world’s greatest detective couldn’t (or didn’t want to) solve the mystery of his biological parents’ murders.

Duela is the only one of the three young criminals I recognize. As originally presented in the comics decades ago, she was briefly a member of the Teen Titans (as the Harlequin, not to be confused with the later character of Harley Quinn) and claimed at various times to be both Two-Face’s daughter (calling herself Duela Dent) and the Joker’s daughter. She identifies as the latter in the TV series and was born in Arkham Asylum (where she heard “bedtime stories” about the Court of Owls).

Duela in custody.

In the comics, Harper Row is a vigilante known as Bluebird. I’m not familiar with her adventures in the comics. In both the comics and the series, she is protective of her transgender brother, whom she’d shielded from their abusive father.

In the series, Harper, an engineer, earned straight A’s, but dropped out seven months before graduation to protect Cullen.

In Gotham Knights, at least, Cullen Row bristles against his sister’s over-protectiveness. At one point in the series, ready to fight his own battles and insisting he not need Harper’s protection, he makes the risky move of impersonating a cop to infiltrate the GCPD and get the century-old cold case file about the death of one of Bruce Wayne’s ancestors (allegedly at the hands of the Court of Owls) because the file might lead to a clue as to why Wayne was killed.

Cullen adopts this fake cop identity again from time to time as needed.

Cullen’s cop disguise.

He’s also a talented artist and at one point crafts fake Court of Owl masks that Turner and Duela use to infiltrate a Court gathering.

Carrie Kelley first appeared in the 1986 four-issue miniseries Batman: The Dark Knight (later retitled The Dark Knight Returns), in which an older Batman comes out of retirement.

In the series, Carrie’s mother, Dr. Lisa Kelley (Angela Davis) is a physician at Gotham General Hospital, who isn’t thrilled to learn about her daughter’s involvement with these “criminals.”

She reconsiders her stance when she sees Carrie in action, saving lives.

Carrie Kelley as Robin.

In the comics, Stephanie Brown was introduced as “The Spoiler”, who worked to spoil the plans of her criminal father, the Cluemaster. Later, she would adopt the roles of both Batgirl and Robin.

There’s no indication in the series that her father, Arthur (Ethan Embry), who hosts a popular clue-oriented game show, is a criminal, but he has been illegally obtaining prescription drugs to feed his wife’s (Sunny Mabrey) habit. Both try to pressure Stephanie to look the other way.

As for Harvey Dent— who is not yet Two-Face — even as he investigates the murder of Bruce Wayne, he finds himself dealing with instances of blacking out and losing time. Worse, certain circumstantial evidence in his possession suggests he may have been responsible for the murder of Mayor Hamilton Hill (Randall Newsome), who had been an underling of the Court and Dent’s rival in the upcoming mayoral election.

The story of how and why Harvey Dent (originally Harvey Kent, but I guess DC didn’t want two characters with that last name) became Two-Face has varied over the years, but in most versions a criminal named Boss Maroni throws acid at him in court, scarring the left half of his face, as a result of Batman’s damning testimony.

Harvey Dent.

Originally, this sent Dent (nicknamed “Apollo” for his good looks) over the edge and he became Two-Face, using Maroni’s two-headed silver dollar, one side of which was scarred in the attack, to decide whether to carry out a crime.

Later iterations of his origin would establish that Dent has Dissociative Identity Disorder (he uses the term “identity dismorphia” in the series) and in some versions, (including the Dark Knight (2008)), the coin was his own.

Since Batman is dead in Gotham Knights (and it would stretch credulity to have a masked vigilante testify in open court if he weren’t), I wondered as the season unfolded if Dent would actually become Two-Face.

He does, but I can’t help but wonder whether this would have happened so soon and under the same circumstances if the show had been renewed. Keeping it vague to avoid spoilers, I’ll just say that In order to save a certain person’s life, Dent willingly releases his alter-ego (figuring he can find a way out of their predicament that Harvey cannot). One thing leads to another, Harvey’s alter-ego fights with a certain someone and that person throws acid in his face.

Two-Face

In the end, the Court of Owls suffers a major setback, but so do the young fugitives, having endured losses of their own. But they’re determined to carry on as the “Gotham Knights.”

And Two-Face, once Gotham’s “white knight”, District Attorney Harvey Dent, is out there somewhere, using a Court of Owls coin that ironically saved his life when he was shot to determine the fate of those who cross his path.

Gotham Knights still has lots of untapped potential. It’s worth a watch on the CW streaming service or on DVD.

Copyright 2023 Patrick Keating.

Random Musings: Trying out medium format 120 film

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Last summer, I bought a roll of 200 speed medium format Kodak Gold 120 film after having watched a YouTube video about it. I hadn’t shot medium format color film before and figured I’d try it out in my C. 1950s Kodak Duaflex III camera.

Only to remember after I’d opened the package (and thus couldn’t return it) that my Duaflex is designed to take 620 film (which is only made in black & white these days).

Oops.

I can’t justify the cost of a camera that takes 120 film right now, so I figured I’d leave that roll in the fridge until some future date when I might be able to get such a camera.

But at some point I read about a way to fit a 120 spool into a 620 camera like the Duaflex. It involves trimming the edges of the spool and sanding them down a bit to fit.

Might as well try it.

I did, loaded the film into my Duaflex and was able to advance it to the first frame. The film advanced slowly, but without any difficulty.

I then proceeded over the course of the next few months to take some pictures. There are only 12 shots on the roll (though that varies with the type of camera and image format used), so I was selective about what I chose to shoot. I’m sharing a few of them here.

Medium format film has a much larger negative (and therefore print size) than 35mm film. I took some pictures with both the Duaflex and a 35mm SLR and am including those shots for comparison purposes.

For the record, the Kodak Duaflex has a 75mm lens, fixed focused at five feet to infinity, while I have various lenses for my SLRs.

First we have two closer shots of the red bridge seen above. I shot the first with the 120 film in the Duaflex and the second with 400 speed Fuji film in a Minolta SRT-101, with 50mm lens at F 11.

As you can see, the two shots, taken from roughly the same perspective, show different details. Part of this is due to the larger print size of 120 film and part is due to the 75mm vs. 50mm lens sizes. It might be interesting to try a comparison shot with 120 and 35mm film where both cameras have a 75mm lens.

Finally, we have another pair of comparison shots, the first with the Duaflex and the second with 400 speed Ilford black & white film in a Canon AE-1, with 80-200mm lens at 80mm (black & white filter attached) at F 8.

Since I know it’s possible to adapt a 120 film spool to fit into a camera like the Duaflex that takes 620 film, I’ll likely shoot another roll of it some time. Be nice to get more than 12 pictures on a roll with this camera, but that just means being very selective about what to photograph.

I might also shoot another roll of 620 black & white film. It’s been a while since I’ve done that.

Copyright 2023 Patrick Keating.

Random Musings: A review of Tessa and Weston: The Best Christmas Ever

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Abbie Emmons with Tessa and Weston: The Best Christmas Ever

Following up on her 2019 debut novel, 100 Days of Sunlight, Abbie Emmons has published another book about Tessa Dickinson and Weston Ludovico, who are now three months into their relationship and are determined to make this Christmas the best one ever.

But complications arise when Tessa — who has been raised by her grandparents — gets an unexpected surprise on Dec. 11 when her estranged mother shows up with plans to stay for two weeks, rather than just come for Christmas Day.

Tessa wants nothing to do with her — especially when she hadn’t been there at all during the 100 days when Tessa had been blind after a car accident — and makes it a point to spend as much time with Weston as possible in order to spend the least amount of time with her mother.

She also doesn’t tell her mother about Weston’s prosthetic legs, since his being a double amputee doesn’t define him. But when Weston shows up unexpectedly with his running blades she is embarrassed and mortified by her mother’s staring and insensitive comments.

For Weston, however, Tessa’s reaction — and the fact that she didn’t tell her mother about his prostheses — revives all his old doubts about their relationship and whether it can survive in the long term. He also argues that Tessa should give her mother a chance and decides to prove himself the best boyfriend he can by helping to bring mother and daughter together.

But when he learns that Tessa has been lying to her mother, telling her that a particular day together that Tessa had arranged was Weston’s idea, he confronts her about going out with him to not be with her mother. This leads to a major fight and each is left wondering how and if they can repair their relationship.

Even as Tessa and Weston work to navigate the challenges of a first love, they also become involved in the other family’s Christmas traditions. For Weston, this involves helping Tessa to bake 10 dozen cookies for a church Christmas party and then later singing carols at the church. For Tessa, this involves taking part in the Ludovico family tradition of cutting down their own tree at a Christmas tree farm.

She and her grandparents also agree to be the custodians of a puppy intended as a surprise Christmas gift for one of Weston’s younger brothers.

As with 100 Days of Sunlight, Emmons writes in the present tense and first person, alternating chapters between Tessa’s and Weston’s points of view.

In a post on her YouTube channel last year, announcing the book’s publication,Emmons said she hadn’t initially intended to write a sequel to 100 Days of Sunlight, but around Christmas 2020, she got an idea for a Christmas story about Tessa and Weston. She ended up working on that, rather than an unrelated novel she’d planned to tackle.

“I had so much fun returning to this world and these characters and I missed them so much,” Emmons said. “So it was really fun to go back to writing Tessa and Weston. I loved it.”

I bought Tessa and Weston: The Best Christmas Ever in March, but that was obviously too early to write a review of a Christmas themed book. It’s an engaging follow-up to 100 Days of Sunlight and if you liked that book, you’ll like this one just as much, if not more.

Emmons is currently working on a series with her sister, K.A. Emmons, with whom she co-hosts a writing-related podcast, The Kate and Abbie Show, but I wouldn’t mind reading more about Tessa and Weston. Hopefully, Emmons will return to them from time to time over the course of her writing career.

Copyright 2022 Patrick Keating.

Random Musings: Seeking the truth with Thomas Veil in Nowhere Man

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Photographer Thomas Veil (Bruce Greenwood) finds his life turned upside down when he returns from a smoking break in a restaurant restroom to find his wife, Alyson (Megan Gallagher), gone and everyone else claiming to have no idea who he is.

Even worse, he gets the same reaction from Alyson when he comes home.

At his studio, where he’d just had a showing, he discovers that one of his featured photos is gone and someone claiming to be his assistant says Thomas Veil is out of the country on assignment.

The missing photo, labeled “Hidden Agenda”, shows what appears to be U.S. soldiers hanging four men in a jungle. Veil soon realizes that “they” want the negative and he is determined not only to keep it from them, but also to get his life back.

Hidden Agenda

That’s the basic premise of Nowhere Man, a one-season 1995-96 series that aired on UPN.

Creator Lawrence Hertzog said in interviews and commentaries on the DVDs that The Prisoner was very much an influence on Nowhere Man. He also said the negative is something of a McGuffin and compared it to the leaders of the Village wanting to know why The Prisoner resigned.

The episode “Paradise on Your Doorstep”, in which Veil is abducted and taken to a secluded community called New Phoenix, has obvious parallels to The Prisoner. Hertzog, who wrote the episode, says as much in the commentary.

“Obviously the village they’re about to go to is as close to The Village as we ever get,” he says as Veil is en route to New Phoenix.

He said The Prisoner was so cerebral, but with Nowhere Man they never wanted to be purely that intellectual.

He also said some people thought the show would “follow the string and come to some resolve and we saw it more as an allegory, a way to tell stories about the human condition, etc., etc.”

Hertzog said one thing about the show that’s inspired by the Prisoner is, “you have a price to pay for being outside the program, a price of loneliness, isolation, anxiety and surely we have something we can bring you in with — women, love, sex, money, power, you know, Mayberry.”

Tom abducted

In “Paradise on Your Doorstep”, Veil learns that all the residents of New Phoenix have been “disenfranchised”, as the community’s leader, Paul (Stephen Meadows), says. They’ve all accepted that their old lives are over and have decided to make new ones there. They just need to follow the rules (which includes not being able to leave) and reveal whatever secret “they” had been pursuing them about.

Veil has no intention of joining their community.

Art Monterastelli, one of the show’s writers and supervising producer, said that one thing that makes Nowhere Man different from The Prisoner and that was lost on the executives is that Veil, “is also very much in that tradition of going against the grain in Americana. Whether it’s Tom Sawyer or Huck Finn, you know? Doing things the opposite way just for the hell of it.”

Veil’s unwillingness (or inability) to let go of his quest for answers is also seen in the episode “An Enemy Within.”

In that story’s he’s unknowingly camping on property belonging to a large conglomerate while waiting for an important phone call and is shot by a nervous and incompetent security guard. A local woman named Emily Noonan (Maria Bello) finds him the next morning while out riding her horse and nurses him back to health. They grow closer during his convalescence and he could stay with her in this rural community, but then the phone call comes and he moves on.

Emily finds Tom

Discussing the episode with Hertzog and producer Peter Dunne, who wrote it, Greenwood said that Veil’s not that bright since he left the town and Emily.

Hertzog asked if he’s flawed because he can never let go and Dunne said the question is would you rather be right or happy?

In addition to its parallels to The Prisoner, Hertzog also saw Nowhere Man as an anthology of sorts.

“On some level it’s the Twilight Zone,” he said. “Let’s have fun, let’s do things, let’s surprise people, let’s be cool. And I think at times people said ‘what’s it about? What’s going on?’ Who cares? Go for the ride.”

Nowhere Man is an imperfect series — in one commentary track Greenwood said it became virtually impossible for the character to emerge in a linear way “because you never knew what you were going to be saddled with” — but it was still an engaging one.

“In spite of beefing about how there was no continuity and difficult to understand and get your teeth into, I was terribly disappointed when it didn’t come back,” Greenwood said.

By the end of the series, Thomas Veil has learned that not everything he’s been led to believe is true. Nothing is really resolved, which could have opened up many possibilities for a second season.

It’s too bad Nowhere Man didn’t get one.

Copyright 2022 Patrick Keating.

Random Musings: Thirteen Days is a taut political thriller

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In October 1962, at the height of the Cold War, the world stood on the precipice of probable nuclear annihilation with the discovery that the Soviet Union had placed missiles in Cuba. President Kennedy’s choices of a response were limited and none of them could guarantee avoiding a confrontation that would escalate into World War III and the launching at least some nuclear weapons.

The 2000 film Thirteen Days, based on the book The Kennedy Tapes: Inside the White House During the Cuban Missile Crisis, tells how President Kennedy (Bruce Greenwood), Attorney General Robert “Bobby” Kennedy (Steven Culp), Special Assistant to the President Kenneth O’Donnell (Kevin Costner) and other members of the administration navigated that tense time between Oct. 16-28.

For the most part, the film is told from O’Donnell’s point of view, especially his interactions with the Kennedy brothers (Costner, who was also one of the producers, is listed first in the credits), but not exclusively. We also see scenes that focus on other members of the administration, including a tense confrontation between Defense Secretary Robert McNamara (Dylan Baker) and Admiral George Anderson (Madison Mason) in which McNamara argues that the blockade of Cuba is a “new vocabulary” through which Kennedy is communicating with Soviet Premier Nikita Khrushchev.

McNamara explains Kennedy’s “new vocabulary.”

Former Secretary of State Dean Acheson (Len Cariou) and some members of the Joint Chiefs of Staff, especially General Curtis LeMay (Kevin Conway), the Air Force chief of staff, advocate for air strikes, followed by invasion, but Kennedy isn’t ready to commit to such belligerent actions. He knows that any shooting war will spiral out of control. He agrees, however, that they have to get the missiles out of Cuba.

Kennedy privately acknowledges to Bobby and O’Donnell that Acheson’s scenario is unacceptable, but he’s right that talk alone won’t accomplish anything.

Bobby says he’s as conniving as they come, but a sneak attack is just wrong and O’Donnell says “this is starting to smell like the Bay of Pigs all over again.”

Bobby volunteers to lock some “smart guys” in a room and “kick them in the ass” until the come up with a solution.

“The executive Committee of the National Security Council,” he says. “Call it EXCOM.”

Bobby Kennedy (center) discusses EXCOM with O’Donnell and the president.

The discussion of a blockade/quarantine of Cuba — the option Kennedy ultimately chooses — comes up during an EXCOM meeting when Bobby asks McNamara for any alternate scenario to air strikes, “no matter how crazy, inadequate or stupid it sounds.”

For his part, LeMay, who continues to advocate for air strikes, says many around the world — as well as U.S. citizens — would see a blockade as a weak response.

LeMay also tells Kennedy the Soviets will do nothing when the U.S. attacks, “because the only alternative open to them is one they can’t choose.”

“It’s not just missiles we’re going to be destroying, general,” Kennedy replies. “If we kill Soviet soldiers, they’re going to respond. I mean, how would we respond?”

General LeMay advocates for air strikes.

Later, with the other generals, LeMay says “those Goddamned Kennedys are going to destroy this country if we don’t do something about this.”

In his speech to the world about the action he’s taking Kennedy uses the term “quarantine” because a blockade is technically an act of war and he needs international support for his actions. He gets unanimous support from the Organization of American States (with one abstention, three guesses which country that is), but support from the United Nations is also critical.

However, Bobby and other members of the administration doubt that U.S. Ambassador to the U.N. Adlai Stevenson (Michael Fairman) has it in him to stand up to his Soviet counterpart.

At one point, in response to LeMay taking the nuclear forces to DEFCON 2, Kennedy reminds General Maxwell Taylor (Bill Smitrovich), chairman of the Joint Chiefs of Staff, that, “I am the commander-in-chief of the United States and I say when we go to war.”

Taylor reminds him that they’re not at war, not until DEFCON 1.

Kennedy replies that the Joint Chiefs had signaled the United States’ intent to escalate to the Soviets, something he had no wish to signal and did not approve.

Kennedy chews out General Taylor.

As tensions continue to mount, with some Soviet ships showing no sign of stopping at the blockade line and with conflicting messages coming out of the Soviet Union — leading some in the administration to wonder if Khrushchev had been overthrown — efforts continue to find a way to deescalate while allowing the Soviets a way to save face. These include back channel negotiations and a face-to-face meeting between Bobby and Soviet Ambassador to the U.S. Anatoly Dobrinyn (Elya Baskin).

“You are a good man,” Dobrinyn says. “Your brother is a good man. I assure you there are other good men. Let us hope the will of good men is enough to counter the terrible strength of this thing that was put in motion.”

The DVD also includes a historical figures commentary, a historical information commentary track, a text commentary track that offers details on various people and events around that time and a documentary, The Roots of the Cuban Missile Crisis, which includes comments from political analysts, reporters familiar with the situation, Kennedy’s press secretary, Pierre Salinger, and Khrushchev’s son, Sergei Khrushchev, among others.

If you’re interested in history and/or like an engaging political drama, Thirteen Days is a film worth seeing. Even more so, with the bonus documentary footage.

Copyright 2022 Patrick Keating.

Random Musings: A search for answers in Yesterday Was a Lie

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A woman named Hoyle (Kipleigh Brown), who may or may not be a private detective, embarks on a search for a notebook that she believes contains dangerous information and is also being sought by (or may already be possessed by) a man named John Dudas (John Newton).

Dudas is a scientist or academician (or possibly a philosopher; it’s never made clear) and at different points in the film, we hear a radio host (Robert Siegel) and Dudas discussing such topics as the works of Carl Jung as it relates to the unconscious, Feynman’s allusion to “God’s chess game” and Eliot’s Fourth Quartet reminding Dudas of the physicist Wolfgang Pauli.

Hoyle gets a tip from an associate identified in the credits as “Trench Coat Man” (Mik Scriba), who appears to be a police detective. She meets him and other police detectives at a warehouse, where they find an empty cubbyhole that appears to have been the hiding place for the notebook and a Dead Man (Peter Mayhew) outside in the alley.

Hoyle and Trench Coat Man find the Dead Man.

At a nightclub where she meets Singer (Chase Masterson, who also produced the film), she spots Dudas at the bar, but loses him outside.

But she crosses path with Singer many times, including at an art gallery featuring a showing of Dali’s Persistence of Memory.

We also find out that Dudas isn’t simply the subject of Hoyle’s search; they have a history.

As the film unfolds, we find that it doesn’t appear to be taking place in chronological order (more on this later). At what we assume is Hoyle’s first meeting with Singer, she makes a comment about Singer she wouldn’t have known if they’d just met.

And at some point after Hoyle and Trench Coat Man discover the Dead Man in the alley, we see him sitting behind the wheel of a car, smoking a cigarette.

The Dead Man enjoys a smoke.

And when the phone rings while Hoyle is relaxing in the tub, she gets to it just as her machine has picked up the call. She hears her own voice saying “dammit!” before the call disconnects.

As Hoyle seeks answers about the notebook, tries to make a connection with Dudas and continues to cross paths with Singer, she realizes that she needs to make certain choices. But will she make the correct ones?

It’s difficult to summarize the plot of Yesterday Was a Lie, which was released in 2009, because it doesn’t follow a traditional narrative structure. However, it rewards repeat viewings.

In the commentary track during the opening scene, director James Kerwin says it appears to the audience that you kind of missed something when you first start watching the film.

“I thought that that would really kind of create in the audience a sense of — that you really had to pay attention to what was going on,” he said. “It kind of immediately grips you, because you’re not just trying to figure out the answer to the question that Hoyle, the protagonist, is seeking, but you’re also trying to figure out the questions themselves.”

Later in the commentary he points out that the film is clearly taking place out of order.

In a WonderCon panel available at Yesterdaywasalie.com, he expands on this point, saying that the film can’t be put in the right order, “because no matter how you scramble it, it doesn’t work. Again, it’s a metaphor for what’s going on in these characters’ minds.”

He also said in the commentary that not giving names to the characters other than Hoyle and Dudas — not even Singer, who is the second lead — was done for a reason.

The Singer.

“There’s a suggestion that possibly a lot of the characters in this film are kind of manifestations of the Jungian archetype… If you look at the different characters that Hoyle interacts with, they can be interpreted as just different aspects of her own psyche. And that’s why I thought it was a good choice not to give them names.”

The movie is shot in black & white in part because it has film noir sensibilities — Kerwin has said that he had the idea of Lauren Bacall playing Bogart’s role — but also because Hoyle is our viewpoint character and she’s color-blind.

This fact is revealed in three scenes: Trench Coat Man indicating which door is green; Hoyle telling Singer she’ll have to take her word for it regarding Dali’s “wonderful use of browns in his palette” and Dudas telling her, “the world’s not black-and-white because you see it that way.”

While the film appears at first glance to be set in the 1940s — until we see Hoyle at her computer — Kerwin said it’s set “in a kind of timeless alternate dimension in which we combine time periods.”

The Singer and Hoyle.

During the WonderCon panel, Kerwin said the time period mix wasn’t just done for kicks.

“It’s all a metaphor for what’s going on inside Hoyle’s mind,” he said. “When she dresses in a more noir way, that represents something. When she dresses in more modern clothing, there’s a reason for that; it’s something that she’s going through at that particular point in the story.”

Hoyle fits the noir image of a detective in that she wears a fedora — a typical look among sleuths of the 1940s — but she also has a different look. In the commentary track, Brown says those differences are significant.

“There’s basically two types of Hoyle that you see,” she said. “A more feminine, sort of open Hoyle and one — the more traditional male role model, the noir detective with the fedora and the tie.” She says that’s significant, too.

She also says at one point that Hoyle doesn’t have a lot of connection to the human race in general, with Trench Coat man being her right-hand man and one of the closest people to her.

“She’s isolated herself and this is probably one of the people who she lets in, let’s behind that wall, just a little bit,” she said.

As I said, we learn that Hoyle and Dudas have a connection. At about a half hour into the film, there’s a scene with them at the nightclub. In the commentary, Kerwin says this is the turning point in the film.

“I wanted a scene that looks a little unreal; they’re both dressed in these matching white suits that you probably wouldn’t wear in your life,” he said. “Everybody else in the bar kind of falls off into darkness and this is really such a turning point because it’s in this conversation that you really realize the film isn’t about what you thought it was. This isn’t a noir detective mystery so much as it is a character drama about these people’s relationship, about a failed relationship.”

Hoyle and Dudas.

Brown said it’s refreshing to see that Hoyle is human. She also said this is where a sense of history comes out between them.

In addition to things like Jungian psychology and physics, Yesterday Was a Lie also addresses topics ranging from the psychological philosophy of alchemy to theories of quantum mechanics. In the WonderCon panel, Kerwin said those latter theories are a reflection of who Hoyle is.

“This film is very scientific, but at the same time it has a very spiritual message,” he said.

He added that he’s a big fan of Joseph Campbell, “who talks about how in modern society your psyche can very easily be split because we’re cut off from what Jung called the collective unconscious.

“Modern 20th and 21st century concepts in science, like quantum mechanics and entanglement and things like this, we’re starting to realize, through pure scientific statistics, that there is something synchronous at work in the cosmos.”

If you like thought-provoking films that reward multiple viewings, you’ll probably enjoy Yesterday Was a Lie.

Copyright 2022 Patrick Keating.

Random Musings: Embarking on inventive adventures with Tom Swift

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A few weeks ago, I was surprised to see a commercial for a new Tom Swift TV series debuting on the CW next Tuesday. I thought Tom Swift, one of the many juvenile adventure series created by Edward Stratemeyer’s Stratemeyer Syndicate in the late 19th and early 20th centuries, had long since been forgotten and that only The Hardy Boys and Nancy Drew remained within the public consciousness.

The announcement of this new TV series prompted me to read the two Tom Swift books I own, Tom Swift and His Wireless Message, published in 1911, and Tom Swift and His Aquatomic Tracker, published in 1964. I’ve had the latter book since I was a kid, but bought the former some time in the last decade or so.

The original 40 Tom Swift books were published from 1910-1941, followed by a series of 33 books featuring Tom’s son, Tom Swift, Jr., published from 1954-1971. The original books were written by “Victor Appleton” and the later series by “Victor Appleton II.” As with all Stratemeyer Syndicate books, these were in-house pen names. Wireless Message was ghost-written by Howard Garis, Aquatomic Tracker by Jim Lawrence.

The Swifts are based in Shopton, NY and by the time of Tom Jr.’s adventures have a multi-faceted science and technology-based business called Swift Enterprises that has them interacting (at least in Aquatomic Tracker) with both the U.S. Navy and the CIA. The company also has a space and sea port on the three-mile-long Fearing Island off the Atlantic coast.

In Tom Swift and His Wireless Message (or The Castaways of Earthquake Island), Tom receives a telegram from a Hosmer Fenwick of Philadelphia, asking for help in perfecting his new electric airship.

Tom agrees, but it takes until page 53 for him to get there, flying out in his monoplane, The Butterfly. This is far from a fast-paced book. Tom gives some feedback regarding Mr. Fenwick’s airship, The Whizzer, then flies back to Shopton the next day because he’d promised to only be gone a day at most and would also need some special tools.

Fortunately for Mr. Fenwick, Tom doesn’t take another 53 pages to return.

Tom makes two return trips by train, the first in order to ship various tools and the second because a neighborhood bully named Andy Foger wrecks The Butterfly then leaves town, not to be seen again for the rest of the book. Tom is accompanied — as he was the first time — by an eccentric neighbor named Wakefield Damon, who knows Mr. Fenwick.

Tom, Mr. Fenwick and Mr. Damon take The Whizzer on a test flight, during which a gale-force storm blows the airship out over the Atlantic and hundreds of miles off course. It ultimately crashes on an island and — holy Fenton Hardy, Batman! — it turns out that the parents of his girlfriend (and later wife), Mary Nestor, who were guests on a yacht, just happen to have been shipwrecked on that same island.

The island is experiencing frequent severe earthquakes (hence the alternate title). One of the castaways from the yacht, a scientist, theorizes that it’s being undermined by the sea and will soon sink. It appears he’s right, but they’re far from any shipping lanes. What hope have they of rescue?

Tom Swift, of course.

Now we come to the wireless message of the title, a term mentioned in passing on page 77. While today most people would associate the term “wireless” with the Internet, in the early 20th century it was a term synonymous with radio. If Tom can get certain equipment that had been on board The Whizzer set up, he can send out a distress signal by Morse code.

But as the earthquakes get more severe and more and more chunks of the island collapse into the sea, the hope of rescue seems less and less likely.

Tom Swift and His Wireless Message shows Tom as a resourceful young scientist and inventor. What’s more, Howard Garis and/or the Stratemeyer Syndicate outline from which he worked apparently assumed the book’s readers were familiar with certain aspects of aviation.

At one point, the narration describing Tom’s monoplane states that it “was modeled after the one in which Bleriot made his first flight across the English channel.” While French aviator Louis Bleriot’s 1909 flight was probably still in the public consciousness two years later — at least among adults — it wouldn’t have been surprising if Tom had explained who Bleriot was to another character and by proxy, the young readers. It’s nice to see that Garis and/or the syndicate didn’t talk down to its audience on this point.

But not all is well with this book. And I don’t just mean the slow pace (it’s not until page 109 (of 211) that The Whizzer crashes on the island) and scenes that don’t advance the story (what’s the point of Andy Foger’s sabotage of The Butterfly if Tom neither goes after him nor repairs the plane, something he decides can wait?). In the first few pages, we’re treated to a great deal of casual racism when Tom receives Mr. Fenwick’s message from Eradicate “Rad” Sampson, an itinerant African American handyman who speaks in dialect.

Unfortunately, such depictions of minorities are typical of early Stratemeyer Syndicate books.

As for Tom Swift and His Aquatomic Tracker, this is a much better book, with an engaging, fast-paced storyline.

The book opens with Tom Swift Jr. and his friend Bud Barclay setting out from Fearing Island on “a daring underwater crossing of the Atlantic Ocean, equipped only with Tom’s amazing electronic hydrolung suits” to prove people can truly adapt to the undersea environment.

But sabotage disrupts that endeavor and they’re forced to improvise a way to signal for help. They return to Fearing Island and examination of their equipment confirms the sabotage.

Tom soon realizes there’s a connection between the sabotage and the sinking of a ship that went down with both a fortune in gold bullion and world-famous statue on board. After he and Bud make a successful crossing in their hydrolung suits, Admiral Hopkins of the Navy asks Tom for help in undertaking a deep sea salvage operation of the sunken ship, The Centurion. According to Hopkins, the Navy Department is convinced Swift Enterprises’ “advanced undersea craft is the only equipment for the job.”

To help find the ship, Tom designs his “underwater bloodhound”, the Aquatomic Tracker. As he explains, “practically any object which passes through water will leave faint chemical traces which will register on a highly sensitive detector.”

Tom and Bud taken prisoner.

But Tom’s enemies are determined to hold on to their stolen gold and will take whatever steps they feel necessary to stop his efforts. Prior to the point where he came up with the Aquatomic Tracker idea, Tom was kidnapped and only the quick thinking of his younger sister, Sandy, saved his life. But if at first the bad guys don’t succeed in stopping Tom Swift, they’ll try, try again.

I’ve no idea why Tom Swift and His Aquatomic Tracker is the only Tom Swift book I owned as a kid as it’s an exciting story and I probably would have sought out more. I can only assume those books weren’t as ubiquitous as the Hardy Boys, which I have a vague memory of seeing in supermarkets as well as bookstores and places like Kmart.

As for the new TV series, in which actor Tian Richards plays Tom, it’s a spin-off of the CW’s Nancy Drew series. Ironic, as Nancy didn’t debut until 1930.

Turns out Tom Swift made it to TV once before, in a July 3, 1983 ABC pilot called The Tom Swift and Linda Craig Mystery Hour. It starred Willie Aames as Tom and Lori Loughlin as Linda. I hadn’t known it existed. Hopefully for Tom Swift fans this new series will be more successful.

Linda, for the record, appeared in 12 books, published in two groups of six, the first between 1962 and 1964 and the second between 1982 and 1984. Presumably, she featured in the 1983 Tom Swift pilot to help boost sales of the Linda Craig books.

If you like juvenile adventure series, especially science-based ones, Tom Swift and His Aquatomic Tracker is worth a read.

Wireless Message has a few good points, but the story could have been tightened up a lot. If you come across both, but only have money for one, go with Aquatomic Tracker.

Copyright 2022 Patrick Keating.