Are Hugo finalists suffering from affirmative action?

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Now that it looks like the cat is out of the bag on how WorldCon members feel about the Hugo finalists, maybe we can analyze what went on with the programming. For anyone who missed it, WorldCon staff sent out the following about finalists who weren’t included on the program: “There’s a generation of new Hugo finalists who are exciting to the nominators but completely unfamiliar to attendees.” Then I had a conversation with a WorldCon member who admitted she didn’t really read anything, but actually nominated and voted based on the authors’ minority status.

Because of the volume of material out there, I suspect this is a standard practice for WorldCon voters. You feel obligated, so you look through the lists of recommended works, check the biographies and pick out the writers who advertise the most minority status. This discharges your responsibility as a progressive, and then you can spend your time at the con enjoying activities and authors you really like. (In this case, that looked to be panels full of white men.)

The problem is, this leads to a reality gap. It means that various authors are being promoted by a literary award system based on who they are rather than the quality of their work. It also means that quality now means pretty much zilch in the award. Certainly as a faithful reviewer of Hugo finalists, I’ve noticed wide variance in the quality of works nominated (both by Puppies and “organic” WorldCon voters). So, do members ever get around to reading these books at all? Will they get bored and impatient if they have to listen to too much from those darn finalists? After all, they got voted in, right? What else do they want?

Meanwhile on the other side of the story, a group of authors thinks they’ve been recognized because people appreciate their work. They’re excited to go to the con and interact with their fans, and instead, they’re being brushed off into back rooms by the programming committee. This is disrespectful considering their status as finalists for a prestigious award—and they feel like their careers will suffer as a result.

So, are these finalists actually being harmed? Affirmative action has been around long enough for people to judge the results, and a few research studies have investigated both the short and long term affects. The conclusion is that affirmative action policies do generally work in increasing diversity within a population, but not always how you’d expect. For example, the most noticeable result is that affirmative action tends to strongly benefit white women. Meanwhile, minorities who are targeted by the worst discrimination, like black and Hispanic men, may actually lose ground.

Currently there’s some soul searching going on because of an Asian class-action suit against Harvard University alleging discrimination in admissions. This has brought up the topic of “mismatch,” a theory that suggests some minorities might actually be harmed by promotion into an environment where they don’t really have the skills to compete. This would be beginning authors, for example, who are nominated before they’ve really gotten control of their skills as a writer. This means people might lose respect for them, stop reading their work, etc. So, is this happening to minorities who win the Hugo?

So far, it doesn’t look that way, complaints from this year’s finalists notwithstanding. They still get the name recognition, and appealing winners have gone on to become poster children, nominated again and attractive for film and TV deals. For example, see recent winners Nnedi Okorafor, Nora Jemisin and Victor LaValle. There’s also at least a small bump in readership.

Maybe it’s a question of whether the ideas actually stand up?

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WorldCon’s Voting Problem

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WorldCon has considered itself a bastion of the progressive in the face of the recent Sad/Rabid Puppy traditionalist siege, so the recent programming crisis has blindsided a lot of people. For anyone who’s missed it, some of the high points played out on Twitter like this:

  • Bogi Takács complains about errors representing their name and gender in the WorldCon bio.
  • After responses from the WorldCon team, the staff is accused of lying about the errors.
  • Some guests complain about bios and photos being taken from their private accounts.
  • The programming schedule is issued and several Hugo Award nominees are not represented, although some members of the staff are listed on multiple panels.
  • WorldCon issues an explanation about programming as follows: “There’s a generation of new Hugo finalists who are exciting to the nominators but completely unfamiliar to attendees.”
  • JY Yang calls out WorldCon staff for not providing program space for #ownvoices (later amended to not a good enough space).
  • Management continues to apologize and promises to rework the schedule.

A lot of this likely has to do with standard inefficiency and delegating the work to clueless but enthusiastic volunteers way down the food chain. Dealing with the nominees and panel applicants also looks like a matter of herding cats, where potential guests, in time-honored fashion, totally fail to RSVP. However, there are a couple of interesting issues that showed up in the discussion about this at File 770.

The first is the revelation that out of 4630 attendees to the con, 2000 of them applied for positions on the program. This is 43%, or almost half. This suggests that these 2000 are either industry professionals with something to promote, or else they consider themselves professional fans with an opinion worth listening to. Of course, this means the staff in charge of programming have a huge pile of applications to wade through, trying to sort out who might be interesting to the larger body of attendees.

The real mind-bender from the above, of course, is that comment: “There’s a generation of new Hugo finalists who are exciting to the nominators but completely unfamiliar to attendees.” Since this comment was not well considered, I think we can assume it represents an unfiltered assessment of the situation from someone on the programming staff who is struggling to sort out those 2000 applicants. The reason it’s not well considered, of course, is that it strongly implies the WorldCon attendees either haven’t read or don’t much care about the work of the Hugo finalists.

This is a huge crisis of faith. At File 770, it led to questions about the reliability of the new EPH voting system installed last year, which was meant to ensure “diversity” by reducing the impact of slate voting. But actually, this isn’t a problem in reliability of the nomination and voting system, or even a question of cheating. I talked to a WorldCon member who told me what she does. Because she’s very busy, she doesn’t really have time to read ahead of the vote, so she just checks lists of recommendations and chooses prominent minorities and women for the ballot. I’d like to suggest this is why the WorldCon membership isn’t really excited about the work of this years’ finalists. They were chosen for who they are rather than for what they wrote.

At this point, I hope this isn’t a surprise to anybody. After all, isn’t that why people put up those biographies that describe their minority status in such detail?

Identity politics bullies versus SFF Con management 2018

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At the end of July, WorldCon became another in the list of SFF conventions that experienced partisan conflict this year about programming, guests or treatment of guests. Special interest groups have apparently moved on from insisting on strict Codes of Conduct for the conventions to insisting on excluding certain guests and demanding particular programming as part of the same agenda. The complaints flying around are the same ones honed for use in the Code of Conduct campaign, words like “unsafe,” “disrespected” and “harassment.” These loaded words are apparently based on such ordinary things as fiction releases and errors in biographies. It seems mostly a problem on the progressive left, but after conservative author Jon Del Arroz didn’t get what he wanted from a kerfluffle at BayCon, he filed suit for defamation—an indication of how far people will go to get their way.

Most of this problem is just victim/identity politics, where people maneuver for advantage through bullying tactics. If you’re a minority and want recognition, then the best way to do it these days is to make noise about being victimized and disrespected and otherwise causing a stink. Progressives are trained to respond with abject apologies and to jump to make adjustments that give you what you want. Because the cons have limited resources and can’t afford massive disturbances and bad press, most have folded to demands. This has led to complaints from other groups harmed by the changes, such as conservatives or older writers. This must have been a particularly aggressive group of activist bullies at WorldCon. See Mary Robinette Kowal comments on trying to work with them. The only failure of this strategy so far seems to have been DragonCon, which ignored guest withdrawals and fired agitators from their positions on staff.

Whatever, WorldCon management busily tried to accommodate the complaints and save their reputation as progressive. There was quite a scramble going on in the last weeks before the con, where the staff completely tore apart the programming and started over. Sensitive guests withdrew to make room for minorities. Teams were called in to help. But, the truth is, they can’t satisfy the demands because it’s not just about appearing on a panel. The progressive ground has moved out from WorldCon members’ feet. An article in the Daily Dot actually classifies their standard demographic as “overlapping” with the Sad Puppies. Who would have thought?

Next, interesting questions about the Hugo voting that emerged in the crisis.

Review of Solo: A Star Wars Story

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This film was directed by Ron Howard, written by Jonathan and Lawrence Kasdan and stars Alden Ehrenreich, Woody Harrelson and Emilia Clarke. It was produced by Lucasfilm and released by Walt Disney Studios Motion Pictures in July 2018.

Han and Qi’ra are orphaned children trying to escape indenture to a crime boss on the planet Corellia. They make up a plan to get away, but Qi’ra is caught just on the threshold of freedom. Han escapes and signs up for military service, hoping to become a pilot, but he deserts when this doesn’t work out. He takes up with a band of freelance thieves led by a man named Beckett, who introduces him to Chewbacca the Wookie in the worst possible way. Beckett is trying to steal coaxium fuel for Dryden Vos, a crime boss of the Crimson Dawn syndicate. When they arrive at his penthouse, Han finds that Qi’ra has escaped Corellia by taking employment with Vos. She introduces him to smuggler Lando Calrissian, and on his second try at sabacc, Han catches Lando cheating and wins his ship the Millennium Falcon. Rebels capture the coaxium, causing mayhem. Can Qi’ra and Han get out alive? Can they rebuild their relationship? Can Han make the Kessel Run in less than 12 parsecs?

So, Howard has done a workmanlike job of incorporating everything that had to go into this film. Because Han, Chewbacca and Lando are well-known characters with established histories, the film had to go back and provide scenes and details that were already described. Even with generous actions scenes, it’s not that exciting, moving from point to point like a checklist.

There was a controversy before the film even got to theaters, as director Howard was hired to replace Phil Lord and Chris Miller, who were fired for “creative differences.” A lot of the film was then reshot, at considerable expense. Box office receipts were dismal, the first real failure of a Star Wars film in the history of the franchise. This may have been about poor word-of-mouth, but it was more likely a boycott by fans unhappy about the Disney-controlled films and especially annoyed by The Last Jedi. The result has been mutterings from Disney about maybe not making any more Star Wars films. Is this a demo of how to kill a cash cow?

The biggest problem with this film, of course, was Alden Ehrenreich trying to step into Harrison Ford’s shoes. Ehrenreich did a workmanlike job with the character, but workmanlike just isn’t Han Solo. Donald Glover as Calrissian got glowing reviews, but it was really the charismatic Woody Harrelson as Beckett who lights up the film—an understated, low key performance notwithstanding. Also prominent was Lando’s annoying co-pilot L3-37, an animated character fighting against the slavery of droids, who got quickly squashed. Was this a message about SJWs?

The casting issue brings up another question. Why isn’t Disney investing in flashier talent for these movies? I think some of the Marvel films have had the same issue, where it looks like they went down to the local acting school and hired a bunch of young kids and then suppressed whatever talent and individuality they might have. Even weeks of promotional hype about what stars they are doesn’t make up for their lack of presence on the screen. Howard did a good job making his cast carry their weight here, but really, why is Disney so hell-bent on mediocrity?

Average film. Three stars.

Review of Deadpool 2

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This Marvel superhero film is the second in the series, following Deadpool (2016). It’s directed by David Leitch and stars Ryan Reynolds, Josh Brolin, Julian Dennison and Morena Baccarin. It was released into theaters 18 May 2018. This review contains spoilers.

Since the events of the last film, Deadpool (a.k.a. Wade Wilson) has been touring the world, fighting ninjas, yakuza, and whoever else, looking for what meaning might be left in his life. He loses his girlfriend. He tries a stint as an X-man trainee, but it doesn’t work out. However, as a result of this, he ends up becoming the hero of a young boy with dangerous supernatural abilities. He tries to reject this role, but eventually brings together an X-Force team to rescue the boy from the evil, time-traveling cyborg Cable. Can he pull this off? Can he get his girlfriend back? Can he fix Ryan Reynolds’career mistakes?

We have to wait a while to get to the heart of this film, while Wade searches around for the theme. However, once he’s focused on doing the right thing, then we can get on with the plot. The remaining space is taken up with social commentary and jokes that make this pretty much a satire of superhero franchises. The gags go by fast, so pay attention.

The movie did get criticism for the “fridging” of Wade’s girlfriend Vanessa. For anyone who’s not familiar with the term, it refers to threatening, injuring or killing a superhero’s girlfriend to provide motive for the plot. That leaves the woman with a very limited role. Writers and producers agreed they had engaged in this gimmick, and suggested fridging Deadpool in a different movie. Turn about.

This film is all highly creative, of course, and the writing/directing crew doesn’t really care that they pierce the fourth wall and talk directly to the audience. They’re also testing a few boundaries as far as offensiveness goes. I see that Ryan Reynolds is listed on the writing team this time, so I’m wondering how much he has to do with the comedy and commentary. He’s certainly found his niche as the bad guy anti-superhero. Although this film isn’t as impressive as the first one, it carries on the tradition well enough. His X-Force team turns out to be surprisingly attractive, too, so I’m sure we’ll be seeing more of them.

One other thing that merits mention is the choreography and gymnastics stunts in these films. There was only one instance of the gymnastics here, but same as the last film, it was breathtaking air ballet from a real person. Well, okay—I just like gorgeous stunts.

Four stars.

Review of Incredibles 2 

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This is an animated film written and directed by Brad Bird, starring Holly Hunter, Craig T. Nelson and Samuel T. Jackson. It was produced by Pixar, distributed by Walt Disney Pictures, and released to theaters June 15, 2018. This is the second animated film in this series. For anyone who missed it, the first film titled The Incredibles was released in 2004. This review contains major spoilers.

This film picks up right where the last one left off. The Parr family are “Supers” who are hiding out under a government enforced program of secret identities called the Super Relocation Program. The Underminer bores into the Metroville Bank and the Parr family (a.k.a. The Incredibles) tries to stop him from vacuuming all the money out of the vault. There’s a lot of property damage but they fail to stop the robbery. This leads to bad press. Man-in-Black Rick Dickers informs the Parrs that the Super Relocation Program has been discontinued, which means, at this point, they’re on their own in maintaining their secret identities. The program will only pay for two more weeks at a motel, so the family is facing homelessness. Bob and Helen are approached by media mogul Winston Deavor and his sister Evelyn, who admire superheroes and want to launch a media campaign featuring Elastigirl to get them back to work on stopping crime. Bob agrees to watch the three kids, Dash, Violet and baby Jack-Jack, while Helen takes the job. This turns out to be more than Bob bargained for, as he has to deal with math homework, budding romance and Jack-Jack’s emerging powers. He gets support from his buddy Frozone and super-costume designer Edna Mode. Meanwhile, Helen finds her job isn’t what she thought. Can Bob and Helen figure out what’s going on? Can the kids save the day again?

So, Brad Bird made his point about superheroes hiding out in the first film, and the messages here are a little different, leaning heavily to the adult philosophical. Some of it comes out in straightforward conversations between Helen and tech talent Evelyn, and between Helen and Bob, while more of it is embedded in the characters and plotline.

Message #1: Can you help people too much? Evelyn thinks superheroes make everyone weak and unable to fix their own problems, while, as a Super, Helen thinks it’s right to help people in any way she can. When asked what people really want, Evelyn thinks it’s always ease over quality, and to be taken care of by Supers, which will lead to disaster. Again, I’m not the greatest on ideologies, but this looks like libertarianism vs. socialism with some overtones of Social Darwinism. How much should we help others? Does too much help really keep people from reaching success on their own?

Message #2: What should you do if laws are wrong? If laws are immoral, is it more right to follow the rules or to break the rules? Helen decides on breaking the law to appear as Elastigirl, with the hope her actions will bring about a change in government policy.

Message #3: Role reversals are tricky. Everybody needs to respect the jobs other people do to make the world run—especially moms. Bob really struggles through the family thing, but eventually gets it under control.

Message #4: Beware of social media. Evelyn turns out to be a social media activist. In her role as Screenslaver, she hypnotizes anyone who looks into her screens and forces them to become her minions in a bid to destroy the Supers. Besides this, Winston looks suspiciously like someone who recently testified before the US Congress about the use of social media in the last US presidential election.

Highly recommended. High five on the Ideation Scale.

Five stars.

The Incredibles, an Elitist Skreed?

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When I was reading the press leading up to the release of Incredibles 2, I was (and also wasn’t) surprised to find that The Incredibles (2004) was apparently criticized as elitist because of the message it sends.

The Incredibles (a.k.a. the Parr family) are all “Supers,” that is, people with talents that make them different. Mr. Incredible is super strong and fast: Elastigirl is stretchy: Dash is really fast, and Violet can become invisible and project force fields. Because of government policy, they are required to bury their talents and to adhere to secret identities and live as ordinary people. The kids have grown up under this program, and are surprised that mom and dad, when things get dire, expect them to step up and perform as superheroes. Syndrome, the villain of the story, means to sell inventions that will make everyone super, so everybody will be the same. As I interpreted this, the message to kids is: Don’t hide out; step up and learn to use your own talents for the good of society.

So, is this message really elitist? Where did it come from leading up to 2004? And why did writer/director Brad Bird feel it was necessary to say this in a children’s animation film? Everyone is supposed to be equal under the law, of course, and democratic ideals say that everyone should be respected the same regardless of race, creed, talent or color. But does that mean everyone should be an ordinary interchangeable cog in the great machine of society?

There’s some background here: For anyone who isn’t aware of how the Bush era No Child Left Behind Act of 2002 was interpreted, it meant the US educational system should work for equal outcomes from all students—no one should have undue advantage or disadvantage. The Act set minimum standards and required that schools spend their time and resources to bring all children up to this level, but no further. In some states, funding for gifted programs was cut by 90% as a result. Schools shifted to achieving the mediocrity of minimum scores. Add to this the tendency of children to persecute anyone who is different, and the result was that talented kids were hiding out left and right, without any avenue to discover and develop their talents. All the emphasis in the public schools is still pretty much on achieving minimum performance, and anyone who stands out is pretending they are better than everyone else. Right?

So, what do we do about the fact that people really do have individual talents? Some people are world-class athletes and some are Pulitzer Prize-winning authors and some are Nobel Prize-winning scientists. If you try to substitute a scientist for a ball player, then there’s going to be a problem. Right? And if you try to dump all those kids who have been encouraged to adhere to minimum standards into a job market, then there’s going to be a problem there, too. Right?

But then, maybe I’m wrong. Surely it’s elitist to look for the best job candidate.

Ahhh. Okay. Now I feel better.

Next, a review of Incredibles 2.

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