“Look. There are are only two truly great science fiction movies. The first is Stanley Kubrick's 2001...The second is Blade Runner...You may disagree with this statement. You would be wrong. Let's move on.” Damien Walter at Guardian accuses Hollywood of screwing up science fiction.
“Even weeks after its publication, no one agrees on What Happened and Clinton’s ability to assess her own past. But in post-truth America, the truth that becomes history may well be decided by star-rating.” The Guardian considers how Amazon reviews became the new battlefield of US politics. Namechecked in the piece: Nancy MacLean, whom we interviewed about her new book, Democracy in Chains: The Deep History of the Radical Right’s Stealth Plan for America, here.
The international popularity and utility of English doesn't show any signs of slowing, but what will the language look like after a few generations of increasing usage? The Economist gives a brief answer, but it doesn't address the ways English is or will be used by different people to tell their stories. Damian Fowler addresses this when he asks, "[W]hat does it mean to have an American point of view," or to call a book American in tone, as opposed to British or just English-language? In a blog post for The Paris Review, Fowler offers an answer: American novels are characterized by "a spare, sure sense of narrative, reflected in a colloquial voice, free of affectation."
A pair of big-name writers have new shorter-form ebook originals out. Stephen King's Guns is a "pulls-no-punches essay" about gun violence in America, with all proceeds going to Brady Campaign to Prevent Gun Violence. Meanwhile, Richard Russo has a new novella, Nate in Venice.