Movies – Prometheus Blog

Why the visionary and darkly satirical film Brazil, co-written by the late great Tom Stoppard, deserves a Prometheus nomination next year

This seems the right moment to take a fresh look at Brazil, one of the greatest dystopian science fiction visions of our era – and also one of the most libertarian.

Now celebrating its 40th anniversary, the film is one of the most widely seen and arguably among the most enduring works of the avowed libertarian Tom Stoppard, the internationally acclaimed Czech-British playwright and screenwriter who died recently at 88.

Released in 1985, the film was directed by Terry Gilliam and co-written by Gilliam, Stoppard and Charles McKeown.

Continue reading Why the visionary and darkly satirical film Brazil, co-written by the late great Tom Stoppard, deserves a Prometheus nomination next year

Sequels, part 11: Unlike literary sequels, movie sequels and genre films don’t get as much respect at the Oscars, but that may be changing 

By Michael Grossberg

Movie sequels seem to be more common and more popular than ever in the 21st century, often dominating at the box office. Yet, they just don’t get as much respect or awards recognition as literary sequels.

Far fewer sequels have won Academy Awards than have been recognized by science fiction and fantasy’s Hugo and Prometheus awards.

Just consider how few movie sequels have won the Oscar for Best Picture compared to how often sequel novels win a top SF/fantasy award.

Within the 46-year history of the Prometheus Awards, 194 of the 505 novels nominated within the Best Novel category have been sequels – and 11 have gone on to win.

Meanwhile, as recently reported here, nine sequel novels have won the Best Novel category in the 72-year history of the Hugo Awards, voted by members of the World Science Fiction Society and presented annually at the Worldcon.

Yet, in the 97 years that the Academy Awards have been presented, only two movie sequels have won Best Picture: The Godfather Part II and The Lord of the Rings: The Return of the King.

Intriguingly, both movies were key parts of the only trilogies or series to have three films nominated for Best Picture, perhaps partly reflecting the stature and impact of the overall effort.

And perhaps coincidentally, both movies dramatize libertarian and classical-liberal themes about the temptations and abuses of power.

Continue reading Sequels, part 11: Unlike literary sequels, movie sequels and genre films don’t get as much respect at the Oscars, but that may be changing 

Apple TV’s entertaining adaptation of Wells’ Murderbot stories reflects their libertarian themes of free will, anti-slavery and bodily autonomy

By Michael Grossberg

It’s not that often that a Prometheus-award-recognized novel or story is adapted to the large or small screen.

So it’s newsworthy, as well as something of a relief, to report that the Apple TV+ new streaming series of Murderbot is pretty entertaining.

Martha Wells’ Murderbot stories and novels have won Hugo, Nebula and Locus awards, and have been nominated for the Prometheus Award, where her first set of novellas was recognized as a Best Novel finalist. So hopes were high for the TV series, which began streaming in May.

Based on the suspenseful and intelligent half-hour episodes of its first season, Apple TV’s series seems faithful to Well’s acclaimed series of novellas and novels about a rogue security robot who secretly gains free will.

Continue reading Apple TV’s entertaining adaptation of Wells’ Murderbot stories reflects their libertarian themes of free will, anti-slavery and bodily autonomy

Prometheus finalist Three Body Problem inspires two TV series with a classic sf “sense of wonder”

The Three-Body Problem, a 2015 Prometheus Best Novel finalist and landmark international bestseller by Chinese sf novelist Liu Cixin, has now inspired not one but two TV series worth watching.

Three Body, available free with Amazon Prime, is a 30-episode Chinese series. Netflix also has tackled its own TV-series adaptation of Cixin’s epic novel with a recent eight-episode first season.

Leading libertarian thinker Virginia Postrel has praised both TV series as good SF, along with the English translation of the novel.

“All three versions produce the sense of wonder that is science fiction’s—especially hard science fiction’s—traditional appeal. The stories take place on a grand scale and are propelled by mind-expanding scientific ideas,” Postrel wrote in her “Virginia’s Newsletter” Substack column on “3 Three Body Problems and the Appeal of Science Fiction.”

Continue reading Prometheus finalist Three Body Problem inspires two TV series with a classic sf “sense of wonder”

The Best of the Blog: Three 2023 posts worth remembering (and rereading)

By Michael Grossberg

Although 2023 has ended, it’s interesting and illuminating to look back at the highlights of the past year – and perhaps read an article that you may have overlooked. For the Prometheus Blog, there were quite a few memorable posts.

Robert Heinlein (Photo courtesy of the Heinlein Trust)

Among my personal favorites:

* author Karl Gallagher’s tribute to Robert Heinlein and appreciation for his 2023 Hall of Fame winner, “Free Men.”

* William H. Stoddard’s illuminating essay on “Economics in Science Fiction” (along with a critique of the common “overproduction” myth), and

* a commentary on one of the most unheralded firsts of the year: basically, the first libertarian-individualist-themed sci-fi film to ever win the Oscar for best picture.

Continue reading The Best of the Blog: Three 2023 posts worth remembering (and rereading)

Did Academy Awards voters just give their top 2023 Oscar to an individualist and libertarian science fiction film? Yep – pretty much!

By Michael Grossberg

Did something significant to science fiction – actually, unprecedented – just happen at the Academy Awards?

It wasn’t really highlighted in any media reports I came across, but isn’t Everything Everywhere All at Once the first outright science fiction film to win the Oscar for Best Picture?

And not only that, but the Best Picture winner is especially intriguing to consider from a libertarian futurist perspective: Is it possible that this year’s Academy Awards recognized one of the most pro-freedom films to ever win an Oscar for best picture?

Such questions are sparked by an intriguing column on Reason magazine’s blog: “Oscar-winning Everything Everywhere All At Once Celebrates individalism, Free Will.”

Continue reading Did Academy Awards voters just give their top 2023 Oscar to an individualist and libertarian science fiction film? Yep – pretty much!

Best of the blog, part 2: Six more 2022 reviews, interviews worth rereading about libertarian science fiction

By Michael Grossberg

What were the “best” Prometheus Blog articles of 2022?

Which were the most illuminating and/or the most surprising? (No surprise that I happen to have some favorites.)

Looking back and following a recent blog post recommending six favorites from last year, I picked six more favorites among the more-than-weekly 67 blog posts of 2022, which offered a wide range of reviews, essays, author interviews, awards updates and Prometheus-Award-winner appreciations

Second chances don’t always occur in life, but the first few weeks of 2023 offers a timely opportunity to look back at some of the best Prometheus blog articles of 2022.

Continue reading Best of the blog, part 2: Six more 2022 reviews, interviews worth rereading about libertarian science fiction

A dystopian action film with radical and libertarian ideas: V for Vendetta, the 2007 Prometheus Special Award winner

Only two films have been recognized with Special Prometheus Awards since that occasional awards category was first presented more than two decades ago: Serenity and V for Vendetta.

Here is an appreciation of V for Vendetta, the 2007 Prometheus Hall of Fame winner:

V for Vendetta, a Warner Bros. Pictures feature film released in 2006, offers a powerful and poignant indictment of totalitarianism as a brutal denial of not only our liberty but our very humanity.

“Some movies fade on repeated viewings while others maintain their brilliance. V for Vendetta is a stellar example of the latter…. The movie is simply brilliant,” Fred Curtis Moulton wrote in his rave review, printed in the Spring 2007 issue of Prometheus, the LFS’ quarterly newsletter.

Continue reading A dystopian action film with radical and libertarian ideas: V for Vendetta, the 2007 Prometheus Special Award winner

Self-reliance and libertarian ideals on the frontier: Prometheus-winning novelist Travis Corcoran on Joss Whedon’s Serenity, the 2006 Prometheus Special Award winner.

To highlight the Prometheus Awards’ history and make clear why each winner deserves recognition as a notable pro-freedom work, the Libertarian Futurist Society publishes an ongoing Appreciation series of all award-winners.

Here is the Appreciation by Prometheus-winning novelist Travis Corcoran for writer-director Joss Whedon’s film Serenity, which received a Prometheus Special Award in 2006.

By Travis Corcoran

Like almost every science fiction fan, and like almost every libertarian, I was a fan of the TV series Firefly from the first episode of it I saw.

Firefly, and later Serenity, are about several things that are near and dear to the hearts of liberty-lovers: the frontier, voluntary – not coercive – exchange, an uneasy relationship with authority, self-reliance, and the trade-offs that inevitably come from uncompromising moral codes, nonconformism, and a healthy skepticism for the default paths through life.

Continue reading Self-reliance and libertarian ideals on the frontier: Prometheus-winning novelist Travis Corcoran on Joss Whedon’s Serenity, the 2006 Prometheus Special Award winner.

Individualism and self-determination in landmark TV series: Patrick McGoohan’s The Prisoner, the 2002 Prometheus Hall of Fame winner

Here’s the Prometheus Blog Appreciation for The Prisoner,” the 2002 Prometheus Hall of Fame winner for Best Classic Fiction and the first TV series to be inducted into the Hall of Fame.

By Michael Grossberg

“I am not a number. I am a free man!”
Actor Patrick McGoohan utters those defiant words as the heroic individualist at the center of The Prisoner, one of the most unusual, enigmatic and evocative TV series ever broadcast.
Today, that emblematic catchphrase remains well-known in popular culture, and ranks high among the most familiar lines of dialogue from any TV show or movie of the 20^thcentury.
“I will not be pushed, filed, stamped, indexed, briefed, debriefed, or numbered. My life is my own,” McGoohan declared in the first episode – another among many memorable anti-authoritarian and individualist lines of dialogue that he would utter throughout the iconic series.
Such explicit affirmations of individuality, self-determination and resistance to tyranny were highly unusual on television half a century ago – and sadly remain relatively rare today.

Continue reading Individualism and self-determination in landmark TV series: Patrick McGoohan’s The Prisoner, the 2002 Prometheus Hall of Fame winner