Media
What we’re listening to: Trail of Flowers, Hyperdrama, Science Fiction ... Recently updated !
Doctor Who: The Devil’s Chord review: Is this madness? Recently updated !
The following includes spoilers for “Space Babies.”
You can’t help but admire Russell T. Davies’ audacity. He plucks the rights to make Doctor Who from the BBC. He gets Disney+ to write an enormous check to bring the show to life in a way never before attempted. Then, with so much money at stake and a months-long promotional campaign, he opens season one and the door to new fans with this.
We kick off at the end of “The Church on Ruby Road,” with the Doctor's latest companion, Ruby Sunday (Millie Gibson), entering the TARDIS for the first time. The Doctor introduces himself and offers a quick run-through of the premise for the folks at home. They’re an alien, adopted by the Time Lords of Gallifrey who were then wiped out. That leaves the Doctor (once again) as the last of their kind; a quasi-immortal time traveler who can go anywhere in the universe.
To set the scene, the pair hop back to prehistoric Wyoming to gaze at a detailed vista of some CGI dinosaurs. This is the show boasting about what it can do even for a throwaway scene with its new bigger budget. And it helps banish the memories of some of the less successful attempts to do a dinosaur episode from way back when.
Ruby is already savvy to the conventions of the time-travel genre and asks about the risks to causality if she steps on a butterfly. The Doctor dismisses this idea out of hand before Ruby does and causes unutterable damage to the timeline. The butterfly is quickly revived and the Doctor nips back into the TARDIS to activate the Butterfly Compensator. Which is as close as this show gets to saying that it has never been a hard sci-fi show and it never will be.
For their next trip, they travel into the far future, landing on a space station that grows babies for colony projects. The bowels of the vessel are being stalked by an eyeless, teeth-heavy monster while the upper deck is crewed by talking babies. Mere seconds after proving the show can do decent-looking dinosaurs, it overreaches and adds an appallingly creepy CGI mouth to a baby. I’ve seen this done in movies, and commercials, and it never works, and please God stop trying.
The Doctor and Ruby encounter the crew, a bunch of babies with the minds of preschoolers and the mouths of adults, or something. They’ve been left to run the station, with pulleys and cables letting them control specific onboard functions, and smart strollers to carry them around. The only other presence on the ship is an AI, NAN-E, which acts as a comforting voice for the kids.
Ruby’s genre-savviness kicks in again here, and she notices there’s almost a storybook quality to the situation. A bunch of kids being menaced by an unwelcome, bogeyman-esque presence below, and the need for a hero to step in and rescue them. The pair give the babies some much-needed cuddles and are then invited to another part of the station by NAN-E.
On the way, the pair discuss origin stories and how Ruby, following on from the events of “The Church on Ruby Road,” wants to use the TARDIS to find out who her parents are. While they talk, snow — the same snow that fell when Ruby was left on the steps of the eponymous church — starts to fall inside the corridor. Ruby’s memories and history are somehow seeping through into the present, or she’s able to do something to alter the universe.
But they can’t focus on that too much, since they’re interrupted by NAN-E, who turns out not to be an AI, but a person. Jocelyn Sancerre (Golda Rosheuvel) is the last adult crew member, who stayed on the station to care for the children when everyone else was ordered to leave. The government of the planet below pulled funding for the stations and ordered the adults to leave, abandoning the children in place. But, because the planet is also anti-abortion, they wouldn’t terminate the as-yet unborn babies, preferring them to slowly die from external factors. Geez, do you think they might be talking about us?
Much as this will be framed as a post-Roe story by US audiences, it’s worth saying the UK’s Conservative Party has taken a similar approach. In 2010, the Labour government had worked to greatly reduce child poverty and homelessness with a number of targeted programs. These were quickly unwound by the incoming Conservatives, not only undoing all of those gains but making the issue a lot worse. So much so that the UN – the UN! – of all people upbraided the nation.
The streak of saying the quiet part out loud continues when, while hatching a plan to save the babies, they opt to take them to another planet in the system. It’s a world that takes in refugees, but you have to turn up on the planet’s doorstep to get any help, because it won’t lift a finger to help rescue people in need from further afield. Again, this is a not-so oblique reference to the UK’s monstrous policy of attempting to block refugees from reaching the country via sea. It is a point of enormous pride for the Prime Minister that he has boasted about his work to prevent boat crossings.
This is made all the more painful as, for a brief moment, the country was reconsidering its approach following the death of Alan Kurdi, a two-year-old boy who drowned while attempting passage to Europe from Syria. The image of his body became a harrowing and defining image of the day, but the press quickly worked to stifle any pro-migrant sentiment, enabling the country to engage in an enormous boondoggle by spending millions of pounds building a detention center in Rwanda to forcibly-relocate people seeking asylum in the UK as a “deterrent.”
The grown ups can’t mull their problems for long as Eric, one of the babies (sorry, space babies) heads down to the lower level to tackle this bogeyman. There’s a telling moment where Ruby sprints out to rescue the child far ahead of the Doctor, continuing a thread from the Christmas special: Ruby Sunday is willing to throw herself head-first into the action rather than waiting for help, steel pipe in hand. Doctor Who has always thrived when the companions — a name we’ve been saddled with since 1963 — are active figures in the narrative. Every one of the show’s sidekicks, bar one, has their ardent fans, but commanding figures like Sarah Jane and Ace are always the most beloved.
Once the baby is rescued by the other babies wielding a gas pipe as a flamethrower, they’re sent back upstairs while the Doctor and Ruby take on the bogeyman. Ruby’s assumptions are proved further right when it turns out the alien is actually a bogey-man, as in made of snot. The station’s malfunctioning systems sought to build an appropriate environment for the kids, and used children’s literature as its template.
Jocelyn works out that she can force the bogeyman toward an airlock while keeping the Doctor and Ruby safe. She then exposes the monster to the void of space, but the Doctor can’t be so cruel to another lonely, misunderstood figure. He makes his way into the airlock room and closes the door to seal them both in to save the bogeyman’s life.
The episode ends with the Doctor realizing that the station can eject its six full years worth of soiled diapers to propel it towards the refugee planet. It’s entirely fair game to resolve a crisis precipitated by rogue bodily fluids with a poop joke.
Crisis averted, he and Ruby walk back to the TARDIS where he gives her a key and welcomes her to the team, before adding that, as much as she may want to, he can’t take her back to the moment she was abandoned. He covertly begins scanning Ruby to work out what exactly is her deal, and why she’s capable of bending the universe. (And yes, there are shades of the Impossible Girl arc in how this is playing out.)
The TARDIS lands back at Ruby’s home, smashing up the kitchen and the Christmas dinner therein.
I imagine it won’t be long after the episode airs that the usual corners of the internet will scream culture war. Davies was always a political writer and feels a duty to be unapologetic about his viewpoint on current-day matters. His original tenure on the show was rooted at the tail-end of the Blair and Brown years, fueled by righteous fury around the invasion of Iraq. This is, again, all the more surprising given it’s being broadcast on Disney+, the model of conservative restraint.
During his first tenure, Davies would begin the production of every episode with a tone meeting which outlined how each episode would maintain a consistent feeling in the writing, acting and direction. By comparison, “Space Babies” lurches wildly: Poop and fart jokes in one scene, unsettling horror in the next, weighty examinations of human morality between. The scenes of Jocelyn’s adult dialog being run through the “nanny filter” is a good source of comedy, it’s just odd that they’re juxtaposed with high drama.
But that’s more or less what makes Doctor Who one of the best shows on TV — its ability to do anything it damn well pleases. If the weirdness of what you’ve just seen appeals then you’ve just become a Doctor Who fan. If it didn’t, then you might find the next episode will serve up what you were looking for.
This article originally appeared on Engadget at https://www.engadget.com/doctor-who-space-babies-review-bet-you-didnt-expect-that-000030277.html?src=rssDoctor Who Space Babies review: Bet you didn’t expect that Recently updated !
They say "Twitter isn't real life," but Black Twitter proved otherwise. For years, that phrase has been a way to ignore the real-world impact of social media conversations, especially when they spark radically new ideas. But that's clearly not true when you look at Black Twitter, an unofficial community made up of the site's black users, which inspired culturally significant movements with hashtags like #BlackLivesMatter and #OscarsSoWhite. Hulu's new documentary, "Black Lives Matter: A People's History," adapted from Jason Parham's Wired article, explores the rise and global influence of the community. Over the course of three engaging and often hilarious episodes, the series cements itself as an essential cultural document.
"The way I would define Black Twitter is a space where Black culture specifically was hanging out in a digital way," said Prentice Penny, the series director and former show-runner of HBO's Insecure, in an interview on the Engadget Podcast. "And even though it was a public space — clearly, it's Twitter, anybody can get on it — it still felt like you were having conversations with your friends that are like on the back of the bus. Or like on the stoop, or in the lunchroom. I mean, that's the energy of it."
In particular, Penny says that Twitter felt special because there was no real hierarchy, especially in the early days. That meant that even celebrities weren't immune to being mocked, or acting out on their own social media profiles (like Rihanna's notorious early Twitter presence). Twitter in its heyday felt like a place where money or class didn't really matter.
"This was kind of an equalization of a lot of things, that somebody in Kentucky who nobody knows could have the same strong opinion as someone who you revere, right?" Penny said. "And I think that's what made the space so fresh, because we don't really have spaces that are kind of a level playing ground in this country."
Twitter also felt genuinely different from the other social networks in the late 2000s. At the time, Facebook was mostly focused on connecting you with schoolmates and family members — it wasn't really a place for simply hanging out and joking around. Prentice notes that the forced brevity on Twitter also made it unique, since you had to really focus on what you were trying to say in 140 characters.
"Each of the creators [in the series] had a different idea of what Twitter should be," Penny added. "Some thought it should be a town square, some people thought it should be a news information thing... I think like with Black culture, the one thing we do really well is, because we're often given the scraps of things, we have to repurpose something, like taking the worst of the pig and making soul food... I think we are really good at taking things that could kind of be different things and make it be pliable for us."
The documentary recounts the many ways Black Twitter leveraged the platform, both for fun and for kicking off serious social movements. The community helped make live-tweeting TV shows a common occurrence, and it's one reason Scandal became a hit TV show. But Black users also helped raise the profile around Trayvon Martin's killing by George Zimmerman. His eventual acquittal led to the creation of the #BlackLivesMatter hashtag, a movement which sparked national protests in 2020 following the killing of George Floyd and other Black Americans.
If you've been online and following the Black Twitter community for years, the Hulu documentary may not seem particularly revelatory. But there's value in charting the impact of cultural movements, especially given how quickly social media and the tech world moves.
This article originally appeared on Engadget at https://www.engadget.com/hulus-black-twitter-documentary-is-a-vital-cultural-chronicle-161557720.html?src=rssHulu’s Black Twitter documentary is a vital cultural chronicle Recently updated !
A Prince of Persia game from the studio behind Dead Cells was supposed to hit early access on PC on May 14. That’s no longer the case. Evil Empire says The Rogue Prince of Persia’s debut is delayed until later this month, and it’s because of a little game called Hades II.
Soon after a technical test wrapped up, Supergiant Games released Hades II into early access on Monday. It skyrocketed up the Steam charts and quickly reached a peak of 102,000 concurrent players. Evil Empire suggested that “everyone and their mom” is playing Hades II, including its own team, so it’s getting out of that game’s way. The new early access date for The Rogue Prince of Persia will be revealed on Monday.
“While we have every confidence in The Rogue Prince of Persia, it’s not every day that a game in the same genre as you, which is one of the most anticipated upcoming games of 2024, will release into early access a week before you plan to do the same,” Evil Empire wrote on X. “We are not prideful enough to ignore the implications of that, and we truly believe that this short delay is the best decision for us and our early access journey.“
So we've got a little bit of news about The Rogue Prince of Persia, it's all in the big yellow box👇https://t.co/S3FiyGFfrY pic.twitter.com/9PXlw4J2MZ
— Evil Empire (@Studio_Evil) May 10, 2024
As it happens, the delay will also give Evil Empire some extra time to polish up The Rogue Prince of Persia. While the whole point of releasing a game in early access is to get feedback from players on a project that’s far from the finished article, developers still want their games to be in as good a shape as possible when the public goes hands on with them for the first time.
Evil Empire says it can “add even more cool things” and try to squish some bugs before the game’s debut. The team also has a bit more time to test and refine the “hefty” day one patch.
Getting out of Hades II’s way is a smart idea given the two games are both roguelikes. It’s nice to see Evil Empire being transparent about the reasons for the delay too. But there are a bunch of other indies that were released this week that reviewed well and have been overshadowed at least to some degree by that blockbuster sequel.
Another Crab’s Treasure (a cute spin on From Software's Soulslike format), PS1-style survival horror Crow Country, sci-fi title 1000xResist and adorable-looking adventure Little Kitty, Big City all debuted to strong reviews this week. So too did Animal Well, a Metroidvania about which the word “masterpiece” has been invoked by some reviewers (though that’s actually the number one best-selling game on Steam at the time of writing, just above Hades II).
The train doesn’t stop there as some other buzzed-about indies are arriving over the next couple of weeks, including Lorelei and The Laser Eyes (we’re very excited about that one) and Paper Trail. There’s another one coming next week that I’ve been playing and is worth checking out, though I can’t talk about it just yet.
Although there might not be too many AAA games from the likes of Sony, Microsoft and EA dropping at the minute, there’s a lot of fascinating stuff going on in the indie scene. So maybe go check some of those games out if you haven't already.
This article originally appeared on Engadget at https://www.engadget.com/the-rogue-prince-of-persia-is-delayed-because-hades-ii-is-a-juggernaut-144229150.html?src=rssThe Rogue Prince of Persia is delayed because Hades II ... Recently updated !
Jack Dorsey claims Bluesky is ‘repeating all the mistakes’ he ... Recently updated !
Netflix and Roblox team up for a digital theme park ... Recently updated !
Dead by Daylight's next chapter isn't too far away and it's another crossover rather than an original creation. Behaviour Interactive likes to keep fans on their toes with some unexpected partnerships and the latest one is no exception. This time around, Dungeons and Dragons is entering the fog. It's a bit of a surprising turn as D&D isn't normally associated with horror, but there's enough connective tissue for it to make sense.
Behaviour revealed the crossover in a short teaser trailer with no further details about what to expect. It remains to be seen what the chapter will bring in terms of a killer, survivor and/or map. But you won't have to wait too long to find out.
Listen closely to the voice in the darkness... pic.twitter.com/krNbZQnanH
— Dead by Daylight (@DeadbyDaylight) May 9, 2024
The Dead by Daylight anniversary stream will take place on May 14, starting at 11AM ET (for what it's worth, a new player test build will go live that day). You can tune in to find out more details about the Dungeons and Dragons chapter as well as what's ahead for Dead by Daylight as a whole in the coming months. Perhaps we'll find out a bit more about the spinoff games that are in the works. And given Behaviour's track record, it may just have some other surprises in store...
This article originally appeared on Engadget at https://www.engadget.com/dungeons-and-dragons-is-coming-to-dead-by-daylight-161537165.html?src=rss