Bob Goodman, one of the writers on Warehouse 13, offers some insights into the creative process as this series moves from its first to second season, and shares his theory about why a "storehouse of weirdness" show caught the zeitgeist.
I think we're programmed for hardship. In my experience, human beings are happiest when they're working themselves to the bone. People are more likely to feel adrift and unsatisfied when they have too much leisure time. Obstacles are good.
The architecture of science fiction has profoundly changed urban design. When building cities of the future, our best guides may be places like comic book megalopolises Mega-City-1 or Transmet.
I was lucky enough to be talking with one of my favorite scifi novelists the other day, and I asked him a question he didn't know the answer to.
This is a weird post. Maybe even a rant. And my ire could be significantly misplaced, but WTF - This is something I've been thinking about all summer: Where is the middle? I'm talking movie budgets here.
Before Apollo and Starbuck began frakking and fighting in Battlestar Galactica, the Wildcards of Space: Above and Beyond were dogfighting in their Hammerheads, bar-brawling with in-vitro hating racists, and elbow-deep in martian mud as alien artillery screamed from the sky.
I go to my therapist twice a week and often we just talk about television. You'd think I wouldn't need to pay someone to analyze why Lost works when nothing else will, and yet that's exactly what I do.