Iron Lung (2026) – A Science Fiction Movie Review

Today I went to see “Iron Lung” with grandson prime.  He is a big fan of the writer/director and star of the movie Mark Fischbach or as he’s known on YouTube, Markiplier.  Mark has about 35 million followers on YouTube and leveraging that much support he was able to make the movie with his own money (~ three million dollars) and get it distributed to over 3,000 theaters in the United States.  It’s been in the theaters for a couple of weeks and has made already something like thirty million dollars.  Estimates say it’ll end up at forty million dollars.  After giving the theaters half of this he’ll get twenty million dollars which is six times what he invested; an unheard-of return on investment for a motion picture in this day and age.

All very interesting.  How was the movie?

(Spoiler Alert – Skip down to last paragraph to avoid spoilers and read recommendation)

Full disclosure.  This movie is not for anyone who doesn’t know the background “mythos” from the video game of the same name.  The visuals, the dialog, the “easter eggs” that the story revolves around will be difficult-to-impossible to understand without prior knowledge of the plot elements that only the die-hard fans of the game know beforehand.

The plot revolves around a convict being promised a reprieve if he will allow himself to be welded into a small submarine and dropped into an ocean of human blood that has been found on a “moon” somewhere out in interstellar space.  And this is being done in the hope that the convict will find something in this ocean to help explain and potentially remediate the result of the “Quiet Rapture.”  And what this refers to is the sudden and inexplicable disappearance of all the planets and stars that humanity had colonized in interstellar space.  The only humans remaining are one that were off-planet in space stations and ships.  This remnant of humanity is attempting to marshal its remaining numbers and resources to attempt to save the human race from extinction.

Once the prisoner (Simon) is submerged he looks for anything that could help explain the rapture.  And during his voyage he encounters harsh working conditions of the craft, hostile life, proof of the bad intentions of his mission handlers and the existence of some malevolent intelligence that is undermining his grasp on reality and even his sanity.

Eventually we discover that his handlers really never intended to rescue him at the end of the mission and we also discover that the intelligence he senses emanates from contact with the extra-dimensional creatures that killed off humanity and eliminated the stars and planets of our universe for the sake of their own plans for our space.  And the ocean of blood is all that remains of the murdered human race.

At the end, as both Simon and his handlers face destruction at the hands of these malevolent beings all he can do with his last efforts is eject from his submarine a flotation device carrying the records of what he’s discovered for the sake of some follow up mission that might try to use the knowledge gained to help mankind in some unspecified and apparently hopeless effort.

Wow, bleak!  As I said earlier, no one but fans of the creator of this movie will know what’s going on.  It’s too confusing and intentionally cryptic.  And talk about your depressing story.  This is the ultimate.  But at the same time there is a huge and enthusiastic fan base for just this story.  Mark’s viewers and the video game’s players are literally LEGION!  So, if you’re not in those categories you won’t and probably shouldn’t go to this movie.  And if you are you almost certainly will go and maybe several times with friends of the same persuasion for company.  And as I’ve said before this may be the beginning of a new way to make and target entertainment.  Gen Z likes its own things.  And they aren’t as interested as the Millennials in being preached to by movie studios about what they should like and what they shouldn’t.  And good for them.  The interesting thing is that Mark Fischbach wants to create more content that entertains his audience and produce other people’s stories for this audience.  Maybe I should send him my “screen play” for the “The Sniper.”

Guest Contributor – Tregonsee – 28MAY2025 – Science Fiction Movies

So many attempts and so little success.  Looking for successes I think the latest incarnation of Dune, although flawed in some aspects, was probably the most successful of the 3 (4 if you count the aborted Jodorowsky attempt). I think the Jackson Lord of the Rings was very good even without certain sections (sorry Tom Bombadil, you just aren’t central to the plot). The Expanse did middling well, though I lost track of it mid 2nd season.

The failures are more plentiful. Jacksons Hobbit was a mess with unnecessary additional characters and subplots, even though the acting (Bilbo and Thorin especially) was superb. The Foundation series by Apple mangles the timeline (mostly because with the longer timeline there is no character continuity but for the shade of Hari Seldon) and adds wokish subplots all over the place. Effects were nice and Asimov having ONLY humans in Foundation/ Robots universe simplifies that. All in all it was a disappointment and I bailed after 3-4 episodes. I think it fell flat for the public because many of its ideas seemed like retreads (E.g. Trantor as a planet covered with civilization feels like warmed over Coruscant even though Trantor predates Coruscant by 20+ years and likely inspired Lucas). And Rings of Power? Mauling the lore of Tolkien to pander to a variety of subgroups combined with puerile 4th-grade fanboy scripts produced an utter catastrophe.

Almost anything Sci-fi that Hollywood has done without a sci-fi novel or story at the heart is a mess. Hollywood seems to want to revert to the pre Star Wars Sci-fi where all is Dystopia and nuclear hellscape. That things might work out is anathema. Even the vaunted Federation of Star Trek has been being mauled with its hidden perfidy in Discovery and Picard. Not to say dark is bad. Babylon 5 was amazing (especially given the limitations of cost and mid 1990;s special effects).
What seems to matter most is that the primary vision for converting the Sci Fi to the screen needs to LOVE the material. JMS wrote much of B5 and was its director, Peter Jackson Adored Lord of The Rings and co-wrote the script, Denis Villeneuve is a Dune/Herbert fanboi. Each loved the story in its original form and tried very hard to leave the original plot beats and characterizations in place, not bend them to tell their own story like Rings of Power or Foundation did.

That Was Entertainment

If you’re older than fifty then you remember when entertainment was big business.  Big American corporations made our movies, published our books, recorded our music and amused us sitting around the television set every night.  And they made good money doing it.  Going to the movies was a national pastime and buying records of popular music was what teenagers did relentlessly.  And everyone watched must-see-tv whether it was a Thursday night sit-com or the late-night show with Johnny Carson.  Entertainment was bankable.

Well, that’s all over.  Kids don’t buy music.  They stream it for almost nothing.  They stream movies too so they don’t go to theaters.  And they really don’t want to pay for it either.  Same for books, same for television.  The only thing that still kind of pays is cable television.  That’s because cable is set up so the fees are lucrative.  But guess what?  Millennials and zoomers have now cut the cable.  Only old people pay for or watch cable.  So, the change is complete.

The result is that except for truly bankable extravaganzas like Marvel superhero movies (mostly) or Taylor Swift concerts entertainment producers aren’t spending the money needed to make entertainment entertaining.  Case in point, have you looked at broadcast television in the last five years?  Don’t.  It’s unbelievably bad.  The production values are awful, the actors can’t act but worst of all the writing is putrid.  It’s as if it were written by emotionally disturbed cretins.  The characters are unlikable and the plots are idiotic and completely predictable.

After what passed for Oscar nominees this year, we don’t even have to bother talking about how bad Hollywood has become.  Up until recently the only bright spot was that some of the cable channels and corporations like Amazon and Netflix were spending generously on good writers and good actors for some of their series.  It could be debated whether these shows were as well made as Hollywood movies were in their heyday but without a doubt, they were head and shoulders above anything that was on broadcast television in the last ten years and they absolutely entertained.  But now even these shows are starting to fall apart.  Amazon recently spent a billion dollars on a Lord of the Rings adjacent production called “The Rings of Power” and it flopped very badly.

So, what is next for entertainment?

Well, the answer is confusing.  What young people like is video games.  And because of this they consume other entertainment in a way that relates to this medium.  They like to read fan-fic about those games.  In other words, fans of the video games write amateur stories and post them to websites so that other gamers can read them.  And now these writers are even seeing their fan-fic turned into videos or even movies of these video-centric stories.  These stories adhere closely to the limitations and conventions of the games.  The characters are constantly referencing their health levels and skill levels as they attempt to conquer different challenges.  So, the plot is very much tied to the experience of the game.

I find all of this confusing and somewhat disturbing.  I don’t doubt that these video games are exciting and maybe even challenging but how much of the same thing can you stand to consume before something more original and intellectually and even emotionally stimulating will be needed?  And at some point, wouldn’t it be reasonable to want a movie about real life where normal people overcome the challenges that happen in the real world?  Or how about a comedy or a drama?  It can’t all be video games, can it?

Well, anyway that’s what I was thinking about today.  I don’t know how all this ends but it’s something that is worth thinking about.

Nature Finds a Way

In this creepy world we live in where children are targeted by “educators” to redefine their genders and pushed away from the behaviors and activities that they enjoy it’s hardly surprising that things like adventure books for boys have essentially disappeared.

Of course they’ve vanished.  All the authors are women and they have to toe a very definite line if they want to be published.  You can’t have adventure for boys.  You can’t leave the girls behind.  You can’t even have them following along.  They have to be in charge.

So, boys stopped reading books.  Instead, they went to superhero and Star Wars movies.  So, what did the movie studios do then?  They hired female directors and studio bosses and turned the Jedis into girl-bosses and turned Captain Marvel into a girl, of course.

So now the boys are giving up on superheroes and concentrate on video games.  And of course, the game manufacturers are feminizing and queering the video games.

You see the pattern.

Now, there is the flip side of this progression.  First the book industry began to fail when the publishing houses dictated a leftist and feminine slant to books.  No one bought their books.  Now the movie studios are foundering because even their summer blockbuster superhero movies are tanking.  If the video game makers succeed in eliminating the things that males enjoy in video games, they will kill the goose that lays the golden eggs.

So far, the trend in entertainment has been all in one direction; female.  And the trend in their fortunes has also been all in one direction; down.

Well, I think that is beginning to end.  There is a development in the world of entertainment that seems to be diverging from the pattern.  And it even involves elements of each of the media I mentioned above; books, movies and video games.  And it involves the part of social media that I found the least promising; “influencers.”

Apparently teen-age boys and young men are finding community inside the YouTube channels of influencers who write fan fiction around some popular video games.  These sites have tens and even hundreds of millions of viewers.  And the clout that this kind of following produces even allows these influencers to have their stories turned into movies.  Think about that.  Some guy who writes plots around some popular first-person sci-fi video game can get a movie made from his stories and it has a built-in audience of millions.

Look at how this short circuits the whole woke female industrial complex.  You avoid the woke publishing industry, woke movie industry and woke video game industry by tapping into a ready built audience of young men and boys looking for adventure and violence.  As Jeff Goldblum’s character, Dr. Ian Malcolm said in Jurassic Park, “Nature finds a way.”

I find this both fascinating and encouraging.  These kids have broken out of the feminist struggle session hell of modern entertainment and escaped into the wild.  That is an immensely encouraging thing.  And if it continues to advance it will wipe out the alternative.  No one wants to see Girl-Boss Jedi Knights making the universe safe for middle aged lesbian Jabbette the Hutt.  No one will pay to see She-Hulk bust out of her clothes and rampage through Manhattan’s theater district to catch a performance of Hamilton.  No boy wants to play a video game where his character has to be in drag.

Of course, the powers that be may try to squelch this latest attempt at non-feminist entertainment.  But at this point even Google is probably seeing which way the entertainment dollar is moving (and where it’s not).  I could be wrong but I think there may finally be a reaction brewing in the entertainment world.  And it might be that the future isn’t female.

Guest Contributor – The Portly Politico – 03JUL2024 – Sid Meier’s Civilization Series Review

 

Sid Meier’s Civilization Series Review

I decided to become a history teacher in the tenth grade after giving a presentation in an English class about water transportation in nineteenth-century America.  Why I was giving such a presentation in English is unclear–we were probably talking about Mark Twain–but that presentation gave me the teaching bug (and, apparently, a lifelong vow of poverty).

Even before that, though, history had captured my young imagination.  I grew up poring over atlases, textbooks, books, almanacs, encyclopedias, etc.  Part of what sparked this youthful interest was, of all things, video games, specifically the classic Sid Meier game Colonization, in which players colonized the New World and, ultimately, fought for independence.

Colonization, sadly, did not evolve significantly further as a series.  However, its inspiration, Civilization, now spans six installments, with a seventh on the way.  I vividly remember playing Civilization II on a cousin’s computer sometime in the 1990s, and I was hooked.  The first time I plopped a settler on a rickety trireme and dropped him successfully on a far-flung continent, I knew this was the game for me.

All of the Civilization games fall into the “4X” genre, in which players eXplore, eXpand, eXploit, and eXterminate (I suppose they could be called “4E” games, but that doesn’t sound quite as cool, does it?).  While not all Civilization games are created equal, each brought new innovations to the series that have, overall, improved and deepened the experience, while still being very accessible to new players.

My first exposure was to Civilization II, which I then received from my aunt that Christmas; I spent the rest of the day reading the 200-plus-page manual.  Civilization, the original installment, was already dated by that point, but I picked up a copy of its online-enabled version, CivNet, on a band trip in high school.  My neighborhood friend and I spent many hours playing “hotseat” games of CivNet, which had players taking turns at the same computer.  Later, that same friend and I would play hotseat for years in college (usually via e-mail) on Civilization III.

Civilization II is the best of the “classic” era Civ games.  It included a number of graphical and gameplay improvements over its predecessor.  Civilization III is, perhaps, one of the weakest entries in the series, suffering from a number of balance and performance issues.  However, it introduced a number of intriguing gameplay elements, like cultural borders and the need to negotiate “rights of passage” treaties to traverse another civilization’s territory.

The series entered the modern era of gaming with Civilization IV, which featured a brighter and more cartoon-y color palette.  It preserved the cultural borders mechanic of Civ III while also introducing religions to the game for the first time.  That has become a staple of the series, and there are few things more satisfying than converting the entire world to your religion (one of the several ways players can win the game).  I’ll never forget converting the entire world to Judaism in my first game of Civ IV, playing as the Americans.  There is, perhaps, something oddly prophetic about that.

Civ V brought an Art Deco aesthetic to the games, and shifted away from a square-based grid to hexes.  That changed military combat substantially; no longer could players create massive stacks of units that could grind a city into dust in a turn.  Instead, only one military unit could occupy a hex at a time, making conquest of cities more protracted and strategic in nature.  Terrain, which had always modified defensive bonuses based on the type (for example, a unit defending on a hill enjoyed a defensive advantage versus a unit defending on a flat plain), now became even more important.

It feels as though Civ V barely got its footing before the exquisite Civilization VI hit the scene.  This latest iteration included many of the elements of prior Civ games, but true to the series, it slowly ladled out key mechanics across two expansions–a particularly annoying but lucrative business model that has plagued almost every version of the game.  Regardless, Civilization VI and its expansions introduced, among other elements, climate change, which players can contribute to and/or mitigate through various means, and which gradually changes the map.  To be fair, Civilization II introduced “global warming,” which could have horrendous effects on the map, but Civilization VI approaches it in a more elegant and nuanced way.

Now with Civilization VII on the horizon, fans of the series are clamouring for more.  But which is the best?

In my assessment, Civilization II is the best of the “classic” era of the game.  Compared to modern versions it is quite basic, but there is something about its color palette and its gameplay that are timeless.  Civilization III struggled with various bugs, but I also enjoyed sinking hours of my life into it.

In the modern area, Civilization VI takes the cake for me, although its two predecessors were excellent games in their own right.

Usually, newer does not equal better, but in the case of the Civilization franchise, it does seem that player suggestions are implemented more thoroughly, and the games become more interesting and refined through each generation.  That is a positive legacy of the series, and one that will hopefully continue with Civilization VII.