I mentioned recently that I’m on a TEOTWAWKI kick right now, in conjunction with trying to finish my third novel of Rocco’s Retreads–which is a genre bridge from military thriller (Hell & Gone) and men’s fiction/paramilitary adventure (Tier Zero) through dystopian SHTF speculative fiction (the new one), setting it up for a post-apocalyptic fourth novel, should I be inclined to write one. And if the world doesn’t end before I can.
So that’s the kind of audio books I’ve been listening to, and the kinds of movies/series I look for on Netflix as well. Trouble is, I think I’ve already seen (multiple times) everything that doesn’t suck. And more than enough that do suck.
But hope springs eternal, so this show called Revolution caught my eye on Netflix. It’s about some survivors trying to figure out why power grids around the world went down 15 years ago. (Nope, it wasn’t an EMP.) Civilization went back a few hundred years when the lights went out, to a sort of Planet of the Apes quality of life.
I previously reviewed The 100, and a lot of those criticisms apply to this series already by the 3rd episode.
Of course the protagonist is the obligatory Strong Independent Womyn. And, in a world where survival depends largely on strength, aggression and 24/7 toughness in a rough, unforgiving environment, women still sport vogue hairstyles; name brand shoes, prescription glasses, and store bought clothes are still evidently available; computer nerds have survived, maintaining their overweight couch potato physiques while failing to acquire a single survival skill; and despite reversion to survival of the fittest, our feminized culture is still perfectly intact.
Well, culture in this throwback world isn’t exactly like it is right now. It’s more like what the feministas pretend or wish it was like right now. So of course there are amazon superninjas. You just aren’t gonna get away from that idiotic trope in any action adventure from Hollywood. But you knew that already.
And there’s also nothing original yet in the plot or subplots. One of them, in fact, was lifted directly from Jericho. Remember the black dude who had some mysterious government connection who had a laptop that somehow still worked, and he would lock himself in a basement and connect to the Internet that was somehow still functioning, to communicate with other mysterious people also online somehow? Favreau’s writers\directors didn’t even disguise the rip-off so much. They changed the black man to a black woman, changed the laptop to a desktop, and want us to believe that an amulet about the size of a key fob not only overcomes the miracle of physics that made electricity stop working around the world, but is also an adequate power source for computers, radios and other 110 volt household appliances, that doesn’t need silly little things like wires or other conductors to deliver power to a device.
It’s commonplace to show military and paramilitary units moving about in a gaggle when contact is possible, in a movie or TV show, blowing noise discipline all to blazes. But I’m developing a pet peeve about Hollywood depictions of hand/arm signals. Their technical advisors have evidently researched the subject by watching other Hollywood productions. I’m not sure exactly when it started, but originally some pogue civilian film maker saw hand/arm signals used somewhere, misinterpreted what they meant, and put them in a movie. Other pogue civilians decided it looked cool, and copied the misuse. I wouldn’t doubt that grunts have to un-learn all this crap when they go through infantry school nowadays.
Like every other TV show and most movies, there’s too much stupidity to document. Just a few random highlights to give you a taste:
- In the flashback to the world before the blackout, there are two characters stationed at Parris Island with haircuts even the Air Force wouldn’t let them get away with. (The same two guys who have a conversation in the clip above, BTW. Their hair isn’t that much longer here than when they were allegedly in the USMC.)
- Ammo is scarce in the new world, so characters have become expert swordfighters. The series badass is in a swordfight with a bad guy and has a few opportunities to kill him after disarming him, knocking his sword out of the way, etc., but instead he allows the guy to recover–as if we’re watching Errol Flynn as Robin Hood, who is just too chivalrous not to give his opponent another sporting chance to get in a lucky stab or slash. Finally, he knocks the bad guy unconscious and THEN makes to kill him. But alas, at this point the Strong Independent Womyn appeals to his morals, because to kill a momentarily defenseless enemy would be sinking down to his level, blah blah blah.
- A gang of bad guys move in to wipe out a resistance cell that’s inside a building. They don’t surround the building. They don’t blow it up. They don’t set it on fire. They don’t kick in the door and murder everyone inside BATF-style. They open fire at the brick wall of the building with small arms from about 150 meters out, having no idea how many are in the building, what the enemy configuration is, or even if they’re still in the building. And it works.
As can be expected, “militias” are the bad guys. What’s interesting, though, is that they have a Marxist attitude toward the right to bear arms, and consider items like the American flag to be contraband.
ial gravity everywhere in the Ark, too–even the sections not spinning. The ace mechanic (a woman, of course) manages to fix heavy machinery on a regular basis without even getting her hands dirty, and while maintaining a perfect manicure. Because booty. (That’s right, this actress, though typically skinny, has the nicest rump you may see on TV, and she’s also smokin’ hot above the shoulders. But you’ll only get treated to the full package when she’s first introduced.)
Whoever wrote under the name “Craig Sargent” was probably a peacenik from the Vietnam era, because that’s how Martin Stone comes off–despite being raised and trained by a Special Forces officer. The series was published toward the end of the Cold War and left-leaning nuclear disarmament sentiments permeate.
Like a lot of us, Bracken is bothered by a government that views as it’s primary enemy the very citizens whose rights it was established to protect. Up until Castigo Cay the backdrop of his stories was almost entirely comprised of the efforts of renegade public servants hell-bent on violating a specific article of the Bill of Rights they swore to uphold. I’ve read and