Now we come to the end of Idiocracy, if not yet the idiocracy.
This film never got broad release. There are stories about its being supressed by the studio because of the way the film treated brands.
But whatever the reason, I’m happy to do my part in helping it get more awareness. Because despite its expositive principle being wrong (and maybe slightly eugenic), the film illustrates frustrations I also have with some of the world’s stupider ills, and does so in funny ways. Also, as I noted in the last writeup, it even illustrates speculative and far-reaching issues with superintelligence. So, it’s smarter than it looks.
I’d recommend lots and lots more people see this, generally, if only to reinforce the demonization of idiocy and make more people want to be not that. So first let me say: If you haven’t yet, see the film. Help others see it. Make People Valorize Enlightenment Again.
I love Black Mirror. It’s not always perfect, but uses great story telling to get us to think about the consequences of technology in our lives. It’s a provocateur that invokes the spirit of anthology series like The Twilight Zone, and rarely shies away from following the tech into the darkest places. It’s what thinking about technology in sci-fi formats looks like.
But, as usual, this site is not about the show but the interfaces, and for that we turn to the three criteria for evaluation here on scifiinterfaces.com.
How believable are the interfaces? Can it work this way? (To keep you immersed.)
How well do the interfaces inform the narrative of the story? (To tell a good story.)
How well do the interfaces equip the characters to achieve their goals? (To be a good model for real-world design?)
The miniseries represents the best that the reboot has to offer. Its story is contained, the characters fill their roles, and it doesn’t overstay its welcome. The miniseries even ends on a solid cliffhanger: Will humanity survive?
Battlestar Galactica also picked a rarely chosen theme for its run. The well-used and anachronistic technology was in direct opposition to the Star Wars Prequels being released at the time. After getting my feet wet with my previous reviews, this was an entertaining choice because of its difficulty, detail, and setting.
I was constantly reminded during the review process that this miniseries represented—and this can’t be stated strongly enough—the end of human civilization.
According to the director, Oblivion is “a daylight science fiction film with a kind of Twilight Zone story,” a callback to pre-Star Wars, 1970’s lonely man sci-fi set against a huge backdrop. (Read the full interview by Germain Lussier on /Film for more.) Certainly, it’s more visually-satisfying thing than intellectually-satisfying thing, but fortunately that same thing does not play out in the interfaces.
Wall•E is a humorous, robo-everything, sci-fi dystopia. This puts some challenges for the interfaces, as they have to sometimes break believability for the joke. Still, the humor is meant to be all in-world (or diegetic), so we can apply a thorough real-world critique. Continue reading →