Archive for January 22, 2014

We’ve found water on Ceres!

This just in from

Water Found on Dwarf Planet Ceres

Astronomers have discovered direct evidence of water on the dwarf planet Ceres in the form of vapor plumes erupting into space, possibly from volcano-like ice geysers on its surface.

Using European Space Agency’s Herschel Space Observatory, scientists detected water vapor escaping from two regions on Ceres, a dwarf planet that is also the largest asteroid in the solar system. The water is likely erupting from icy volcanoes or sublimation of ice into clouds of vapor.

This is big news. It’s a major scientific breakthrough, proof of something that’s only been suspected about Ceres up to now, and it comes a year earlier than I expected, since the Dawn probe won’t reach Ceres until early 2015. It also has important ramifications for our future in space. In Only Superhuman, I established Ceres as the primary source of water and organic molecules for space habitats throughout the Main Asteroid Belt and inner system. This was based on astronomers’ estimates that Ceres might potentially have more fresh water on it than Earth does (since most of ours is salt water). Now we have verification for that, and it confirms (or at least makes it far more likely) that future space colonists and asteroid miners will have access to abundant sources of water without needing to lug it up out of Earth’s gravity well or go clear out to the moons of Jupiter and Saturn.

It’s also nice to get confirmation that what I put in my novel wasn’t wrong. Although it never occurred to me to mention a water-vapor atmosphere or cryovolcanoes in my descriptions of Ceres. Just as well, I suppose, since the volcanoes are unconfirmed. If and when I get to do a sequel, hopefully the timing will be right to work in Dawn’s findings. Hmm, the article says it’s more likely just sublimation, but I’m hoping for icecanoes (to use the Doctor Who term). Those would be cooler to write about. (Literally…)

Categories: My Fiction, Science

SIX MILLION DOLLAR MAN thoughts: Season 2, Eps. 9-12 (Spoilers)

January 22, 2014 1 comment

“Act of Piracy”: Steve is on a research vessel laying earthquake sensors in the Caribbean (introduced via an oddly antique map at the start of the episode), near the island nation of Cuba Santa Ventura, which has just broken off diplomatic relations with the US. Oscar warns Steve to get out of there, but Steve can’t be bothered with petty politics, since he has important sciencing to do. Not to mention flirting with team member Sharon (Lenore Kasdorf), who’s really hot (and braless — I love the ’70s) but only has eyes for the sciencing. Anyway, there’s a spy on board who arranges for the ship to cross within the 12-mile limit so that the Venturan General Ferraga (Carlos Romero) can arrest them on trumped-up espionage charges to embarrass the US, or something. (The Santa Venturans have no specified political ideology beyond general villainy.) They strike just when Steve is down in a diving bell that looks antiquated even by ’70s standards, and the spy makes sure he isn’t brought up before Ferraga’s lieutenant cuts Steve’s line and sends him to the bottom (leading Sharon to lament later that she wasted the opportunity to be his latest weekly conquest). Not to worry, though! Steve has his bionic powers, so he escapes certain death by… um… putting on an oxygen tank, opening the bell’s hatch, and swimming to the surface, just like any other competent diver could probably have done in the same circumstances. I dunno, maybe he was supposed to be kicking the hatch open with his superstrength, but it didn’t play that way. (The lack of a standardized bionic sound effect at this point may be creating confusion.)

Okay, I guess it would take bionic legs to swim the 10 miles to Santa Notcuba. Once there, he hooks up briefly with a token member of the resistance who only seems to be there to give Steve someone to talk to and to forward a message to Oscar, who’s on his way to an aircraft carrier to supervise… things. Then Steve breaks into Ferraga’s compound to rescue his friends, and the spy tries to warn the lieutenant, but the Santa Venturan military is kind of a bunch of overconfident idiots, which may be some kind of “lazy Latinos” stereotype, I suppose, and really undermines them as a threat. So it’s not really all that hard for Steve and his pals to escape, although Ferraga’s men chase them in a motorboat (Steve disabled their patrol boat) and Steve has to stop them from… err… shooting a few rifles at a much larger boat and somehow theoretically impeding its escape by doing so.

So, yeah, not a very substantial narrative. And it’s hampered by an apparently severe lack of budget. Oscar’s entire subplot, aside from the closing scene aboard the sciencing yacht, takes place in his car (don’t phone while driving, Goldman!) and in a tiny set representing an aircraft carrier’s cabin; the rest is Oscar talking to disembodied voices speaking over stock footage of Washington buildings, aircraft, and carriers. And there are a couple of points where Steve does underwater sabotage to Venturan boats, but they couldn’t afford the stunt/FX work so it’s all sound effects. I also could’ve done without the cheesy Latino accents. Basically all this episode has going for it, aside from Lenore Kasdorf, is the musical score. Oliver Nelson provides two new musical motifs, breaking down more or less as one for the Americans and one for the Venturans, and in the climactic action he has both of them and the main title/Steve Austin theme playing simultaneously, which is kind of confusing, but he somehow makes it work.

“Stranger in Broken Fork”: Man, does this episode have a lame beginning. While Steve is up in a jet, Oscar is meeting with Dr. Carlton (Arthur Franz), who was obviously meant to be Rudy Wells, but Alan Oppenheimer must not have been available. Dr. Fake-Rudy warns Oscar that there’s a “short” in Steve’s nuclear power pack that will cause a “bionic spasm” and nerve damage to his shoulder and neck, which Dr. Fake-Rudy reports will cause amnesia — “Amnesia!” Oscar gasps in full-on soap opera mode — and then kill him. Okay, I’m really not clear on the pathogenesis here. Shoulder damage causes amnesia, so predictably that Dr. Fake-Rudy can know in advance it will happen? Anyway, Oscar gets on the phone to try to reach Steve, but of course it’s a given that Steve will develop bionic spasmnesia while he’s up in the jet, and Dr. Fake-Rudy’s dialogue telegraphs that likelihood just like it’s telegraphed the rest of the plot. Naturally the jet goes out of control, flips over, and is going down — and the clouds behind it are upside-down too! Gee! Almost like they took stock footage of a climbing jet and inverted it. Then they cut from this scene of Steve Austin crashing an aircraft to… the main titles, in which Steve Austin crashes an aircraft. Why do they keep letting him up in these things?

Hey, this episode is directed by Christian Nyby, and the previous one was directed by Christian I. Nyby II. Son and father doing back-to-back episodes. Cool! I don’t think I ever quite realized there were two Christian Nybys.

Anyway, Steve bailed out during the commercial (cheaper that way), but now he’s lost in the woods without his memory. He runs across Angie (the striking Sharon Farrell, whom I recently saw in The Man from U.N.C.L.E.‘s “The Minus-X Affair,” though she’s 8 years older and more Farrah-haired in this one), who’s a psychologist running a sort of halfway house for nonviolent mental patients (which this episode interprets as mute and withdrawn — perhaps she specializes in autism?). The house is on the outskirts of a small town of bigoted hicks who hate and fear the mentally ill, because apparently Angie’s boss thought that would be therapeutic, I guess? The lead bigot, Horace, is played by the go-to actor for violent small-town bigots or fanatics in ’70s and ’80s TV, Robert Donner. He’s trying to bully Angie and her people into leaving, and takes an instant dislike to Steve when he stands up for her. Horace tries to manhandle the amnesiac Steve, who pushes his arm away without knowing his own strength, and somehow just tosses Horace bodily into a stack of cans rather than fracturing his arm or dislocating his shoulder or something.

Anyway, the rest is Steve not remembering who he is and being disturbed by the powers he’s discovering, while occasionally confronting Horace’s goons and having to fight them off. Interestingly, during the first big fight, he’s using his bionic strength, but without slow motion being used — perhaps because he doesn’t know he’s doing it? Oh, and he’s periodically experiencing twinges of pain in his shoulder, because apparently that’s where his memory center is located. Amnesia! Plus there’s a subplot about a little neighbor girl who’s curious about one of the mental patients, an elderly gardener, and whose mother is a bad guy for telling her to stay away from him, because this was the seventies and times were still innocent enough that encouraging a little girl to reach out to a strange older man wasn’t seen as a dangerous thing. Although it plays out very awkwardly, not for those reasons but just because it’s ineptly written. And in the climax, when Horace’s goons try to drive the patients away and take Steve off to be killed, and afterward when Steve has been rescued by Oscar and makes a speech to the watching townspeople about the terrible thing they almost allowed to happen, many of the shots of the townspeople (who are just standing there watching dully, pretty much indistinguishable from the borderline-catatonic mental patients) are shot in very poor quality, like 8mm home movies or something. I’m not sure if Nyby was trying to be stylish and experimental or if it was just sloppy work. Either way, it’s bizarre.

So yeah, this is a mess. It doesn’t even have new music. Farrell is a fairly entertaining presence, though, perpetually bright and brassy and optimistic and rather nice to look at.

“Stranger in Broken Fork” feels like one of those ’70s TV scripts that got dusted off and rewritten from some earlier show. The bionic elements seem tacked on to a rather generic “hero wanders into small town and helps the locals” plot. But I can’t find any similar episodes in the bios of the credited writers, Bill Svanoe and Wilton Denmark. Maybe it was a generic spec script that got tailored to this show on its first and only outing.

Sound effects watch: We get a couple of “ta-ta-tang”s for Steve throwing people through the air, and the standard bionic-jump sound effect seems to be in place now, along with the “ballistic whistle.”

“The Peeping Blonde” is the unflattering nickname for Farrah Fawcett-Majors in her second guest role on her husband’s series. She plays Victoria Webster, an ambitious reporter for KNUZ TV (pronounced “Kay-News”), who stumbles upon — and films — Steve using his bionic strength to fix a malfunction at a rocket-launch site. She tells Oscar and Steve what she’s got and that she plans to expose them, for the good of the world but mainly for her own career advancement. Even after she finds out that her film was somehow left blank, she continues to bluff them into giving her more, and Steve convinces Oscar (who’s making insinuations about having her bumped off for national security) to take them with her on their Baja vacation so they have time to convince her to keep the secret. But Victoria’s unscrupulous (and sexually harassing) boss Colby (Roger Perry) has actually swapped the films, and calls some unspecified foreign power asking how much they’ll pay for a bionic man. He hires a couple of thugs led by Karl (Hari Rhodes) to hunt down and capture Steve, and insists on coming with them.

Now, a plan depending on Steve Austin’s eloquence is flawed on the face of it, so they don’t have much luck dissuading Victoria, who goes so far as staging a literal cliffhanger in order to get film of Steve bionically rescuing her. But since she’s played by the lead actor’s wife, it doesn’t take long before she finds herself overcome by Steve’s laconic charms and begins doubting her laser focus on her career instead of all that touchy-feely stuff that wimmenz is supposed to care about. She’s almost won over when the bad guys arrive, which she takes as a ploy by Oscar to convince her of the danger she’s putting Steve in, until she discovers Colby’s really behind it — while Karl is tying her up in her camper with the gas stove turned on. (Why not just shoot her? He’s been making tough and ruthless noises all episode, and they’re in the middle of the desert with plenty of handy places to bury her body.) This, of course, gives Steve time to break free, disable the baddies, and save Victoria (the gas flow in that range must’ve been really feeble). And she’s naturally convinced to squelch the story — though she and Steve (who’s on her side) use that last can of film to blackmail Oscar into getting her a job at a Washington news station. (He demurs that he has little clout with TV news people, which is unconvincing when it comes just seconds after he was threatening to ensure her story never got broadcast.)

This is certainly an improvement over the last two episodes, and actually ties into the core ideas of the series rather than being a generic adventure. Fawcett is pretty good in her way, and we get a few minor moments of character insight into Steve as she interviews him about what he went through after the accident. There are some awkward contrivances in the story, but mostly it works reasonably well.

Musically, the score is largely stock (drawing heavily on “Act of Piracy”), but I think there’s an original motif used for Steve and Victoria’s romance (at least it’s a consistent motif, and I don’t remember hearing it in previous episodes). Sound-effects-wise, we get two uses of “ta-ta-tang,” once for Steve kicking someone out a camper door and once for him throwing someone through the air. It’s still fitting the “lateral movement through air” motif for that sound effect, but particularly in the former case, it’s starting to move toward becoming a “bionic exertion” sound effect at last. There’s also a new sound effect, a jackhammer sound as Steve drives a metal tube into a rock face to restrain the bad guys.

By the way, IMDb says that Hari Rhodes was billed herein as Harry Rhodes, but that’s wrong. It definitely said Hari.

“The Cross-Country Kidnap”: Liza Leitman (Donna Mills) is a top computer scientist who’s just programmed the government’s secret communications network, making her a target for kidnappers working for the usual undefined enemy powers, and led by Ross (Frank Aletter). She’s also an equestrian determined to compete in the Olympic trials despite Oscar’s concerns about the kidnapping rumors he’s picked up. He insists that Steve shadow her for her protection, but she insists that if she sees him, she’ll call the police and “scream rape” — and I’m not crazy about the implication of women using rape charges as deception, but, well, I don’t always love the ’70s. Although when she does catch him shadowing her anyway, he manages to convince her to tolerate his presence as a bodyguard. Which provokes the kidnappers to try to bump Steve off so they can get to Liza, it seems. And Liza’s trainer buys it in the crossfire, driving home the seriousness to her. But there’s a deeper level to the villains’ plans; the hitman they’ve hired is really a diversion for something else (though I don’t want to spoil it).

This episode seems like mostly an excuse to show off a lot of horse-jumping, though it’s not a bad story. There’s a moment where a couple of random people with no other role in the episode and no evident acting talent congratulate Liza on her form, making me think they were real Olympic equestrians making a cameo, but IMDb says nothing about them. There’s also something unusual for the ’70s under the Act 1 credits: a flashforward to action from later in the episode. (Which is something The Outer Limits did all the time in its teasers, but is generally seen more as a modern trope.) But the footage also freeze-frames under each credit, which is very ’70s.

Random production glitches: Both the villains and the OSI evidently rent their helicopters from the same company, for its logo is on the side of both. And when Steve breaks into the villains’ facility and trips their security camera, the footage on the security monitor is from a handheld camera aimed at his feet — and showing the same footage of him that’s used several shots later (another flashforward!) Musically, we get another mix of new and stock cues. Sound effects watch: We get the first use of the “ta-ta-tang” for an action that doesn’t involve something flying or swinging horizontally through the air, for a shot of Steve swinging his arms upward to disarm two guards flanking him (and somehow both arms are equally effective at this), as well as a more conventional use when he hurls a bale of hay to knock down a sniper. In any case, it’s coming to be more consistently used for Steve; it’s been a while since we’ve heard it used for anyone else.

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