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We are all made of stars


Hello, mankind. Need a pick me up? You can borrow mine.


So 2011's on the way out. And as revolutions of the sun go, it wasn't a half bad one.

Reasons (my) 2011 was a cracker:
  • It was my first year as a fully registered teacher, and I've got a permanent position at the school where I'm teaching.
  • As such, it was my first year doing a full professional appraisal (and said appraisal went well).
  • All of the kids made progress, and most of them passed National Standards. Some of them did really, really well.
  • My living arrangements may have gone a little sour earlier in the year, BUT this led to me moving into a nicer flat in a nicer neighbourhood, a lot closer to work, and fully furnished for a bit of extra cash.
  • I was published (twice!).

How was yours?

I'm just showing off now


So a while back, I pulled the story 'Til the Sun is in the Sky from Dark Tomorrow and - after some invasive surgery to trim the word count and make it properly readable by discerning humans - submitted it for publication over at Pill Hill Press, where it was accepted into the Trigger Reflex anthology. Currently on sale at Pill Hill's online store, if anyone's interested.

Also, I had a good appraisal at work, got through report week relatively unscathed, and managed to get my class back on track after a difficult term.

If you'll excuse me, I have some laurels to go rest on.

By gar, it's bin awhile! There's been a crapload afoot here in the darkest Antipodes, and I haven't been online spouting my arbitrary opinions about it. Wassup with that?

Commence blathering in 3... 2... 1... )

Auckland's Karangahape Road (known to locals as "K' Road") is a funny old place. It has a long-time seedy reputation for it's streetwalkers, massage parlours and dirty book shops (it's still home to the country's oldest strip club) but is also known for its second-hand shops, cafes, ethnic restaurants, art galleries and nightlife, as well as a hub for the local LGBT community. If you want to check out some alternative music, get a tattoo, dig up some interesting fashion accessory or chill out and smoke a hookah, K' Road is probably worth a visit. (I go there to buy comics, myself.)

Now, if you frequently walked along the north side of K' Road, just by the Queen Street intersection, chances are you saw Margaret at some point. She'd usually be sitting on one of the wooden benches by the footpath, just outside St Kevin's Arcade. She was a bit rough-looking - wild curly grey hair, wrinkles, bright red lips and a sour expression. She'd usually be smoking a cigarette, bummed off a passer-by. She might ask you for one, or for bus money, and by all accounts you'd get an earful if you turned her down. She never asked me for anything, though I passed her several times. Despite the fact I had no idea who she was, she was a regular feature of my visits to K' Road. She was almost always there when I walked by, and if she wasn't I wondered where she'd got to.

Turns out Margaret (no known last name) was one of Auckland's best-known "street people". At 62, she'd been occupying that bench by St Kevin's for at least twenty-five years. A few people who lived and worked in the area "sort of" knew her, many others knew of her. She was a permanent fixture of an iconic street, one of those people who almost qualifies as a local landmark. Most people assumed she was homeless, but she wasn't. She was just someone with nothing much to do but sit and watch the world go by, and for whatever reason she'd chosen that bench on K' Road as the place to do it.

Last week, while hurriedly browsing the paper on my way to work, I read that Margaret had died. I was surprised how sad I felt about the passing of this scary old woman who I'd never spoken to, but it seems I'm not the only one. The story has been covered in various local papers, many people on K' Road have expressed their sadness that she's not around any more, and she's popped up on a blog or six as well.

I passed by her bench today, wondering if I'd see some sort of tribute. There were no flowers or cards to be seen (if they were there, they've since been cleared away) but there was one message - a piece of graffiti scrawled across the back of the bench that simply read: RIP MARGARET - YOU WERE ALRIGHT. For a place like K' Road, you won't find a much more fitting tribute than that.

Funny old world, really. You don't always have to be "somebody" to leave your mark on a place and be remembered. Sometimes you just have to be there.


Squee to the power of squee


This time, I actually have nothing to say. I come only to post these, and then quietly depart...



 


 


Moon


I'm a trifle late reviewing this film, since it actually came out in 2009, but since it only recently reached my end of the planet and has probably slipped under most people's radar, so be it.

This little film represents the kind of sci-fi they don't really make any more (although they occasionally remake it - Solaris, anyone?). It's a "low-budget" (ie, five million dollar) indie piece that eschews flashy effects and alien hordes in favour of atmosphere, character-driven storytelling, and contemplations on themes like isolation, identity, injustice, the future development (and degeneration) of mankind and what, when you get right down to it, a human being actually is. You know, the kind of stuff sci-fi is actually supposed to be about.

So what's it about? )

Just watch it. Trust me.


Every now and then, you come across something online that makes you sit back in your chair, take a breath and go, "Wow." It's not often that thing happens to be a trailer for a video game, much less a video game about zombies, but this is one of those things. It's a teaser trailer for the upcoming Dead Island, which - in the space of a three-minute video - employs pathos, violence, tragedy, gore and some very clever time-fracturing to tell the story of a family caught up in the midst of the zompocalypse. Frankly, it's brilliant stuff.

Let me put it like this: trailers for zombie horror games are not supposed to make you cry. This one might.

(It's also R18 and pretty bloody, so be warned.)

 




 


Who Again



It's been a good long while since I've watched any Doctor Who, so long that I can't rightly remember where I left off. It was definitely around the end of Season 4, and I remember a lot of shenanigans with Donna and the Doctor's severed hand (or something) so I must have been more or less caught up to the start of Season 5. I can't remember if I saw Ten turn into Eleven, though. I don't think I did. Ah, well.

I just watched Season 5, anyway, mainly because [info]stringertheory  nagged me to. So. Episode breakdown, with thoughts more or less as they occurred. Here we go.

A daft old man, who stole a magic box and ran away... )

"...but he's OUR savage."


 

I haven't reviewed a movie for a while, but I'm going to review this one because - if you can handle the subject matter - it's pretty fecking good.

Savage is Irish writer/director Brendan Muldowney's first feature film (he already has several awards under his belt for his resume of short films) described as "an exploration of masculinity and violence". Film Ireland's review claimed "You won't be able to look away," and they're right. You'll want to, you just won't be able to.

Savage follows the tragic tale of one Paul Graynor (Darren Healy) a Dublin photographer who makes a crust selling sensational images to the tabloids and takes "slice of life" snaps on his own time. He's a bit of a wet fish, always backing down from confrontations, but has a burgeoning relationship with a young nurse named Michelle (Nora-Jane Noone, probably best-known as the first girl to cop it in The Descent). On his way home from a date, Paul unwisely walks the wild streets of a Dublin Friday night, where - out of the blue - he's accosted by two knife-weilding teenage thugs and dragged down an alley.

What follows is one of the more harrowing scenes of its kind, in which Paul is robbed, beaten, humiliated and bullied, and finally mutilated by his attackers. It hits hard mostly because of its realism, but also because you know he isn't getting away without some serious injuries being inflicted. Much has been made of similar scenes in American films like Deliverance and Reservoir Dogs, but in both those films we were let off the hook when someone eventually showed up to save the victim, despite the damage already done. In this case, respite only comes when Paul is finally beaten into a coma.

Waking up in hospital four days later, he's left with a scarred face, severe tinitus, damage to some of his senses, and - the real blow - the muggers used the knife to castrate him.

From here on in, the film follows Paul's journey through four chapters - "Fear", "Control", "Anger" and "Revenge". Recovering as best he can from his physical injuries, he's left with much deeper emotional scars which leave him afraid to leave his flat and struggling with his shattered self-esteem. Ditching his glasses and shaving his head, he puts away his button-down shirts and silk ties for workboots and hoodies, taking on the appearance of a hard man. When his doctor puts him on testosterone medication and advises him to join a gym and take self-defence classes, Paul starts down a dangerous path that leads to steroid abuse, aggressive behaviour, a desire to reclaim his masculinity and, finally, thoughts of vengeance.

It should be noted that this isn't really a "revenge" film, though it has elements of one - it's more a "descent into madness" film, as Paul's obsession with getting his proverbial balls back leads to pointless confrontations, carrying a big scary knife, and long nights haunting the alley where the attack happened, hoping to run into his assailants and mete out some payback. Healy's performance isn't quite everything it should be, but his gradual transformation from soft-spoken wuss to raging thug is quite a startling one. Michelle sticks with him as best she can, acting as the voice of reason and representing the path Paul should be taking, the path of healing and getting on with his life. But you can tell pretty early on that's not the path he's going to take, and things finally spiral out of control in a senseless and excessively bloody orgy of violence in which Paul proves he's far surpassed the level of brutality his attackers meted out to him.

The film isn't perfect - it's pretty much a one-note story, with only the faltering romantic subplot to relieve the tension, and the final scene felt like it was thrown in mostly for the shocking imagery rather than a believable conclusion of the events. But for all that the film is quite riveting, even the bits that make you squirm. And there are several.

Trailer: