Eight Common Internet Safety Violations That Make Me Cringe

AUTHOR’S NOTES: Firstlly, there is some disturbing stuff in here, but this entry is all about keeping yourself and others safe from the disturbing stuff. I’m not sharing any lurid stories or anything like that, but there is information about why some common mistakes are dangerous, and I know I found some of it freaky when it was first explained to me. Finding out how little privacy we have can be paranoia-inducing and frightening. But if you think you’ll be able to handle it, if you won’t be specifically triggered by these issues, I urge you to take a look anyway, and maybe pass on some of these tips.

Secondly, I want to make clear that when someone is tracked down through the internet, and victimized in some way, it is NEVER the victim’s fault. It is always, ALWAYS the fault of the perpetrator who takes advantage of the situation.

I’d just like to see it made a little tougher for those bastards to do, is all.

A while back, I had to take a course for my professional development credits on internet safety. Through this and a subsequent course I completed voluntarily, I actually became certified to teach internet safety to teens and adults along with other content. It became an interest of mine, and I continued to do research on the topic, including research on how agencies like the FBI work to protect people who have (inadvertently or otherwise) exposed their personal information on the internet, or people who have had it exposed by others and are seen as high-risk for targeting by violent crime. I also learned how information is gathered about people from their public information on the internet, and it gave me chills.

As a result of that training, I completely freaked out when the GoogleBuzz debacle happened, and here’s why. During the brief period when GoogleBuzz existed, before Google realized they weren’t going to win any love with the way they were going about starting a social network, scrapped the plan and started over with what eventually became Google+, all account holders with any Google service were automatically signed up with Google. You may remember this, if you were an account holder – you received a message saying your account had been activated, and you could deactivate it any time you wanted. Here was the real issue, though: information about each user was added automatically, extracted from the user’s emails, messages, etc., and posted publicly. After an immediate privacy and security outcry, these items were all made private, and were only public for a few hours at most, so in all likelihood the personal safety of users was never really compromised in any major way, and in fact the whole thing disappeared just a short while later.

So if it was all taken care of, why was I so upset? Well, here’s why: those few hours were enough for automatic information aggregators. Information aggregators are computerized search bots which gather information about people automatically from text available on the internet, and keep them for privately owned business services which sell them to people, for the profit of the business owners. The few upsides: the business owners can’t actually view the data themselves; all data beyond certain basics is restricted access and requires a license for private investigation; because the whole system is automated, there are often errors in the data gathered. But if you want to see something terrifying, look yourself up on Spokeo.com, the easiest to find of those services. You’ll probably find a mix of frighteningly correct and hilariously incorrect information about yourself, all available for anyone who knows your name or enough other information to search you by.

Ah, you say, but I don’t use my real name on the internet, and there’s no way to find me other than that. Maybe so. Maybe you’ve done a really good job of protecting yourself. But many people I know who have prided themselves on protecting themselves really well have fallen into some very basic schemes that could harm themselves or others, or have revealed important information about themselves without thinking about it. Here are some of the ways I’ve seen people make major internet safety mistakes without realizing it:

1. Posting “Missing Persons” graphics from unknown sources

Okay, this is the one that’s most likely to get someone hurt that you don’t even know, rather than you or a friend. Some of these are completely legitimate, others are made and posted by abusers or stalkers looking to track down victims, or simply people who have lost custody battles and such trying to find their way around legal restrictions – but without more information, we should really assume for the safety of the people in those photos, that those restrictions are there for a reason.

I completely understand the urge to help in these situations – hearing that someone’s loved one or child or pet or whoever is missing is a wrench, especially if you’re imagining yourself in either position in that situation. You have the best of intentions when you re-post these, and I respect that.

And sometimes, re-posting them is a good idea. But here are some precautions you need to take first:
Step 1: Do a reverse image search, to check and see if it’s actually from the police. If it’s an official police post, please go ahead and share.
Step2: Search the person’s name in the photo, and see what information you can find about the case. This may give you enough information to determine whether or not you should share the image.
Step 3: If there is a number, search it. If you get a law enforcement agency, or a child services agency, or a school, go ahead and share it. If it’s a law office, you’re probably okay as well, especially if the law office is mentioned on the image.
Step 4: If it’s not an official police photo, and you can’t find the case on the net, and there’s no phone number on the image, just something asking people to post information if they see the person/pet/whoever, OR if there’s a personal phone number on the image (i.e., someone’s house phone), DO NOT SHARE IT. Those are all red flags.
Step 5: If there’s an image of a person that says “Please contact police if you see this person, they’re missing,” go ahead and share it. The worst that happens there is that someone sees the person, calls the police, and it turns out it’s not actually real, and some time is wasted. All the police I’ve talked to about this have said they’d rather have their time wasted a little than have people not call when they think they have a lead on a missing person. (By the way, call the non-emergency number. They’ll know if it’s real, and they’ll direct you appropriately.)

2. Claiming to be a local fan of a specific sports team

I understand that sometimes local fans of whatever team consider themselves to be more “authentic” than fans from out of town. They’re fans because these are the guys and gals from the home turf, not because the team racks up wins. Okay, fine, that’s awesome, I’m glad you love your team. I’m glad you have something you’re interested in that gives you joy and pride, and that you can bond with friends over. I think it’s great.

But please be aware that when you say you’re a local fan of a sports team, you’ve just given away your location to every information aggregator on the internet. They do actually look for information like sports teams precisely because local sports loyalty is such common information to find posted publicly, and now someone trying to find out information about you knows the basic area in which you live.

By itself, “X City metropolitan area” may not be a huge deal in terms of tracking you down. But combine that with “so proud of my students – the soccer team I coach just won second place in the state today,” which you share on your carefully locked down Facebook, which someone else shares on their not-so-private Twitter, to congratulate you. Now the information aggregator, or someone tracking you, knows what school you teach at. And a person can probably find your photo and name on the school website. And if you were a Google member at the time of the GoogleBuzz debacle, they’ve now found your name, address, and telephone number at that time. If your number is in the phone book, it’s probably also now available on the internet for anyone to find, based on, say, “local Orioles fan” and “coach of the 2nd place soccer team in the state,” through information a friend shared about you in all innocence from your original post made with all due precaution.

3. People putting info about themselves in publicly-posted email addresses

This is a twofer, actually, because there are two separate problems here. I’ve seen people combine this one with #2, also, using email addresses with a formula of “localsportsteamfan@domain.com” and it makes me cringe every time.

First of all, you should protect your personal email address in public places; internet harassment is becoming more and more of a safety issue these days, and access to your email is one of the easiest avenues by which someone can seriously inconvenience you and try to silence other activity you may participate in. I’ve received some (relatively mild, compared with others’ experiences) harassment since my Gamergate post, but fortunately my current email address has been shielded from it. All harassing emails have gone to an email address I no longer use precisely because it was compromised.

Secondly, don’t put personal information about yourself in any email address you’re planning on giving out to anyone you don’t know well. It can be used to find out other information, similarly to what is illustrated above. The four most common examples I see are these: a) teens using their age as a number in their address, which can attract predators; b) people naming an interest, which can be used to become close to them in an online conversation; c) identifying occupation, which can be combined with other information to reveal more than you want; d) identifying information you don’t want employers to see, such as political leanings or disability information.

4. Athletes posting their jersey numbers

This is another that’s often combined with the email address issue.

If you participate in any form of community athletics, your team probably has a website. If you are part of a college, university, or any other level of academic institution, and participate in their athletics, your team almost definitely has a website. Photos showing jersey numbers, or photos captioned with jersey numbers included, are really common. Once someone is able to track you to your location, they can identify you by your photo, and then simply turn up at your practice and identify you visually. At which point, you’re at risk. Fortunately, this is actually one of the safety violations the FBI looks out for, but FBI intervention at exactly the right time is obviously not something you want to depend on.

5. Posting selfies that include where you’re staying when you travel

Oh gods, this one makes me want to shake people. I see exactly where the urge to post these comes from, because there are a lot of awesome hotels out there that have wonderful character and look really cool in the background of pictures of you and your friends. There are places that you stay over and over again, that become a home away from home. There are places you’ve been excited to stay for as long as you can remember, and you’re finally getting an opportunity to stay there. I get it, I really do. There are places I’ve stayed that I’ve taken pictures of, just like that.

But please, for the love of all that’s holy, don’t post those pictures publicly while you’re still traveling! If you must post them publicly, which I don’t recommend anyway, keep them private for your safety, post them after you get home. If it’s a place you stay repeatedly, don’t reveal that in any public place. You do NOT want someone to be able to track you to where you’re staying. It’s one thing to post a selfie of yourself with some awesome monument – yes, anyone in NYC for the first time is going to post a selfie with the Statue of Liberty in the background, anyone in Paris for the first time is going to post a selfie with the Eiffel Tower – and nobody is going to automatically assume you’ll go back to that location, so it’s not going to help anyone find you who might be looking. Those selfies, while I still don’t recommend posting them publicly at all, and still preferably not until you’re home, are still vastly safer than the hotel pictures.

While we’re on this topic, don’t post your future travel plans in public places. Just don’t.

6. Putting personal information in photographs taken at home

This is a shockingly easy one to do by mistake. I can’t tell you how many times I’ve emailed a friend to say, “Hey, you want to take down that photo of yourself outside your house – not only can I see your house number, but the street sign with the name on it is reflected in the window, so someone can get your whole address.” Or “be careful with that photo of your new hairstyle, your driver’s license is sitting on your desk, reflected in the bottom left corner of your mirror.”

Before you put any photograph of yourself on the internet in a public place (again, a practice I discourage in general, in the strongest terms possible, i.e., IT’S FUCKING DANGEROUS, DON’T EVER DO IT, keep your photos private), go over it carefully to make sure you’re aware of any and all details about you that can be gleaned from it. Are you wearing a sweatshirt that can identify your current school or athletics team? Is your house number or car license plate visible? Are you wearing a name tag or badge of any kind that reveals anything about you? Is there a “happy 24th birthday” sign or something like that in the background which gives away your age?

7. Assuming that because you posted something privately, it will stay private

This one makes me sad, because it should be okay to do this, it really should. But unfortunately, people make mistakes.

Two rules to remember:
Rule 1: The Internet Never Forgets.
Rule 2: The Internet Is Always Public.

Keep in mind that just because you posted something privately, someone else may not know as much as you do about internet security, and may re-post something by copy/paste, or by transferring from one platform to another, without taking proper precautions, and now that personal photo you took is available for all to see. This is how careers are ruined, people. Be careful. Because once something is out there, you can’t take it back. And it’s not just stalkers or whatever that can make this happen – sometimes it’s just someone who doesn’t know how to update security settings.

If nothing else, the number of people who share those Facebook copyright hoaxes every time they come around, should indicate how much of a danger this really is.

8. “I’m not worried – I can defend myself at home.”

Okay, don’t. Just don’t.

All right, fine. Maybe you have a semi-automatic and three handguns at home, and you’re trained to use them, and you have six guard dogs and four black belts. Awesome. Good for you. And I mean that in all seriousness, as long as you’re practicing proper safety with all of those things. I’m glad you’ve taken precautions to defend yourself.

But sometimes people go to the wrong house, and someone else gets hurt. Or maybe someone you live with gets hurt while you’re defending yourself. Or you get hurt while they’re defending themselves. Or maybe whatever happens, doesn’t happen at home. Or maybe someone gets to your house before you get home from the grocery store, and now those handguns are used against you. It is flat-out impossible to plan for all contingencies, and there are safety issues for other people than yourself.

Wouldn’t it be better just to avoid the issue altogether and protect your personal information on the internet?

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Giant Hellblazer Re-Read Part I: Issues 1-3

Author’s Note: This is the first of a series of entries covering a full re-read of Hellblazer from start to finish, including side stories. I promise, it won’t be the only thing on this blog, there will be plenty of other things posted here as well.
Also,
Hellblazer is disturbing. It’s excellent horror. There’s a reason it was marketed for mature readers. That’s all the warning I’m going to give.

The first part of this entry covers the first two issues of Hellblazer, “Hunger” and “A Feast of Friends,” upon which the Constantine episode named after the latter was directly based. For arcs adapted into the TV show so directly, I will be providing comparison notes as well as stand-alone analysis of the arc in the comics.

The last part of this entry covers issue 3, which is a standalone issue, the first of many in the series.

The first issues of such an iconic series deserve their own close look, as this pair of issues has a special place in comic book history. For most readers today, these issues, as the first two included in the volume Original Sins, are the standard comic book introduction to John Constantine as a character. When reading, though, it is important to realize that this was originally just an introduction to him as a protagonist rather than a side character. DC Comics was betting on the character’s popularity from Alan Moore’s work on Saga of the Swamp Thing to really get the series launched, and then for word of mouth and positive reviews to get new readers from there. The early issues, before the series became part of the Vertigo lineup (indeed, before the Vertigo lineup even existed), were part of the shared DC Universe, and it shows at various points, but these two issues are just to establish John as the main character of his own story.

The DC execs were aware, though, that if they didn’t refer to recent events of Swamp Thing, they’d have angry fans writing in to the letter columns (hey, remember when those existed?) and the whole project could be put in jeopardy. So issue 1, “Hunger,” starts us off a bit in medias res, with Constantine recovering from a victory against some of the major Swamp Thing villains that did not come without massive personal cost to him and those he loved – a pattern which becomes familiar, the more one reads of Constantine’s story. John is haunted, literally, by those he has sacrificed to achieve his ends.

For all those who had read about John Constantine in Swamp Thing, and been interested by his story and his perspective, it must have been an awesome moment to realize that not only is he the protagonist, he’s also the narrator of Hellblazer. From issue 1, we’re treated to a semi-lyrical, bitter, sarcastic, self-deprecating, and still shockingly candid narration of John Constantine’s thoughts and emotions, creating a breathtaking contrast between what we as readers are allowed to see, and the walls he builds between himself and the rest of the world. We are allowed to see the ghosts that only John can normally see; we are treated to the inside of his head, when others are kept out with his sarcasm, grins, and cigarette smoke. The point when, very early on, John sobs himself to sleep after being wished a good night by the ghost of a former lover is our sole warning of the experience we’re letting ourselves in for, by reading this series.

There’s a reason John Constantine has often been referred to by fans as “DC Comics’ whipping boy.”

The basic premise of this story is as follows: John Constantine comes home to discover an old friend, Gary Lester, curled up in his bathtub, absolutely covered in insects and strung out on heroin. After defumigating his apartment, he discovers that Gary has released a hunger demon from Sudan, which he had initially trapped inside a bottle. The demon is causing a deadly pandemic of consumption: a man starving to death in a restaurant while eating his way through the menu several times over; a body-builder who devours himself alive; a jeweler who dies from eating gemstones; a collector who perishes after literally chewing through his collection of comic books. Constantine is has two concerns: a) getting Gary out of his apartment, and b) keeping the hunger demon from destroying everything and everyone. He seeks out the aid of Papa Midnite, a wealthy and powerful magician with a penchant for strong ritual magic. Together they come up with the way to eliminate the demon: trap it inside the body of the man who let it loose in the first place. At first, John has little sympathy for Gary, who seems to be more concerned with his next fix than with the potential destruction of the human race; but as Gary appears increasingly pathetic and afraid, we see that this isn’t going to be easy. But Constantine follows through, tricking Gary into believing that he’s being led to his next fix, and instead imprisoning him inside MIdnite’s clubhouse and inviting the demon inside. In true Constantine fashion, he won’t let himself look away, and drinks and smokes his way through Gary’s grisly end. In the final panels of the comic, we see that Gary’s ghost joins the others haunting John.

There is one major fact that is brought home to readers meeting our protagonist for the first time through this story: he is a stone-cold bastard when it counts. Because we have the perspective of going into his psychology, we can see that John isn’t entirely unscathed by sacrificing Gary to his demons – literally – but at no point does he even hesitate to follow through in doing so. Constantine isn’t an easy man to read, and he’s definitely not an easy person to like.

All of which makes Chas all the more interesting as a character: Constantine’s oldest friend, his getaway driver, and the one person upon whom John can seemingly depend for absolutely anything. Magic isn’t his mindset or his place; he’s an ordinary guy, a cabbie, and he works with the material he can see and touch in front of him. And yet, he survives and sticks by John through thick and thin, even when John acts in a manner that would drive anyone else away. We get our first look at this relationship as well, though Chas has only a very minor role to play in this arc, and Chas is already someone whose fate and history we wonder about.

Chas is one of the most important differences between the comic and TV versions of the John Constantine story, but oddly enough not in this particular episode. He’s pretty much written out with the flimsiest of excuses on the show (in reality, apparently actor Charles Halford was juggling multiple projects and the script was simply written with the knowledge of his unavailability). He’s anything but normal on the show, in ways that haven’t been revealed as of this writing (shortly after the airing of episode six of Constantine).

John and Gary have their differences as well, and they make for a very different version of this story. In terms of plot, there is one huge change in the adaptation: the sacrifice to the demons is Gary’s own choice, in the end, although he is conscious of the fact that he has been to some extent manipulated into making that choice by John’s own plans. John is still cold and manipulative in many ways, but since the showrunners made the (wise, I think) decision not to have a voiceover for the entirety of the show, the only way we can see his inner conflict over the situation is for it to be displayed externally, and we see tears in his eyes at several crucial moments – something Gary Lester in the comics would never have had a chance to see. At the same time, it makes more sense, because this version of Gary is much more sympathetic, both to us and to John. He’s seriously screwed up after “the Newcastle incident,” about which we know much more in the TV version in episode four than we do by the conclusion of the first two issues of the comic, and has gotten himself into the situation with the hunger demon in a desperate attempt to atone for what he sees as his own part in that debacle. He makes mistake after mistake, but it is clear that his intentions are in the right place, unlike the Gary from the comics whose focus is always on his next fix.

John himself goes through a very different series of psychological contortions over the course of the story, between the two versions. In the comic, he has to deal with the fact that he is forcibly sacrificing a former friend to a hideously evil force, and with the fact that he does so in the hope that Gary will die without ever realizing it. In the TV episode, he puts on a spectacular display of a redemptive story arc, a realization that people are capable of change, which turns out to be entirely fake – but then has to deal with the fact that his manipulative con job has inspired an actual turnaround in Gary, even if not in himself. Both are typical of the character, in different ways, but the TV version is definitely focusing on the gentler, kinder aspects of his character while the comic takes pains to introduce readers first and foremost to the fact that John Constantine is dangerous. Of course, there’s also a key difference here in that “A Feast of Friends” is not the introductory episode in the TV series – and the fact that it’s highly unlikely that any network TV series would start by deliberately introducing its audience to one of the least likeable aspects of its protagonist.

That’s Hellblazer for you, though, right there – this arc is the only heads-up readers are going to get, that this is not a series that’s going to flinch from anything, and if you’re looking for moral black-and-whiteness, for a superhero who will go out and be noble and shining and glorious, well, this isn’t the series for you. Given which, it’s easy to see why the series was so groundbreaking from its earliest issues, and why it eventually became one of the six starting series for the Vertigo lineup and later would be identified as the singular flagship title for the label.

Issue 3 is a serious contrast from the first two, being overtly political and full of ridiculously over-the-top imagery that nonetheless makes its point: politics are hell, says Jamie Delano. Literally, in this case. Ha. Ha.

One would expect an issue about demon yuppies rigging an election in favor of Margaret Thatcher to age less well than this issue has. But while this is definitely one of the least subtly political issues of Hellblazer, it actually holds up reasonably well, simply because John’s experiences are so well unfolded for the reader. This is a brilliant example of character-based storytelling, and establishes that this series is first and foremost about its protagonist doing awesome things, and everything else is, to some extent, incidental.

A bit of summary: John is tipped to investigate the deaths of a number of yuppies in poor areas of London, by his friend Ray Monde, who trawls newspapers for unusual patterns. He discovers a pair of demons collecting souls for their master, Blathoxi. Constantine returns home, summons Blathoxi directly rather than going through his underlings, and offers up his soul to the demon. John’s eagerness to sell his soul indicates to Blathoxi (as intended) that John might have inside information that the Conservative party, which Blathoxi has backed in an attempt to shore up the UK soul market, might actually lose the election, and the demon pulls out of the market immediately. John is thrown back into his apartment, which is now full of angry demon yuppies who want his blood; his life is saved by Blathoxi, who turns up to drag his employees back to hell for punishment, because he doesn’t dare let on that John has successfully conned him. John is left hanging upside down from the ceiling where he can do nothing but watch the election results come in as Thatcher wins again.

It’s amazing how the same metaphors are still used to talk about politics almost thirty years later: people selling their souls, people being morally bankrupt, buying and selling elections, that helplessness that makes watching the numbers on an election come in a special kind of torture… and as a result, this issue holds up because the reader can play a form of mental Mad Libs with it. It doesn’t have to be about Thatcher anymore – fill in the candidate of your choice. It doesn’t have to be about her brand of economics – fill in the policy of your choice. The fact that this story is only a single issue long means that Delano didn’t take very long to actually discuss any of the policies under criticism, with the result that even if one disagrees with him, one can still pretty much ignore that and enjoy the humorous last panel, when John realizes he can’t reach the TV to turn it off, and has to just watch the election results until dawn. Ugh. Torture indeed. (As an American reader, I’m imagining not being able to turn off Fox News on election night… I can imagine plenty of people would feel the same way about MSNBC. I don’t know what the channels are in other countries, but I am sure they exist.) And yet, I think anyone sufficiently politically minded has been there, in some sense.

It’s also an interesting moment for John Constantine, because we have to ask ourselves why it matters to him. He spends so much time insisting that he doesn’t care about anyone, he’s concerned only for himself, and the world can go to hell for all he cares. Why, then, does it bother him to watch the elections turn out in a way he doesn’t like? We get our first example of John’s own narration lying to us, and of course to himself, about his own motivations. This is a signpost for future issues, if we’re watching carefully: don’t trust the narrator.

Why Is Bad Quality More Acceptable In Old Sci-Fi?

Author’s Note: Contains spoilers for a really bad episode of the most recent season of Doctor Who; if you actually care about the show, I recommend ignoring this warning, because dear sweet gods that episode was bad and maybe now you won’t have to actually watch it. Also spoilers for some episodes of older and newer Star Trek, not that the basics of the plot really mattered in the stories under discussion.

I recently sat through one of the worst episodes of Doctor Who I have ever had the displeasure of watching. The episode in question was “Kill The Moon,” near the midpoint of series eight, starring Peter Capaldi. Even Capaldi’s superb acting couldn’t come close to saving this episode. I sat and stared in disgust for the entirety of it, and would honestly not have cared much if the human race had been extinguished in the episode, because the whole premise was so ridiculous that I found myself unable to suspend any disbelief. To give you an idea, I am arachnophobic to a point that can actually be considered a mental illness, but the giant spiders crawling all over the moon for some reason (still not entirely clear on why, honestly) didn’t bother me in the slightest.

After I finished watching, though, a thought struck me. The premise of the episode is absolutely awful: the moon is a giant egg waiting to hatch a giant alien that’s the last of its species, apparently, though how the Doctor knows that is unclear since it is otherwise a complete mystery to him, an alien that will do something to earth, maybe possibly, so, uh, maybe the human race will have to kill it, or not, except that shouldn’t be an issue because the Doctor is either a jerk or an idiot, and I as a classics major should not have enough knowledge of biology and physics to figure out this problem faster than the Doctor and all the scientists of earth, and meanwhile there are single-celled spiders infecting the moon for no good reason. But it’s awful in a way that would have been perfectly at home in classic Doctor Who with a less annoyance-filled version of the summary. And I would have watched it and laughed hysterically and enjoyed myself greatly.

To make things more complicated still, there are exceptions to the old-good-new-bad rule. There are some really awful episodes of new Who, which are still fun to watch, particularly in series one. Anything involving the Slitheen, who wander around with zippers in their foreheads (and oh, did the special effects department love that shining blue light effect, they’d never had a budget before – they had a special effect, and by god they were going to use it, over and over and over….) was frankly kind of ridiculous, even coming on the heels of mannequins trying to take over the earth, but it all still worked somehow. My initial theory was that it was due to expectation of that kind of campy quality from fans of the classic show, but new viewers seem to feel the same way.

Which leaves us with the same question: what makes bad science fiction palatable, and why is it so much more common to find it in older work?

Doctor Who makes a great test case for old science fiction versus new science fiction, simply because it’s the same franchise. For the same reason, Star Trek and Star Wars do admirably for the same purpose, and are worth spending some time discussing here.

I love Star Wars, and always have. But you will not find me claiming that even the original trilogy is made entirely up of brilliant films. Groundbreaking, perhaps, but this is not the same as brilliant. Of the original trilogy, I have always maintained that the only one which is objectively high quality is The Empire Strikes Back. I love A New Hope in particular, and always will, but I can’t claim with a straight face that it’s actually a good movie, in pretty much any respect. Frankly, Revenge of the Sith is a better film – but its flaws are much harder for me to accept. I thought at first that it might be due to the fact that I hadn’t watched A New Hope in a long time, but upon re-watching it, I find I love it as much as I ever have, and am willing to ignore flaws in it that I am incapable of not raking over the coals in more recent films in the franchise when the exact same mistakes appear.

I find I have the same expanded tolerance for artistic mistakes in early Star Trek. I am more able to accept that women on the original Star Trek cling to Captain Kirk and say, “I’m frightened, Captain,” all the time, where women looking ethereal with their hair blowing in the wind of new planets as they model their pretty skirts in Star Trek: The Next Generation bothers me intensely. In part, I am able to excuse the politics of the earlier show because of its earlier context, but the fact that it’s also just plain poor writing bothers me less in the earlier show – and this is just one example of many.

Star Trek gives us a lovely additional gold mine of opportunity in terms of discussion: episodes of old Trek and new Trek which are not only from the same franchise but based on the exact same concept, sometimes openly so. There are episodes of the original series which are the subject of episodes in later series – only changed from drama to comedy, because really, who could possibly take seriously the concept of water with a molecular difference that makes people drop their inhibitions and go crazy. And yet, “The Naked Time” is one of my favorite episodes of the original Star Trek, precisely because of its variety in the way the characters are affected, and what is revealed about each of them. Okay, yes, the crazy-making-water is absurd, but it’s just a mechanism, it doesn’t actually matter. But when unlocking its mysteries becomes a central concept in “The Naked Now,” in Star Trek: The Next Generation, it can only be handled as comedy.

And now, I think, these three franchises between them have provided us an answer key.

Modern science fiction takes itself seriously in its details. A film that claims to have science of any variety will have any inconsistencies pulled apart by fans. A film that does actually have real science will be combed carefully by popularizers of science and roasted if the opportunity arises. The explanation of “it just works that way, okay?!” is no longer acceptable. Many viewers I know, myself included, have a certain tolerance for that kind of explanation, but once it goes beyond that line – and I’m not even exactly sure where the line is, except that I’d be willing to bet it’s different for every viewer – any science fiction that uses that explanation, must either be bad, or be deliberately comedic.

The reason “Kill The Moon” failed utterly as an episode was the fact that it attempted to take itself seriously. The Robin-Hood-themed episode earlier in the season fared much better, because it was unabashedly silly for most of its run time. “The Naked Now” is ridiculous and delightful. A lack of imagination plus a consistently deadly serious attitude, combined to produce a thoroughly unappealing atmosphere for much of later Star Trek – and the times when this is not true, those episodes are amazing to watch.

It’s kind of sad, the idea that we can’t take the explanation of “it just works that way, we don’t understand why” seriously anymore. Part of it, I think, is that actual science has progressed so far in the last forty years or so, and knowledge of science has become so popularized through the work of people such as Carl Sagan and Neil deGrasse Tyson, that we’re able to accept older science fiction as being the product of a culture that didn’t have as strong a foothold in science fact. Even so, today’s viewers seem to have a seriously deflated view of how much people actually knew in the 1960’s, or what people were willing to accept. When we look at awful special effects, and someone points out, “oh, but it was much more impressive back then,” there are still plenty of examples where, at the time of a movie’s release, people didn’t think it was any more realistic than they do now – they were just more able to focus on the creativity than on the need for realism.

And that, I think, is the answer I’ve been reaching for.

And yet, I wonder what might have been, had the Star Wars prequel trilogy tried to simply offer a rollicking good time instead of trying to make Serious Social Commentary.

Reasons (Other Than Constantine) To Watch Constantine

Author’s Note: This entry was a challenge from a friend, to write a review of NBC’s Constantine now that it’s truly hit its stride, explaining why the show is worth watching without resorting to a description of why its protagonist is awesome – that’s for another entry, possibly as I start my epic Hellblazer re-read. (No fear, it won’t take up the whole blog, I promise.)

It took some time for NBC’s latest comic-based show to get itself up to full speed, but by episode five, it has certainly done so – sadly, it seems, just in time for the network to decide against ordering an additional nine episodes, halting production at thirteen. In addition to being kind of a stupid move considering the show’s ratings (becoming one of the top shows on all the streaming networks, retaining over 80% of viewers from Grimm, which airs in the previous time slot, and showing ratings improvements of over 30% week-by-week, are all very impressive accomplishments for a show relegated to the 10pm Friday night graveyard slot, premiering opposite the World Series with its second episode airing on Halloween), the show has become truly impressive in its own right, even without considering the adaptation from Hellblazer, in numerous ways.

First, the acting is stupendous for the most part, much higher than usual for network TV. It’s not perfect, that’s certain, but in particular the dynamics between the characters are delightful to observe. There are small moments thrown in by the actors, moments of expression, exchanges of physicality that are some of the best I’ve ever seen in TV or film. The actors have been very clearly growing into their characters, and just as the characters themselves develop closer dynamics and become a team, so too have the actors. A modicum of research into the culture of the cast and crew on-set confirms that this is a show with a great set of people working on it, who have become friends as well as colleagues, and who have come to really love their work. Even rarer, they actually make effort to reach out to the fans to share that, something particularly to be treasured when dealing with any beloved and iconic property. The cast and crew have made deliberate forays into the fandom on Twitter; they sometimes turn up in the comments sections on other social networks. They are clearly listening to what fans have to say, but in the best of ways: the executive producers have confirmed that their goal is not to simply conform to everything the fans want, as that never works out well; they simply take it into account before doing their best to give the fans something we’ve yet to think of.

Which brings me to my second point: the scripting. The dialogue has been showing a significant quality curve upward, especially starting in episode three, “The Devil’s Vinyl.” Of course, acting and writing are inextricably intertwined, but we’ve all seen shows and movies where actors manage to screw up great lines, or manage to somehow deliver poor lines well. This show has neither problem – the excellent cast has been given increasingly phenomenal writing to work with, and the wit positively sparkles. One important result of this is that every episode of Constantine has some serious re-watch value. This is true starting even with the (relatively) weak pilot episode. The pacing is consistently rapid, there are constantly at least two things to follow in the story at any given time, and this show never condescends to its audience – a refreshing change from standard comic book fare.

The creators of this show are giant nerds, and they are fascinated with every aspect of their subject matter. They have made the assumption (quite correctly, as it appears from fan response) that at least a portion of their audience is the same way. This fascination goes far beyond the DC Comics universe, though that of course is its beginning – hence the appearance of dozens of “Easter eggs” hidden in the episodes to date – and extends to carefully researched folklore from around the world, linguistics, religion, culture, metaphysics, philosophy, and more. I have personally spotted over a half-dozen languages and writing systems used correctly in the show, and friends have confirmed more.

More impressive even than the research, though, is the respect accorded these cultures and belief systems. When possible, the producers have consulted actual practitioners of the faiths referenced in the show, and in several cases (most notably the dance ritual in episode five, “Danse Vaudou”) have actually incorporated those practitioners and their work into the relevant scenes as filmed. This is more important for Constantine than for some other shows: there are certain aspects to the story of John Constantine which are seriously problematic – after all, this show features a white male who takes direct advantage of the privilege that affords him, to walk safely into and out of places, and to casually appropriate bits and pieces of others’ cultures, to take on roles for information-gathering that accord him respect and authority, while others must make do with less due to their gender or race. This show acknowledges that at every turn, sometimes subtly, sometimes openly, such as Papa Midnite’s furious – and entirely correct – accusation, “You are a magpie of magic, a thief of tradition; you steal from other people’s cultures and beliefs to suit your own purposes.” It is both glorious and rare for a show to call out its own protagonist on his white male privilege.

Even more subtle is the show’s handling of the protagonist’s lack of privilege in certain regards. Serious mental health issues, physiological addiction, and oh, let’s not forget the bisexuality issue. Initially, I was upset when I heard the official line regarding this: it’s not going to be central to the show, and isn’t going to really be clarified one way or the other beyond subtle information. I, like many other viewers, took this to mean that it was going to be removed entirely. I now have to admit I was wrong in this. While I would prefer that the show deal more openly with this issue, they have actually done exactly as they claimed: sexuality is not central to the show or to the characters’ dynamics, and Constantine’s sexuality has remained ambiguous from the pilot episode onward, with a line-drop in episode five confirming his bisexuality in a very subtle way that can be ignored by anyone who wants to ignore it, but definitely points in that direction for anyone watching closely for signs. This is now being handled the same way as Constantine’s smoking: a gradual introduction, testing the waters to see how the viewer base reacts.

That attitude – experimentation, testing the waters of the viewer market – is typical of the way this show is being run. There is an amazing opportunity here for audience members to cast a vote with our wallets in favor of shows that display social consciousness, smart writing, progressive thinking, and complex moral analysis. If you like all of these things, you should be watching this show; if you have friends who like these things, you should be recommending this show.

One of the best protagonists in decades is just a bonus.

#SaveConstantine

Fan Conventions and Disabilities

First, just sharing some of my own experiences.

I have a wide range of convention experience, although I don’t attend them particularly often. I have attended tiny science fiction conventions with fewer than 500 people. I have attended anime conventions with over 30,000. I have attended conventions in cosplay, dressed as myself, dressed formally, as a human chess player on stage, as a program participant, as a featured singer, as nobody in particular. I have been attending conventions for fourteen years now. And it’s been great to see the experience change for a person with limited mobility.

Fourteen years ago, a person who didn’t have to use some kind of external aid every second of every day, couldn’t register at the Special Needs desk of most conventions, because we couldn’t “prove” our disabilities. It was assumed that a walking cane was part of a costume, even if either a)I wasn’t wearing a costume, or b)the character I was cosplaying didn’t use a cane. It was considered acceptable for not only participants but also dealers and convention staff to ask a person with a visible disability to move faster in the dealers’ room at a convention to avoid inconvenience to “the rest of us.” When I got shoved down an escalator at an anime convention ten years ago, it was treated by staff as being my fault because I was in the way of other participants and they had a panel to get to, and I should be walking, not standing, on the escalator.

Much of this has changed. I still hang a small handicapped sign on my cane when I use it, but I am no longer questioned when I walk, unaided, to the special needs desk and ask for a sticker to put on my nametag. There are still thoughtless people with tunnel vision at conventions, but staff now treat incidents such as the one I experienced correctly – as I found out a few years ago at the same anime convention.

It interests me that conduct of participants at conventions of all kinds is progressing faster concerning people with disabilities than it is concerning women. In most circumstances, in my opinion, this is not the case, even inside fandom.

Some tips for the able-bodied, when dealing with persons with disabilities at fan events – because it’s not always obvious how to handle certain situations.

Disabled cosplayers are just like any other kind of cosplayer. Treat them as such. And for gods’ sake, please don’t ask them to put a wheelchair aside for a photo. If they can, they often will. If they don’t do it when the photo is requested, it probably means it’s not possible, so don’t push it.

If you notice that a cosplayer has deliberately worked their aid into their costume (example from my own history: I cosplayed MS Gundam’s Char Aznable as wounded war veteran, since I was using a cane at the time), that’s perfectly okay to comment on.

It is courteous to make sure that someone with a mobility aid gets a seat at the start of events. It is also reasonable to expect that someone with a mobility aid will arrive at or very close to the start of said event, and not walk in at the midpoint and expect a seat. Most conventions actually have a policy that persons with the special needs sticker on their badge are to be given seats within the first five (quantity varies, check your convention’s policy before you go) minutes of any event, but not after that unless you feel moved to do so.

Watch where you’re going in crowded spaces. This should be obvious, but huge numbers of people don’t. You don’t have to treat us as though we’re made of porcelain, but where a fairly basic bump against someone able-bodied isn’t a big deal, it can throw off the balance of someone with a cane because we can’t necessarily catch ourselves. One big example of this which a lot of people don’t follow: do not move directly backward in a dealers’ room; turn around and move forward, then turn again.

Let disabled people have space on the elevator. Some conventions – and some facilities – actually have a policy about this, so check it to make sure you don’t end up in trouble. And once on the elevator, let a person with a mobility aid move to within reach of the edge. If the elevator jerks at the end, it’s important that the person be able to support their balance.

If you see someone acting “different” due to a disability, keep your commentary to yourself, unless you think someone might actually need your help. If I’m walking a little funny, or limping, please don’t draw the attention of everyone nearby to it, thanks. But if I actually fall down, I appreciate the hand up. Especially if escalators are involved.

Be aware that disabled women may be a little more skittish than most women at conventions, and don’t take it personally, just give us a minute to calm down if we’re startled. Almost all women who attend conventions have either experienced or witnessed some sort of harassment, and we’re constantly aware of potential danger. Disabled women are often aware that in dangerous situations, we have metaphorical targets painted on our foreheads.

We’re here for the same reason you are: because we share an interest of some kind. Whether it’s Star Trek or classical literature, we’re here because we love it. In that, we’re just like you. Treat us as such. And if you misstep a little, no biggie. We get that you’re trying. Just try to be understanding, and we’ll return the favor by being as clear and as patient as we can.

Some tips for safety and fun, for people with disabilities when attending fan events – because while it is not our obligation to make ourselves “normal” for others, it is our obligation to take an effort to keep ourselves safe, and be watchful and to be clear about our needs.

That’s a big one: be clear about your needs. If you need something from staff, ask for it. Often staff are volunteers who are there because they share your interest, not because they’re trained disability advocates. They are more than willing to help, but need your guidance to know how. Also, you can’t expect someone to give up their seat to you if you don’t ask for it.

Make it clear with a sign or orange tape or some such that your cane or whatever isn’t part of your costume. Not everyone will know your character, and so not everyone will be able to distinguish someone who is in a wheelchair due to a disability from someone who has borrowed one from a friend for costuming.

Make sure you are noticed. Make noise to let someone know if you’re behind them, if them backing into you would be a problem. Make sure you have something that extends over your head, like a small flag, if you’re in a wheelchair. Have something brightly colored with you or on you. It makes it just that much less likely that someone will crash into you on an escalator (it’s obviously not your fault if someone shoves you down an escalator, just like it wasn’t mine, but it’s so much better if it doesn’t happen at all).

Keep aware of things around you. You know to look both ways before crossing a street. At a convention, you’re always in a street. It may not be a busy street, but it’s at the very least a bike path, and there are potential hazards that you should be on the lookout for. Simple awareness will go a long way to keep you from getting injured.

Have a little patience with your fellow fans. I’m not talking here about the idiots at conventions who say insulting and bigoted things about people with disabilities – I’m talking about people who clearly have no experience with these issues, and may be varying degrees of socially inept, but who are trying, and are nervous about seeming like one of the other group. They’re here because they have interests in common with you, and that should go some way toward drawing you together. Our culture is a precious thing, and it’s worth a little patience.