"God does not play dice with the universe: He plays an ineffable game of His own devising, which might be compared, from the perspective of any of the other players [i.e. everybody], to being involved in an obscure and complex variant of poker in a pitch-dark room, with blank cards, for infinite stakes, with a Dealer who won't tell you the rules, and who smiles all the time."
Thank you for your patience as we’ve been on hiatus. As you may know, this blog is a labor of love off of which none of us have ever made a cent. Unfortunately, for that very reason, it’s also become a burden on us as writers, admins, and editors. As our lives have changed—and they have significantly over the last seven(!) years!—it’s become more difficult to keep up with the writing, editing, and posting schedule we set for ourselves.
We spent a long time working on trying to find a model that worked better for us and our authors—this hiatus was meant to be over in January! But ultimately we came to the conclusion we were trying to avoid: we can no longer maintain both this site and keep up with the rest of our personal and professional commitments and our own mental health. And so we’ve made a very difficult decision: to close down Lady Geek Girl & Friends for good.
We’re leaving the website available for readers—just because we won’t be creating more content, doesn’t mean we want readers to lose access to the thousands of posts we’re so proud of! That said, we have turned off the ability to comment on posts older than fourteen days—which, now, is all of them but this one—as we previously moderated comments individually and will no longer be actively doing so.
We would not have been the site we grew into without you all, dearest readers. From those of you who started as readers and eventually wrote for us, to those who left heartfelt comments, to those who just perused the site occasionally, you’re what kept us going for so long. Thank you for your attention over the years! We wish you all the best, and hope you feel the same way towards us.
Welcome to Night Vale constantly amazes me with how unique it is, especially when it comes to religion. It manages to take real religious ideas and weave something entirely new and different from the thing that originally inspired them. The Smiling God, the beagle puppy, and the angels are inspired by Abrahamic religions, but while it’s clear that Huntokar and the other gods are definitely at least inspired by real deities, the creators of Night Vale have managed to create their own unique pantheon.
Several episodes ago, we learned that the god Huntokar, who has been mentioned in passing throughout the show, is the god of Night Vale and has been protecting the people of Night Vale since the very beginning. However, we came to discover that her protection also nearly doomed Night Vale by causing the multiple versions of the town in different universes to collapse in on themselves. In this episode, Huntokar mentions that she is one of four old gods that include the Glow Cloud (ALL HAIL), the Woman from Italy, and the Distant Prince.
Writers tend to take two different routes when it comes to adding deities to their stories. They either use gods of real religions, or they invent their own. Creating your own deities has the major advantage that you aren’t taking the risk of portraying another religion’s deities in a potentially harmful way. However, we cannot escape the fact that we are affected by what we know about religions and their deities and inevitably the audience may realize that these “fake gods” are inspired by real ones. It’s fine to be inspired by real deities, but it’s important to still develop them in such a way as to make them their own unique god, otherwise the portrayal could still end up seeming problematic. And that is exactly what the creators of Welcome to Night Vale were able to do. Their deities are clearly inspired by different real gods, but are written in such a way that they become their own unique god and are not simply a copy of another deity.
Spoilers for Welcome to Night Vale for up to Episode 113.
Until recently, I wouldn’t have considered myself a horror movie person by any stretch of the imagination, but I have been improving my horror education. I decided to watch the original 1990 It movie which came out this weekend in preparation for the the new one, which I greatly enjoyed—well, for the most part. Let’s face it: Stephen King isn’t exactly known for his stellar endings and the original It was no exception. The movie might even be the most infamous of Stephen King’s bad endings. Nevertheless, I still enjoyed the movie and Tim Curry’s performance of the menacing clown Pennywise. With that in mind, I was excited and anxious about the new film. It is pretty much considered a horror movie classic at this point and remakes don’t always live up to the original, but the trailers looked good and so I entered the theater with high hopes. While the movie was excellent, scary, and extremely well made, I was a little disappointed, but not surprised, by the lack of representation. Just a fair warning, I have not read the book so I am entering into this critique not knowing the original source material, only the movies.
During these troubling times, I like to go to my safe space for a while so that I can process things, and for me that often means diving into comics. Recently I was thinking about the 2017 Wonder Woman movie, which I loved, but also had some troubling religious aspects. We talked previously about how Wonder Woman was heavily Christianized, with Ares acting more like the Christian devil and less like the God of War, putting Wonder Woman in the Christ/savior role. But today I want to focus on the lack of goddess figures in Wonder Woman, excluding Wonder Woman herself, of course. Why, in a society of just women, was there so much focus on Zeus as the main god they followed, especially when previous comic incarnations of the Amazons did have them worshiping the Greek goddesses over the gods?
Today’s guest post comes via LGG&F fan Star Chicken. Star is a European nerd who specializes mostly in old sci-fi series. She is still figuring out her place in the world together with her narcolepsy, autism, and imaginary best friend. You can find her on her Facebook page, Ace Multifandom!
I am a big fan of old television series. Watching them is a little bit like time travel, with their old special effects and stories about issues that mattered at the time. Also, just imagine that you can sit down, watch, and get excited over something people watched and got excited about 50 years ago!
With the exception of some German nerd circles, most people have forgotten about one of my all-time favorite miniseries, Raumpatrouille – Die Phantastischen Abenteuer des Raumschiffes Orion (Spacepatrol – The Fantastic Adventures of the Spaceship Orion). For simplicity reasons, I will call it Raumpatrouille in the rest of this post. (That’s also the tag used on AO3.) As you may have guessed from the title, it is German, and as such it is completely different from my usual English or American series. Okay, maybe not completely, but it is definitely one of a kind.
The series first aired in 1966, when Germany was divided in two after World War II. It was made in West Germany, but also watched in the East, and I know from what my family has told me that it was also very popular in Hungary. It was a huge project; the best of the best worked on it, and it was also really expensive, which is why they made it in black and white and didn’t do a second season.
The Orion crew exploring a new planet. (screencapped from Raumpatrouille)
Pretty much all shows have some drama, because drama means conflict, and conflict means an interesting story, but drama for the sake of drama aggravates me. For example, if you kill a character and give them a big emotional send off that makes sense with the plot, then great. However, if you then somehow magically bring that character back so that the other characters have to go through the drama of killing them again, that is just drama for the sake of drama and it’s pretty stupid.
The second season of Lucifer recently ended and I have to say that it was amazing. However, there was one episode in particular that I both loved and was frustrated with called “God Johnson”. In this episode, Lucifer and Chloe head to a mental institution where a man has been murdered. The main suspect in the case is God—or, well, a man who thinks he is God, and who even legally changed his name to God Johnson. Lucifer confronts Johnson to tell him that the real God is an asshole, but he stops shorts when Johnson calls him by his angelic name, Samael. Thisprompts Lucifer to believe Johnson really is God. Later Lucifer admits himself into the same institution and sees Johnson heal a human, again causing him to truly believe this is really God. I was so excited about this! After the show introduced God’s wife, I was hoping we would eventually get to meet God himself and explore the relationship between God and Lucifer in a more real way. Sadly, though, this episode doesn’t take the direction that I would have hoped. God’s character is not engaged with in the same way that Lucifer’s is. God remains just this impassive, omnipotent, but never present figure. Despite how our media loves to play with religion in its shows, movies, etc., the Abrahamic God appears to be off limits in terms of real character exploration.
Spoilers for theLucifer episode “God Johnson” below.
It’s almost the Fourth of July, and for those of us here in the United States, we’ll soon be celebrating our nation’s founding. For me, that often meant watching 1776 with my parents, and I have to say that I adored this musical. The film version of the musical 1776 came out in 1972, and the musical itself came out in 1969. It follows John Adams as he tries to get a difficult, cantankerous, and often divided Congress to agree on American independence.
However, if you are a Hamilton fan, this musical might be a disappointment for you. This movie is very white and almost entirely male, with the exception of two female cast members, only one of whom plays a significant role. Regretfully, while there are some great moments in this musical, as far as representation goes, it definitely falls short.
This weekend, I rushed to the theater to see Wonder Woman. I was filled with both hope and fear. I knew that if Wonder Woman did poorly that we might never see a female led superhero movie again, and I knew that so far DC Comics’s movies haveleft a lot to bedesired, but I was hearing good things about the film so I walked in hoping for the best. And praise Hera, I have never been more pleased or satisfied with a superhero film.
Recently I have been obsessed with Gravity Falls, and that led me to watching a very strange but intriguing movie based on a now-famous science fiction novel called Flatland. When Gravity Falls creator Alex Hirsch went on Reddit answering questions as Bill Cipher, one commenter asked what Bill’s home dimension was like. Hirsch as Bill (and in entirely in capslock) responded, “EDWIN ABBOTT ABBOTT HAD A GOOD IDEA.” I looked up Edwin Abbott Abbott and discovered he is the author of Flatland, a satirical science fiction book about a flat world inhabited by geometric shapes. Initially, I worried that Abbott would use math and science jargon and that much of the story would be lost on me because of it. I love math and science, and I am fascinated by it, but I don’t have much of a head for it.
However, one day I discovered the 2007 film Flatland: The Film, and decided to watch a little of it, thinking it would be interesting but that it wouldn’t hold my attention long. I was wrong. I was so fascinated with the story that I immediately immersed myself in learning more about the world of Flatland as well as the somewhat feminist views of the story.