ARTS ISSUE: FALL 2012

WASHINGTON SQUARE NEWS PRESENTS

THE ARTS ISSUE VOL. 40 NO. 48

THURSDAY, DECEMBER 6, 2012

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O S T BUT T CE: SCIENC ESHIP HICH IDEN ON W ILL BE SPAC CONF NVAS W A E C R IC THE COSM EAST E, AT L FORC

K Y N L E M N A F E ST a r t s e d i t o r

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TABLE OF CONTENTS FILM

PG 4

TV BOOKS/THEATER

PG 6

PG 8

MUSIC

PG 10

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A EED, , IND OST R O EM E— F TH CAP HE NDS E ONE O OVER T A L N M EW O G I O N LLIN FICT BEC OA NCE LM HAS STORYTE RGE INT E I C S FI N HA INE A ARS.” CTIO HE C IMAG “STAR W NCE FI LEAD T S. O T IE T D CE ET TO HAR F SC HOU RPIE IT IS D — WIT RCES O LOOKS S I MASTE L F U D SCI WOR BLE SO DES AN E OF A A WAV VALU EW DEC F LAST

New zombie film wages war on genre tropes The trailer for “World War Z” exposes viewers to the constant paranoia and ongoing pandemonium of a world engulfed in a maddening war against zombie hordes. The swarms flooding the screen are unlike anything audiences have witnessed before, as Brad Pitt fights them with what puny defenses humanity has left at its disposal. The trailer is frantic, dramatic and eye-catching, but it raises the question of whether fans will accept this new type of zombie menace.

The post-apocalyptic novel by Max Brooks on which the movie is based has become surprisingly popular since its release in 2006 and seemingly lends itself to an epic adaptation on the big screen. The book is influenced by Studs Terkel’s World War II oral narrative “The Good War” in its anecdotal and multi-story format, taking a singular event and telling it from the perspective of a number of characters. The film does not seem to adhere to the narrative at all in this regard, following only Pitt’s character and a supporting ensemble. However, the individual tales from the book could still be portrayed through the lens of Pitt’s character.

Most of the novel’s strength derives from its striking realism — even while portraying a zombie apocalypse. “World War Z” includes extensive background research on the science, politics, economy, military and other aspects of such a scenario, with the hope that it will allow the adaptation to revolutionize the zombie film genre.

One point of concern is not the medium but the director. Based on the trailer, it is questionable whether Marc Forster will follow the novel’s emotional core and acute attention to character, as he did with another book-to-film adaptation, “The Kite Runner.” Perhaps Forster will take the flashy and violent approach, as he did in “Machine Gun Preacher” and “Quantum of Solace.”

Ultimately, anxious audiences can do nothing but remain cautiously optimistic in their hope that the film will be the poignant and entertaining adaptation t hey deserve.

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NIKOLAS REDA-CASTELAO

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‘Cloud Atlas’ brings literary magic to the big screen

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The future of science fiction can be found in the minds of Tom Tykwer, Andy Wachowski and Lana Wachowski, as evidenced by their collaborative effort “Cloud Atlas.”

Breathtaking in ambition and vast in scope, the interconnected epic spans space and time and brings together common themes of reincarnation and love.

Based on David Mitchell’s equally expansive 2004 novel, “Cloud Atlas” revolves around six different souls who each play a part in one another’s tales as the film’s six narratives play out. The impressive cast — led by Tom Hanks, Halle Berry, Ben Whishaw, Jim Broadbent, Doona Bae, Hugo Weaving and Jim Sturgess — tackles a bevy of roles that transcend race, gender, sexuality and even the space-time continuum.

In addition to the stunning feats of the actors, the visuals — as expected for a film involving the Wachowskis (directors and writer of “The Matrix”) — are equally brilliant.

The plot of “Cloud Atlas” is equally stunning.

The Wachowskis and Tykwer have managed to successfully adapt Mitchell’s book, which many had deemed to be unfilmable. The story does

not resemble a traditional narrative in any way, shape or form. While that may drive some moviegoers away, many audiences have been thrilled by the filmmakers’ lyrical storytelling.

This is not a film that can be absorbed in one viewing, instantly judged and then casually tossed aside. “Cloud Atlas” does not spoon-feed the audience for even a second of its nearly three-hour running time. To truly experience what the three directors attempt to share with the world, viewers must experience the film in a theater. The ride is a thing beyond imagination, and viewers will want to return as soon as the film comes to its conclusion.

Of course, everyone’s experience will be different. At the very least, “Cloud Atlas” bears one common denominator, no matter who the viewer: a message that could foreshadow the bold future of science fiction cinema. It’s an adventure that fans will remember long after they bid the film’s six different worlds goodbye and return to their own worlds outside of the theater.

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CHARLIE SPECTOR

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‘star wars Episode VII’ revives sci-fi staple for new generation

‘Looper’ matures Modern Sci-fi

With the current surge of interest in fantasy and comic books, science fiction will enjoy a further rise in popularity after Disney’s purchase of Lucasfilm and the announced development of “Star Wars: Episode VII.” The news caused fans everywhere to put on their Wookie masks and roar — either in celebration or in fury.

Plans for the sequel trilogies dates back to as early as 1976 when George Lucas envisioned four trilogies while on the set of the first film. The plans never truly took hold, and uncertainty about their fate arose. More than 20 years later, with the planned release of “Star Wars Episode I: The Phantom Menace,” Lucas confirmed these doubts by stating that he did not plan any films beyond the three prequels. It seemed as though the resolution of the Skywalker storyline represented the perfect ending.

A new hope surfaced in 2012 when rumors of Lucas’ change of heart emerged. Finally, under Disney’s ownership, a release date for “Episode VII” has been set for 2015. Lucas will remain connected as a consultant, and while no director has been announced, Michael Arndt (“Little Miss Sunshine” and “Toy Story 3”) is attached to write the screenplay. The film will be an original story that will take place in a post-“Return of the Jedi” period. Arndt plans to have older versions of main characters and fan favorites return.

With a new story outside of the Skywalker storyline, “Episode VII” has the potential to become

a blockbuster for all age groups. While older audiences will receive a sweet taste of nostalgia, viewers who are less familiar with the franchise can still appreciate a fantastic film set in everyone’s favorite galaxy far, far away.

The announcement, followed by intense media coverage and speculation, also signified a resurgence of interest in science fiction. The timing could not have been better. It is only fitting to have the franchise that ignited a passion in countless sci-fi fans put the genre back on the map for a generation that has long forgotten the joy of playing around with toy lightsabers.

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BOB TEOH

COURTESY OF EZHIKOFF VIA FLICKR

‘Ender’s game’ adaptation shows early promise COURTESY OF LOOPER, LLC

Why would anybody mess with Joseph Gordon-Levitt’s face?

The controversy behind “Looper,” this season’s groundbreaking blockbuster, reached beyond the boundaries of most sci-fi films, with the bulk of it centering on the lead actor’s visage. Since Bruce Willis plays an older version of Gordon-Levitt’s character, director Rian Johnson wanted the young actor to appear more like the grizzled action star.

However, the film’s core stretches far beyond such perceived superficial oddities. “Looper” does not take itself too seriously in its handling of the tricky subject of time travel. Every element of the film has a purpose, and “Looper” is both elegantly crafted and uniquely practical, considering its genre. Presenting a more mature take on the sci-fi genre, the film is flashy without trying too hard.

The media culture is at a point where most art is inspired by — or a near replication of — earlier work. “Looper” breaks the mold, presenting a captivating film that is reminiscent of few other cinematic adventures. It does not insult the audience’s intelligence, choosing instead to be an example of science fiction at its best. Even those who have no interest in science fiction may be shocked by how “Looper” will engage them. It thrives on its ability to meld the best of multiple film genres, combining character study, mystery, suspense, action-adventure and science fiction into a compelling two hours.

Riddled with metaphors of self-control and centering on a man who sets out to kill all of his enemies, “Looper” is geared toward a more mature audience. The film weaves the common thread of love through every conflict, developing a strange yet beautiful sentiment without the associated clichés. Complemented by an all-star cast that includes Gordon-Levitt, Willis and Emily Blunt, the success of “Looper” hopefully means that science fiction will never be the same.

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ISABEL JONES

Orson Scott Card’s Hugo and Nebula Awardwinning 1985 novel “Ender’s Game” is finally hitting the silver screen next November after years in development hell. The tale about a boy groomed to become a military commander is an odd fit for Hollywood, with its analysis of human society, its dark moral complexities and its futuristic setting. Yet Card prevented the film from entering production for so long to ensure the story wouldn’t be viewed as simply another “Star Wars” ripoff. Now, Lionsgate ­— likely seeing the potential for a franchise in the book’s many sequels, prequels and side tales — is releasing the film via Summit Entertainment, a studio it acquired earlier this year.

Despite the studio being home to the “Twilight” saga, there is still much hope for a

true sci-fi film rather than another brainless action flick.

The sole caveat thus far is in the choice of Gavin Hood as director. Although Hood’s breakout hit “Tsotsi” won an Oscar for Best Foreign Language film, his introduction to Hollywood blockbuster filmmaking was the much-decried “X-Men Origins: Wolverine.” Regardless of that failure, the re-writes of the script by Hood and the team of Roberto Orci and Alex Kurtzman (co-writers of 2009’s “Star Trek”) are attracting some marquee talent.

For the main character of Ender, the filmmakers made the wise decision to cast Asa Butterfield, whose breakout performance in Martin Scorsese’s “Hugo” marked him as a talent to watch. Butterfield is surrounded by a strong group of child actors who play his classmates, among them Abigail Breslin (“Little Miss Sunshine”), Brandon Soo Hoo (“Tropic Thunder”) and Hailee Steinfeld (“True Grit”). Harrison Ford plays Colonel Graff, the head of Battle School, and Ben Kingsley, another “Hugo” cast member, appears in the second half of the film as Ender’s mentor — to say any more about his character would spoil one of the book’s greatest surprises.

Science fiction in film usually follows only interstellar battles, but “Ender’s Game” deconstructs this trope with its focus on the potential dehumanization of future military systems. If done right, the film could treat audiences to a new kind of space opera next year.

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J.R. HAMMERER

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V T N D O RRIE NCE A C AS CIE M H AR TH S EDIU FAIR WI LIKE ‘ST M C I F AN S T A S W ARTI E LOVE N. SHO TIVATED VE L NO T A O A U I H S S C N I P Y A A IO EV E’ PERH RE PASS HAS TEL HT ZON RS. TV M CI-FI IS S E O G V I T N L M O U I A L B I A .

JO, N TH THE ‘TW F SCI-F DNA O O I S T M FIC ND ON O URISTIC LED IN IT I A T ’ A TREK E GENER ITS FUT NTANG E R F ENTI SOME O NENTLY A LOST ILL PERM ST

nbc hit revolutionizes network television For the past few years, NBC has been the underdog of television networks. It frequently came in last in ratings and was known for its smart comedies that, despite critical acclaim and passionate fans, just couldn’t deliver ratings. Then J.J. Abrams’ “Revolution” premiered, and everything changed.

NBC is having its best season in years, drawing large audiences and often winning over the key 18-49 demographic.

The credit for this is largely given to the science fiction show “Revolution.”

Thanks to partially to the smart choice to air it directly after reality hit “The Voice,” millions of people are tuning in to the post-apocalyptic drama.

The show is largely based on its highconcept core: Fifteen years ago, all forms of power stopped working, and the world was plunged into a postapocalyptic free-for-all. Until now, viewers had been rejecting sci-fi shows with such detailed origin stories, as short-lived series like “V” and “FlashForward” demonstrate. But somehow, “Revolution” has thrived.

Quality alone cannot account for its success, as “Revolution” still has many issues. Tracy Spiridakos’ performance as main character Charlie needs some

work, as she often comes across as whiny and unlikeable. There are also some extraneous characters, with Charlie’s band of travelers at least one member too large and many overdeveloped, villainous characters. Then there is Charlie’s brother Danny, whose kidnapping is the impetus for the trek at the plot’s center. But from what we have seen so far, he is better off staying locked up with the militia.

Yet even with these flaws, the audience returns, with last week’s midseason finale even seeing a jump in the ratings. Billy Burke deserves some recognition for a great portrayal of former militia leader Miles, as his scenes are often riveting — though this may be because his scenes are often the most action-packed the show offers.

Out of all of the failed sci-fi shows in recent years, “Revolution” may be a success partly because, in spite of the high-concept backstory, it is still relatable. In a time of growing technological dependence, people are drawn to the idea of a world where it has all disappeared. We watch “Revolution” and wonder what we would do in such

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a situation. The same idea can be applied to the record-breaking success of AMC’s “The Walking Dead.” The world it presents is clearly removed from our own, but it is also scarily familiar.

But that is what good science fiction does. It presents a completely changed world, rendered almost unrecognizable by some futuristic force — but only almost. When successful, it lays

out threads for the audience to hold on to, reeling viewers into the world it creates. It needs some fine-tuning, but “Revolution” has made those threads strong enough and has created a world intriguing enough to bring viewers back to NBC.

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SAMANTHA RULLO

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Whedon brings blockbuster glitz to small screen Geeks around the nation rejoice — Joss Whedon is returning to the small screen with a new sci-fi television show set in the Marvel comic universe. After turning “The Avengers” into Marvel’s best superhero movie so far and one of the highest-grossing movies ever made, Whedon signed an exclusive contract with the Walt Disney Company, which owns Marvel and ABC. Shortly thereafter, news broke that over the next few months, Whedon would write and direct a TV adaptation centered around S.H.I.E.L.D, Marvel’s espionage and law enforcement agency that deals with superhumans. Eventually, ABC greenlit the production of a pilot episode involving Whedon’s brother Jed and sisterin-law Maurissa Tancharoen, as well as Jeffrey Bell and Jeph Loeb as co-executive producers.

The duo, who have most recently worked on the Starz show “Spartacus,” are known in the Whedonverse for their involvement with Whedon’s most recent TV show, “Dollhouse,” and the critically acclaimed Internet short series “Dr. Horrible’s Sing-Along Blog,” which has gathered a massive fan base over the last few years. In addition, they have also worked with Whedon unofficially on “The Avengers,” as he wrote in an open letter following the success of the movie.

As announced at New York Comic Con, “S.H.I.E.L.D” will feature agent Phil Coulson from the Marvel movies,

played by actor Clark Gregg.

Along with his team of agents, he will probably fight supernatural villains and deal with characters from the Marvel universe. The show’s main characters have all been cast with mostly unknown actors, including Ming-Na Wen, Elizabeth Henstridge, Iain De Caestecker and Brett Dalton.

Knowing Whedon, however, viewers are likely to encounter Whedon alumni like Amy Acker and Summer Glau should ABC pick up the show.

As of now, there is not enough known about the series to predict whether it is going to be next year’s big hit or just a big letdown. Judging from superheroes’ recent newfound popularity in the TV landscape, it’s likely ABC will pick up the show, especially after the network’s recent cancellations like “Last Resort” and “666 Park Ave.” As production is expected to start sometime between wrapping Marvel’s “Thor 2” and shooting “Captain America 2” in March, we should have

New kind of horror Experimentation on fx Bloggers who love to hate “American Horror Story” continually rail against its excessive fetishization of the horror genre. And they aren’t wrong — the second season has included exorcisms, devilish children, serial killers and the Angel of Death, all within the first seven episodes. But now the second season is moving in a new direction with a new genre: science fiction.

“American Horror Story: Asylum” is not the first time sci-fi and horror have gone hand-in-hand. ReCOURTESY OF 20TH CENTURY FOX TELEVISION cently, the 2012 film “Prometheus” attempted to combine the genres as well — albeit of their pastiche of genres — are unsuccessfully — with a mishmash of nothing we haven’t already seen. It brutal violence and alien life forms. is a very peculiar way of going about So why would “American Horror it, particularly because something Story” place alien abductions along- this intellectual might not be exside exorcisms if the point is not to pected from the provocateur behind tackle something new? Where does “Glee” and “The New Normal,” Ryan maniacal medical experimentation fit Murphy. But even among genuinely within the horror-infused realm of a smart shows, rarely is science fiction haunted mental asylum? The answer used to form a pop-cultural thesis. to both of these questions lies not More importantly, “Asylum” experiwithin the Wagnerian theatricality ments with what the sci-fi genre can of the show but rather in the show’s do. Alien pregnancies now tie into central concept: genre critique. demons and the like, and somehow it “American Horror Story” is, more works, lending a signature moody ator less, a puzzle of genre tropes, the mosphere to the show. Where sci-fi is pieces of which are recycled motifs. headed on the show will be dictated The show is all about how those only by where the genre of sci-fi is pieces come together. headed in general — sometimes, the Simply put, the show is not any only inspirations for genre works are less original than a film belonging to other genre works. those genre styles, and by adding scifi to the mix, it proposes that even films like “Prometheus” — films that — claim to be bold and unique because

ALEX GREENBERGER

COURTESY OF GAGE SKIDMORE

more information by the beginning of next year. Hopefully, “S.H.I.E.L.D” will be closer to Whedon’s hits like “Buffy” and “Firefly” than to his misses like “Dollhouse,” because a genius sci-fi Whedon show is sorely missing in the current television lineup.

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TOBIAS KEUNECKE

Fox favorite explores fringes of sci-fi When FOX canceled “Firefly” ten years ago, there was an uproar among science fiction fans everywhere. Created by Joss Whedon, father of “Buffy the Vampire Slayer” and its subsequent spin-off, “Angel,” the show was guaranteed cult status among his legions of fans. However, that did not seem to convince network executives of its staying power, and the series’ poor ratings translated to a quick demise.

Six years later, the J.J. Abrams-produced “Fringe” debuted on FOX. Like “Firefly,” the much-anticipated show was not the ratings darling the network hoped for.

However, it did attract what could be considered a niche audience. And this has made all the difference.

Not only have the network executives held off pressing the cancel button for four years, but they’ve also granted “Fringe” a fifth and final season consisting of just 13 episodes. This has allowed the series to wrap up all its story lines and prepare for a series finale, giving fans the closure “Firefly” was never able to.

Often likenedto“The XFiles,” the show follows FBI agent Olivia Dunham (Anna Torv of “The Pacific”) as she investigates a series of unexplained and often paranormal events with the help of civilian scientists and father-son duo Walter and Peter Bishop (John Noble of “The Lord of the Rings” and Joshua Jackson of “Dawson’s Creek”). The team forms the FBI’s Fringe Division as they use a combination of fringe science and investigative techniques to solve their cases, which mostly revolve around the discovery of a parallel universe.

Over the past four seasons,

the show has grown broader in scope, delving into mythology and exploring alternate timelines and parallel universes.

In doing so, it has garnered a lot of praise for its imaginative and highly detailed storylines along with high-quality special effects, making it one of the best-produced science fiction shows currently on the air.

Fans seem to recognize this, with “Fringe” television panels being a big hit at science fiction conventions all over the country. The show’s popularity with its audience, in addition to its growing complexity, has led to its translation into other media. Last September, DC comics released the first issue of the “Beyond the Fringe” comic series, which has become quite popular. There is also talk of a possible feature film in the future.

Fringe airs Fridays at 9 p.m. on FOX. The series will conclude with a two-hour finale on Jan. 18, 2013.

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NIVEA SERRAO

COURTESY OF WARNER BROS. ENTERTAINMENT INC.

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S K O O B D N A R E T A E H T TS FORMA E TWO INATION R A R AG HEATE CE’S IM INK, AND T AUDIEN ARTIST’S. TH TURE E A H R T E IT N L E O SEE H D T U N O N E Y EP H AS O SHIPS, THAT C THAT D U E M TH RE CE T AS OF SPA UD LASERS IN EASON ALMOS K L A T O R PR WE IS WHEN FOR TH G THEIR NCE PRINTIN . MAYBE IT IS IXED EXPERIE M E H T N M O A O .

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Digital age must not abandon pen, paper In this tech-savvy day and age, we might as well be living in the world described by last century’s science fiction novels. Our lives have been streamlined, automated and electrified. And, whether we like it or not, the old days of analog technology will never return.

With newspapers and magazines moving online, it seemed for a time that hard copies of books were the last stand of the print medium. Now, even that spine-and-cover bulwark has been converted to the electronic medium.

In the past century, there have been innumerable mechanical innovations — most notably the invention of the personal computer and the Internet. And while many such projects are now necessary to the modern lifestyle, this does not mean that we should abandon any links to our technologically limited past.

In November of 2007, Amazon launched a new product: the Kindle e-reader, a handheld electronic device capable of storing and displaying any kind of published written material. The Kindle’s vast catalogue includes novels, periodicals and even blogs.

Reasonably priced, eco-friendly and undeniably convenient, this nifty e-reader appeals to an vast demographic. However, we must consider the possibility that these new gadgets simply entrench us further in the tech-heavy futuristic society predicted by sci-fi writers of the past.

Spoken language has been the foundation of human society since the emergence of man himself.

With the emergence of alphabets and, later on, the printing press, literacy easily tops the list of most important human traits.

But the scholastic traditions of reading and writing have evolved over time — in 2012, the average college student might not even pick up a printed book in a full day of school. We can get our readings online — or on our Kindles and iPads — so

For a city that is supposed to have everything, New Yo sometimes fall the teeniest bit short. The theater scene of the world’s best, but when it comes to science fiction York fails to deliver.

Broadway has “Spider-Man: Turn Off the Dark” playing Foxwood Theater, but even if comic book adaptations as sci-fi, the Spider-Man musical is hardly a triumph genre; the show is mostly famous for its injured actors a astronomical production costs.

The Lucille Lortel Theater recently presented “Carrie,” sical adaptation of Stephen King’s novel of the same The show was an improvement on its previous productio that was a low bar to reach — when “Carrie” opened on way in 1988, audience members booed the opening num ran five performances.

Straight theater companies have also steered away sci-fi. The Flux Theater Ensemble attempted science f with its “Deinde” last spring but delivered instead a lon preachy disaster of a production.

New York’s ambitious actors, directors, and playw seem to avoid even attempting the genre. Maybe they something the rest of us have not yet realized — that sci is not meant for theater.

Great science fiction has always moved beyond its s roots into human stories of politics and the heart.

Verne’s stories are now so antiquated that it is easy to they were once futuristic. But the novels still make for ing adventures.

“Battlestar Galactica” featured humans in spaceships w war on robots, but viewers knew the show was essentially human rights and terrorism. These themes were so relevan the United Nations even invited the actors to sit on a pane

Fantasy literatu crucial as society advanc

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why should we lug around a backpack full of paperbacks when we can access the books’ text while chatting with friends through an altogether different sort of book?

In reality, tangible paper books are better than their electronic counterparts because they are more effective. E-readers only serve to simplify and perhaps trivialize the experience of reading. One learns better, and in a more rewarding way, from picking up a canvas-bound volume than by simply pressing a button on one’s Kindle to switch windows from a game of solitaire.

When they invent that ultimate sci-fi gizmo, the time machine, perhaps some devoted readers will simply use it to re-live a time spent flipping through the real-life pages of a favorite novel.

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New York theate offers no space for sci-fi

CLIO MCCONNELL

Just a few years ago, the written word took on the form of digital text, and wireless communication became the invisible icon of our generation.

What was once a fantastical daydream of seamless international connection now sits comfortably in our pockets, frequently blamed for our dwindling attention spans.

Today the stuff of science fiction is inherent in daily routines. From the buzzing plea that wakes us to the flickering screens that entertain and lull us back to sleep, our everyday lives are monitored by monitors.

With all this in mind, is there still a demand for books about science fiction? Why read a novel about a speculative fantasy that, for all intents and purposes, is now reality, already packaged and stocked on shelves?

As with any genre of literature, the science fiction novel has evolved over time. Some things, however, remain constant: The best writers can integrate a universal theme in any story so every reader can forge a connection with the chosen protagonist. Most science fiction readers are drawn to and relate with the potent struggles of the characters.

One of the most popular science fiction authors today is Stephanie Meyer, best

known for the series and who more mature with her sci-fi Host.” Whether like Meyer’s wo el has connecte less readers wit of control, perso social pressure These topics m novel’s relevan a world in whi aliens are not human minds.

At the same ence-fiction presents stran alities to be e innovation of something tha explorers, eve only a pair of Aside from p fantastical wo reader unscat genre offers a ative thought uitous giant p were describ “Fahrenheit 4 serve as a com

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‘Matilda’ adaptation brings childhood magic to stage

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“Battlestar Galactica” could afford the extra baggage of costumes, special effects and intricate backstory, but theater is an inherently minimalist art form. Actors fly onstage in “Spider-Man,” but the effect is not as convincing as it would be on the screen.

Theater companies, especially ones with small budgets, rely on their audience’s imaginations to produce even the simplest of settings and special effects. Whizzing planets and aliens tax the imagination, so playwrights know not to include them unless they are absolutely essential to the show’s story. But the great thing about sci-fi is that the sci-fi itself is never the essential part.

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LEORA ROSENBERG

COURTESY OF BALLANTINE BOOKS

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innovations that propelled our current technological era began, like all the most popular science-fiction novels, as mere ideas.

Science-fiction literature, therefore, remains relevant to our generation and will continue to proliferate and welcome new readership. For a generation brimming with creative talent and the tools to create new wonders, there should be no limitations placed on the innovations to come.

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TALI KUHEL

With her advanced intelligence, a child outwits an evil headmaster and earns back the inheritance owed to her beloved teacher. With a fairly basic premise, “Matilda: the Musical” is preparing to bring a more character-driven form of science fiction to Broadway this March.

No monsters are created, no science experiments go horribly wrong and no one travels to space. However, considering Matilda’s telekinetic abilities, “Matilda the Musical” can certainly be considered science fiction theater.

“Matilda” tells the story of Matilda Wormwood, a young girl with special powers, who is trapped in an oppressive environment by her dim-witted parents and wicked principal, Miss Trunchbull. Through her interactions with her devoted teacher, Miss Honey, Matilda discovers a crucially specific talent: telekinesis.

This precocious little girl first appeared in Roald Dahl’s classic 1988 book “Matilda.” Eight years later, young Mara Wilson played the character in the movie version, directed by — and co-starring — Danny DeVito. On Nov. 22, 2011 “Matilda” stepped onstage at the Cambridge Theater in London’s West End. Now, “Matilda” is moving to Broadway with previews scheduled to begin on March 4, 2013.

The audience is able to witness these effects not only through the reactions of the characters involved, but also through the actual demonstration of her abilities.

The special effects featured in this production are

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neither as grand as the chandelier falling on the audience of “Phantom of the Opera,” nor as quirky as those in “Mary Poppins,” when Mary pulls an entire showroom of furniture out of her bag. However, the effects necessary to showcase Matilda’s special talent still mesmerize the audience.

Although “Matilda: the Musical” has a youth-oriented storyline, the production can still be enjoyed by audiences of all ages. With a script by Dennis Kelly and music and lyrics by Tim Minchin, “Matilda: the Musical” received seven Olivier awards and is still playing to full houses on the West End. The Engle family of Madison, Wis., who viewed the production in London, very much enjoyed the effects the production featured. “One of the best magical elements … was when Matilda [used] her powers to write on the chalkboard,” said Julian Engle. She also said that her family “had an interesting time thinking about what machines were used to make that happen.”

At what seems like long last, youthful science fiction has found its niche in theater through “Matilda: the Musical.”

“Matilda: the Musical” opens April 11, 2013 at the Shubert Theater, 225 W. 44th St. For tickets and more information, see matildathemusical.com.

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ALYSSA DVORAK

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WASHINGTON SQUARE NEWS | THURSDAY, DECEMBER 6, 2012 | NYUNEWS.COM

AT T TH E, BU FROM C A P IC NS ND I IC MUS ND SOU G LA IVE ST I O N R I N U N T E E T T U A B S F V I Y L NO E MA VENTED N THE O IN AY NOT T O S THER RE E P ’T ARK DITI C M ARHASN G ITS M PACE OD , MUSI LY AS N Y S I A N S I T H W K T R I EA OM MA ITS SM AS H L ROCK E. FR UNE .

M E L H SCAP ONIC T D SCI-FI STI OF T R N E T T A C C S C E A E R B IT EL EMB THE BUT WITH HAVE MEDIA, E R U E V FUT RATI THE INTO

producer blends futuristic sounds with classic rhythm

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Already known for his stage name’s psychedelic influence — derived from Pink Floyd concert posters — Derek Vincent Smith, a.k.a. Pretty Lights, combines experimental soul and hip-hop samples with a heavy dose of science fiction and synth.

With songs such as “Out of Time” and “Still Rockin” from the albums “Glowing In The Darkest Night” and “Making Up A Changing Mind,” respectively, Pretty Lights takes listeners on a ride akin to traveling through space in a 1971 Coupe de Ville with the top down.

As he includes both a flashback to some great funk grooves and a leap into more futuristic beats, Pretty Lights displays the mysteries of science fiction through his music, as well as through his album artwork. Artist Dan McPharlin has crafted the artwork for three of his albums, including the two previously mentioned works as well as “Spilling Over Every Side.”

The large space landscapes depicted on these albums are filled with imagery ranging from a triple moon to elaborate machinery. The album titles are placed at the top of the art in a simple font in order to visibly demonstrate the contrast between high concept and minimalism with which each track is built.

Pretty Lights will be playing at the Roseland Ballroom on Dec. 30 and 31. The holidays are right around the corner, and if you want to usher in the New Year with some killer sounds and an even better light show, then Pretty Lights is not to be missed.

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DANIA DURAN

Predicting the sound of star wars episode V11 Now that “Star Wars” is in the hands of Disney, it’s time to part ways with the great John Williams score and adopt a more modern soundtrack format. With this in mind, WSN presents a prospective soundtrack to “Star Wars Episode VII,” comprising 2012’s best songs. Additionally, because no one has the slightest clue what the story of the next Star Wars movie will be, we have created one.

“WHEN NO ONE’S WATCHING” — Craig Finn The title of Craig Finn’s debut solo album, “Clear Heart Full Eyes,” plays off the slogan from the television show “Friday Night Lights.” Finn denied that the album shared any relation to “FNL” outside of the title, but “When No One’s Watching” certainly reflects the show’s sensitive bad boy, Tim Riggins, played by “John Carter” star Taylor Kitsch. Though “John Carter” failed spectacularly at the box office, Hollywood could give Kitsch another chance as Tim Riggins Skywalker, Luke’s rebellious, womanizing son who fails to heed his father’s Jedi teachings until he realizes he must avenge the death of his father.

“THE GRAVEDIGGER’S SONG” — The Mark Lanegan Band Mark Lanegan could sing about daisies and rainbows and his voice would still sound like pure evil, and “pure evil” is a good way to describe our villain in Episode VII. A student in Luke’s Jedi training program, he finds himself overtaken by the Dark Side, rises up against his teacher and kills him. This is when TR drops the rebellious attitude and goes out to avenge his father’s death.

“DYING CRAPSHOOTER’S BLUES” — Two Gallants The last time we saw Han Solo, he was happily together with Princess Leia. However, our favorite scruffy nerfherder can’t be tamed, and saying “I know” in response to “I love you” probably is not as suave the second time around, especially with liquor on your breath and gambling debts piling up. “Dying Crapshooter’s Blues” is a song about a gambling man’s unrequited love for a woman, and it features a guitar riff that is just plain dirty.

“FREEDOM AT 21” — Jack White When Jack White sings “Two black gadgets in her hands/That’s all she thinks about,” he is probably referring to cell phones and tablets.

Replace those with two blasters, and you’ve got the perfect femme fatale to go toe-to-toe with TR. Hopefully this time around, the writers can create a romance for a Skywalker that is age-appropriate and does not have creepy undertones of incest.

“HOUSE OF BALLOONS/GLASS TABLE GIRLS” — The Weeknd While on his father’s home planet of Tatooine, TR makes a stop at the Mos Eisley Cantina, where a hip DJ has replaced the happy and upbeat house cantina band. The Weeknd’s dark, psychedelic R&B pumps through the speakers of the revamped cantina. It’ll be like that dance scene in “The Matrix Reloaded,” except a lot less lame.

“BEEN AWAY FOR TOO LONG” — Soundgarden Guess who’s back? It’s Boba Fett! How did he come back from the dead? Who cares! It’s Boba freaking Fett! The return of the coolest character in the Star Wars universe should be set to Soundgarden’s triumphant opening track from their way-better-than-it-should-be reunion album.

“KASHMIR (LIVE)” — Led Zeppelin You want an epic final battle? Then you need the song that puts “epic” on the map. The live version of “Kashmir,” released this year as part of the live recording of Led Zeppelin’s reunion performance five years ago, will roar as TR picks up a lightsaber to fight his father’s murderer. He will defeat his enemy, and realize his destiny as a Jedi warrior. But don’t worry, TR Skywalker will be back for Star Wars: Episode VIII. In the words of Robert Plant, “All will be revealed.”

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JOSHUA JOHNSON

NYUNEWS.COM | THURSDAY, DECEMBER 6, 2012 | WASHINGTON SQUARE NEWS

Chicago rockers take listeners on inter-galactic ride Finding a way to flawlessly mix science fiction and music is no easy feat.

But then again, rock band I Fight Dragons is no stranger to tackling unique challenges. When these Chicago natives aren’t busy battling reptilian beasts, they are touring the country with their quirky blend of chiptune and pop-rock music, even incorporating specially modified classic Nintendo controllers into their live show.

Last year, the band released its first full-length album, the enthusiastically titled “KABOOM!” They followed it up earlier this year with a music video for their song “Save World, Get Girl.” The video spoofs old-school science-fiction movies and TV shows.

Set in A.D. 2023, the visual companion to “Save World, Get Girl” features I Fight Dragons as the crew of a spaceship, demonstrating that they know how to deal with more than just dragons.

Our heroes narrowly escape a hoard of enemy ships only to land on an alien planet. There, they meet a unicorn-octopus hybrid, a man with psychic powers and a cyclops, all of which they must defeat in time to

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save the world’s green-skinned alien beauties. And as if such an adventure would not suffice, they must return to their ship to defend it from invaders before it’s a game over for everyone.

Thankfully, the band brings along Space Buddy, a friendly, rhinocerosheaded extraterrestrial, to help save the day in this bizarre yet endearing sci-fi-inspired music video.

Read our interview with I Fight Dragons on WSN’s arts blog, The Highlighter.

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BECKY KOVACH

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