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Lies and I now hate you for making me go down that awful rabbit hole of looking up steampunk on Wikipedia. :wink:


I always thought The Wild, Wild West TV series was kind of steampunk. I loved watching reruns of the series as a teenager but avoided the Will Smith movie like the plague.


Branagh is delightful in it.


I think that loads of the big blockbusters these days would look better if they were fully animated rather than live action.
I guess it is just part of animation’s perception problem in the west. Viewing it as a medium for children only.


The Incredibles 2 just made $1.2 billion.

Animation wouldn’t help this movie. The very concept is flawed. It’s like a joke idea.


Steampunk works super well, but SUPER well in videogames though… which is why I like it, basically.


Steampunk is a big genre with millions of fans, but it’s not gone mainstream like Star Trek or Star Wars or even like zombies.

Maybe people have a problem with scifi that’s not electrical, or post-electrical?


Nah I think it’s because steampunk’s more of a visual thing… I mean, you can do any type of story within it, horror, drama, comedy, etc… so it’ll really depend on the story I suppose… The story on Mortal Engines looks like it’s gonna be a very bland unoriginal fantasy story, so… =/


What, Bono couldn’t have gotten Apple to give $50m to his daughter’s movie? They could have put it into everyone’s iTunes!


About the only great Steampunk anything.




Under his previous contract, Iger would collect half of these shares if Disney delivered a performance equal to 25% of the companies in the S&P 500 Index; with more shares awarded as the company hit other, higher milestones. Under the revised employment agreement, Iger would receive fewer shares than originally called for if the company fails to exceed the performance of 60.5% of the S&P 500.


Bryan Talbot’s Luther Arkwright stuff holds all the hallmarks of steampunk back in the 1970s. They just hadn’t named it then.


Right, I keep forgetting how far back that stuff goes!

Ever only read “Heart of Empire” and never the original series; thanks to this reminder, I’ll rectify that immediately (the Kindle version is very affordable indeed).


I always saw Luther Arkwright as more of a Moorcock/Jerry Cornelius pastiche. Of course, Moorcock could easily be said to be one of the early influencers on the genre.

It is interesting how genres usually exist for a while before they get a name.

William Gibson and John Shirley were writing cyberpunk fiction in the 70s before it was a given a name and a genre. And you can even trace it back even further to guys like Ballard.

Or heavy metal music. The genre arguably started with Black Sabbath (and Deep Purple and Led Zeppelin) in the early 70s, and I don’t think anyone really knows how the name got applied to that type of music, but by the early 80s everyone knew what heavy metal was.

Or “grunge” music. I remember when bands like Nirvana and Soundgarden were heavy metal bands and featured on MTV’s Headbangers Ball. I was even listening to Soundgarden in the late 80s when they were just another band from Seattle’s eclectic, proggy metal scene like Metal Church or Queensryche.


I wouldn’t disagree on the Moorcock/Cornelius link at all but regardless the Victorian steam powered tech stuff is all there. I don’t know Moorcock’s work well enough to know how much came from him but either way, yes it predates the genre being named by a good 20 years or more.
(It is also in the Nemesis work he did with Pat Mills in the early 80s)


Absolutely. Genres are usually established later on to describe something writers have been doing for a while; it’s a very seldom thing that a group of writers deliberately decides on something (and names it). Cyberpunk is probably pretty close in a way, because some of the writers used the expression themselves and had a common idea of what the genre should be - Sterling especially tried to give it form.


John Kay named the genre “heavy metal” in a line in “Magic Carpet Ride”.


Fox Film Producer Kira Goldberg Headed to Netflix

20th Century Fox Film producer Kira Goldberg is departing the West Los Angeles lot leading up to Disney’s upcoming takeover of the studio.

Goldberg, who has a long-standing relationship with departing Fox Film CEO Stacey Snider, is moving to a production role in Netflix’s original film group, two individuals familiar with the transition told Variety. She will report to Tendo Nagenda, who departed Walt Disney Studios for the streaming monolith in August. The film division is run by Scott Stuber.

At Fox, Goldberg worked on event films that galvanized audiences without known IP. She was known as an early champion of the studio’s runaway sleeper “The Greatest Showman,” starring Hugh Jackman and Michelle Williams, an original conceit that nabbed more than $430 million at the worldwide box office. She also counts titles like “Bohemian Rhapsody,” “The Post,” and “Miss Peregrine’s Home for Peculiar Children” to her credits.

Goldberg also had a hand in Steven Spielberg’s upcoming “West Side Story” reboot, which is currently in pre-production. Fox and Netflix had no immediate comment.

Prior to Fox, Goldberg worked at DreamWorks, a job Snider recruited her for. She began her career with film and TV producer Mark Johnson (“Better Call Saul” and “Downsizing”).

The Disney/Fox deal means a lot of people are considering where they should be?