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February 1, 2021 Share
About a hundred years ago, in the village of Petrovichi near the Russian-Belarusian border, a baby was born in the Jewish family of Azimovs. The parents named their son Isaac. The exact date of his birth is unknown; it was sometime between October 1919 and early 1920. Nevertheless, the family, which arrived on RMS Baltic from the newborn Soviet Russia to New York on February 3, 1923, gave as the official birthday of the eldest of their three children January 2, 1920 and altered “z” for “s” in his name. Isaac Asimov later became so famous that he is known all over the world.
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Blumhouse Productions’ 2017 Halloween offering has a pretty unbeatable premise:
Groundhog Day crossed with a slasher film, in which co-ed Tree (short for Theresa) is endlessly chased and killed by a psycho with a knife wearing a nightmare-fodder cartoon baby mask on her birthday. Every time she gets murdered, she wakes up on her birthday again.
Happy Death Day refreshes the time loop premise by making the archetype who would usually bite the dust early in the movie that is, the clueless sorority girl self-aware and active in her own fate; as she retains memories of the previous days, she’s able to begin anticipating the killer’s approach to try and evade her own murder. As Tree learns to pay attention to her sorority sisters and the sweet underclassman trying to help her stay alive, as she investigates red herrings and reconciles with estranged family on what is already an emotional bulldozer of a day, she slowly transforms herself into a Final Girl.
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The Best of Walter Jon Williams, Walter Jon Williams (Subterranean 978-1645240020, $45.00, 610pp, hc). Cover by Lee Moyer. February 2020.
Exactly 30 years ago, this column’s lede was “Walter Jon Williams is an interestingly various writer….” The intervening decades have given me no reason to alter that opinion, variations on which I have been repeating just about every time I write about a Williams title. So why should I break the chain now? In 1991, when I drafted that review (of
Days of Atonement), Williams had published seven SF novels and a collection of shorter work and was already a fully formed professional with a range stretching from the cyberpunkish and space-operatic, to alien encounters, to crime-caper/comedy-of-manners mashups. (Not counting five historical-nautical adventures as Jon Williams.) Since then, his output has expanded to encompass fantasies, disaster epics, alternate histories, pocket universes, near-future technothrillers, and less-easil
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