#angelina meehan

[nofatclips]

Youtube version of The Ballad of John and Yoko by Lindsay Ellis. Uncensored version on Nebula.

[vapaus-ystavyys-tasaarvo]

I WANT TO HEAR ABOUT IT , share share :D

..I am def. not gonna listen to it , both because I find that format impossible to process,and because in general I avoid people talking about Les Mis because it almost always gets frustrating XD but I want to know what happened!

@pilferingapples Okay it was very long so I actually might need to listen to it again to recap it lmao

Okay so for context to those who might not know, Musicalsplaining is a podcast created by Lindsay Ellis and Kaveh Taherian, and currently hosted by Kaveh Taherian and Angelina Meehan, but Lindsay comes back on the show as a guest from time to time. (There are also other guests who show up occasionally, usually their friends who happen to really like a particular show and want to be there to talk about it)

Kaveh is a self-proclaimed musical-hater and Lindsay and Angelina are huge fans of musicals. Each episode they go see a musical and try to convince Kaveh to enjoy it by explaining why they like it.

Well that's what it's pitched as, but in practice sometimes Angelina (or Lindsay) doesn't end up liking that particular show either

Anyway, the Les Mis episode has been a long time coming but they were finally able to go see it live:

- Lindsay says there's no pro-shots, not sure if she just meant no pro-shots in English or if she doesn't know there are ones in other languages

- explains the concert recordings and says that to be fair the actual show is basically people standing in costume and singing directly at the audience anyway

- mentions the "how long, oh Lord, before you let me die" guy in the first song and says it made her think of how Kaveh will feel while watching it (Kaveh agrees and Angelina says that guy is gonna be Kaveh's favourite character)

- Lindsay and Angelina got into Les Mis right around the time they met (tho they met through Phantom)

- Lindsay's version was the symphonic recording and Angelica's was the original London cast

- they talk about all the stuff that got cut and how lucky Kaveh is that they're not watching the original 3-hour version (and also that he's not seeing it with Lindsay in person because she knows ALL the songs by heart)

- they talk about the South Park movie re: One Day More

- Kaveh dreads all the people singing over each other, Angelina assures him that there's definitely none of that in Les Mis, nobody EVER sings over each other at the same time and there are no big group numbers. Kaveh asks if he should just bring noise-cancelling headphones in case he has a meltdown

- they talk about how it takes place between 1815 and 1832 and has a million characters, contrast it with The Great Comet which is based on a similarly giant book but focuses on a smaller part of the story

- "It's a stunningly faithful adaptation. It's probably the most faithful adaptation I've seen; I've seen most of them because when I was in my Les Mis phase I rented every single movie, including the French one from 1931 one and the weird one from the 90s" - Lindsay

- Angelina mentions the Depardieu one (2000), Lindsay mentions the one placed during WWII (1995)

- Angelina and Lindsay have both read the book but that was in highschool.

- Lindsay and Angelina did a video about the novel for PBS (It's Lit) a little while back when the Andrew Davies version came out but they didn't reread it for that video apparently (it had "the guy from the Wire" whose name they forgot). They thought the miniseries was pretty good but not memorable

- Kaveh has read the Myriel chapters in French for French class ("I remember reading up until the part where the priest goes you stole my plates but it's cool, it was actually a gift, and here's more plates")

- Victor Hugo's conflicted feelings about the Catholic church

- Kaveh finally reads the intro ("but what kind of bread was it?" "It was a nice ciabatta" breadstick from Olive Garden")

- "the bishop needed a tax deduction" - Lindsay about the candlesticks

- "'The bishop then tells Valjean he has purchased his soul for God--' oh geez! I didn't know they could do that!" - Kaveh

- talking about Valjean's struggles as an ex-convict: "this book is not timely at all" - Lindsay

- Kaveh still reading Angelina's summary: "and was that synopsis really only the first 15 minutes of the plot?"

- "I feel like you're gonna be like 'okay it's almost over' and then it goes on, and then 'okay it's almost over' and it just keeps going"

- they tell Kaveh about that one Forbidden Broadway song about the plot of Les Mis (tbh I never really found that one particularly funny, but I guess I'm just too much of a Brick nerds to be bothered with the plot being too elaborate)

- "Ultimately if it can be said to have a central plot, it's the cat-and-mouse between Javert and Valjean" - Lindsay

- Lindsay says it would be very cruel to force the other two to watch the Hooper film but that it will be challenging not to spend most of the second half of the podcast ranting about it (unbeknownst to Lindsay, Kaveh and Angelina had already agreed to watch it anyway)

- Lindsay starts ranting about the Hooper movie already anyway, about Russell Crowe and about the live singing and the "realistic" aesthetic, doings songs in one shot, extreme close ups, Anne Hathaway's Oscar after putting herself through hell, Hooper not understanding the medium, etc. So she reminds Kaveh that when he goes to see it live, it could be worse. Angelina points out it did give us great gifs tho

- tangent about Hooper's Cats (Angelina would rather watch Cats again than Les Mis)

- according to Angelica Les Mis is the biggest megamusical out of all the 80s megamusicals "and the effect that it had on millennial theatre kids is stil being measured by sociologists"

- it was Lindsay's first Broadway show ever when she saw it in 2002 and that was the only time she actually saw it live (it was also the first time she met Nella (idk if anyone reading this knows Nella or cares about Nella but I care about Nella))

- Angelina explains about the different productions, I don't think Kaveh managed to follow any of that though. Lindsay is curious about how the new production is going to work without the turntable, especially the barricade. Angelina likes it, despite the fact that it's directed by the guy who directed Bad Cinderella

- Lindsay once again complains about the movie and how the realism of the narrow streets makes the barricade look less impressive. Explains that this uprising was actually why Paris has those big boulevards now (she's simplifying a bit and ignoring the other uprisings but I guess I'm still glad she brought up Haussmannization lmao)

- "and that's why we have the Champs-Élysées! Thanks, revolution.... failures" (it's not why we have the Champs-Élysées, but I'm nitpicking now lol)

- Kaveh almost says "let's go see Bad Les Misérables" and Lindsay points out that since Les Mis is public domain, ALW could totally make a Bad Cinderella version of Les Mis if he wanted, and Bad Hunchback and Bad The Man Who Smiles etc.

(They go see the show and come back)

- Lindsay's showing was cancelled due to fire so the recording got delayed

- Kaveh had a bad time but he didn't have time to elaborate because Lindsay was busy explaining the fire

- they joke about the fire possibly being sabotage by some anti-Les-Mis person and Angelina jokes about it being Kaveh to which he says he would not bother to go there a second time even to sabotage it

- Lindsay found out that Kaveh and Angelina also "went to Hooper town"

- "Les Mis is functionally the story of a failed revolution that happened in 1832... but it also has a prologue that's about an hour long" - Lindsay

- calls the revolution "the actual plot"

- Kaveh thought it was gonna be the 1789 revolution, Lindsay and Angelina talk about all the many different revolutions

- Lindsay says that even the costume department on the Hooper film got it wrong because apparently in the DVD extras someone there said they thought it was the 1848 revolution, to which Lindsay jokes that that's why the costumes were bad (I'm not a historical fashion guy but from what I understand the costumes in the Hooper film were actually fine? idk)

- Lindsay thinks that the June Rebellion was what got the original publication of the Hunchback pushed, idk if this is true, but her point is that it affected Hugo personally. She also says the novel is basically Hugo's LotR and Kaveh goes "how dare you!" But then he corrects himself and says he doesn't actually have anything against the book, he was thinking of the musical

- "Your opinions are valid and also wrong" - Lindsay on how the rest of the podcast is going to be about how wrong Kaveh is about Les Mis (the musical)

- Lindsay doesn't know why she hasn't gone to see it in 21 years, which surprised Kaveh since he knows how much Lindsay loves it

- Lindsay notes that the new version has more humour and they turn Marius and Cosette's meeting into a "Romeo and Juliet thing" in that they're both awkward teenager and it's cute and she thought it was cleer because normally they're boring af

- Angelina points out the Thénardiers getting more focus as comic relief audience favourites, but Lindsay notes that they also cut the Waterloo stuff

- Lindsay hates that they cut lines rather than full songs, she feels like if they're gonna cut individual lines they might as well just cut the whole song (this is particularly about Turning, she likes the song but she feels like they might as well have cut it entirely because it doesn't work as well. Angelina was also super bummed out about them shortening Turning because it's one of her favourites. They talk a bit about how it's about the value and devaluation of human life which Lindsa says is a theme of the show.)

- Kaveh asks if they thought this version was a good one overall and they both immediately say yes and Lindsay talks about how she cried even at parts that she usually doesn't, like ECAET which usually does nothing for her (they talk about the staging with the candles and how it worked for Lindsay)

- tangent about people crying in the audience

- Angelina even cried during Stars which she usually never does

- tangent about all straight theatre men loving Stars and Javert and how they all hate the system but also kinda wanna be cops

- Kaveh says it doesn't apply to him because he's not a theatre man. They ask him if he liked Javert and he says no, fuck off! And that Javert is just terrible at his job

- they all make fun of Javert for getting caught by a kid

- they talk about how this production didn't do the cockney accents and Lindsay wanted them to replace it with some different American accent instead, like Texan or Boston (they joke about Mid-Western Thénardiers for a bit)

- talking about cockney accents as a shorthand for poverty and general accent localisation stuff

- they finally ask Kaveh what he thought about the show and he says it's actually hard to talk about it because it's based on such a famous piece of literature, because he found the story, the characters and the setting interesting, but he hated the recitative and he was also about to say what else he hated (my guess is that it's the overlapping singing) but the others were so impressed with him learning the word recitative that they interrupted him lol. He says that he doesn't think it's necessarily bad, it's just not for him

- Lindsay talks again about how this is one of the most faithful adaptations and lists a bunch of the ones she's seen. Kaveh vaguely remembers the Liam Neeson one. Lindsay says that it always struck her how they weren't as faithful as the musical and she thinks the new Andrew Davies one was the best one so far.

- Angelina also enjoyed the Andrew Davies one a lot, she also mentions the "Uma Thurman one" and its ending

- Lindsay talks about how in a musical you can condence the story more effectively. She explains that the other adaptations have to cut things out not so much because they don't have time but because a normal movie needs the scenes to have room to breathe, but in a musical you can establish things through song and still convey the tone effectively

- they talk about the title cards being cut from this production and segue into Angelina explaining how this production has developed (since she saw it in 2018) and how back then it was still working on how to make the new interpretations work

- Lindsay was impressed with how balanced the tone was, even if it didn't work for Kaveh

- Kaveh says he's wondering about the show's original context in New York in the 80s. Lindsay corrects him that it's a French show. Kaveh clarifies that he means he's wondering how the show became such a phenomenon in the US in that era, that even he heard about it as a kid, and he's confused as to why like New York yuppies in the 80s would like a show like this that's obviously criticising people like them and he wonders if it's some sort of "we hate the government" reaganism or something

- Lindsay brings up how the novel got this too, and how she recently found out that Les Mis was popular among the confederates and how there was a whole censored edition called Lee's Miserables specifically for them (we've obviously talked about this before over here) so they get into all the stuff about why the book appeals to people who obviously must know that it wasn't written for them etc. The failed rebellion etc.

- Angelina talks about the shitty mean girls in her Catholic highschool loving the shoe because they saw themselves in Éponine

- Lindsay says a lot of the songs are about personal feelings and not really about being poor ("well some of them are but not the ones the mean girls are gonna get into")

- Angelina compares this to men going to see the show to hear Stars and taking it as a song about belief in a bigger truth and don't think about how Javert is a cop who is harassing a man who doesn't deserve to go back to prison

- Lindsay says that to be fair to teenagers, you can't expect them to relate to the bigger themes. In fact most people are going to focus on the personal stories

- tangent about how kids don't understand Public Enemy because they don't understand the concept of being angry at a system rather than a specific person

- Kaveh still finds the cross-political appeal of the musical wild

- Lindsay thinks you can't really fully even get the political messages even as an adult until you learn more about Hugo's life and how his political views developed

- Angelina talks about how religious adults probably see it as a story about putting your faith in God even when you're miserable, as Valjean ultimately does

- Lindsay talks about how any political group can see themselves in the failed revolutionaries ("lost cause")

- she says we don't give the musical enough credit for how timely it remains, especially in the way prisoners are treated (they talk about the fucked up justice system in the US and how it's worse than what France has now, altho France is also not great, and how she used to think Les Mis was ridiculous about the whole 19 years for stealing bread thing but knows now that shit like that happens all the time)

- Lindsay mentions a podcast called "ear hustle" (I think) where one of the hosts was actually a prisoner

- It's interesting how clear the musical and the book are about this and yet people can just ignore it if their politics aren't already there

- Lindsay suggests that the thinking is that this is about a "before time" (man I wish someone was there to bring up the Dallas Theater Center version at this point but sadly no, I don't think Lindsay and Angelina know about it) despite the fact that it ends with a call to action

- Angelina talks about how the Fantine stuff hits different now that she's a mother herself and about how harsh the world still is to single moms, and mentions friends she knows who do sex work online to pay the bills

- Lindsay points out Hugo's condemnation of the treatment of women and the judgmental attitudes and how it's now more relevant in the US than it is in France

- She also explains the nettle thing from the novel and she somehow connects it to the abortion discourse and how people force the baby to be born only to then judge it when it grows in a bad environment and throw it into prison

- She talks about how Hugo knew future people fighting for justice would see themselves in his book

- Kaveh points out that they're still talking about Hugo and the novel, not the musical

- Lindsay admits that the musical makes it easier to gloss over Hugo's intent, even though she thinks the intent is still very clear, but you have to know what his intent is first

- She also mentions that people get introduced to the show "in pieces" like she first heard Master of the House and Lovely Ladies when she was 12-13

- Kaveh asks whether they think it's a good thing that people can get different things out of it

- Angelina doesn't directly answer him but says that the musical still brings people to the book

- Lindsay talks about the stuff that got cut from the musical and how the bulk of the actual important stuff is still there

- she sees all the adaptations as complementary, unlike with Phantom adaptations

- she explains the 1995 version (the WWII version)

- she says she finds it hard to stick to talking about just one version when it's Les Mis, and mentions how Hugo was also really interested in adaptations of his work

- tangent about the Notre-Dame de Paris musical

- Lindsay asks what Kaveh thought about the Hooper version: he was confused, especially since he liked King's Speech which he thought was well directed

- It reminded Lindsay of WWII movies like The Pianist

- more talk about the singing, blah blah, Anne Hathaway Oscar etc. Javert's jump, the sewers looking goofy, nothing super interesting

- Lindsay thought this production had a good cast, they talk a bit about the specifics, I don't really care

- Kaveh mentions how they used something that looked like a Delacroix painting in the staging, and Lindsay and Angelina immediately inform him that those were Hugo's own paintings, and then Angelina ends up talking about Liberty Leading the People and how it's said to have maybe inspired Hugo (also apparently some people think it's an illustration for Les Mis???) Kaveh found the paintings too dark for the staging but it worked for Lindsay

- Lindsay also mentions how Hugo was a renaissance man and how he painted and wrote plays and operas (not sure about that, did he?) and how he either ran for mayor or was a mayor of some small town at some point (it was a part of Paris but whatever :p)

- they talk a bit about the Victor Hugo museum in Paris and how it's free unlike American museums

- the end

Sorry this ended up being just a weird recap xD

Just found out that Musicalsplaining finally did an episode on Les Mis and I had been both exited for and dreading this one because I knew Lindsay would be back for this one and I knew she would have Opinions and I knew I would enthusiastically agree with SOME of those opinions but also I knew I would vehemently disagree with some of the OTHER opinions

(I was right ftr)

[robotshowtunes]

“That’s where it really kinda starts to go off the rails into Crazy Town because now it’s time for ‘The Beauty Underneath’ which is — “

Original animatic by Sean Draws

[cloudediridescence]

( via angelina meehan on twitter @ whyangelinawhy )

[mostlysignssomeportents]

2019 Hugo Award finalists announced

The 2019 Hugo Award nominees have been announced; the Hugos will be presented this summer at the 2019 World Science Fiction Convention in Dublin, Ireland.

Normally, I find that I've read and reviewed a huge slice of the year's finalists, but this year is different; I've done a lot less reading lately, partly because I wrote two books in 2018 and partly because the new EU Copyright Directive ate my life for about 10 months in the past year.

I was a little sad to be so far behind the curve when I saw the new list, but then I realized that this meant that I had a bunch of really exciting books to add to my to-be-read pile!

One notable inclusion: the Archive of Our Own fanfic archive -- a project of the Organization for Transformative Works (for whose advisory board I volunteer) -- is up for "Best Related Work."

Congrats to all the nominees!

Best Novel * The Calculating Stars, by Mary Robinette Kowal (Tor) * Record of a Spaceborn Few, by Becky Chambers (Hodder & Stoughton / Harper Voyager) * Revenant Gun, by Yoon Ha Lee (Solaris) * Space Opera, by Catherynne M. Valente (Saga) * Spinning Silver, by Naomi Novik (Del Rey / Macmillan) * Trail of Lightning, by Rebecca Roanhorse (Saga)

Best Novella * Artificial Condition, by Martha Wells (Tor.com Publishing) * Beneath the Sugar Sky, by Seanan McGuire (Tor.com Publishing) * Binti: The Night Masquerade, by Nnedi Okorafor (Tor.com Publishing) * The Black God’s Drums, by P. Djèlí Clark (Tor.com Publishing) * Gods, Monsters, and the Lucky Peach, by Kelly Robson (Tor.com Publishing) * The Tea Master and the Detective, by Aliette de Bodard (Subterranean Press / JABberwocky Literary Agency)

Best Novelette * “If at First You Don’t Succeed, Try, Try Again,” by Zen Cho (B&N Sci-Fi and Fantasy Blog, 29 November 2018) * “The Last Banquet of Temporal Confections,” by Tina Connolly (Tor.com, 11 July 2018) * “Nine Last Days on Planet Earth,” by Daryl Gregory (Tor.com, 19 September 2018) * The Only Harmless Great Thing, by Brooke Bolander (Tor.com Publishing) * “The Thing About Ghost Stories,” by Naomi Kritzer (Uncanny Magazine 25, November- December 2018) * “When We Were Starless,” by Simone Heller (Clarkesworld 145, October 2018)

Best Short Story * “The Court Magician,” by Sarah Pinsker (Lightspeed, January 2018) * “The Rose MacGregor Drinking and Admiration Society,” by T. Kingfisher (Uncanny Magazine 25, November-December 2018) * “The Secret Lives of the Nine Negro Teeth of George Washington,” by P. Djèlí Clark (Fireside Magazine, February 2018) * “STET,” by Sarah Gailey (Fireside Magazine, October 2018) * “The Tale of the Three Beautiful Raptor Sisters, and the Prince Who Was Made of Meat,” by Brooke Bolander (Uncanny Magazine 23, July-August 2018) * “A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies,” by Alix E. Harrow (Apex Magazine, February 2018)

Best Series * The Centenal Cycle, by Malka Older (Tor) * The Laundry Files, by Charles Stross (most recently Tor.com Publishing/Orbit) * Machineries of Empire, by Yoon Ha Lee (Solaris) * The October Daye Series, by Seanan McGuire (most recently DAW) * The Universe of Xuya, by Aliette de Bodard (most recently Subterranean Press) * Wayfarers, by Becky Chambers (Hodder & Stoughton / Harper Voyager)

Best Related Work * Archive of Our Own, a project of the Organization for Transformative Works * Astounding: John W. Campbell, Isaac Asimov, Robert A. Heinlein, L. Ron Hubbard, and the Golden Age of Science Fiction, by Alec Nevala-Lee (Dey Street Books) * The Hobbit Duology (documentary in three parts), written and edited by Lindsay Ellis and Angelina Meehan (YouTube) * An Informal History of the Hugos: A Personal Look Back at the Hugo Awards, 1953- 2000, by Jo Walton (Tor) * www.mexicanxinitiative.com: The Mexicanx Initiative Experience at Worldcon 76 (Julia Rios, Libia Brenda, Pablo Defendini, John Picacio) * Ursula K. Le Guin: Conversations on Writing, by Ursula K. Le Guin with David Naimon (Tin House Books)

Best Graphic Story * Abbott, written by Saladin Ahmed, art by Sami Kivelä, colours by Jason Wordie, letters by Jim Campbell (BOOM! Studios) * Black Panther: Long Live the King, written by Nnedi Okorafor and Aaron Covington, art by André Lima Araújo, Mario Del Pennino and Tana Ford (Marvel) * Monstress, Volume 3: Haven, written by Marjorie Liu, art by Sana Takeda (Image Comics) * On a Sunbeam, by Tillie Walden (First Second) * Paper Girls, Volume 4, written by Brian K. Vaughan, art by Cliff Chiang, colours by Matt Wilson, letters by Jared K. Fletcher (Image Comics) * Saga, Volume 9, written by Brian K. Vaughan, art by Fiona Staples (Image Comics)

Best Dramatic Presentation, Long Form * Annihilation, directed and written for the screen by Alex Garland, based on the novel by Jeff VanderMeer (Paramount Pictures / Skydance) * Avengers: Infinity War, screenplay by Christopher Markus and Stephen McFeely, directed by Anthony Russo and Joe Russo (Marvel Studios) * Black Panther, written by Ryan Coogler and Joe Robert Cole, directed by Ryan Coogler (Marvel Studios) * A Quiet Place, screenplay by Scott Beck, John Krasinski and Bryan Woods, directed by John Krasinski (Platinum Dunes / Sunday Night) * Sorry to Bother You, written and directed by Boots Riley (Annapurna Pictures) * Spider-Man: Into the Spider-Verse, screenplay by Phil Lord and Rodney Rothman, directed by Bob Persichetti, Peter Ramsey and Rodney Rothman (Sony)

Best Dramatic Presentation, Short Form * The Expanse: “Abaddon’s Gate,” written by Daniel Abraham, Ty Franck and Naren Shankar, directed by Simon Cellan Jones (Penguin in a Parka / Alcon Entertainment) * Doctor Who: “Demons of the Punjab,” written by Vinay Patel, directed by Jamie Childs (BBC) * Dirty Computer, written by Janelle Monáe, directed by Andrew Donoho and Chuck Lightning (Wondaland Arts Society / Bad Boy Records / Atlantic Records) * The Good Place: “Janet(s),” written by Josh Siegal & Dylan Morgan, directed by Morgan Sackett (NBC) * The Good Place: “Jeremy Bearimy,” written by Megan Amram, directed by Trent O’Donnell (NBC) * Doctor Who: “Rosa,” written by Malorie Blackman and Chris Chibnall, directed by Mark Tonderai (BBC)

Best Professional Editor, Short Form * Neil Clarke * Gardner Dozois * Lee Harris * Julia Rios * Lynne M. Thomas and Michael Damian Thomas * E. Catherine Tobler

Best Professional Editor, Long Form * Sheila E. Gilbert * Anne Lesley Groell * Beth Meacham * Diana Pho * Gillian Redfearn * Navah Wolfe

Best Professional Artist * Galen Dara * Jaime Jones * Victo Ngai * John Picacio * Yuko Shimizu * Charles Vess

Best Semiprozine * Beneath Ceaseless Skies, editor-in-chief and publisher Scott H. Andrews * Fireside Magazine, edited by Julia Rios, managing editor Elsa Sjunneson-Henry, social coordinator Meg Frank, special features editor Tanya DePass, founding editor Brian White, publisher and art director Pablo Defendini * FIYAH Magazine of Black Speculative Fiction, executive editors Troy L. Wiggins and DaVaun Sanders, editors L.D. Lewis, Brandon O’Brien, Kaleb Russell, Danny Lore, and Brent Lambert * Shimmer, publisher Beth Wodzinski, senior editor E. Catherine Tobler * Strange Horizons, edited by Jane Crowley, Kate Dollarhyde, Vanessa Rose Phin, Vajra Chandrasekera, Romie Stott, Maureen Kincaid Speller, and the Strange Horizons Staff * Uncanny Magazine, publishers/editors-in-chief Lynne M. Thomas and Michael Damian Thomas, managing editor Michi Trota, podcast producers Erika Ensign and Steven Schapansky, Disabled People Destroy Science Fiction Special Issue editors-in-chief Elsa Sjunneson-Henry and Dominik Parisien

Best Fanzine * Galactic Journey, founder Gideon Marcus, editor Janice Marcus * Journey Planet, edited by Team Journey Planet * Lady Business, editors Ira, Jodie, KJ, Renay & Susan * nerds of a feather, flock together, editors Joe Sherry, Vance Kotrla and The G * Quick Sip Reviews, editor Charles Payseur * Rocket Stack Rank, editors Greg Hullender and Eric Wong

Best Fancast * Be the Serpent, presented by Alexandra Rowland, Freya Marske and Jennifer Mace * The Coode Street Podcast, presented by Jonathan Strahan and Gary K. Wolfe * Fangirl Happy Hour, hosted by Ana Grilo and Renay Williams * Galactic Suburbia, hosted by Alisa Krasnostein, Alexandra Pierce, and Tansy Rayner Roberts, produced by Andrew Finch * Our Opinions Are Correct, hosted by Annalee Newitz and Charlie Jane Anders * The Skiffy and Fanty Show, produced by Jen Zink and Shaun Duke, hosted by the Skiffy and Fanty Crew

Best Fan Writer * Foz Meadows * James Davis Nicoll * Charles Payseur * Elsa Sjunneson-Henry * Alasdair Stuart * Bogi Takács

Best Fan Artist * Sara Felix * Grace P. Fong * Meg Frank * Ariela Housman * Likhain (Mia Sereno) * Spring Schoenhuth

Best Art Book * The Books of Earthsea: The Complete Illustrated Edition, illustrated by Charles Vess, written by Ursula K. Le Guin (Saga Press /Gollancz) * Daydreamer’s Journey: The Art of Julie Dillon, by Julie Dillon (self-published) * Dungeons & Dragons Art & Arcana: A Visual History, by Michael Witwer, Kyle Newman, Jon Peterson, Sam Witwer (Ten Speed Press) * Spectrum 25: The Best in Contemporary Fantastic Art, ed. John Fleskes (Flesk Publications) * Spider-Man: Into the Spider-Verse – The Art of the Movie, by Ramin Zahed (Titan Books) * Tolkien: Maker of Middle-earth, ed. Catherine McIlwaine (Bodleian Library)

John W. Campbell Award for Best New Writer * Katherine Arden (2nd year of eligibility) * S.A. Chakraborty (2nd year of eligibility) * R.F. Kuang (1st year of eligibility) * Jeannette Ng (2nd year of eligibility) * Vina Jie-Min Prasad (2nd year of eligibility) * Rivers Solomon (2nd year of eligibility)

Lodestar Award for Best Young Adult Book * The Belles, by Dhonielle Clayton (Freeform / Gollancz) * Children of Blood and Bone, by Tomi Adeyemi (Henry Holt / Macmillan Children’s Books) * The Cruel Prince, by Holly Black (Little, Brown / Hot Key Books) * Dread Nation, by Justina Ireland (Balzer + Bray) * The Invasion, by Peadar O’Guilin (David Fickling Books / Scholastic) * Tess of the Road, by Rachel Hartman (Random House / Penguin Teen)

https://boingboing.net/2019/04/02/dublin-worldcon.html

[elflady]

LOVE that the Hugo Awards are pitting the ENTIRETY of Archive of Our Own against.............. Lindsay Ellis and Angelina Meehan’s “The Hobbit Duology” (documentary in three parts)

[robynkassisracist]

Anyway I still can’t believe the misogyny call out gag from Gabby, Angelina, and Jeff. I think now is a good time for a formal apology for Dawn Meehan, Carolyn Rivera, Hannah Shapiro, and Chrissy Hofbeck. Name some more if I missed any icons

[henrykathman]

Dungeons and Dragons is renowned for giving players the ability to express themselves with its near limitless process of character creation and roleplaying. Though with that level of creative freedom, I think it's important that we properly examine some aspects of character creation that might have gone unquestioned by some people, namely the ways that race has been contextualized by D&D, the Forgotten Realms, and the Fantasy Genre at large. This video is not meant to be a condemnation of D&D and fantasy, and it doesn't seek to be the most definitive take on this complicated subject. Rather, it seeks to present this problem to those who have been unaware of this subject, in hopes that more people will explore ways to improve the experience of Dungeons and Dragons.

That said, I hope you enjoy this video, and may your saving throws succeed and your perception checks roll high.

Sources: Antero Garcia (2017) Privilege, Power, and Dungeons & Dragons: How Systems Shape Racial and Gender Identities in Tabletop Role-Playing Games, Mind, Culture, and Activity, 24:3, 232-246, DOI: 10.1080/10749039.2017.1293691 “Drow.” Forgotten Realms Wiki, Fandom Incorporated, forgottenrealms.fandom.com/wiki/Drow. Ellis, Lindsay, and Angelina Meehan. Bright: The Apotheosis of Lazy Worldbuilding. YouTube, 1 Feb. 2018, www.youtube.com/watch?v=gLOxQxMnEz8. Kirtley, David Barr. “Interview: R. A. Salvatore.” Lightspeed Magazine, John Joseph Adams, 27 Jan. 2013, www.lightspeedmagazine.com/nonfiction/interview-r-a-salvatore/. “Moriquendi.” Tolkien Gateway, MediaWiki, 22 Oct. 2005, tolkiengateway.net/wiki/Moriquendi. Olsen, Dan, director. The Thermian Argument. Folding Ideas, YouTube, 17 Sept. 2015, www.youtube.com/watch?v=AxV8gAGmbtk. Salvatore, R. A. Homeland. Wizards of the Coast LLC, 2005. Originally Published by TSR in 1990, Forgotten Realms originally created by Ed Greenwood Sturtevant, Paul B. “Race: the Original Sin of the Fantasy Genre.” The Public Medievalist, 20 Dec. 2018, www.publicmedievalist.com/race-fantasy-genre/. Witwer, Michael, et al. Dungeons & Dragons Art & Arcana: a Visual History. 1st ed., Ten Speed Press, 2018. Young, Helen. Race and Popular Fantasy Literature : Habits of Whiteness. Routledge, 2016. EBSCOhost, login.lib-proxy.usi.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=1051192&site=ehost-live&scope=site.

[aion-rsa]

2019 Hugo Award Finalists Announced

https://ift.tt/2UklDPS

Nominees include Black Panther, Spider-Man Into the Spider-Verse, The Expanse, Doctor Who, and more.

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Kayti Burt

Hugo Awards

Apr 2, 2019

Science Fiction Books

The Hugo Awards are amongst speculative fiction storytelling's most prestigious honors. Given out annually since 1953, the Hugos are voted on by members of the World Science Fiction Convention (aka WorldCon), and are presented at the annual event. This year's WorldCon, WorldCon 77, will be held in Dublin on August 15-19.

Earlier today, the Hugo Awards finalists for 2019 were announced—alongside the Lodestar Award for Best Young Adult Book, the John W. Campbell Award for Best New Writer, and the 1944 Retrospective Hugo Awards nominations. 

read more: Den of Geek's Best Fiction Books of 2018 

If you're a fan of inclusive science fiction, the nominations are pretty exciting—which hasn't always been the case in recent years.

Finalists included some of the books, TV shows, and movies that Den of Geek has written about over the past year, including: Mary Robinette Kowal's The Calculating Stars, Rebecca Roanhorse's Trail of Lightning, Nnedi Okorafor's Binti: The Night Masquerade, The City of Brass author S.A. Chakraborty, Tomi Adeyemi's Children of Blood and Bone, The Expanse's "Abbadon's Gate," Doctor Who's "Demons of the Punjab" and "Rosa," Black Panther, Spider-Man: Into the Spider-Verse, Avengers: Infinity War, and Annalee Newitz and Charlie Jane Ander's "Our Opinions Are Correct Podcast."

Here is the full list of nominations:

Best Novel

The Calculating Stars, by Mary Robinette Kowal (Tor)

Record of a Spaceborn Few, by Becky Chambers (Hodder & Stoughton / Harper Voyager)

Revenant Gun, by Yoon Ha Lee (Solaris)

Space Opera, by Catherynne M. Valente (Saga)

Spinning Silver, by Naomi Novik (Del Rey / Macmillan)

Trail of Lightning, by Rebecca Roanhorse (Saga)

Best Novella

Artificial Condition, by Martha Wells (Tor.com publishing)

Beneath the Sugar Sky, by Seanan McGuire (Tor.com publishing)

Binti: The Night Masquerade, by Nnedi Okorafor (Tor.com publishing)

The Black God’s Drums, by P. Djèlí Clark (Tor.com publishing)

Gods, Monsters, and the Lucky Peach, by Kelly Robson (Tor.com publishing)

The Tea Master and the Detective, by Aliette de Bodard (Subterranean Press / JABberwocky Literary Agency)

Best Novelette

“If at First You Don’t Succeed, Try, Try Again,” by Zen Cho (B&N Sci-Fi and Fantasy Blog, 29 November 2018)

“The Last Banquet of Temporal Confections,” by Tina Connolly (Tor.com, 11 July 2018)

“Nine Last Days on Planet Earth,” by Daryl Gregory (Tor.com, 19 September 2018)

The Only Harmless Great Thing, by Brooke Bolander (Tor.com publishing)

“The Thing About Ghost Stories,” by Naomi Kritzer (Uncanny Magazine 25, November-December 2018)

“When We Were Starless,” by Simone Heller (Clarkesworld 145, October 2018)

Best Short Story

“The Court Magician,” by Sarah Pinsker (Lightspeed, January 2018)

“The Rose MacGregor Drinking and Admiration Society,” by T. Kingfisher (Uncanny Magazine 25, November-December 2018)

“The Secret Lives of the Nine Negro Teeth of George Washington,” by P. Djèlí Clark (Fireside Magazine, February 2018)

“STET,” by Sarah Gailey (Fireside Magazine, October 2018)

“The Tale of the Three Beautiful Raptor Sisters, and the Prince Who Was Made of Meat,” by Brooke Bolander (Uncanny Magazine 23, July-August 2018)

“A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies,” by Alix E. Harrow (Apex Magazine, February 2018)

Best Series

The Centenal Cycle, by Malka Older (Tor.com publishing)

The Laundry Files, by Charles Stross (most recently Tor.com publishing/Orbit)

Machineries of Empire, by Yoon Ha Lee (Solaris)

The October Daye Series, by Seanan McGuire (most recently DAW)

The Universe of Xuya, by Aliette de Bodard (most recently Subterranean Press)

Wayfarers, by Becky Chambers (Hodder & Stoughton / Harper Voyager)

Best Related Work

Archive of Our Own, a project of the Organization for Transformative Works

Astounding: John W. Campbell, Isaac Asimov, Robert A. Heinlein, L. Ron Hubbard, and the Golden Age of Science Fiction, by Alec Nevala-Lee (Dey Street Books)

The Hobbit Duology (documentary in three parts), written and edited by Lindsay Ellis and Angelina Meehan (YouTube)

An Informal History of the Hugos: A Personal Look Back at the Hugo Awards, 1953-2000, by Jo Walton (Tor)

www.mexicanxinitiative.com: The Mexicanx Initiative Experience at Worldcon 76(Julia Rios, Libia Brenda, Pablo Defendini, John Picacio)

Ursula K. Le Guin: Conversations on Writing, by Ursula K. Le Guin with David Naimon (Tin House Books)

Best Graphic Story

Abbott, written by Saladin Ahmed, art by Sami Kivelä, colours by Jason Wordie, letters by Jim Campbell (BOOM! Studios)

Black Panther: Long Live the King, written by Nnedi Okorafor and Aaron Covington, art by André Lima Araújo, Mario Del Pennino and Tana Ford (Marvel)

Monstress, Volume 3: Haven, written by Marjorie Liu, art by Sana Takeda (Image Comics)

On a Sunbeam, by Tillie Walden (First Second)

Paper Girls, Volume 4, written by Brian K. Vaughan, art by Cliff Chiang, colours by Matt Wilson, letters by Jared K. Fletcher (Image Comics)

Saga, Volume 9, written by Brian K. Vaughan, art by Fiona Staples (Image Comics)

Best Dramatic Presentation, Long Form

Annihilation, directed and written for the screen by Alex Garland, based on the novel by Jeff VanderMeer (Paramount Pictures / Skydance)

Avengers: Infinity War, screenplay by Christopher Markus and Stephen McFeely, directed by Anthony Russo and Joe Russo (Marvel Studios)

Black Panther, written by Ryan Coogler and Joe Robert Cole, directed by Ryan Coogler (Marvel Studios)

A Quiet Place, screenplay by Scott Beck, John Krasinski and Bryan Woods, directed by John Krasinski (Platinum Dunes / Sunday Night)

Sorry to Bother You, written and directed by Boots Riley (Annapurna Pictures)

Spider-Man: Into the Spider-Verse, screenplay by Phil Lord and Rodney Rothman, directed by Bob Persichetti, Peter Ramsey and Rodney Rothman (Sony)

Best Dramatic Presentation, Short Form

The Expanse: “Abaddon’s Gate,” written by Daniel Abraham, Ty Franck and Naren Shankar, directed by Simon Cellan Jones (Penguin in a Parka / Alcon Entertainment)

Doctor Who: “Demons of the Punjab,” written by Vinay Patel, directed by Jamie Childs (BBC)

Dirty Computer, written by Janelle Monáe, directed by Andrew Donoho and Chuck Lightning (Wondaland Arts Society / Bad Boy Records / Atlantic Records)

The Good Place: “Janet(s),” written by Josh Siegal & Dylan Morgan, directed by Morgan Sackett (NBC)

The Good Place: “Jeremy Bearimy,” written by Megan Amram, directed by Trent O’Donnell (NBC)

Doctor Who: “Rosa,” written by Malorie Blackman and Chris Chibnall, directed by Mark Tonderai (BBC)

Best Editor, Short Form

Neil Clarke

Gardner Dozois

Lee Harris

Julia Rios

Lynne M. Thomas and Michael Damian Thomas

E. Catherine Tobler

Best Editor, Long Form

Sheila E. Gilbert

Anne Lesley Groell

Beth Meacham

Diana Pho

Gillian Redfearn

Navah Wolfe

Best Professional Artist

Galen Dara

Jaime Jones

Victo Ngai

John Picacio

Yuko Shimizu

Charles Vess

Best Semiprozine

Beneath Ceaseless Skies, editor-in-chief and publisher Scott H. Andrews

Fireside Magazine, edited by Julia Rios, managing editor Elsa Sjunneson-Henry, social coordinator Meg Frank, special features editor Tanya DePass, founding editor Brian White, publisher and art director Pablo Defendini

FIYAH Magazine of Black Speculative Fiction, executive editors Troy L. Wiggins and DaVaun Sanders, editors L.D. Lewis, Brandon O’Brien, Kaleb Russell, Danny Lore, and Brent Lambert

Shimmer, publisher Beth Wodzinski, senior editor E. Catherine Tobler

Strange Horizons, edited by Jane Crowley, Kate Dollarhyde, Vanessa Rose Phin, Vajra Chandrasekera, Romie Stott, Maureen Kincaid Speller, and the Strange Horizons Staff

Uncanny Magazine, publishers/editors-in-chief Lynne M. Thomas and Michael Damian Thomas, managing editor Michi Trota, podcast producers Erika Ensign and Steven Schapansky, Disabled People Destroy Science Fiction Special Issue editors-in-chief Elsa Sjunneson-Henry and Dominik Parisien

Best Fanzine

Galactic Journey, founder Gideon Marcus, editor Janice Marcus

Journey Planet, edited by Team Journey Planet

Lady Business, editors Ira, Jodie, KJ, Renay & Susan

nerds of a feather, flock together, editors Joe Sherry, Vance Kotrla and The G

Quick Sip Reviews, editor Charles Payseur

Rocket Stack Rank, editors Greg Hullender and Eric Wong

Best Fancast

Be the Serpent, presented by Alexandra Rowland, Freya Marske and Jennifer Mace

The Coode Street Podcast, presented by Jonathan Strahan and Gary K. Wolfe

Fangirl Happy Hour, hosted by Ana Grilo and Renay Williams

Galactic Suburbia, hosted by Alisa Krasnostein, Alexandra Pierce, and Tansy Rayner Roberts, produced by Andrew Finch

Our Opinions Are Correct, hosted by Annalee Newitz and Charlie Jane Anders

The Skiffy and Fanty Show, produced by Jen Zink and Shaun Duke, hosted by the Skiffy and Fanty Crew

Best Fan Writer

Foz Meadows

James Davis Nicoll

Charles Payseur

Elsa Sjunneson-Henry

Alasdair Stuart

Bogi Takács

Best Fan Artist

Sara Felix

Grace P. Fong

Meg Frank

Ariela Housman

Likhain (Mia Sereno)

Spring Schoenhuth

Best Art Book Under the WSFS Constitution every Worldcon has the right to add one category to the Hugo Awards for that year only. Dublin 2019 has chosen to use this right to create an award for an art book.

The Books of Earthsea: The Complete Illustrated Edition, illustrated by Charles Vess, written by Ursula K. Le Guin (Saga Press /Gollancz)

Daydreamer’s Journey: The Art of Julie Dillon, by Julie Dillon (self-published)

Dungeons & Dragons Art & Arcana: A Visual History, by Michael Witwer, Kyle Newman, Jon Peterson, Sam Witwer (Ten Speed Press)

Spectrum 25: The Best in Contemporary Fantastic Art, ed. John Fleskes (Flesk Publications)

Spider-Man: Into the Spider-Verse – The Art of the Movie, by Ramin Zahed (Titan Books)

Tolkien: Maker of Middle-earth, ed. Catherine McIlwaine (Bodleian Library)

There are two other Awards administered by Worldcon 76 that are not Hugo Awards:

Lodestar Award for Best Young Adult Book

The Belles, by Dhonielle Clayton (Freeform / Gollancz)

Children of Blood and Bone, by Tomi Adeyemi (Henry Holt / Macmillan Children’s Books)

The Cruel Prince, by Holly Black (Little, Brown / Hot Key Books)

Dread Nation, by Justina Ireland (Balzer + Bray)

The Invasion, by Peadar O’Guilin (David Fickling Books / Scholastic)

Tess of the Road, by Rachel Hartman (Random House / Penguin Teen)

John W. Campbell Award for Best New Writer

Katherine Arden*

S.A. Chakraborty*

R.F. Kuang

Jeannette Ng*

Vina Jie-Min Prasad*

Rivers Solomon*

*Finalist in their 2nd year of eligibility

Kayti Burt is a staff editor covering books, TV, movies, and fan culture at Den of Geek. Read more of her work here or follow her on Twitter @kaytiburt.

from Books https://ift.tt/2JZhxsg

[nofatclips]

Why is Cats?

[zz9pzza]

Part one done, Thank you.

Part two, it would be an honour to loose to anyone of the nominees ( It would be lovely not to though :) )

Best Related Work

Archive of Our Own, a project of the Organization for Transformative Works

Astounding: John W. Campbell, Isaac Asimov, Robert A. Heinlein, L. Ron Hubbard, and the Golden Age of Science Fiction, by Alec Nevala-Lee (Dey Street Books)

The Hobbit Duology (documentary in three parts), written and edited by Lindsay Ellis and Angelina Meehan (YouTube)

An Informal History of the Hugos: A Personal Look Back at the Hugo Awards, 1953-2000, by Jo Walton (Tor)

www.mexicanxinitiative.com: The Mexicanx Initiative Experience at Worldcon 76(Julia Rios, Libia Brenda, Pablo Defendini, John Picacio)

Ursula K. Le Guin: Conversations on Writing, by Ursula K. Le Guin with David Naimon (Tin House Books)

For Your Consideration

Lady Business says this so much better than I could :

“ The Archive of Our Own by The Organization for Transformative Works — I want this nominated every single year because it is an absolutely amazing trove of speculative fiction works and speculative fiction works ABOUT speculative fiction works and speculative takes on existing cultural narratives and basically it counts, it counts, it counts. There are major contributions from the dev team every single year, so every year there’s a new reason to nominate! [Ira] The Archive of Our Own by The Organization for Transformative Works — No, you’re not seeing things, I am reccing this again. Guess what! The platform itself! Is a piece of fanwork! By fans! Anyway, I have been on this bandwagon for about four years now and I’m back on my bullshit in 2019. I love AO3, that it exists, that we no longer have to worry about the fanwork we share there getting monetized or deleted because investors are having a temper tantrum, I am so grateful to all the fans who work hard (as volunteers! At butt o'clock, sometimes!) to make it possible, and it’s great and important. Thanks for coming to my Ted Talk. [Renay] “

Last year we missed out on a nomination by one vote ( the resolution for voting for nominations is complex ).

But voting is easy if you are a members of Dublin 2019 and the 2018 Worldcon, Worldcon 76. An example of a substantial change in 2018 is the elasticsearch upgrade which made exclusion much easier. 

The deadline for nominations is Friday March 15th, 2019 at 11:59 pm PDT (GMT+9). You can make as many changes as you like to your nomination ballot until then. Your current ballot will be emailed to you an hour after you stop making changes to it.

There is often a voters pack which often has the full books that are nominated or at least a useful extract.

[robotshowtunes]

“It’s like he keeps asking this kid about, like, do you ever have unnatural urges.. and the kid’s like...”

Original animatic by Sean Draws

[forgottenbones]

When the rich make the horrid mistake of terraforming Mars, we’re gonna have so many operas written about people dying from Mars Lung

— angelina meehan @ WorldCon (@whyangelinawhy) August 19, 2019

[viajandosobrelibros]

Ayer en el marco de la  Worldcon,  77th World Science Fiction Convention, se dieorn a conocer a los ganadores de los premios Hugo y los premios Lodestar Award y John W. Campbell

Los premios Hugo 2019 se entregarán en el WorldCon de este año, que se celebrará en Dublín, Irlanda, entre el 15 y el 19 de agosto. No se olviden de bajarse el calendario que hicimos en Viajando Sobre Libros de ACA para poder tener todas las fechas de entregas de premios literarios. Aquí les dejo la lista completa de los nominados para los premios de este año y comenten si leyeron alguno.

Best Novel

The Calculating Stars, by Mary Robinette Kowal (Tor) GANADOR

Record of a Spaceborn Few, by Becky Chambers (Hodder & Stoughton / Harper Voyager)

Revenant Gun, by Yoon Ha Lee (Solaris)

Space Opera, by Catherynne M. Valente (Saga)

Spinning Silver, by Naomi Novik (Del Rey / Macmillan)

Trail of Lightning, by Rebecca Roanhorse (Saga)

Best Novella

Artificial Condition, by Martha Wells (Tor.com publishing) GANADOR

Beneath the Sugar Sky, by Seanan McGuire (Tor.com publishing)

Binti: The Night Masquerade, by Nnedi Okorafor (Tor.com publishing)

The Black God’s Drums, by P. Djèlí Clark (Tor.com publishing)

Gods, Monsters, and the Lucky Peach, by Kelly Robson (Tor.com publishing)

The Tea Master and the Detective, by Aliette de Bodard (Subterranean Press / JABberwocky Literary Agency)

  Best Novelette

“If at First You Don’t Succeed, Try, Try Again,” by Zen Cho (B&N Sci-Fi and Fantasy Blog, 29 November 2018) GANADOR

“The Last Banquet of Temporal Confections,” by Tina Connolly (Tor.com, 11 July 2018)

“Nine Last Days on Planet Earth,” by Daryl Gregory (Tor.com, 19 September 2018)

The Only Harmless Great Thing, by Brooke Bolander (Tor.com publishing)

“The Thing About Ghost Stories,” by Naomi Kritzer (Uncanny Magazine 25, November-December 2018)

“When We Were Starless,” by Simone Heller (Clarkesworld 145, October 2018)

Best Short Story

“The Court Magician,” by Sarah Pinsker (Lightspeed, January 2018)

“The Rose MacGregor Drinking and Admiration Society,” by T. Kingfisher (Uncanny Magazine 25, November-December 2018)

“The Secret Lives of the Nine Negro Teeth of George Washington,” by P. Djèlí Clark (Fireside Magazine, February 2018)

“STET,” by Sarah Gailey (Fireside Magazine, October 2018)

“The Tale of the Three Beautiful Raptor Sisters, and the Prince Who Was Made of Meat,” by Brooke Bolander (Uncanny Magazine 23, July-August 2018)

“A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies,” by Alix E. Harrow (Apex Magazine, February 2018) GANADOR

Best Series

The Centenal Cycle, by Malka Older (Tor.com publishing)

The Laundry Files, by Charles Stross (most recently Tor.com publishing/Orbit)

Machineries of Empire, by Yoon Ha Lee (Solaris)

The October Daye Series, by Seanan McGuire (most recently DAW)

The Universe of Xuya, by Aliette de Bodard (most recently Subterranean Press)

Wayfarers, by Becky Chambers (Hodder & Stoughton / Harper Voyager) GANADOR

Best Related Work

Archive of Our Own, a project of the Organization for Transformative Works GANADOR

Astounding: John W. Campbell, Isaac Asimov, Robert A. Heinlein, L. Ron Hubbard, and the Golden Age of Science Fiction, by Alec Nevala-Lee (Dey Street Books)

The Hobbit Duology (documentary in three parts), written and edited by Lindsay Ellis and Angelina Meehan (YouTube)

An Informal History of the Hugos: A Personal Look Back at the Hugo Awards, 1953-2000, by Jo Walton (Tor)

http://www.mexicanxinitiative.com: The Mexicanx Initiative Experience at Worldcon 76(Julia Rios, Libia Brenda, Pablo Defendini, John Picacio)

Ursula K. Le Guin: Conversations on Writing, by Ursula K. Le Guin with David Naimon (Tin House Books)

Best Graphic Story

Abbott, written by Saladin Ahmed, art by Sami Kivelä, colours by Jason Wordie, letters by Jim Campbell (BOOM! Studios)

Black Panther: Long Live the King, written by Nnedi Okorafor and Aaron Covington, art by André Lima Araújo, Mario Del Pennino and Tana Ford (Marvel)

Monstress, Volume 3: Haven, written by Marjorie Liu, art by Sana Takeda (Image Comics) GANADOR

On a Sunbeam, by Tillie Walden (First Second)

Paper Girls, Volume 4, written by Brian K. Vaughan, art by Cliff Chiang, colours by Matt Wilson, letters by Jared K. Fletcher (Image Comics)

Saga, Volume 9, written by Brian K. Vaughan, art by Fiona Staples (Image Comics)

Best Dramatic Presentation, Long Form

Annihilation, directed and written for the screen by Alex Garland, based on the novel by Jeff VanderMeer (Paramount Pictures / Skydance)

Avengers: Infinity War, screenplay by Christopher Markus and Stephen McFeely, directed by Anthony Russo and Joe Russo (Marvel Studios)

Black Panther, written by Ryan Coogler and Joe Robert Cole, directed by Ryan Coogler (Marvel Studios)

A Quiet Place, screenplay by Scott Beck, John Krasinski and Bryan Woods, directed by John Krasinski (Platinum Dunes / Sunday Night)

Sorry to Bother You, written and directed by Boots Riley (Annapurna Pictures)

Spider-Man: Into the Spider-Verse, screenplay by Phil Lord and Rodney Rothman, directed by Bob Persichetti, Peter Ramsey and Rodney Rothman (Sony) GANADOR 

Best Dramatic Presentation, Short Form

The Expanse: “Abaddon’s Gate,” written by Daniel Abraham, Ty Franck and Naren Shankar, directed by Simon Cellan Jones (Penguin in a Parka / Alcon Entertainment)

Doctor Who: “Demons of the Punjab,” written by Vinay Patel, directed by Jamie Childs (BBC)

Dirty Computer, written by Janelle Monáe, directed by Andrew Donoho and Chuck Lightning (Wondaland Arts Society / Bad Boy Records / Atlantic Records)

The Good Place: “Janet(s),” written by Josh Siegal & Dylan Morgan, directed by Morgan Sackett (NBC)

The Good Place: “Jeremy Bearimy,” written by Megan Amram, directed by Trent O’Donnell (NBC) GANADOR

Doctor Who: “Rosa,” written by Malorie Blackman and Chris Chibnall, directed by Mark Tonderai (BBC)

Best Editor, Short Form

Neil Clarke

Gardner Dozois (GANADOR)

Lee Harris

Julia Rios

Lynne M. Thomas and Michael Damian Thomas

E. Catherine Tobler

Best Editor, Long Form

Sheila E. Gilbert

Anne Lesley Groell

Beth Meacham

Diana Pho

Gillian Redfearn

Navah Wolfe (GANADOR)

Best Professional Artist

Galen Dara

Jaime Jones

Victo Ngai

John Picacio

Yuko Shimizu

Charles Vess (GANADOR)

Best Semiprozine

Beneath Ceaseless Skies, editor-in-chief and publisher Scott H. Andrews

Fireside Magazine, edited by Julia Rios, managing editor Elsa Sjunneson-Henry, social coordinator Meg Frank, special features editor Tanya DePass, founding editor Brian White, publisher and art director Pablo Defendini

FIYAH Magazine of Black Speculative Fiction, executive editors Troy L. Wiggins and DaVaun Sanders, editors L.D. Lewis, Brandon O’Brien, Kaleb Russell, Danny Lore, and Brent Lambert

Shimmer, publisher Beth Wodzinski, senior editor E. Catherine Tobler

Strange Horizons, edited by Jane Crowley, Kate Dollarhyde, Vanessa Rose Phin, Vajra Chandrasekera, Romie Stott, Maureen Kincaid Speller, and the Strange Horizons Staff

Uncanny Magazine, publishers/editors-in-chief Lynne M. Thomas and Michael Damian Thomas, managing editor Michi Trota, podcast producers Erika Ensign and Steven Schapansky, Disabled People Destroy Science Fiction Special Issue editors-in-chief Elsa Sjunneson-Henry and Dominik Parisien (GANADOR)

Best Fanzine

Galactic Journey, founder Gideon Marcus, editor Janice Marcus

Journey Planet, edited by Team Journey Planet

Lady Business, editors Ira, Jodie, KJ, Renay & Susan (GANADOR)

nerds of a feather, flock together, editors Joe Sherry, Vance Kotrla and The G

Quick Sip Reviews, editor Charles Payseur

Rocket Stack Rank, editors Greg Hullender and Eric Wong

Best Fancast

Be the Serpent, presented by Alexandra Rowland, Freya Marske and Jennifer Mace

The Coode Street Podcast, presented by Jonathan Strahan and Gary K. Wolfe

Fangirl Happy Hour, hosted by Ana Grilo and Renay Williams

Galactic Suburbia, hosted by Alisa Krasnostein, Alexandra Pierce, and Tansy Rayner Roberts, produced by Andrew Finch

Our Opinions Are Correct, hosted by Annalee Newitz and Charlie Jane Anders (GANADOR)

The Skiffy and Fanty Show, produced by Jen Zink and Shaun Duke, hosted by the Skiffy and Fanty Crew

Best Fan Writer

Foz Meadows (GANADOR)

James Davis Nicoll

Charles Payseur

Elsa Sjunneson-Henry

Alasdair Stuart

Bogi Takács

Best Fan Artist

Sara Felix

Grace P. Fong

Meg Frank

Ariela Housman

Likhain (Mia Sereno) (GANADOR)

Spring Schoenhuth

Best Art Book

The Books of Earthsea: The Complete Illustrated Edition, illustrated by Charles Vess, written by Ursula K. Le Guin (Saga Press /Gollancz) GANADOR

Daydreamer’s Journey: The Art of Julie Dillon, by Julie Dillon (self-published)

Dungeons & Dragons Art & Arcana: A Visual History, by Michael Witwer, Kyle Newman, Jon Peterson, Sam Witwer (Ten Speed Press)

Spectrum 25: The Best in Contemporary Fantastic Art, ed. John Fleskes (Flesk Publications)

Spider-Man: Into the Spider-Verse – The Art of the Movie, by Ramin Zahed (Titan Books)

Tolkien: Maker of Middle-earth, ed. Catherine McIlwaine (Bodleian Library)

Además de los Hugo tenemos estos dos premios manejados por by Worldcon 76 :

Lodestar Award for Best Young Adult Book

The Belles, by Dhonielle Clayton (Freeform / Gollancz)

Children of Blood and Bone, by Tomi Adeyemi (Henry Holt / Macmillan Children’s Books) (GANADOR)

The Cruel Prince, by Holly Black (Little, Brown / Hot Key Books)

Dread Nation, by Justina Ireland (Balzer + Bray)

The Invasion, by Peadar O’Guilin (David Fickling Books / Scholastic)

Tess of the Road, by Rachel Hartman (Random House / Penguin Teen)

John W. Campbell Award for Best New Writer

Katherine Arden*

S.A. Chakraborty*

R.F. Kuang

Jeannette Ng* (GANADOR)

Vina Jie-Min Prasad*

Rivers Solomon*

 NOTICIAS: GANADORES DE LOS HUGO AWARDS 2019 Ayer en el marco de la  Worldcon,  77th World Science Fiction Convention, se dieorn a conocer a los ganadores de los premios Hugo y los premios…