Quotes: History Was Full of People

My recent reading has serendipitously included a many empires, both fictional and factual.

“’Empires are not …‘ She trailed off before she said anything truly treasonous. Librarians of Alyssium were trained to be impartial, but how could anyone who studied history not have feelings about it? She’d never understood that. History was full of people, all of whom had lives and dreams that were affected by the dry laws and military actions that filled university textbooks. Emperor Mevorin liked to insist every action taken by the empire was for the good of its people, but far too many of its actions throughout history had been for the good of the empire, which was not—regardless of what the emperor espoused—the same thing. An empire, unchecked, was a selfish beast of insatiable hunger.” [original emphasis]

– Terlu Perna in The Enchanted Greenhouse by Sarah Beth Durst

Current Reading The Enchanted Greenhouse Sm

It’s not the empire aspect that grabbed me about this quote, however. History is indeed full of people, and I have a homebrew hypothesis why that fact is often forgotten.

We’re living through a phase when science and/or technology are seen as the most important lens(es) to view life through (unlike, say, during Renaissance or the Age of Enlightenment). Scientific research seeks to observe phenomena objectively, quantifying them, and removing as many hints of the personal as possible.

There was a time when there was discussion within history and other humanities about emulating that approach (e.g. cliometrics), but in the past 30 to 40 years or so, research focus in the social sciences has been shifting more towards the individual experience.

However, since the rest of society is still wearing pink science love goggles, this shift hasn’t broken through to mainstream discussions yet. Hence, the lay public—including the character in the above quotation—is under the false impression that historians do not regard history as concerning actual people.

Again, this is a personal crackpot theory of mine.

The book’s protagonist, Terlu, does also remind me of my high school teachers in a way. In my senior year, during the prep for our finals, teachers would spend some time in class iterating how important their subject is. It got almost comical one day when class after class literally every single one of them said a variation of “These things are so important” or whatever—each surely aware of the spread of subjects on offer at our school, and of our work load, not to mention the fact that even at high school level some of us students had already started on our paths towards specializing in our future fields.

In a way that was good, though—we clearly had motivated teachers who cared about their fields. Terlu in the quotation above also is clearly very passionate about her interests, to the extent of being blind to a host of other considerations in life, and it shows. She’s also young, and that also shows.

(There is a more curmudgeonly comment I’d like to make as well: “university textbooks” are the kindergarten version of academia. History at university level is a very different beast from the rote learning of names and dates that the lower levels of education pretend constitutes history. If Terlu imagines “university textbooks” or other basic treatises contain the whole of what historical research is, she’s a staggeringly more junior librarian than the novel purports and greener than a St. Patrick’s Day parade. *grumbling in librarian-married-to-a-historian*)

Durst, Sarah Beth. The Enchanted Greenhouse. London: Pan Macmillan, 2025, pp. 105-106.

Image by Eppu Jensen

Worldbuilding: Food Production and War

A fundamental problem faced by pre-modern societies—and one which our own fictional societies may have to grapple with as well—is how to balance the demands of food production and war. The ways in which a culture managed this problem had deep effects on how that culture functioned, how its members related to one another, and how it dealt with outsiders. Thinking about how your fictional cultures deal with this problem is a useful worldbuilding exercise.

The problem is simple: the ability to produce food and the ability to protect one’s own food sources from other people who would take them by force are both essential to a society’s survival, but they compete for the same human resources.

Food production is labor. In societies without industrial technology, it is the main occupation of at least ninety percent of the population. Food production can take many forms, such as farming planted crops, tending domesticated animals, gathering wild resources, or producing trade goods to exchange for food from abroad. While nearly the entire population of a pre-industrial society must contribute in some way to food production, the bulk of the work rests on the shoulders of healthy adults without other callings.

War is also labor. It demands physical competence and endurance, just like ploughing a field, managing a herd of cattle, or hauling in fish from the sea. The prime contributors to the labor of war are the same as the prime contributors to food production: healthy adults who aren’t needed for more specialized tasks.

War and food production compete for the same pool of labor. Every day that a person spends marching on campaign, laying siege to a city, repairing their armor, or standing watch at an outpost is a day they aren’t milking cows, weeding a vegetable garden, picking mushrooms in the woods, or making trade goods to exchange for food from abroad. To successfully produce enough food to feed itself and protect that food from from hostile outsiders, a society has to find a way of balancing these two needs.

Every culture’s solution to this problem is unique, but we can categorize the possible approaches in a few broad patterns, each of which come with certain advantages and drawbacks:

  • Raiders. For raiders, fighting is itself a means of food production. A society can afford to spare people from food production to fight if the result of the fighting is bringing in at least as much food as those people would have produced had they stayed home and planted potatoes or gathered wild berries. The upside of raiding is that when it succeeds, the results can be extremely profitable. The downside is that the targets of raiding tend to respond by protecting their resources better or mounting a stiffer resistance, and when a raid fails it can lead to starvation and vicious internal conflicts over the limited resources left. Societies that live by raiding tend to be precarious and violent, and it is rarely a successful strategy in the long term.
  • Citizen militia. In a society with a citizen militia, the people who produce the food also do the fighting. Most people spend their day-to-day lives farming, herding, fishing, or practicing other essential crafts, but when there is a threat, they are called up to fight in defense of their homes. The advantage of this solution is that it puts a minimum burden on food production. Farmers and herders are not carrying the dead weight of full-time soldiers who don’t contribute to food production, and as soon as the fighting is over, they can get right back to their usual business. The drawback is that such society cannot sustain a long-term military effort or fight far from home. Every person in the militia needs to get back to their farm or ranch as quickly as possible or risk losing their harvest or herd. Societies that take this approach tend to have strong social cohesion and a sense of civic obligation among people, because without it they would never be able to get people to leave their homes and livelihoods to go fight. They also tend to face frequent wars, because the can rarely afford to commit the troops and supplies necessary to decisively defeat their enemies and eliminate threats to their territory.
  • Warrior aristocrats. Where there are warrior aristocrats, the people who do the fighting have people to produce food for them. A pre-industrial society can sustain a small number of full-time warriors if each one directly controls a food source, such as a spread of farmland or a large herd of cattle, and has subordinates whose job it is to work that food source for the warrior in addition to working for their own sustenance. On the plus side, this arrangement allows for a small but full-time fighting force without taking away from food production. Warrior aristocrats can be prepared to fight at a moment’s notice and can afford to be away from home for long periods. On the other hand, such societies tend to fragment, as each warrior aristocrat has good reason to stay close to their own resources and little incentive to risk themselves in defense of the farms or herds belonging to another aristocrat.
  • Professional armies. With a professional army, some central authority gathers food from the people who produce it and provides it to the people who do the fighting. Unlike warrior aristocrats, the soldiers in a professional army do not have their own food sources which they directly control; they depend on the state for their supplies. On one hand, this system can create a well-trained, experienced army that can operate in the field indefinitely and far from home, as long as they keep getting supplies. On the other hand, the process of gathering resources from producers, coordinating logistics, and delivering food to where it is needed is a substantial additional burden on state power and usually requires a whole professional bureaucracy dedicated to oversight and record-keeping, which itself is a further drain on the labor pool available for food production. A culture that maintains a professional army requires a high degree of centralized organization and control, which are likely to manifest themselves in other areas of life.

Food production and war are two of the most fundamental activities for most pre-modern societies. The different ways in which societies have historically reconciled the competing demands of these activities had deep effects on the lives of the people who lived in them. If you are writing about a pre-industiral society in your own imagined world, even if you aren’t writing directly about farming or fighting, it’s worth taking some time to think about how your culture solves this problem and what effects that solution has on the daily lives of your characters.

Image: Cincinnatus Leaves the Plough to Dictate Laws to Rome via Wikimedia (Prado Museum, Madrid; c. 1806; oil on canvas; by Juan Antonio Ribera)

The Second Trailer for The Latest Odyssey Adaptation

There’s now a second trailer for Christopher Nolan’s adaptation of The Odyssey.

The Odyssey | Official New Trailer by Universal Pictures on YouTube

This trailer does address some of my complaints after the first trailer: firstly, it contains more hints of color. Secondly, we see sunny scenes and/or daylight. And thirdly, there is a much more coherent picture of the story. All right, not bad.

New actors are also revealed. Tom Holland as Odysseus’ son Telemachus is a pleasant surprise (with no unnecessary buckles, it seems, which is another source of joy). He plays young people quite well, as far as I can tell; I do hope he won’t be typecast as a bumbly youth forever. Robert Pattinson’s Antinousone of Penelope’s suitorsseems to be as smily a ball as he is in the original. It’s also nice to see Charlize Theron as Calypso.

That’s not all, however. According to IMDB, Zendaya plays the goddess Athena and Lupita Nyong’o Helen of Troy. Very nice! It should be interesting to see Mia Goth as Melantho, but how small or large they will make the role remains to be seen.

And there’s a puppy! Whether the puppy, the women, and the increased color will be enough to offset all of the angsty, dark, toxic angst and tempt me into the theater after all will still remain to be seen. There’s so much ugly in the world at the moment I don’t need or want it in my escapism, please and thank you.

The Odyssey will release on July 17, 2026.

Third Trailer for Masters of the Universe Reboot

Here’s the third trailer for the Masters of the Universe reboot:

Masters of The Universe – Official Final Trailer by Amazon MGM Studios on YouTube

There is a little more plot, a glimpse of fighting on Earth, and definite comedic promise in this trailer. Also more side characters are introduced. Sounds like nostalgia is going to be a big part of the draw of this reboot, so for me the theatrical release is a miss.

There is a question, however, which I haven’t yet seen addressed: where is Orko? Are the clips and effects with copy-pasted look a hint that the production has, indeed, gone over where the fence is lowest and not even tried to include him?

MotU officially opens today, June 05, 2026.

To Come: Shadow of the Past, Another New Movie Set in Middle-earth

The news has been our for a while that Tolkien mega fan Stephen Colbert is working on a Middle-earth-themed movie script. The working title is The Lord of the Rings: Shadow of the Past, and it will be written by Stephen Colbert, Peter McGee (Colbert’s son), and Philippa Boyens.

The project was confirmed well before April 01, which is good—I’ve seen some comments that it sounds like an April Fool’s prank.

The story is set 14 years after the passing of Frodo and has “Sam, Merry, and Pippin set out to retrace the first steps of their adventure. Meanwhile, Sam’s daughter, Elanor, has discovered a long-buried secret and is determined to uncover why the War of the Ring was very nearly lost before it even began.”

Unsplash T L Dark Hobbiton Movie Set Sm

Apparently Colbert has said that the plot is “basically the chapter ‘Three is Company’ through ‘Fog on the Barrow-Downs'” and wondered whether “that could be its own story that could fit into the larger story? Could we make something that was completely faithful to the books while also being completely faithful to the movies that you guys [Peter Jackson et al.] had already made?'”

Hmm…! If the writing team is allowed to write (and capable of producing) a script faithful enough to the book, it might be really interesting. I’m looking forward to hearing more, at the least.

Image: dark Hobbiton movie set by T L via Unsplash

The Hunt for Gollum Update

By all appearances, the Tolkien adaptation project The Lord of the Rings: The Hunt for Gollum is chugging steadily along. As publicized earlier, Andy Serkis directs. The writing team consists of Philippa Boyens, Fran Walsh, Phoebe Gittins, and Arty Papageorgiou.

The latest big news are threefold: the casting of Kate Winslet, the recasting of Aragorn, and the return of Lee Pace as Thranduil. (Please share if you have other tidbits!)

IMDB Winslet A Little Chaos

At this writing, according to IMDB, returning to their previous Middle-earth roles are Elijah Wood (Frodo), Ian McKellen (Gandalf), Lee Pace (Thranduil), and Andy Serkis (Gollum); new actors and/or roles include Kate Winslet as Marigol, Jamie Dornan as Strider, and Leo Woodall as Halvard.

It’s not surprising that a new role was created for Winslet, since female characters are few and far between in that section of Tolkien’s writing. However, there’s as of yet no indication what kinds of characters Marigol and Halvard might be or even which cultures or races they might come from.

Neither does it surprise me that Viggo Mortensen isn’t returning as Aragorn, as he’s getting on in years (and computer-aided de-aging is never very good anyway). Once the recasting was confirmed, there were a lot of speculation and rumors flying around. Apparently Dornan doesn’t yet have many big-name roles under his belt. I did see somewhere that the production was looking for someone who looks like a younger Viggo Mortensen; whether that’s true I have no idea, but it at least appears plausible.

IMDB Dornan New Worlds Cropped

Casting Lee Pace as Thranduil is nice; he did a fantastic job earlier and he’s still young enough to plausibly appear in the role. And, of course, seeing his character would be completely logical given Tolkien’s original references to Mirkwood and Mirkwood Elves around this plot element.

Apparently the start of production is happening this month. Actual progress! Reactor Mag also reports that filming will continue until October, and that HfG is the first planned movie in a duology. The production just might turn out to be more interesting than I thought earlier.

The release has been pushed forwards by a year (earlier info mentioned 2026). At this writing, HfG is slated to hit the theaters on Dec 17, 2027.

Images: Winslet in A Little Chaos, photo by Alex Bailey via IMDB. Dornan in New Worlds via IMDB (cropped).

Second Trailer for Masters of the Universe Reboot

Here’s the second Masters of The Universe trailer:

Masters of The Universe – Official Trailer by Amazon MGM Studios on YouTube

We see a little more in this version—like Adam starting to re-gather his team from jail—but how much more can there really be in an origin story? The fight scenes don’t seem to contain anything interesting, either. (I’m really not the prime target audience for this reboot, since it doesn’t seem to do anything new and inventive, merely new as in ‘an updated version’.) Adam’s relationships with his friend(s) on Earth show some comedic promise, at least.

I do wonder how they got such a cast to sign up for what appears a rather uninspired reboot? Unless the trailers lie again?

As MotU really was more my younger siblings’ cup of tea, I think for me it’ll be a movie to get from the library.

The First Trailer for The Latest Odyssey Adaptation

The Christopher Nolan adaptation of The Odyssey has a trailer out.

The Odyssey | Official Trailer by Universal Pictures on YouTube

Right. The biggest thing staring at me are the colors. They are too muted, IMO—by now there’s plenty of evidence that the ancient world was awash with color. Some of it is explained by the weather in the trailer scenes, but there really should be more color. Even the glimpse of Penelope’s (Anne Hathaway) turquoise gown is left in the shadow of her head, making it appear darker.

(This is a tendency in some modern films I just can’t abide; wash-out tones like sepia have never appealed to me. History was colorful! And don’t get me started on the pervasiveness of black. Like slapping on unnecessary buckles and straps, pretensions of historicity while choosing black clothes for earlier periods has started to seriously irk me. Sure, if your film is about puritans, go for it. The antiquity? Black is certainly not as omnipresent as this!)

Otherwise, we see hints of several scenes from the epic. Perhaps too many; the whole feels jumbled, disorganized, and erratic. I am likely to want to see the movie, but unfortunately this trailer did nothing to encourage me to visit a theater to do so. Endless dark scenes of men in dark costumes glancing apprehensively around in dark surroundings, while I myself am sitting in a dark auditorium, holds no attraction for me. (For that much dark, we have Finnish winters, thank you very much.) I might as well wait for the disc and see it at home in greater comfort to offset all of that gloom.

The Odyssey will open on July 17, 2026.

Remembering Leslie Fish

Today would’ve been the birthday of Leslie Fish, folk musician and filker. She passed away at the end of November 2025.

Decades ago when I first discovered filk, Fish was one of the names I started to soon recognize. Some of the songs I still remember include “Carmen Miranda’s Ghost”, “Signy Mallory” with Mercedes Lackey, “Space Hero” and “One Last Battle” with Vic Tyler (I believe), and “Wind’s Four Quarters” with Mercedes Lackey and Heather Alexander.

Here, as a hat-tip, is her song “Hope Eyrie”:

Hope Eyrie by Leslie Fish on YouTube

“Hope Eyrie” is the only one of hers I’ve sung in a crowd, the last time at a filk worshop at Ropecon 2024 or 2025 (or maybe both), which is an indication of her enduring influence.

RIP, Ms. Fish.

First Trailer for Masters of The Universe Reboot

Oho—another upcoming movie that I’ve missed: He-Man and pals are getting a reboot. Here’s the first Masters of The Universe trailer:

Masters of The Universe – Official Teaser Trailer by Amazon MGM Studios on YouTube

Well, now. This is clearly an origin story. I’m hazy on how—and why—would little Adam be sent to Earth to hide and what, exactly, there is at Castle Grayskull to protect in this version of the story. Perhaps that’ll become clearer in future trailers.

The protagonist is played by Nicholas Galitzine, a complete unknown to me, but the supporting cast has some very big names like Morena Baccarin, Idris Elba, Jared Leto, James Purefoy, and Kristen Wiig, and smaller familiar ones like Alison Brie, Hafþór Júlíus Björnsson, and Jóhannes Haukur Jóhannesson.

Like Molly Templeton said at Reactor magazine, so far it “looks like the generic version of Thor: Ragnarok, as ordered from a questionable website.” Agreed! Also, some clips and effects look almost like they’re copy-pasted from other Marvel Cinematic Universe content.

I haven’t bothered to dig up the MCU cinematographers or visual effects companies for comparison, to see whether there is a real overlap or whether this could be a case of a visual language being increasingly adopted within the genre movie industry in general. (It could also be a blatant case of stylistic copying to try and lure in MCU fans, of course.)

But I do have to wonder, if visuals across big productions are starting to resemble each other to this extent, what does it forebode for future genre action movies? I’ve gotten quite tired of the stagnant action movie structure, to be honest. For a while the larger story arc across the separate MCU movies was interesting, since it had never been done before on that scale. (In fact, MCU reminds me of Babylon 5, the first to introduce really extensive story arcs for SFFnal tv shows.) But is there going to be anything interesting that’ll define action franchises anymore? Thematic differences like fast custom cars (vroom vroom!) or superpowered individuals or big monsters will remain, sure, but anything worth caring about? I guess I’m hankering after a paradigm shift in action movies, really.

Annnyway. 🙂

Travis Knight is directing a script by Chris Butler, Aaron Nee, Adam Nee, and Dave Callaham. Callaham at least I recognize from the 2014 Godzilla, Wonder Woman 1984, Shang-Chi and the Legend of the Ten Rings, and Spider-Man: Across the Spider-Verse.

The release date for the U.S. and U.K. for MotU is listed as June 05, 2026.