Unsafe On Any Campus? earns two gold medals in literary competition!

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PRESS RELEASE

Lake Buena Vista, FL (8/5/2017) – The Florida Authors and Publishers Association awarded two Gold Medals to Florida college faculty member Samuel Staley’s book Unsafe On Any Campus? College Sexual Assault and What We Can Do About It, one each the categories of Adult Non-Fiction and Political/Current Events.

Hosted by the Florida Authors and Publishers Association, this prestigious national award is open to books published between 2016 and 2017. Organizers say this year included the largest number of entries every drawing from a national pool of authors and publishers.

Unsafe On Any Campus? is written by Samuel R. Staley, a full-time faculty member in the College of Social Sciences and Public Policy at Florida State University.  Staley joined the faculty in 2011 after 25 years in the nonprofit private sector. He was unaware of the extent of the problem, which is national in scope, until he learned the stories of survivors and their friends while coaching martial-arts based self-defense classes at FSU. Staley holds a black belt in To-Shin Do, a self-defense oriented version of the classic Japanese “ninja” martial art of Ninjutsu developed by ninja master Stephen K. Hayes.

“Virtually every student will know a survivor of sexual assault by the time he or she graduates from an American university or college,” says Staley, who acknowledges the extent of the problem may vary significantly by college and location. Staley describes his book as a primer for parents, college counselors, and students. “This book is my way of using more than 30 years of professional experience in the field of public policy analysis to explain a very complicated problem and outline practical pathways toward eliminating this scourge on our campuses,” he says.

“The FAPA President’s Book Award exists to promote excellence in the publishing industry by recognizing talented contemporary authors who put both heart and soul into their work. FAPA is proud to be a champion of authors and publishers going the extra mile to produce books of excellence in every aspect.” said Jane R. Wood, President-Elect of FAPA.

Unsafe On Any Campus? College Sexual Assault and What We Can Do About It is a nonfiction book analyzing contemporary campus culture, why it puts college students at risk for sexual assault and rape, and presents a holistic solution that puts harm reduction at the center of strategies and programs.

Ruth Krug, a survivor of campus sexual assault, writes in her Foreword: Unsafe On Any Campus? is  “innovative, practical, and empowering” and “signifies a turning point in addressing rape and sexual assault in college and university environments.” Unsafe On Any Campus? is published by Southern Yellow Pine Publishing.

Medals were awarded at the annual FAPA President’s Book Awards Banquet held this year at the Hilton Orlando Buena Vista Palace in the Disney Springs TM Area of Lake Buena Vista, Florida.

“We are proud to announce this year’s winners who truly embody the excellence this award was created to celebrate.  We had a record number of entries this year. Competition was stiff! We salute all of our winners for their fine work,” said FAPA’s President, Terri Gerrell.

The Florida Authors & Publishers Association is an organization for authors, publishers, independent publishers, illustrators, editors, printers, and other professionals involved in the publishing industry. It focuses on providing the highest quality of information, resources, and professional development to members and others interested in the writing and publishing profession.

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For more on Unsafe On Any Campus, including discussion questions, videos, and other materials on campus sexual assault, visit: http://www.campusninjaselfdefense.com

To purchase Unsafe On Any Campus?

  • at amazon, click here.
  • at Barnes & Noble, click here.
  • at Southern Yellow Pine Publishing, click here.

 

Review: Valerian‘s entertaining space romp

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Source: www.impawards.com

My rather lengthy review of Valerian and the City of a Thousand Planets is now live at the Independent Institute. I almost skipped this movie, but I’m glad I didn’t. I really enjoyed it: Valerian is an entertaining space romp with a dash of cool action. I also realize this puts me at odds with most reviewers and a sizable number of movie goes. But I try to call’m like I see’m, and I found Valerian is an entertaining and satisfying sci-fi, fantasy movie.

Writer-Director Luc Besson does a nice job of consciously blending a Star Wars-esque space opera with Avatar-inspired fantasy and adding a European flare. Visually, the movie has a lot going on, and it’s fun to just sit back and watch. Unfortunately, sometimes the flare gets in the way of the plot. Still, the story holds together as a rather straightforward sci-fi, fantasy action yarn.

Besson also adds depth, building real arcs into the characters. This allows him to also build a strong message into the substance of the film, specifically one of the overarching importance of individual dignity, emotional transparency, and peace as building block for relationships and community.

Valerian and the City of a Thousand Planets also has an intriguing backstory as I write over at the Independent Institute,

Americans might be tempted to think this film and comic series was inspired by Star Wars. In fact, if a relationship exists, the influence may be the other way around. The film’s story is taken from the long-running French comic series Valerian and Laureline (1967-2010), which featured epic, diverse universes with inter-species cooperation and conflict. Indeed, the design director behind Star Wars: The Phantom Menace kept bound copies of the comic on his shelf during that film’s production.

The movie has its weak moments—the pace slows in key places, and the dialogue tends to be a bit juvenile—but overall the film entertains. Sometimes, we just need to give credit to a film that is just entertaining.

I scored Valerian 8.5 on a scale of 1 to 10 (with 10 being perfect) based on 8 elements. This translates into a grade of a B and really 4 starts on a 5-star scale (3 1/2 on Rotten Tomatoes).

The full review can be found here:

Review: Valerian Entertains with Focus on Visual Effects and Personal Dignity

My Facebook site—Movie Reviews By Sam Staley—where I am now posting links to all my reviews can be found here:

https://www.facebook.com/themovieswithsam/

 

Review: Dunkirk‘s foreboding, somber tone masterfully executed

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My full review of Christopher Nolan‘s new movie, Dunkirk, is now live at the Independent Institute. Nolan’s storytelling is masterful and innovative, something we’ve come to expect from an “auteur” filmmaker who brings his own aesthetic and storytelling style to his movies. Dunkirk is not exception.

The film uses several devices to convey the deep, foreboding mood of the evacuation and its implications for the attempts to stop the Nazi invasion of Western Europe. Dialogue is minimal, the plot almost completely driven the actions of individuals non-verbally. Nolan uses sweeping vistas of the beaches of Dunkirk to convey the enormity of the task to evacuate 400,000 troops and the hopelessness. Lines of soldiers snake into the shallow waters of the beaches and breakers with virtually no sign of help stretching out to the horizon (and Britain).

The story of the evacuation—which was a logistical success that mitigated the enormity of the disaster—is told from the perspectives two soldiers trying to use their cunning and opportunity to get off the beaches as quickly as possible, a flight of three Spitfire fighter pilots that get whittled down to one, and a private boat operator and his son sailing into the heat of the battle to rescue soldiers. The stories ultimately converge, but the way Nolan assembles the stories is innovative and sometimes difficult to follow.

Nevertheless, the film is likely to be among the list of Best Picture and Best Director nominees at next year’s Academy Awards. I scored the film 9.13  (out of 10) on my rubric and gave it 4 1/2 stars on Rotten Tomatoes.

Book Review: Revolt provides rousing conclusion to the Resistance Series

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Revolt, the fourth book in the Resistance Series by Tracy Lawson

Tracy Lawson and the Resistance Series is what Indie publishing is all about: Giving voice to new ideas, stories and passions and a distribution platform to get those creative works into the hands of readers. Her fourth book in the series, Revolt, brings the dystopian story of Careen Catecher and Tommy Bailey to a stirring conclusion that stays true to its Young Adult themes and characters but refuses to wrap-up the aftermath in a tight, pretty bow.

In Counteract, the first book (reviewed here), we met teenage college students Careen Catecher and Tommy Bailey, a former high school football player sidelined by an injury from a mysterious car accident. They are living in a near future (2030s) dystopian world where the national Office of Civilian Safety and Defense has been charged with “protecting” the public from terrorist attacks. Under the threat of a chemical terrorist attack, the OCSD developed and deployed a serum to protect citizens from its effects. Everyone is required to be inoculated  for their own protection. Careen and Tommy, however, discover that the antidote is actually a mind control drug used by the leaders of the OCSD to take control of the country. They are reluctant resisters. Tommy’s parents were supposedly killed in a car accident, leaving him to recover by himself. But Careen’s parents have disappeared, and Tommy joins her in trying to find them. 

Resist, book two in the Resistance Series

In book two, Resist (reviewed here), Careen and Tommy are on the run from the government after Careen is accused of killing the OCSD director, Lowell Stratford. They find themselves inadvertent and at first unwilling members of a nationwide Resistance movement. The nefarious ways of the OCSD become even more stark as the new director, Madalyn, continues to develop and deploy a serum that will extend mind control to the entire population. Careen and Tommy have different views on how to address the sinister plans of the OCSD, driving a wedge in their relationship that could be come permanent.

This theme continues throughout the series as we find the Resistance is less unified than those from the outside think. Resist brings the question of violent versus peaceful resistance to the forefront of the  story, representing a fundamental tension that ultimately leads to the dramatic climax in Revolt. Careen and Tommy both set out to disrupt the OCSD, but they end up the inadvertent victims of an explosion set by a rogue member of the Resistance.

Ignite (the third book reviewed here) takes us deep into the Resistance. Of the three books, Ignite might be the most traditionally “young adult” of this series. The character arcs of Tommy and Careen become more intertwined and complicated. Careen was wounded in an explosion at the end of Resist, and was captured by the OCSD. As the nation’s number one fugitive, Careen’s capture represents a coup for Madalyn…and an opportunity to manipulate public opinion in her favor. Madalyn breaks Careen down through torture and deprivation, ultimately convincing her that the Resistance is the real enemy. Careen becomes a spokesperson for the OCSD as Madalyn rebuilds her identity around the values and mission of the OCSD. Meanwhile, Tommy Bailey hides out in the mountains with other leaders of the Resistance looking for his opportunity to rescue her. Ultimately, Tommy embarks on his own mission to rescue Careen.

Ignite, book three is the Resistance Series

Meanwhile, Madalyn has shifted gears, moving from a chemical-based strategy for controlling the population to one based on 24-hour surveillance through a device called the Cerberean Link. Sold to the public as a way to protect children from starvation and illness, Madalyn envisions a world where everyone is monitored 24 hours a day, seven days a week. Working with Atari, a brilliant IT guru, she plans hijack the link for her own power and personal gain. Careen is one of the first people to be installed with the device, putting her own future, freedom and independence in doubt.

Revolt picks up immediately after Careen’s rescue by Tommy, and Lawson uses this as an opportunity to explore the deep, psychological trauma that afflicts those with Post-Traumatic Stress Disorder (PTSD). Tommy’s patience is tested as Careen wrestles with night terrors, paranoia about being tested by Madalyn about her loyalty to the OCSD, and her own struggles to recover her identity and sense of purpose. The Resistance continues to fracture as one faction stays on course for violent revolution and another attempts a nonviolent political solution. The wild card in the story is the flawed but gifted Atari who appears to be a Resistance agent but could be working a double cross. Atari’s sense of self-importance keeps readers on the edge throughout the fourth book, never quite knowing which side he is more loyal to. While Lawson’s ending should leave most readers satisfied, she’s left openings for future books and storylines. 

Author Tracy Lawson

Lawson has created a vibrant, near-future dystopian world that fits well within the Young Adult science fiction genre and issues relevant to our times. Her willingness to grapple with substance directly gives the plots and storylines an embedded complexity that allow her characters to develop steadily and three dimensionally over the series. Her lean writing style keeps the pace fast and momentum forward. For those interested in a fast-paced, modern telling of the dangers of government overreach, the implications for personal freedoms and civil liberties, and how those values manifest themselves in the choices we make on a daily basis, Lawson’s dystopian series provides a great ride and lots of food for thought and discussion. 

For more on Tracy Lawson, visit her author page at amazon.com or her website, www.TracyLawsonBooks.com.

 

 

Take advantage of these special deals July 17-21 courtesy of Tracy Lawson:

Counteract: Book One of the Resistance Series FREE!

Resist: Book Two of the Resistance Series and

Ignite: Book Three of the Resistance Series for 0.99 each!

Get a FREE PDF of Shatter: Tommy’s Prequel to the Resistance Series, which includes a gallery of the amazing artwork created for the series! This prequel will NOT be available on Amazon.

Here’s how it works:

Order Revolt: Book Four of the Resistance Series on Amazon for $2.99:

https://www.amazon.com/dp/B071S8KFML

Email your receipt to tracy@counteractbook.com, and in return you’ll receive Shatter: Tommy’s Prequel to the Resistance Series.

Five not so obvious things to love about the movie Wonder Woman

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I am not a comic book or superhero fan, preferring more down-to-Earth characters facing situations that are more real world than fantasy. Yet, Wonder Woman is an excellent movie, one of my favorites so far in 2017 (see my movie review here).

For many, the strong female character is a big benefit, and I agree. As a novelist who features strong female characters in all my books, I found Wonder Woman’s emphasis on a strong, multidimensional character gratifying and long overdue. I attribute this to the directorial prowess of Patty Jenkins as well as the charisma and strength of Israeli actress Gal Gadot in the title role.

But Wonder Women distinguishes itself on several other dimensions as well. Here are five not-so-obvious elements to love about the film.

  1. Diana is a woman that kicks butt. And I mean a woman. She is not a woman dressed up as a man, competing with men on their terms. Perhaps the backstory of a race of Amazon women helps, but the writers have written her in as a strong female character. Her worldview is gendered female, albeit amazons are a warrior race. Wonder Woman, however, doesn’t rely on strength to defeat her enemies—a typically male response. Rather, she uses her tools, whether the “Lasso of Truth,” impermeable bracelets, or her shield. This is a refreshing acknowledgement of real differences between men and women, yet the story does not drive home a sense of superiority of one gender over the other. Rather, as a multidimensional woman, Diana brings a different perspective. She also brings a level of compassion to her warrior mission that adds layers and sophistication. (Some may argue that the compassionate element of her personality reflects a gender stereotype. I believe in fact it shows a human dimension that is not unique to either gender but manifests itself in different ways based on Diana’s background as an Amazon.)
  2. Combat choreography. The hand-to-hand combat sequences show a physical and emotional level of skill that is rare among actors and an attention to detail and fluidity unusual for Western filmmakers. As someone who studies martial arts (To-Shin Do ninjutsu), I appreciated the attention given to these details because it adds an authenticity to the actions of the characters and the plot. The interpersonal combat sequences reflect real combat techniques that can plausibly create the physical effects they intend to project (although, as in all action films, they are exaggerated for the camera and enhanced with special effects). Gal Gadot’s two years of military service as a combat trainer in the Israeli army no doubt adds to this authenticity. She know how to throw a punch and kick, the camera does a great job of capturing these maneuvers, and the director has used special effects such as slow motion to emphasize them as an integrated part of the action.
  3. The special effects are scaled. I still remembered being bored as I watched one of the Superman films as New York City (or was it Tokyo…or Chicago…or….?) was being decimated for no apparent reason other than to “wow” audiences with special effects. The effects did not move the story forward in any meaningful way—they were just showing a good guy and a bad guy throwing punches to see who would persevere and be left standing at the end. Jenkins, however, has scaled the effects in Wonder Woman to reflect the place and context of the scene and character. While we see and experience wild explosions and other fantastical elements, they don’t overwhelm the story or the characters.
  4. Seamless blending of an international cast. Gal Gadot is Israeli, Connie Inge-Lise Nielsen (Queen Hippolyta) is Danish, Elena Anaya (Isabella Maru) is Spanish, Chris Pine (Steve Trevor) is American, Robin Wright (General Antiope) is American, and David Thewlis (Ares) is British, and they all have accents. They also come from different cultures with different nuances about how to relate and interact with the different people as groups and individuals. Cultural unfamiliarity can often interfere with creating on-screen chemistry as the acting becomes wooden, formal, and less personal. The interpersonal connection is crucial to create believable relationships. The blend works in Wonder Woman, unlike other films (e.g., most recently Kong: Skull Island and the Great Wall). The director embraced their differences, and didn’t force a familiarity that might have been difficult to orchestrate. The screenplay artfully creates interplay among characters that embraces the differences and uses human to emphasize contrasts in perspective or cultural norms that further the development of the characters and story. (For example, one of many humorous scenes in Wonder Woman involves Diana walking in on Captain Steve Trevor as his is bathing naked.)
  5. A woman directed the big budget, superhero action film. Okay, this is obvious. But the significance of the trust the studios put in Patty Jenkins, and her ability to deliver a high quality superhero action film, should not be underestimated. This is a threshold event, probably more significant that Kathryn Bigelow’s success with war/thriller The Hurt Locker in 2008. Bigelow was the first woman to win an Academy Award for Best Director and the film won for best picture. I would not be surprised if Wonder Woman is nominated for Best Picture and Jenkins is nominated for Best Director. While the film is likely not strong enough to win Best Picture, Jenkins’ directing may well make her a favorite for Best Director.

Unfortunately, Wonder Woman is marred by a few significant plot holes and inconsistencies early on the film. But those will be the subject of another blog post. In the meantime, Wonder Woman is an excellent, engaging, and sophisticated action film that deserves in commercial success as the box office and the acclaim it has received from critics.

Review: War for the Planet of the Apes brings closure to a grand arc

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I finally got around to seeing War for the Planet of the Apes. This is the third installment of the franchise re-boot that began with Rise of the Planet of the Apes (2011) and Dawn of the Planet of the Apes (2014). The film brings closure to a grand arc in the rebooted franchise and most fans of the series should be satisfied. The movie has also received positive reviews, generated tremendous staying power at the box office, and earned $314 million after four weeks at the box office (on a $150 million production budget).

War follows the attempts by the leader of the apes, Caesar (Andy Serkis, The Lord of the Rings series, Rise of the Planet of the Apes, Dawn of the Planet of the Apes), to avoid a final show down with the humans. The human population has already been wiped out by a virus blamed on the apes—the Simian Flu—and a remnant of the human population is trying to preserve their owns species by destroying the intelligent apes holed up in the forests of the Northwest United States. Caesar’s ability to communicate and his intelligence are the product of human medical experimentation (and the subject of the previous two films). In War, the humans are led by the maniacal Colonel (Woody Harrelson, White Men Can’t Jump, Natural Born Killers, Hunger Games) who is intent on destroying the apes in what he terms as a “holy war” for the survival of mankind.

War for the Planet of the Apes—the ninth in the pantheon of the franchise—stays true to the original series which grappled with important social issues of the day. The innovation in the first movie, Planet of the Apes, was to reverse the roles of the apes and humans, giving the apes the benefit of intelligence, rationality and social superiority. Similarly, in the War for the Planet of the Apes, Caesar’s character embodies the common virtues of humans—desire for peace, cooperation, rational and balanced thought, grace, and forgiveness.

Caesar is morally and emotionally challenged by the deliberate if unintentional murder of his wife and young son by the Colonel and his soldiers. Their deaths spur him to hunt down the Colonel and kill him as revenge and retribution. Maurice, a wise and philosophical Orangutan (Karin Konoval, Diary of a Wimpy Kid, Rise of the Planet of the Apes, Dawn of the Planet of the Apes), provides the balance and metaphysical foil to Caesar’s charismatic leadership. The humans embody the dark side of humanity—unquestioned loyalty, willingness to uncritically follow leaders, the darkness that comes with succumbing to fear.

Screenwriters Matt Reeves (who also directs the movie) and Mark Bomback (Deception, The Wolverine, The Divergent Series: Insurgent) add important dimension to the story by introducing a young human girl into the story. After Caesar and his party kill her father, a deserter from the Colonel’s rogue army, Maurice refuses to leave her to starve or be killed in the wilderness. The girl’s innocence, courage, and willingness to look beyond her species to bond with the apes plays an important role in Caesar’s own personal transformation in his quest. Her role and acceptance also allow War to become more multidimensional than a simple ape vs. human tale, staying true to the franchise’s emphasis on finding common ground and overcoming prejudice.

War for the Planet of the Apes is a fitting sequel to the previous two movies. The special effects immerse the audience in the movie, making the world of the apes as natural and accepting as human life in the real world. The action sequences keep the audience engaged throughout the movie even though the end is never really in doubt. Serkis’s acting gives life to his character in striking ways despite the fact the audience never sees human form. Harrelson finds a way to add dimension in the egocentric, brutal Colonel blinded by his own prejudice and self-righteousness. The screenwriters also do a nice job of infusing references to characters from the older films, giving those familiar with the original series a satisfying sense of closure. While the story is not fresh, the movie is done well.

Review: The Exception harkens to classic war-time romances

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The Exception made a brief appearance in the movie theaters before heading to the DVD and on-line streaming market. This is where the film is likely to find its commercial success. It lacks the fast-paced action, grand themes, and scenic worlds that lend themselves big screen storytelling. In many ways, The Exception seems like a throwback to the period romantic dramas of the 1950s and 1960s.

This World War II story centers on a forbidden love that develops between a German army officer, Stefan Brandt (Jai Courtney, Suicide Squad, Unbroken, Divergent) and a female servant working in the household of the exiled German Emperor, Kaiser Frederick Wilhelm II (Christopher Plummer, The Girl with the Dragon Tattoo, Beginners, The Last Station). The Kaiser and his wife, Princess Hermine (Janet McTeer, Maleficent, Albert Nobbs, Insurgent) are living in Belgium awaiting an opportunity for the former monarch will be reinstated in Germany. Brandt has been transferred by German headquarters to lead Wilhelm’s security detail.

In retrospect, Wilhelm’s hope to return to Germany seems hopelessly naive and detached (and toward the last years he appeared increasingly delusional). But the Kaiser’s character is rooted in the real life dynamics of post-World War I German culture, society, and politics. Germany’s disastrous early experiment with democracy, the Weimar Republic (1919-1933), kept hopes for re-establishing the German monarchy alive for many in the aristocracy and military. Kaiser Wilhelm abdicated rather than renounce his claim to the throne, and he hoped to be invited back to Germany in a prominent government role.

German loyalty to the former monarch was, in fact, problematic for Adolph Hitler. While Hitler never considered reinstating Wilhelm, the former Kaiser’s stature was sufficiently high his death (in 1941) was used for propaganda purposes reinforce German values of honor and commitment to German aspirations for European hegemony. This historically grounded reality sets up important plot points in the movie.

When Brandt is transferred to the Kaiser’s security detail, he meets Meike de Jong (Lily James, Downton Abbey, Baby Driver), a servant in the Kaiser’s castle. They begin a romance despite rules against fraternization between staff and the soldiers. Complicating matters is the fact Meike is Jewish. Following his heart, Brandt refuses to break off the romance. Intrigue deepens as the SS (a German paramilitary police force) discover a British agent is working in the town. Meike is also an informant for the Dutch resistance, reporting on the activities with the Kaiser’s house.

The Exception is generally well executed and acted. Plummer successfully projects the naive optimism of the banished Kaiser while also adding humanity to his borderline delusional character. McTeer’s portrayal of the Kaiser’s ambitious and devoted wife, Princess Hermine, creates the necessary tension to keep the outcome of the clandestine romance in question throughout most of the movie.

Unfortunately, the plot is predictable, providing little that is fresh or innovative with the exception of a small plot twist at the end. Virtually nothing in this film pushes or even comes close to a creative boundary. The result is an entertaining but largely un-engaging film.

The relationship between Brandt and de Jong as characters is also problematic. The first day at the castle, Brandt and de Jong notice each other, making eye contact several times. This presumably is an attempt to demonstrate mutual attraction. Later that evening, however, de Jong delivers an invitation to dinner with the Kaiser to Brandt in his private quarters. Brandt orders de Jong to strip, and he rapes her (although physical violence is not used or attempted). This scene clearly establishes the master-slave hierarchy. Soldiers by virtue of their status and rank, could take advantage of the subservient role of women.

Yet, just a few nights later, de Jong enters his room again and voluntarily has sex with Brandt after discovering he was wounded on the Eastern Front. If this were a ploy to extract information from Brandt, this turn of events and de Jong’s actions would be plausible. But just days later they are in what appears to be a mutually satisfying romantic relationship. While Brandt’s shift from lustful physical satisfaction to romantic interest is plausible—in the first case it was “just sex”—de Jong’s attitude as the rape victim would be much more difficult. Yet the film does very little to address how the character overcomes the indignity and humiliation of her rape other than a flimsy apology by Brandt after he has developed personal feelings for her.

The Exception is a film that harkens back to the naive innocence of the romance-dramas of the post-World War II era. Despite this inconsistency, the romance mixed with international intrigue creates enough tension and conflict to keep audiences entertained throughout the movie despite the unimaginative plot.

The Exception scored a 7.9 (out of 10) on my rubric, earning a C+.

St Augustine Pirate and Treasure Museum Educates, Inspires

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I finally achieved a major objective since moving to Florida: I visited the St. Augustine Pirate and Treasure Museum. This is the world’s largest and most comprehensive pirate museum with more than 800 artifacts under one roof. The museum is just a stone’s throw from Castillo de San Marcos, a 17th century Spanish fort overlooking the Matanzas River.

I learned that the entire east coast of Florida was a prime location for piratical activity. The port itself was ransacked and pillaged numerous times.  In fact, the fort was built to help protect St. Augustine from pirate attacks. (I might have to send Isabella and Jean-Michel up the east coast of Florida in a future book in the Pirate of Panther Bay series.)

This Jolly Roger flag in the St. Augustine Pirate and Treasure Museum is one of just three surviving today.

The museum includes a ton of history relating to the Golden Age of pirates, including weapons, life on board pirate ships, pirates in film (including a Pirates of the Caribbean exhibit) and one of just three surviving Jolly Roger flags! Several new interactive exhibits have opened up, such as kiosks that allow visitors to learn about pirate havens, trading routes, and more about their favorite pirates (or pirates they just want to know more about). The museum includes a room that simulates what it would have been like to be below deck when pirates boarded your ship. Another area recreates the experience of loading and firing cannon from the deck of ships either defending themselves or attacking other ships.

This surgeon’s box shows the tools of the trade for trying to help wounded sailors at sea.

The visit helped me navigate several thorny historical facts relevant to the third book in the Pirate of Panther Bay series. Readers will spend some time below the gun deck of Isabella’s ship as Doc attempts to save sailors wounded during battle. One of the exhibits includes a fully decked out surgeon’s box with tools. Of course, in the 1700s, any wound was potentially fatal because the risk of infection was so high. Several period fire arms also helped me think through the limits of using those weapons during sea battles as well.

Francisco Menendez, a free black who helped organize a regiment and worked as a privateer to defend St. Augustine in the 1740s.

One of the most intriguing historical facts I learned surrounded Francisco Menendez. Menendez was a free black, and he helped defend St. Augustine and North Florida from pirates and other invaders (including the British).  In the 1740s, he became a privateer for the Spanish government and recruited other blacks to join him defending St. Augustine.

The role of blacks in colonial history is an underappreciated aspect of piracy in the Caribbean. Former slaves made up as much as a third of pirate crews on some ships. La Florida under Spanish rule was a haven for escaped slaves, which became a source of tension between colonial powers as well as the newly established United States in the late 18th and early 19th centuries. (The fact Isabella is an escaped slave fits well into the historical reality of Caribbean piracy.)

Check out the new interactive exhibits at the museum!

The museum has a lot to see and do since it added experiential exhibits. The museum is also set up for group tours, school visits, and other educational programming. Visitors should expect to spend several hours touring, and don’t neglect the Treasure Shop at the end!

For more information and to check out what has been added recently, listen to this podcast (Episode #60) from Under the Crossbones with Cindy Stavely, the executive director of the museum.

While you are at it, check out the podcast with me (Episode #20), too!

(The official book trailer for the Pirate of Panther Bay is fun, too. The St. Augustine Pirate & Treasure Museum needs a trailer or 1 minute promotional video.)

Review: Wonder Woman is a smart, well executed action film

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My movie review of Wonder Woman is live at the Independent Institute. I really liked the film, and, as I mention in another blog post, I think this might be a break through film for women directors. The film is smart, well executed, and superbly directed by Patty Jenkins.

Perhaps one of the elements I appreciate the most is the multidimensional development of the main character, Diana Prince (Wonder Woman). She doesn’t lose her gender identity as she embraces the superhero role and heroic commitment to saving the human race. Diana Prince is not a character that essentially acts and looks like a man. Kudos to screenwriter Allan Heinberg for scripting a great character and giving her a worthy arc. Jenkins has also done an excellent job blending an international cast and using the story to play off their differences. Their differences become humorous interactions that deepen relationships and understanding.

In my longer review, I write:

Wonder Women contains an excellent story in a well-executed film that grapples with the conflicts between idealism and practicality, innocence and experience, gullibility and wisdom. Jenkins has crafted a film that infuses substance into a smart story. She uses well-crafted storytelling elements, such as defined and complex character arcs, to allow the anti-war social conscience that underlies the film to shine and provide a compelling context for the film.

This is great summer film—a lot of fun with great action sequences and excellent character development.

The complete review can be found here: http://bit.ly/IIwonderwoman

An article about five not-so-obvious things to love about Wonder Woman can be found here: http://bit.ly/5notsoWW

Stay tuned to this blog because the film is prompting me to think about several other articles on plot development and character development using Wonder Woman as a starting point for the riff.

 

Announcing #WomenPirateWednesday!

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On Wednesday, May 31, 2017, I will launch the first #WomenPirateWednesday (also #WPW) via twitter (@SamRStaley).

The idea is to highlight women in pirate history, literature, movies, entertainment, academia, and culture more generally. This weekly event will feature books, podcasts, movies, blog posts, and anything directly or tangentially related to women and the connection to pirates. I will be borrowing content liberally from podcasts hosted by Phil Johnson at UndertheCrossbones.com. My twitter posts will generally begin at 10 am ET and end at 10 pm ET.

Here’s a quick peak at the women featured on the first day:

Of course, The Pirate of Panther Bay and Tortuga Bay can be found at amazon, SYPPublishing.

Each week I’ll have a preview of the line up on this blog. Leave comments if you have content that you would like featured!