Friday, 17 December 2021

Short Story: "Planet Prytagor-U" by Jack Croxall

Are you in the mood for a short story that will put a smile on your face? I'm a great fan of author Jack Croxall, in fact I loved his novel Wye, and I jumped at the chance to host his brand new short story, "Planet Prytagor-U". Enjoy!


I sprint across the frozen ground. Sucking in a lungful of icy air, I chance a glance to the east. The Prytagorian sun is fast disappearing below the jagged horizon.

‘I see the cave!’ Henderson calls from behind me, ‘we’re nearly there!’

On we run, bursting through the cavemouth just as the sunlight fades. Henderson turns and drags the scorched segment of fuselage operating as our makeshift door across the opening. When darkness falls on Prytagor-U the temperature plummets to lethal lows almost instantly. We need all the protection from the night we can get.

‘We cut that too fine,’ Henderson gasps, as he switches on a lamp. ‘What were you doing in the wreckage for so long?’

I huddle against the warm cave wall before I answer. ‘I was looking for food, I found some more ration packs.’

Henderson doesn’t thank me for it. He walks over to our tired water purifier, the only reason we’re still alive. He removes the canister and reaches for a couple of mess tins. A few glugs of filtered water into each and he’s crossing the cave towards me.

‘There’s something wrong with the purifier. It’s kicking out less to drink every time I run it.’ He hands me a tin and I gulp down the water eagerly. Thanks to whatever geothermal processes are occurring behind the cave’s walls, the water is at least a little bit warm.

‘What the hell are we going to do?’ Henderson asks, as he squats against a flat portion of cave wall. ‘Soon we’ll have salvaged everything we can from the ship and then it’s only a matter of time until we’re out of food.’

I don’t respond but the planet seems to; the night winds begin to howl outside. Every night since we crash-landed there’s been a fierce gale, the likes of which would probably be called a once in a generation storm back on Earth.

‘And what kind of stupid name is Prytagor-U for a planet anyway?’ Henderson exclaims, no doubt angered by the rising winds.

‘It’s more of a designation than a name,’ I answer, glad to be off the subject of the ship and what remains of it. ‘Some Colonist Project scientist probably came up with it.’

‘Well I’m a scientist and I say we should have landed on a different planet in the Prytagorian System. Anything but this frozen hell.’

It’s a long time before either of us says anything more, the hopelessness of our situation weighing heavy in the air.

‘We need to talk about the crash,’ Henderson says, breaking the silence.

I shake my head. ‘There’s nothing to talk about.’

‘Yes,’ Henderson says, ‘there is. Thirty-five people are dead, not to mention all the embryos. We need to talk about it.’

‘We need to eat and then get some rest.’

‘What’s the last thing you remember?’ Henderson asks.

‘What?’

‘What’s the last thing you remember before the crash?’

‘I don’t know, being in orbit. Landing prep. My memory is fuzzy.’

‘Liar,’ Henderson growls. Outside the winds surge and our fuselage-door starts to rattle against the cavemouth. ‘The only reason you can’t remember is because you refuse to let yourself.’

Hearing the truth aloud forces the memories to come rushing back. ‘I remember sitting at the controls,’ I say, somehow unable to stop myself from speaking. ‘I remember entering the planet’s atmosphere. But the ice storm, the alarms. Thruster three, it failed. I couldn’t stabilise the ship …’

I realise Henderson is kneeling beside me now, holding my hand. ‘Why couldn’t you stabilise the ship?’

‘Don’t make me say it.’

The wind outside is screaming bloody murder, but somehow Henderson’s voice cuts through. ‘Let it out, Clarissa.’

Despite my guilt, I do. ‘When I came out of cryosleep and we entered the Prytagorian System, my cryosickness, it didn’t go away like everyone else’s.’

‘And who did you tell?’

‘No one,’ I whimper, a tear running down my face, ‘not even the captain. Not even you.’

‘Why not?’

‘I’m the pilot, landing the ship was my one and only job. I didn’t want to admit I was sick and let the crew down. I – I’m so sorry, Charlie.’

Suddenly, the wind outside dies. ‘Where are we?’ Henderson asks, looking to the cavemouth and then back to me.

I stare at him blankly. ‘What?’

‘The crash killed everyone except for me and you. We can breathe this alien air without suits, and we don’t have a scratch on us. It doesn’t make any sense, so where are we?’

‘Prytagor-U,’ I answer.

‘Don’t hide behind anagrams, Clarissa. Where are we?’

I’ve never been good at word games but deep down I already know the answer. ‘Purgatory.’

The fuselage door falls and the cavemouth is open. But it’s not an ice planet’s hostile vista that greets me, it’s a leaf-green expanse bathed in golden sunlight. I see the tree swing I used to play on when I was a little girl.

‘We all forgive you,’ Henderson says softly. ‘Even without cryosickness there was nothing any pilot could have done in that storm with a failed thruster. It’s time to forgive yourself as well. It’s time to stop punishing yourself in this place and move on.’

My pain and guilt fading away, I stand.

Then I walk with Henderson into the light.


Trained as a scientist, Jack Croxall concluded a life in the lab wasn't for him. After discovering a passion for words and stories he's now a writer!

View Jack Croxall’s Amazon UK page or his Amazon US page Follow Jack Croxall on Twitter and Instagram

Photos: © Jason Croxall

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Wednesday, 24 October 2018

Author Jack Croxall on Celebrity Culture

Win Butler - Arcade Fire

Long time readers of this blog will be familiar with Jack Croxall, author of one of my favourite novels Wye. Today, Jack has kindly offered to share his thoughts on Celebrity Culture.


”Celebrity culture” is getting more and more troubling

A few weeks ago I saw a somewhat alarming conversation on my Twitter feed. Several people were discussing who they thought should run for next American president, and every single suggestion or hopeful prediction was a celebrity. No senators, governors, lawyers or anything like that, it was all completely politically inexperienced singers, actors and TV stars. Now, to be fair, no legitimate career choice should automatically discount an individual from running for office. The presidency is currently occupied by a reality TV personality after all. But I still found the conversation troubling.

You might have heard about that infamous study; 54% of sixteen-year-olds polled want to be “a celebrity” when they grow up. Of course, some people become celebrities because they’re incredible musicians, captains of industry or because they achieve some spectacular feat. But, with the rise of people being famous for being famous, you can bet that some people – young and old – simply want to emulate that. Now, I don’t think there is anything inherently wrong with wanting to be well-known or appreciated. We all like it when our social media posts get lots of likes, we all like it when someone says something nice about us. But the position of “celebrity” as the pinnacle of achievement, the most desirable life outcome, that’s surely a questionable state of affairs, right?

A product engineer friend of mine once complained to me that celebrity endorsement is far more important than the build, functionality or quality of a given product in terms of it becoming a manufacturing industry success. And, sadly, I think similar things can be said for lots of other sectors as well. Consider the film industry. I have lost count of the times I have burst out laughing during a film because of the terrible accent a completely miscast actor has used in a main part. Usually, this is because the actor in question is a “big name” and the film benefits from having a famous face on the poster, regardless of whether they are right or wrong for the role. Even earlier in a movie’s lifecycle, the quality of a script is frequently a decision maker’s secondary concern compared to whether or not said script has a famous actor already attached to it.

I should say, however, that this at least demonstrates talented, creative people using the power of celebrity to try and get their work out there. Additionally, many celebrities use their fame for good, to raise awareness of important issues or to endorse charities. But, sadly, I don’t think that these are the objectives of many people who want to be famous. I think a worrying amount of people want to be famous because they see it as a way to be rich and idolised without having to do anything. And, personally, I find the idea that our society has instilled a desire to be famous and rich without the want or need for achievement pretty disturbing. As a final note, I want to share another conversation I’ve recently been made aware of. A talented local journalist recently had her first article published in a major national newspaper. It was a big deal for her and, rightly so, she posted the achievement and article on her social media pages. An old school friend got in contact with her and asked how she had done it because she wants to be “rich and famous”. The journalist explained about her degree, her blogging and her networking, to which the school friend’s response was “Sounds like hard work, I’d rather just find a sugar daddy.” Wow.

Jack Croxall Landscape Photo

Jack Croxall is an author, screenwriter and blogger living in Nottinghamshire.

Twitter | Site/blog | Books

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Thursday, 22 June 2017

Author Jack Croxall on Post-Apocalyptic Fiction

I love post-apocalyptic fiction, especially those books aimed at the young adult market. Wye is one of the best post-apocalyptic books I’ve ever read and I gave it a glowing five-star review last year. Naturally I was thrilled when Wye author Jack Croxall offered to write a guest post on his love of post-apocalyptic fiction.


Why I Love Post-Apocalyptic Fiction – Jack Croxall

Jack Croxall Landscape Photo

Our world will end. This is not conjecture, this is a stark and unavoidable fact. Unless we can master interstellar space travel, the sun’s evolution into a planet-engulfing red giant will ultimately spell the end for humanity. Fortunately, it’s a few billion years before we have to worry about that. Unfortunately, there are several other things – asteroid strikes, catastrophic climate change, pandemics – which could easily finish us off long before the sun boils our planet alive.

When humanity begins to fall, it’s easy to imagine that civilisation’s rules will go out of the window. Resources will be limited, and those who are left will have to tussle against one another just to ensure survival from one day to the next. In a world like that, any person would surely show their true colours. This is why I love post-apocalyptic fiction so much. There is no pretence, a post-apocalyptic protagonist will act true to who and what they are. As a reader, this makes it easy to connect with them and their plight.

Knowing that civilisation will end (but not how) also generates lots of wonderful opportunities for storytelling. So many excellent novels have imagined the end in different ways, The Road, Runners and The Walking Dead to name just a few. For both reader and writer, it’s kind of morbidly exciting to imagine how you would act if you ever found yourself in a particular book’s situation – to consider just who YOU really are.

It’s also kind of refreshing. We were born into a society full of rules, rules we mostly weren’t around to help draw up. It’s interesting to imagine a world where all of that is reset. Of course, we First World-ers were also born into a society of medicine, education, technology and (relative) justice. It’s fascinating to wonder whether we would have it in us to survive radically different circumstances. Would we even want to survive them?

Wye (Jack Croxall) Cover

Jack Croxall is an author/scriptwriter living in Nottinghamshire. You can view his post-apocalyptic novel Wye and his other books by clicking here.

Website: Jack Croxall | Twitter: @JackCroxall

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Wednesday, 3 May 2017

Leo Hunt's Seven Trees of Stone: Exclusive Guest Post and Giveaway

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Have I mentioned before how much I love Leo Hunt’s Thirteen Days of Midnight series? I think I have. Luke Manchett is perhaps my favourite protagonist of all time and I gave both Thirteen Days of Midnight and Eight Rivers of Shadow glowing five star reviews. There is just something about Leo Hunt’s writing and Luke Manchett’s self-deprecating manner that draws me in time and time again.

The fabulous news is that the final book in the trilogy is being released tomorrow and to mark the occasion I’m giving away three copies of Seven Trees of Stone and I’m also featuring an exclusive guest post written by none other than Leo Hunt himself. Definitely give it a read, it tells you all about Leo’s journey in creating Luke Manchett and his journey to the end of the series.

It really couldn’t be more perfect if it was my birthday this week. which it is. Let’s get started then.


Now Leaving Dunbarrow – Leo Hunt

In September 2010 I wrote a page and a half of prose. It was about a boy getting a letter telling him his father was dead, and then letting his dog in from outside. I remember liking the voice and thinking the story could go somewhere.

It’s now May of 2017 and the final book about Luke Manchett, Seven Trees of Stone, will very shortly be released. It’s been a long journey from there to here, and although I immediately thought Luke’s life in Dunbarrow had narrative potential, I had no idea the character I created that day would alter the course of my creative life so completely.

Leo Hunt - Official author photoEndings are difficult to get right because they weigh so much in a reader’s mind. Your novel can survive a few misjudged scenes in the middle much more easily than it will survive a bad ending, so there’s a great deal riding on those final paragraphs. Similarly I think there’s a lot riding on the final book of a trilogy; having spent the previous volumes spinning plates and dropping hints and leaving narrative doors slightly ajar, any reader who’s come this far with me will have high hopes that all their questions will be answered, and have their own ideas about how they want the series to end. Writing this final volume of the series, I had a great deal of self imposed pressure not to disappoint.

Adding to this pressure was the fact that I never intended this to be a series. When I wrote Thirteen Days of Midnight, in my mind the narrative stopped at the final scene, where Luke walks back towards his house at sunset, with his father’s necromantic sigil and book buried in the field behind him. He’s achieved victory but at heavy cost — his bargain with Mr Berkley — and symbolically laid to rest the memories of his father, facing up to the dark figure Horatio really was. I’ve never been interested in triumphant endings where trumpets blare and the hero gets given the medal for being a Good Person Who Did Everything Right, and I was happy to leave Luke for good, and have his future be a dark mystery. My publishers disagreed, and argued that I should explore Luke’s world further.

I was initially not keen on this, but there did prove to be a story beyond that moment in the sunset field that was worth exploring. I decided that the second book of the three would focus on the world of the dead, which Thirteen Days had hinted at but never revealed beyond a pair of surreal scenes in the final chapter. The plot of Eight Rivers of Shadow was built around the idea that Mr Berkley would take a backseat, Luke would face a new adversary — Ash Ahlgren — and the final act would be a journey through the grey horrors of Deadside. This journey remains some of my favourite writing that I’ve done, and the second book of the trilogy might be the one I’m most proud of.

However, Eight Rivers did not shed any light on two of the nagging questions left over from the ending of the first volume — the exact nature of Luke’s bargain with Mr Berkley, and what Horatio did after Luke set him free. The Berkley question in particular drove me insane because I had never planned for the issue to be resolved. It went from being a dark, ambiguous presence at the end of Thirteen Days to being something that I actually needed a concrete answer to, not to mention that I also needed a way for Luke to defy Berkley and defeat him. Not to mention that I needed a plot. I had none of these things.

In the end, the structure suggested itself. The first book is Luke as an apprentice, discovering the spirit world and making tentative use of his powers. In the second volume Luke is a literal journeyman, leaving his home to travel deep into Deadside and encounter the true source of all magic. The final book is about mastery, Luke finding ways to fully use magic and his wits to overcome the being that inducted him into this hidden world in the first place. I also realised that in this third volume the worlds that had been separate should come together, and the veil could be lifted so that characters apart from Luke and Elza would see the spirit world. With these two concepts in place, the shape of the final book started to emerge, and I saw how I could resolve the bargain between Luke and Berkley.

I’ve spent close to seven years of my life working on these books and living with these characters in my head every day. It’s strange to be leaving Dunbarrow and moving away from this project into something new. When I look back at the town I built it’s hard not to see the mistakes, see the story threads I wish I’d pursued further or resolved differently. But I’m also amazed by how much I was able to grow from that first page and a half of writing, and how moved I’ve been by reader’s reactions to it. The years I spent in Dunbarrow changed me, and I know I’ll never forget them.


Giveaway

Seven Trees of Stone - Leo Hunt

The Thirteen Days of Midnight series is not the kind of secret one could or should keep to oneself and so to celebrate the release of Seven Trees of Stone, I am giving away three copies of the book to lucky readers. Enter using the Gleam widget below and remember that the competition is open to UK resident only.

Leo Hunt's Seven Trees of Stone Giveaway

Be sure to subscribe to Addicted to Media by Email for more competitions plus film, TV, music and books news and reviews.

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Wednesday, 10 December 2014

SeaRISE Blog Tour: Commander Hadron Speaks

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Timeshift anyone? Commander Hadron sells us his vision of the C-Bean

A guest post by Sarah Holding

Welcome to 2014. My name is Commander Hadron. As exclusive and valued members of our revolutionary TS100 programme, you will shortly undergo a comprehensive induction session with one of Hadron Services’ agents. You have been assigned agent AFOS21XV. The following are provided as back-up notes and will be circulated as a digital handout at the end of your induction.

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May we congratulate you - you have made an excellent decision and we value your custom. Timeshifting is not the right option for everyone, but for those who choose to make the leap through time, a bright and promising future awaits you, in the past.

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The twenty-second century presents a unique set of challenges to humankind following the cataclysms of the twenty-first. Many people find these challenges are best overcome with a move to an earlier time, while some move off planet, and others venture forth into the unknown and select the our newest TSplus100 Programme, although participants must sign a disclaimer as there are no guarantees that life in 2214 is any better.

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As a participant in our TSminus100 Programme you have elected to be shipped back 100 years in time to 2014, together with the barest essentials you will need to integrate with everyday life in your chosen century: a passport, a month’s worth of local currency, plus clothes and personal items appropriate to this era. Please note that oxygen is plentiful in 2014, and your Bioports will not be needed.

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Your agent, AFOS21XV will act as your local guide and chaperone for the first 48 hours. Arrival is provided in an urban location in a temperate latitude.

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Having successfully completed our Language Optimisation Training Programme, (LOTP) you will also be equipped to speak the local dialect of the people living in the city of arrival. For additional support, we provide you with a Voicoder App.

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Any unusual medical problems should be reported to your Agent, and if necessary he will order antidotes. Your base station is the C-Bean itself, which will remain in the vicinity for 72 hours after your arrival, disguised itself as something that will enable it to blend naturally with its surroundings.

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You will each be provided with a Mailboat to facilitate telepathic communication with your loved ones in 2114. We recommend however that you only use this once a day to avoid Consciousness Leakage from being detected by the local law enforcement. There have been cases of alien arrests on suspicion of possession of telepathic equipment. You are also reminded to be alert to any vigilante telepathic activity by your Alter Human. They will have undertaken the switch to your Birthtime at the same moment in another C-Bean, but sometimes participants have experienced intense headaches and other symptoms as a result of their Alter Human trying to make contact during transit. It is not advised that you respond if this happens.

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Please remember there can be no refunds or reversals. 72 hours after you arrive in your TSminus100 location, your contract with Hadron Services is terminated and you have no further recourse to us for technical support or customer relations.

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We at Hadron Services pride ourselves in offering a unique service to the luxury end of the market, and we recommend that you take out Hadron Insurance to protect your investment. If you have selected the Remote Viewing add-on, this insurance protection is mandatory.

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You might also wish to pledge a few extra Bars to our Bio-Offset Project, whereby for every human we relocate to the past who pledges 50 Bars or more, we can bring 50 mammals, 100 birds, 1000 insects or 10,000 seeds to the future.

The final book in Sarah Holding’s SeaBEAN Trilogy, SeaRISE which features the character of Commander Hadron, is now out. (Medina) available here.

About the Author:

Sarah HoldingSarah is a full-time children’s author, juggling writing with looking after a family of three children. They live in Surrey in a funny old house with a leaning tower. When she’s not writing she’s singing, and when she’s not singing she’s playing sax in her jazz band. She says she knew there would always come a time when the abandoned island of St Kilda would feature somewhere in her life, little thinking it would be the setting for her first children’s book.


This guest post was the penultimate post in the SeaRISE blog tour spotlighting the third and final novel in Sarah Holding's SeaBEAN trilogy. If you enjoyed this post, be sure to visit the other blogs in the tour.

1st December – Sci-Fi-London
2nd December – Sci-Fi Bulletin
3rd December – Fiction Fascination
4th December – Feeling Fictional
5th December – Cherry Mischievous
6th December – The Overflowing Library
7th December – Book Passion for Life
8th December – Bookaholics Book Club
9th December – The Secret Writer
10th December – Addicted to Media
11th December – SeaBEAN Trilogy Official Website

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Saturday, 30 June 2012

Bypassing Proxies: Is It Legal?

What can you do when you log onto a U.S. based website to watch your favourite TV programme, only to find the site is blocked to IP addresses in the UK? Tech savvy users know that they can turn to a proxy server or a virtual private network (VPN). These services allow you to circumvent web filters that block users based on geographical location. With just a few clicks, you get instant access to your favourite U.S. TV shows.

There are many webpages dedicated to showing web surfers how to utilise proxies and VPNs, but far fewer that discuss the legal implications associated with them. Before you start proxy bypassing, educate yourself about the difference between legal and illegal proxy activity.

Are Proxies Legal?

By strict definition, it is legal to use proxies to stream online content from outside the U.S. In fact, proxies have been traditionally used to protect internet users and networks from hackers, malicious programmes, and other suspicious activity. According to ISP Preview, proxies are also used to enable remote work and support from users located outside a given network.

When you use a proxy server to gain access to content based in the United States, the server simply acts as if you are requesting to stream the content from inside the country, thus granting you access. The content is free to users living inside the country, so why shouldn’t you be able to access it? Well, there’s been a great deal of debate over whether or not this type of activity is deceitful or illicit. An article published last year in The Australian may have the answer: they conducted an investigation about the subject of entertainment piracy and quoted Attorney-General Robert McClelland as saying that using proxies and VPNs to access content on sites such as Hulu and Netflix “does not appear to be an infringement of copyright law.”

 Television production technology concept

When Are Proxies Illegal?

That said, there are some circumstances in which using proxies and VPNs are illegal. For example, some websites stream content that is only available to U.S. audiences who pay license fees to access it. In this case, the use of a proxy or VPN to access the content would be illegal, since you have not paid the license fee required to watch the programme. Before you use a proxy or VPN to stream content that has been blocked in your geographical location, closely read the website’s terms and conditions. Major VPN solution services like USA Proxy Server and HideMyAss strongly recommend that you check and comply with the third party website’s terms and conditions before use. Breaking these terms and conditions may or may not lead the third party company (aka the one you’re streaming from) to take legal action against you.

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Sunday, 11 December 2011

The Amazing Spider-Man Poster is Revealed

The Amazing Spider-Man poster

Thanks to SuperheroHype, we got an early look at the first official poster for The Amazing Spider-Man, starring Andrew Garfield and Emma Stone, and it definitely has a mysterious vibe. If this image is any clue, we're in for a darker (perhaps creepier) Spidey tale than we've ever seen before.

Amazing-Spider-Man-Andrew-Garfield-Emma-Stone-Two things are worth noting with this poster - first, there's no Spidey logo or title (besides the shadow), which is an interesting choice. Just guessing, but apparently Sony Pictures believes the spider shadow alone is so recognizable that a title is unnecessary - after all, everybody knows who Spidey is, right?

Second cool thing about this poster are the words "the untold story". Again, I'm speculating here, but I think that's referring to the story of how Peter Parker was orphaned and wound up being cared for by his Aunt May and Uncle Ben. I'm not being a spoiler, because the trailer that was released months ago hints at that in the first few seconds. (see below) We already know that Richard and Mary Parker (Peter's parents) will appear in the movie, so I'll wager that their backstory is a big plot element. Think I'm wrong? Let me have it in the comments.

We only have to wait until July 13 to find out.

This is a guest post by Matthew Killorin of the incredible superhero blog Capes on Film. Visit Matthew's blog for news and reviews of the best comic book and super hero films out there.

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Saturday, 17 September 2011

Experts Proven Wrong - World Loves 'Captain America' Movie

This is a guest post from Matt at Capes on Film, a fantastic blog about superhero culture and comic book films. If you are a fan of capes, comics or films, you have to follow this blog!

Paramount/Marvel Studios
Earlier this week, Paramount and Marvel Studios announced the box office tally for Captain America: The First Avenger (CA), and much was made about its strong showing overseas. The Hollywood Reporter ran a story with the headline "Box Office Shocker" - implying that many experts thought Cap would get a lukewarm reception outside the USA. As it turned out, it actually earned more abroad than it did at home. It did especially well in Latin America and Europe. In the UK, the movie had a strong showing, but Thor proved more popular with $22.5 million in ticket sales to Cap's $15.5 million.

As THR reported -
To date, the superhero tentpole has grossed $178 million internationally, compared to $173.5 million at the domestic box office. The overseas tally includes a strong $5 million opening in China over the Sept. 9-11 weekend.
Captain America #1- 1941 Timely/Marvel Comics 
I posted an article in July that talked about the decision to distribute the film overseas with the full title instead of simply The First Avenger. It was thought by some industry experts at the time that having "America" in the title would turn off audiences in Europe, Asia and elsewhere. Eventually, the only countries that chose to distribute CA with the shortened title were Russia, Ukraine and South Korea.

As some astute commenters noted on the THR site, the bigger story here might be the relatively small American box office for CA - especially for such a well-known character and heavily promoted film. To paraphrase what one person said in the comments - This is studio "spin" to cover up CA's sub-par American box office. In 2010, American studios raked in three times as much overseas as they did domestically, so, of course, it follows that CA did well abroad. 

So, it's debatable whether or not CA was as much a financial success as it was a critical one. Let's leave that discussion for later. I'm wondering about some of the subtler points that CA's international popularity raises.

What does it mean in terms of America's image abroad when a movie as America-centric as CA does so well in the current politically charged climate? Could it mean that some of the anti-Americanism that seemed to be widespread across the globe a few years ago has lessened? Would CA have done as well in, say, 2004 as it did in 2011? We'll never know the answer to that one, but it's interesting to speculate. What did you think of Captain America: The First Avenger? Have any ideas on why it did so well around the world?

Read the THR article at the link below
Box Office Shocker: 'Captain America' Earns More Overseas than in U.S. - The Hollywood Reporter:
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