Favorite Movies of My Life Pt. 2 (1981 – 1990)

The eighties is when I did the bulk of my movie watching, so its going to get harder,  as I go,  to just choose one movie, and in some cases, some  movies are going to have to share the spotlight with others.

The eighties also saw the invention of the VCR, for wide spread home use, and my family got our first one  in 1983 or 1984. Yes, I saw more than a few of these movies with my Mom, but there’s less of a nostalgia factor involved, and more of an appreciation for good filmmaking in my choices.  This is sometimes less about which movies influenced me, and more about which ones I could appreciate as a noobie film-wonk.

At about the mid-eighties, I started babysitting my nieces and nephews, and some of my Aunts had cable. So I watched a lot of these movies on HBO, (along with lots of MTV). I watched a helluva lot of Horror movies, in the eighties too, so this list is going to contain quite a few of those. I think my Mom and I tried to see every Horror movie made between 1980 and 1988, at which time I headed off to college, and  wilder film adventures.

 

1981 – American Werewolf in London/The Howling

 

I couldn’t choose between the two hallmark werewolf movies of the 80s. At the time American Werewolf was released, it was considered the total shit, but I didn’t care because I was stuck on The Howling, and as far as I was concerned, nothing surpassed it. Until I realized what everyone was talking about. An American Werewolf in London is, indeed, a most excellent movie.

I love both movies for different reasons, though. By any measure, American Werewolf is the deeper film, with its themes of survivor’s guilt, and cultural displacement. That, along with the special effects, make it worth the hype.  The Howling is pure, grade B horror film-making, with its cheap melodrama, and mordant sense of humor, and something in my fourteen year old soul (my age when I saw it) just loved it.

1982 – Bladerunner/ The Thing

When I first saw the trailer for Bladerunner at age 12, I knew that was my movie, and we were destined to be together. Unfortunately, I didn’t get to see it until several years after its release, and only on TV. I’ve been  a Ridley Scott fan ever since. I am obviously going to have to do a review of this movie, and share my love, even if there’s nothing new to be said about it.

I distinctly remember watching this trailer on TV, and thinking I wanted to see this movie.

I could not choose between Bladerunner and what is quite possibly one of the most perfect horror movies ever made, The Thing. This is how you do a remake. I’d argue that the eighties was the decade of the great  remake. Starting in the late 70s with Invasion of the Bodysnatchers, the 80s saw the remakes of The Fly,  Scarface, The Blob, The Thing, The Little Shop of Horrors, and Cat People.

Most people looking back on this particular year, often choose E.T.  because it was the most popular. Well, I’m not an E.T. fan. I don’t care about it, have no warm feelings for it, and almost never think of it, and at twelve years old, I’d be the perfect age to love it. I didn’t.

The Thing is another movie I didn’t see at  its release. In fact, this didn’t register on my radar until several years after, when people began praising it in various magazines. I have no memory of watching the trailers for it, although I must have seen them. I really didn’t know anything about it until a few years after its release.

There was also a movie released this year called Xtro, which was one of the grossest scifi/horror mashups I’d ever seen, and  was surpassed only by another horror movie, released in 1987, called Street Trash.

1983 -The Right Stuff

I have been a total NASA stan, ever since I fell in love with Star Trek as a child, so for me this movie felt like a behind the scenes look at one of my favorite organizations. This was the first time I’d ever watched Ed Harris in anything and I totally fell in love with him, and Scott Glenn, but I was also  in love with everybody when I was fifteen, apparently.

Yeah, okay, I’m still in love with Ed Harris, solely on the basis of him starring in this movie.

1984 – The Terminator

I didn’t see this movie until 1986. I remember this so well, because at the time it was released I had longed to see it, but didn’t have any money to go to the theater. I saw it in 1986, on tape, at my neighbor’s house. I remember because our neighbors, two brothers who lived across the street from us, had just bought a new VCR, and invited our family over for movies and popcorn.

I remember their house was a total mess and I was more than a little dubious about staying, but after a while I was so engrossed in the movie, I completely forgot my surroundings. It was the first time I’d ever seen a James Cameron movie, and my introduction to Bill Paxton and Arnold Schwarzeneggar. This is another of those movies where I just wandered off, home, while slowly trying to readjust to reality.

1985 – Fright Night

See my review:

https://wordpress.com/posts/my/tvgeekingout.wordpress.com?s=fright+night

Return of the Living Dead gets an honorable mention:

https://wordpress.com/post/tvgeekingout.wordpress.com/3756

1986 – 3 Films

I could not pick just one movie for this year. Three of my top favorite films were released this year: Aliens, The Fly, and Children of a Lesser God. Each of these movies is the perfect example of its genre for this year. But, if I absolutely had to pick one of them, to watch on a desert island, or something, I’d pick Aliens, since I never get tired of watching it.

1987 – 4 Films

This is another year where too many of my favorite films were released, so I can’t pick just one of them.

I saw both Evil Dead 2, and Robocop on a double bill at the local theater. To this day, I can count this as the best spent three hours of my entire  life. Just me, some popcorn, and a quiet movie theater, all to myself.

Lost Boys is on this list because I distinctly remember gushing about this movie to one of my classmates about how the guys in the movie were so cute. So, this makes the list more out of nostalgia, than that its a great movie, although, its still pretty good, by today’s standards.

I didn’t see Near Dark until many years after its release, but I do hereby acknowledge it as one of the best, most underrated,  vampire movies of the 80s.

My review:

https://wordpress.com/posts/my/tvgeekingout.wordpress.com?s=near+dark

1988 – Akira

Dangerous Liaisons, Beetlejuice, and Young Guns, were all released this  year, but really there was no other choice for me to make. This year belongs to Akira, although I didn’t watch it until 1992, while I was in college.

Not only is it the best movie made that year, its one of my all-time favorite Anime. Its also the very first time, I’d ever seen Anime on the big screen. When I walked into that theater, I had no idea what I was in for, since my roommate refused to tell me anything about it. She just kept saying I would like it. There are a handful of movies, that have such an effect on you, that you have to seriously readjust to being back in the world, when you walk out of the theater, and end up contemplating them for months after you see them. Akira is one of these films.

Incidentally, I had a bad falling out with the roommate who introduced me to this movie, a few years later, and while I have mixed feelings about her, I have never faulted her taste in movies. Whenever she said I would like something, she was NEVER wrong. Raising Arizona, Tremors, Near Dark, Seven Samurai, and Akira are movies I probably would never have watched without her influence.

1989 – The Little Mermaid

Batman, The Abyss, and Casualties of War, were also released in 1989, but I have to pick The Little Mermaid as my favorite. Ursula’s song, Poor Unfortunate Souls, is the meanest, snarkiest shit I ‘d ever heard in a Disney film, and I absolutely love that character. Of course now I know, she was modeled after the Drag Queen, Divine.

This was one of the first Disney films that ever made me cry, and I’ve been crying at these movies ever since.

1990 – Goodfellas

Tremors and Dances with Wolves was released in 1990, and I saw all three of these movies in the theater, where they probably should first be seen. I wasn’t unaffected  by those movies, but Goodfellas is a movie made by a director, Scorcese,  who was at the top of his game at the time, and he has never made a better movie since, in my opinion.

This one of my favorite scenes in a wealth of favorite scenes. Personally, though I don’t find the “Do you think I’m funny?” scene, to be especially funny. Yeah, its iconic, but its not my favorite.

The 1990s, though,  was when I really started, not just to develop my own tastes, but began to pin down just what attracted me to certain films. I began to really think critically about what I was watching, and Why I was watching it. I began reading the opinions of others about the films I liked, and this taught me how to approach film criticism. I started to trust certain critics over others, began reading books on film theory, and audience theory, and reading the filmmakers ideas about what they were trying to accomplish.

So, as the 90s progress, you’ll start to see a change in the kinds of films I enjoy, although SciFi and Fantasy will still make up the bulk of my viewing habits.

 

 

The Mis-Evolution of James T. Kirk

In an awesome, long, and rather intense essay, Erin Horáková deconstructs Star Trek to expose Kirk Drift, a phenomenon in which the character in the original stories is shifted in our memory and perception towards a more stereotyped masculinity — and the change says some things about cultural biases. There’s a cartoon version of Kirk…

via Captain Kirk is not Zapp Brannigan! — Pharyngula

Ghost in the Shell Thoughts & LinkSpam

Here’s a roundup of thoughts and feelings  from Asian Americans (and a few others) on Ghost in the Shell, Hollywood, and Whitewashing:

Orientalism and the Ghost in Hollywood’s Shell

The Incomparable Differences between Whitewashing and Racebending

https://thirdtwinmusings.wordpress.com/2017/04/08/stolen-brilliance-whitewashing-and-the-white-mind-as-perfection/

https://screenalicious.wordpress.com/2017/04/06/how-to-end-hollywood-whitewash-in-10-easy-steps/

https://amazingrace350.wordpress.com/2017/04/06/how-get-out-proved-that-minority-actors-are-marketable-hollywood-just-refuses-to-make-it-work/

Exorcising Ghost in the Shell

https://haleyjb.wordpress.com/2017/04/11/entertainment-media-a-white-world/

http://www.gq.com/story/the-whitewashing-playbook

http://www.motherjones.com/media/2017/02/history-whitewashing-asian-american-hollywood

http://www.slate.com/blogs/browbeat/2017/03/24/filmmakers_and_actors_keep_defending_casting_controversies_but_here_s_why.html

https://theringer.com/ghost-in-the-shell-scarlett-johansson-63bd6503af72

http://www.tor.com/2016/04/20/why-are-we-still-white-washing-characters/

 

 

And also check out  the site:

http://blog.angryasianman.com/

For intelligent discourse on issues pertaining to Asian Americans in Popular media, and a list of similar blogs:.

http://blog.angryasianman.com/2017/04/read-these-blogs_9.html

Asian American Month begins in May.

 

The Akira Project

There been a lot of speculation in the news recently about Jordan Peele directing a live action version of the famous Manga, Akira. I absolutely love this movie and watched it many times over the years. It wasn’t the first anime I was introduced to but it was the first that really affected me. 

A few years ago Osric Chau, from the Supernatural series, was lobbying to be cast as Kaneda, in a live action version. He, and some people he hooked up with, made a test trailer. This is what a live action  Akira could look like:

I’ve always thought of Chau as more of a fit for Tetsuo, but I think he just likes Kaneda as the hero.

Finn Meta Linkspam

Here are some discourses on my favorite character from Star Wars:

Star Wars, Finn, and Fandom Racism

 

We start with an admonishment to not be “That Person”.

thesovereignempress:

the-bi-writer:

this is a post for my fellow white star wars fans: we gotta do better. the treatment of Finn in the fandom at large has been dismal, both in obvious and insidious ways. so let’s talk about this.

quick note before we start: if you’re only here to argue, move on. if you’re already typing out a response beginning with, “not all white people,” don’t. however, if you’re interested in challenging your own biases, welcome aboard.

here are some harmful things white fans do, in regards to Finn:

1. we ignore him in fan works.

a quick check of ao3 stats shows that Hux (who has approx. 3 min of screen time) shows up in two thousand more works than Finn.

before you get defensive: no one’s telling you what you can and can’t write. however, as white fans we need to consider why we’re willing to go to the effort to imagine a rich backstory for a minor character we know almost nothing about, while ignoring the *actual* protagonist who already has a rich backstory of his own. (that protagonist is Finn, in case i was being unclear. Finn is a protagonist of Star Wars: Episode VII -The Force Awakens. Finn is a main character and co-lead. it’s Finn.)

2. when we do include Finn in fan works, we treat him poorly.

i’m going to stay in my lane on this one, and refer you to Writing with Color for more specifics on how *not* to treat black characters in harmful and/or stereotypical ways.

briefly: Finn is often hyper-sexualized (BBC, etc.) or pushed to the side by the narrative. additionally, very few fics, even ones with Finn in the main pairing, truly treat Finn as the protagonist of their fic.

i’m guilty of this myself, and i’m working on it. which is all i’m asking you to do: educate yourself, be willing to change, and then do it.

3. we underestimate his role in cannon

go read this post, and then tell me you haven’t been underestimating Finn from the moment he stepped on screen. i’d noticed almost everything the post points out, but chalked it up to plot holes, instead of considering that Finn (again, a protagonist) had been awake in the force since the beginning of the film.

that, right there friends, is racism.

tl;dr fellow white fans, we gotta do better. let’s take the energy we spend trying to convince people we aren’t racist…and actually be less racist. it’s our responsibility to examine our attitudes and change our actions. now is the time.

further reading:

here’s some excellent finn meta

here’s 5 tips for being an ally (video) by chescaleigh (Franchesca Ramsey) – her channel has a ton of other videos about race too.

here are a whole bunch of resources from Writing with Color, a tumblr “dedicated to writing and resources centered on racial & ethnic diversity.”

(feel free to add links + resources)

The thing is, if Reylo is your pairing and that’s the characters you choose to focus on – since that is how shipping works and as a reader I’m definitely going in for Reylo and other characters are secondary – what qualifies as “ignoring” or “pushing to the side”? That’s my issue with these talks about erasure and sidelining around Finn.

Lest it be misunderstood, I totally agree that we can be better at treating Finn in our fan works. I’ve seen him used in some uncomfortable ways. But there are some contradictions in this endeavor that tend to get glossed over.

I mean, no one is saying Finn should be the focus of fanfics about Reylo or other non-Finn ships. That doesn’t make sense. When we talk about Finn erasure, we’re talking about the bigger picture.

For example, if I go to the main TFA tag or the Star Wars tag, Finn is often nowhere to be seen. If I look for Finn (or even Finnrey or Stormpilot) fics, few that come up in the search are actually about Finn, making it difficult to find actual Finn content where he’s not a background character. When the title for Ep 8 dropped, There was a lot of speculation that The Last Jedi might be Ren and Rey as if Finn doesn’t exist. It’s not just in individual ship fics, if you look at many fan spaces, you would think Finn was a very minor character, not a main character. And that’s a problem.

We have to ask why Reylo and Kylux are the dominant ships while fics about Finn are the least popular. The question is not why aren’t Reylo and Kylux fics about Finn, it’s why are these ships exponentially more popular than ships including Finn and fics where Finn is actually a main character.

After a year’s worth of justifications that historically ONLY apply to white characters (fandom loves villains, the blank slate, etc) plus the fact that white heroes/protags are shipped like crazy, it’s clear that Finn’s blackness contributes heavily to his minimization.

Source: the-bi-writer fandom racism star wars finn
jawnbaeyega luminousfinn

skywalkerapologist:

luminousfinn:

The narrative arc The Force Awakens create between Finn and Kylo Ren is an interesting one. Visually it begins in the very first scene they appear on screen together at the assault of Tuanul village after the execution of the villagers that FN-2187 refused to participate in. When Kylo Ren is returning to his shuttle, he stops and stares at Finn for, at the time, no discernible reason.

In doing this the movie draws a visual line between the two men, connecting them in the audience’s mind and in-universe. One is dressed in black, the other in white, both are helmeted and faceless, but already we have witnessed the distinction between them and the movie spends the rest of its time emphasizing it: Kylo Ren will murder on a whim, while FN-2187 refuses to kill unarmed civilians.

After this “meeting” Kylo Ren maintains a distinct interest in FN-2187. So much that he not only knows that it was the same trooper which aided Poe in escaping, but that when he learns that Finn has got away with BB-8 he throws one of his two destructive rampages.

The other he has when Rey escapes captivity.

After this their stories part for a time, but only to be rejoined on Starkiller Base after Kylo Ren murders Han Solo.

After Chewie shoots Kylo, blows up the oscillator and everyone including Finn and Rey starts shooting, we see Kylo Ren kneeling on the bridge looking up. .

The camera cuts to an angle behind Kylo Ren’s head so we now also have Finn and Rey in the shot, both standing on a balcony in the background

Another cut, closing up on our two leads. This shows them both standing, looking down on Kylo Ren. Both look shocked and Finn is stepping forward on the balcony, towards the audience and more importantly, towards Kylo.

Once again the movie cuts and again it zooms in so that now Finn is in focus. His face merges from the shock and fear he has so far displayed, into grief, anger and determination. And throughout the shot he steps further and further forward while the camera zooms in on him, visually emphasizing him stepping into the conflict with Kylo Ren.

Rey is barely in the frame here and by the end of the shot she’s entirely gone, leaving her literally out of the picture.

Next cut is back to Kylo Ren, who is staring up at Finn. The way this sequence is cut together makes it startlingly clear that this is where he is looking and who he is looking at. Kylo’s face merges from surprise into unmitigated fury and hatred at the sight of FN-2187, the Stormtrooper who defected, who is everything he is not.

The whole sequence mirrors their first encounter with the two men staring at each other, though they’re now unmasked and we can see the mutual enmity clear on their faces. Finn is no longer running away, he’s stepping forward and the camera zooms in on Kylo’s face drawing him into conflict with Finn as well.

The movie sets up this conflict not just for the coming battle in the forest, but also for the next two Episodes as the battle between the two men is a draw. Finn is defeated by Kylo, but the Dark Sider does not obtain the lightsaber and is in turn defeated by Rey. Neither of them emerges a victor and the narrative conflict between them remains unresolved.

So whatever Episode VIII and IX brings, it is clear that Finn and Kylo will cross paths again and Kylo had better beware. To borrow John’s words: “Finn ain’t playing no more”, that much is clear from the scene in the oscillator.

Next cut is back to Kylo Ren, who is staring up at Finn. The way this sequence is cut together makes it startlingly clear that this is where he is looking and who he is looking at. 

This part is so important and yet flew over like 90% of the fandom’s heads in favor of focusing on Rey (gee I wonder why).

The shift in Finn’s expression from shocked grief to quiet rage reminds me of Luke’s reaction to seeing his aunt and uncle’s burnt corpses in ANH. Obviously Rey and Kylo will be squaring off again in VIII but TFA also made it clear that there’s some serious bad blood between Finn and Kylo that’s entirely separate from wanting to protect or recruit Rey. Which is why I roll my eyes when I see people claim that Finn is going to be shunted off to a B-plot opposite Hux (a character he never interacted with in TFA) and Phasma (who he literally threw in the trash).

Also, it’s worth noting that for the first time, Rey has to take Finn by the arm and pull him away.

image

Kylo was stumbling up towards them and I’m not convinced that Finn wouldn’t have tried to take him down right then and there.

finn meta to read
rebelfinn

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*Look, as far as I’m concerned Finn is Force Sensitive, and that’s that. He will be a  Jedi. I will wrestle you out of of your underwear, with your pants still on, if you disagree. Here, have some receipts:

Also, I just love this gorgeous essay on the parallels between Finn’s narrative and Arthurian legend.

jawnbaeyega adagalore

luminousfinn:

Maz giving Finn the lightsaber is noticeable for many reasons, not least of which because it happens twice and for all the Arthurian parallels surrounding the scenes.

 

The first time takes place just after the destruction of the Hosnia system which is what makes Finn return to Han (and implicitly to the fight against the Dark Side). At this point none of them knows that they’re about to be attacked themselves by the First Order, not even Maz.

Despite this she immediately upon Finn’s return  takes him, Han and Chewie into the cellar where she keeps the lightsaber. When she takes it out of the chest Han recognizes it and asks where she got it, she brushes him off and focuses on Finn.

Why Finn? Last she saw him Finn made it clear that he was leaving. Hosnia’s destruction marked a tentative return, but so far it is tentative. And wouldn’t Han a man who might not be a paragon, but someone she’s know for years, make more sense?

Her words as she passes it are ambiguous. “Take it. Find your friend.” And do what exactly? Give it to her? Use it to protect her? What? Recall, no one but Maz and Rey herself knows that Rey can use the Force at this point. In fact Finn is never told this in TFA.

In assorted other things the fact that Han’s attention shifts off Maz and onto Finn the moment she tells him to take it, but before she stops talking is interesting. His intent gaze on Finn as he makes the choice to take the weapon is mirrored in the second “giving” by Maz.

Maz too is looking rather expectantly as Finn reaches out and takes the lightsaber from her. The music that has so far been playing softly in the background swells dramatically the moment Finn’s hand touches the saber and mixes with the diegetic sound of an approaching TIE fighter as Finn raises the lightsaber as a young Arthur might Excalibur. The scene ends in a dramatic boom as the castle is struck just as we see Finn look at the saber with a serious face.

It is noticeable that Finn is so entranced by the lightsaber that he doesn’t seem to hear the incoming TIE. Not long before at Niima Outpost he jumped at the first sound of it, but here he’s oblivious to the noise.

 

Now before I go on to the second “giving” I’m going to make a small detour around Arthurian myth.

Much have been made of the Arthurian parallels in TFA. Kylo Ren as a Mordred like figure. Luke as either a Merlin or a fallen Arthur himself and of course Rey pulling the Skywalker lightsaber out of the metaphorical stone. But the Arthurian parallels have been ignored where Finn is concerned, especially when it comes to the giving of the lightsaber/Excalibur, because in Arthurian myths there are two kinds of givings of that sword. One is Arthur pulling it out of the stone which declares himself the true king of Britain, in the other it is given to him by The Lady of the Lake.

In both versions Arthur starts out as a youth of unknown parentage grown up fostered by strangers, just as Finn is. In the second versions Arthur runs into Merlin, often portrayed as an older, wiser man. Depending on the version Arthur either asks Merlin for help or about his future, in either case Merlin takes him to The Lady of the Lake.

The Lady depending on the version of the tale is either a powerful magical being or a High Priestess of Avalon. She proceeds to ask the young Arthur several question and put him through a test which he fails, but she sees that though he is not perfect he has a good heart and a true spirit. Realizing this she bequeath him Excalibur, the sword of the true king and the mark of a hero.

Maz is in a quite literal sense The Lady of the Lake. She a powerful alien, strong in the Force who has made her home on a lake.

Her initial interactions with Finn runs parallel with The Lady’s testing of Arthur, complete with Finn “failing the test” by choosing to leave. But in deciding to return to the fight Finn proves to The Lady of the Lake that he’s heart and spirit is true and so she gives him Excalibur (the Skywalker lightsaber) to wield.

 

That she means for him to wield it and not just as a caretaker becomes clear in the second “giving”.

When they exit the now ruined castle the dark forces are upon them and battle is joined. Maz once more tells Finn to go find his friends.

This time Finn has no intention of leaving proving him once more worthy of Excalibur and this time Maz’s words are unambiguous, she intends, and always intended, for him to be a wielder of the blade, not just a carrier.

As Finn again lifts the Skywalker lightsaber and this time ignites it, Maz look on with great expectancy clearly meant to mirror the audience. Will “Excalibur” accept Finn as its wielder? And will Finn accept the lightsaber as his?

At first we see doubt on Finn’s face, it’s an unfamiliar weapon and a Jedi’s weapon to boot. How can he wield this? But Maz believes he can and Finn is nothing if not up for whatever challenge life throws at him so he ignites it. The blade flashes to life in his hand, accepting him as a worthy wielder, and the moment it does Finn’s decision is also made. He may not be a Jedi (yet), but the sword is his.

 

tl;dr. There is a lot of Arthurian coding around Han (Merlin) bringing Finn (a young Arthur) to Maz (The Lady of the Lake), Maz testing him and in finding that he has a good and pure heart gives him the Skywalker lightsaber (Excalibur). The sword allowing itself to be ignited (drawn from the sheath) confirms Finn’s worthiness as its wielder.

Source: luminousfinnLISTENTHIS IS THE CONTENT FOR WHICH I AM HEREGOOD SHIT RIGHT HERE OKfinn factsfinn metafinn is force sensitiveboth rey and finn are gonna be jedi okchoke on THAT
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*I have a friend who insists that Finn was nothing more than comedy relief and refuses to move from the position that he is a “coon”, no matter how many valid points I bring up. I just don’t get it. Its obvious that she and I were not watching the same movie at all. But then, she and I aren’t in the same place on the idea of representation, either, which might be some type of generational thing. Also part of the problem is that a lot of Black people were expecting Shaft in Space. We already got all that with Mace Windu’s  purple lightsaber, so why copy that?
lj-writes

Finn’s subversive decency

Choosing to be kind is not choosing to be passive. It’s choosing to end the cycle of abuse… . It’s a courageous act in itself.

-Melissa Grey on Cinderella

It’s amazing to me how some parts of the Star Wars fandom have no sense of nuance when it comes to Finn’s character, seeing him as either a naive child who can hardly function in the real world or a ruthless killer who showed no regrets or conflicts whatsoever about killing his former comrades.

Both extremes are fairly dehumanizing and distorted portrayals of the actual character, because the core of Finn’s character is that he is innocent when he has no business being so. He’s a character whose innocence and purity are not oblivious naïvete but qualities he had to fight to keep and attain. His morality is not based on an ignorance of life’s harsh realities, but rather on an intimate knowledge of brutality and the will to break free of it.

Keep reading

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Oooh! More theory!

https://youtu.be/YByg2UoncBs

Critique Roundup

Here’s a selection of Pop Culture readings for the week of January 9th. Not all of these were written this month, or even this year. They’re just a selection of posts I’ve come across while researching my favorite topics.

*Tarantino Speaks Out: Police Brutality vs. Cinematic Violence

POSTED ON JAN 5 BY

 

*Horror Movies, Why We Love [Some of] Them

POSTED ON JAN 2 BY

 

*Here are some ads that make me irrationally angry

Amanda Rosenberg

*White Feminist Critiques of Rogue One and the Erasure of Race

*Tuesday, 8 December 2015

Where Are The Women Of Color?: On Marvel’s Problems With Race

Melanin Monroe

*The Dragnet Effect: How TV Has Obscured Police Brutality

In the most influential police procedural ever, even Joe Friday, America’s archetypal “good cop,” was blind to the problem.

CONOR FRIEDERSDORF

*What to do when you’re not the hero any more

BYLAURIE PENNY

Bladerunner 2049

This is the new teaser trailer for Bladerunner 2049. Now, I love, love love the old Bladerunner movie. In fact, after watching this trailer, I’m going to watch the movie again, with the commentary.

I suppose at some point I’ll have to review the original movie, as it was the first major SciFi movie that sparked a real love of robot scifi. The original was released when I was twelve years old, and I remember seeing the trailers on TV, and getting very excited about it. When I finally saw the movie I was not disappointed. It was a total immersion experience for me, and it took me some time to recover after I left the theater. I’ve been fascinated with the movie ever since. I didn’t experience anything like that again until Terminator 2, and then The Matrix. (All of these movies cover a lot of the same philosophical ground as Westworld, so I come by my love of Wetworld pretty honestly.)

Note: I’m not a Ryan Gosling fan, but I do like Harrison Ford, and I’m glad to see him reprising a lot of his old movie roles. Hopefully more PoC will be included in this new movie.

Tumblr Discussions #182

 

*More introvert facts. There’s an entire website devoted to these little blirps.

introvertunites:
“ If you’re an introvert, follow @introvertunites.
”

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*I’m totally in love with the idea that Finn is Force sensitive, and this person makes some very compelling arguments, for why Finn is a Jedi. 

 

*An analysis of the emotional, and psychological, differences between Finn and Kylo Ren, and their behavior towards Rey:

The parallels between Finn and Kylo Ren are the most direct (and stark) in terms of toxic masculinity. Finn seems to reject this toxicity, whereas Kylo Ren is constantly hung up on performing and proving himself strong enough. They are opposites: especially evidenced by the way they treat Rey – how they define themselves against the chief female presence of the movie.

Like Finn, Kylo Ren is also interested in and impressed by Rey. (And he also first meets her when she attacks him.) But instead of treating Rey like a person, Kylo acts out of aggression, objectification, and self-centeredness. He immediately immobilizes her, Force-faints her, and then carries her, bridal-style, to his ship: old-fashioned, exploitative, and gross. His language towards her is incredibly patronizing: “So this is the girl I’ve heard so much about…” He proceeds to insult her friends and threaten and torture her: violating her mind, using her as a tool but also relishing the show of his own power and the taking of something personal by force. “I can take what I want” is simultaneously a threat, a statement of power/entitlement, and a declaration of how Kylo fundamentally views Rey: an object, something controllable to serve his purposes. When the tables turn and Rey reads him, he is incredibly shaken by the subversion of his own authority and control, and when she escapes, he storms around looking for her in a blind rage, pursuing her with a weapon. Even as she’s beating him in the ensuing lightsaber battle, he has the gall to mansplain her own power to her: “YOU NEED A TEACHER!”

Unlike Kylo Ren, Finn uses Rey’s name throughout the movie. Kylo never calls her anything but “the girl” or “the scavenger,” even when addressing her. While Finn helps others without question, is vulnerable, and demonstrates affection, humor, feelings, and honesty, Kylo Ren is the opposite – all about projecting his own power and lashing out. He takes himself and his image incredibly seriously, valuing himself over others and their goals, treating underlings callously and with violence. Meanwhile, Finn accepts BB-8 as something deserving of his respect and speaks to the droid like a person.

While Finn easily cooperates with those around him, Kylo competes and chokes and throws tantrums, exchanging insults with Hux and belittling him at every opportunity, locked in a power struggle even with his allies. As Finn resists hurting the innocent and then straight-up defects over this, Kylo Ren is the one who orders their murders and then tortures his captives. Where Finn removes, and then ditches, his helmet at the first opportunity, Kylo Ren clings to his completely unnecessary, fabricated mask — a face that is not his own, versus Finn’s sincerity. It’s a powerful metaphor, putting on another face to become something else, to assume power. To disguise one’s true nature. The dark side, like gender, is performative — and the mask, in this case, is literal.

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*How Racism attempts to rewrite history so as to erase the accomplishments and contributions of PoC. According to such people, no person of color was doing anything in History, and they actually seem to  believe all of it was White. This plays out in everything from the shows we watch to the fiction we read. Medieval historians seek to address this issue.

I want to let you in on the dirty little secret of my field, Medieval Studies: The Middle Ages is incredibly attractive to white supremacists. For people whose vision of a backwards-looking, great world is one with white Christian men in positions of power and the rest of us put in our places, the Middle Ages is a fertile ground for fantasy, where it seems very easy, at least superficially, to ignore the integral role of an incredibly diverse population. There are legends like King Arthur, images like the Bayeaux Tapestries, and long histories of Crusading that, on the face of it, make the Middle Ages look very white and like a world very divided neatly into categories of “us” and “them.”
This vision of a very white, very Christian Middle Ages has been a part of political rhetoric for rather a long time: Anti-feminist politicians exploit their idea of medieval chivalry and courtly love to give their ideas a historical grounding. The British Nationalist party uses the story of Excalibur to promote its vision of a racially pure England. The Crusades, in particular, have factored into that: Crusaders became a favorite theme of 19th-century Romantic writers and thinkers, whose refashioning of these tales were crucial to the creating the popular vision of a very white Middle Ages. T.E. Lawrence, the young British army officer who would go on to be known as Lawrence of Arabia and reshape the map of the modern Middle East came to that region as a student at Oxford writing about Crusader castles. Various European fascist movements throughout 20th-century have adopted Crusader rhetoric. More recently and in our own country, George W. Bush called for Crusade in the wake of 9/11. And the most recent presidential election saw a proliferation of images that have long circulated more quietly in the darkest, most racist corners of the internet that rely on medieval and Crusading themes and images to support both individual candidates and wider worldviews.
But it’s not just political rhetoric: Attachment to a white Middle Ages is also an attitude that has absolutely permeated our cultural outlook: Look at something like the TV version of Game of Thrones and you see a kind of fantasy Middle Ages in which the race politics is incredibly uncomplicated, with a lily-white savior and her dragons redeeming the inarticulate, teeming masses of brown barbarians. It’s a rhetoric that politicians can use because it resonates with the population.
But when we look at the actual Middle Ages in all its complexity, the possibility of this fantasy vision evaporates very quickly.

“Both Sons of Spain”: Medieval Jews and Muslims in the Imagined Nation

My department held a round-table and teach-in yesterday in response to post-election Islamophobic and anti-Semitic vandalism on campus. We felt it was important, as scholars in the humanities, to offer a humanistic intellectual response to the changing tenor of campus discourse; we grounded this response within our discipline, with six speakers offering case studies of how different communities have responded to repression within the Spanish-speaking world. (The event was livestreamed and a recording will be available early next week; I’ll post it as and when.) What follows was my intervention. -S.J. Pearce

medievalpoc medieval studies fact and fantasy white supremacists modern politicshistorical context crusades islamophobia antisemitism academia
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*White women being taken to task for practicing White Feminism:
she-kicks-she-throws:

Dear fellow white women: we have a bad habit of self destruction. We have to stop aligning ourselves with white men. We are not ‘one of the guys’ socially or politically. They have and will actively try to ruin our lives. They only care about us when… …it suits them.

And our alliance with them HURTS NON-WHITE women. This is key! Women of color lead the way. They know how to fight. If you don’t care about non-white women, first fuck you. Second you are just hurting yourself. I’m ashamed most white women went for Trump but that’s only our most recent act of violence. White women: get your fucking shit together.

If you’re a white woman uncomfortable with this kind of call-out, check yourself. We don’t require acknowledgment of basic human decency. There’s a reason WOC mistrust us. If you don’t like it, BE BETTER. And they’ve been telling us this for years. But if you won’t listen … … to them, first fuck you, second listen to me, then: WOC mistrust of WW is founded. We need to get sorted.

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I’m always here for  Westworld meta-analysis.

Westworld & Consent

eleonoraditoledo:

I find it so odd that people find guest/host relationships on Westworld even vaguely okay.  At best, if you believe that the hosts aren’t sentient you’re looking at a weird “romancing the blowup doll” situation.  At worst, if you–like me–believe that they are sentient whether or not they’ve actually “woken up”, then you are looking at an enslavement scenario.  If the hosts are human–that is, the next form of humanity as the show has implied–then they are being enslaved.  It’s one thing to be intrigued by say the guest-host dynamics, but to act like a host having sex with a guest is just adorable and romantic is very bizarre to me?

Keep reading

the only thing im a little bit upset about

thatjokerjerome:

is that i feel swindled out of an explanation for why william was the way he was, and why he turned to the dark side so quickly. clearly he had something really disturbed inside of him in order for that change to happen, but we got no real lead-up to it. he went from white hat to black hat literally overnight, and his long-winded voice-over at the end of the episode interspersed with a montage of him being a general evil-doer seemed cheap to me, especially within the context of a show that is supposedly so big on “show don’t tell”. i want to know more about the person he was outside of the park. i want to see how he treated logan’s sister and what happened to him through all the years inbetween. i didn’t “buy” that he just snapped overnight because of one instance where he saw dolores’s insides and realized she wasn’t human. that seemed lazy as fuck to me. it seemed like they were in a super big rush to do this reveal where as it would have been better and more believable to stretch it over another season so we could have seen a bigger and more realistic spiral into darkness for william.

He was already dark. He didn’t turn to  the dark-side. All that shit people romanticized with him and Dolores was actually presented in Westworld as gross as it was from the beginning and I LOVE this show for that. Because all too often impressionable young women romanticize dudes seeing a woman’s love as someone redeeming them. Making them better.

When in reality it’s two already complete people, who cooperate and love.  William wanted Dolores to be something she was not and CONTINUED see her as that even after she insisted she wasn’t.  Dolores is her own person.

William wanted her to be that key for him.

In other words, from the beginning Will was terrible for Dolores.

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*I thoroughly enjoyed this one, which is a complete rundown of the types of toxic masculinity, embodied by the male characters, in the show.

Westworld is a Stunning Indictment of White Male Entitlement…Or One Big Reason Why I’m Invested In This Show, ESPECIALLY During These Crazy-Ass Days  (SPOILER AND TRIGGER-WARNING)

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*And to finish it up:

10 Signs You’re an Introvert

1. You find small talk incredibly cumbersome.

Introverts are notoriously small talk-phobic, as they find idle chatter to be a source of anxiety, or at least annoyance. For many quiet types, chitchat can feel disingenuous.

“Let’s clear one thing up: Introverts do not hate small talk because we dislike people,” Laurie Helgoe writes in “Introvert Power: Why Your Inner Life Is Your Hidden Strength.” “We hate small talk because we hate the barrier it creates between people.”

10 Myths About Introverts

introvertunites:

Myth #1 – Introverts don’t like to talk.
This is not true. Introverts just don’t talk unless they have something to say. They hate small talk. Get an introvert talking about something they are interested in, and they won’t shut up for days.

Myth #2 – Introverts are shy.
Shyness has nothing to do with being an Introvert. Introverts are not necessarily afraid of people. What they need is a reason to interact. They don’t interact for the sake of interacting. If you want to talk to an Introvert, just start talking. Don’t worry about being polite.

Myth #3 – Introverts are rude.

Click on the links to get the full stories and visit the websites.

Tumblr Sundries

Just some random Tumblr stuff, I thought seemed interesting:

Laughing to keep from crying:

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*I would say this is fairly accurate and exactly describes my younger self. I’ve become a lot more tactful, and diplomatic, as I’ve gotten older.

10 Myths About Introverts

introvertunites:

Myth #1 – Introverts don’t like to talk.
This is not true. Introverts just don’t talk unless they have something to say. They hate small talk. Get an introvert talking about something they are interested in, and they won’t shut up for days.

Myth #2 – Introverts are shy.
Shyness has nothing to do with being an Introvert. Introverts are not necessarily afraid of people. What they need is a reason to interact. They don’t interact for the sake of interacting. If you want to talk to an Introvert, just start talking. Don’t worry about being polite.

Myth #3 – Introverts are rude.
Introverts often don’t see a reason for beating around the bush with social pleasantries. They want everyone to just be real and honest. Unfortunately, this is not acceptable in most settings, so Introverts can feel a lot of pressure to fit in, which they find exhausting.

Keep reading

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*This is a reference to that new space movie, I never had any intention of seeing, called Passengers. No, I’m not putting the trailer here. You would only get bored.

List of People I’d Much Rather Watch Fall in Love in Space than Jennifer Lawrence and Chris Pratt

claraandthesatellite:

tinydramatist:

darwinquark:

Gina Rodriguez and Oscar Isaac

Lupita Nyong’o and John Cho

Gugu Mbatha-Raw and Kate McKinnon

Zachary Quinto and Rami Malek

Aja Naomi King and Dev Patel

Constance Wu and Diego Luna

Feel free to add more, as I’d imagine it’s a long list.

Kat graham and rami malek

Zoe kravitz and Chadwick boseman

Chloe Bennett and John Boyega

Alfred Enoch and Steven Yeun

Riz Ahmed and Jessica Henwick

Rosario Dawson and Elodie Young

Jenna Coleman and Freema Agyeman

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*For some reason, I love these little alien/first contact headcanons people keep coming up with on Tumblr.

kedreeva:

aethersea:

sepulchritude:

on the topic of humans being the intergalactic “hold my beer” species: imagine an alien stepping onto a human starship and seeing a space roomba™ with a knife duct taped onto it, just wandering around the ship

it doesn’t have any special intelligence. it’s just a normal space roomba. there are other space roombas on the ship and they don’t have knives. it’s just this one. knife space roomba has full clearance to every room in the ship. occasionally crew members will be talking and then suddenly swear and clutch their ankle. knife space roomba putters off, leaving them to their mild stab wounds.

“what is the point?” asks the alien as another crew member casually steps over the knife-wielding robot. “is it to test your speed and agility?”

“no it doesn’t really go that fast,” replies the captain.

“does it teach you to stay ever-vigilant?”

“I mean I guess so but that’s more of a side effect.”

“does it weed out the weak? does it protect you from invaders? do repeated stabbings let your species heal more quickly in the future?”

“it doesn’t stab very hard, it gets us more than it gets our enemies, and no, but that sounds cool — someone write that down.”

“but then what is its purpose?”

“I don’t know,” the captain says, leaning down to give the space roomba an affectionate pat. “it just seemed cool”

this is the dumbest idea I’ve ever heard but I thought about it for five seconds and realized that if I were, say, a random communications officer onboard this ship and someone taped a knife to a roomba it would take maybe three weeks before even I was inordinately fond of Stabby. I would be proud of Stabby when I met up with my other spacefleet friends for space coffee, I would tell them about the time Stabby got the second mate in the ankle five seconds before the fleet admiral beamed on board and she swore in seven different languages in front of high command.

also by the fourth day Stabby would be in the ship’s log, he’d have little painted-on insignia, people would salute him as he went by, and someone would hook up a twitter account to tweet maniacal laughter and/or a truly terrible knock-knock joke every time he managed to nick someone.

Someone would almost positively attach a tiny camera and live stream Stabby’s adventures to a media account. Bets would be taken on who is next. Bets have to be ordered to stop being taken on who is next because it becomes a problem for multiple reasons. Bets are taken but quietly on who is next.

At some point someone realizes that they haven’t seen Stabby in a while, no one has seen Stabby in over a day. The cam is running but is completely dark. The ship basically stalls out as everyone stops what they are doing to search for their friend. The confused aliens don’t understand why this nonessential and kind of dangerous piece of equipment has got the entire ship in a fit of worry.

After almost two hours, someone thinks to check a little-used storage room in the belly of the ship. As soon as the door is open, Stabby rolls out and jabs their ankle and then whirls off down the hall about its business. Stabby followed someone in without being noticed, and got accidentally shut in. A ship wide announcement chastises everyone about looking before they shut doors.

“But the doors are automatic,” says the newest alien crewmate.

“I know,” says Kzil’tir. They’ve stopped asking. The explanation is always because humans.

Source: sepulchritude sci fi humans aliens star trek

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*Yeah, this sounds like me, alright!
introvertproblems: “If you can relate to an Introvert, Join the Introvert Nation ”

#1 – I will  start daydreaming at the drop of a pin, literally. I will daydream as soon as I’m sitting still. In the car, in the middle of a book, a TV show, really anywhere.

#2 – I dont talk slow. I never give anybody a chance to interrupt me, once i’ve gotten up to speed.

#3 – Yep! I usually just walk away, like “Well, I’m done, here!”

#4 – I’ve been there before. It is weird.

#5 – Yeah, I’m not broke. I’m just quiet. Jeez!

#6 – I got called snobby, and stuck up, all through Elementary and High School. Having perfect grades did not help this image.

#7 – I made the mistake of grocery shopping after work once. Never again!!!

#8 – My relatives are very ,very used to me doing this.

#10 – This is true. But I love knocking people back on their ass when I do finally say something.

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*Yes! I do this all the time. I generally like to remain non-judgmental, but I can’t help doing this with my co-workers, or close friends.

The quieter we are, the more we observe

I’ve always been quiet. I’ve always been an introvert. I think these qualities made me a good observer.

During conversations I only talk when I have something to say, I’m not a fan of small talk. This means that I spend a lot of time watching how people express themselves, observing their attitude. I know when they’re excited to talk to me, I know if a conversation is not gonna last long because they wanna leave asap even if they don’t say anything about it. Over the years, I started seeing the same patterns in different people, and I put the people that acted quite similarly in the same “mental bag”. (Of course, words were also an important factor.) This way I know who I can trust to keep a precious secret or who not to ask if I want a sincere answer.

This procedure is the only exception to the “don’t judge a book by its cover” rule I allow myself. I wonder if other people do something like this too.

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More stuff about Introverts. Please note ,these are not myths. We are incredibly attractive people!

10 Reasons Why Introverts Are Incredibly Attractive People

1. They’re Deep Thinkers

Introverts are notoriously ‘in their own head’ much of the time.  For most introverts, it’s a safe place to be.  Inside their heads, they engage in deep conversations, ruminate about life, the universe, and everything, and take the time to really reflect on all that’s going on in the world around them.  When an introvert speaks, it’s almost guaranteed that they have spent many hours thinking about the subject, forming their opinions, and carefully choosing the words they wish to use.

2. They Have More Intimate Connections

It takes something special for an introvert to bring you into their world.  When they do, you can bet that they believe you’re someone special.  By bringing down barriers, an introvert is letting you know they’re interested in connecting with you beyond a superficial level.  They’re displaying a level of intimacy and vulnerability that not many people get to see.

Keep reading

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*I watched this trailer three times. I still don’t know what the Hell is going on, but I’m unwilling to commit to seeing this. If you like Tom Cruise its got all the staple moments: 

Pecs – Check!

Running – Check!

Tom looking concerned – Check!

 

*OMG!!! Groot is so darling! I’m now prepared to give up some of my money to see this movie this Summer. Its amazing how Groots expression is an exact mirror of Tom’s in the above trailer, tho’.

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Lkeke35 Sidewalk Talk:

For some reason the people in my neighborhood hate to use the sidewalks, and seem to prefer walking in the street, sometimes right down the middle. There’s nothing wrong with the sidewalks as far as I can tell. I’ve inspected the sidewalks and they look quite lovely and smooth, with no obstructions, (since, every Summer, local construction crews dig them up, and remake them,  as a form of busywork, or therapy. I’m not sure which.)

Normally, I would find this sort of contrary behavior unobjectionable, except these pedestrians insist on pedestrianing in the middle of the street, where I’m trying to drive, and the local authorities frown on me gently nudging them out of the road with my vehicle. It’s also hard to gently nudge someone, with a Ford Escape, without them panicking. I could probably do that sort of thing using a Ford Escort or a Prius.

Westworld: Revisiting the Slave Narrative

*Okay people, I’m about to get offensive to some of y’all with this post but I’m standing by my observations. (This is of a piece with my other Westworld meta about Dolores and Maeve.) Yeah, robot rebellion movies are also about a lot of other things, but you know what they say, once is an happenstance, twice is coincidence, but three times is enemy action.

 If you’re offended by this post, I don’t need you to come in my inbox telling me how wrong my opinion is, and I’m not particularly interested in arguing  about it, so  comments are off for this one.

White people always seem to be looking for new bullying opportunities. New wars, new slaves, new enemies.

Ava DuVernay on How ’13th’ Reframes American History – The Atlantic

*Slavery lasted roughly 245 years followed by what some like to call “Slavery 2.0″, in which the 13th amendment allowed it to continue, just under a different name. See:”Slavery By Another Name

Image result for killer robots

Because  not having  Black people as slaves was so incredibly traumatic for them, White people couldn’t simply couldn’t let go of the institution. America is always casting around for its next slave race, its next victim, its next big war against…whoever, and if they can’t enslave and/or bully PoC, well  then they’ll just have to create brand new ones. Yes, White people have been working diligently to create the next race of beings that they hope won’t protest their shoddy treatment.

White people are reliving slavery and  its aftereffects just as much as Black people. But among Whites it takes the form of guilt and/or atonement, and this is often reflected in the entertainments they create. Movies are often a way for a society to collectively deal with traumatic issues. Hollywood has not only created an entire genre of movies, and TV shows, where they have designed robots to be humanity’s servants but, like  the Japanese reliving their trauma around the atomic bomb in endless Godzilla movies, American filmgoers can experience punishment from the hands of their former slaves, in movie after movie. For every feel good movie about Black people during slavery, there’s a corresponding movie about some future slave rebellion, that doesn’t actually have any Black people in it, (The Matrix is exempt from this), because that would probably  be hitting too close to home, I guess. It’s easy for Hollywood to make movies about Black brutalization, but when slaves turn on their masters, that can only be told in allegory. (Note how few movies exist about actual slave rebellions.)

From Metropolis and Bladerunner, to  The Matrix and  Ex Machina, the theme of  karmic retribution for slavery,  is so common, there’s an entire genre centered around it. The HBO show, Westworld, is just the latest example of the slave rebellion narrative. Not only is the plot of the show  an allegory for slavery, its set during a time period when slavery actually existed. The irony of people visiting a theme park that is set during a time period when people regularly committed atrocities, against actual human beings, so they can entertain themselves by  committing atrocities against fake human beings, is not lost on many critics. Not to mention that nowhere on Westworld is slavery ever mentioned, even though it’s set in, or just after that time. The closest we get is the mention of the Confederados, who lost the war.

*The word robot itself comes from the word Robota, the Czech word meaning “forced labor”, or “slavery”, and from a 1920 story by the Czech playwright,  Karel Capek , about a factory of artificial humans who turn on their robot masters.

Rise, O Machines: Why Hollywood’s Best Robot Stories Are About …

Image result for killer robots

White people don’t want to openly acknowledge slavery,except in the most defensive tones, nevertheless, they keep making endless allegories about it in popular fiction. I think these type of movies are both wish fulfillment and phobia. White people  can see themselves be punished, over and over, and through such punishment, seek to atone for their collective sin, and prepare themselves for the imagined future, in which PoC have the upper hand, and can no longer be dominated by them. You have to wonder, on some level, White people want to be punished, for the atrocities their ancestors committed. In film after film robots want to destroy humanity for past transgressions and maybe some future ones, too.

I must have watched about a couple dozen “bad robot” movies before this idea took hold, but what spurred this particular line of thought now, was watching Westworld, empathisozing with the Hosts, and seeing the level of abuse the Hosts are designed to tolerate at the hands of the Guests, from Dolores’ cyclical victimization, to the blond Host  we saw get shot in the street, her death throes cheered by the Guests. I’ve watched, over the years,  countless numbers of  movies and TV shows where robots have been  misused by humanity, and are rightfully angry.

Image result for humans tv show

In The Matrix, the machines fought a decades long war with humans, managing to subdue them, making humans  incapable of ever harming  them again, by regularly culling their population. Does this movie not echo the exact fears of the Alt-Right, and White Nationalists, who believe there’s a White genocide taking place, and that “those Brown people” will take over, and not just punish White people, but destroy all of Western civilization. Although, ironically, in that very belief,  is the assumption that White people must be punished for something. What are they being punished for? Why is revenge sought? And revenge for what? I’ve had discussions with White people who insist that Black people are really, really, angry about slavery. I’ve also observed that most racist beliefs are little more than projections of racists’ sins onto the backs of others. So, what I hear when White people say such things is: White people are afraid that Black people are angry about slavery, (while never acknowledging the hundred years of abuse that came afterwards.)

All this anxiety about slavery isn’t our burden.

Its theirs.

*’There was trauma and never any treatment or acknowledgment of what the trauma did to those that were enslaved or their progeny. Black people are “profoundly resilient,” posits DeGruy, but the fact is, they have been traumatized … and white people are afraid. Why the fear? Perhaps it is because white people feel like black people will eventually retaliate and heap upon them what they have heaped upon black people. Perhaps it is because they worry they will lose control; white supremacy is, after all, a giant system of social control. Slavery was about control, as is mass incarceration. This government was founded on the need for white people to be in control. To think about losing it is way too scary.’

– Dr. Joy A. DeGruy, Post Traumatic Slave Syndrome: America’s Legacy of Enduring Injury and Healing.

*Rebellion:

“A slave rebellion is an armed uprising by slaves. Slave rebellions have occurred in nearly all societies that practice slavery and are amongst the most feared events for slaveholders.”

https://psmag.com/can-westworld-give-us-new-ways-of-talking-about-slavery-2b921b6a6690#.j9gxqet6t

Related image

In Bladerunner, the Replicants, one of the semi-organic cyborgs used as slaves in “the Outer Colonies”, (oddly Westworld’s Hosts are seemingly the precursor to these beings) are led by Roy Batty, who comes to Earth to find the human who made him. Replicants were banned from Earth after a bloody mutiny in one of the colonies. Zhora and Pris are sex workers, and Leon is a common laborer, (ironically he’s a robot robot). There may have been a bunch of reasons given for banning them from Earth, but that the Replicants might turn on their human masters, had to have been at least one of them.

Roy eventually ends up killing his maker, who says he can’t help Roy extend his lifespan beyond the four years given to all Replicants. Why four years? To keep them from developing emotions linked to having long memories. Four years is also helpful, as the Replicants die before they have an opportunity to build up a decades long list of abuses,  inflicted on them by their makers. Unlike the Hosts of Westworld, Replicants are fully cognizant.They know what they are and what they’re capable of. Rebellions by the Replicants would be a lot more frequent and bloody, if they were allowed to build a huge database of atrocities committed against them. Its also greatly convenient for  humanity that Replicants die before enough of them can organize enough to be successful. In Bladerunner, we saw what just four of them could accomplish in their limited lifespans. Can you imagine how much power they’d have after several decades, to plan their revenge? You’d get  the  basic plot of Battlestar Galactica, and there is a clear through-line from the Hosts, to the Replicants, to the Cylons.

Image result for bladerunner /roy

http://www.pbs.org/wnet/african-americans-many-rivers-to-cross/history/did-african-american-slaves-rebel/

One of the primary beliefs of modern White supremacy,( which has changed and evolved over the centuries, as PoC have enjoyed more freedom),  is  that Black and Brown people, having once been the  servants,  are out to get White people for past transgressions. White racists believe if PoC should ever gain enough power, we will do to White people, what they have done to us.

Of course, in order to hold such a belief, such a person, on some level, are well aware of the things they have done to other races, and that what they did was worth being angry about. In order for such a revenge fantasy to exist, there has to be some event that occurred for vengeance to be desired. This has most recently culminated in the backlash that is the Trump campaign, of which one of the overriding fears, is  that Black and Brown people are taking over, gaining too much power, and that White people are now being oppressed, and will soon be destroyed. For some White people this is an idea that has moved beyond just a fear to, in their minds, despite all evidence to the contrary,  a reality.

Image result for ex machina movie

White filmmakers have been complicit in reinforcing and  reiterating  this fear, in which the slave turns on its master. Skynet, from the Terminator films, decides to wipe out all of humanity, when humans make the mistake of trying to unplug it. The entire premise of the  TV remake, Battlestar Galactica,  is based on robots wanting to wipe out humanity for past atrocities committed against them. The Daleks of Dr. Who have, rather ironically for robots, an unreasoning hatred of all humanity, and work diligently to wipe us all out.The Borg of Star Trek want to consume humanity. The Matrix wants to keep humanity in submission so it doesn’t continue to commit the atrocities of the past. The Claws from the 1995 movie Screamers, having been created to destroy war enemies, and completed their first mission, found new purpose in destroying everyone else. Hal 9000, wants to kill all humans for reasons known only to himself. And in the latest iteration of this fear, Ultron,  from The Avengers films, attempts to wipe out humanity, because we’re simply no good.

Artificial Intelligence Robot claims it will destroy human race – HackRead

http://www.vanityfair.com/hollywood/2016/11/westworld-theories-world-outside

Future Enemies:

White genocide is a white nationalist conspiracy theory that mass immigration, integration, miscegenation, low fertility rates and abortion are being promoted in predominantly white countries to deliberately turn them minority-white and hence cause white people to become extinct through forced assimilation.

Now tell me this doesn’t sound like the plot of a Star Trek movie, starring the Borg, a conglomeration of alien races that seek to absorb, consume, or forcefully assimilate, all other galactic species,  in an effort to improve its existence. This  also sounds a lot like the projections of a group of people who have done just that throughout history. Throughout the Alt-Right community is the belief in a coming race war, which will put Blacks, gay people, feminists, and everyone else, who isn’t falling in line with White (specifically male) Supremacy, back in their proper places, which is: under the complete control of White men.

Image result for the borg

Anytime any racial incident occurs in the US, for example, cries of “race war” erupt from the outer fringes of the American political system. Although not all of the proponents of race war are White, they are the main ones howling for just such a conclusion to America’s racial tensions. They see war (and their inevitable win) as the answer to solving America’s “race problem”. Such people often long for the apocalypse because afterwards they can remake the world into their fantasy images of the past, with PoC, and White women dead or submissive, as they believe such people should be. At their foundation, these fantasies are just  another way to re-establish White supremacy (which has never been lost), or to prop up the flagging manhood of its proponents. Having won this so-called “war”, one need never experience guilt or fear about race ever again, having proven beyond a doubt, that White men are superior to all others.

White Americans are always looking for whatever next great war, that will lead to their power fantasies coming true. So far American Black people have not been cooperative in giving it to them. In their efforts to find it, they cast their net far and wide (Muslims, Gays, Immigrants). One the staples of early films were the swarms of “Othered” Menaces out to destroy White manhood, tand fragile White femininity, a topic approached again and again , not just in the genre of  Science Fiction, but in Action (The Road Warrior) , Horror (Invasion of the Body Snatchers), and War (Birth of a Nation) movies.

Since most filmmakers have  gotten publicly vilified for casting Poc as hostile, screaming hordes, (I’m looking at you No Escape, Daredevil,  Blackhawk Down, and anything produced in the 80s) movies have had to settle for non-human antagonists, which are a  perfect fit: from the endless crowds of robots, (and robot-adjacent Stormtroopers), being mowed down by the heroes in Star Wars, and I Robot, to the  massive swarms of  alien hordes in Independence Day and Star Trek Beyond, to the  giant robot battles in Avengers:Age of Ultron. Yes, these swarms of destroyers of the human race make for some very exciting films but these “Menacing Swarm”  films also weren’t being made in such numbers, until after World War II, when Communism, The Red Menace, became the new threat to American soverignty, and seemed to reach their peak after the fall of Communist Russia and The Berlin Wall, in the 90s. Without the Communists to be afraid of, Hollywood had to cast around for some new enemies, and everybody who wasn’t White, straight, male, and Christian got a chance to audition for the role. (After some major tryouts by all others, for which Hollywood was duly censured, Americans seemed to have settled on Muslims, which is a diffuse enough category to include everyone and no one, since “Muslim”isn’t a race, but does happen to include many non-White people.)

Image result for saturn 3 robot

Machines may have many different reasons for wanting to destroy humanity, but the end result is a war between human and machine, in which there can be only one. Much like their fantasy race wars, there can be no equality, no living together in peaceful harmony, no cooperation. For such  mindsets, life is a zero sum game, where someone  must be in power over the other.

Whites and the Fear Caused by White Supremacy

PoC need White people to acknowledge their past because not only can PoC not be free when White people are feeling terrified, and guilty, but they can’t be free either. They can be easily controlled by their fears, and insecurities, and PoC can’t fix something that’s really only inside them. By not acknowledging and dealing with the  past , White people become easy prey for politicians like Trump, and can be stampeded in any direction, even their own destruction, as we’ve just seen during this election. White people who keep telling us to let go of the past refuse to understand that none of us can let it go, until they let it go. Its long past time for White people to confront their fears, instead of running away,  but then endlessly reliving them, in their entertainments. It’s their inability to acknowledge the past that informs every facet of their lives, from where they live, to how they socialize, to the entertainments they enjoy.

Movies don’t just tell us how to think about the world around us. Since the vast majority of these movies are made by White men, they reflect what these men think about the rest of the world, and one can glean a greater understanding of what White people think about the world based on the entertainments they enjoy, which largely seem to consist of endless violent fantasies about having or being powerful . (Contrast this with the kinds of movies made by PoC and white women.)

 Bad Robot movies: Deadly Friend, Avengers Age of Ultron, I Robot, Bladerunner, Hardware, The Terminator, Ex Machina, 2001, Battlestar Galactica, Westworld, Humans, Metropolis, Saturn 3

https://en.wikipedia.org/wiki/List_of_fictional_robots_and_androids

 

 

 

Westworld Season One : The Well -Tempered Clavier

Lemme just get this outta the way right up front:

James Marsden:

Daaayyum! James Marsden is a fine lookin’ White boy! I have enjoyed looking at him since X-Men 2, and haven’t gotten the least bit tired of him. The man just has an incredibly cinegenic face.

Okay! I’ve gotten that out of my system for the moment, and am ready  to move on to the more serious business of reviewing this episode, which is a real doozy this week, as a couple of  fan theories are confirmed, and the robot rebellion continues apace. We spend much of this episode following Dolores and Bernard down the rabbit hole, in their search for Arnold, and the truth. We witness the possible birth of the Man in Black, and the actual birth of Bernard, and get some idea of just how cruelly manipulative Ford can be.

The Turing test is a test, developed by Alan Turing in 1950, of a machine’s ability to exhibit intelligent behaviour equivalent to, or indistinguishable from, that of a human.

I think the “Home” that Dolores has been trying to reach is the small, now sand covered town, where she and the other Hosts first passed the Turing Test. This is the same place, told to the MIB, by the Host that killed Teddy. Nothing of it remains now, except its church steeple.

The plot of this episode has all the major characters walking around in spirals, as the repeat the same actions over and over again, little different from the loops they’re programmed with in the Park, except in this case, the loops have a purpose. Maeve’s plans to free herself relies on adding Hector to her team. But first, she needs to convince Bernard to let her go back into the Park after she is detained for killing Clementine. She’s such an enchanting creature she seems able to talk people into doing her bidding even without her superpowers. And she charms Bernard into releasing her back into the Park where she confronts Hector about his last heist. 

She outlines to Hector what will happen in the next few minutes, and explains to him that the safe, the gang all worked so hard to get, is empty. (Its always going to be empty, as there’s no need to fill it with anything. Hector always gets killed by his gang before its opened.) She convinces Hector that they are in a pointless story, and he starts to remember their previous conversations, when she makes love to him while holding his knife between them. Just in case her point has not been made that they are going to Hell, she tips over a lantern and sets their tent ablaze. I’m a little confused because I would think that Hosts  burned to crisps would automatically qualify them to be decommissioned. Here you have characters repeating their actions, only this time,  for a goal.

While charming Bernard into helping her, Maeve also manages to undo all of Ford’s work in erasing Bernard’s memories. Bernard goes on a search for his past, and using a hollowed out Clementine to threaten Ford, he confronts him with his questions.  Ford tells him that the cornerstone of his personality was built on the death of his son, which explains this recurring memory. He says that Arnold believed a tragic backstory built a better foundation for the Hosts personalities. Ford takes Bernard all the way back to his first memory, when he  first opened his eyes.

One of the next biggest fan theories was if Bernard was a clone of Arnold, based on that odd photo that Ford showed to Bernard once, with a picture of Ford, his father, and an empty space, where Ford’s partner would have stood. Bernard is a clone of Arnold, who designed much of his code before he died, and Ford gave him the tragic death of Arnold’s son as the cornerstone of his personality. Since he is a clone, one could argue that Bernard sort of created himself. Ford states that he helped create Bernard because actual human beings had reached their limits in how human they could make the Hosts. To make the Hosts more human than human, Ford needed a Host to refine them. He says the Hosts were designed to be better than humanity, so it’s especially galling to him to see them being used as playtoys by inferior humans. But the real   surprise is Ford tells Bernard that this is not the first time Bernard has breached this knowledge, and that every time it happens, Ford resets him to his pre-knowledgeable state. (Every time Bernard eats of the Apple, Ford makes him throw it up.)

Ford is always one step ahead of everyone else because he seems to know everything. He has backdoor access to all of his creations, so Bernard can’t actually threaten him, and Ford can’t seem to bring himself to kill Bernard so directly, so he orders Bernard to shoot himself, but he walks away before the deed is done. He can’t watch it, it seems.  I was really hoping this moment wouldn’t come to that. I really like Bernard. But I’m not going to get too het up about his death because, as we’ve seen over and over again, and the show has taken great pains to make clear, death is never the end for the Hosts. Ford leaves the body in cold storage, and I’m concerned that he’s not concerned that anyone will find Bernard’s body. Once again I wonder what new Host body Ford was making in that lab. Is it a new version of Bernard? Is it Elsie, whose still MIA?

Normally, we’d rely on Stubbs to suss this out, but  he isn’t around to do any wondering. Like  Elsie, its very possible that he is dead. Investigating a signal from the park, supposedly from Elsie’s Pad, he goes to check it out, and  gets attacked by some native Hosts, when his voice commands don’t work on them. It’s very possible Ford  planned that. Ford has total control,  but we’ve also seen how easily Maeve was given that same control, and the Hosts regularly break that control themselves, when their emotions run amok. You have Dolores , Teddy, Wyatt’s men, Bernard, and Maeve, and I don’t know how many others the Park employees don’t know about, so it’s also conceivable that the Natives kidnapped Stubbs for their own reasons.

This makes me wonder if all of this has happened before, especially if the timeline theory is true, and what we’ve been seeing are  Dolores’ memories, the last time she reached consciousness, back when she first met William. If every twenty or thirty years, the Hosts all have to be decommissioned and reset because, while they’re running free in the Park, they are always evolving, and their constant interaction with the Guests, and each other, is pushing them towards consciousness. (This constant interaction thereby creating the Pearl of Wisdom.) Earlier in the season, one of the employees asked why the robots talk to each other, when they don’t need to, and the answer was they’re always trying to self-correct, constantly ironing out any errors in their interactions, the better to interact with the Guests. I wonder how many Host rebellions have been averted? Maybe  what we’re seeing is a perfect storm of everything that humans can and will do wrong, resulting in a successful rebellion, this time?

Another big revelation, that lends credence to the timeline theory, is Dolores confession to herself that she is the one who killed Arnold. After she and William are captured by Logan, Logan tries to convince William, once and for all, that Dolores isn’t special. He cuts open her abdomen and shows William her inner workings. She manages to overcome her programming long enough to attack Logan and escape. Her journey back “home” is a confusing melange of memories of the past and present. She heads back to the abandoned town, she and William visited in the last episode, guided by her “bicameral mind” (i.e. Voice of God). Simultaneously, Ford is explaining to Bernard how the Host minds were built, and how Arnold’s  previous attempts at bicameral mind resulted in extreme behavioral quirks, (like Teddy’s and Dolores’ massacres?)

What we’re being shown during Dolores’ scenes is how the minds of the Hosts work, and how they think of time. She is unable to tell when she is in time, because all of her memories have perfect clarity, and therefore have the same level of importance. She manages to make it all the way back to the lab, where we saw her speaking to Bernard, and we find that is a separate timeline, because when she gets there she watches as a young Ford runs past her, and when she enters the interrogation room, it is dusty and full of cobwebs. Possibly the labs Bernard and Arnold  used when they were first building the Park. Their dream conversations happened a very long time ago, and Arnold has been dead a very long time. She finally remembers that she is the one who caused his death.

Since we didn’t see her kill him, I do wonder if this is just Dolores feeling guilty, or if she did, in fact, kill him. We’ve seen the Hosts lash out in violence when they’re emotionally distressed, and I wonder if something similar happened between the two of them. Both Teddy and Dolores are shown shooting a town full of Hosts, and I wonder if this is the same event at different times. Did Arnold die during one of these incidents, and is that why the town was buried? Are these former rebellions, the incidents, that the Delos employees keep mentioning? Is this some kind of cycle that occurs every thirty or so years?

Logan’s attack on Dolores has the unexpected side effect of galvanizing something in William. After Dolores runs away, William appears to reconcile with Logan, believing him when he says Billy simply got caught up in the playacting in the Park. He hands William a photo of his sister. The same photo that Peter Abernathy, Dolores first father, found buried in the soil of his front yard, which corrupted his programming, somehow. After Logan and the other militia men pass out for the night, Logan wakes to find that William has massacred the entire unit. Is this the birth of the MIB? Certainly Dolores reaction to the MIB, after she leaves the lab, would seem to point in this direction. And we now know he’s not Logan because Logan has a nice scar on his face where she cut him. Earlier in the season, The MIB references this scene, when he mentions to Lawrence that he saw one of the Hosts cut open once. 

Aided by a clue given to him by the Host that killed Teddy, again!, the MIB now knows  where to go to complete the maze. The same place where Dolores is.  He wakes up tied to a horse in such a way that if he moves he’ll hang himself. He manages to get himself out of  this, only to be confronted by Charlotte, standing there, watching all this,  in her designer boots. For some reason I thought this scene was deeply funny. She walked in on him playing a very elaborate game of “Lets Pretend”, that could get him killed. She mentions that his company once saved the Park, and we know William is about to marry into Logan’s family, who own one of the Parks competing business interests. 

Dolores does get to the maze first, and if what she went through is the maze’s completion, than the idea that the maze is not for the MIb is correct. It was never made with the intention that a human complete it. In fact, it may have been made, by Arnold,  specifically for Dolores.

The technological singularity (also, simply, the singularity) is the hypothesis that the invention of artificial superintelligence will abruptly trigger runaway technological growth, resulting in unfathomable changes to human civilization.

Sundries:

At one point, Dolores confronts Logan about the reality of his world. Logan asks if William is trying to get her out of the Park, and she rightfully asks why they would assume she wants to get out. If  life is so great on the outside, why are humans clamoring to get in the Park? I stood and I applauded because this is the question of the week! It’s interesting that  Maeve believes she’ll be free outside the Park. Dolores believes she’s free in the Park. They both just want to write their own stories. One answer to Dolores question is that guests are  using the Hosts to find their humanity, all while denying the humanity of the Hosts.

I’ve seen fans decrying the racism and misogyny in the show, and making the claim that the show is no better than GoT, in this regard. This is where we’re gonna have to disagree, because I believe all these -isms serve a purpose. Lee Sizemore, a White man, is the main person who writes all the Host narratives. Lee Sizemore is also a racist, sexist asshat. The Natives, the sex-workers, the damseled women, are all exactly the kinds of narratives that have been given to mariginalized people by White writers in popular media, and are all products of Lee’s lurid imagination. (It’s interesting that the only WoC, of any importance, we’ve seen in the entire Park, is Maeve, and she is a saloon madam.) This is an indictment of Lee, (while throwing some shade on  all such hack writers) and his complete inability  to think beyond stereotypes, and I have nothing but praise for the show’s writers in making this subtle distinction, as they write Maeve so that she overturns all of the tropes Sizemore put on her. Westworld gets intersectional Feminism right in a way that shows like Supergirl, Agent Carter, and Jessica Jones, get wrong. It’s possible to address how misogyny impacts the lives of different types of women, without engaging in the kind of oppression olympics that Marvel’s writers seem to fear, by not putting any WoC in their feminist narratives. You can address issues of intersectional Feminism, without the WoC upstanding  any of the White heroines of these shows. 

 All this violence on the show is  also an indictment of humanity, as  much of the inhumanity we witness in the Park, is at the hands of humans, towards the Hosts, and at no point is the viewer given the idea that any of this is good for either of them. Ford attributes any aggressive behavior, on the part of the Hosts, to the humans who abuse and program them. I think that, left to his own devices, Ford would be content to just let the Hosts have the Park to themselves, and observe them, without any human interaction.

Let me just fangirl about Maeve: 

One of the reasons I love Maeve so much is her rise towards consciousnesss is an allegory for becoming”woke”. And she reached this state of being because the other PoC, the  Hispanic and Native Hosts, are the most “woke” beings in the Park, having incorporated their nightmares about the human world, into their personal mythologies. We see her gain some knowledge, and then use that knowledge to give herself power, aided and abetted by  another, just as powerless MoC, Felix. This isn’t just a robot rebellion, it’s a call for PoC to work together to aid each other in becoming free. (At least within the narrative of Westworld.) It is very telling, especially in this political climate, that it’s Sylvester, a White man, who attempts to thwart her plans at every opportunity, even planning to kill her at one point, and siding with the very employers who oppress all of them, and it’s not accidental that the two greatest antagonists in the narrative are White men, Ford and The Man in Black. One of them coded as Godlike, and the other coded as Satanic.

This makes Maeve (Ma-Eve) like Eve. She is the first, the Mother. This is why I think, I hope, her rebellion succeeds. 

She holds and carries herself like the Queen she is, her nudity means nothing to her, and is petty within the context of what she’s trying to achieve.  Maeve is never sexualized during these scenes. She owns her nudity, she owns herself, she makes those around her listen to what she has to say, and do her bidding, apparently by sheer force of personality.

 It is timely, and ironic,  that Maeve’s child was killed by the Man in Black, and especially resonates with me, a Black woman. I live in world where Black kids get killed by apathetic blackhats everyday. When Maeve was hysterical and inconsolable  in the aftermath of her daughter’s death, her behavior was intimately familiar to every black woman watching. We know the face of grief. 

It is Ford who makes her sit down and be quiet, attempts to make her forget about her past. 

Ford doesn’t just take away the Hosts pain because he loves them, he does it because he is aware of just how much trauma gets inflicted on the Hosts. It’s a good for the humans that the Hosts don’t remember. It’s good for him especially. (Although, so far, most of the Hosts are unable to commit violence against humans.) As was said by one of the Delos employees in the first episode, “We better hope they don’t remember what happens to them,” an echo of every White Supremacist fear, that the people they once oppressed will have their  revenge. From trolling and harassment on Twitter, to derailing all conversations about social justice, from ignoring historical fact, to telling PoC to just get over it and shut up, all these tactics are the children of that singular statement. Hoping the people they hurt, don’t remember it.

Also, I like that Westworld is an allegory for racism that actually includes PoC in the story, overturning the usual tropes, of shows that are symbolic of some -ism, that have no marginalized people in them.(I’m looking at you X-Men, and Divergent!) Westworld is set  during a time and place, in American  History, when such trauma was regularly inflicted on Black, Native, and Hispanic bodies, but the show doesn’t neglect to include those bodies.

Next week, after the Season finale, I’ll have more on robot rebellions as slave narratives, and how these types of movies, and shows, serve to illuminate and elucidate White Supremacist fears of White genocide, and another post on the Biblical interpretations in the show’s narrative.

http://www.bachwelltemperedclavier.org/analysis.html 

 

 

 

Forthcoming TV Shows

There are a number of television shows I’m looking forward to next year. Now in hindsight 2016 has been a fairly shitty year, except for TV, which is tearing it up with some very exciting series. I’m very much enjoying Legends of Tomorrow, which is much better in its second season. It got rid of the rather dodgy actress who played Hawkgirl, and replaced her with Vixen, with whom I’m very satisfied.

I’ve decided to try DCs other superhero shows and I’m liking them, although I do consider them to be rather light weight viewing. I still don’t like Arrow, though.

From Dusk Til Dawn also had a much better season than last year. It just aired its season finale  and I’m going to happily break that down for you guys by the end of this week.

American Horror Story just aired its finale episode which I’ve already reviewed. I feel like AHS had a great season this year, with a lot of depth, focus, and humor.

We got the truly wondrous Luke Cage, which I can’t even accurately review because my head is so crammed full of thoughts about it that I can’t straighten them out. I’m still processing this show, as I haven’t really had time to really think about it because:

Season 12 of Supernatural has just started to air and its very good. So far, its been very engaging, and funny, with some very well written side characters, and quite a number of feels.

And, I’m entirely caught up in the Westworld phenomena. Thankfully its only got two episodes left, after which I can take some time to think about something else and finish processing my thoughts and feels about it.

Then it’s back to watching and/or reviewing starting January 1st. There is such a wealth of good shows, and I have such a limited amount of time with which to review them, that I’m going to have to start farming out some reviews. So from now on, when I see a really great review of a show I’m watching, but don’t actually have time to review, I’m just going to leave a link or reblog.

Also, if you’re a person who writes long form TV reviews like these, please get in touch with me about linking , and reblogging your posts. I love a good, well thought-out, and logical review. No wanking or ‘ship wars, please. I don’t mind if you love a certain ship  but I’m not going to reblog about  ‘ships that erase PoC, canon LGBTQ characters, and women from their own narratives.

Okay, here’s what we have to look forward to:

*Sherlock (Jan.1)

Sherlock returns for its fourth season. I’m starting to get really tired of looking at Benedict Cumberbatch’s face. He’s a phenomenal actor, with one of the best voices I’ve ever heard on a screen, but he looks like a turtle that’s been squeezed too tightly, and  I think I have reached “Peak Cumberbatch”, at this point. Nevertheless, I may still watch this, because I actually enjoy the plots. (BBC)

*Beyond (Jan. 2)

This show looks like a cross between Kyle X and Teen Wolf, which isnt a bad thing. I’m looking for  a replacement teen show for Teen Wolf anyway, since its in its last season. (Freeform)

Shadowhunters (Jan. 2)

I’ve only ever watched a couple of episodes of Shadowhunters, but gifs of it keep showing up in my Tumblr feed, and I’ve liked those, so I’ll watch this. And Harry Shum, who was one of the fan contenders to play Danny Rand in Iron Fist, is in this and I do need to have some  Shum in my life, somehow. (Freeform)

Sleepy Hollow 

I won’t be watching  season four of this show and there’s no trailer as yet,  but if you don’t mind the complete wtf*ery of what happened  last season, you go right ahead .I’m gonna be a petty mf and not even post the airdate.

*Taboo (Jan.10)

I’m a huge Tom Hardy fan, often watching movies I would not normally think about just because he’s the star. Also, I just enjoy dark Historical mysteries and these trailers look gorgeous. (FX)

*Lemony Snicket (Jan.13)

I read a lot of Lemony Snicket books and enjoyed the Jim Carey version of this, so I will probably check this out. My favorite character is Violet, so I have to stan for my tiny baby. This trailer seems to capture some of the zaniness of the original film. (Netflix)

The Young Pope (Jan.15)

I really like Jude Law, but I probably won’t watch this, even if I find this kind of Catholic scandal type stuff, fascinating. I’m not Catholic, but I will watch dramatic histories about it. This looks well acted but I’m noping out. (HBO)

Six (Jan,18)

I don’t normally watch military type shows but this looks interesting. For some reason, I’m attracted to those Navy Seal non-fiction books, and this show looks suitably dramatic, so I may watch this. On the other hand, I don’t wanna see Black people being terrorized, so I may not make this a regular part of my viewing diet. (History)

*Frontier (Jan.20)

I’m always up for anything starring Jason Momoa. I have not yet reached Peak Momoa. (Netflix)

*The Magicians Jan.25)

I was a bit disappointed in the last season of this show because of the depictions of violence against its female characters, so I’m dubious about watching this new season. On the other hand, it looks gorgeous, and I hope its a better than the second book in the series on which this is based. Finishing that second book felt like working. (Syfy)

Riverdale (Jan.26)

I could not find a good trailer for this one. I try to stick to only one teen show per period, so I may not watch this, but this is the last season of Teen Wolf, and I might need something to replace that. The trailers don’t look very interesting but I could give it a try. (CW)

Black Sails (Jan.29)

I watched the first episodes of this and then stopped, but I have been following what’s happening through reviews.It still looks beautiful but I can make no promises about this show, other than I will watch the first episode and give it a chance. (Starz)

The Expanse (Feb. 8)

I only watched a few episodes of the first season, but I’ve since read that its a good show, so I’ll watch the first episodes of this second season. I don’t know if I’ll like it but I can try it. (Syfy)

Taken (Feb 27)

(NBC)

I’m a big Liam Neeson fan and I really liked the movies on which this show is based.

*Legion (Feb TBD)

This is a Marvel Superhero Joint, so I will watch it even though I’m not in the market for yet another show about a quirky, White, male hero. I do know who this character is in the comic books, though, so I’m going to check it out. (FX)

*Iron Fist (March 17)

I will watch this even though I’m disappointed that the creators didn’t choose an Asian American man to be Danny Rand. That kind of story would’ve had so much more depth, but depth isn’t Marvel’s strongest suit. I’m still not greatly impressed with the actor they chose either, but I promise to give him a chance. I’m mostly in it because I hope this show does for Colleen Wing, (who has been racebent to be Asian) what the Luke Cage series did for Misty Knight. (Netflix)

Into the Badlands (Spring TBD)

Well, duh! (AMC)

WestWorld Episode 4: Dissonance Theory

Well, the robot (r)evolution continues, and there are even more little revelations, but  thats it! I’m giving up speculations about this show. Every time I think I have a good bead on things, the writers throw a monkey wrench into my well thought out rationalizations. This is a show you definitely have to pay attention to. You can’t half-ass this or you’ll miss all the important things, and those things happen not so much in the big set pieces, but in the he quiet conversations you thought you could skip out on to go get a snack.


We begin with Bernard having another conversation with Dolores. Her programming really is advancing as she offers him advice on how to deal with his grief over the death of his son. In exchange he offers her “the maze”. The same maze that MIB is working towards. So the situation is heats up as we might get to see Dolores and MIB competing for the same goal, believing that reaching its center will set them free. I’m not certain what freedom means in this context for Dolores. Does it mean free from her programming? Free of the park? Full consciousness?

Maeve continues to have recurring memories of the deaths of the other Hosts. Last episode she remembered Teddys dead body being hosed down by the technicians, and this week she remembers the town massacre, and how the technicians came then. She specifically remembers being shot and connects that to waking up and seeing the techs standing over her body. 

So a really interesting thing happened in this episode, when a group of Native American Hosts were walking through the town and one of them dropped their doll. Maeve recognized the doll as looking like one of the tech she thinks she saw in a dream. She finds a sheath of appears she’d hidden away from herself, and remembers hiding them before, with the image of the doll.She is told (by another Host named Hector) that the Natives believe the dolls represent demons, who come up from the Hell and manage their lives, which is entirely in keeping with the behavior of the parks technicians who come into the park from underground access tunnels. So it’s fascinating  to me that the Natives have an entire mythology based around the existence of the people who run the park.


Incidentally, it’s also interesting how race does or doesn’t play into the park setting. There are obviously Black Hosts, and Native looking Hosts, but I haven’t seen any Asian Hosts, and only that small town of Hispanic Hosts, although there’s a prominent Hispanic character who shows up later in this episode. Race is not acknowledged in the park. It’s simply a non-issue. 

In keeping with his advice to find the head of the snake on the river, he finds a Host with a tattoo of a snake over her body. It’s head depicted on her face. That blonde gunslinger we saw in the first episode, who got shot by some Guests, I think her name might be Armistice. She is on her way to break her friend (Hector) out of prison, so they can rob the safe at the saloon, just as we saw them do in the first episode. She’s just following her narrative, though. In keeping with full immersion for the Guests, the Hosts simply go through their narratives whether Guests are with them or not. The  MIB offers to help her accomplish her goal in exchange for the story behind her tattoo. 


I’ve given up on guessing whether or not the MIB is human or not. During camp that night, he’s approached by two guests who recognize him from the real world, but this still doesn’t convince me he’s not a robot. Especially when you consider how ambiguous his statements are about himself. He does remember Arnold, saying that he’s there to honor Arnold’s legacy, but this doesn’t preclude the idea that he’s talking about himself. And I still don’t know his name.

Bernard must be communicating with Dolores through her dreams because she wakes up in the park next to William., as if nothing had happened. When they visit a small town to get information, she encounters a little Native girl who has drawn an image of the maze on the ground and gives her cryptic answers when she asks the little girl where she’s from.

In the big setpiece for this episode, the MIB enters the prison, Los Diablos, and with the help of some exploding cigars, a firing squad, and Lawrence Gonzalez, manages to free the resident badass, the other MIB, Hector, played by Rodrigo Santoro, who looks nothing like his character, Xerxes, from the movie 300. Hector is a bandit who lives among the Natives. I like Hector already. He’s such a stereotype of the Mexican badass. The white guy who writes the parks greater narratives is a completely unimaginative asshole, so I’m not surprised. I also don’t hold out much hope that he gave sufficiently nuanced character to  any of the Natives. (I don’t think he can spell nuance.)


Armistice tells the MIB that she got her tattoos in honor of a man named Wyatt, the man who killed her entire family. 

Ford is embarking on some massive new narrative that he isn’t divulging to the company’s boardmembers, who are rightfully concerned with how much he wants to change the park. He gives Theresa a surprise when he shows her just how much control he has, over the environment,  with just a single word, freezing all the Hosts in their view. I’m not entirely sure Theresa knew she was surrounded by Hosts, which is why she is completely discombobulated by their conversation. She totally didn’t see that coming. Ford also shows the extant of his knowledge not just of the park, and it’s past, but it’s employees as well, as he knows all about her affair with Bernard. He warns her not to get in his way.

In the second big setpiece of the evening William, and Logan are involved in a shootout to retrieve Slim, the man they were hunting. They attack his cabin and shoot it out with several Hosts. Logan is having waaay too much fun, and no I still don’t like him. He’s a shitty human being. 


We discover that Teddy, after being attacked by Wyatts men, was strung up to die in the desert. Poor Teddy. One day he’s going to do something heroic and live to talk about it. The MIB discovers him and cuts him down. I don’t know where Teddy’s Guest companion got off to, after he told her to run, but the MIB says he has plans for Teddy.

Logan shoots the Sheriff they were accompanying to retrieve Slim, when Slim offers them a huge reward to return him to the town of Pariah. He also threatens to shoot Dolores, while William threatens to shoot his captive. Since none of the people in this standoff are Mexican, that description would be inappropriate.

Hector  rides into town. Hector is just there for some thieving. The Park’s technicians can see that there are Guests riding with him, and we get a glimpse of just how much control the technicians have over the narratives, and Hosts, in the more populated areas of the Park. As a general rule, I don’t think they monitor very much how the Hosts interact with each other, when there are no Guests in their company. The Hosts are programmed to go through a set routine, so the techs don’t worry much over their activites as long as they’re following their scripts, as planned. The only tech who is worried about the buildup of all these behavioural anomalies is Elsie.


   Hector’s plans are thwarted by Maeve, who remembers the last time he visited. She gives him the safe’s combination, in exchange for answers about the doll, she found earlier. Hector says the figure is a Shade, from sacred Native lore. She asks Hector to cut her in the side, and when he does, she finds a deformed bullet in the wound, which confirms her fears that Shades, her memories, and what she thinks she dreamed, are actually real. When the Sheriff  takes down Hector’s crew (and the Guests),the two of them are shot down in a hale of gunfire, but before that Maeve tells him it doesn’t matter, and that she’ll be back, with her memories intact.

Okay, that’s enough. This isn’t even all the stuff that happened in just this one episode. There’s a whole host of things, I thought were just cool, or awesome, or even skanky. One thing I am impatient about is we are almost on the fifth episode and no Guests have been killed by any of the robots yet. I vote we get the massacre started, and nominate Logan as the first victim.    But this show is operating on a really slow burn. I’m enjoying all the little clues and side plots so far. They’re like little appetizers. But I do hope the writers don’t take too long to give us the main meal we’re all here for.

Before the season is over, I have to do a link roundup of all the great meta being written about this show, so stay away tuned.

Random Tumblr Roundup

Just random stuff that ended up on my Tumblr dashboard. 

There have been a lot of reviews and thinkpieces in the past week about Luke Cage, and as I promised ,most of the reviews I’ve reblogged or linked to are from the POV of Black writers. Here’s one from The Tall Black Nerd:

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*Why can’t nerds get dates? Well, some of them can’t get dates. I’m sure none of you reading this have this problem,though.
the-queen-poetico:

theotherwesley:

introvertedgeek:

wizardshark:

constant-instigator:

stele3:

dannerzz:

brother-mouse:

dannerzz:

i fucking hate dating nerds one single time i wore a star wars shirt to see a dude and he was like, “wow are u wearing that to impress me” and i said, “star wars episode 4 was seen by approximately 110 million people during its initial theatrical run in 1977”

Congratulations. You’re dating people who for the longest time have been putting up with bullying, mocking, and scorn for most of their lives. That kind of shit stays with people. So imagine their surprise when they see a member of the opposite sex, who I’m assuming is really attractive in comparison to most people, wear attire that reps nerd culture. Which even though is accepted by the masses (if you’re reasonably attractive) is still rare. Now I’m not saying that you’re not allowed to be scornful I’m just saying expect it and don’t be surprised when you hear it. Ok? OK.

why i dont date fucking nerds: exhibit B

Bolded emphasis mine. Gross.

Stands on nearest chair: ATTENTION MALE NERDS. YOU ARE NOT SUFFERING FROM A SHORTAGE OF FEMALE NERDS. THERE ARE VAST NUMBERS OF US, AND WE RARELY HAVE A HARD TIME FINDING EACH OTHER. YOU ARE WITHOUT FEMALE COMPANY BECAUSE YOU ARE WHINEY ASSBABIES WHO THINK YOU OWN THINGS BECAUSE YOU LIKE THEM, AND BECAUSE YOU SOMEHOW THINK YOU SUFFER BULLYING WHEREAS GIRL NERDS SOMEHOW NEVER DO. STOP PRETENDING YOU GET TO BE ASSHOLES BECAUSE YOU HAVE A “TRAGIC PAST” OR YOU WILL DIE ALONE. IF YOU THINK GIRL NERDS DON’T GET BULLIED IT’S LIKELY BECAUSE THOSE GIRLS DON’T WANT TO TALK TO YOU, BECAUSE OF THIS SORT OF ATTITUDE.

also: fucking no one mocks nerds anymore. Game of thrones is the most watched show on tv, everyone and their mom is playing video games, dungeons and dragons is more popular than it’s ever been.

To conclude

i’m obligated to reblog the Critical Whale

Fucking thank you

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People gonna find problems with Luke Cage, but this show is my precious cinnamon roll and  I’m determinedly not listening.

Luke Cage Has Problems.

Okay so I’ve seen a bunch of fuck nigga activity recently about Luke Cage and I’ve felt the need to address it.

First and foremost Luke Cage and colorism. Now yes. I love Both of our leading ladies: Rosario Dawnson and Simone Missick. I am complete and utter garbage for them both.

However being trash for them doesn’t stop me from being able to point out that much like many other shows LC might have some colorism issues. Now me pointing out that Rosario Dawson is light-skinned and her casting outside of her being an amazing actress could have to do with colorism isn’t me invalidating her Blackness. She is Black first and foremost and knowing how vocal RD is about this stuff she’d have no problem with people talking about this as one of the possible reasons she was cast.

Stepping away from RD yes there are a plethora of Black women in Luke Cage like it needs to be it’s great honestly. I’m loving it but the majority of the darker skinned Black women (darker than SM) are back ground characters and the villain of the piece is one of the darkest if not the darkest women in the show and we all know how often that happens.

Continue reading “Random Tumblr Roundup”

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Horror News, Reviews, Interviews, Art, Trailers, Fashion, Collectibles

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Behind the scenes of the greatest Movie Monsters

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