As Star Wars: The Force Awakens hits theaters this weekend, the next blockbuster on the horizon is Batman v Superman: Dawn of Justice, and the viral marketing for LEXCORP has just begun.
WIRED just conducted an interview with Lex Luthor and the mad scientist will spend $2 billion on defense research and development to combat the alien known as Superman. Luthor also has a few words for Batman.
“Any objective analyst will tell you that his brand of justice, vigilantism, is painfully outmoded, designed to be effective in an age when the law carried billy clubs because crime carried knives,” Luthor says of The Batman. “The most dangerous guy on the street worked in the shadows because he was cowardly and superstitious. That’s all you needed to play upon in order to disrupt their operations. You want to clean up the streets? Dress up like the boogeyman, switch on a fog machine and lower your voice.”
RON TROUPE: Nice digs.
LEX LUTHOR: We’re not doing that.
RON TROUPE: Doing what?
LEX LUTHOR: We’re not opening with a wide-eyed layman’s description of the hotel room that makes me look unrelatable just to set up a dramatic twist wherein, lo and behold, you discover I’m surprisingly down-to-earth because I know the score of the last Metros game.
RON TROUPE: Do you?
LEX LUTHOR: Metros 102, Guardsmen 86.
RON TROUPE: Weird. (it’s the correct “relatable” small talk, but coming out of him, it sounds less like a basketball score than a set of algebraic integers.)
LEX LUTHOR: Which is why we’re not doing it.
RON TROUPE: Would you say you’re a man who’s always gotten what he wants?
LEX LUTHOR: Nice pivot. Here’s mine: What I want is to leave the planet in better shape for the next generation. To make the world and its children safer. I want it. And I bet you do too, Ron.
RON TROUPE: You sound like someone running for political office.
Read the full Lex Luthor interview by clicking here.
Warner Bros. paid WIRED for the sponsored content. Ron Troupe is a character from Superman and there are several references in the article to the expanding DC Cinematic Universe?
About Batman v Superman: Dawn of Justice
Gotham City-based vigilante Batman travels to Metropolis to preemptively combat Superman, fearing what would happen if the latter is kept unchecked, while another threat endangers humankind.
Batman v. Superman: Dawn Of Justice stars Henry Cavill, Amy Adams, Jason Momoa, Ben Affleck, Jesse Eisenberg, Gal Gadot, Jena Malone, Jeffrey Dean Morgan, Diane Lane, Ezra Miller, Jeremy Irons, Holly Hunter, Michael Shannon, and Laurence Fishburne.
The film is set to open worldwide on March 25, 2016
Sorry, SNL Weekend Update and Baby Mama fans: your favorite comedic tag team misses the mark with their latest effort, but not for lack of trying. Sisters, starring Tina Fey and Amy Poehler, brings a few solid laughs scattered throughout its overly-long running time, but for the most part is a pretty forgettable feature film foray for these two talented comedians who have each starred in far better, smarter projects in recent years.
Fey and Poehler star as the Ellis sisters, Kate and Maura, respectively, who are called back to their childhood home in Orlando, Florida by their parents (James Brolin and Dianne Wiest) to clean out their bedrooms, as the family house has been sold. Though the two sisters couldn’t be more different — always responsible, always overbearing nurse Maura versus temperamental, ne’er-do-well nail technician Kate — their reaction to their folks’ decision to ditch the house the girls grew up in without so much as a head’s up is very similar: they freak out, each in their own signature ways.
Once resigned to the fact that they can’t talk their parents out of the sale, they throw themselves into the task at hand, and in the course of putting on old clothes and reading old diary entries, inspiration strikes: one last mega-party at the Ellis house, one final blowout, with all their old high school mates invited, this time with the specific intent of Maura getting to cut loose, rather than filling the role she always filled back in the day, that of the “party mom” that stays sober and makes sure the damage to life and property remains at a minimum.
Of course, there are a few subplots at work here, as well, which all come out at the worst possible times as the party kicks into gear: Kate’s broke, homeless, and jobless, while Maura has been secretly harboring Kate’s exasperated teenage daughter Haley (Madison Davenport) for the whole summer. Drama just waiting to explode as the shots get served, the house gets wrecked, and general chaos ensues. Sounds hilarious, right?
Okay, maybe that wasn’t exactly the best way to sell the sizzle, but even so, it’s pretty clear there’s not a whole lot of inspired stuff here.
The script for Sisters comes from longtime SNL and “30 Rock” writer Paula Pell, and had she perhaps stuck to the just the sisterly/family upheaval stories as well as the comedy inherent in a group of early forty-somethings kicking it at the party-to-end-all-parties, perhaps things might have flowed smoother. But Pell overstuffs this script with running gag on top of running gag in addition to the aforementioned subplots, and most of the extra stuff may have sounded funny on paper, but in execution just doesn’t work. Add to that a belabored sense of comic timing on the part of director Jason Moore (Pitch Perfect), who time and again throughout the film lets jokes run far too long, and its no wonder Sisters clocks in at nearly two hours. This is a film that’s desperately in need of editing, one that would have benefited greatly from a “theatrical version” versus an “unrated” home video version which could feature the longer running time and all those extra gags.
To be fair, it’s not all terrible. Arguably, the one recurring bit that does work best is the one featuring WWE superstar John Cena, playing a very intimidating and stoic drug dealer named Pazuzu who does his part to liven up the Ellis’s party just when things reach their most “adult” (translation = dull and depressing). There’s also a romantic story here involving Maura and her ridiculously awkward courtship of the neighbor from down the street, James (Ike Barinholtz), which is for the most part tedious to watch but does lead to one of the film’s funnier sequences involving a ballerina music box finding its way into a very uncomfortable place — to say anymore would be to ruin the joke, so you’ll just have to see it for yourself.
As for the film’s leads, there’s a little bit of fun to seeing Fey in particular play against the type we’re so used to seeing from her — Kate is as far removed from “30 Rock”‘s Liz Lemon as is imaginably possible — but oddly, her effort and Poehler’s both feel forced, as though they’re really trying to sell the funny in Pell’s script when maybe it’s not as funny as it was when they read through it. It’s actually very surprising, considering the talent involved here, how flat everything falls in Sisters — everyone involved here, including the supporting cast, which includes Maya Rudolph and John Leguizamo, is certainly capable of better.
To sum up, if you do choose to see Sisters, do yourself a favor and wait for home video. Yes, quite likely the digital/blu-ray edition will be even longer, but at least you can turn it off or switch to something else if you reach an “I’m done” point in the course of watching it. And yes, no matter how much you love Tina Fey and Amy Poehler in everything else you’ve seen them in, you WILL reach that point.
Sisters
Starring Tina Fey, Amy Poehler, Maya Rudolph, Ike Barinholtz, James Brolin, John Cena, John Leguizamo and Dianne Wiest. Directed by Jason Moore.
Running Time: 118 minutes
Rated R for crude sexual content and language throughout, and for drug use.
In 2015, the pop culture world was ruled by Star Wars, cosplayers, The Walking Dead, what’s PC in the comic book industry, WWE, Anime, the MCU, with a splash of Zoolander.
Monkeys Fighting Robots launched this past April and as we look to 2016 as our breakout year, let us reflect on the top viral stories of 2015. The ranking is based on visits per article.
There is a debate going on in the comic book industry and on the internet about how women are depicted and or drawn in comic books. Here is a glimpse of that conversation.
Comic book artist Frank Cho is learning a valuable lesson about internet, don’t poke the internet bear. There isn’t a problem with Cho voicing his opinion or his artwork, and there is no problem with differing opinions voicing their thoughts. The problem lies within the comment threads. What starts out as a calm discourse turns into lowest common denominator mud slinging, and sometimes violent hate speech.
On Sunday, Rob Liefeld tries to right the ship and put the conversation back on course. Guess what happened, the internet bear won in a slaughter.
Then Bill Sienkiewicz get’s tagged in a post on Facebook about the issue, he does not responded immediately but takes the time to craft a message (two and half hours to be precise).
Before the internet bear takes over this conversation; here is a calm, rational, thought out opinion on the issue at hand.
Sienkiewicz is not condoning or sanctioning blatantly offensive content, but he’s not trying to determine what’s right for other people.
“I’ve been foolishly trying to draft a response that won’t piss off, at least, one group somewhere out there in the electro-ether; a fool’s errand. There are many MANY horrible, unjust, unfair and truly obscene things that deserve our collective and absolute outrage–, and I’m willing to give the benefit of the doubt that most people know what these things are.
But this– this, not so much.
If Art upsets, or consoles, or outrages, or comforts, or excites, or raises question—then it’s doing its job. And once an artist- of any gender, ethnicity, religion, or any relative persuasion– does the work, and releases it into the vast collective universe, it belongs to the public at large- and is no longer in the control of the artist –often regardless of His/Her/( or LGBT/Androsexual/Trans/Intergender’s/Atheistic/ Devout/Agnostic’s etc) original intent.
We’re in a cross-cultural species-wide crossroads (and I include the four-legged and oceanic denizens of the planet as well, if I’m being inclusive)—where everyone -in this case, every single person who has felt voiceless and silenced and afraid and objectified for so long now feels the heady liberating siren call to express -often explosively- long-repressed needs, angers, and passions— not only to be seen and heard and respected—but to simply matter.
That- to me- is the bigger issue. It’s not a digression or a ‘beside the point’ or an obfuscation. It’s one of the main challenges—long overdue– for this generation and the next (along with climate change and all that boring reality shite) as we strive to move to higher levels of enlightenment and mutual understandingblahblah —and I can hear it now: many will say that every. single. small. thing. matters. including THIS: how talented artists-(and yes, my friends-) like Frank and J. Scott might be perceived as contributing to the downfall of civilization as we know it—or at least ‘perpetuating harmful stereotypes and gender inequality and sexual objectification’.
But as a white male of dubious ‘privilege'(I am for good or ill– also a Polack…and we all know what society thinks of THEM. You want to hear screams of anguish and anger over decades of stereotyped stupidity?oh you don’t?)— I’m already drafting an apology when I dare to ask all the inflamed and incensed and outraged: ”Jesus h Christ on a stick..I mean..really?!”
Because that just sounds so condescending. It’s like I’m daring to ask for proportional response, or that context be considered or the matter be looked at ‘in the grand scheme of things”. That sort of crap.
Far be it from me to deny anyone the right to enjoy the hell out of Outrage–Me, I love good outrage. Especially justifiable outrage. I could luxuriate in being pissed off at a great many things… But drawings of the female form -(or even male) –ain’t one of them. Sorry. Matter of fact, I rather enjoy them.
So by all means get furious, enjoy the addictive rush of anger and lash out, vomit bile… but maybe think better of it and count to ten before pressing Send.
Or better yet count to twenty.
Even I did that much, and I’m one of THEM,” said Bill Sienkiewicz.
•••••••••••••••••••••••••••
As crazy as the last eight months have been, Monkeys Fighting Robots cannot wait to bring you all the pop culture news of 2016. Have a great New Year!
The Force Awakens opens this week, so it seems fitting to review the latest Star Wars comic: Darth Vader Annual #1. Annuals as stand-alone stories can be hit or miss; they run the risk of being too far off from the main story to engage readers. In the case of this issue, the story has absolutely nothing to do with the main Darth Vader series, but luckily it’s just as interesting.
The tale is simple: the Emperor sends Vader to a Mid Rim planet to “reinforce their cooperation” with the Empire. But simple as the story may be, it also overflows with Star Wars nostalgia. Vader is as ruthless and intimidating as fans of the Original Trilogy know him to be. Scribe Kieron Gillen also writes the main Darth Vader book, and he knows how to write these characters well. Meanwhile, the pencils by Leinil Yu, inks by Gerry Alanguilan, and colors by Jason Keith combine to create sharp, shadowed images that give the book a distinct edge.
But while the familiar dark nature makes this an enjoyable read, the strange addition of dark humor is what truly makes this an annual worth picking up. First and foremost, Gillen brings in the droids he introduced in Dark Vader as evil counterparts to C-3PO and R2-D2. 0-0-0 (Triple Zero) and BT-1 (Bee Tee) are sadistic and masochistic droids whose love for torture sometimes gets in the way of completing their missions properly. That is hands down the funniest thing in any of these new Marvel Star Wars books and makes this series worth checking out on its own.
Even more intriguing is Vader’s ability to generate laughs himself. At one point, he walks through a ballroom during a waltz, a cultural expression he does not understand (“All this…dancing…is unnecessary.”). A man stops him and instructs him that all attendees must dance. It plays out as one would suspect it would, but with a bitingly witty twist. It’s unusual to see the Dark Lord of the Sith throw quips, but again it works in the strangest way.
But Gillen reminds readers just how twisted Vader’s sense of humor can be by the end of the story. The final scene is not-so-subtly reminiscent of A New Hope, and recalls the interactions between Vader and Princess Leia. It ends on a beat of devastation and provides just another example of why Vader is one of the greatest villains of all time.
The juxtaposition of a dark tone with humor may not be something one would expect in a story about Darth Vader, but that may be why this annual works so well. Even more important, it stays true to its roots. Many fans worry that these Expanded Universe stories will stray from Star Wars‘ core values, but those fears can be cast aside as long as Kieron Gillen is writing Darth Vader. He understands this world and how to tell stories in it. This book is absolutely worth its $4.99, so pick it up and read it while waiting in line to see The Force Awakens.
After numerous delays, the Marvel Secret Wars tie-in Ultimate End finally came to an end this week. The miniseries by Brian Michael Bendis and Mark Bagley was designed as a formal goodbye to the Ultimate Marvel Universe, which the two creators started with Ultimate Spider-Man back in 2000. The penultimate issue came out way back on August 5th, so fans have waited more than four months to finally get to say goodbye to (most of) these characters, and enjoy a heartfelt, fulfilling finale. Not so sure they got it.
This series has been a mess from the start. This was bound to happen; Bendis tried to fit in all the characters from both the Ultimate Universe AND the mainstream Marvel Universe and still create a cohesive story. The result was just battle after battle between counterparts: Tony Stark vs. Tony Stark, Hulk vs. Hulk, resulting on full on war between the worlds. There was no substance to a story that should have felt deep, and brought closure to this world.
The ending tried to add depth, and it should get credit for that. The two worlds unite against their common enemy, and overlapping the images are three intertwined monologues meant to flow as one. The running theme is about heroism, and stopping the bad guy, whatever the consequences may be. It’s supposed to be inspiring, and it is to an extent. It’s also somewhat underwhelming. This just felt like a cliché ending to a generic good vs. evil story, instead of a swan song to the characters of the Ultimate Universe.
Opening splash page. See? Mess.
Lack of continuity has been the most frustrating aspect of this whole series. It’s a Secret Wars tie-in, but the stories fail to line up most of the time. A character who dies in Secret Wars still manages to appear early on in Ultimate End, and stays there through this issue! If this were a mistake in the first issue, it should have at least been remedied throughout the rest of the story. Little things like this run throughout all five issues.
The real nuisance regarding continuity is Spider-Man. Peter Parker is front-and-center in this book from issue one. And based on the dialogue it is very clearly the mainstream Spider-Man from Earth-616. But Earth-616 Peter Parker is also a major player in the main Secret Wars story, so he shouldn’t even be in this story from the start. At the very least, he should swing in later with Ultimate Spider-Man Miles Morales, another player in the main story, who ties the two stories together. It gets worse. Miles tells the characters what’s going down over in the main story, and it’s as if Peter is hearing for the first time, even though he’s in that story. It gets worse yet! Peter then calls his Aunt May, and the image very clearly shows ULTIMATE Aunt May, not this Peter’s Aunt May at all. It may sound like something small, but it’s all very jarring and takes the reader out of the story. The continuity utterly ruins what otherwise may be a salvageable story.
There isn’t much to say about Mark Bagley’s art. This isn’t his best work, but he had a lot of work to do in a short amount of time, so he can be excused. He still draws an amazing Spider-Man (puns!), and his multiple splash pages are action packed, if not somewhat overwhelming. Besides, even on his worst day, Mark Bagley is still one of the best working artists in comics today.
It’s not easy, or fun to write a review like this. Creators undoubtedly worked hard on this project and put heart into it, especially since Bendis and Bagley created the Ultimate U. in the first place. Unfortunately, sometimes the pieces just don’t come together the way they should. It doesn’t help that there was added pressure to get this done on a time crunch before the main Secret Wars title ends this month. Bringing sixteen years of work to a fulfilling conclusion, in only five issues, on a tight schedule is nearly impossible.
The book’s ending is its saving grace. It’s no secret that Miles Morales is being brought into the mainstream Marvel Universe post-Secret Wars. The end of this book leads directly into his new life, and sets up Bendis’ new Spider-Man book coming in February. It’s pretty uneventful, but it feels strangely hopeful in the wake of a universe’s death. This hope and excitement to see Miles’ story continue manages to lift up this otherwise disappointing ending. It doesn’t make up for all of its pitfalls, but it does make it worth getting through. With that, we say “Farewell Ultimate Universe,” and “Welcome to Earth-616 Miles Morales, hope you survive the experience!”
SUPERMAN: AMERICAN ALIEN #2 Writer: Max Landis Artist: Tommy Lee Edwards Publisher: DC
In two issues, Max Landis has gone above and beyond what he’s teased on his take of the Man of Steel and has done what few writers have been able to accomplish, by humanizing and making Clark Kent a relatable character.
For those that don’t follow Max Landis on Twitter or YouTube, the writer of Chronicle and American Ultra has been extremely vocal on his opinions toward Superman and handling the character his own way. With DC finally allowing him to put his money where his mouth is, in his own series, Superman: American Alien. Landis described the series prior to its release, as not a retelling of Clark’s origins but rather, a story that will focus on how someone, who owes the world nothing, goes out every day to risk his life, against every sort of evil without needing some tragedy or enlistment, to turn him into a hero. How Clark does all of this on his own free will and chooses to be Superman, simply because he’s a good person.
While issue one of Superman: American Alien focused on Clark’s childhood, issue two follows a story in his teenage years, highlighting everything from sexual temptation, alcohol, cars, “bro time” and all things that an average American farm boy, from the Midwest, would experience. To say Landis brought the human and relatable factor to this story, would not be giving him enough credit for how well Landis wrote a character, most seem unable to connect with. Superman is usually too perfect, too good and too alien for audiences and not in a way, that most are able to enjoy in an entertainment medium. Obviously, this is not to say Superman is not the quintessential superhero hero model and not the most recognizable fictional character, arguably in American literary history across the globe. However, the reason people connect with Batman or Spider-Man has always been because of the tragedies that motivate them, as well as their flaws as human beings or general real world issues.
Landis captures this “lightning in a bottle” element, so few writers have been able to do with Superman. From the very beginning of the issue, the whole interaction between Lana Lang and Clark, regarding her parents being out of town and Lana inviting Clark over, relates to just about everyone’s awkward teenage years. On top of this adolescent awkwardness, you can almost feel Clark’s nervousness less so because of the sexual implications but, more so from the fact of he is an alien. While most of this can be implied, that what good writing does. It can speak to a reader, without actually having to throw it directly in their face. This form of implied writing, is used throughout the issue by Landis, allowing it to feel more like an experience.
The way Landis captures these human elements or as he says the “little moments of Clark’s life” is great for the reader. In Superman: American Alien #2, the main story narrative focuses on Clark making his first steps towards becoming a superhero and the struggle he must overcome to get there. With a crime scene in Smallville, larger than the town has ever witnessed, Clark is being influenced by the town Sheriff and his friends to involve himself. Clark is obviously hesitant. This is a job for the police but, he wants to help and do the right thing because he can help in ways that others can’t, he’s conflicted. This becomes, even more, apparent when Clark attempts to stop the murders, which is messy to say the least and leads to a very touching moment between him and Ma Kent, at the conclusion of the book. Everything feels real and genuine, rather than more over the top comic style, that fans become accustomed to. This is much more of a personal story, rather than something cinematic and blockbuster.
As far as artwork goes, this was the comic’s only less desirable point. It wasn’t bad to say the least, but at certain points it just felt too clustered in specific actions scenes and became confusing, to distinguish what was happening. Certain panels worked, and Edwards did an excellent job of capturing the expressions of characters, as well as their emotions. But, at certain points, the penciling become too jumbled and too tough to figure out or appreciate what was happening in them. The art was very hit or miss, where it either encapsulated the script to perfection or became too rough and slightly pulled away from the story itself. Overall, not bad, just several panels did not excel in the ways others did and was inconsistent in quality.
Superman: American Alien is a must read series and could easily be one of the best in 2016 when it comes to its seven issue conclusion. It’s extremely well written and will shift to different artists, throughout the mini-series, to capture various points of Clark’s life.
If given the choice between having sex or seeing Star Wars: The Force Awakens, most men know the appropriate response would be: Why not both? Well, for Dr. Sheldon Cooper (Jim Parsons) on The Big Bang Theory, the choice is not so simple, but he surprises everyone in Thursday’s momentous episode (CBS, 8 p.m. ET/PT)
Sheldon picks sex, as a way to celebrate fellow virgin and recently estranged girlfriend Amy’s (Mayim Balik) birthday. His rationale is what better way to show her how much she means to him. Now Star Wars doesn’t get completely shut out, as Sheldon consults with one of his heroes, the late Arthur Jeffries (Bob Newhart), who is transformed into a wise looking Obi-Wan Kenobi. Sheldon tries to reason with his “force” ghost and states that “he is quite sure that Amy would understand if he went to the premiere.” Bob Newhart’s deadpan wit is perfect for Sheldon’s quirky energy.
This being The Big Bang Theory, a show about scientists who are way into pop-culture, it’s not evident whether the title of the episode, “ The Opening Night Excitation,” applies to Sheldon and Amy or to friends Leonard (Johnny Galecki), Howard (Simon Heldberg), Raj (Kunal Nayyar), and Wil Wheaton’s trip to see Star Wars: The Force Awakens.
The most entertaining part of the episode was Sheldon’s clinical approach to sex, so matter-of-factly as he was running through a list of Birthday Ideas with Penny (Kaley Cuoco) and Bernadette (Melissa Rauch) that included “Coitus with Amy.” Kudos to the writing team for keeping this episode right in line with exactly how Sheldon would handle having Sex for the first time with someone. But what surprised me was how sweet the episode was. And, truly, there will be an “awakening” Thursday night for Sheldon and Amy.
Your host Matthew Sardo takes you on the 24-hour journey that was he press screening of Star Wars: The Force Awakens. This podcast is a recap of the film and contains spoilers.
What are thoughts on the film and what was your experience like?
Let the countdown begin for Star Wars: Episode VIII which will be in theaters on May 26, 2017.
Few films become cultural touchstones, become ingrained in society, and change the way movies are made and influence things going forward. Since Star Wars was released in 1977, and has done all of those things and more. It has also given rise to a widespread, vibrant, and vocal fandom. A fandom that transcends age, race, and borders.
That passion has given birth to an expansion of the Star Wars universe thanks to novels, video games, and animated tv series that fill in the blanks before, during, and after the original trilogy of films. We have also seen re-releases of the original trilogy in various forms. A theatrical release of the original trilogy in 1997 saw changes with addition of CGI characters, inclusion of a deleted scene in Episode IV between Han Solo and Jabba The Hutt, and improvements in different visual effects.
Star Wars Trilogy Special Edition Photo: 20th Century Fox
Further changes were made when the prequel trilogy was released, including a controversial addition of Hayden Christensen as a Force ghost at the end of Return Of The Jedi. These changes have prompted a vocal response from a section of the fandom calling for a re-release of the original and unaltered theatrical versions of the original trilogy. Logistically, that may be tougher than some think. Unless you own the original VHS releases, they can be hard to find and even though Disney has purchased LucasFilm and is now the sole propieter of any and all Star Wars related media going forward, 20th Century Fox still retains some distribution rights over the original trilogy. The original trilogy DVD set released in 2008 does have both the remastered special editions and the original theatrical versions of each film, but the quality is not acceptable to many fans out there. There have been numerous online petitions to both 20th Century Fox and Disney to release a high quality version of the unaltered theatrical releases, but those requests seem to have fallen on deaf mouse ears. Some fans have gone so far as to craft their own “despecialized” editions, using various DVD releases cut together with HD tv broadcasts.
Another very vocal section of SW fandom are the fans of the Expanded Universe novels, beginning with Splinter Of The Minds Eye, published in 1978, and the most recent being published in 2013, the EU novels have chronicled various events throughout the universe and covered everything from Han Solo’s early years to 30 years after Return Of The Jedi. When Disney purchased Lucasfilm in October of 2013, the future of the EU was in question. In April 2014, Disney and Lucasfilm announced that the Expanded Universe would no longer be a part of the official timeline, but exist under the new ‘Legends’ banner. The upcoming release of The Force Awakens has spurred Disney to streamline events and give the new filmmakers of the upcoming trilogy the freedom to tell new stories, and having use of some elements of the EU. This has bought about a myriad of reactions from the fandom. Some expected Disney to streamline, a very vocal minority is in the midst of what they call a ‘campaign’ to get Disney to recognize and continue the Expanded Universe, even going so far as to threaten to spoil The Force Awakens across social media.
Star Wars Expanded Universe Novels Del Rey Publishing
This is the dark side of fandom. A hostile and malicious entitlement that seeks to ruin things for anyone who doesn’t agree with them. That’s not what Star Wars is supposed to be about. It’s about the wonder of a galaxy far, far away. The joy in a child when they get their first toy lightsaber or sharing an afternoon watching The Empire Strikes Back.
It is important to love what you love, but don’t let it become an anchor, don’t let it push you to the point where you disagree with any change or criticism towards things. Change is how things get better, and gives us all more stuff to enjoy.
Tell us what you think in the comments and what your fandom means to you. No disintegrations.
Google Tuesday evening released the top searches for 2015 along with a nifty recap video. Did Google define you? You can refine the search results by country, Ireland really likes Ed Sheeran.
Google Trends
Top Trending General Searches
Lamar Odom
Charlie Hebdo
Agar.io
Jurassic World
Paris
Furious 7
Fallout 4
Ronda Rousey
Caitlyn Jenner
American Sniper
Trending Global News
Charlie Hebdo
Paris
Hurricane Patricia
Isis
Nepal
El Chapo
Greece
Baltimore Riots
San Bernardino
Hurricane Joaquin
Top Trending People (not including deaths)
Lamar Odom
Ronda Rousey
Caitlyn Jenner
Adele
Charlie Sheen
Ruby Rose
Donald Trump
Sia
Dakota Johnson
Jeremy Clarkson
Trending Global Sporting Events
Copa America
Wimbledon
Tour de France
Rugby World Cup
Super Bowl
Mayweather vs Pacquiao
Indian Premier League
US Open
ICC Cricket World Cup
Australian Open
Top Trending Actors – US
Charlie Sheen
Bill Cosby
Taylor Kinney
Scott Eastwood
James Earl Jones
Tom Holland
Eddie Redmayne
Gary Busey
Randy Quaid
Tracy Morgan
Top Trending Actresses – US
Ruby Rose
Amy Schumer
Patricia Arquette
Rumer Willis
Bryce Dallas Howard
Alyson Stoner
Lily James
Taraji P.Henson
Natasha Leggero
Ellie Kemper
Top Trending Movies
Jurassic World
Furious 7
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Prem Ratan Dhan Payo
Birdman
Top Trending Music Artists
Adele
Sia
Fetty Wap
Eazy-E
Sam Smith
N.W.A.
Chris Stapleton
Beck
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Meghan Trainor
Top Trending Losses
Bobbi Kristina
Cristiano Araujo
Christopher Lee
Sandra Bland
Stuart Scott
Leonard Nimoy
Zhanna Friske
Naomi Kawashima
Scott Weiland
BB King
Top Trending TV Shows
Big Brother Brazil
Jessica Jones
Bigg Boss
Fear the Walking Dead
Better Call Saul
Game of Thrones
Daredevil
One Punch Man
Verdades Secretas
Scream Queens
Trending Consumer Tech
iPhone 6S
Samsung Galaxy S6
Apple Watch
iPad Pro
LG G4
Samsung Galaxy Note 5
Samsung Galaxy J5
HTC One M9
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Surface Pro 4