The 5th installment of Pirates of the Caribbean is derailed by substandard performances and a weak narrative.
Summary
The film begins with an engaging prologue centered around our new male lead played by Brenton Thwaites. We quickly find out that he’s playing Henry, the son of Will Turner (Orlando Bloom) who was cursed to spend the rest of his days on the Flying Dutchman (Davy Jones’s ship) at the end of At World’s End. The narrative takes place 20 years following the last film. Henry has spent his adolescence studying all the curses and folklore of the sea. He believes that the only way to break his father’s curse and allow him to return to his one true love Elizabeth Swan (Kiera Knightly) involves acquiring the Trident of Poseidon (no big deal). There is some familiarity to this release. At times the film has the look and feel of Curse of the Black Pearl. Much like the original film, there’s yet another cursed group of pirate hunters led by Captain Salazar (Javier Bardem) who are out for the blood of our beloved drunken swashbuckler Jack Sparrow (Johnny Depp). Predictably, Henry and Jack’s paths cross and they get caught up in a quest that’s at best daunting.
What Worked
Jeff Nathanson made sure that the narrative for the 5th installment of the franchise was extremely lean in the same way Curse of the Black Pearl was.
The film didn’t delve deep too deep into Jack Sparrow’s back story and focused more on his drunken buffoonery. Much in the way the first film did.
The action sequences were intricate and appealing. While we didn’t have any ship heists, we certainly had a less than successful attempt at robbing a bank.
While Jack is a big part of the narrative, the story of Henry’s quest to break the curse is what this film is primarily about. Depp’s character should have never been thrust into the spotlight and works better as a comedic foil. This was understood in the first film and certainly appears to be the case in the 5th installment.
What Didn’t Work
Brenton Thwaites lacks the emotional resonance needed to drive this story. This story is about a son desperately trying to reunite with his father for both his sake and his mother’s. Instead of being on the edge of my seat, I found myself hoping Henry would somehow just drown so this uninteresting tale would finally reach its end.
Geoffrey Rush and Javier Barden appear to be this picture just for the big Disney paycheck. Rush’s character time on screen is supposed to provide an emotional backbone to this adventure but in reality, amounts to whole lotta of nothing. Barden is neither scary or intimidating. He looks the part but certainly doesn’t pull it off.
A majority of the film has a palpable feeling of familiarity. While The Force Awakens is able to borrow from previous Star Wars films, JJ Abrams made a conscious effort to make sure his picture had its own identity. Dead Men Tell No Tales is so strikingly similar to Curse of the Black Pearl that the films are in many ways interchangeable.
Overall
The 5th installment of Pirates of the Caribbean is the perfect example of how money talks. As long as individuals are willing to accept this type of substandard storytelling, we will continue to have unnecessary sequels. Dead Men Tell No Tales is not a horrible film. It’s just an incredibly average imitation of the highly successful original film that started it all. Why waste paying to see it at the theater when you can just rewatch Curse of the Black Pearl? You’ll get the same experience but at a far better price.
Now that Arrow, The Flash, Supergirl and DC’s Legends of Tomorrow have all ended their respective seasons, we have nothing to do but wait and anticipate what kind of DC inspired fun the CW will bring the Arrowverse in the fall. Of course, each show will have their own stories, but as promised to us after the highly successful Invasion! crossover, we can certainly expect a yearly multi-show event bringing all our heroes together. With that in mind, I searched the multiverse of my mind (with a little help from this Monitor like thing called ‘The Internet’) and chose five great, classic DC events/crossovers the CW can bring us next. Of course, there would have to be changes and adaptations made were applicable but all of these are malleable enough they could work. Read on, enjoy, and as always comment and discuss below! *Writers note: I purposely left Crisis on Infinite Earths off the list. That is the big daddy of them all, and honestly, could work as a great solo event miniseries (a topic for a whole other article!)
5Our Worlds At War
Although technically Our Worlds At War started as a Superman event, it could easily work for Supergirl and The CW. We already have Superman as a supporting character on that show, and Clark did drop a Warworld reference in a throwaway line in the season finale, so we know Warworld and Mongul exist. All you have to do is bring in Imperix or Brainiac to have this become HUGE. Have it so Warworld appears in our solar system, under the control of Imperiex who wants to turn every planet in the system in a different Warworld! That’s something that would also bring in the Martians (and tons of other alien races). Even Daxam is moved into our solar system at one point. Why not bring in Thanagar too! The heroes could then travel to Warworld, having most of the story take place there. Just think of the sets, the fights, the creatures! It would simply be awesome.
It was fifty years ago when Sergeant Pepper taught the band to play.
Yes, the Beatles’ famous album is now half a century.
Released on May 26, 1967 in the UK (June 2 in US), Sergeant Pepper’s Lonely Hearts Club Band broke new ground as a record. It combines rock, pop, music hall, and psychedelia. Nor does it feel like a Beatles album, because the eclectic style makes it unique.
Despite being seen as the “first concept album”, the record is anything but that. The idea of a concept doesn’t last more than three songs. “All my contributions to the album have absolutely nothing to do with this idea of Sgt. Pepper and his band, but it works, because we said it worked, and that’s how the album appeared,” John Lennon would say “But it was not put together as it sounds. Except for Sgt. Pepper introducing Billy Shears and the so-called reprise, every other song could have been on any other album.”
The Beatles kick things off with the title track, which is a pumping good intro to work people up. This is Paul McCartney’s baby, and he tackles the song with gusto. The addition of horns makes for a nice, old time feel like an old-time brass band.
As the song ends, it leads into “With A Little Help From My Friends.” This is Ringo Starr’s solo spot, and he does a good job on lead vocals. From here, the Beatles showcase their various styles for the 39 minute running time.
Lennon follows up with “Lucy In The Sky With Diamonds”, which remains a classic Beatles tune. Contrary to popular belief, the song is not about LSD but rather a homage to the works of Lewis Carroll.
“Fixing A Hole” is one of Paul’s best compositions. It feels like an upbeat pop song, but the lyrics focus on how to keep your mind from wandering. Producer George Martin adds in a harpsichord solo, which gives it a baroque feel.
“She’s Leaving Home” continues the baroque pop sound of the album. John and Paul are the only Beatles playing on this song, as well as an orchestra. This sets the scene for “The White Album”, in which each band member would work separately.
“Being for the Benefit of Mr. Kite” goes into music hall territory. Lennon and Mccartney incorporate Hammond organs and calliopes on the track. Interestingly enough, this one got a ban from airing on the BBC, because censors felt “Henry the Horse” was a reference to heroin. How they came to that conclusion is ridiculous.
Although he doesn’t have many songs, George Harrison does prove his versatility as a member of the Beatles. “Within You Without You” is a great track with the use of a sitar. Harrison’s songwriting also shows maturation and growth.
Finally, the album concludes with “A Day In The Life.” It consists of two song fragments by Lennon and McCartney. This is the one that ends with the famous piano chord which lasts for one minute. Turn up your volume- you just might hear papers rustling and whispers in the background.
As the record winds down, fans can hear a secret message of sound effects, nonsensical babble and laughter. This comes at 15 kilohertz frequency. There is said to be a dog whistle in here somewhere. No doubt dogs have been reacting to it for years now.
Some say, if you listen careful, there is an obscene message hidden within the words. Yet there is no secret meaning- it’s just a rumour. Sort of like the urban myth of Paul dying and a lookalike taking his place.
Overall, Sergeant Pepper is an important piece of rock music canon. The Beatles succeed in branching out, and the final product is a sight to behold or listen to. Maybe, if you haven’t heard it, the album will “turn you on” to the Beatles.
In Rotation, a listicle for music lovers, and seekers of new and different things to listen to. So, if you’re looking for new music, something different, or maybe music to suit your mood this week, here is the place to get a diverse offering each week.
In Rotation this week, we have a famous Indie Rock group, as well an equally famous Pop Punk group, an …also …equally famous Indie rock/Emotive Rock band, a lesser known band of the Horror Punk persuasion, and an Industrial/Metal band, whose lead singer is the brother of another Industrial/Metal band.
In any case, let us get this show on the road.
Artist: The Shins Album: Chutes too Narrow
For some people, The Shins became “a thing” for them when the film Garden State came out, and its Indie/Emo soundtrack spoke to many of the masses at that time. Perhaps, even Flake Music was someones “it” album for the band.
Some, however, heard their album “Chutes Too Narrow” playing on a coffee shop CD player.
From start to finish, it is an Indie Rock masterpiece that has all the necessary ingredients for true staying power in the Indie Rock hall of fame. Therefore, you really owe it to yourself to give this a spin.
Artist: Blink 182 Album: Self-Titled
At a time when fans who were used to the childish antics and crass lyrics of the juvenile Blink 182, many jumped ship when the band put out their first mature effort. Those who actually appreciate music, and to some extent Blink 182, were rewarded with their first self-titled album.
Emo Rock, Pop Punk, and deeper, darker, more mature lyrics throughout this unusual entry into the usually far less serious, humorous discography of a band that tends to discuss humping animals in their lyrics.
If all of this sounds appealing, give this a spin right now. If you prefer bestial…their early work and less serious music, maybe do not…
It should be noted, to boost their Emotive credentials for this album, they had one of the greats (Robert Smith of The Cure) share vocals with Tom on one track. So, there is that too.
Artist: Death Cab For Cutie Album: The Photo Album
Death Cab For Cutie is mainly known for their album Plans or Transatlanticism, and for very good reason, as they are exceptional albums.
However, they overshadow their earlier career, and gems such as this record The Photo Album.
It is the album that is the bridge between their popular sound, and their slightly more grungy, experimental beginnings that was Something About Airplanes.
There is a lot to love for fans of Death Cab and Indie Rock, so it would be a crying, distorted shame if you did give this one a spin…once. You will probably buy it shortly after, but one spin at least.
Artist: The Rosedales Album: Raise Your Spirits
Many music listeners are well aware of Horror music such as Bobby ‘Boris’ Pickett, The Misfits, et cetera but there is definitive subculture of Horror based music out there just waiting for any horror film obsessed fan who might want to transition into the music form of the films they admire. Horror Punk has become a fairly large, oft loosely defined genre.
However, true fans of the music know what is and is not Horror Punk. The Rosedales are Horror Punk, but not your typical recipe is utilized.
To describe their music best, it is like Michale Graves era The Misfits and Chicago went back in time to the ’50s, influenced some up and coming rock n’ roll band, murdered them, and resurrected their ghosts to form a new band. Full of ambient, ghostly gang vocals and harmonizing, Emo love stories, occasionally with a terror-ific twist of the macabre, and you pretty much have the main ingredients of The Rosedales’ album Raise your Spirits.
It is highly recommended that you that resurrect them for a spin.
Artist: Powerman 5000 Album: Tonight the Stars Revolt
Powerman 5000 hails from an oft tired musical genre that is often associated with the Gothic subculture, despite it not being Gothic. However, PM5K is more than just your standard Industrial/Metal outfit with some hardcore thrown in, they are also into Sci-Fi films and ’50s Rock.
The album ends and begins with an old school ’50s Sci-Fi-like narrator, and sandwiched in between is some catchy Alternative Rock/Industrial/Metal with highlights such as “When Worlds Collide,” “Nobodys Real,” a cover of The Cars ” Let the Good Times Roll,” and their surprise ’50s Rock slow churner “Watch The Sky For Me.” For the record, this writer verified that the ending little diddy is actually all their own.
So, if your obsessed with late ’90s/Early 2000s Industrial Metal, but are looking for something new, or perhaps unique music, give it a spin, kids.
This concludes this week’s In Rotation music listing, and come back next week for another eclectic helping of the new, the old, and the weird in music. Thank you for taking a short journey into a vast collection of various genres that hopefully will give you something new to listen to this week.
Stay tuned or next week’s In Rotation.
[Images Courtesy Of The Respective Bands In This List]
Seems Like Patty Jenkins Didn’t Even Need To Cut A Single Scene
At times, it feels like most of the press concerning any film from the DC Extended Universe is plagued with negative headlines. Even the upcoming ‘Wonder Woman‘ faced some online rumors about the production; which is silly now with the critical praise. The film’s director Patty Jenkins kept quiet but she recently opened up to Collider about the rumors.
“That was actually the most frustrating thing when somebody made up the rumor that it was a mess and I was like ‘Really? A mess? It’s the opposite, it is so steady, it’s been so even keel and steady,'”
“It’s been such an opposite experience. … The rumor mill of these movies has been quite something to behold.”
How steady was it? Patty Jenkins dived deeper in the post-production process for the film.
“You know, it’s not like a long journey didn’t happen but what amazes me is how little has actually changed from the first cut other than tightening,”
“Little changes to the final battle, that was really it. I think that what I ended up finding about the final battle was I was hitting emotional points for Diana that I really wanted to hit but I felt a craving for some other kinds of emotional gratification and engagement that we tried to accentuate even more. I think what you learn is rhythm, tone, humor where the jokes are happening but in our case, I just now can finally say all this. We didn’t cut one scene in this movie nor did we change the order of one scene in this movie from the script that we went in shooting with.”
It’s not too often that a director shoots for the edit so perfectly but Jenkins seemed to make editor Martin Walsh’s job that much easier. Speaks volumes to the work Patty Jenkins and crew did on-set but to a solid script. Also not changing much from your first cut is either a sign of perfection or madness…Patty Jenkins could have both!
With a week before the release, everything seemingly came together to create what critics are calling “the best DCEU film to-date”.
‘Wonder Woman‘ charges into theaters on June 2, 2017. The film stars Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen and Elena Anaya.
Fourteen years ago, Disney took a relatively massive gamble. They decided to adapt a 40-year-old theme park ride into a blockbuster film, with the producer of Top Gun and the director of The Ring. Today, Dead Men Tell No Tales, the next installment in the $4 billion franchise that is Pirates of the Caribbean (PotC), releases. It’s safe to say that it was a good bet for Disney.
However, the franchise’s financial and critical success has waned since the release of the first film, The Curse of the Black Pearl. While it is still a box office and merchandising juggernaut, the groans were audible when the newest movie was announced. And there are legitimate reasons to be tired of the franchise, including convoluted storylines and a severe lack of character development.
Given the current state of things, it is no easy task to write a defense of PotC. But it is worth re-watching, if for no other reason then a fascinating and original narrative on immortality. The following is a passionate defense of the original trilogy (no one can save On Stranger Tides) based on this narrative alone, and why it is still worth your time.
*Note*: This is in no way a defense of Johnny Depp, who has been accused of domestic abuse. Like many, I feel morally conflicted about watching his films, based on his behavior. Boycotts against his past and future movies are legitimate. That being said, I hope you still choose to read, as this defense is purely based on narrative and character construction. Enjoy!
Things really took a turn starting in 2006
Hungry on Immortality
Jack’s character motivation, or his want, is freedom. We are introduced to this early on in Curse of the Black Pearl: a pirate brand is revealed on his wrist, and he desperately tries to get out of the Port Royal jail. This want is made very clear when he is re-marooned on a deserted island, this time with Elizabeth Swann. In a rum-induced stupor, he confides in Elizabeth why he so desperately wants his ship back:
Jack: “Wherever we want to go, we go. That’s what a ship is, you know. Not just a keel and a hull and a deck and sails. That’s what a ship needs … but what a ship is — what the Black Pearl really is …is freedom.”
Jack’s first encounter with immortality comes toward the climax of the film. In the caves of Isla De Muerta, Jack reveals that he has stolen a gold piece from the treasure of Cortez, and is now an immortal pirate zombie. He then rejects the piece, returning it to the treasure chest and ending the curse, allowing him to kill Barbossa. This act is the first blatant rejection of immortality. Nothing is stopping Jack from taking the piece and living out his life aboard the Pearl, essentially granting him freedom from life and law.
Immortality is really bad for the skin
Yet Jack’s rejection of the gold piece illustrates his conception of immortality: another restriction of freedom. In this case, the restrictions are more material. Barbossa, Jack’s mutinous ex-first mate, describes the curse that came from their immortal gold:
Barbossa: “The more we gave [the gold pieces] away, the more we came to realize the drink would not satisfy, food turned to ash in our mouths, and all the pleasurable company in the world could not slake our lust. We are cursed men, Miss Turner. Compelled by greed, we were, but now we are consumed by it.”
While the gold would grant Jack immortality, the consequences remove his freedom. He is no longer able to eat or drink what he wants. He would be bound to a greed he would be able to sate. So he rejects the gold, and returns to the Pearl, bound for the open ocean and freedom. At least, for awhile. PotC would prove in the sequel films to have an incredibly intricate view of the relationship between immortality and freedom.
The Freedom of Death
In Dead Man’s Chest, Jack’s back story is built out more, and it is revealed that the Pearl is not quite the haven of freedom that it seems. Jack had struck a deal with Davy Jones, the immortal cephalopodic captain of the Flying Dutchman. In return for Jack’s soul and a hundred years of servitude aboard the Dutchman, Jones would raise the Pearl from the depths, and Jack could be captain for thirteen years. Unfortunately for Jack, payment had come due. The Pearl as a narrative device is then changed from a means of freedom to a reminder of Jack’s inevitable enslavement. He is floating on his demise.
To escape, Jack enters into a contradiction: he beaches his prison of freedom, the Pearl, on an island that he cannot escape, to be free of Jones. He is seen as a god by the indigenous people of the island, yet is completely at their whim (author note: this plot line sucks). The entire sequence mirrors Jack’s struggle with his freedom throughout the film and his eventual conflict with a new form of immortality.
The escape plan: to trap them on an island
Jack discovers that Jones has a weakness: his removed heart, still beating inside a buried chest. If he can get the heart – the embodiment of Jones’ immortality – then he can bargain his way out of eternal servitude. Perhaps more importantly, he can escape having his ship eaten by the Kraken. Unfortunately, he loses the heart and instead finally meets his fate.
In one of the most pivotal character moments of the trilogy, Jack is chained by Elizabeth to the mast of the Pearl while the rest of the crew escapes from the incoming Kraken. With a little pirate luck, Jack frees himself and dies fighting. This climactic sequence is a bit on the nose but reaffirms Jack’s underlying character motivation. At this moment, Jack has achieved freedom, both physically and figuratively. The outcome remains the same: he will die at the hands (mouth) of the Kraken. But he chooses to stand and fight, to run into the maw of the beast. There is no other force enacting on him at this moment. In death, Jack is finally free.
This might not be a good movie, but you can’t deny that this scene is fantastic
Immortality is a Prison
Except At World’s End shows that Jack did not die, and so did not gain freedom. Instead, he and the Pearl were sent to Davy Jones’ Locker, an endless void that lies beyond the edge of the mortal edge. He is imprisoned by a forced immortality. That is until he is freed by the rest of the ensemble cast. During this jailbreak sequence, Jack reveals his new conflict through hallucination:
Jack Left: “Clear as mud, Jackie. Stab the heart.”
Jack Right: “Don’t stab the heart.”
Jack: “Come again?”
Jack Right: “The Dutchman must have a captain.”
Jack: “Well that’s more than less than unhelpful.”
Jack Left: “Sail the seas forever.”
Jack: “I love the sea.”
Jack Left: “What about port?”
Jack: “I prefer rum. Rum’s good.”
Jack Left: “Making port.”
Jack Right: “Where we can get rum, and salty wenches, once every ten years.”
Jack Left: “What did he say?”
Jack: “Once every ten years.”
Jack Left: “Ten years years is a long time, mate.”
Jack Right: “But eternity is longer still.”
Jack: “Even longer given the deficit of rum.”
Jack Right: “And how will you be spending it? Dead? Or not?”
Jack Left: “The immortal Captain Sparrow.”
Jack: “Oh, I like that.”
Since his death, Jack has begun to flirt with the idea of immortality. But he is not convinced – instead, he is presented as incredibly conflicted. If he stabs the heart, he will be able to enjoy the earthly pleasures that the treasure of Cortez would’ve denied him – but only once every ten years. Jack likes the idea of immortality and is considering giving up freedom in return. This is made clearer in a conversation with Will:
Jack: “Death has a curious way or reshuffling one’s priorities. I’ll slip aboard the Dutchman, find the heart, stab the beating thing. Your father goes free, and you’re free to be with your charming murderess.”
Will: “And you’re willing to carve out your heart and bind yourself to the Dutchman, forever. Jack: No mate, I’m free forever. Free to sail the seas beyond the edges of the map, free from death itself.”
Will: “You’ve got to do the job though, Jack. You have to ferry souls to the next world. Or end up just like Jones.”
Jack: “I don’t have the face for tentacles. But immortal has to count for something, eh?”
Mirroring the island sequence from Dead Man’s Chest, Jack is again stuck in a contradiction: he can finally gain freedom by being bound to a job for eternity. He can become immortal by cutting out his own heart. Jack continues to struggle with this to the climax of the film when he faces the ultimate choice: to stab the heart – become immortal – or not.
Jack chooses not to stab the heart and instead allows Will to do so, thereby saving his life. Once again, Jack has chosen freedom, his underlying desire, over the immorality that would rob him of it. To stab the heart would be to damn Will to death, to earn the eternal hatred of Elizabeth, to be the pirate that the brand on his wrist says he is. In this case, immortality is shown as restricting a freedom of conscience. To achieve immortal life would require him to both literally and figuratively become heartless.
Never mind, turns out immortality makes you beautiful
Eternal Freedom
The very end of the film reaffirms everything about Jack, and the entire narrative point of the trilogy. He is alone in a dingy, in theory sailing towards the Fountain of Youth, once again in search of eternal life. And yet, this is clearly not what he wants most.
For the first time in the franchise, Jack can use his famous compass, which points to what the user desires most. The intense conflict he felt throughout the films between immortality and freedom made it so that he was not able to use the compass. But now that conflict has settled, and the needle points to the rum in his dingy. Jack is no longer searching for immortality because he must; now it is because he can. He has the freedom to search for the Fountain, or to drink rum, or to be a pirate. After all those years, Jack is finally free.
Still Worth Your Time
On Stranger Tides showed what came next for Jack and his search for the Fountain of Youth, but it had little to do thematically with the original trilogy. Aside from the antics, Jack may as well be a completely different character. So it can be ignored.
Jack’s handling of his conflict between immortality and freedom makes the original trilogy, despite all of its other problems, worth watching. Something interesting and novel is being told underneath the jokes and overstuffed plots. In the end, the narrative does not even provide closure to the conflict. It isn’t clear if Jack has decided what is right, if immortality always conflicts with freedom if the consequences are worth it. What is decided is that rum, and having the freedom to find those answers for yourself, is always a good thing.
What do you think? Is The Pirates of the Caribbean trilogy still worth watching? Let us know what you think on Facebook, Twitter, or the comments below!
The first trailer for Far Cry 5 is here, giving fans a look at the new western-themed installment in the series.
“Welcome to Hope County, Montana. When your arrival incites the cult to violently seize control of the region, you must rise up and spark the fires of resistance to liberate a besieged community.
Freely explore Hope County’s rivers, lands, and skies with the largest customizable weapon and vehicle roster ever in a Far Cry game. You are the hero of the story in a thrilling world that hits back with every punch, and where the places you discover and the locals you ally with will shape your story in ways you’ll never see coming.”
Ubisoft also notes that more Far Cry 5 details will be given at E3.
The game is slated to be released on February 28, 2017 – no platforms were given yet.
Are you looking forward to the next Far Cry? Sound off in the comments section below.
Monkeys Fighting Robots caught up with writer Scott Snyder at MegaCon in Orlando on Thursday to talk about “nerd rage,” and specifically the controversy surrounding Nick Spencer’s ‘Secret Empire’.
Snyder provided a well thought out and respectful answer, which you can watch in full here:
The Batman writer acknowledged that no one side of the argument is “right,” but that it’s a multifaceted issue. The deeper problem, he suggests, is that the comics community needs a better way to communicate with one another about these subjects. “You don’t see what we see,” Snyder says, “meaning you don’t see if somebody tags you and says something like ‘I hate you, I’m gonna punch you in the face when I see you at a con’ … and that can really work you up.”
Creators and fans are all on the same team when it comes to comics: we all want the industry to succeed. As Snyder concludes, “It’s a sign of health in the way that we’re all passionate about the characters, we’re passionate about what we want them to mean, we’re passionate about what we don’t want them to mean, and we just have to find a better way of sort of addressing that with each other.”
Keep it tuned to Monkeys Fighting Robots all weekend for more MegaCon coverage.
If you haven’t been able to tell, the comic review team at Monkeys Fighting Robots has been enjoying the results of DC Comic’s Rebirth very much. In celebration of this event we have decided to give (in no particular order) our favorite issues from the new direction DC Comics took.
10Flintstones #7
The Flintstones was not only one of the greatest comic books to come out of the DC’s line of comics based on Hanna-Barbera characters, but it was also one of the best books of the previous year period. If you haven’t taken the time to read this book, the latest issue is a perfect way to get a sense of what this book has to offer. You’ll have a gay old time.
Full Review
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What were your favorite issues from DC’s reboot? Leave a comment below and let us know.
Rage and hate filled comments are nothing new to the geek community. Often fans are too blind sided by a mixture of expectations and their own personal outlooks on life they are not willing to give a piece of media a chance. The most recent subject of such an attack is Star Trek: Discovery, which is once again being falsely labeled with the comments of bigotry. The series recently had its first trailer and has come under scrutiny by angry fans who are insisting the show is demonstrating white genocide because of the lack of more white prominent cast.
These claims seem almost as if they come from individuals who don’t get the point of Star Trek. The entire idea of Star Trek was to showcase a future where humanity had been able to transcend its own prejudices and work together in an effort to advance into a bright and prosperous future. If you’re not willing to understand how coming together despite our differences for the betterment of not only yourself but the needs of friends, community, and the world as whole then you probably shouldn’t be watching Star Trek. You should be taking a hard look at your life and wondering why you are unable to engage in common decency for your fellow man.
This article will be ended with a quote by Gene Roddenberry. A man who insisted upon the original Star Trek to have a diverse cast in the 1960s when such an idea was considered controversial. It would be easy to say he’d be very dismayed at seeing comments like this in this day and age.
