Pop Wasabi

Formerly Chronicles of a Kilted Samurai

[popwasabi]

Hi,

It's been a very long time since I've been on here but just letting you all know it's cause I have an actual blog site now!

Check out popwasabi.com and please subscribe to my patreon at patreon.com/popwasabi. I appreciate any continued support you may have whether it's subscribing or just trading all the new stuff I have written. Not coming back here ever again, so if you like my writing please check out the new blog site. Thanks!

(Some screen shots of my latest entries)

~ Wes aka Pop Wasabi

[popwasabi]

“End of Evangelion” and the tempting nature of oblivion

(TW: Suicide, Self-harm, Pain, Depression, Mental Health, Death)

“End of Evangelion” is a perplexing movie to say the least.

Not that the original classic anime “Neon Genesis Evangelion” series ends on exactly the most conclusive note itself, but “End” takes everything that transpired in the series and literally destroys it.

The films ends with Earth experiencing the long foreshadowed Third Impact and all of the planet returning to the primordial “soup,” as fans call it, with its main protagonist Shinji Ikari and comrade Asuka Langley Soryu as the only remaining humans left. A pseudo, twisted rebeginning of Adam and Eve’s Genesis.

The film is fairly divisive among the fans to say the least. Some fans consider it a masterpiece for its nihilistic tone and mind-bending illustrations of body horror and others despised it for being too dark and confusing with no clear explanation of anything that happened in the film’s events. Hell, even the movie’s fans have a difficult time explaining what exactly happens in the narrative.

I was somewhat in the middle with it after I watched it the first time not super long ago. It was certainly abstract, and I like plenty of stories that don’t make it easy for me to understand. The animation is definitely the franchise’s best and I enjoyed the character moments between Shinji, Asuka, and Misato. But it was also, as stated before, dreadfully confusing and still to this day hard to makes heads or tails out of with its plot.

But, as with more than a few movies I have revisited this year, 2020 helped me contextualize one aspect I think the story is concretely trying to get across.

(We’ll save discussion of “Rebuild” for another day...)

At my lowest points not long ago, I had this frequent vision that would crawl across my mind.

I imagined being up in the clouds on a beautiful sunny day, but I wasn’t floating or flying. I was plummeting, falling like a bird without wings at a speed that would definitely kill me once I got to the ground. But I never imagined actually hitting the Earth like a meat-bagged, human sized asteroid. I only ever imagined the falling part. The wind reaching a terminal velocity and the air rushing past my body and you know what look I had on my face?

Happiness.

I was confused a bit by why I kept imagining this moribund fall into oblivion over and over again. I wasn’t suicidal, though I certainly have had thoughts of self-harm plenty of times before and general detachment from life. But why the fuck was I so happy? I’m about to die after all!

What I have come to realize in recent years, as I’ve developed a better understanding of my mental health and what makes me tick, it wasn’t that I wanted to die so much as I wanted the freedom that comes moments before it. The feeling of finally letting go and letting fate/gravity do the rest.

Years of my life failing at various aspects of societal expectations and career obligations from not being able to get the girls I wanted to date so badly, relationships ending poorly, not quite applying myself the way I should’ve in college, and working a plethora of unfulfilling jobs since graduation made me yearn for that release. Just that feeling of saying “fuck it all” and giving in to the void.

I wanted to stop feeling out of control. The way the world is structured often feels like you are on a wild, rapid river flowing in one very stark direction but you desperately want to go the other way. You keep fighting and fighting it and realize after a while you are just swimming in place, you tire out and either float where the river wants you to go or you drown. I wanted neither of those things, I just wanted control and unfortunately part of life is accepting that a very large percentage of it is beyond your power to alter.

2020 made this feeling starkly apparent once again as we were hit with a once in a lifetime global pandemic that has killed 2.21 million people and counting. As common people struggle to find ways to handle the loss of loved ones and the fallout from economic instability those tasked with protecting us have more or less ignored the cries of needy. Hell, they’re fucking miffed that we would even have the audacity to ask for $2000 of our own fucking tax dollars to put a band-aid on the situation. Combine this with an extremely volatile two-party system and late stage capitalism, we are about as out of control as ever in terms of how much we actually can course correct our destinies in a period like this.

It is why so many irony-pilled millennials and gen z-ers are posting dank memes about meteors colliding with the earth over the course of the year. We’ve lived through two recessions, two forever wars, and now a pandemic in our lifetimes while paying off our crippling debt with slave wages and yet boomers still wonder why we are near universally depressed as a generation.

(Seriously, everybody needs a fucking therapist right now...and also to dismantle the fucking system that’s making us depressed!)

This is what I feel is the real heart of “End of Evangelion.” The movie is a lot of things, obviously, but, after the events of this year and looking back on the more depressing parts of my life, I feel this film is about the tempting nature of oblivion. Giving up when things are clearly beyond your control so you can get that sweet but twisted, fleeting sense of freedom from it all.

Director Hideaki Anno didn’t feel too entirely different about the state of life when he made this series and certainly by the time he made “End” he was in a very dark place.

So, quick history lesson, “Neon Genesis Evangelion” debuted in 1994 and quickly became a classic among fans of anime and the giant mech vs monster genre. Critics loved it for its exploration of mental health and depression and of course plenty enjoyed the hell out of it for its giant monster/robot escapism as well. Fast forward to the conclusion of the series, critics and fans especially are far more polarized. I won’t try to explain exactly what happens in the ending and frankly I don’t think anyone can, but that confusion led to quite a bit of outcry by the fans.

Hideaki Anno, the series’ director, received tons of hate mail and death threats following the series conclusion. The fans hated how abstract it was, how it had an undecisive ending and chose to dive into the mind of Shinji instead of conclusively describing the events of the Third Impact with plenty going as far as to say he had “ruined” his own series for them. This made him unfortunately quite depressed himself over the ending he felt creatively fairly content with.

(I think it should be clear who Shinji is mostly likely a stand-in for in this anime...)

The fan reaction was toxic to say the least and all too familiar for many creatives who didn’t adequately satisfy the insatiable vapid needs of their fandom. Anno did not take this well to put it lightly. A man who was known as a delinquent in high school and expelled from the Osaka University of Arts much earlier in his life, and dealt plenty with his own bouts of depression, Anno had plenty of his own demons to sort out and quite clearly wanted to explore that mental state in “Neon Genesis Evangelion.”

I’ll be honest and say that I myself was not fond of the ending either when I watched it the first time as a freshman in college, and even went as far as to describe it as everything that was wrong with anime to friends in the years that followed for a while. I felt it was confusing and “fake deep,” existential for no reason other than because it just wanted to and people were “dumb” if they liked it.

When I rewatched it again as a much older adult when it came on Netflix last year, I found it much more fascinating and interesting. A sort of abstract introspective into the mind of a troubled teenager, who I had written off many years prior as a “whiny baby.” Though I wouldn’t say I completely understand it still, I get it much more now and I think it has a lot to say about depression and mental health.

Unfortunately, most fans did not have that reaction back then and as a result Anno made his true conclusion “End of Evangelion” as a response to that negativity.

(You’re welcome, nerds.)

As mentioned before, “End of Evangelion” is an extremely nihilistic film that seems to one up each dark moment as you traverse its spiraling narrative. It’s a film where things never get better. If you go into it blind expecting that big last minute heroic save the day moment, it’s always teased and never comes. Things just end very badly for everyone. Nobody gets a “happy ending.”

While the ending to the original series is strange for sure, it does end on a light note that can be interpreted in a number of different ways but ultimately positive. With the way fans reacted to it Anno decided to write a big “fuck you” to them by, in many ways, smashing his toys so no one could play with them again. He even went as far as to splice in the actual hate mail he received into the movie to quite clearly show to the audience, as their favorite characters met their grissly ends, that this was their fault.

(“Gee, I wonder what that was all about.” ~ a fan walking out of the theater back in 1997.)

In a way though, Anno created something strangely beautiful from that reaction. “End of Evangelion” is about giving up in some ways and accepting our inevitable doom. There are no easy answers, no workable solutions to achieve a happy ending because sometimes in life there isn’t one. Despite last ditch efforts by Misato, Shinji, and the crew of NERV the world still ends through the Third Impact. But tonally it’s not quite pessimistic; it’s actually positive, in a very twisted sense of course.

Set to the song “Komm Susser Tod” by ARIANNE, the film’s apocalypse can almost be described as a celebration. With people “popping” and turning into the primordial soup they all largely have smiles on their faces as they kind of get what they want whether it’s a desire to reunite with loved ones, to be with people they have crushes on, or happiness that they have sought for so long in the embrace of others. Everyone’s depressed! But now they are happy because it’s finally all over, they don’t have to give a shit anymore.

As the planet lights up like a Christmas tree, there are images of suicide and death that rapidly cross the screen in the form of the Angel’s final transformation but again, nobody is truly sad about it. They all have some kind of twisted smile or joy that they get from it. It’s a shocking film, if you’re not already prepared for what’s going to happen, and provocative to say the least.

(Can’t decide if I recommend watching this high or not...)

I had no idea what any of it meant at the time when I watched it several years ago (I watched it well after I had seen the original series), and to be fair there are many ways fans have interpreted what exactly took place in the film and have debated endlessly on its meaning for decades now. But at least in my interpretation, after everything we’ve been through this year, “End of Evangelion” to me is about the sweet release of not giving a fuck anymore.

Whether it’s about Anno feeling that way about his own life or the expectations of his fans or both, the film quite clearly doesn’t care about what people may or may not have wanted for Shinji and the NGE characters and is perfectly fine with the way it all comes “tumbling down.”

(He just wants to be with his boyfriend, guys.)

This past July 4th, city fireworks shows were prohibited in my area because they wanted to limit mass gatherings due to COVID but this didn’t stop people from buying plenty of their own to fire off. In what amounted to a collective “fuck you” to everything and 2020, beginning pretty much exactly at dusk people started firing off their at home lightshows like they were mortar gunners in World War I and did not let up until well past midnight. The entire Southern California night sky was lit up not to unlike the thousands of crosses that filled the screen during the Third Impact of “End of Evangelion” and though it could certainly be interpreted as a moment of people patriotically going “Yea, America!” that night, my head canon was much different. It felt like tens of thousands of people across the region just saying “Fuck it” into the night sky at everything; COVID, our horrendous government, police violence, pending World Wars, environmental disaster, and our collective impending doom from it all.

As these fireworks hit their zenith around 9pm I broke out my phone and started playing “Komm Susser Tod” from the movie and it felt perfect. Everyone just wanted to feel that freedom in the moment, that freedom of not giving a damn anymore. To be removed from expectations, from control, from hatred, from pain and it was kind of beautiful in a sick way.

And that’s what “End of Evangelion” feels like to me now; kind of beautiful in a sick way.

(Not saying the LA skyline looked like this exactly but it felt like it haha...)

There are still many ways to interpret Hideaki Anno’s cult classic, and it’s part of its charm but I think the take away fans should have is definitely not that suicide is ok but that we get it. We understand why people have those feelings and why it feels freeing to desire the void and oblivion. It’s a pity that the series most toxic fans didn’t get that clue through the original finale but Anno, not a person who likes  being shoved around, clearly created perhaps the most twistedly beautiful “fuck you” to that in anime history.

As we enter 2021 all I can say is it’s ok to feel like this, it’s ok to desire freedom from the relentless gloom and doom of the world and people’s prying expectations of what they think you “should” be. No one blames you. At the end of the day, we’re all just trying to survive the apocalypse we have zero control over, so the least we can do is be a bit nicer and considerate of one another. 

At least it’ll make the Third Impact more pleasant whenever it eventually comes...

Happy New Year, everyone! 

Congratulations on surviving 2020! Have fun in 2021...

[popwasabi]

“The Mandalorian” S2 is a power fantasy with mini Star Wars trailers

The term “Plot armor” is often used by readers and viewers to describe the myriad of ways writers keep their heroes away from any real danger no matter what choices or actions they make in the narrative. It’s typically a derisive phrase for the way a writer’s hero seems to escape death no matter what is thrown at him for the sole purpose of moving the plot forward.

In Disney+’s “The Mandalorian” this term takes a far more literal description in the form of our main anti-hero, played by Pedro Pascal, in his beskar armor which seems to be, by all accounts the most indestructible material in the galaxy far, far away.

(I mean, it still looks really cool too, of course.)

The result of this narrative decision in this series is that action scenes often don’t have real tension to them. In another series you might be able to reasonably believe the hero might be in danger with blaster fire shooting all around them but with beskar it’s almost comically not the case at all. Stormtroopers fire laser blast after laser blast at The Mando and each time they bounce harmlessly off him as if he were fucking Superman. It makes scenes feel devoid of stakes and danger no matter what situation they are in.

The show thus becomes a power fantasy, as action scenes serve as extended highlight reels for the Mando. Where season 1 of the show mitigated the power of the Mando’s plot armor by putting him more often in situations where his beskar alone wasn’t enough to save the day, season 2 goes mostly full power fantasy as The Mando rarely runs into a situation he can’t just quite literally walk through.

(“Aim for his armor, men! That’s his weak point!”)

This isn’t to say the season wasn’t without its high moments or even that it wasn’t enjoyable plenty of times but the series’ devotion to fan servicey action and callbacks to “Hey remember ____” makes it a fairly shallow story. At least for myself.

Season 2 of “The Mandalorian” continues the story of Din and his small Yoda-like companion, The Child (later known officially as Grogu), as he looks to complete a quest to return the burgeoning Force wielder to the Jedi. As he seeks to reunite The Child with the ancient Order, he encounters other Mandalorians who are on a quest to retake Mandalore and right on their tail is the nefarious Grand Moff Gideon who is still bent on capturing Grogu for whatever it is he has planned for the Empire.

Let me start this review by saying power fantasies aren’t inherently bad to watch or read. They can be good, cathartic junk food for the soul and can also be compelling, artistic, or even deeply metaphorical in their own way. A movie series like “John Wick” for instance is a power fantasy that aims to reinvent the wheel in action film-making with Keanu Reeves performing perhaps the best gun kata of all-time onscreen. Another film like Paul Verhoueven’s “Total Recall” can satirize the power fantasy to show how ridiculous it is in concept.

So, making your hero an unstoppable killing machine isn’t necessarily always a bad thing if used properly.

(Seriously, this is one of the smartest action films ever made. Don’t @ me.)

Now that that’s established, however, “The Mandalorian” season 2, despite some strong moments here and there, is a power fantasy that lacks these elements for a more interesting narrative. If you believe killing dozens of stormtroopers onscreen while never suffering so much as a scratch for eight episodes equals compelling storytelling then boy does Disney have a series for you.

Through the first four-ish episodes, the new season is mostly just fine and even quite enjoyable. We have the Mando getting a fun side quest with Timothy Olyphant on Tatooine where they get to wrangle a sand worm in a callback to the Westerns that inspired much of the franchise’s aesthetic. The Mando gets to escort a frog lady to her home planet to give birth to some tadpoles and they run into some actual danger in this episode in the form of kyrnknas/space spiders. And we get the return of Bo Katan from Dave Filoni’s “Clone Wars” and “Rebels” cartoon series, with Katee Sackhoff herself reprising the role in a fun Mandalorian team-up episode.

(I’m just so happy to see my girl, Starbuck, again more than anything honestly ;_;)

But the wheels started officially falling off for me in the next episode.

Episode 5 marked the live-action debut of fan favorite Ahsoka Tano, played by Rosario Dawson, and she meets the Mando by getting the jump on him with her lightsabers. In virtually any other situation we have been told lightsabers can cut through virtually anything. Now, beskar has been shown to be plenty durable throughout the series so far but lightsabers? Surely not.

Well…

It is an overall good episode despite this but it marked the point for me where I badly wanted The Mando to just go the rest of the series without it. Obviously, the writers aren’t going to actually kill our hero, afterall The Mouse needs more money and he can’t have it unless we get 50 more Mandalorian episodes and spin-offs, but at some point I gotta feel like there’s a possibility at least that our hero might actually die or at least is in danger. It is actually super funny to me each time The Mando ducks or seeks cover in a shootout when I know, and the viewer damn well knows, he can literally walk right into the middle of it and shoot all these motherfuckers at his own leisure cause his actual plot armor is the stuff of adamantium and vibranium combined.

Episode 5 is mostly good though, it’s a nice callback to old school samurai flicks and for an old fan like myself it was enough to ignore beskar again saving the Mando’s ass.

(This was cool...This...was...cool.)

If episode 5 marked the point in which the wheels began to come off though, episode 6 is where the show really spun out into the ditch for me. Perhaps, this series worst episode, personally, episode 6 reintroduces fan favorite and series inspiration Boba Fett back officially into the fold and the result was perhaps the most self-indulgent entry of the series.

(I mean, it was directed by Robert Rodriguez so...)

Boba arrives to demand his beskar from The Mando who promptly tells him “no” before they are ambushed by a platoon of stormtroopers. Alongside Ming-Na Wen’s Fennec Shand, the three do battle with the stormtroopers with ridiculous ease. I’m aware that stormtroopers exist to be on the highlight reel of our heroes in this franchise and have a long history of not being able to hit the broad side of a bantha but again, I can only watch these guys die by the dozens onscreen over and over again while our heroes get away without suffering even a bruise before it starts feeling boring and repetitive.

It only gets worse once Boba actually puts on his armor. In a sequence that I would describe as “gratuitously” fan servicey, Boba wastes just about every last stormtrooper in this scene culminating with him destroying their two get-away vehicles in a single shot with a rocket. Considering he was killing them with ease just moments before with nothing more than a battle club and a bathrobe, it seemed almost hilariously needless that he donned his iconic armor.

(It would be tempting to say the stormtroopers fought as ineptly as the Putty Patrol here but even the Power Rangers have struggled a few times against these guys...)

I get that Boba is really important to a lot of fans, based on their perceptions of him in the original trilogy and subsequent books and graphic novels that came out in the following years, but here’s a hot take; this series didn’t need him in it. Maybe they didn’t need to keep him rotting in the Sarlacc Pit but this episode, alongside Ahsoka Tano’s feels more like marketing choices for the story rather than narrative ones. I’ll concede that there is a bit more substance to having Ahsoka there to commune with Grogu but their additions to the plot don’t actually show much of anything about the Mando outside physically helping him in a fight.

The way they tease, in both cases, stories that exist outside the internal narrative between Ahsoka’s search for Admiral Thrawn and Boba taking over Jabba’s palace at the end of the final episode, it feels like Disney threw in mini trailers for fans to nibble on at the expense of telling the Mando’s own story and letting it stand on its own like the first season.

The choice to have these characters shoved into this season again appears to be market driven not narrative. Once more, I get that these characters are important personally to many fans, but the appearance of these characters alone DO NOT equal good storytelling.

(Me when a fan tells me “But Boba was such a badass in *obscurely titled EU book that a handful of general audiences have read*! He deserves this moment!”)

The final episode of the season is truly encapsulating of all these issues “The Mandalorian” has, however. Moff Gideon, played by the always sharp Giancarlo Esposito, has Grogu imprisoned aboard his ship. The Mando and his friends plan a rescue mission to save him and, just like nearly every episode before, it is stupidly easy for our protagonists.

The crew of five, again, walk through every Imperial on the ship. I don’t mean this metaphorically by the way, I mean this literally as Cara, Fennec, Bo Katan and Koshka Reeves (played by WWE’s Sasha Banks) without a single moment of real adversity just blast through every stormtrooper on the ship and never get hit once in the process.

A good action scene needs an element of danger, a sense that our hero might actually not come out of this alive even though we all know they will. An action scene without this has no tension and without tension it becomes booooooooring.

(Even John fucking Wick is capable of bleeding, guys...)

The finale had a chance, however, to add real stakes and danger to the scene in the form of this season’s new enemy; The Dark Troopers. These Imperial battle droids were foreshadowed as these super soldiers at the end of episode 4 and seemed to be billed as a real dangerous match for our heroes to faceup against. When the Mando finally gets himself face to face with one he finds they are not as easy to kill as the nameless stormtroopers from before. To see The Mando briefly face real adversity for a change snapped me out of my cynical mood so sharply for a moment I thought I had turned on another series by accident.

But of course, danger never lasts long in this series as The Mando’s armor again saves him first from getting pummeled to death by the droid’s super fists then he uses his plot spear, cause of course he has one of those too, to finish the job.

Danger over.

Moff Gideon doesn’t fair much better in this episode. This villain who had been built up for two seasons as this calculative monster gets stopped rather easily with Mando and his friends barely breaking a sweat. This character feels wasted because of this, even though I’m sure Giancarlo Esposito will return in the next season. He just feels about as much like a pushover as the nameless stormtroopers in this series.

The episode had one more chance though to show these Dark Troopers meant business toward the end as we found the heroes cornered on the command deck with nowhere to run and a dozen of these droids ready to blast and pound them into the floorboards. But help arrives in the form of a Deus X-Wing Machina.

Without having to face even one Dark Trooper, Luke fucking Skywalker arrives on the ship and kills every droid without breaking a sweat. It plays as inspiring in the moment but again I just found myself bored and irritated. A chance to see the series heroes actually use their wits and show their creativity in a moment of true danger thwarted to please fan boys.

I get that Grogu called out to him in episode 6 but creatively this felt like an extremley lazy way to solve the heroes’ dilemna.

(“Hello my name is Jedi. I enjoy doing...*computes script* Jedi things.”)

This season wasn’t all bad. It certainly had nice production value that made each alien world pop and beautiful to look at. Every actor and actress played their parts expertly well, with what they were given, and made for interesting characters at times. There are also nice homages to both Western and Samurai cinema throughout the season that fans of both will appreciate. And Pedro Pascal is just so good on his own, especially in tender moments with Grogu, that you forget that his character is kind of a Gary Stu.

But the main crux of the issue here that I’m trying to get across is the reason you need to remove the plot armor of your heroes is not just because action scenes need tension and stakes, it’s that when faced with danger these scenes reveal who these characters are. I used to believe that the reason Mandalorians and Jedi had such a fierce rivalry in the lore despite the obvious advantages of wielding the Force was because these famed bounty hunters were just that fucking good at killing. That despite being, on paper, normal people they had great martial prowess, athletic skill, and the tactical wit to outsmart people who can literally sense their feelings. But now with beskar and the way this series is written, it appears the Mandalorians were challenging warriors just because they happened to harness the most OP armor building material in the galaxy.

It makes you wonder how the fuck they were conquered to begin with…

(Maybe they just needed more knee rockets...)

This takes away from the mysticism of the Mandalorians for me. It makes The Mando less interesting to me in the way he fights. Yea he can shoot really good too but really it’s the armor that makes him the fighter that he is and I find that kind of boring. We occasionally get this character to remove the armor during the series, including a whole episode that was easily one of the best of the season, and in every case he’s more interesting once the helmet comes off. I get that fans hold a lot of reverence for that armor, yea it still looks really cool, but making it this impenetrable super material doesn’t add anything to the story.

If anything, it takes away from it.

(Plus how could you not love Pedro Pascal when he’s out of armor? uWu)

I wouldn’t go as far as to say I hate season 2, even though I spent 2000 plus words just now lambasting it but I guess I just want to say I am unimpressed more than anything. I feel like I’ve seen better Star Wars be it in the movies, cartoons, books, video games, etc and I’ve certainly seen better action in the franchise as well.

Considering fan reaction so far appears to be overwhelmingly positive, I am definitely in the minority here and you are welcome to enjoy this series as much as you want in spite of how unimpressed I am with the season. But considering all I have seen of this fandom the last few years, regarding complaints about fan service (“Rogue One”), easily defeated/underdeveloped bad guys (“The Last Jedi”), and Mary Sues (The sequel trilogy in general), I have to ask again what is it actually that fans like or don’t like about new entries in the franchise? It’s not that there isn’t valid criticisms there and “The Mandalorian” is enjoyable in sincere ways too but it has many of the issues I hear commonly said of more divisive entries in the Disneyverse. So why does it get a pass?

I’ve been told it’s not worth my energy to talk too derisively about the fans in one of my earlier write-ups, so I’ll leave it at that but it does make me wonder.

(“Rogue One” admittedly has a simarily self-indulgent action sequence though haha...)

Season 2 of “The Mandalorian” isn’t the worst piece of Star Wars media ever created, far from it, and for most part its solid enjoyable Saturday morning cartoon theater but if the series wants to really take steps to become more compelling in the future it might be good to stop bubble wrapping their heroes in plot armor. Literally.

Until then this is the way…I guess…

Me getting ready for the backlash...

[popwasabi]

The monster of “Shin Gojira” is government incompetence

I know it doesn’t feel like it but we’re just three months away from March again.

It’s been almost a year now since the beginning of quarantine, when the world had to be shut down due to the escalating nature of COVID-19 and things have…largely only gotten worse.

In the US specifically.

On March 13th we had 2,204 cases of COVID in the United States and a total of 49 deaths.  Today we have 14 MILLION cases across the country and currently 274,000 plus deaths. To put that in perspective we have nearly as many cases of COVID in the US alone as there are people in the cities of Los Angeles, New York, San Francisco, and Chicago combined and we’re experiencing a 9/11’s worth of new deaths every day.

This is not even to mention the economic strain the pandemic has put the country under. Lockdowns and quarantines, without supplemental income to bolster those losses have led to closures, massive unemployment, people running deeply behind on their rent, and crushing debt for many if not buried in medical costs from being infected. Common people are trying their best to navigate a year unlike any other and are largely floundering with little to no help in sight.

And all this can be chalked up to one culprit in particular: our government’s incompetence.

(Remember all that fuss made about “breadlines” in the global south back during grade school?)

From the beginning when this virus first reared its ugly head in 2020, not enough was done to prepare the country for what would come next. Call it hubris or American Exceptionalism, but our government just was not taking it seriously as the President boasted cases would just “disappear” after late February and our leaders largely pretended it either was a) not a big deal or b) would never be a big deal.

Nearly nine months later senate Republicans still think another massive bailout for the nation’s richest coporations is the way to go, all while giving us $1,200 band aid for our troubles.

And make no mistake, the Dems have hardly been guiltless during this crisis themselves.

(“It’s a biiiiiig club, and you ain’t in it...” ~ George Carlin.)

As we see other countries largely find ways to navigate around COVID and create a safe environment where some normalcy can be maintained it becomes increasingly clear to anyone who isn’t a psychopath that the US has grossly mishandled this threat from the beginning. It’s a slow moving disaster that could’ve largely been avoided if our leaders gave a damn and it feels increasingly like we’re all just going to get the virus at some point because there’s virtually no structural safeguard in place to protect us.

This lamenting of the futility of our government’s response to crises is the central theme of one of my favorite monster movies of all-time; “Shin Gojira” (or “Godzilla Resurgence” for American audiences). Directed by “Neon Genesis Evangelion’s” own Hideaki Anno, “Shin Gojira” tells a similar story of a literal slow-moving disaster in the form of titular atomic fire lizard rising from the Pacific Ocean to decimate Japan once again and how the government poorly responds to it.

For most Americans, Godzilla is something of a joke as a movie character.

He’s Japan’s version of King Kong, a great fire-breathing reptile for thousands of random Japanese to scream “AAAAHHH! GODZILLA!!!” at while a man in a rubber suit knocks down model buildings for two hours. For several decades, he was even a bit of a superhero for children; the good monster who fought bad monsters like King Ghidorah, Gigan, and Hedorah.

The newer American remakes by Legendary Studios have not done much to change this perception. In these films, Godzilla is again depicted as a “titan” for the people doing battle with the bad titans set with people in mo-cap suits duking it out in front of greenscreens that create elaborate cities for the monsters to stampede through.

It is just not that deep to most people and who could blame them? Godzilla is cheap popcorn escapism for most audiences and most of his films see him as such.

(“Wait you mean to tell me this isn’t serious theater??”)

But Godzilla has a much darker origin, however. 1954’s original “Gojira” isn’t some cheap monster flick; it’s an allegory for the atomic bomb and the terror it brought upon the people of Japan. At the time of its release the Japanese hadn’t really reckoned with what happened in WWII, it was a source of deep shame and horror and it broke the spirits of many back then. After an atomic bomb test accidentally radiated the crew of a Japanese fishing boat in 1954, director Ishiro Honda became inspired to create the King of the Monsters after Japan’s own government largely mishandled the fallout. The film was a huge hit and Japanese audiences were moved by the dark allegorical nature of the story.

With “Shin Gojira” Anno brings Godzilla back to this grimmer tone. He was inspired by the events of 2014’s Fukushima nuclear plant disaster and how the Japanese government once again failed to act in a major crisis. Through his 2016 film, Anno aimed to depict the slow moving nature of a developing disaster quite literally with the character of Godzilla and how a crisis can only get worse and worse if left largely unchecked by those tasked to protect us.

(Hardly Hideaki Anno’s first forray into movies about crises, of course, but that’ll be for another write-up. Stay tuned...)

Godzilla begins in “Shin Gojira” as a small, destructive, but ultimately killable lifeform as he appears in the waters off Tokyo Bay. His beady, soulless eyes, tadpole like form, oozing putrid toxic blood everywhere through his malformed gills are pretty gross and Anno directly references Fukushima as the beast creates a tidal wave as he makes his way toward land in the opening sequence.

Meanwhile as Godzilla causes horrific damage to the city in this small (comparatively to earlier films) but powerful form, the Japanese Government tries to put an end to it. But as they try to address the escalating nature of the problem, bureaucracy gets in the way at every turn. Through the use of fast cuts and dark humor, Anno creates his own “Dr. Strangelove” set of scenes as Japanese politicians scramble from one board room to another to weigh options in cold math against the very real people who are fleeing for their lives as they debate with one another. Anno, doesn’t go out of his way to depict anyone as explicitly the villain here, but he does make it very apparent that when government officials refuse to accept the reality of a crisis people die. In a scene that is played partially for laughs, that feels all too relevant and frankly on the nose now, the Prime Minister addresses Japan on TV by assuring the people that there is “no way” Godzilla can make landfall and everyone will be safe. Moments later he is interrupted on live TV as Godzilla has in fact made landfall.

(Yea and he’s one ugly motherfucker in this movie too...)

Early in the film though, as Godzilla has done already immense damage in his adolescent form, Japan’s government has a chance to kill the monster once and for all by mobilizing the Japanese Self-Defense Force (JSDF) a move, that if you are not familiar with Japanese politics, is rife with concerning optics. The moment comes where Japan’s government can pull the trigger and kill the threat once and for all but in another, darkly humorous, turn of events decide not to as some nearby citizens who could be caught in the crossfire become a hazard for the JSDF. Godzilla goes back into the sea from there and Japan is left to pick up the pieces.

In the early months of the COVID lockdown, things appeared to slowdown. From about April to June, those states that took the virus seriously at the start saw some plateauing of the daily cases. While hardly a victory, things at least appeared to be going in the right direction. Then inexplicably in July a bunch of states declared premature victory and began reopening back up in certain areas such as gyms, salons, and some restaurants. I wouldn’t say we had the virus on the ropes but we were trending generally in the right direction (though nothing was really being done about loss of employment and cancelling rent and evictions, of course…). So, in a moment when the government could’ve kept trying, mostly at least, to do the right thing they failed to keep going and pull the trigger.

And just like in the movie, COVID (ie: Godzilla) came back stronger and even worse than before.

(Again, just the ugliest motherfucker...)

After the JSDF failed to kill Godzilla in the opening act, the big guy returns later on in the movie having evolved into his more indestructible final form. Where the JSDF’s weapons may have had an effect before they find their tanks, helicopters, and other military hardware have no effect on Godzilla now. It is too late to stop what is now inevitable. Godzilla walks literally through it all, causing waves of destruction with each step and Japan’s government watches in horror as they lament their failure to stop him when they had the chance.

This failure comes to its ultimate head in the final moment of this sequence when Godzilla revs up his dorsal fins and unleashes his horrifying atomic breath. It’s more powerful than anything he has done previously and absolutely wastes Tokyo in a brilliant display of raw destruction that is honestly one of the best most terrifying sequences in Kaiju filmmaking ever.

Godzilla is best used in cinema when he is a titan-sized walking metaphor for the destruction that happens when governments fail their people. Where the recent American Godzilla depicts him as a force of nature, like a walking hurricane, Ishiro Honda and Hideaki Anno see him more as a vengeful God coming to punish the wicked for their sins or, in the case of the government, their incompetence.

If COVID is a metaphor for anything this year, it is a microcosm for a wide range of problems that go unaddressed for too long by our leaders and only given notice when it’s far too late. Climate Change continues to get worse and worse each year as I am quite literally choking on ash as I type this due to yet another wildfire in the California area. The riots that erupted over the summer and continue to go on in response to the gross militaristic, overfunded, and racist structure of law enforcement in this country are the result of decades of not doing the right thing to curb the problem. The reason we are by far the worst equipped first world country to handle this crisis right now is quite literally due to years of gutting our social safety net, slashing our wages, and privatizing our health insurance.

Though there is a wide range of Japanese specific politics in the film, “Shin Gojira” is an unfortunately timeless film for people who have suffered from leaders who fail to act in moments like these. It shows what happens when our government drags its feet on transformative legislation and actual measures that can save lives. It criticizes our leaders for choosing to save themselves in the moment, with performative optics, over helping their own people. It argues that the results of bureaucratic red tape and bad politics will always end in disaster for its citizens. And most relevantly it states that governments have a duty to stop a crisis in its infancy before it’s too late.

“Shin Gojira” is a perfect monster film for the year of COVID and distressingly accurate to the way the US has mishandled this crisis from the beginning. Everyday, more and more people suffer and die because our leaders have failed to act in an unprecedented time, whether it’s the usual suspects who think any government social service is “cOmMuNiSm” or the feckless cowards who twiddle their thumbs and shrug each time a conservative tells them “no.”

We are far past the stage where this can be solved the easy way anymore and though there are still many proven ways to help the common people right now, it unfortunately feels like 2020’s Godzilla cannot be stopped…

Yea, things will totally get better in 2021, guys...

[popwasabi]

Why I don’t give a fuck about canon

Recently, after randomly coming across some dope pictures of Transformer toys on Instagram that gave me a strong case of nostalgia, I was inspired to revisit an old childhood favorite in “Beast Wars.”

“Beast Wars,” in case you never watched or heard of it as a kid, is the continuation of the Transformer’s story set in the future as descendants of the Auotobots and Decepticons, the Maximals and Predacons, respectively, accidentally travel to prehistoric Earth to continue a centuries long battle between the two opposing factions.

There’s a lot of to digest there, so I’m not going to go into extreme detail over the plot, but the cast features colorful characters such as Optimus Primal, Cheetor, Rattrap, Dinobot and Megatron to name a few. They all have interesting and distinct personalities and generally play well off each other. It was a big part of my childhood and I collected an ungodly amount of their toys back in the day.

(This was my first ever Beast Wars toy and I think it’s beautiful.)

My rewatch though was…a mixed bag to say the least. The graphics have not aged well. The adventure of the week setup of the plot was repetitive and lacked real character development at times. There were characters that were added in last minute to the show clearly to promote a new action figure over the story on numerous occasions. Though I found the humor to still be pretty good, the action was stale and just lacked high stakes most of the time, save for a few episodes.

I was not shocked it didn’t land terribly well on my rewatch but you know what did? “Beast Machines!”

“Beast Machines” was the follow-up to Beast Wars that had the Maximals fighting on Cybertron where Megatron has taken control of the whole planet using a virus that changes Transformers into mindless drones to do his bidding. The remaining Maximals manage to survive however after Optimus discovers The Oracle which reformats them into animal robot hybrids that are both mechanical and biological. This sets them on a quest to stop Megatron and bring biological and mechanical balance to Cybertron once and for all.

The series is much more narrative based than the previous as it follows a steady trajectory to its epic conclusion. The animation is much sharper, and the soundtrack is fun as hell to listen to still. The pacing is much faster as the stakes couldn’t be higher for the Maximals and all the old characters from the previous grow in interesting ways and develop into more organic people (literally in some ways). Optimus is a more hardcore and emotionally damaged leader and Megatron goes from being something of a punchline in the previous series to a far more menacing and calculating nemesis. The story touches on themes of balance, authoritarianism, PTSD, love and reunion to name a few and for a kids’ show it is, dare I say…more than meets the eye.

I absolutely loved it as a kid and I might actually love it even more as an adult, so it was shocking for me, to say the least, when I read further into the history of the show, that a lot of fans straight up rejected it back in the day.

Common complaints I came across were they didn’t like how characters, such as Ratrap especially, “changed.” They didn’t like the new bio/mechanical Maximals and couldn’t believe that Cybertron was once an organic world.

Their big reason (in just about every forum and video I saw about it)? It didn’t adhere to “canon.”

Now, I’ll start this by saying there is no objective way to critique or even not critique a story. People can like or hate something for a variety of reasons that don’t follow a strict logical pattern. Gods know I have a few questionable/divisive favorites in my catalogue that I have written about here that are based on abstract ideas and personal experiences.

(The Matrix Reloaded is still great btw)

But I will say, if you judge a mega franchise’s latest entry on how well it is supported by established canon it is, in my opinion, a flawed way to critique a work of fiction.

Canon, sometimes referred to as “lore” by fans, is most often applied and used to describe the long running back stories of franchises that stretch beyond just the main books, movies or series, or even the original narrative of the plot. Star Wars, Star Trek, Lord of the Rings, and to a certain extent Harry Potter, all fall into this camp of series with so many interconnected parts, with more than one main character featured in each, that fans follow along this canon like ancient monks studying scripture and history books.

And they can be just as fanatical and over zealous about it.

(I wish they were more fanatical about proper hygiene or at least deodorant...)

My problem with the ways fans often view canon is that their conceptions of what a new story should be is based entirely on the past rather than what is happening right now with the story and what themes the writer is trying express with it this time. 

They base their impressions of the story on external continuity more than the internal continuity.

Yea, the changes in a series like “Beast Machines” are jarring to say the least. Cybertron was formally an organic world like Earth? Rattrap doesn’t have confidence in himself and actually at one point sells out his comrades? Transformers can be biological now? It’s a lot to take in but when watching the story play out it’s not like these elements aren’t explained through the text of the new story.

Cybertron lost balance between its robot inhabitants and its biological life forms and its why it’s out of balance now, and Megatron is the logical progression of that inbalance. Rattrap is struggling to understand his new form, half his friends on the Maximals have been turned into drones, and the remaining team out loud say they don’t have confidence in him. He has PTSD from both the events of this story and the Beast Wars and feels insecure because of how others view him and that’s perfectly logical to not just the story but also the canon. If a fan is willing to give a story a chance they will see that the canon hasn’t actually been destroyed in much of any way and the logical progression is actually there if they simply listen to what’s going on.

(Seriously, it’s not that deep.)

Fans need to stop confusing a character achieving a franchise long arc with being “suddenly different.” In this way, criticisms of canon in new entries in long running series reveal that fans really just lack imagination to connect the dots. It would be like complaining that Luke Skywalker can’t become paranoid and make a grave mistake in judgment because people never change, nevermind the character already has changed a lot from his origins in “A New Hope” to where he was in “Return of the Jedi.”

(Oh wait, people did do that…)

But that’s not to say you have to like the new direction either. You can understand these changes and still be like “well, it’s not for me. I don’t care for a PSTD angle or a new origin for Cybertron,” but that’s whole lot different than saying the new series “rapes your childhood” or “Bastardizes the canon.” All the old canon you hold nostalgia for still exists. My love for “Beast Machines” is not harmed by the existence of newer Transformers properties that don’t meet what I look for in the series.

Too often, fans take changes to established “lore” very personally because it doesn’t fit their expectations or have the same nostalgic feelings they had before. When new entries in mega franchises occur fans often try to judge it by how much it is like what they watched before, rather what makes it different and what it is saying now. Again, you don’t have to like new directions in tone or character but consistency to established work DOES NOT equal good storytelling.

I have not been immune to this myself in the past, of course. Back in the day I wrote a 2500-plus word diatribe on “The Amazing Spider-man 2” that mostly went after how it changed the character I grew up with in a bad way and butchered the established back story I knew him by.

You know what other story doesn’t follow canon very well though? “Spider-man: Homecoming.”

(Now, hear me out...)

Spider-man in the MCU is generally agreed upon to be a good thing by fans. Both movies were big hits both critically and financially and fans often go as far as to say Tom Holland is the “definitive” Peter Parker. 

But Holland’s Spider-man differs quite a bit from the comic-book webslinger. This Spider-man does not have a spidey sense. His best friend is not Harry Osbourne but in fact a retcon of a Mile Morales character. His father figure is Tony Stark, something that never happened in the comics, instead of Uncle Ben, which no matter what way you spin it is arguably his most important relationship in the series.

His character is a reverse of traditional Peter Parker too. Where comics Peter is a reluctant hero, who if anything hates being Spider-man and the burden of his responsibility, “Homecoming” Spider-man actively seeks out responsibility and in many ways enjoys his role as the famous webslinger. In fact, his whole arc is about him earning a spot as an Avenger. He wants to be THE hero and be worthy of it. It’s completely different from what we know of Spider-man.

(He just wants Tony sempai to notice him uWu)

Now I know some fans actually do complain about this Spidey from a “canon” standpoint, but most don’t. So why did this Spider-man get a pass for many but not “The Amazing” one? Quite simply it’s because stories, as cheesy as it sounds, are about feelings and stories like “Homecoming” tell a good story that effectively make those feelings connect with the audience.

We root for this Peter Parker and his journey to becoming an Avenger and successor to Iron Man because the story is told well, the emotions feel earned, and frankly both films are fun and enjoyable.

It’s easy to complain about canon for many nerds because it’s something tangible that they can point to and make a big stink about when they don’t understand why a movie isn’t reaching them. I don’t doubt that many neckbeards genuinely hate a film like “The Last Jedi” (Hell, I’m not a big fan myself) but when those same nerds enjoy something like “The Mandalorian,” a series that has its own loose relationship with canon and establishing new rules in the series, it tells me it’s not about the “lore” to them.

(Easy, fanboys...)

I have come to understand, in my growth as a nerd, that my problems with a lot of movies and TV shows in my favorite series rarely, if ever, have anything to do with the story not meeting some arbitrary guidelines regarding canon. It has more to with the story simply not connecting with me emotionally. The story isn’t drawing me in and keeping me on its narrative path. I’m not feeling the same magic that someone else might feel enjoying it because either a) it doesn’t feel earned to me or b) it just stylistically isn’t for me.

To paraphrase a line from another mega franchise, also owned by Disney, the canon is more like guidelines than actual rules.

(Didn’t expect to see ol’ Barbosa in this write up, did ye?)

It can show you where a story comes from but it isn’t law that you strictly adhere to it. Of course, when writing a new work in a popular series you should consider what came before it but I would like writer’s the freedom to try something new and most importantly fans to be open to it. You don’t have to like it but the idea that new entries in a story MUST remain strict to the canon is bull shit. Not even the original Star Wars trilogy adhered to its own canon perfectly, as clearly the writers were in fact making it up to a certain extent as they were going along.

(hmmmm...)

And that’s ok, because some of those changes were great! Made the story better and made the conclusion stronger.

Again, you don’t have to like every new entry that tries something bold or confrontational in your favorite franchise but if writers strictly followed canon to the T we wouldn’t have things like “Homecoming,” we wouldn’t have “The Mandalorian,” and we certainly wouldn’t have my favorite Transformers series “Beast Machines.”

Canon shouldn’t be a trap for writers and it shouldn’t be a litmus test for fans digesting it. There are so many better ways to judge a story than whether or not it fits neatly into established lore. A good story is a good story, regardless of whether or not it’s supported by something as static as canon.

“Beast Machines” has its flaws here and there, but canon isn’t one of them, at least not for me. Again, if you feel that the lore is important, that’s fine, you don’t have to ignore it but I would ask you to look beyond what came before when critiquing a new story.

Otherwise, you might miss something special that comes next…

Now then... 

[popwasabi]

“The Other Guys” wants cops to go after the real criminals

Before director/writer Adam McKay pivoted into populist screed’s against capitalism and political corruption in films like “Vice” and “The Big Short” he was largely known as one of the many “dumb comedy” directors working in Hollywood.

In fact, with major productions such as “Anchorman,” “Talladega Nights,” and “Step Brothers” he could almost be billed as THE dumb comedy director or certainly THE Will Ferrell director at least.

(To a certain extent, THE John C. Reilly director too.)

Those movies are certainly divisive amongst some filmgoers, as you either fall into the “turn your brain off and laugh” category or the “this is pure nonsense” crowd. I’m somewhat in the middle on all of it but one McKay/Ferrell vehicle provided a bridge between the “dumb comedy” years and his more serious satires of American politics and that movie was 2010’s “The Other Guys.”

Billed as just another parody of buddy cop flicks, “The Other Guys” is a comedy that still holds up pretty well by today’s standards. Mark Wahlberg in many ways plays an unhinged caricature of every tough guy persona he has ever played in detective Hoitz and perhaps more brilliantly Ferrell, as detective Gamble, is allowed to be the straight man of the duo for change, finding humor in a more subdued performance. Together they form a kinetic duo that play hilariously well off each other in a film that is rarely dull from start to finish.

(Flawless logic here in the famous Tuna vs Lion debate)

“The Other Guys” takes some decent shots at the violent nature of cop culture from excessive police overreach in the film’s hilarious opening scene to cops’ shoot first ask questions later approach with detective Hoitz backstory involving shooting Dereck Jeter during game 7 of the World Series. In between more typical Ferrell comedy flare involving hot wives and ex-wives, hobo sexy orgies, and TLC references there’s a lot of pointed, tongue-in-cheek humor at the police that one can find great humor in.

It’s a descent satire of the cop movie and the culture around law enforcement on this alone but McKay’s real target isn’t the police so much as it is who the police aren’t going after.

(For the record, peacocks and cops, for that matter, don’t fly.)

2008 probably feels like eons ago to many of you at this point but it was the year I personally came of age. I had graduated high school, The Lakers were good again, “The Dark Knight” and “Iron Man” had just come out, I had hopes and dreams as I entered college at San Jose State and oh…the Great Recession had just started!

I’m not going to go into extreme detail here but our economy had it’s worse collapse since the Great Depression caused by the subprime mortgage crisis due to vast widespread failures in financial regulation, breakdowns in corporate governance, vast trading and over borrowing, housing bubbles bursting, and heads of businesses just vastly ill-equipped to handle their hubris in that moment.

Major businesses and banks were on the verge of collapsing and then at the last minute the US government passed a $700 billion, with a capital B, bailout to put them all back in the green.

Corporations like Bank of America, Citi Group, Morgan Stanley etc received between $10-$25 billion each for their struggles and were able to stay alive in the country’s ever worsening state. This was great, except 2.6 million average working-class people lost their jobs during this period, including my father.

By the way, a guy like Joseph Casano, an executive at AIG, got a $34 million bonus for helping lead companies such as his into the recession.

This is McKay’s real target in “The Other Guys.” The satirical cop humor is largely window dressing to draw audiences in to the theaters so that he can show all of them who the real criminals of this country are.

As the plot of the story starts to kick into full gear the more obvious culprits of a typical Hollywood cop movie are dismissed. Though Hoitz is convinced it’s more the usual cop movie style villains of “sex and drug traffickers” at first, Gamble slowly pieces together a plot of dastardly insider trading. What it ends up being is that the bad guy is really just a doofus hedge fund manager named David Ershon played comically by Steve Coogan who made one too many bad investments to bad people.

Ershon has put his people and the people he owes money to deeper into the red, not at all unlike the wealthy CEOs and bankers who messed up the country during the 2008 recession, and it has led him to take desperate action to get everyone’s money back. Ershon, of course, tries to get Hoitz and Gamble off his tale by bribing them in a variety of hilarious ways (one of the funnier sequences of the film) but eventually gets caught up with the SEC and those who prosecute white collar crime (who are unsurprisingly also in bed with the people he owes money to).

(Somehow, I don’t think this is far off from reality...)

Hoitz and Gamble continue on the case but find that taking on white collar crime is…complicated to say the least but most importantly ineffectual as detailed in this scene.

(Again, probably not far off from reality...)

The 2008 recession, wiped out millions of jobs, with rural parts of the country getting hit the hardest and in many ways still feeling the effects today. If you were a POC you were even more unlikely to not recover from the crash. Property values plummeted, student high education success rates dropped, opiod overdoses from “unemployment deaths” and many more awful things happened during this period of great economic distress.

And what happened to the folks largely responsible for causing this mess? They got a fat fucking payday and a dismissive finger wag largely by our own government.

“The Other Guys,” more or less, ends the same way. Despite putting away Ershon, the company he was swindling, who gambled their people’s money, was still bailed out by the US government. A real “happy ending” that is played as a dark, matter of fact, joke before the credits roll.

(Again, we laugh but how far off from reality is this really?...)

I graduated from college in 2013, tens of thousands in debt from student loans and trying to navigate a largely bereft job market where wages had largely not changed in as many years. In 2008 average rent cost about $850 a month, by 2013 it was $953, today in 2020 it’s $1,097. The average entry level salary (for a clerical/ office professional) between 2008 and 2018 went from $46,886 to $45,882 showing a decrease in value.

In 2008 the richest man in the world, Warren Buffet, was worth $64 billion. The richest man in 2020, Jeff Bezos, is worth $200 billion.

If the fact that Jeff Bezos is worth more than some countries on this planet doesn’t make you infuriated alone I don’t know what will.

Btw Buffet’s net worth increased as well to $79 billion himself, in case you think it’s “unfair” to compare him to Bezos.

Sometimes I think the reason people aren’t angrier about this worldwide is 1) a bunch of us think we are all one hard working day away from being filthy fucking rich ourselves, one of the many great lies of capitalism and 2) many of us don’t actually know just how big a BILLION dollars is, so here let me help you all out:

With COVID in 2020 we’re seeing it all happen again, just as it did in 2008. Record unemployment rates, small businesses closing, evictions skyrocketing because no one can pay rent and all we got for it was a $1,200 band-aid (assuming you did get yours). Meanwhile billionaire slugs like Bezos and Elon Musk saw their net worth rise sharply during this period, hell even the fucking Lakers got a $4.6 million dollar “small business” loan (though they did return it…only after getting caught…).

The highest sum of cash ever stolen from a bank was $18.1 million (equivalent to roughly $30.1 million now) in 1997. These are the people cops and other “loose cannons” in popular actions movies are usually running up against. If you think stealing $30.1 million is a lot of money worth sending the cops over then $700 billion of our own tax dollars given to people who ruined the lives of millions of Americans should make you fucking furious. The only real difference here is one was made legal by our own elected government.

Adam McKay’s “The Other Guys” may be on its surface just another “dumb comedy” that mostly satirizes cops, but its villains are very real and unfortunately as American as apple pie. Under capitalism our labor only continues to get devalued every year (even the skilled positions), while the richest 1% of the human race only get fatter with their wealth. Things are only getting more expensive and the working man is getting priced out of more and more daily luxuries and even essentials. This way of life is not sustainable, especially for our environment which these dragons continue to plunder, and eventually we will need to actually hold our overlords accountable for letting it get this far.

If we don’t, they will continue to steal every penny in our pocket and bleed us dry until the next disposable drone can fill our place. If law enforcement won’t take this on, sooner or later we might have to…

Remember, pimps don’t cry...

[popwasabi]

“Who are you?” The scene that defines Chadwick Boseman’s legacy

Yesterday, the world lost a bright and promising, burgeoning talent in Chadwick Boseman.

I had wondered privately for a while if something was wrong with him, as others had as well online, as he appeared increasingly sicker with each interview he gave over the last two years. I thought maybe I had been looking too much into it, not wanting to jump to conclusions about who he was but now gravely we all know why.

The much too young star of films such as “42,” “Marshall,” and of course, “Black Panther” had been fighting a largely private battle with colon cancer for four years.

It was devastating hearing this news yesterday, the man who undeniably left behind a legacy of playing prominent black heroes, both historical and fictional, passed away just as he was starting to truly hit it big. When you begin to realize the man was dealing with cancer as he performed physically demanding roles in the MCU you begin to see the character and determination of a man unwilling to quit in the face of true adversity.

But he clearly wasn’t just doing it for himself when he continued making and promoting NINE more movies despite his diagnosis, afterall no one would’ve blamed the guy for taking it easy these past four years. He’s had many scenes that define his legacy over his all too short career but I feel it can really be summed up in one particular moment from by far his most famous film; “Black Panther.”

Those who know me or have read my work know that I have a fairly cynical relationship with the Marvel Cinematic Universe. While I would not say most of them are “bad” per se, I would say a ton of them are largely interchangeable action comedies with pretty straightforward messages about good vs evil for general audiences. They are largely popcorn escapism and though there is nothing technically wrong with that, I was starved for an MCU film that was sincere about its story finally and had something real to say.

Enter “Black Panther” in early 2018.

“Black Panther” was everything I had long been waiting for in the MCU; a film with a real sense of vision and theme, a killer soundtrack, great supporting characters, a complicated and nuanced villain, and a story that didn’t feel the need to add a joke after every single scene like more typical MCU movies. The tip of that spear of course was Chadwick, who had already proved to be a great Black Panther in one of the few other sincere Marvel flicks “Civil War.” His natural charisma, physicality, and dramatic presence in this role made him a huge standout in frankly the best ensemble cast of any superhero movie ever.

The scene that truly sums up not just the mark “Black Panther” left on Hollywood but Chadwick’s own legacy comes at the very end though (the first of three, of course. It’s an MCU movie, afterall).

T’Challa has defeated his usurper cousin Erik Killmonger, his rule restored in Wakanda but clearly a changed man from the story’s beginning as he reckons with the complicated legacy of his father. He travels to Oakland, the birthplace of Killmonger, with his sister Shuri who he explains the crime committed by their father in this place and how it set off the events of the story. He turns to Shuri, tells her that he has decided to help this afflicted community by creating a Wakandan outreach center for the youth to give them a new hope in life. As he says this he decloaks their ship nearby, surprising the youth already in the area who are immediately in awe of it. One of the kids turns to T’Challa, smiling, a sense of inspiration and intrigue brewing inside, and asks “Who are you?” to which the young King simply smiles, then the credits roll.

It’s a simple scene but it truly speaks to the impact left behind by Chadwick and the importance of representation. 

“Black Panther” is hardly the first starring vehicle for a black man, it’s not even the first black super hero movie but what it made it different is it was the first blockbuster to truly lean unapologetically into its African identity to focus on the inspiration of a story centered around that culture. It showed Hollywood that an action blockbuster not just centered on a black star but centered on African culture had vast widespread appeal.

White kids will never have a shortage of white superheroes to grow up with on the big screen; a diverse palette of Supermans, Spider-mans, Captain Americas, and shit we’re even getting our sixth new Batman actor since 1989 soon. But Chadwick gave black kids their first real Superman of their own. 

In the years since this came out, I have seen the influence, at times, firsthand among the youth. I work part-time as a kids martial arts instructor and each Halloween party we’ve held I’ve seen a few more T’Challas among the costumes represented. When I ask kids, black, white, or Asian, what their favorite superhero is, it always warms my heart to see a kid light up when they say “BLACK PANTHER!”

(Seriously, cute AF)

This goes beyond just my anecdotal observations of course; the film grossed a billion dollars, and there are countless videos online of kids yelling “Wakanda forever!” at the top of their lungs while rocking a Black Panther suit or reciting one of the movie’s memorable lines. It’s beautiful because it speaks to that last scene’s key message; inspiration.

Growing up myself, as a half Asian American, there weren’t a ton of role models who looked like me to take inspiration from. I didn’t really understand how much this could affect me until I finally did start seeing people like myself occupy positions of influence. I didn’t start caring for baseball until I saw a slugger named Hideki Matsui smash a couple dingers in a Yankees’ uniform in the early 2000s. I didn’t care much for martial arts, outside my very early youth, until I witnessed a half Japanese Brazilian named Lyoto Machida KO Thiago Silva at UFC 94 in 2009. I didn’t care much for soccer until a striker named Keisuke Honda played out of his mind in the early rounds of the 2010 FIFA World Cup.

Sometimes you gotta see something happen in order to believe and be inspired by it and it’s easier to visualize it when you see someone who looks like you do it. That’s what representation means and why it’s important.

It’s easy for white America to dismiss the need for representation in media when theirs is so saturated in the culture everyday. Cries of “wHaT aBoUt wHiTe HiStORy mOnTH?!” delivered unironically while their history is proudly given front seat consideration in all forms of media, film, and influence every day. This is why it drives me so crazy when a white person tells me “representation isn’t important” because apparently, they “don’t need it.”

Well motherfucker, of course you don’t need it. You fucking got yours already!

(What every non-white person wants to say when confronted with this tired, out of touch argument...)

“Black Panther” delivered a superhero that not only black children could be proud of and love but someone they could draw inspiration from. Kids are going to want to become film directors cause of this movie, actors, stuntmen, martial artists, scientists, engineers, and so many other different things that the world of Wakanda proudly showcases and it’s all thanks to Chadwick’s leading man performance that made it possible.

Some jokes I’ve heard frequently on the internet is that Chadwick was on somewhat of a quest to play every major black role in story-telling history, what with performances as Jackie Robinson, Thurgood Marshall, James Brown, and of course Black Panther. But I think his 2018 speech at his Alma Mater of Howard really explains why he kept looking to play these major positive black roles.

(I encourage you to listen to the whole thing but the part that’s important here begins at 21:55)

Hollywood likes to pigeon hole certain demographics of people (aka non-white) to play stereotypical roles forever until they are proven to be lucrative in different ways (Qualified Immunity of film-making if you will…). Black people largely could mostly play thugs and drug dealers, Latinx can only be gang bosses and poor servants and gardeners, Asians are either kung fu masters or some other offensive perpetual foreigner. And in worst cases no role at all, instead whitewashed for general audiences (aka white folk). 

Chadwick took a stand that the color of his skin did not define who Hollywood narrowly believed he could perform as and set out to play characters and people who could inspire a new generation of African Americans and show the rest of the country that they were more than a stereotype.

When that young kid in that final scene asks, “Who are you?” and T’Challa smiles its because he knows he’s already changing hearts and minds for the future, just as Chadwick did playing this truly inspirational role.

“Black Panther” is not a perfect movie. I could discuss the ways it could’ve been better and even, less problematic in parts on a different day, but the legacy it leaves behind is one that’s undeniably positive and Chadwick was able to make that a reality. Perhaps he understood that if the world knew his diagnosis it would blunt the impact of “Black Panther’s” release, that if little kids and African Americans alike knew their superhero was already dying it would mar the film’s positivity and influence. I can’t speak for the dead obviously, and in no way am I saying one should just push through a cancer diagnosis and keep it secret, but I can see Chadwick understanding what it would mean for the audience if they just believed for as long as possible that they would have their king of Wakanda forever.

As Robert Downey Jr. said on social media last night “He leveled the playing field while fighting for his life.”

Though I will never know him personally, by most measures Chadwick seemed to be exactly the kind of hero he showed up to be on the big screen and his legacy will ultimately be that of one who looked to inspire others, particularly the next generation until his final breath. If that doesn’t make him a hero, I don’t know what does.

Rest in power, King. Wakanda Forever…

(Via BossLogic)

[popwasabi]

“The Matrix Reloaded” deserves a re-watch in 2020

Here’s a burning hot take for, y’all; “The Matrix Reloaded” is not bad actually!

In fact, it’s more than not bad, it’s actually pretty good and perhaps a bit misunderstood by the fans.

Now, I’m not here to tell you it’s the best Matrix film. That honor will remain always and forever with the first movie, as it remains not just one of the best action films of all-time but one of the best science fiction films ever, period. It’s a classic and simply one of my all-time favorite films.

(Not to mention turned me into a Rage Against The Machine fan.)

But somehow, over the course of my lifetime, you know what movie I have watched exponentially more than “The Matrix?” The fucking “Matrix Reloaded!”

I used to think maybe it was an ironic infatuation. To a certain extent, I think it still is, as its overly indulgent action, bad lines at times, cringey new characters, and over the top moments can make it about as comical as many so bad it’s good movies. But growing up time can change perceptions, sometimes for the better, and can help you see things in new ways that you didn’t before and “The Matrix Reloaded,” especially this year, was one of them for me.

(My plans vs 2020)

I could defend the much controversial sequel by going in on its ambitious action film-making (the car chase is still my all-time favorite in any movie), pulse-pounding score, or its eye-popping cinematography that, honestly, holds up even to today’s standards but I think these are all things that even the film’s detractors generally agree on. 

No, I’m going to defend this film by talking about its most controversial scene: The Architect room.

I can hear the groans already and I don’t blame you. I found this scene preposterous and mightily confusing when I first saw it.

“The One is actually a part of the Machines’ system?? WTF!?”

(I remember having a similar feeling after playing Mass Effect 3...)

To be fair, its set up is a bit muddled, given the clunky script and pacing issues of the movie but when you start thinking about the message more deeply, given current events, and its relation to the real world it hits about as hard and fits as neatly as the first film’s more positive message.

The first Matrix film has a pretty dark setup, obviously. Neo finds out that he’s a part of gigantic computer program meant to create the illusion of free will for humanity while they are quite literally eaten for power by the Machines like cattle. Of course, Neo discovers he’s more than just another human connected to The Matrix but a prophesized messiah who has the ability to combat the system beyond its considerable control. By the end of the film he fulfills his destiny by becoming The One and beginning a new revolution against the Machines that control the human race.

(And looking fucking cool and totally 90s while doing it!)

It’s a pretty positive and uplifting story when you really break it down. It shows the viewer the lengths at which power tries to maintain its control and the Machines are a worthy avatar for this metaphor, but it also shows that power can be fought against when someone begins to empower themselves. When Neo says he will “show you a world where anything is possible” at the end its an earned moment of catharsis for not just him but the audience as well. We begin to start to believe in hope and beating the system too.

“The Matrix Reloaded” however goes several steps further showing that power can maintain its control in far more nefarious ways. Throughout the film Neo is told about the illusion of control and choice by characters like The Oracle and the, admittedly cringey, Merovingian. It feels strange at first because Neo is supposedly someone who is above the system but you can tell there is sense of jadedness, with some optimism of course, when The Oracle explains his role in saving Zion, like someone who has seen someone try to do this before, and The Merovingian simply mocks him for being another in a long line of “predecessors” who is completely “out of control.”

But then Neo finally does get to the Architect after being led there by The Key Maker and it’s here he learns his true nature; that he is the sixth in a long line of previous “Ones” in the Matrix and a part of The Machine’s control. He is less a prophet and more just another cog in the machine meant to lead humanity in one direction over and over again in order to create an illusion of free will for the resistance, the same way The Matrix does its human cattle.

Neo was a part of their plan and had been from the start.

(In case y’all need a refresher...)

There were tons of fans, including myself at one point, who couldn’t square with this strange narrative turn. Like Morpheus at the end of the film, there was refusal to believe it. It seemingly rewrote how one could view the first film and Neo’s role in it.

It changed the way a lot of people could see the positivity of the first film and understandably that could, and did, make a lot of people upset. Neo wasn’t sent to save humanity; he was there to keep them in line. It was like saying “actually Emperor Palpatine always wanted Luke Skywalker to blow up the Death Star.”

(I mean he does say this a lot though...)

But “The Matrix” was always about the lengths at which power works to maintain its control over the masses and “Reloaded” asks how can a corrupt and evil system be a part of the solution? How can it be reformed?

It can’t.

Way back in 2008, I cast my first vote as an eligible American for Barack Obama for president. Like many millennials at the time I found his mantra of “hope and change” sincere and uplifting and I truly felt the country was going to take a turn for the better the night he was inaugurated. For a moment it really did feel like things would be different after eight years of Bush.

Fast forward to 2011 however, and things changed dramatically for myself when I found out about the drones.

I’m aware of the fact that in leadership positions hard choices are made but after spending the previous decade vociferously calling out the Bush Administration for what they did in the Iraq and Afghanistan Wars this was a truly rude awakening for me. Combine this with finding out about him continuing Bush era tax cuts, re-upping the Patriot Act, the mass deportations, the major corporate donors, his mishandling of Flint, and The Standing Rock Crisis it became clear Obama was just as much a part of the machine as Bush was.

(Also, no matter how much you hate Trump, DO NOT participate in the the gas-lighting of this man’s record...) 

Now, I can already hear the pitchforks picking up and I’m not here to tell you that the Obama presidency didn’t have its moments or that it was worse than what we have now BUT this does not excuse what would be considered awful behavior by liberals under any conservative president.

Each Democratic presidency or nomination I’ve seen in my lifetime, from Clinton to Obama, has always touted themselves as a chance to “fix America” and bring “hope and change” to a largely corrupt system. But neither of these presidencies really changed much of what the previous conservative administrations did, in fact in some ways they got worse. Minimum wage hasn’t risen in over a decade, we still have the world’s largest prison population by far, the wealth gap has only INCREASED regardless of who held the White House, and need I remind some of you Black Lives Matter started under the Obama administration.

At some point the problem goes beyond just conservative stonewalling and political impasse. You can’t blame everything on Mitch McConnell (though a lot of it can too, admittedly). The system is behaving exactly as its supposed to because corrupt people hold power.

(They’re not laughing with you, they are laughing AT you...)

The extremely cynical Biden-Harris ticket we got going right now is being pitched, more or less, the same way as a "fight to fix everything terrible” that Trump has done. Look, I’m not going to tell you Trump hasn’t been terrible because that should be obvious to EVERYONE at this point, but when you have Wall Street goons actively cheering the announcement of the Democratic party nomination, a DNC that is running more conservative speakers in its first day than Latinx across the entire event, you have to wonder to yourself if they are really “The One.”

(A reminder that “Never Trump” Republicans are not your friends either...)

Again, I’m not saying things can’t be “better” right now under a Democratic White House or that some communities would benefit greatly from a change in leadership BUT the bar is FUCKING LOW and the truth of the matter is people WILL be hurt under the next administration regardless of who it is and framing it as “privileged” to think otherwise is actually quite privileged itself.

There are people who can’t wait for medicare for all. There are people who can’t wait for sentencing and prison reform. There are people who cannot survive another wave of US imperialism overseas.

We are being guided to the same predetermined destination that The Architect gives Neo and its what makes all this so aggravating for many.

“The Matrix Reloaded” shows Neo that he is simply another system of control for the afflicted masses but what makes the final moments of the film important is that he chooses to stop playing its game. When The Architect gives him the choice of the door that guarantees the “salvation” of the human race but in bonded servitude to the Machines and the door to make the supposed “selfish” decision to save Trinity from death but doom humanity to extinction, he does this fully expecting Neo to make the same choice every other One did before him did.

But Neo doesn’t, he goes through the door to save Trinity and for a chance to destroy the system in another way. Neo decides to break the cycle even if it might have catastrophic consequences. He challenges The Architect on whether he would be willing to allow Neo any chance at any other outcome and calls his bluff. It’s what makes him a hero and in a strange way gives “Reloaded” a positive ending as well.

(And again, just looking cool as hell while doing it.)

Now, with the way the next movie ends you could make the argument that the cycle continues and this theme gets contradicted but I would argue it’s a bit more ambiguous than that and with the fourth film supposedly on its way in the coming years there is a chance for a more conclusive and satisfying ending. This write-up is strictly arguing the message of the second film anyways.

What a viewer should get on further review of “The Matrix Reloaded” is that corrupt systems have more insidious ways of maintaining control than we may be able to accept. Wall Street goons wouldn’t allow a consistent formidable opposition party to run against them every year, it’s why they are deep in both red AND blue pockets. It’s why campaign financing is out of control. It’s why ultimately both wings of our government are pro-surveillance, pro-big money donors, pro-US exceptionalism/imperialism and the only real difference comes down to mostly minor minutia between the two to maintain their illusion of choice.

In the end to a certain extent, I still believe in the system, given that I donate money and support various leftist causes, progressive primary challenges, and reelections around the country in hopes they run a real left wing someday. However, each year, and frankly each month at the rate we’re going, I’ve grown more cynical about it. At best it is incremental change and at worst its ultimately empty power against the larger juggernaut of corrupt politics throughout our government.

(Me desperately trying to avoid the relentless bullshit of this year.)

“Reloaded” deposits that in order to break the cycle you have to make a choice not accounted for by the system. That in order to truly change anything, as silly and as obvious as it sounds, you have to do something different. Voting for people who better represent your beliefs much more fully and refusing to vote for ones who don’t is one way but as I stated in my “Black Sails” write-up the more active third option should never be off the table.

Changing the world shouldn’t come down to a false binary choice like the ones the Machines gave Neo at the end of “Reloaded.” And while, for the record, I’m not necessarily against people making the lesser of two evils choice again, people need to stop ignoring the ways in which corruption keeps its power and start having honest looks at those who call themselves “The One” who will make things right.

If this entire year hasn’t convinced you of that yet, I don’t know what will and the sooner we understand this the sooner we can start a real “revolution” in this country’s cynical politics.

Until then The Machines will continue to win...

*Me getting away from the liberal bullshit that will likely be tossed at me over this*

[popwasabi]

“Rogue One” finds victory in hopeless rebellion

2020 has been…relentless to say the least.

You might not remember it at this point, given the how turbulent this latest period has been, but this year started with Australia catching on fire, and our jack-ass of a president nearly starting World War III. Then shit really began to hit the fan in March, COVID-19 came like a black light in a sleazy motel room and exposed the gigantic chasms we have in our country’s social and economic infrastructure. With 38.6 million people filing for unemployment since March, likely without healthcare, and with a growing number of COVID cases spiking around the country and deaths crossing the 120,000 mark things don’t look to be getting better anytime soon.

(You’re missing the point, Luis...)

To say there’s a grim outlook not just on the country but the world would be an understatement and it’s hard not feel a little hopeless right now.

But then George Floyd happened and the anger that had been boiling up in this country for decades, no doubt exacerbated by the effects of the virus and the lack of distractions such as live sports and movies, finally erupted like a volcano and perhaps the greatest challenge to the status quo since the 60s began.

I won’t spend too much time explaining my thoughts on the past month-plus of current events, you can read about that in my last two write-ups, but what this period has shown me is just how powerful people can be when they finally stop being apathetic and hopeless about the state of the world and together in unison fight back.

So, why do I want to talk about a Star Wars film that came out four years ago in the middle of all this? Well, this message is central to the theme of the movie and it’s why it remains my favorite of the franchise to date because it too reminds me, in moments like these, that there is victory in simply standing up when the world is telling you to stay down.

I trust that if you clicked on this article you’re already familiar with the plot and story of Disney’s second foray into the Star Wars universe and more than likely you have some strong opinion on it as the film was somewhat divisive among fans when it came out in 2016. There are plenty of reasons not to like this movie, and trust me I’ve heard and understand every grievance about the film, from it’s slow opening half, lack of a proactive hero, underdeveloped side characters, fan service-y bits, and muddled writing in parts no doubt affected by re-shoots. I’m not going to try to explain away all of them, but I’ll just say I hear you and this write up really isn’t about whether Rogue One is objectively a good movie or not.

(Though, objectively speaking, this bit of fan service was fun as hell.)

My resonance for a film like “Rogue One” began as early as my teenage years when I began getting introduced to stories about samurai. These movies from the Land of the Rising Sun are the equivalent of Westerns for Japan, typically following a lone swordsman or group of warriors coming to save a village from marauders or looking to become the best version of themselves possible.

A recurring theme through a lot of them though is how they often end in tragic ways. A film like “Seven Samurai” ends with most of the ronin killed in their desperate struggle against pillaging raiders, the “Tale of the 47 Ronin” (no, not that one) ends also with most of them committing hari-kiri after successfully avenging their former master, and NHK’s early 2000s drama on The Shinsengumi ends with the group disbanded, their leader executed, and the remainder fighting a war they know they’ll lose against the Meiji government.

(Simply iconic.)

I know this all sounds moribund and sad as hell to watch, and it is, but my main takeaway growing up wasn’t how sad it was that most of the characters I grew to love and connect with while watching and reading these stories died; it’s that there was victory even in simply fighting to the very end.

For the swordsmen and samurai in these stories it wasn’t about whether these characters would live to see their victory or even live to benefit from it but rather that their willingness to stand up and fight anyways because it’s what they believed in. They could’ve stayed down, they could’ve ignored their growing plight, they could’ve let the more domineering forces rule over them while they kept their heads down into their final days but they didn’t because real defeat was simply ignoring all of that and doing nothing even it meant survival.

“Rogue One” deals with this early on in its two leads, Jyn and Cassian. Jyn is jaded because the Empire took her family away from her and the only remaining father figure she had abandoned her not long after, leading her to accept a life of simply surviving. Though Cassian finds himself a part of the Rebellion, the work he does on their behalf has turned him away from being an idealist to one who deals in a “whatever means necessary” approach to achieve their needs as he has largely abandoned his morals in the process.

(“It’s not a problem if you don’t look up...”)

As the story progresses from its first half Jyn begins to see the necessity of rebellion, that the alternative of simply living to see the next day is not enough and certainly not a real victory. Through Jyn, Cassian rediscovers his humanity and joins her in her own inhouse rebellion to attack Scarif with a band of other soldiers looking to do the right thing, not content to just simply outlast the Empire.

The supporting, albeit unpolished, characters show microcosms of this theme of apathy turning into defiance. Chirrut’s optimistic demeanor and relentless faith in The Force eventually snaps Baz out of his own cynicism even if it comes in their final moments. Bohdi’s own small but willing act of rebellion is the catalyst for the entire story and even K-2SO for all his cynical behavior through the story commits a selfless act of sacrifice to buy Jyn and Cassian time to retrieve the Death Star’s plans.

They all perish at the end, and though I understood that was probably coming before I saw the movie, I was deeply moved by it. Even if you pretend the original trilogy never happened, there was something quite beautiful about seeing this band of ronin, if you will, sacrificing themselves for a cause they knew they would never get to see finished.

(Not afraid to admit this scene moved me to tears last time I watched this movie a couple months ago.)

I’ve been a sucker for stories about victory even in death since I was a kid. Besides Samurai films, movies and TV shows like “Glory,” “Saving Private Ryan,” “Black Sails,” or “Spartacus” (STARZ) all tell similar stories of a willingness to stand up and fight for what’s right and sacrifice for the greater good.

It’s not just film that tells this story though; history does too. Whether it was black liberation and Selma beginning in 1965, interned Japanese Americans fighting until the 90s to earn redress from the government, or the Chicano movement headed by Cesar Chavez in the 60s and 70s still felt today, these fights for justice are often fought with blood and not everyone gets to see the fruit of their resistance. But it starts somewhere. The seeds of victory are planted and often fertilized by the bodies of people willing to lay down their own for others and this moment in time we are experiencing is not unlike those of the past.

(Their pain, their suffering made progress and our continued movement forward today possible.)

It is easy to want to give in. I don’t blame you, this whole year has been grim and brutal from the start, but whether you liked “Rogue One” or not, it’s biggest takeaway is an important one; fight even if you might not see the end. Jyn, Cassian, and the crew of Rogue One may not have lived to see their rebellion triumph over the Empire but they undeniably ignited a flame that made its revolution and victory possible.

There is a flame burning bright right now and no matter how exhausted you may feel by what’s going on I say keep going. There is a long road ahead to fixing this country’s many issues but it has to start somewhere and if we are willing to go the distance even if we don’t all get to see the finish line ourselves, together there is no limit to what we can achieve.

Rebellions are built on hope, so don’t give up. Not now, not ever.

Solidarity and may the Force be with you all, my friends.

[popwasabi]

Civilization is coming: “Black Sails” and when rage is justified

(SPOILERS ahead! You’ve been warned...)

There’s a moment late in the first episode of the highly underappreciated series “Black Sails” that hints not only at the troubled past of its lead character Captain Flint but also describes the larger theme of the story.

Flint has gotten himself into trouble. Along with his crewmember Billy “Bones,” in an effort to secure the financing he needs to capture the gold from the Spanish warship known as L’Urca de Lima, his recklessness has gotten Nassau’s governor shot and injured and his plans all but evaporated. Billy feels they are now in too deep and they should not only turn back but perhaps new leadership is needed for Flint’s crew. It is here that Flint reveals a bit where his true ambitions lie.

(Toby Stephens, ladies and gentlemen.)

On the first viewing, Flint ominously declaring the pending arrival of “civilization” to the new world could mean anything from simply the imperialistic tendencies of the British and Spanish empire, to the draconian rulership of the crown or just “taxes” as he makes light mention of in this speech. But as the series progresses, especially in the second season, “civilization” begins to take a darker, more personal meaning.

The story begins to reveal that the dangerous pirates of Nassau are not at least inherently dastardly, although certainly violent, but victims of their various circumstances; a former slave turned prostitute turned keeper of secrets in Max, a neglected daughter becoming the bookkeeper of the pirates with Eleanor Guthrie, another former slave turned ruthless pirate captain in the vicious Charles Vane, and an abused woman turned deadliest pirate on the island Anne Bony, and none more painfully revealing than that of Flint himself.

You see Flint didn’t always go by this name, he used to be a prominent officer in the British navy named James McGraw until he met Thomas Hamilton, a wealthy proprietor tasked with solving the problem of the pirates of Nassau many years prior. Thomas had the radical idea of pardoning the entire island to bring them back into society, to avoid violence and bloodshed, and to better understand the people who would turn to piracy.

As James gets to know him more and his revolutionary philosophies of empathy and enlightenment the two unexpectedly fall in love and thus seal the fates of both their downfalls from “civilized” society.

With England unwilling to see any other way to end the pirates without exterminating all of them and looking to exploit weaknesses in Thomas to Parliament, he is outed and imprisoned. James along with Thomas’s wife Miranda, who lives in a polyamorous relationship between the two, are persona non-grata-ed and the two flee to Nassau to finish what Thomas started in an act of rebellion.

(This is seriously one of the most heart-wrenching, tragic reveals I have ever seen on TV. I totally knew it was coming at the time and I was still not prepared for how it was delivered.)

There are few things as personal as love and “Black Sails” uses this to show how far society can go to villainize people. Flint wasn’t born a monster, and he is not one for loving Thomas; he is a monster because “civilization” wanted him to be one.

As our own civilization enters a timeline that may promise great change, people who have been othered and victimized by society are finding themselves grappling with their pain and grief in the same way as Flint. People have tried peaceful reconciliation and conformity into society to avoid violence throughout history despite the labels they have been given for no other crime than being who they are, but civilization’s need for a monster always brings people down no matter how hard they try to do it the “right way.”

(Tell me if you see a justice system in this picture that looks interested in listening...)

Native Americans tried playing by the white man’s rules when America began moving west. Compromising over and over again and yet they were killed and still killed and neglected today for it.

African Americans tried becoming rich like their white counterparts in places like “Black Wallstreet” in Tulsa, Oklahoma  and were still bombed and massacred for it.

Asian and Latin Americans immigrated here to flee war and death largely caused by white imperialist countries, to survive and work jobs white Americans would not. Both are othered as foreigners, face violence from the state, and are deported everyday.

Poor working-class Americans try fruitlessly to keep their head above water as they become mired in debt, fighting a pandemic on slave wages essentially, all while our government cuts wealthy companies a fat paycheck annually with our own tax dollars. And anyone who fights back finds themselves without an income and health insurance during a recession and a pandemic.

And the LGBTQ+ community ask for the dignity to be left alone and treated normally but not only are they harassed for it but they are beaten, tortured, and killed for being different.

(Remember, Stonewall was a riot.)

Flint, himself, tries one last time, toward the end of season two, to peacefully resolve his vendetta with England and save Nassau from a war with them but instead finds himself facing the gallows anyways by the Charlestown government.

As they read out his charges, many of them real heinous things he did but also many that were fabricated, Flint stops them from proceeding any further and delivers a final act of defiance to the court.

“I have one regret,” he begins to the court of high society folks who are only interested in seeing him punished before the masses. “I regret ever coming to this place with the assumption that a reconciliation could be found. That reason could be a bridge between us. Everyone is a monster to someone. Since you are so convinced that I am yours, I will be it.”

It is at this point in the story that Flint, perhaps like other revolutionaries of the past, recognize that the system doesn’t want to reason with him, that these people aren’t looking to understand or empathize with him or even try for that matter. They wanted a monster, they made one in him, so he decides there that “civilization” as he had noted in the series first episode is not worth reconciling with and certainly not worthy of forgiveness.

And Flint spends the rest of the series in bloody war with them.

(From season 3. Again Toby Stephens, ladies and gentlemen)

“Black Sails” is about queerness, race, social politics, and the way conformity by force is used against it. It’s about the rage that boils underneath many of us as we are wronged over and over again by society, while being exploited to no end, and what happens when someone finally says “enough.”

Anyone who has experienced what it is like to be othered can find something deeply personal with the anger that Flint carries around with him in each scene of this series. We feel his pain of rejection by society, his grief for feeling ashamed of himself when he and the audience know he shouldn’t.

It's what makes the eventual reveal of his relationship with Thomas so cathartic, as we see the rage-filled guard of Flint drop as he reads Thomas’s words left for him in a book they both loved and shared.

(Again, I cannot emphasize enough how much of a gut-punch this reveal was watching this...)

"Know no shame” is so important to growth of this character and the message of this story. Civilization and those who wish to keep the status quo want those who do not fall in line with their authority and judgments to feel shame for who they are. They not only want monsters, they want you to feel like one and the reason Thomas line speaks so much to both Flint and the audience is that it reminds us there is no shame in who we are.

The country we live in is a powder keg right now experiencing the same rage that Flint feels and more specifically how he felt at the end of season 2. Though this country’s racist attitudes and subjugation of the vulnerable hardly started with this presidency it cannot be argued that it has brought all that hatred in our government and the people who support those views painfully to the surface. When people peacefully protest, peacefully assemble, and peacefully try to cast their vote and are still met with resistance, still met with hatred and violence, people have to start to wonder if operating within the system’s rules can actually affect change.

A lot has been made about the way protesters may have violently lashed out over the past three weeks, with media talking heads and privileged elites asking unironically why they couldn’t do things peacefully but more has been done as result of the rising tension than the previous 50 years combined. You can tell people to “#vote” all you want but it doesn’t change the fact that people have been trying that for decades and people are still getting quite literally killed for it.

(Again, I gotta ask, who is this protecting? Who is this serving?)

If there’s one takeaway I hope a viewer gets from “Black Sails” is that revolution, no matter how serious you are about it, should never be off the table when confronting systemic inequality. A racist, sexist, classist, and/or, in the case of Flint, homophobic power structure does not concede their power if you play to their convenience and when people are being put down, beaten, and often killed for showing their anger at this, calling for “law and order” becomes a slap in the face to the victims.

A government or system that treats you unjustly doesn’t deserve peace.

I’ll say it again.

A government or system that treats you unjustly doesn’t deserve peace.

No one wants it to get this far, I definitely don’t, and certainly not every peaceful mean has been exhausted yet in this fight perhaps but this country was literally founded on violent rebellion after being slighted all the same by out of balance power structures. I’m not advocating for violence or to take up arms against the state right now BUT no one should ever rule it out when the social contract keeps being broken and broken and broken again by those in charge who clearly don’t want to listen.

A government should always feel the threat of an uprising if it keeps wronging its people.

(See my blog post about “Do the Right Thing” if you need help understanding this quote.)

As the more fiery weeks of the protests seem to be in the rearview mirror and we find less activity and calls to action on our social media timelines, I want to remind you all to not let up with whatever you are choosing to do to help and keep fighting back out there. The people who stand to benefit from having angst of the general public leave and dissipate from our collective consciousness want us to forget how angry we are, they want us to feel fatigued and disinterested in continuing the push forward because “this is how they win” as Flint would say.

(Again, Toby Fucking Stephens, everyone.)

We have so much more power than we realize, just look at how much got done just by everyone uniting behind one marginalized group finally over the past three weeks. When we realize we are fighting essentially in the same battle for respect and dignity, justice in our society can be achieved. It can be done, and maybe just maybe we can finally change the world. Afterall who else has been as close to achieving it as we are right now?

Fight for your dignity and respect and stand in solidarity with others in their own fights as well, and always remember “know no shame.”

Raise the colors and Happy Pride, everyone! (credit: Luluxa on Tumblr)

[popwasabi]

“Do the Right Thing” and “the language of the unheard”

Two things tend to happen following the death of unarmed African American at the hands of law enforcement in this country.

The first are protests that often lead to heightened demonstrations of anger, which lead to police decked out in riot gear to come in and put a stop to it while property and storefronts often burn around them. The second is a condemnation of all that but less so of the brutality that led to the riots but of the riots themselves.

In America, there is a modern philosophy of “civility” at any costs, that even when angry, even when rightfully enraged by the injustices that befall a group of people, you are STILL expected to “behave” and it is YOUR responsibility to stay calm and do the right thing.

“I’m sorry, I agree with you, but I just can’t support you because of the way you demonstrated that belief” are often the words that follow.

(Image unrelated)

I’m not saying you should ignore all toxic behavior or that you can’t take issue with a movement’s methods, I’ll leave that up to you to decide, but I used to stringently believe this myself. In the wake of the Ferguson riots in 2014 where a Missouri police officer shot and killed unarmed African American Michael Brown for the crime of allegedly *check notes* stealing a box of swishers, I found myself participating in the same tone policing as much of the wider country.

“Yeah, the police were wrong to kill Michael Brown like that but also the protesters have no right to destroy their own city. That’s wrong, they should do it peacefully!” I proudly proclaimed at the time.

(Image unrelated)

Six years later my feelings on this have taken a complete 180, partially because the circumstances of our times have become exponentially more volatile but it really began with finally understanding an ending to a movie I got around to seeing in 2009; Spike Lee’s “Do the Right Thing.”

Back in the “halcyon” days of 2009 I used to be a part of a small Myspace (yea, I know…) movie club group where we all shared various movie reviews amongst each other upon individual recommendations. One day one of these members recommended watching 1989’s “Do the Right Thing.” Up until that day I really didn’t know much about Spike Lee beyond him being a rabid Knicks fan and opinionated Clint Eastwood agitator but I gave it a watch and I liked it quite a bit.

(Shade you can hear.)

“Do the Right Thing” details a day in the life of Mookie, played by Spike himself, as he navigates his rough Brooklyn neighborhood. Throughout his day, he and his mostly black neighbors, friends, and acquaintances encounter various micro aggressions in the form of gentrifiers, white and Asian store owners who disrespect them despite being their primary customers, widespread income inequality, and of course the police who monitor their every step. The movie examines the intersection of race and how it all comes colliding together when circumstances are less than perfect specifically to those that exist in African American neighborhoods.

I enjoyed this aspect of the film, it felt real and authentic to me, even humorous at times, critiquing the very real issues black Americans face every day while also examining how other groups of people interact with them. 

Where I took issue with the film, at the time, was its aforementioned climax.

At the film’s end, tensions have boiled over as Radio Raheem, one of Mookie’s friends, is called the n-word by Sal, Mookie’s white pizza store owner boss, leading to a scuffle between the two of them. Police are then called, pulling Radio Raheem away, nevermind that it was Sal’s words that ignited the fight, and put him in a chokehold and well, you know this story already…

Finally, the anger that has been rising throughout the film ignites with a growing mob agitated at Sal and his sons who they see as the main instigators. Mookie stands rubbing his face for a few moments before picking up a trashcan and tossing it at the window of the pizzeria, simply yelling “Hate!” as it crashes through.

A riot of course ensues, as the largely African American neighborhood tear the store apart, looting it of all its material goods before it burns to the ground. The next day Mookie returns to the scene of the unrest to ask Sal directly for his paycheck who angrily tells him his stunt destroyed his business to which Mookie simply retorts “Radio Raheem is dead.” The two argue for a bit but somehow ends with the two quietly understanding each other before they go their separate ways.

For the longest time I couldn’t square exactly with the ending despite my enjoyment of the movie. I never outright condemned the entire film’s message, (some people within that group I spoke of did though…), but I did find myself saying I couldn’t condone how it ended. Afterall, what did Sal do to deserve that kind of backlash, why did his storefront deserve to be destroyed? It had “nothing” to do with Radio Raheem’s death, right?

Fast forward to today and well, my attitude has definitely changed.

At this point I’m not going to spend an entire paragraph describing our current events as you all should be smart enough to know by now what’s going on but an African American friend of mine summed up these past two weeks in the most concise way possible I feel; “the results of oppression, poverty, hopelessness, and frustration is destruction and violence.”

Throughout “Do the Right Thing” Spike Lee shows us a microcosm of the effects of societal neglect and institutionalized racism has on his community. He tells us exactly why Mookie did what he did and yet still largely white viewers, which included myself at one point, were confused by this. At a certain point a person, a group of people, an entire community can only take so much before they take actions into their own hands.

When our white dominated society tells African Americans it’s “inappropriate” to protest during the national anthem, that it’s inappropriate to “make everything about race,”, ask “What about black on black crime,” respond back “#BlueLivesMatter” or “#AlllivesMatter,” when largely white Americans, especially those in power, ignore and refuse to believe all evidence that says otherwise this is what happens. These are the results of the neglected, ignored, and unheard.

(Btw, Roger Goodell can fuck all the way off with his crocodile tears until he gives a formal apology to Colin Kaepernick on behalf of the league, AT MINIMUM.)

There is a rush to judgment when the looting and rioting starts following these tragedies around the country. Nevermind the fact that police are largely the aggressors in all these interactions and attack peaceful protesters who are “doing it the right way” anyways but the blame for the destruction is almost only squared on the rioters themselves.

Cries of “Martin Luther King would have never supported this” and “He would call for peace and #unity right now!” are typical when this happens. King was a far more nuanced and complicated man than the liberal hippie that both Republicans and Democrats liken him to be and when you invoke his name to condemn protesters before the cops who actually started this you, and I cannot emphasize this enough, ARE NOT HELPING.

(If you won’t listen to me, listen to his daughter, you assholes.)

People generally want to empathize with victims but for some reason only want the perfect victim in this country. A victim that is a Saint in real life, lays down, does all the right things, and still gets hurt for it because they are “doing it the right way.” Sometimes victims are imperfect, including people who have been murdered by cops and people who loot and riot, but they STILL deserve to be heard and most importantly they deserve JUSTICE.

Nevertheless, these people are villainized to their most extreme as people are disproportionately being harassed by the cops while it all happens. Again, I cannot emphasize this enough, when you spend more time talking about “good” vs “bad” protesters you are helping those who benefit from maintaining the status quo. They WANT you to make this about those “criminals” and “thugs” who would “destroy our communities.” Nevermind, that upping the militarization of our police force only INCREASES the chances of a protest turning violent anyways.

(Tell me who is this protecting? Who is this serving?)

By making this about the “bad protesters” they drive a wedge between you and the cause so that police brutality can be maintained, so that power structures are not changed, so that you can be “protected” from people who are actually fighting for your rights right now. When the media and politicians use this kind of language, they are giving cops free reign to justify all forms of heinous means of pacifying these demonstrations, including ones that are banned in war. They want you to miss the point, they want you to forget why this started, hell they want you to forget they looted your asses long before the “rioters” looted a multibillion dollar company’s store who has more than enough insurance to recoup their losses anyways.

Spike Lee is often asked about the ending to “Do the Right Thing,” a question I would’ve asked him myself even just a few years ago, and he’s quoted as saying “only white people ever ask me that question.”

MLK’s name is often invoked when shit hits the fan in these demonstrations and while I’ll admit that I don’t like seeing neighborhoods destroyed and certainly don’t like seeing small businesses torn down and looted it’s important that King wanted us to understand why they happen and to keep our eyes on the ball:

“A riot is the language of the unheard” is important in understanding “Do the Right Thing” and this current moment we are having in history. While I have been pleasantly surprised by the near unanimous support Black Lives Matter has had across the board by people I would never thought to become radicalized there are still pockets of people who make this about the “right way” to protest.

To quote Spike Lee even he says he is unsure if Mookie did the “right thing” or not in that situation but he also says, “I know who did the wrong thing.”

Some of you might be saying still that MLK would not have supported these riots and hell, that may be true but need I remind you, there’s a reason he's not here today to tell you himself.

I’ll leave you with the same two quotes Spike left his audience in 1989 from MLK and Malcom X. I want you to read them both thoroughly and see if you have done the right thing yourselves over these past two weeks.

I truly hope you have...

Love and respect, y’all.

[popwasabi]

“Westworld III” takes several steps forward...and several steps back (REVIEW)

Created by Jonathan Nolan and Lisa Joy

Starring: Evan Rachel Wood, Jeffrey Wright, Aaron Paul, Ed Harris, Vincent Cassel, Tessa Thompson, Thandie Newton

(SPOILERS AHEAD)

Season three of HBO’s “Westworld” cleans up many of the issues season two had but ultimately falls short of season one’s loftier thematic ideas.

It’s cinematically sharper, it’s about as well paced and fun as the show has ever been and that on it’s own makes it worth watching and certainly worth continuing the series going forward but for fans hoping it might have something new to say in the vein of its hyper meta-textual and thematic commentary of the first season it may leave you disappointed.

Season three may have raised the stakes of the series with its pending (and frankly, all too timely) apocalyptic vibes going on in the story but it lowers the bar on its cerebral nature opting more for fast paced thrills over anything more profound or hadn’t said already.

That said, I can’t say I didn’t enjoy it anyways for better…and worse.

“Westworld” season three picks up not too long after the events of season two as Dolores has infiltrated human society and begun working on her master plan to bring it all down. She has spared Bernard, who now spends his life as butcher outside the major cities but he often wonders where she is and when this apocalypse will begin. Meanwhile a veteran named Caleb spends his life doing the same mundane tasks and mercenary work everyday to make ends meet pondering his existence as he deals with his PTSD. He decides to break the cycle however when one day he finds Dolores shot in an alleyway and joins her on her quest to start a revolution.

“Westworld” is one of the few series that hooked me immediately with its first episode.

Where some series take their time to gain momentum before going into overdrive in their season finale, season one’s “The Original” grabbed my attention from the start with a combination of mystery, action, stellar acting, and the kind of cerebral humanist story-telling I expect and want from the cyberpunk genre.

As someone with a father who talked extensively about myth, theme, and got me to listen to old Joseph Campbell essays on CD  growing up, a series that explored story-telling on a meta level with a high octane LARP concept setting was everything someone like me could ask for in a science fiction series.

(Seriously, there was some compelling analytical story-telling dialogue in this series.)

So invested I was in this tale of synthetics gaining agency and humans exploring their own personal myth-making and what it said about themselves made me a huge fan early on, proudly proclaiming it to be the best show on HBO several years ago.

I was so certain this series was creatively the best thing on television at the time that I strongly considered getting a maze tattoo like that in the show to proclaim my brand-new fandom.

But knowing there was still more seasons on the horizon, I held off thinking I should probably see this through before doing anything that brash.

Well, a few years later I feel pretty good about that decision…

(Imagine how fans who named their newborns Daenerys or Khalessi feel right now...)

I remember thinking at the end of season one “Where can they possibly go from here still? Other LARP destinations in this cyberpunk world? A robot vs human war? How can the world expand?”

The problem is these thoughts did not really ask the most important question following that first season; “What more does it actually have to say?”

The first season is, in my opinion, a perfect season of television. It’s a brilliant take on the stories we tell ourselves, the choices we make that define us in our personal myths, and the exploration of our nature and how that relates to choice all while playing out this synthetic mystery plot. The entire first season pulls all these arcs and ideas together through characters like Bernard/Arnold, William/The Man in Black, and of course Dolores. They all, more or less, complete their arcs in that first season and there’s not really much needed to be said beyond that when you really think about it. If the series ended on Dolores murdering Ford and the Delos guests in the season finale that honestly would have been a perfect ambiguous ending to send the story off on.

(Kind of itss own meta commentary on the journey of a fan and an ever-increasingly cynical series...)

But because this is HBO, and “Game of Thrones” is no longer the driving force of premium TV, Westworld MUST continue because it’s the new cash cow for the channel. Whether or not writer/producers Lisa Joy and Jonathan Nolan really knew what they wanted to do following that first season is anybody’s guess but it’s hard not to see that they have struggled a bit since that point.

Season two is a mixed bag, where the characters literally feel like they’re going in circles. Plotlines get muddled, characters become hyper versions of themselves, and while certain ideas and episodes reached similar levels of brilliance that the first season had it still lacked the narrative sharpness of the first season and that has a lot to do with the characters having mostly no other driving force besides survival and simply getting to the next physical plot point.

It just didn’t have much more to say and frankly in a story about stories that’s pretty damn important.

(This episode from season 2 is still one of its best.)

To their credit, Joy and Nolan appear to rectify quite a few issues season two had with season three. Again, it’s faster, better paced, there’s a clearer destination at the end for its characters and not to mention a pretty compelling villain for this season’s plot in Serac played by the brilliant Vincent Cassell.

But it suffers ultimately the same problem; it has nothing truly new to say.

This is not to say the season is without any meaningful messages or metaphors. It’s quite critical of our hyper surveillance and information gathering state, might even be the best depiction to date on the broader implications and consequences of a world where we all have our personal information readily online to mined and plundered by big businesses and government. Caleb, played by the always great Aaron Paul, is a good avatar for the everyman who has grown jaded and disenfranchised by this system. Though he spends most of the season looking overly shocked and gape-jawed at just about everything, it’s hard not to feel empathy and a connection to this character as we are quite literally living in a bit of a cyberpunk hell as it is these days and treated just as much as expendable commodities right now.

(You fucking jackasses are arguing for the wrong things! You’re all being swindled and cheated for nothing! *photo “unrelated”*)

The season is generally best when the focus is on him, as the first episode delivers a strong start in the same way season one did.

Where the season begins to fall apart though is when quite literally the world “Westworld” inhabits begins to do so itself. Serac’s Rehobaum, which reminded me just a little too much of “Hitchhiker’s Guide to the Galaxy’s” Deep Thought, releasing all its data to the world and everyone discovering they’re basically all dangerous assholes is almost hilarious to me. 

Though the idea of hyper data controlling our every move is a good cyberpunk metaphor to jump off of, the way this bit is executed is a little over exaggerated and clumsy.

(Though it does deliver a pretty powerful scene regardless.)

This isn’t actually a tremendous problem with season three, but it doesn’t do much to add to what we already understand about the story; which is how narrative controls us and how important choices and free will is to that. All this is already told and expanded on in the first season through Dolores, all season three does it bring it to a macro level and put that onus on the humans instead of the hosts. The hosts were already a metaphor for humanity anyways so again the story in some ways hasn’t changed much since season one.

It's interesting to have the narrative of the hosts turned on the humans but thematically it feels redundant.

I’ll add that this isn’t the worst idea they could’ve gone with, it works in moving the physical aspect of the story forward for sure, and I wouldn’t even classify it as a bad one, but again the problem is the story has largely run out of new things to tell us.

We like stories because we want to learn some truth about ourselves, whether we want it to or not, and Anthony Hopkins’ Ford makes a great point of this in season one. This has been the purpose of myths and legends since the dawn of time and it’ll be no different even when the 37th Fast & Furious comes out in 40 years. You could argue that the message of Westworld deserves repeating or that it’s not important to the entertainment value it still provides, and you might be right. But for a series like this, that is so invested in what stories mean I don’t think it’s wrong to think there should be more to it than this.

(Maybe, I should’ve...)

Of course, there’s still plenty more to see out of “Westworld” for the foreseeable future as HBO won’t be canceling it anytime soon and certainly it’ll have its chance to still tackle more ideas and themes in the future but, at this point at least, it’s been less meaningful that its first season.

There are other problems too, namely Dolores constantly changing and unclear revolution plans and arcs resolved offscreen, certain side plots with other characters ultimately going nowhere, and a fairly predictable twist with Caleb, but this is the crux of the problem with the series as it stands now and the one worth mentioning the most.

(And Maeve, *sigh* oh Maeve...)

That said, season three really is a lot of fun despite my issues with the narrative. The pacing, as mentioned, is great from start to finish. I was never bored or disinterested during this season, despite its flaws, and the action bits are frankly better than they’ve ever been as the series goes full cyberpunk in parts with great robot on human and robot on robot action.

The cinematography is sharp and striking too as Jonathan Nolan shows he’s definitely Christopher’s brother with some beautiful, haunting shots of the future Los Angeles city Gotham-esque skyline set to Ramin Djawadi’s excellent cyberpunk score that gives the new season a more noire-ish feel that would make Vangelis and Hans Zimmer proud.

(In the future Los Angeles will be Singapore!)

The acting is still stellar of course. Though Jeffrey Wright’s Bernard is largely wasted in this season and his plot goes nowhere, his scene with Gina Torres in the finale is touching. Luke Hemsworth is dry as hell in a good way as Chief of Security turned personal buddy bodyguard to Bernard as Ashley Stubbs. Ed Harris is wicked and dastardly as always as William and of course Evan Rachel Wood is solid as the driving force of the series as Dolores.

(Out of context season 3 spoiler.)

The finale doesn’t leave much to say beyond a pending machine vs human war though which has been building up since the first season anyways. While I can see some possibilities for an interesting direction here, I can’t say I’m as intrigued as even the finale to season two left me.

In some ways, season one left me not too much unlike William going into season’s two and three; looking for additional meaning in something that wasn’t looking to tell me anything deeper, at least right now. Perhaps the maze just isn’t for me anymore but moving forward I’ll be lowering my expectations.

(Oh my God! Meta commentary on meta commentary! It’s meta-ception! I’m beginning to question the nature of my reality!!!)

“Westworld” remains a fun cyberpunk action series that can hold your attention span for an hour, and I think it’ll maintain that energy consistently going forward, but it might’ve been best left where it was when Dolores put a bullet in Ford’s brain.

I do hope it can regain some of its original spark at some point but until then…it doesn’t look like anything (deep) to me.

VERDICT:

3.5 out of 5

You said it, Marshawn...

[popwasabi]

What “The Dark Knight” says about our bad politics

Waaay back in the summer of 2008, me and my dad drove up to Northern California to attend San Jose State University’s freshman orientation.

It was a long drawn out process where first-year students basically were told and shown a bunch of things they would forget and relearn by their first day anyways and culminated with all of us spending one night in the campus dorms so we could all get a taste of the “campus life” experience.

I wanted it to end badly for a couple reasons. Being an introvert, I was not comfortable sharing a room with anyone, let alone a stranger, for a night but more importantly, I was being kept from the biggest movie premiere of the year that day: “The Dark Knight.”

As soon as I woke up the next morning, I rushed my dad to find the nearest theater and purchased tickets immediately for a late-night screening. I was already a huge fan of “Batman Begins” but every trailer to Christopher Nolan’s epic follow-up indicated we were in for an even bigger blockbuster than before and I was beyond pumped.

(Me getting the fuck off campus to watch “The Dark Knight” that day.)

Two and a half hours later I left the theater blown away by the experience. “The Dark Knight” was everything, at the time, I was hoping for in a comic book movie; angsty, dark, edgy (all things I thought I was as a teen), cinematically sharp, thrilling, a fantastic score once again by the legendary Hans Zimmer, and fulfilled just about every fanboy wet dream I had at the time for a perfect Batman movie.

To this day it remains the most satisfying theatrical experience I’ve ever had seeing a movie, not that it’s my favorite movie of all-time anymore, mind you, but that I have never gone into a movie with such high expectations and had them blown away quite like that since.

(Conversely, this^ was my most disappointing experience...)

I’m a different person now, of course. If you were to wipe my memory of the film and had to watch it again today I doubt I would have the same fanboygasm I had then as the cynical 30-year-old I am now but I’ll argue that “The Dark knight” still remains a high mark, if not the standard, for comic book movies today.

That said, parts of this film have definitely not aged well. Visually the film still holds up, the action is still exciting, the performances are all stellar (though Bale’s Batman voice is still bad) but what hasn’t aged well, for me, are the movie’s politics.

“The Dark Knight” is, of course, a post 9/11 movie, in fact, it’s arguably the definitive one as its pop-cultural footprint dwarfs pretty much all within its sub-genre. This Nolan sequel deals heavily in themes of terrorism with its iconic villain The Joker, played maniacally by the late great Heath ledger, wreaking havoc across Gotham with various explosive devices. Though the Clown Prince is more an anarchist than someone with an ideology, like those in Al Qaeda or the Taliban, the results of his beliefs/non-beliefs are more or less the same; cause pandemonium and fear in the masses. Batman, representing the power of justice and order, does battle with this in a war to save Gotham’s soul and again this is still a damn entertaining and thrilling story.

(Seriously, it’s still a rock solid entry in the comic book movie genre.)

But where the film’s 9/11 politics become problematic is toward the end of the film when the Joker begins his final act to plunge Gotham into unstoppable chaos. Batman becomes desperate; The Joker has eluded him at every turn, always two steps ahead of him, escaping justice no matter what Bruce Wayne does so he concocts a plan to finally to locate and stop the Joker for good.

He creates an elaborate sonar system using every cell phone in Gotham, effectively creating a massive surveillance state to spy on its citizens in order to locate the Joker.

(And it’s the only time we have ever got the real Batman eyes on screen, damn it!)

Lucius Fox, played by Morgan Freeman, appropriately calls this out telling him he’s wrong and that he cannot support this but Batman insists that it’s the only way. Fox reluctantly agrees and tells him he’ll resign once this is over as he can’t morally support such a system. The sonar, of course, works and Batman is able to stop the Clown Prince once and for all and upon Fox entering his name into the sonar computer the program dissolves and is deleted presumably for good.

This is of course to wash Batman’s hands of this deed to the audience. Our protagonist knows this is wrong, the audience is told it is wrong but by ending the surveillance he shows he would never abuse such a program, that sometimes good men have to do terrible things to defeat evil and that makes it ok.

For years, as a bleeding heart liberal (at the time) who grew up in the Bush years but loved the hell out of this movie, I tried to reconcile with this part of the story because Batman was the hero. I thought maybe this kind of action is ok because if the “good guy” is in charge bad stuff is fine because he/she won’t abuse such power. That’s real justice, right?

The problem is in the real world, at the top, there really aren’t any good guys and they are counting on you to believe that they are when they get a hold of such power because that’s how we are programmed.

The Patriot Act, which was the signature Bush-era reform post 9/11, created our current surveillance state. In the interest of national security and ensuring those “dern turrists don’t go killing lil’ Timmy riding his tricycle out in Des Moines, Iowa” our elected leaders, both republican and democratic (make no mistake), effectively signed away our constitutional rights to “ensure our safety” by spying on us basically without warrants. The proponents proudly claimed its necessity in fighting the “War on Terrorism” and those naysayers either shouldn’t worry “if you have nothing to hide” or worse were un-American Taliban sympathizers.

For progressives, of course, this was an evil violation of our civil liberties but for many conservatives, this wasn’t a big deal. They are just trying to keep us safe after all. 

But conveniently ignored by many on the left still today is the complicity they had in bringing about this era in warrantless surveillance. Yes, this policy started under Bush, of course, but it continued to be re-upped through the Obama administration and the Trump administration, not to mention revolving majorities in the House and Senate, showing no matter who was in charge they all liked the idea of keeping an eye on all of us with or without reason.

Considering the Patriot Act was made to win the “War on Terrorism” our leaders were never going to relinquish this power anyways because you can’t win a war on terrorism. Terrorism is not a country or a people, it’s an ideology behind many different ideologies. The US, no matter how you see it, be it as liberators or oppressors, will always have enemies and that’s all the reason they need to keep this power it seems.

Having the data on our lives mined like oil can easily be used against us in a variety of ways regardless of if any of us have terroristic or even criminal intentions. But for many in this country, it was only a problem if the wrong guy wielded that power. As soon as their “good guy” got in though, suddenly it was no big deal. I wonder why...

“The Dark Knight” puts forth a problematic view on who can and should wield supreme power, that even terrible choices can be made as long as the “right” person is the one making them.

Liberals are notorious for justifying them when it’s one of them who does it.

It’s a lie. A lie that both parties use to their advantage because they want you believe everything they do can be justified because you happen to be a part of their party; the “good guys” once again. But there is something extra cynical about the way liberals wield it as they parade themselves around as paragons and moral pillars against the Jokers of the Republican party.

For all the platitudes liberals give, that would make some superhero speeches seem benign, they wear masks about as well as the vigilantes do but not for the same reasons. When confronted by this blatant hypocrisy, liberal voters justify all kinds of horrible things as long as the other “bad guy” isn’t the one doing it. For all the shit Bush gets, and rightfully so, for plunging us into a military, financial, and humanitarian quagmire in the Middle East, Obama gets almost zero real pushback by liberals for effectively drone bombing the hell out of the same people. During these past three years Trump has more or less allowed ICE to run rampant on immigrant communities sure and liberals have been critical, again as they should, but who made the cages they were thrown into and who deported more of them during his first three years in office than Trump did?

(And once again, and I can’t emphasize this enough, Andrew Cuomo is NOT your fucking friend...)

Liberals often like to present themselves as the moral purveyors of good in the face of conservative opposition and they use it to their advantage to more or less do many of the same foul things those with R’s next to their name do. Sure, not all their actions are equally as evil but even then, we rarely truly hold either of our leaders feet to the fire because we believe their actions are somehow better because they have a “D” next to their name.

These horrific policies and actions will never see justice as long as we keep justifying them because the “right” person is behind them.

No, this is not an all sides are equally bad take. That discussion requires more nuance and for a different time, but I will say both sides are varying degrees of bad that should be taken seriously instead of not at all and can’t be pushed aside again and again and again because “the other guys are worse.” 

We are running into the same situation today as our presidential election features a credibly accused rapist, sexual predator, who supports Bush-era tax cuts, who takes money from major corporate lobbyists, who is against Medicare for All, has open disdain for millenials, and not only supports but openly bragged about the aforementioned The Patriot Act.

Hmmm, sounds an awful lot like someone we know, huh?

You could argue that one of these two men mitigates, or even vastly mitigates, harm if in office and I’m not here to necessarily scold you for making what you feel is morally the least awful choice but the point still remains; we are justifying evil again because our “good guy” is in charge.

Being liberal, just on its own, does not vastly minimize the problematic nature of a bad person.

Regardless of how you feel about this election and what choice you plan to make this November (and again, I’m not here to tell you what to do), bad things and bad policies will be continued to be enacted by bad people because that’s what choices we’ve been given. There isn’t a good one and the most vulnerable will be hurt the most by it regardless of who wins. There is a reason so many are disillusioned with voting and it’s not just voter suppression laws.

I can already hear some of you screaming “OH MER GERD pURiTy TeStS,” but this is far more cynical a standard we have than simply choosing a less than perfect candidate. Many are already making rather tone-deaf comments about people being “privileged” for choosing not to compromise their morals anymore. What’s “privileged” is voting for the guy who will do less harm for you but ultimately still disproportionately harm more people of color no matter who is in office.  

(The country and the world can really begin to truly heal when a Democrat is in charge of one of these Freedom Machines once again!)

Yes, I might agree that one is probably a net positive for the world at this point but to act like someone choosing to not participate anymore in what is effectively a never-ending cycle I can’t say I blame them either. At some point, our society has to draw a real line in the sand on these things with our leaders and force a more moral standard for our government instead of the status quo.

We can’t go on this endless “pragmatic” path picking “the lesser of two evils” until we gradually just become evil. You can make the argument that maybe the time isn’t now, and you might be right but when? These folks at the top are COUNTING on us accepting circumstances and justifying terrible beliefs and actions over and over again because of the state of our politics.

“The Dark Knight” believes that sometimes bad things must be done to defeat evil but the real world can be so much less cynical if we stopped compromising on our beliefs. It’s not entirely too late for us to do the right thing. We can’t go on forever letting bad behavior go because the “good guy” will be the one doing it instead of the other one.

Taking money from corrupt billionaires is wrong. Extra-judicially drone bombing the Middle East endlessly is wrong. Throwing migrants in cages like fucking animals is wrong. Rape and sexual assault are wrong. Mass warrantless surveillance is wrong. Doesn’t matter if its Batman or fucking Superman doing any of these things; immoral behavior cannot and should not be ever justified.

Otherwise, we really will live long enough to see ourselves become the villain...

Looking forward to the comments on this one...

[popwasabi]

How some stoners named “Harold & Kumar” made Asian Americans proud

Being Asian American can make you feel invisible at times or worst, the butt of every bad joke.

Sure, lots of Americans love Asian things like sushi, kung fu, anime, and tacky calligraphy tattoos that don’t mean what they say they mean but they don’t particularly care about having the people themselves present or even represented.

And typically when we are represented it tends to look like this.

Or this.

Or this.

(I said what I SAID!)

Now Asian Americans are not by any stretch the most marginalized or even the least represented people in the larger American cultural diaspora, but they’re fairly consistently forgotten or grossly stereotyped in our media regardless and this has larger consequences. Representation is important because it makes a people’s presence known to the larger majority.

Our pop culture has unfortunately played a role in erasing, appropriating, and misrepresenting Asian folk. An action movie may feature a white actor with extreme martial arts skills fighting in Hong Kong but might not have a single prominent Asian voice throughout the plot and those that do are typically gross caricatures. The Cyberpunk genre loves Asian aesthetics from its Tokyo inspired neon lighting, futurist cityscape, and ramen carts abound but boy, is the populace typically dominantly white.

(I love this movie but considering how many Asian things and aesthetic choices there are in it would it have killed Denis Villeneuve to have at least ONE background Asian person??)

It’s not shocking then that 2004’s stoner comedy classic “Harold & Kumar” starts with a pair of white dudes beginning their own adventure by leaving one of the titular heroes in the dust to do their dirty work because “Asians love math” or something. Despite not being a stoner, at the time at least, I related hard to this movie and its characters as the film touched on a number of triggers I had growing up.

2004 was a formative year for me as an Asian American. For the first time ever, my history classes were touching on Asian culture with discussions on Japanese feudalism which awakened a deep sense of pride I didn’t know I had at the time. I was watching NHK samurai dramas about Miyamoto Musashi and later the Shinsengumi which led to me begin training in kendo. Anime had suddenly become more mainstream with the premiere of Shonen Jump and pirated subtitled anime littering all of YouTube. But more importantly, and distressingly, I became more aware of my identity because it was increasingly getting called out as I was getting older.

I’ve been labeled a number of different pejoratives growing up through my teens.

“Nerd.”

“Weirdo.”

“Loser”

But none cut deeper than “Chinese boy.”

I’m not Chinese, of course, in fact I’m half white and half Japanese but try telling the various ignorant lunkheads I knew growing up to respect and differentiate between them all. Hell, better yet tell them I’m just as American as they are too.

Being labeled “Chinese” hit a very personal chord with me. To lots of Americans, unfortunately, we’re all “Chinese” and the various qualities that make each of our cultures unique are inconsequential to them. We AAPI’s all individually take a measure of pride in those unique qualities and to have it all sequestered under a blanket “Chinese” label was beyond insulting.

(And I don’t care what you tell me or how much you hate China’s government, this is a THOUSAND percent a dog whistle.)

For Asian Americans, there have been various ways one reacts to these insults. Some of course, who learned confidence at a younger age, would shrug it off or ignore it, some would outright resent it but for me at least it only made me dig my heels in deeper. Yeah, I’m Asian, so fuck you!

That energy is deep “Harold & Kumar Go To White Castle” as these two Asian American characters not only navigate a crazy night of searching for an open White Castle to satisfy their stoner cravings but also confront various microaggressions from outside and within the Asian community.

Harold, of course, struggles with his confidence. He can’t stand up for himself when the aforementioned two white bros from the start of the film saddle him with extra work. He laments doing the typical Asian thing of being too passive when confronted by authority. He can’t find the will to ask the girl next door out because again he sees himself as an impotent Asian guy unwilling to make the first move. The whole movie he struggles with his inner feelings because he’s been taught and programmed to a certain extent to be timid because that’s the Asian identity.

Meanwhile, Kumar’s character is about resisting conformity to those same stereotypes but in the worst ways. He co-opts black and hip-hop culture as seen in his messy apartment room. He fights his dad who is forcing him to take his doctor's exam, something he doesn’t want. Generational pressure is common in all cultures but it’s an entirely different animal when it comes to the Asian upbringing. Kumar embodies this resist from beginning to the end of the film and though he does decide to take the test, it’s important that he chooses to do it, not his dad, and certainly not because he’s Indian. He decides that choosing to be a great doctor doesn’t mean he is becoming a stereotype because his identity is not just about being Asian.

(Every Asian kid has heard their parent make an unintentional innuendo.)

Harold and Kumar’s differing approaches create a charming pair for the film to bounce off as Kumar’s brashness often lands them in trouble and Harold’s timid demure keeps them down in its own way and the two finally come together when Kumar learns to understand the difference between conformity and choice and Harold learns conformity doesn’t define him.

Both characters confront all kinds of microaggressions against their identity throughout the film. Cops making fun of their names. The extreme sports bros making every racist joke every Asian kid has every heard growing up at them. All Asian Americans have grown up wanting to deliver the perfect comeback or “fuck you” moment against these types of people and when our heroes triumph and put them all in their place there is undeniable catharsis as it happens for everyone who has seen this movie.

(Seriously, there isn’t a more satisfying good triumphing over evil moment in film for me than the conclusion of this particular plot.)

The movie confronts stereotypes in more ways than one though. Throughout the movie Harold and Kumar are confronted by a situation that makes them think it’ll go one direction but ends up (usually comedically) the opposite. Harold and Kumar try to hook up with two beautiful transfer students who turn out to have horrible bowel issues. Harold is reluctant to go to the Asian American club party because even he believes in his own ethnic stereotypes of them but it turns out it’s a banger of a party with plenty of weed to boot. Harold and Kumar are picked up by a lonesome, disfigured tow truck driver and are shocked to find he’s married to a beautiful woman. And the aforementioned extreme sports bros turn out to love cheesy pop music and romantic songs.

Basically, the whole movie is about giving a big middle finger to all our preconceived notions we have about identity and it's brilliant.

(Nothing wrong with cheesy pop music, of course.)

“Harold & Kumar” is great for other reasons too. John Cho and Kal Penn still play greatly off each other. There’s plenty of great one-liners sprinkled between each scene. The entire journey to find White Castle burgers in the middle of the night is a fairly genius premise for a stoner comedy still. And Neil Patrick Harris playing “himself” is still iconic.

Parts of the movie haven’t aged, well of course. There’s some bad gross-out humor, some lazy gay panic jokes and not to mention some sexist quips that don’t land well in 2020. Also, let’s just not talk about the sequels.

(I still find this scene amusing though.)

That said, “Harold & Kumar’s” first film in this munchie saga is not only a grade-A stoner flick but simply one of the best films ever when it comes to bringing that much needed representation of the time to Asian Americans. Watching Harold & Kumar stick it to their annoying white antagonists while delivering a “fuck you” to every racist joke I ever heard growing up is still cathartic as hell and made me feel proud to be Asian American during a turbulent time for myself growing up.

Though it’s not Masterpiece Theater by any stretch, Harold & Kumar will always hold a special place in my heart and remains forever “high” on my list of favorite movies of all-time.

Happy 4/20, y’all!

[popwasabi]

Dr. Strangelove reminds us all how (hilariously) powerless we are...

The world may or may not be ending these days but it’s giving us a good glimpse as to how our leaders would react if it was and the picture so far ain’t pretty.

Republicans until this past month downplayed the urgency of the COVID-19 pandemic then pivoted to it’s not that scary it’s just the flu. Now with the economy quickly spiraling the drain, non-essential workers getting laid off in a fairly preventable mess, and essential workers fighting the virus many times without proper PPE, psychos like Texas Lt. Governor Dan Patrick are now asking us to sacrifice our grandparents to make a red line go up.

(Go back to bed, America. Your government is in complete control...)

Lest you believe this is just another “Orange Man Bad” take, plenty of liberals have given tone-deaf responses such as A-List celebrities poorly singing “Imagine” while getting front of the line virus testing, tucked away safely from society in their McMansions. And just in case anyone needs reminding just because Andrew Cuomo can speak in complete sentences while holding office in close proximity to a crisis he is still not your friend…

(But seriously I have questions...)

If the past three years ever weren’t eye-opening enough as to how our leaders largely ignore the desperate cries of their constituents in need then this past month and a half should. It’s become increasingly clear these people, who help create humanitarian messes like this, will not only get away with it but emerge from these disasters largely unscathed.

All this has made me think a lot about my favorite Stanley Kubrick film lately, “Dr. Strangelove,” and though its subject material is largely a satire of Cold War tensions it's nonetheless a reminder of how hilariously powerless one can feel in the face of governmental incompetence.

“Dr. Strangelove” needs little introduction. Considered by many to be one of the greatest dark comedies ever, Kubrick’s film is a brilliant satire of the hilarious limits of the Cold War policy of Mutually Assured Destruction (appropriately acronymed as MAD). It’s a story about how everything that can go wrong will go wrong when governments and their militaries are at consistent odds with one another, with Kubrick appropriately describing metaphorically the blue-balled nature of the war-hungry military characters of the film with plenty of phallic imagery and innuendos.

(*cough*)

Kubrick set out to dismantle this insane death cult-like foreign policy by showing how hilariously wrong it could go. With the US government practicing MAD policy of massive retaliation upon even the slightest provocation by the USSR and vice versa Kubrick saw the tremendous hole in such a plan and sought to create a story that appropriately dismantled the foolishness of such a foreign policy.

I was reminded of the movie as our leaders and various, mostly right wing, pundit heads downplayed the ever-increasing casualty list of the pandemic. What was just “15 people” then it’ll be “over,” turned into 100-200 thousand best case scenario with plenty of the aforementioned dummies from above saying that’s enough of a green light to reopen the economy. It bared all too eerie a resemblance to this famous quote by General Buck Turgidson played the great George C. Scott.

This rather darkly humorous line exchange shows how we’re not people in the eyes of a lot of our leaders; we’re numbers. Sure, some care for sure, but we are ultimately expendable to many of them. When jackass pundits like Glen Beck echo the conservative doctrine of “the cure can’t be worse than the disease” when it comes to saving our country by sacrificing “some” people for the “greater good” he really means us cause while we would have to return to our jobs, shop at stores, and participate in society to get it running again the richest and wealthiest can afford to wait out the storm in their affluent castles while we literally cough money back into their wallets. Like General Turgidson, their lives aren’t on the lines in these catastrophes and it allows them to weigh ours on rather cold scales.

This cold indifference has a real term attached to it and its rather hilarious titled “Megadeaths.” It’s a real term coined military strategist and physicist Herman Kahn in his book “On Thermonuclear War” who Kubrick consulted with in making the film. Kubrick makes a bleak but nonetheless funny reference to this as General Turgidson fiddles around with a folder in the famous war room of “Dr. Strangelove” labeled “World Targets in Megadeaths.” While it may feel too on the nose for some, with Kahn’s notes it becomes apparent how accurate it is to reality. Kahn’s indifferent use of the term gave Kubrick a rather bleak look into how government compartmentalizing its people into a cold numbers game and it feels all too relevant here.

(It’s not meant to be subtle because these people aren’t subtle...)

The world’s inability to function at the worst of times has a dark sense of humor to it that is largely echoed in this Kubrick classic. As individuals we do what we’re told, go to work, participate in society, try to live our lives, then entrust them to the folks we, or others, vote for and then act shocked when this happens. Our government’s piss poor response to this crisis is a product of decades of being misled into having the worst possible administration head the most powerful nation on earth during the worst viral outbreak in 100 years. And with a lot of the power the people have in this regard stripped away there isn’t much left to do except laugh.

“Dr. Strangelove” plays on this hilarious melodrama with every conceivable thing going wrong enroute to Russia’s doomsday machine going off. Peter Sellers is of course a joy playing three of the film’s major characters between English military liaison Colonel Mandrake, President Muffley and Dr. Strangelove himself delivering much of the film’s iconic lines. The aforementioned George C. Scott is perhaps a bit underrated at General Turgidson chewing the scenery and exemplifying the US military’s hardon for war and destruction. And of course, nothing brings the melodrama hilariously together more than this iconic sequence with the great Slim Pickens as Major T.J. “King” Kong.

“Dr. Strangelove” ends of course with the world erupting in nuclear holocaust set to “We’ll Meet Again” by Vera Lynn completing the humorously moribund nature of the film. Now I’m not saying this pandemic will bring about the end of the world. At some point we’ll return to some kind of normalcy but no one should forget how we were treated when the chips were down.

Our government downplayed our concerns, pretended it didn’t exist, and when it finally couldn’t be ignored anymore allowed the country to fall apart with many going without health insurance or UBI in the middle of a pandemic and pending recession. Yes as I’ve said before we are all rather powerless in the face of these disasters when our leaders hold all of it BUT that doesn’t mean you stop holding them accountable and certainly doesn’t mean this ends once the crisis is over.

They are still here; they are still in control for now. Fight like hell to ensure they don’t have it again next time disaster comes our way.

Just make sure you don’t fight for it in the war room. There’s no fighting there.

[popwasabi]

“Picard” S1 Review: Doesn’t boldly go but is nonetheless engaging

Produced by CBS All Access

Starring: Patrick Stewart, Isa Briones, Allison Pill, Michelle Hurd, Santiago Cabrera, Evan Evagora, Harry Treadaway

Many fans had high hopes for “Picard” going into CBS All Access’s continuing voyage into the Star Trek franchise.

Fans wanted to see the lore finally expanded into the future after its previous three ventures (Enterprise, Abrams Trek, and Discovery) took place in the past, bring modern themes and ideas to Star Trek’s futurist’s world view in a way that felt fresh and relevant, but most importantly continue the story of the franchise’s greatest captain; Jean-Luc Picard, of course.

(He’s the best captain. This is not up for debate. Don’t @ me!)

In some ways the new series succeeds at this. We get glimpses of the previously untouched world of Star Trek post “Nemesis,” new themes that are resonant with real world events and exploratory, even critical, of the Federation’s worldview, and of course plenty of Picard himself as he navigates the strange new galaxy he inhabits.

But Picard ultimately misses the mark due to rushed storytelling, half-baked side plots, and just plain poor execution overall. It’s sad because “Picard” and this very talented cast and production team have their moments throughout this first season’s ten episode run but somehow even with 10 episodes of content to work with fans still end up with a somewhat jumbled mess.

(Me by like the eighth episode.)

This isn’t to say “Picard” isn’t worth your time if you’re an avid Star Trek fan or just someone who likes Patrick Stewart in this role in general but the first season will leave you still hungry for more and not in a good way.

“Picard” continues the story of the titular captain, now retired admiral, many years after the events of “Nemesis” as a retired Jean Luc reflects on his life in Starfleet and of his late friend Data who gave his life for his. A synth ban has been enacted in Starfleet after a major riot on Mars some years prior and Picard is understandably sour on the idea, given his relationship with Data, while also fighting Starfleet on not helping the exodus of the Romulans after the supernova that wiped out their homeworld in “Star Trek (2009).” When a young woman comes seeking Picard’s aid after an attack by mysterious assailants, revealing that she is an android and the possible daughter of Data, and gets killed, it is up to the retired Admiral to find her twin sister before she suffers the same fate.

Before we get started let’s throw out some of the bad faith arguments on why this series wasn’t all that good.

“Picard” doesn’t suck because it has “politics” in it. At this point, if you are complaining about the existence of social viewpoints and political/philosophical discussions in your Star Trek, or let alone any series for that matter, I don’t know what the hell you’ve been watching the past few decades. Star Trek has always been more than just a show about cool-looking spaceships and laser beams, you neckbeards.

(Hell, even the other “Star” got more going on in it than that.)

It’s also not bad because of female representation or “girl power.” Again, Star Trek has always had this and frankly having a few more instances of the women of Trek taking center stage doesn’t even come close to rebalancing the scales on the overall massive representation of cis white men across the genre and even the series anyways.

Also get the fuck over the use of curse words in this series. While certainly some instances in this show felt awkward, the use of the word “fuck” does not dilute Star Trek’s overall story.

(It would have made earlier season’s funnier for sure.)

Now that that’s out of way let’s get into the real reasons that, for me at least, the series fell short of an otherwise promising goal of delivering great new Star Trek.

The main problem stems from the series overall jumping off point in its first episode. Picard is understandably still upset about the death of Data and having him deal with survivor’s guilt is a great way to bring this character into the future and reexplore the humanist viewpoints Data touched on in the older series. But also having Picard deal with his fallout from Starfleet, both from the synth ban AND the Romulan exodus, creates chasmic diverging plotlines that never quite come together. The story really needed it to be one or the other. Either Picard wanting to advocate for the continued existence of synthetic life or the rescue of the Romulans post super nova. The latter is touched on a bit through the addition of the character Elnor but doesn’t quite work given that majority of the Romulans in this series are portrayed as villains.

There is definitely a post Brexit, anti-immigrant hysteria message being told there but not enough depth and nuance is given to make it look like Starfleet was particularly wrong here to abandon them given that they do end up being spies committing espionage in the Federation and the clear villains of the first season. The showrunners could have brought these two stories together by perhaps making Soji a Romulan bent on bringing down synthetic life because maybe her twin sister died in the riots on Mars, making Picard have to choose between his commitment to both minority groups abandoned by the Federation but of course, that’s not what the series goes with.

Also suddenly shoehorning in a convoluted anti-synth worldview into the already ultra-secretive Romulan empire was muddled to say the least.

(A decent summation of the Romulans, pretty much ever. Also why is the only Asian actress in this scene in Osaka depicted as an alien, Mr Kurtzman?...)

Some of these ideas could’ve been saved through better editing and pacing though but not enough is done in this first season to mitigate these issues. Too much of plot is told through plain exposition; people sitting down and talking for five-ten minutes about prophecies and backstory instead of having the story simply show us instead. It makes the pacing often slow even by Trek standards and grinds the action to a halt even when there are lasers being shot at one another in the next scene.

Many of these plots get barely any attention too. The Borg cube, why it’s abandoned, and why Hugh is working for the Romulans through the Federation is given surface level development at best. Seven of Nine returns and at one point is momentarily hooked up to the Collective and she doesn’t really say much about it after it happens. The new character’s Rios and Raffi both have side stories given to their development that get touched on once and never brought up again. Dr. Jurati straight up murders her lover and is set to turn herself into the Federation and it’s just kind of forgotten about in the finale. And Elnor, well, he gets to do his best Legolas impression slicing and dicing fellow Romulans with his sword I guess.

(He is still best boi though :3...)

The main co-star however, Soji the perfect android, has a particularly rushed development going from a scientist unknowing of her nature, to supposed prophet of doom, to predictably the savior all in one season. Her arc needed more time to develop with perhaps her Romulan love affair with Narek being the first season’s main driving force and her realization as an android being the climax. 

Instead we get basically four seasons of Battlestar Galactica’s Sharon arc crammed into one season and it unfortunately makes the story feel half-baked.

(Ok, Boomer.)

Don’t get the wrong idea, all these new characters have great individual moments as well throughout the season but sooooo much side plot is shoved in already into a muddled overarching narrative that it feels like several seasons worth of storytelling stuffed and edited down into a ten episode arc. Why the series felt it needed to conclude this robust story about synth hating Romulans in “Picard’s” first season feels like an unforced error in this reviewer’s opinion even if Sir P Stew only has maybe a couple seasons of extensive acting left in him anyways.

But the season isn’t completely worthless, as much as this review has been spent dunking on its less than stellar parts. The cast is exceptional, even working with the spare parts they’ve been given. Episode 5’s “Stardust City Rag,” in particular, stands out as a good mix of old and new Trek, with a decent dosage of cheese featuring Patrick Stewart trying on a French accent in a space bar. Santiago Cabrera is delightful as the ship captain Rios while also playing various forms of himself in AI form in equally enjoyable roles. Evan Evagora is fun as the deadly yet somewhat aloof Elnor, even if his character doesn’t do all that much except cut up a few Romulans. Seeing Jonathan Frakes and Marina Sirtis reprise their roles as Riker and Troi respectively in episode 6 was heartwarming and felt the most like TNG out of all the episodes. And Jeri Ryan seems liberated in this series in this version of Seven of Nine, no doubt glad to be rid of that restrictive corset and Rick Berman’s meddling hands.

(Big “Fuck you, Rick Berman” energy going on in this scene.)

The production value is obviously high level as Trek has rarely looked this good on the small screen. There’s some great cinematography throughout the season whether it’s Picard’s chateau winery, the haunting nature of the Borg cube, or the synth homeworld in the season’s final beats. The spaceships look cool as always and the world of the future feels well futuristic.

The musical score is also top notch, with a great opening theme that feels very much in line with Trek at its futurist glimpse into a hopeful cosmos.

The season’s best moments though are between Picard and Data and will remind you why they were more than likely your favorite characters on TNG. Generally speaking, exploring the humanist themes of artificial intelligence in new Trek was a good choice and having Picard deal with survivor’s guilt kept the pulse of the muddled story still beating. Brent Spiner is still great as Data and will remind you all again how talented he has always been as an actor and though his age seeps through the makeup a bit he is nonetheless still a perfect android.

Though the finale as a whole is underwhelming, the characters do share a nice final moment that is both touching and reminiscent of everything a fan loves about Star Trek. It’s a great cap to an otherwise ok return to Star Trek for TNG’s top characters and its truly touching in the best way that this franchise has always been known to be.

(Deactivating my emotions chip because I just..can’t! I just can’t, ok! *Sobs*)

But great acting and high production value can only mask so many flaws with a convoluted plot and “Picard” unfortunately suffers from the bloated and uncooked nature of its many ideas. What the story really needed was three season arc not just ten episodes and it shows. I guess the plus side is with this particular plot wrapped up it leaves the door open for new ideas and a fresh start in the second season but it does feel like an overall miss for Picard’s homecoming back into the universe of Star Trek.

Overall, though there are worse ways a Star Trek fan can spend their quarantine than watching “Picard” and there’s certainly enough here for fans to latch onto and have hope for better things in the next season.

Hopefully things are less rushed or at least more focused in the second season and we can see a more proper return to form for both Picard and future Star Trek.

Here’s hoping the producers and writers make it so…

VERDICT:

3 out of 5

Let’s hope we get a return of Q in the next season.

[popwasabi]

Lockdown Lookback: Catching up on the past months’ Pop Culture

Aaaaannnd we’re back!

It’s amazing what a little pandemic can do to shake you out of your creative cobwebs but if we’re all going to die, I want to make sure all my pop cultural hot takes are up to date at least.

Many of us are already on lockdown and many major movies including “007,” “Black Widow” and ummm I guess “Mulan” are all getting pushed to the backburner as no one is leaving their God damn homes unless they’re told to!

(Didn’t realize the thing I wish I had more of in the apocalypse would be sweatpants...)

But there’s still plenty to talk about from the previous months and other hot topics I have been meaning to write about but just hadn’t found the time or energy for. Life has been hard I think for just about all of us these days thanks in no small part to this pandemic. For me personally, I’ve had two different vacations canceled because of the virus and currently working understaffed at my job which is considered essential. Not to mention my therapist is on call only at this time and both my martial arts schools have been suspended, so I can neither talk nor punch my feelings out of my system.

So, I might be just a LITTLE on edge at the moment.

(My internal monologue for most of these past few weeks, more broadly years...)

Anyways, I digress, you come here because you like to read my highly unprofessional takes on pop culture and genuinely to those who have cheered me on from the beginning thanks, you guys are my prime motivators. But anyways let’s talk about all the shit I was supposed to write about these last two and a half months.

 “Birds of Prey” was a hot, but needed, mess

Earlier last month I got to see the sort of sequel to the much-maligned “Suicide Squad” in “Birds of Prey and the…waaaay too long of a title for me write here.” I had cautious optimism for it because it looked strange and off the beaten path of most comic book movies and seemed to promise at the very least a fun time at the theater but it’s still also a DCEU movie so the floor was pretty low on its possible quality as well.

In the end, the movie is kind of bit of everything; the best and worst parts of the DCEU. 

In terms of the good, it’s definitely outside the box, a sort of fem Deadpool first person story as told frenetically by Harley herself. Margot Robbie is, of course, still quite great at this role and you can tell she’s having a blast as this character. The humor is mostly good and visually the bright colors and cinematography pops on each screen and on that front there isn’t much to complain about.

But as a DCEU movie it does suffer from some narrative imbalance partially due to it’s psycho storyteller but mostly, and more than likely, due to corporate editing that probably axed an entire dance number that I was honestly looking forward to from the trailers.

(Seriously, I actually wanted to see the full unedited version of whatever hell this ended up being.)

It’s definitely in the “could’ve been better” camp of comic book movies but you know what? I’m still glad it exists. You know why? Because comic book movies dominate our blockbuster culture right now and if the genre wants to survive, at least artistically, it needs some outside the box films like this. I HATED “Joker” but I appreciate that it opened the door for stranger, more unique takes on a genre that is getting increasingly more stale. This movie falls into that unique category too.

(Also, to all the faux-intellectuals and alt-right nerds making a culture war out of “Sonic” vs “Birds of Prey” *kindly* reevaluate your lives please...)

We’re at the point now where comic book movies should be getting weirder, not more formulaic, and that means swinging for the fences even if a couple don’t quite make it out of the ballpark. If it takes a few not so stellar takes on the genre for Hollywood to greenlight a truly fantastic one I’m all for it.

In any case “Birds of Prey” doesn’t quite end nor continue the DCEU’s recent hot streak but it is enjoyable enough to where I would be more than open to a sequel. It’s worth a watch.

 The Mandalorian and The Witcher: Two shows about violent mercenaries and fatherhood

Both these shows are old news at this point, but I did want to talk a little about both for a bit if you would have me.

First, “The Mandalorian” which was Disney+’s flagship production to begin its streaming chapter late last year is definitely a more than welcome addition to the galaxy far, far away. It’s pretty easy to feel fairly jaded about Star Wars these days given how flat the new trilogy ended but for what it’s worth “The Mandalorian” was a good mix of nostalgia bait and something new and interesting for fans to chew on. Its production value is obviously top-notch, no doubt because of all the Disney money pumped into it, it’s well-acted and thrilling and fun from start to finish. It plays heavily on the genres that influenced the series, primarily westerns and old samurai flicks, and fans of those will certainly enjoy the homages to them all.

The series was something of a coming out party for Deborah Chow who directed two of the season 1’s best episodes. Her steady hand, eye for details and tributes to Asian cinema throughout really gave the series an extra kick at times and showed how Star Wars can evolve still. Chow is set to helm the upcoming “Kenobi” series and one can only hope that she *really* leans into the samurai genre for that show.

(Hopefully, there are some “Yojimbo” vibes in there somewhere...)

The Mandalorian’s best and worst parts though are its semi episodic nature making each episode easy to digest as a one-off but also lacking some narrative tension between each. It plays kind of like a Saturday Morning cartoon to both its benefit and detriment with bite-size easy to digest plots and dialogue for the viewers but not offering a ton of depth beyond that.

The Mandalorian himself is also kind of a Gary Stu. His armor is basically impenetrable and far and away the best killer onscreen typically, making more than a few action scenes lack real stakes and tension. Baby Yoda certainly helps at times to make him more vulnerable and puts him in precarious positions plenty of times but outside a few moments (mainly episode 2 and to a lesser extend the final episode) he’s just a little too overpowered to be a more interesting character.

But this show and frankly the Star Wars series as a whole is meant for kids, no matter what the neckbeards try to tell you (violence =/= adult), and that’s not necessarily a bad thing either. Plenty of kids productions can be both great and even sophisticated and while I wouldn’t say “The Mandalorian” is either of those it’s a good and fun kids show for the fans.

(And yes I’m aware that the books, some comics, and games have touched on more adult stuff, you weirdos. But how would you describe the overall tone and presumptive audience of the movies and TV series as a whole, guys??)

As far as “The Witcher” goes it also has a bit of an episodic style to it as well with an overarching, albeit, convoluted story that runs parallel to it. The first 3-4ish episodes can be classified as a quasi “Game of Thrones” clone leaning perhaps a little too heavily into the tropes of that series. Once the series finally starts leaning into its real identity, a dry-witted hack and slash fantasy, the series is much more consistent both tonally and narratively.

Henry Cavil is solid as Geralt of Rivia and the supporting cast of Joey Batey as Jaskier, Freya Allen as Ciri and even more so Anya Chalotra as Yennefer are all great in their respective roles delivering some great moments throughout the season.

(And lest you forget this earworm...)

“The Witcher’s” early season struggles keep it from being as tonally or narratively consistent as “The Mandalorian” but where the monster slayer beats the bounty hunter is that it has overall more compelling drama and has more to say, leaning much more heavily into the thematic greys of the plot. There are tons of problems with “The Witcher” on a story-telling level but you can definitely say it cares more about adding some depth in between the more pulpy aspects of the story which is something you can’t say as much for in “The Mandalorian.”

Of course, I’m partially overselling “The Witcher” a bit here, it’s not anywhere near “Game of Thrones” best (yet at least), and on the flipside one could argue that “The Mandalorian’s” more subtle sense of story-telling does its themes better. But when it comes down to these two shows you get somewhat similar story-telling ideas, mostly involving both characters and their smaller counterparts, in two very different genres with equally diverging conclusions to their respective seasons. 

(🎵 Toss an “Oof” to your Witcher...🎵)

All in all, they’re both good and worth a watch and I think they deserve a chance to evolve and hopefully showcase more of what they have to offer moving forward.

“Parasite” wins Best Picture! Many people have some hot takes, including the president...

Last month one of my favorite films of 2019 “Parasite” won Best Picture at the Oscars. It’s a movie that is becoming increasingly relevant as elites and celebrities alike are getting front of the line testing despite being asymptomatic in the middle of pandemic and think they can assuage our concerns and dread by poorly singing “Imagine” together within the comfort of their McMansions.

It’s about as a good time as any to revisit this movie, I mean where else are you going to go during this timeline, and at a later date I’ll write something more extensive about it eventually (hopefully) but first here’s a helpful video on one particular thing that came out after director Bong Joon Ho took home the night’s top honors:

 “Cats” is still a fever dream of madness

Back in late December, I watched “Cats” for science, as I had AMC A-List and a friend crazy enough to join me. I figured it would be bonkers and unlike anything I had seen before in the worst way but even then, I don’t think I was truly prepared for what I ended up seeing that fateful night.

I remember quite vividly going to the bar inside the theater and ordering a stiff drink beforehand to numb the pain and the bartender asking “So what are y’all watching tonight?” and beginning to laugh manically like an insane asylum patient at the innocuousness of the question. Walking into the theater was like that feeling you get before getting on a particularly scary-looking rollercoaster at Six Flags but instead of the pre-ride jitters eventually subsiding to the eventual fun and joy of the ride, only a deep sense of existential dread built up and sustained itself through what felt like six hours of the most baffling thing put to screen in front of my eyes ever.

(The music that played in my head as I exited the theater...)

Have any of you watched the Stanley Kubrick movie “Eyes Wide Shut” before? You know the scene when Tom Cruise is walking around in his mask observing the strange occult sex orgy going on around him at the mansion? That’s kind of what “Cats” felt like except way more terrifying, somehow MORE sexual, and definitely crazier.

(Is...this some type of...intepretative dance to summon an eldritch horror??)

There’s a voyeuristic terror that comes from sitting in that theater room as you watch bipedal humanoid looking felines dance to confusing songs about “Jelicle” cats (whatever the fuck that means) and all other manner of things that should NOT take human form throughout it’s near-endless runtime. A lot was made about Rebel Wilson and the disgusting roach people she consumes but NO ONE warned me about the frankly HORRIFYING mice children in the same scene!

(I am not perusing the internet to find that image again for y’all. I have enough nightmares each night...)

The saddest thing about the whole movie is everyone, save for Ian Mckellen who seemed to be acting as if a gun was pointing at him offscreen and Judi Dench who looked 100 percent like a geriatric in her digi fur, was giving the movie their fullest effort in what can only be described as a Titanic-sized level of hubris by all parties involved. This movie really needed a “Chaostician” involved in evaluating the production for studio heads and shareholders because there were definitely NOT enough people on this project wondering whether or not this film SHOULD exist...

(Dr. Ian Malcolm coming to Universal Pictures to access the film.)

What has “Cats” wrought upon this world? The universe has been clearly out of balance since this movie came out and while I’m not saying it’s director Tom Hooper’s fault, I’m not saying it isn’t either.

“Cats” is one of those things, much like The Matrix that cannot be simply described but must be seen to believe. It’s one of the worst things I have ever seen onscreen but with the right group of people and a few stiff drinks it’s certainly an experience you won’t forget. Consider it for your next Google Hangout during this apocalypse.

  Anyways, that about wraps up my thoughts on the last few months. Going to try to be more consistent going forward especially given how much more time I have now to write, for better and worse. But more importantly, just want to say stay safe y’all. It’s going to be a process to get through this and while things are more likely to get worse before they get better there will be a day when this all ends and some normalcy may yet return to our life but in order for us to get there we need to remain vigilant. 

So stay at home, wash your hands, and if you want to watch movies just order it online for now and we’ll just wait until aaaallll this blows over…hopefully.

Don’t panic...