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494

Soul Samurai at the Vancouver Fringe Festival

Culture, Events, FRINGE!!, Opinion, Performance, Performance, Reviews

September 11, 2017

Soul Samurai is mad ambitious.

It’s the latest offering from Affair of Honor, a small stage production house that employs fight choreographers and stunt people as actors and reaps the benefits of doing so. They’ve done some incredible fight work in the past and usually put on a visually striking show and this one is no exception.

This play is about a young woman named Dewdrop who is trained as a samurai after a bunch of vampires move into New York and everyone slowly got pseudo-Japanese for reasons that are never adequately explained. The main vampire dude looks Maori maybe? Is he a weeaboo? Don’t worry if it doesn’t make sense. Nothing else does, either.

Affair of Honor provides their usual high-quality routines, though, and if you haven’t seen a show by them before Soul Samurai is worth checking out for that alone. These people – Nathania Louise Bernabe, Jackie.T. Hanlin, Lou Ticzon, Jordan Svenkeson, Eryka Alanna, and Jarelle De’Von Hepburn – know what they’re doing and know their way around a sword. The fights are fantastic and sometimes breathtaking, and there’s a number of dance routines that are equal parts elegant and terrifying.

The lighting and sound design are also pretty decent, so far as these go. The music selection is driven by high-energy fight music throughout with some slick hip-hop thrown in for good measure. The crew works with what they have and make it work, and the result is something that is hard to look away from.

Every member of the cast also gives it their all and almost manages to make the dialogue and script work, but… well, this is where it begins to fall apart.

If you are looking for good script work you will not find it here.

There’s a movie called My First Mister where one character explains to another that swear words have a place in language, and that is used for emphasis. That’s the proper fucking way to use vulgarity. Most people get this without being told – it’s a learned skill. Most writers, however…

Everyone swears in this show. A lot. To the point where none of the dialogue sounds like anything real people say. It also doesn’t help that the main romance between lesbians was very clearly written by a cis-gender man who was maybe been in the same room as lesbians in the past but has maybe never spoken with them. Spoken at them, maybe?

There is a metric shit-tonne of casual racism, as well. It’s probably meant to be endearing between the romantic leads the same way that the casual swearing is meant to sound tough, but it just comes across as fake and robs the characters of their dignity and believability.

I’ve seen a lot of post-apocalyptic stories lately in everything from comics to movies to the news, consuming dystopia after dystopia. Even when the story doesn’t spell out how the world fell into whatever hell it has become in that narrative, there is a sense that the characters know and that you could piece it together in hindsight. Not so, here.

The mythology is all over the fucking map and doesn’t make a lick of sense. The head samurai is not Japanese and people declaring themselves shoguns in New York implies a certain level of, well, something. We need to know what that something is but it doesn’t feel like either the characters or the world or the writer has any idea of what’s going on outside of the immediate now.

A big part of acting is learning what to do between lines – how to convey and live in a world that isn’t real, but feels like it is. Nothing here feels real because nothing happens outside the script, and no part of this makes any sense because of it. Forgettable caricatures prance about on stage and are given more life than they deserve by a talented cast before fading back into nothing.

It’s infuriating because I fucking want to like this.

For fuck’s sake, it’s a story about a lesbian couple torn apart by vampires as they take over New York and the fall out later, when the survivor pulls herself together enough to seek out revenge by becoming a Samurai and going on a rampage. Everything about that sentence is awesome, so where is that awesome in this story?

The vampires lack any real menace or sense of power here, which is also a problem. Unless given supernatural power, humans fighting vampires tend to end with humans becoming snacks unless they can somehow outwit the vampire. A vampire with Samurai hand-to-hand and sword training should be one of the scariest things wherever they happen to be, but they fall by the dozens here without anyone breaking a sweat and the fucking sidekick takes out the big badass vampire shogun.

It’s frustrating.

You have no idea how badly I want to like this.

The cast is limited because you need people that know their way around combat for this to work. The result here is that almost everyone plays multiple characters with a couple of costume changes to mark them, and they cover these changes by using pre-taped segments to tie the story together or to give us background on characters. This is all fine and good and it’s a good idea that is hamstrung because none of these scenes actually explain anything or evolve anyone; they become a weird disconnect where you hope they’re going somewhere because the cast is so good, but ultimately go nowhere because the writer is not.

Soul Samurai is a big unholy mess of a thing, and yet… it is mad fucking ambitious. It has as intense a car chase as you’re ever going to see on stage and, again, that fight choreography is gorgeous and the acting is so much better than this script deserves. Affair of Honor is capable of doing amazing things and you can see brilliance shine through here and there. While the ideas are great and the performances awesome the script fails the production on every level.

If you want to see a talented cast and crew struggle with a script, this is your show.

Soul Samurai tickets run for $14 a pop and it’s playing at the Cultch (1895 Venables Street in Vancouver) at the following times:

Tuesday, Sept 12, 8:50 pm (Half Price Show)

Friday, Sept 15, 7:00 pm

Sunday, Sept 17, 5:35 pm

You can buy tickets by clicking here.

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567

Culture, Interviews, Lifestyle, Opinion, Podcast, Tech, Why Aren't You Watching This?

September 6, 2017

Welcome to the third episode of Living Myth Magazine Podcast.

We are glad you are spending some time with us.

Your hosts Anne Honeycutt and Aaron Golden really appreciate you.

This episode features two interviews, a talk between Anne and Aaron about the current creative Zeitgeist and a piece of music created by wonderful creatives.

September is not only Fringe month but it is also a great time to reconnect with people and community and also celebrate the technology we use to do that.

So, this episode is all about how technology creatives help us learn about and build up our communities!

http://livingmythmedia.libsyn.com/living-myth-magazine-podcast-episode-3-september-2017

Interview 1:

NEARTUIT – HOW INTERACTIVE MAPS HELP CREATIVES CURATE AND EXPLORE ART with Judy Hamilton

Judy Hamilton of TerraTap and her Chief Technological Officer created Neartuit which is an interactive map system that automatically tells you cool things about a cool thing when you get close to the cool thing. They have been helping creatives and curators around the Greater Vancouver Area create interactive smart phone friendly content that allows the consumer to be informed and delighted.

Here are links to download the apps onto your tiny hand sized computers!

http://www.neartuit.com/app/

You can also see their work on display at The City Of New Westminster Museum & Archives  and at The New Media Gallery

Interview 2:

PLAYPALS THE FIRST APP YOU CAN USE TO TABLETOP GAME WITH EVERYONE with Arik Sternbeg

Jalyn Euteneier of our 0D20 property interviews Arik Stenberg about PlayPals and the importance of building community through gaming. When this interview was recorded in July the app was a few weeks old, but now it is September and it is doing AMAZING!

Here are links to download the apps onto your tiny hand sized computers

https://play.google.com/store/apps/details?id=com.play_pals

https://itunes.apple.com/us/app/playpals-discover-local-tabletop-game-events/id1207049719?mt=8&ign-mpt=uo%3D4

 

Then…

Anne and Aaron talk about Sarahah and how Anne and Avens O’Brien have used it to become better people and/or interact with fans.

As promised we have set up one for the magazine and podcast network. https://livingmythmag.sarahah.com/

The end music for this month was suggested to us by the Vancouver Chipmusic Society and it is called Half Steppin’ and it is by virt, Freaky DNA and Norrin Radd

 

And there we have it, thanks so much for spending time with us!

Do you like what you heard? Do you want us to celebrate your creativity creatively? Drop us a line at podcasts@livingmythmedia.com and Anne will totally get back to you 😀

 

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1306

Bye, Marvel.

Books & Writing, Culture, Events, Fail, Opinion, Why Aren't You Watching This?

August 14, 2017

I have an awesome geeky friend who happens to be a girl (like about eighty-ninety percent of the writers on this site). She knows more about Star Wars and Star Trek and Doctor Who than I do and she’s flirting with comics. She liked Captain America as a kid and we keep getting DC Superhero Girls stuff for her niece (who loves Batgirl). She likes Spider-Gwen and Monstress, mostly, but she also really digs the movies that’ve come out, especially Captain America. She bought a Cap shirt and wore it a lot for years, but these days it’s gathering dust in a closet.

“Can’t wear it anymore,” says she, when asked. “Movie Cap is still cool and that’s the one I like, but comics Cap? I get weird looks from people when I walk into a comic shop with it. One time, a guy got really excited and started talking to me about racial purity and, well, yeah. Comic Cap is a Nazi now.”

Another guy I know was raised in a casually racist household. His parents and his family believed that anyone with a skin tone darker than theirs was genetically inferior. The thing that got him thinking and changed his mind? Marvel Comics. Specifically, Black Panther. Marvel Comics opened his mind, changed his world. He was digging the comics but hated when it crossed over with Secret Empire.

“Sure, the racists are the bad guys, but didn’t Sam Wilson apologize to a bunch of racists for being black?” says he. “Like, the good guys are telling racists it’s okay to be racists. Also, Captain America is a Nazi? Fuck you.”

I grew up Jewish. There’s a lot of fear that comes with being a Jew in any era. We get blamed for a lot of troubles that we have no power over and nothing to do with because it was politically expedient to do so and political and historical inertia is a thing.

“Jews control the banks and Hollywood!” racists like to say. A lot of us work in the financial sector and entertainment because those were the only two industries we were legally allowed to work in at the dawn of the twentieth century. We get blamed for playing by the rules that other people forced on us, but that ties into a popular Jewish saying: This, too, shall pass.

Still, it’s always inspiring to see the impact we’ve had on the cultural landscape. We invented and refined comic books. The characters in them? The heroes? We largely created them. Captain America and Superman were both Jewish inventions built around concepts of decency, of sticking up for the underdog. Both of them were politically motivated and both of them helped defeat racists in the real world: Captain America helped shame America into getting involved with World War II and Superman did a lot to take down the KKK.

DC Comics has had a lot of problems over the past decade, but they seem to be picking themselves up. Their comics are full of self-contained stories and they’ve seen a gradual increase in sales to go along with it as they expand and create minority and legacy heroes. Marvel, on the other hand, has been focusing on interconnected crossovers where you need to buy more than one title to figure out what’s going on and famously blamed diversity for their flagging sales.

Their latest big dumb crossover event infected more than a dozen of their titles and also turned Captain America into a Nazi – he sided with his enemies at Hydra, killed a bunch of people, turned fascist and tried to conquer the world and install genetic purity and all the other hallmarks of Nazi idiocy.

And now, it’s over.

Marvel’s latest big stupid event crossover thing where they want you to buy all their comics to have some inkling of understanding what’s going on? The idiot thing that interrupts the stories you actually care about and replaces it with one that marginalizes those stories and characters? The one that turned the conscience of Marvel Comics into a Nazi to hit a sales bump and saw ever-decreasing returns to all their titles? The one proposed by the Trump supporter in charge of Marvel, who had a failed Republican politician that thought the school-to-prison pipeline made good business sense turn the creation of two Jews into a Nazi? It just ended. They’re already planning to retcon it out of existence, but it ended.

It’s over.

And so is my time with Marvel Comics. It’s been a while since we touched anything Marvel related with the whole God of Comics; the last one hinted at this stance but I just want to be clear about where we stand as actual Nazis in real life hold rallies and start murdering people again – we will not review, promote, or have anything to do with Marvel until Nick Spencer and Ike Perlmutter no longer work at that company.

We’ll talk about the movies, the Netflix series, all the things that have nothing to do with either of those people – and we want to stress that we do believe that they are people because they are people, a simple observation that neither would give us given that pretty much everyone here is a minority of some type.

I’d like to say that it’s a loss. I’ll miss Spider-Gwen and Hawkeye and Black Panther. I’d say about a third of my collection is Marvel Comics and I’ll be holding onto them because I can happily remember what was. And I’m sure that we’ll get comics worth reading from Marvel again, because this, too, shall pass.

But I cannot, in good conscience, support a company that thinks turning their moral center into a Nazi is good business sense. And I cannot support a writer or an executive that do not see me as a person and would rather inspire those that would see me and my family and the people I care about dead.

Good-bye for now, Marvel. It’s been fun.

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583

Wonder Woman Critical Analysis Part 2 of 2

Culture, film, Opinion, Reviews

June 12, 2017

So… Wonder Woman. It came out. It hit theaters. People discovered it was there and went to see it and it’s going to dominate the month of June and there’s little chance of anything toppling it.

And with good reason. It’s awesome stuff – easily the strongest of the DC movies, as good or better than most of what Marvel has on tap. Better than any of the Hulk movies, for example. Better than the second Avengers movie. Definitely better than anything Fox or Sony has put out using Marvel’s properties.

But why? Why is it working so well?

The reason is subtlety in both what happens in the movie and around it, and in an understanding of what the character is about and her evolution. We are told and shown a creation epic that is sort of at odds with what we know about the Greek Pantheon (spoiler: all of them are dicks except Hades, who is just really good at his job) in that they created humans (no), were happy about it (definitely not happy so much as amused), and were all eventually killed by Ares (what? No. Kratos did that).

But, whatever. We’re playing with building on a mythology and they can do whatever they want provided it’s internally consistent with itself – and it is. According to the movie, the Amazons are created by the gods to shepherd men away from being terrible people.

They’re thinkers and philosophers who get good at fighting because they have to go into where the fighting is worst and calm things down so that everyone can talk, and they fight like it: the Amazons are graceful and do impossible things in order to stop the fighting quickly, but they’re also cut off from the rest of the world. They have an academic understanding of war and of men and have drawn their own conclusions on both for thousands of years without seeing the reality of either.

When war comes to their island because Diana exposed her godhood they show that the techniques they’ve developed are good but also flawed; they adapt quickly and win the day, but they are horrified by the loss of Robin Wright – and who wouldn’t be? She’s Princess Buttercup and the President of the United States and a General. She’s awesome. None are more devastated by her death than Diana – she’s never dealt with loss or violence before and she knows Ares is responsible because, unlike the other Amazons, she’s never met a human before and she’s made some pretty naive decisions about both humanity and war.

See, Child Diana is excited by the possibility of war, like some children are. She wants to be a warrior and she wants to fight and she wants to save the world from Ares: there is a singular bad person that she can punch and if she wins then humanity will be saved. Good and simple, clean and easy.

Diana imagines herself to be the champion of humanity but she’s never seen violence and that shows in her eagerness in learning how to fight and even to get to the fight – remember, she thinks if she beats Ares that the fighting ends. We can juxtapose this with her world-weariness in modern times, in the bookends to this film and to Gal Gadot’s performance in Batman v Superman. There’s a clear line of growth through the movies that retroactively makes Batman v Superman better (but still not good). She gets a sword and a shield and everything.

The thing is, the villain of the film isn’t the Germans or even Ares but war itself. There were no good people in World War 1 and the movie goes out of its way to show the serious flaws of both sides, and even of Diana’s belief structure. The sword is a lie and is dismissed out of hand by Ares when we meet him, laughed off and melted as if it never was. The power to defeating war comes not from violence but from understanding, from talking, from within – it comes from a divinity that may or may not exist but one we all believe in, that place where angel meets ape.

It doesn’t stop there, though: the western powers are not shown to be any better than the Germans they’re fighting. Both sides use gas (there’s a reason that the Germans are wearing masks), both sides target civilians and dismiss those casualties, both are just as bad as the other. The leadership on both sides are also trying to negotiate peace but are meeting resistance by the war-obsessed members of their own people and peers, making this a four-way conflict between the people fighting and themselves, the ones who are fighting and ones who want peace.

We see how war and society has broken people – a sniper who can’t fire a gun, an actor who couldn’t get work before the war because of his skin color, a man who left his home because his home was destroyed. Those are people who were harmed by the so-called good guys and are still part of those good guys, losers who are also lost but are still struggling to find a way to help.

On the bad side we have a man so obsessed with winning that he’ll kill his own men out of hand, a broken woman who understands the science of death but has forgotten the humanity that was scoured from her, and a god who encourages the worst parts of humanity but doesn’t actually make anyone do anything. The evil is us and our need for control and dominance, the toxic aspects of our culture that is so set on competition and zero-sum games, and that’s a harder story to tell than a giant beam in the sky that makes clouds look weird and does… something.

I’m looking at you, pretty much every other movie that has superheroes in it.

Diana calls all of them out on all of their shit: she storms into an all-male war room and demands attention because she’s knowledgeable about war and has actionable intelligence and she has no time for the seedy posturing bullshit of that era. The fact that she’s dismissed out of hand for reasons of gender mystifies her, and the chicanery needed to get her to the front lines makes her just as angry as not being allowed to go in the first place. She despises the men who are willing to let others die for no reason other than to assuage their own egos. She blames a man for being Ares, not understanding that he is only a man and needing to learn otherwise. No one is honest and that dishonesty is infuriating and damages everyone and she will force the truth from us all if that’s what it takes to make us our best selves.

Wonder Woman calling that room of men out on their shit is just as important as stepping into No Man’s Land. It’s a thing I think 51% of the audience understands implicitly, but something that the other 49% might need attention drawn to. So, here it is guys: attention on a thing you might have missed.

But let’s go back to something that’s sticking in a lot of craws: comic Wonder Woman fought in World War II, not World War I – so why the change? The answer is complex: the Nazis were dyed-in-the-wool evil in a way that people seem to have forgotten. The Holocaust wasn’t evil because Nazis did it – Nazis were evil because they did the Holocaust. Despite what Marvel comics might want you to believe there’s no gray area: the systematic destruction of an entire group of people is evil and needs to be fought sat every turn. The idea of genocide and virtue of extreme selfishness doesn’t get a seat at the table and doesn’t get listened to, it gets punched in the face and sent running.

The point of this movie is that war itself is wrong, yes, but by making this story about the first World War we know the second follows, and we know that happens without Ares and despite Wonder Woman.

World War II is therefore not the fault of some external thing; it is the fault of humanity, itself, and the responsibility for the Holocaust lies at the feet of all humanity.

And so does World War I. Ares was right and telling the truth – he made things worse, certainly, but he only played on the ambitions and selfishness of his victims, allowing them their ability to kill as they saw fit. He’s an afterthought and his death doesn’t end the war so much as allow Diana to see the depth of her true enemy.

That’s why this movie is great. That’s why it’s going to speak to 51% of the audience specifically and everyone in general, why the character of Wonder Woman earns her spot as one of DC Comics’ holy trinity alongside Batman and Superman. This is how and why a DC Comics movie is going to rule over the month of June, and if this is a sign of things to come from Geoff Johns taking the helm, well, we have much more hope for everything to come.

Now, here’s the thing: I’m a male presenting asexual agender person, so there’s definitely going to be things I missed and I’m eager to learn and listen. So… what’d I miss?

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542

Wonder Woman Critical Analysis Part 1 of 2

Culture, film, Opinion, Reviews

June 9, 2017

 

So… Wonder Woman happened. The first movie of the Geoff Johns era of DC filmmaking and you can tell, but let’s back up a bit because nothing happens in a vacuum and we need to talk about where this film came from.

A little more than a decade ago, Time Warner approached DC Comics and said they wanted to do a new superhero movie. I like to imagine – and this is important guys, this is my imagination and probably has nothing to do with reality, so do not sue us because this is a fictitious retelling – that the conversation went like this:

Cool, guys,” DC Comics said, then sane and not yet driven bad by nineties nostalgia. “Who do you have in mind?”

Green Lantern,” Time Warner grinned.

Cool, cool,” DC Comics said, excited by the possibilities. “Storied character, a lot of lore to draw on… are you thinking classic Hal Jordan, new Kyle Rayner, or drawing from our award-winning animated series and doing Jon Stewart? Do you have a leading man in mind?”

Jack Black.”

This is a real thing. A real thing that really almost happened, except DC Comics said…

No.”

Excuse me?” said Time Warner.

No.”

C’mon, Big Fat Guy with a power ring,” Time Warner said, wiping the cocaine from their upper lip. “It’s comedy gold.”

An argument ensued. Hair was pulled and punch was thrown and at the end, clothes were straightened and everyone tried to have a little bit of dignity. Time Warner was convinced that their camp-fest comedy would make a lot of money, but DC Comics wouldn’t sign over the character.

You don’t understand how to make movies,” Time Warner argued. “You make comics, and who reads those anymore?”

Fuck you,” DC Comics replied. “Bet you we can make a superhero movie better than anything you’ve ever seen.”

Really? You think so?” Time Warner asked, an evil glint in their eye. “Fine. Here’s forty million dollars. I know, that’s like your annual budget, but you make your little shit show and when that fails you’re going to sign the contract and we’re going to make our Green Lantern movie, okay?”

DC Comics agreed to terms.

The movie they made was a little thing called Batman Begins and it won awards and made all the money. It launched a trilogy and is generally considered the best superhero movie made up to that point (Christian Bale’s bat-voice aside) because it was a good movie that just happened to have a superhero in it.

Marvel learned all the right lessons from this, and a few years later we got Iron Man and the Marvel Cinematic Universe. Time Warner learned all the wrong lessons from this success and decided that what people wanted was grim and gritty, and by this point management at DC Comics was riding high on the nineties and decided to launch the nu52, so there was no dissenting voice.

The first result of this was Man of Steel, which was okay. This was followed with Batman v Superman, which was not, and Suicide Squad, which was a very stupid movie, and both of those lost a lot of money. All of them had series flaws, and their inability to succeed on a Marvel-like level woke Time Warner from their cocaine-stupor, fearing a lack of cocaine in their immediate future.

Meanwhile, on the comics end of things, DC Comics managed to lose forty percent of their readership over five years of the nu52, and only started gaining it back because of titles like Harley Quinn, Gotham Academy, and a revamped Batgirl. All of those comics had an underlying theme of hope that had been missing from DC Comics as a whole for the entirety of the nu52, and DC Comics officially relaunched with Rebirth and has been pretty great ever since.

A big part of that is a man named Geoff Johns, who is basically the biggest fan of DC Comics and its characters to ever live. The man is also an acclaimed comic book writer, so Time Warner took note and said “You! You seem to know what you’re doing! Make our movies good so we can compete with Marvel (and get more cocaine)!”

Geoff came on board to handle the movies a couple months before Suicide Squad launched, so the first movie he’s had any real input on is this one: Wonder Woman. And this is where things get interesting.

Warner Brothers wanted this movie to fail.

They did little in the way of advertising for it, nothing along the lines of Man of Steel or Batman v Superman or even Suicide Squad. I know many people that were dying to see this movie that had no idea when it was coming out, or if it was out, and even the person I went to see the movie with had no idea it was out before I suggested it.

Really?” she said. “Wonder Woman is out?”

Yep,” said me. “Wanna go see it?”

Hell fuck yes.”

She didn’t really say that. It’s profanity being used to underline a point.

Wonder Woman is a female led action movie being directed by a woman, and the first woman they hired to direct it walked because of studio interference – a thing that also happened with Ben Affleck and Batman and has happened with a number of other DC Movie projects prior to Geoff coming on board. This movie is Geoff’s proof of concept, one that says that, yes, women read comics, women like superheroes, and women can tell good stories and be part of good stories and isn’t this goddamn great?

And it is.

Without studio advice and/or interference, with Geoff hiring someone to tell the story and trusting her to get it right, we ended up with the best of the DC Comics movies and one of the best superhero movies, but there’s some subtlety here that I’m thinking 49% of moviegoers might be missing, so let’s talk about that in part two.

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547

Marvel, We Need to Talk

Fail, God Of Comics, Opinion, Reviews

April 3, 2017

Oh, Marvel. Your comics were doing so well.

I mean, sure, you’d accidentally turned Iron Man into a villain with Civil War and spent the better part of a decade trying to fix the damage you did there only to finally give up and hit the cosmic reset button on your whole universe. Or the time you had Doc Ock turn into Spider-Man, which wouldn’t have been nearly so bad if the writing wasn’t terrible and your editorial board hadn’t doubled down on no, guys, for real, this is what we’re doing going forward. It wasn’t, we knew it wasn’t, and being lied to in the age of internet is kind of a turn-off. Mind you, that’s not the worst thing you’ve done with Spider-Man (hi, One More Day!), but you seemed to have things under control with your side comics: Spider-Gwen, Moongirl and Devil Dinosaur, Mighty Thor, Unworthy Thor, Ghost Rider… you’ve got a lot of good going on.

And then…

“What we heard was that people didn’t want any more diversity. They didn’t want female characters out there. That’s what we heard, whether we believe that or not. I don’t know that that’s really true, but that’s what we saw in sales. We saw the sales of any character that was diverse, any character that was new, our female characters, anything that was not a core Marvel character, people were turning their nose up against. That was difficult for us because we had a lot of fresh, new, exciting ideas that we were trying to get out and nothing new really worked.”

This wonderful little bit of what comes to us from David Gabriel, the VP of Sales over at Marvel Comics. He then followed up by adding that the aforementioned female minority characters are popular and some of their best sellers but that they’re not going to be doing more of them because people don’t like them.

Wait, what?

Have you been to a comics convention? We just got back from Emerald City Comic Con, where 90, 000+ people showed up to show their love of the medium. Here’s a link where you can check out photos of the event, and you should be able to see a good cross section of obvious minorities, David. That doesn’t even take into account the non-visible minorities; the people that look like the cis-white males you think you’re catering to but are actually somewhat else.

We look white, Christian, and male, but we’re a Jewish agender asexual and we’ve been reading your comics since we were a child. We’ve got boxes full of your comics, shelves full of trades we proudly display. Might there be some other reason, particularly when titles like Saga, Injection, the Woods, Divinity, Lazarus, Giant Days and others are doing so well while being full of the diverse characters you say people aren’t interested in…?

A while ago we posted our (rather discombobulated) thoughts about Captain America being turned into a Nazi by a writer named Nick Spencer, who has since gone on to defend Nazism on twitter and write a black man apologizing to a white supremacist for mentioning the centuries of systematic oppression that African-Americans have endured. Our response then was driven by gut-level anger and we reworked it and expanded our thoughts and think that might be a little more sensible.

Nazi Captain America sold 36,610 copies last month, though, and was the fifty-fifth top selling comic of February. Okay. Literally ten more copies than Iron Man with the new African-American female lead, a thousand less than Doctor Strange, and seventy thousand or so less than Star Wars: Darth Maul. That’s not good. If you’re going to tell a story on the ashes of six million dead Jews and eleven million dead in total, all from living memory, you might as well get some kind of sales bump, right?

We guess that’s what you’re hoping for with the upcoming Secret Empire event, and this… well, this is what we want to talk about. See, it’s not diversity that’s killing you, Marvel: it’s your stunt writing and your constant idiot-event comics. Especially your big dumb event comics. We’d like to elaborate on this point, Marvel, because it’s important and we want you to do well.

Your movies are excellent and other than a few stumbling blocks in Age of Ultron you guys are riding high. Someone in comics must have realized that and your editorial board has tried to capitalize by making the comics more like the movies. A big push to do that came and was finalized with Secret Wars, wherein you guys also fixed the editorial mistakes of the past decade. Remember when Civil War turned Iron Man into a villain and how you spent ten years trying to fix that and failed? Well done. A shame you’ve just done the same to Carol Danvers.

Since Secret Wars ended last year, you’ve had nine major crossovers: Avengers Standoff, Spider-Women, Apocalypse Wars, Civil War II, Dead No More, Death of X, Inhumans vs X-Men, Grounded, and Monsters Unleashed. You’ve got at least another four coming: Secret Empire, Til Death do Us, Weapons of Mutant Destruction, and Edge of Venomverse. That’s a lot of comics to buy and a lot of story to keep track of.

Here’s the trick, Marvel: when you do one of those crossovers it touches on every other comic involved with it, so even if you don’t want to read about how Captain America is a Nazi now, your crossover is going to make it impossible to for us to avoid those stories and they’re going to interrupt the ones we’re already invested in. You’ve given us a visceral level of disgust when it comes to Steve Rogers, Marvel, and any comic that he appears in is one we’re going to drop and not pick up again.

That same logic applies across the board to comics we might be invested in when characters we don’t care about show up and we can’t finish the story or understand the comics we like when the continuation of the story is in a comic we might not be interested in or able to afford. We like the X-Men. We don’t care about the Inhumans. When the X-Men are set up to be the villains in another shitty crossover that makes the heroes instead because shitty editorial mandates are shitty, well.

The fun part is that the X-Men are being cast as the villains as a result of the same shitty editorial mandates, ones that nearly drove you into bankruptcy twenty years ago, Marvel. You guys were putting out so many crossovers that no one could follow your comics anymore and readers left in droves for companies that weren’t so scattered. The only way you saved yourselves was by selling the film rights to your most popular characters in perpetuity to other people: Sony got Spider-Man and the Fantastic Four, Fox got all the mutants, and you were stuck with what was left.

Iron Man was a B+ player until the movie made him an A-lister. The only reason Iron Man got your first real movie was because there were no mutants, no Spider-Man, and no Fantastic Four. People who watched the movie, though, and might have been interested in trying the comics were subjected to Civil War-era Tony Stark, which turned people off in droves. Your comics have been mostly about heroes fighting heroes, which is depressing and something very few people are interested in.

For proof, let’s take a look at the top five selling comics of February 2017: Star Wars: Darth Maul #1 (105 177 copies) is about a Sith Lord fighting the forces of good, Batman #16 (102 096 copies) features good guy Batman fighting bad guy Bane, Batman #17 (99 637 copies) continues that story (and suffers from DC Comics putting out two issues of everything every month), Justice League of America #1 (93 494 copies) featuring the best heroes fighting the best villains, and Super Sons #1 (90 345 copies) has the next generation of heroes fighting the next generation of villains.

Do you see a theme here, Marvel?

We’re done with heroes fighting heroes. DC Comics learned this and so, after their latest reboot, they started focusing on stories about hope and heroes fighting evil and heroes being happy and now they have seven of the ten top selling comics for February 2017, while your only two entries on that list are both Star Wars spin-offs which are about – wait for it – heroes fighting villains (and, notably, villains that were inspired by Nazis).

Your first non-Star Wars comic on the top selling list for February 2017 is Amazing Spider-Man #24 (61 953 copies), and that comic features a massive supporting cast of minorities and deals with Peter Parker fighting the forces of evil as a hero, as a man, and as the CEO of a corporation. That’s interesting. I want to read that. I would totally read that except that Spider-Man is definitely going to be a part of at least seven crossovers this year and I’m done. His story is going to be interrupted so many times that we might not even remember what it was before the event, so what’s the point?

If a character has no impact on their story then we do not care about that character.

And that’s why your sales are flagging: stunt writing bullshit (ooooh Magneto is a Nazi now, a Holocaust survivor is a Nazi, how edgy… no, wait, fuck you) that we all know won’t stick and will be retconned while you guys talk about how, no, this is the new normal, and endless fucking crossovers that mean nothing and will be retconned out of existence because they are generally awful.

To your point, David, about female and diverse characters failing when published: Marvel doesn’t reach the top-selling charts again until spots sixteen and twenty with IvX #4&5 (56 969 and 53 348 copies, respectively), twenty-four with the Clone Conspiracy (48 780 copies), then Unworthy Thor (46 006 copies), and then it’s Elektra (44 310 copies), Star Wars: Doctor Aphra (43 475 copies) and Mighty Thor (40 175 copies). That’s three minority-driven books.

Nazi Captain America placed fifty-fifth.

Those titles that do work for you and have constant numbers? Miles Morales, Ms. Marvel, Spider-Gwen, and Moon Girl? Those are ones David mentioned by name. Also, Mighty and Unworthy Thor? They avoid or do damage control on all your big dumb events, pull in consistent numbers, tell good and complex stories, and have readers who are invested in them. Maybe instead of doubling down on the practices that nearly killed you, Marvel, you could instead just tell good stories?

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957

The D-Cast Episode 54 – The Force Awakens

Culture, film, Opinion, Reviews, Why Aren't You Watching This?

December 21, 2015

Andy and Dale return to the D-Cast to talk a little movie that really came out of nowhere to dominate everything forever. You may have heard of it… Star Wars, the Force Awakens? You can and should check out the movie in theaters now, and then check out the spoiler-laden latest episode of their podcast right here, right now. The video version is sure to follow.

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The D-Cast can be found by clicking their name, and you can chat with them on twitter, too.

And you can check them out on itunes. Awesome.

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1138

Why I’m Dreading Star Wars

Culture, Opinion

December 16, 2015

A new hope. A new love. A new franchise. The Force was strong with this one.

A new hope. A new love. A new franchise. The Force was strong with this one.

I can’t remember a time when Star Wars wasn’t a part of my life. Snowball fights where the big kids were AT-ATs. Light saber duels with wrapping paper tubes. My brother making Darth Vader jokes while being hooked up to breathing machines. Star Wars ran like a river through my childhood – an abstract knowledge, bits and pieces acquired like overheard conversation.

Then it happened. A cold spring day in 1997, my dad took me to see the Special Edition release of Star Wars: A New Hope. A red velvet rope attempting to class up an aging cinema, my dad, reassuring, as we wove our way through the crowd, down stairs coated in aging purple carpet, past bored teenagers popping corn, into the theatre. The lights dimmed and those first words scrawled past; “A long time ago, in a galaxy far, far, away…”

I was hooked. Books, comics, games, I devoured it all. From the Junior Jedi Knights to the Old Republic, I consumed it all. Looking back on my childhood, most of it was spent with a Timothy Zahn novel. Other girls were spending their allowance on mascara or miniskirts: I obsessed over the release dates of new X-wing novels. Being a huge nerd and a Star Wars fan quickly became integral to my identity, especially as the internet grew. From my computer in Smalltown, Canada, I could connect with other fans across the globe. We chatted and gamed, spending years in a SW MMB RPG.

I’d found my tribe.

Although, yeah, we all did a Dark Side run, didn't we?

Although, yeah, we all did a Dark Side run, didn’t we?

Being “That Girl Who Likes Star Wars” in high school was isolating, and yet it gave me a world to escape into. A place where I could dream. In the Star Wars universe, no one ever tells Jaina Solo she can’t do something. Mara Jade overcomes the influence and manipulations of the Emperor. Corran Horn explores the complicated relationship between Law, Justice, and doing Right. Through these characters, I learned to understand a world much larger than the one I lived in.

When George Lucas announced the prequels, I bought in hard. Opening day tickets with my dad, prepared to relive that first magic moment – and nope. Instead of the world I’d known, I got two hours on a trade dispute featuring more plot holes than CGI. Even the supreme hotness of Ewen Mcgregor could not save it. My soul was crushed. Still, I could not give up on Star Wars; too much of myself had I given it.

Maybe, I thought, I could just restrict myself to the post expanded universe, write off all that prequel nonsense, and focus on the characters I love: Anakin Solo, Wedge Antilles, Kyp Durron… they were safe. So I built my knowledge, showing off to nerds and smiting casual fans. Was I kind of a brat about it? Totally. Was I a little overly emotionally invested? Definitely. I loved Star Wars, but Star Wars never loved me back.

Remember these things?

Remember these things?

Sometime in high school, the Yuuzhan Vong invaded. A major event that wiped out several key characters, including Chewbacca and Anakin Solo, just for dramatic effect. I cried. I raged. I stopped reading. Slowly, the books were packed away. The RPG died off as players grew up and I started to find other ways to define myself… but in my heart, I couldn’t let go. I’d catch myself glancing over titles at the book store, making sure my favorite characters were still okay.

When Disney bought Star Wars, I knew it was the end. They removed the pre-existing books from canon, marking my childhood “Invalid.” They turned R2-D2 into a humidifier. They started selling Star Wars branded oranges. I watched as they took this esoteric thing I loved and gave it to everyone. Don’t get me wrong, Star Wars has always been a marketing machine. It’s a fantastic vehicle to sell toys and I get that. It’s just hard to watch. The fact is, for better or for worse, now that Disney has Star Wars they’re going to keep making movies, tv shows, comics, and toys until the end of time. We’re going to have new Star Wars forever… and there’s something terrifying in that.

The Force might be strong with this one, too.

The Force might be strong with this one, too.

Suddenly, everyone is a Star Wars fan, and I just want to scream, “No! That’s not true – that’s impossible! You’re not a REAL fan! You’ve come late to the party and are claiming it was yours the whole time. You didn’t live through it like we did – you don’t even know who anyone is!”

And yet I don’t. Who am I to deny someone the chance to love something I love? Even if it hurts to hear people mispronounce names or places, I don’t correct them like I would have 15 years ago. If you truly love something you need to let it go. So, I’m trying. I’m trying to accept that the thing I love has changed, and maybe? Maybe it’ll be okay… and if I’m lucky? Maybe better.

If there’s one thing that I’ve learned from Star Wars, it’s that good is stronger than evil.

Unless they change the underlying themes… but then, I guess I’ll have to wait to find out.

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1177

Review: WWE Raw Opener 2015-12-07

Culture, Fail, Opinion, Reviews

December 9, 2015

Oh, boy.

There were reports that the WWE has been trying to get in touch with their fanbase, sending out surveys to find out what, if anything, they are doing right. I suppose it’s a smaller list than what they’re doing wrong, but the fact that they need these surveys and can’t just listen to their (very) vocal fans is troubling.

For years, the fans have told the WWE exactly what they’ve wanted to see: Zack Ryder, Daniel Bryan, Dolph Ziggler, Cesaro, CM Punk. More recently, they’ve followed that up with more calls for the likes of Kevin Owens, Dean Ambrose, Paige, Sasha Banks, and Becky Lynch. The people running the WWE behind the scenes have outright ignored these desires, mocked them, or distorted them into fitting the people they want to see accepted by the fans, whether the fans like it or not.

It’s this misunderstanding that has led to the sabotage of Roman Reigns. Reigns would have been as big as the WWE would like him to be if they hadn’t interfered with him – the fans didn’t get behind him in a big way at the Royal Rumble in 2014 because they wanted him to win, but because they wanted Batista to lose. The only person they wanted to win that year was Daniel Bryan, though they might have accepted Punk. When Punk was eliminated and Bryan wasn’t in the match, the crowd rebelled.

DB TIB

Sayeth the crowd: “This is Bullshit!”

The WWE is pushing a person who, left to their own devices, might have been able to carry the company. Reigns is talented, has the look, and puts on exciting matches. He can’t talk, really, but he shouldn’t have to – anyone capable of seeing his limitations should be able to play to his strengths, but the WWE doesn’t do that anymore.

The WWE – the largest wrestling company on the planet – doesn’t know how to tell stories involving wrestling anymore. It’s why they’ve lost twenty percent of their viewing audience since July, and this past Monday’s first segment was a perfect example as to why.

Raw opened with a new group of people called the League of Nations who, despite being composed of several individuals of various nations working together, are bad guys. We know this because they are all foreign. We also don’t care because all of them are losers. Rusev has done nothing since losing to John Cena. Barrett is another guy the crowd would love to get behind but the booking committee keeps having him lose whenever the crowd gets behind him. Does anyone care about Alberto del Rio since his return? Have we been given a reason to? Seamus lost for weeks before becoming champion, and likely won’t win anything here.

Seamus is the one with the microphone.

Seamus is the one with the microphone.

Seasmus, by the way, has no character. His whole thing is that people think he looks like an idiot, and it’s okay to make fun of him – bullying him – for looking different. That last sentence added more nuance to Seamus than the last two years of WWE storytelling, by the way, so now that you’re up to date…

The League of Nations is interrupted by a hillbilly cult leader who should be terrifying and may be the least threatening person on the roster, because he and his cult never win. Ever. They outnumber people and still get beat. It’s sad, really, because the cult leader is pretty much the best talker in the industry today – so good that he can make a feud seem interesting even when the other person isn’t there – but the people booking this take the gold he gives them and create shit with it.

It’s interesting, because the crowd wants to like this cult, called the Wyatt Family. They like Wyatt, and they like the way two of his cultists, Luke Harper and Eric Rowan, fight. Naturally, this means that the WWE is pushing the fourth late addition to the cult, a talentless lug who can’t talk, wrestle, or act and skipped through their developmental process to become the big gun. His big move is a modified bear hug. The crowd doesn’t care.

Dude looks like he wandered off the set of a really good horror movie.

Dude looks like he wandered off the set of a really good horror movie.

The hillbilly cult are more bad guys, so when they are stopped from attacking the other bad people by some good people, it’s confusing. A bunch of guys who were last relevant maybe a decade ago come out to beat a dead horse before being interrupted by the aforementioned Roman Reigns, his younger brothers, and his best buddy.

End result? A four-way tag battle, where if one person is eliminated, so is their team.

Sounds exciting, right? Why is this dumb?

For a start, why did the cult interrupt the league of bad guys? Why did the old stars stop that attack from happening? Why do Roman and friends care about any of this? Nothing makes any sense at all. This is wrestling, yes, so suspension of disbelief is a given. We’re willing to accept snake charmers, necromancers, and a secret world of leprechauns, provided they make sense internally. This doesn’t.

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What, you thought I was kidding about the snake charming?

Also, all of your purported main event talent is in this match. Admittedly, all your main event talent boils down to Roman Reigns, who the crowd grudgingly supports, and Seamus, who the crowd doesn’t care about. Barrett and Ambrose and Wyatt could all be main eventers, possessing the talent for it, but the booking had made all of them look like losers for the past year, so…

Sure enough, the cult gets eliminated first, the no-longer-relevant nostalgia act goes out second, and the League of Losers goes out third. Roman Reigns~! Get it? That’s a better slogan than anything WWE creative has managed to give him in the past two years of pushing because they don’t know what the fuck they’re doing.

Lastly, the WWE has an event called the Survivor Series that was built on five-on-five elimination tag team matches. This year, the event sported two of those matches where the participants were not announced until the day of the event, and one of them was played for laughs and featured Seamus – your current heavyweight champion of the world – getting pinned cleanly in the center of the ring.

By contrast, we can look at the WWE training league, a show called NXT. Their title holder is a guy named Finn Balor, whose character is that of a cute geeky Irishman who happens to have a demon inside of him. He’s honorable and polite and, much like the Incredible Hulk, if you piss him off he will unleash the demon on you.

An actual demon, too. Not just some low rent monster.

An actual demon, too. Not just some low rent monster.

Tonight, on the WWE Network (which you can subscribe to for $9.99!), Finn Balor will team with a former number one contender, Apollo Crews, to face off against his challenger on the next NXT event, Samoa Joe, and a man who wants his title and will do anything to get it, Baron Corbin. All of them have well developed characters and reasons for being in this match, so we care about the tag match tonight and we care about the two matches that are coming up.

NXT has been building this upcoming fight between Finn Balor and Samoa Joe for most of the past year, since Joe’s debut. They presented him as an equal to then-champion Kevin Owens, established a mutual respect with Finn that turned to homicidal jealousy through thwarted ambition in the months since. We care about Joe’s fall from grace, we care about Finn and his broken heart and the demon seeping out of it.

Again, the Raw opening featured too much talking for an overly busy mess where no one looked good and nothing was left for the main event. The NXT main event has been announced ahead of time, has been built to, and makes logical sense. This Raw opener came out of nowhere, meant nothing, accomplished nothing, and wasted everyone’s time.

The main event was not supposed to be an empty arena match.

The main event was not supposed to be an empty arena match.

That was just the opening segment, but the whole show was just as bad and made just as little sense.

Wrestling can, should, and must be messy. It’s a show about a fictional athletic competition that is shot before a live paying audience every week. There is no off-season, there is no safety net, just death-defying stunts and actors that play their characters pretty much twenty-four/seven, three sixty-five and a quarter. The best moments happen from the magic that comes from these people being left alone to do their thing.

“If you smell what the Rock is cookin’?” was a one-off ad-libbed line. “Austin 3:16,” ditto. “The Four Horsemen,” “the NWO,” “the Straight Edge Society,” wrestling’s best and brightest moments come about from people who live their characters. The best promos come from those that are given the confidence to talk and speak their minds. The Pipe Bomb, arguably the greatest wrestling promo of the past decade, happened when one man was given freedom and a microphone.

The most frustrating part about this is that the WWE should know better. The Attitude Era and the era of the Smackdown Six are largely considered the strongest periods for modern wrestling, and they were places where wrestlers were encouraged to roam free. The last time a wrestler cut loose and got himself over in a major way was Zack Ryder, who used social media to make himself one of the most popular people on the roster.

Zack Ryder is a decent worker and talker with a good look, but the WWE seemed incensed that he would dare make an attachment to the crowd without their approval. They punished him by having him lose for years, finally damaging his character and presence so badly that he was relegated to the training league – where he immediately got over again, and is now part of their incredible tag division, teaming with another wrestler named Mojo Rawley to become the Hype Bros.

Was Zack a future world champion? Unlikely, but he could have been one of those secondary guys who could make a believable run for the title. All it would have taken was some half decent storytelling, but the WWE made an example of him and no one has deviated from the script in any real way since.

He could have been Hokage.

He could have been Hokage.

And that’s a big part of the problem: it’s all scripted. Everything is scripted. No one ever wins and no one ever loses – there’s a sense of stagnation and boredom, because no one ever accomplishes anything. Champions lose non-title matches every week to the point where they look pathetic and the titles lack all meaning or value, or aren’t even booked in any way that makes sense.

For example, the WWE Divas belt was being held by a woman named Nikki Bella, and we were told that she was approaching a record for longest champion ever. Her challenger at the time was Charlotte Flair, daughter of Ric Flair, and the story being told revolved around the idea of Charlotte stopping Nikki from achieving her goal of being the longest running champion: she got a bunch of matches and never quite won, not until Nikki had achieved her goal.

That could work as a story, if Nikki were the good guy trying to do something incredible and Charlotte was the bad guy trying to keep her from achieving her dream. There’s even pathos there in the aftermath – an exhausted good guy Nikki losing to Charlotte, but taking solace in achieving her goal. Both women were playing the opposite roles, however, and the story suffered as a result. With the good guy unable to keep the bad guy from getting that record, it robbed the story of its pull. Charlotte stopped Nikki after it was too late to matter.

Charlotte is also a Flair. Being bad is in her blood.

Charlotte is also a Flair. Being bad is in her blood.

Again, contrast that with the last big feud for the NXT Women’s Title. First up, it’s the Women’s Title, not the Diva’s Title. The Women’s Title looks and sounds like a championship belt, while the Diva’s Title looks and sounds like a fashion accessory. The champion was Sasha Banks, a woman who improved herself and made a character over a period of years, cultivating a cut-throat arrogance to match her incredible skill in the ring. Her character is based on being better than everyone and backing it up when called to do so.

Her opponent was Bayley, a girl-next-door type who had dreamed of being a woman wrestler her whole life, a happy-go-lucky ingenue who tries hard and works hard and makes a go of it and is so impossibly earnest that it’s impossible not to like her. She toiled and struggled and earned her shot at the title, and Sasha mocked her for it.

The two of them had one of the best wrestling matches, with one of the best storylines, this year. No one had to tell us how awesome they were, or who they were, or why we should care: we knew by watching them, and everything else was just icing. Bayley has continued to be awesome on NXT. Sasha Banks was brought up to the main roster, where she has done nothing.

In short, WWE, your fans have been vocal about who they want to see, and your stubborn insistence is driving us away in droves. Those of us that know about NXT are tuning there for our fix, but those that don’t will leave and might not come back – and even those of us that watch NXT live in fear of what you’ll do to the people we care about when they’re called up.

Neville, a former NXT champion, languishes as nothing and has nothing going for him despite being able to deliver terribly smarmy interviews while wrestling a lightning fast style that can make anyone look good. The Ascension, former angry space vikings and all around ass-kickers, were turned into hypocritical eighties rejects before losing to everyone and being forgotten about. Sasha Banks, possibly the most talented wrestler on the roster, sits unused somewhere.

We know what we want, WWE. We know you can give it to us, and we know you like to bitch and moan about how we won’t accept the shit you try to shovel down our throats week in and week out. Your challenge was “love it or leave it.”

Twenty percent of us have.

The dark blue is the amount of people that have stopped watching since July.

The dark blue is the amount of people that have stopped watching since July.

More of us are going to leave, too. Raw is three hours long, Smackdown is two hours – five hours on a non-event week is a lot of time to sit there and not be entertained, to be insulted, to be bored. Most of the fans you have left are there out of inertia instead of passion, but even that is trickling down and away. The computer-controlled AI in your video games makes more sense than you do and is more entertaining, to boot.

Hell, if you added different commentators as DLC for the video game – specifically Corey Graves, Renee Young, and William Regal – you’d probably make a lot of money. The commentary on Raw is generally terrible, excelling only at reminding us how awful the product is and insulting those that haven’t or aren’t able to get the WWE Network (only $9.99~!). Those commentators I named are from NXT, by the by, and are just further proof that there is not one thing that Raw and Smackdown do that NXT doesn’t do better.

“Love it or leave it.” That’s your challenge, and while I don’t love it, I do want to. Your roster of on-air talent is ludicrously good, moreso than at any other time in the company’s history, but whatever is happening behind the scenes is poison and it’s tainted the on-air product, driving it towards unwatchability. Please fix this. I don’t want to leave. I want to love your product. I want to give you my money and my attention.

All I’m asking is that you give me a reason to care.

Thank you, Paige.

Thank you, Paige.

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1173

At The Eleventh Hour.

Culture, Opinion, The Truth

November 11, 2015

When I think about what Remembrance Day means I get a little sad. Have we forgotten, despite the namesake, that on this day in 1918 at 11am the First World War came to an end.

World War One was the first industrialized war and its devastation was unprecedented, a true horror that we as humans should look back on with shame and regret. Yet not more than 20 years later, we were back at it: this time, it was the total war of World War Two. Millions where killed, soldiers and civilians alike.

The poem In Flanders Fields  is where this tradition comes from, and it is a harrowing tribute to the dead. It calls upon us to take up their “quarrel with the foe,” and this is where it gets sticky for us. The surface call is to keep fighting, as the saying goes “ours in not to reason why,” yet this makes little sense as those who have seen war face-to-face are reluctant to engage in it. So, perhaps the foe is war itself? Or, more accurately, the those who would use war as a political solution to their goals.

The Allure of Heroism.

We don’t need to glorify the horrors of war to respect those who have shouldered the role of national service. Hero worship is the flipside of that same coin that uses war as tool.

Our culture no longer goes to war against a specific enemy, but rather a concept that has no clear definition, no clear army or apparatus to dismantle and thus defeat. The wars on terror and drugs are again only political tools used to take advantage of our most selfless citizens. There is no glory to be had when they come home, as we give them only one day of recognition and it is filled with hollow lip service, especially given the way those same soldiers are treated once their battle is over.

Makes one wonder who the moment of silence is really for.

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