Rouge One is the biggest movie on the planet, and we finally devote a whole show to talk about the most diverse (or is it?) Star Wars ever filmed. Joining in on the fun is Tosche-Station.net writer, and Star Wars superfan, Bria LaVorgna and Black Girl Nerds’ movie reviewer, and occasional NOC contributor, Valerie Complex. [Spoilers throughout!]
When it comes to the Doctor Strange film, it continues to be the Greek-bearing gift of racism that keeps on giving.
I had no doubts that the white supremacy would ensue the moment it was announced that the Grand Wizard would portray the eponymous Sorcerer Supreme.
The film didn’t disappoint in this regard. After all like attracts like.
When it’s all said and done, 2016 will be long remembered as the year everything (including American democracy) went to hell. Pop culture did not go unscathed either. We said goodbye to all of our heroes: Prince, Bowie, Ali, Phife, Kanye… and hello to the worst the internet could offer. From misogynist Ghostbusters haters to problematic faves, it was the year the ugly side of internet culture went mainstream. I mean, we literally elected an internet troll the leader of the free world.
Still, the geekosystem was able to produce a few silver linings in the massive dark cloud that was the last 12 months. Here are ten… or so.
This film could best be described as Katniss Everdeen In Space. While this prequel is light years (and a galaxy far away) of an improvement over the New Hope reboot aka The Force Awakens, it is not the second coming of Christ fanboys are making it out to be.
Katniss Everdeen in Space is not so much a good movie as it is a good Star Wars movie by Star Wars standards.
The new horror film Dying to Kill, starring stand-up comedian Dwayne Perkins, will make its debut this Tuesday, December 13 on Hulu. On this week’s Hard NOC Life, Dwayne — who also co-wrote the film — is joined by his co-star Lynn Chen, as well as the film’s writer/producer Koji Steven Sakai, and writer/director Raymond C. Lai to talk about the process that went into making the film.
When it comes to the media, the Original X-Man, First Class, Brother Malcolm said it best:
So like many of you I caught the interview where Scarlett Johannson encouraged moviegoers to keep asking for diversity.
Now I like ScarJo and all but like many of you I laughed heartily for a good five minutes.
The guffawing finally ceased when I realized this wasn’t an Onion article and the Lucy and Ghost In The Shell star was being serious.
Then this was my reaction.
In the summer of 2008, there I was: A fresh-faced, 19-year-old pharmacy school dropout, a few months removed from stepping off the plane from humble Oregon and on to hopeful California soil. I had no direction of where I was going or knowledge of how to accomplish my lofty goals, but I knew I wanted one thing and one thing only: I wanted to be a part of cinema.
One of my first — and one of my favorite — jobs was when I worked as a film projectionist at a local movie theater. It was one of those summer jobs that lasted well beyond the summer. Even though the pay was trash and I hated some of my managers, I had access to free movies that were actually projected on 35mm film (which is on the verge of becoming an extinct format). I made sure to watch everything I could get my hands on from big budget action blockbusters to independently produced prestige dramas. Since I didn’t have the money to go to a traditional film school like USC or UCLA, the movie theater became my film school.
Everything that I have absorbed about appreciating and deconstructing cinema up to that point came to a climatic crescendo in the form of a tiny little art house flick called The Dark Knight, and it altered my perception of sights and sounds, forever.
Update 11/25/16: The original version of this post stated that Tina was simply white. I have since realized that Tina’s full name is Porpentina Goldstein, and that she and her sister Queenie are likely of Jewish descent (and thus both have only conditional whiteness). I have updated the post with this information in mind.
The Harry Potter universe is a world that’s followed most of us since we were kids. While in many respects it’s aged along with us — we see Harry grow up and have kids, and the film Fantastic Beasts is certainly aimed at an older audience — in other aspects it has remained disappointingly behind the times. In particular, Fantastic Beasts is yet another example in the Potterverse of how marginalized folks, particularly queer people and/or people of color, continue to be exactly that: marginalized.
There is an old fairy tale popularized by Hans Christian Andersen as The Little Mermaid. I’m one of those odd first-and-a-half generation Vietnamese American immigrants, and tales of living in between spaces have always held my attention. The story goes that a little princess from a world under water wants to live on the land. She falls in love, exchanges her tongue for a pair of legs, and finds herself thrust into the unenviable circumstance of navigating a strange space where she literally has no voice. Ultimately finding no place for her in the world for which she had given up everything, she casts herself off the side of a ship into the ocean, drowns, and dissolves into sea foam. Victorian sentiments about Christianity and moralizing stories for children eventually got Andersen to amend the ending. This is more or less the state of Asian American identity politics. We’re always finding ourselves caught between “where we come from” and wherever we yearn to belong.
The buzz around the 2017 Ghost in the Shell film, among many other film and television projects of its ilk in recent memory, has ignited a bevy of thinkpieces about cultural appropriation and the nature of Asian American identity politics. The topic is complicated.