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Trump Trek: How Star Trek: Voyager is Perfectly Trumpian Star Trek…

Star Trek has built up a fascinating pop culture mythology around itself. There is an interesting dissonance between that memory and the reality.

The fond memory of a thing is not the thing itself. It is a cliché to observe that the line “beam me up, Scotty” was never actually said on the original show, but many casual fans associate the phrase with the franchise. Even hardcore Star Trek fans tend to gloss over the historical record in favour of affectionate memory. Many fans remember the pointed anti-Vietnam rhetoric of A Taste of Armageddon, Errand of Mercy or The Trouble with Tribbles. Few remember the pro-Vietnam tone of Friday’s Child, The Apple or The Omega Glory.

There is a tendency to believe that Star Trek has always been progressive, that the franchise has always embraced tolerance and actively pursued diversity. However, the reality is often more complicated than that. This why certain sections of the fanbase seem to react in abject terror to concepts like “Trek Against Trump”, a campaign organised by Armin Shimerman to protest the racism and xenophobia espoused by the (then-) candidate Donald Trump. One would imagine that rejecting sexism, racism, white nationalism would be a no-brainer for fandom, but it was not.

Indeed, this reactionary strain of fandom has come up time and again in the context of Star Trek: Discovery. Certain vocal sections of the fan base have objected to the diversity of the primary cast, despite the fact that Star Trek: Deep Space Nine arguably had a much more diverse ensemble. The backlash has reached the point that the cast have had to actually give interviews that racism is a very bad thing and that the franchise is very much about tolerance and understanding. Similarly, the news that the series would be overtly political has rattled some cages in fandom.

In theory, these reactions should be shocking. The Star Trek franchise has carefully cultivated a reputation for liberalism and idealism. Indeed, the Federation is quite explicitly socialist, something hinted at in Star Trek IV: The Voyage Home and explicitly confirmed in Star Trek: First Contact. On a more fundamental level, the franchise is about people from different cultures and with different values coming together to work in common purpose. It seems reasonably fair to argue the franchise would disagree with concepts like “the Muslim Ban” or “the Transgender Service Ban.”

However, the truth is that there has always been a reactionary streak lurking within the franchise. And nowhere has that reactionary streak been stronger than in Star Trek: Voyager, bleeding over into the creation and first two seasons of Star Trek: Enterprise.

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IT’s Mourning in America: Modern Cinema’s End of the Eighties…

IT and Atomic Blonde touch on an intriguing (and renewed) interest in the end of the eighties.

There are a number of other examples scattered across contemporary pop culture. Halt and Catch Fire recently jumped several years in the gap between its penultimate and final seasons, straddling the end of the eighties and exploring the existential chaos of the early nineties. Mindhorn finds its central character unable to escape the shadow of a beloved cult television show that was retired in 1989, his fame ending with that decade. Although the true story that inspired it unfolded in the mid-nineties, Gold is set in the late eighties.

Part of this undoubtedly simple nostalgia. After all, the current generation of cinema audiences most likely came of age in the late eighties and grew in the nineties. This explains the wave of eighties and nineties nostalgia sweeping through popular culture, from the relaunches of shows like Twin Peaks and The X-Files to belated sequels like Independence Day: Resurgence and Jurassic World. People tend to be nostalgic towards their own childhoods, and this explains the pull of pop art like Stranger Things to modern audiences.

At the same time, it is interesting to wonder whether there is something deeper at work in all of this, if this very focused fascination with the end of the eighties is in some way intended as a commentary or reflection on the contemporary world, whether these films are trying to make sense of the modern climate through the framework of the transition from the late eighties into the nineties.

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Non-Review Review: An Inconvenient Sequel – Truth to Power

An Inconvenient Sequel feels somewhat inconvenienced by factors outside of its control.

Much like An Inconvenient Truth, this documentary is very meticulously and carefully structured. It is built around the same core idea of a climate change lecture provided by Al Gore, but it also has a very linear and clear arc to it. There is a definite narrative running through An Inconvenient Sequel, which occasionally feels like a real-life thinking person’s political thriller, only with fewer shady businessmen and less immediately dramatic stakes. An Inconvenient Sequel has a story that it very clearly wants to tell, centring on Al Gore at the Paris Climate Change Conference.

However, that narrative is repeatedly interrupted. Forces beyond Gore’s reckoning creep in around the edges of the story that he wants to tell. Gore very clearly intended for this narrative to be triumphant in nature, to the point that he opens his big presentation in the middle of the film by promising the audience a happy ending. However, time and again, real life intervenes. Disruptions interrupt the flow of the story that Gore has constructed, to the point that the last ten minutes of the film feel like a bizarre postscript, as if real life were directed by M. Night Shyamalan.

It would be churlish to blame Gore for this. In fact, An Inconvenient Sequel is in many ways more interesting for these outside elements that creep into the story being told. Real life is full of complications that are unforeseen and yet inevitable. However, there is a sense that these sweeping dramatic reversals have caught Gore and the documentary off-balance, that they are struggling to properly respond, that they are not ready to veer “off script” to cope with what the world has thrown at them. The result is uncomfortable, chaotic, and surreal. And oddly compelling.

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Iron Fist – Felling Tree With Roots (Review)

Danny Rand is perhaps the biggest problem with Iron Fist.

In many ways, Danny is really just an extrapolation of the kind of live action comic book hero seen in Daredevil and Batman Begins, the angsty young man with father issues who struggles to get past his own dysfunction to become the hero that the city (if not the world) needs at this exact moment. Danny is full of emotional turmoil, with Iron Fist revelling in his insecurities and uncertainties. Even when he succeeds, the show makes a point to stress how incredibly difficult it is to be Danny Rand.

Sleeping beauty.

This feels ill-judged on several levels. Finn Jones lacks the sort of nuance and ability that is necessary to bring that sort of mopey self-centred sulking to life in an engaging manner. Jones is no Charlie Cox, and he’s certainly no Christian Bale. However, Iron Fist itself also struggles to properly capture the right tone. Immortal Emerges From Cave ends with Danny saving an innocent life, but he spends Felling Tree With Roots whining about it. The loss of K’un Lun in Dragon Plays With Fire is treated as something that affects Danny more than its residents.

Ironically, the Iron Fist himself seems to be the weakest aspect of Iron Fist.

Her Hand-iwork.

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Non-Review Review: 10 Cloverfield Lane

10 Cloverfield Lane is a beautiful piece of speculative paranoid horror.

The plot follows Michelle, a young woman who is involved in a car crash. She wakes up to find herself in a strange concrete bunker, under the care of the mysterious (and more-than-slightly sinister) Howard. As she comes to her senses, Howard advises her that something horrible has happened; the world has ended outside and they are sealed safely inside an air-tight self-sustaining bunker. However, Michelle has a healthy degree of skepticism about Howard’s claims, wondering what exactly is going on and just how trustworthy Howard actually is.

At home at the end of the world. Maybe.

At home at the end of the world.
Maybe.

To reveal any more would be to spoil the film. 10 Cloverfield Lane is very much a “mystery box” production, in keeping with various other JJ Abrams projects from Cloverfield to Super 8 to Star Trek Into Darkness. Although Abrams is not directing, 10 Cloverfield Lane retains a lot of the director’s aesthetic. It is a film that is designed to be seen with the bare minimum of information, to the point where the unveiling of the movie’s title came surprisingly late in the release process.

However, writers Drew Goddard and Daniel Casey (working from a story by Matthew Stuecken and Josh Campbell) and director Dan Trachtenberg use that mystery box structure in a manner distinct from Abrams’ blockbuster sensibilities. 10 Cloverfield Lane plays like a feature-length high-budget episode of The Twilight Zone, a story that looks and sounds great but would (mostly) lend itself to a stage play adaptation. 10 Cloverfield Lane feels very much like a classic high-concept science-fiction horror, in the best possible way.

Music to his ears...

Music to his ears…

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