#American media franchise

[k-i-l-l-e-r-b-e-e-6-9]

ThunderCats (1985–89)

[dkettchen]

she would've told them unlike her canon! version who decided not to be an ally smh

[clonerightsagenda]

One of my professional nemeses is a guy who does not know I exist who consistently posts god awful takes on Inside Higher Ed but today he posted one bitching about the decline of Western culture being taught in schools and how "It’s no secret that today’s kids have much less exposure to those Greek, Roman and Norse myths, legends and sagas" which is a bold take in the age of Percy Jackson, but he then went on to cite Lord of the Rings and Chronicles of Narnia as newer cultural touchstones that "reflect more modern sensibilities, values and concerns, including themes of diversity and inclusion and environmental awareness. They’re crafted with contemporary language and settings, even when set in fantastical worlds, making them more immediately accessible to today’s children than the sometimes archaic language and unfamiliar settings of ancient myths" which ???? Yes Lord of the Rings, infamously written with accessible language.

This is the same guy who wrote a post about how we no longer produce the same caliber of intellectuals as... and then listed off 15 people, all white, 1 woman, and two Georges, so I honestly think he may have been cryogenically frozen for a few decades and they thawed him out to write terrible thinkpieces.

[movies-tv-more]

TV Show & Movie Collection Releases for August 20, 2024

[hollowwhisperings]

that thing wherein you're reading something and just KNOW

"this person has completely forgotten that the characters here live in Japan/Korea/China/Russia"

and is, instead, writing like an American.

[livvyofthelake]

sorry that was just about me getting soooo annoyed when cultural christians who are self described atheists consume religious media and ignore all the religious connotations and meanings lol

[cloveroctobers]

JAMES EARL JONES

James Earl Jones was an American actor known for his iconic voice acting roles and for his work in theater. Over his career, he received three Tony Awards, two Emmy Awards, and a Grammy Award. Born in Arkabutla, Mississippi in 1931, he had a stutter since childhood. Jones said that poetry and acting helped him overcome the challenges of his disability. A pre-med major in college, he served in the United States Army during the Korean War before pursuing a career in acting. Jones made his film debut in Stanley Kubrick's Dr. Strangelove (1964). He received a Golden Globe Award nomination for Claudine (1974). Jones gained international fame for his voice role as Darth Vader in the Star Wars franchise, beginning with the original 1977 film. Jones' other notable roles include in Conan the Barbarian (1982), Matewan (1987), Coming to America (1988), Field of Dreams (1989), The Hunt for Red October (1990), The Sandlot (1993), and The Lion King (1994). Jones reprised his roles in Star Wars media, The Lion King (2019), and Coming 2 America (2021).

He was described as "one of America's most distinguished and versatile" actors for his performances on stage and screen, and "one of the greatest actors in American history.”

( January 17th, 1931 — September 9th, 2024)

Rest well.

[scarlet--wiccan]

Agatha All Along, the highly anticipated follow-up to WandaVision, begins airing this week on Disney+. Now is the perfect to revisit some important information about both shows and the context in which some of Agatha's new characters are being introduced.

WandaVision primarily followed the character Wanda Maximoff and expanded on her family history by introducing her late parents as well her twin sons, who are born from magic and age rapidly over the course of the series.

In the Marvel comics source material, Wanda is part of a large, multigenerational family of Jewish and Romani characters whose stories frequently reflect the systemic violence and oppression that both communities face-- including Romani Holocaust victims, who are critically underrepresented in both education and media. In the MCU, these identities and histories are completely erased, and the characters are all played by white actors. Alternate versions of these characters also appear in the Fox X-Men films, and are similarly whitewashed.

The Romani people are a racialized minority that originated as a South Asian diaspora, and who face severe systemic oppression in Europe and North America. The modern Romani population is quite diverse, but they are not of white ethnic origin, and despite the fact that Wanda and her family have historically been drawn with white features, they are minority characters and ought to be considered as such.

Depictions of witches and witchcraft are often entwined with antisemitism and anti-Romani racism. In pop culture, witches and fortunetellers are typically portrayed as visual stereotypes of Romani women. In the real world, fortunetelling is a profession born from survival work, one which Romani families are often heavily policed and racially profiled for practicing. While Wanda usually subverts these tropes, they are often played straight elsewhere in the superhero genre, and any story about witches, especially one featuring Romani characters, needs to be critiqued in this context.

Agatha All Along introduces viewers to a new cast of characters, including Lilia Calderu, played by Patti LuPone, and the enigmatic "Teen", played by Joe Locke, who is heavily speculated to be an incarnation of Wanda's son, Billy.

In the comics, Lilia is a member of a prominent Romani family in Wanda's community. Often lauded as the "witch queen of the gypsies," Lilia embodies many racial stereotypes about Romani women. In Agatha All Along, Lilia is depicted as an older Sicilian woman, however, being portrayed as a batty fortuneteller with a tawdry psychic shop, she still embodies an offensive trope. Although Lilia is far from "good" representation, this is not an improvement-- if anything, it's even more exploitative.

Billy was raised in a Jewish American household and places a very strong emphasis on his Jewish identity, in addition to having Romani heritage. His identity as a young gay man is always presented in conjunction with this heritage, not in spite of it. Though there is a significance to Locke being a gay actor playing a gay character, his casting-- if he is indeed playing Billy-- is not authentic. White gay representation should not supersede racial inclusivity, and it is not an excuse for whitewashing or Jewish erasure.

Marvel Studios recently announced that the character Doctor Doom will be played by Robert Downey Jr., who is returning to the franchise after many years in the role of Iron Man. In the source material, Doom is also a Romani character with a very similar background to Wanda's. This identity is central to Doom's character-- although he is written to be both morally and politically challenging, the liberation of his people has always been a primary motive.

Clearly, this type of whitewashing is an ongoing pattern in the MCU franchise. Although "Teen's" identity is still unconfirmed and Lilia may, ultimately, be of little consequence, they are part of a larger problem, and Agatha All Along needs to critiqued in that context.

[ratgrinders]

Never Stop Blowing Up Favorite Movies

Wendell Morris

Weird Science - 1985 science fantasy/teen comedy. "Nerdy social outcast students Gary Wallace and Wyatt Donnelly are humiliated by senior jocks Ian and Max for swooning over their cheerleader girlfriends. Humiliated and disappointed at their direction in life and wanting more, Gary is inspired by the 1931 classic Frankenstein to create a virtual woman using Wyatt's computer, infusing her with everything they can conceive to make the perfect dream woman."

The Fast and the Furious - "A media franchise centered on a series of action films that are largely concerned with street racing, heists, spies, and family."

Real Genius - 1985 science fiction/comedy. "Chris Knight, a genius in his senior year, is paired with a new student on campus, Mitch Taylor, to work on a chemical laser, only to learn it will be used for dangerous purposes."

Liv Skyler

Empire Records - 1995 coming-of-age comedy/drama. "The film follows a group of record store employees over the course of one exceptional day. The employees try to stop the store from being sold to a large chain, and learn about each other along the way."

Scarface - 1983 crime drama, and a remake of the 1932 film of the same name. "It tells the story of Cuban refugee Tony Montana, who arrives penniless in Miami during the Mariel boatlift and becomes a powerful drug lord." Additionally, "Less than two months before the film's release, Scarface was given an X rating by the MPAA for "excessive and cumulative violence and for language".

Clueless - 1995 coming-of-age teen comedy. "Considered to be one of the best teen films of all time...The plot centers on a beautiful, popular, and rich high school student who befriends a new student and decides to give her a makeover while playing matchmaker for her teachers and examining her own existence".

Usha Rao

The Horse in Motion - Published in 1878, a sequential series of 6 cabinet cards depicting the movement of a horse. Regarded as "the world's first bit of cinema", and the first film ever created.

Dr. Jekyll and Mr. Hyde - 1931 horror film. "An adaptation of The Strange Case of Dr. Jekyll and Mr. Hyde, the 1886 Robert Louis Stevenson tale of a man who takes a potion which turns him from a mild-mannered man of science into a homicidal maniac."

102 Not Out - 2018 Indian Hindi-language comedy drama. "Dattatraya Vakharia is a lively 102-year-old who lives his life to the maximum and takes everything in a jovial way for his heart is that of a 26-year-old youngster regardless of his age. His 75-year-old son, Babulal Vakharia, is his exact opposite for he believes that he is now too old and fragile to enjoy life and lives a routine life."

Russell Feeld

American Gigolo - 1980 neo-noir crime drama. "A high-priced male escort who becomes romantically involved with a prominent politician's wife, while simultaneously becoming the prime suspect in a murder case."

La Femme Nikita - 1990 French-language action thriller. "[Nikita] is a criminal who is convicted and sentenced to life imprisonment for murdering policemen during an armed pharmacy robbery. Her government handlers fake her death and recruit her as a professional assassin. After intense training, she starts a career as a killer, where she struggles to balance her work with her personal life."

Waking Life - 2001 animated film. "The film explores a wide range of philosophical issues, including the nature of reality, dreams and lucid dreams, consciousness, the meaning of life, free will, and existentialism. It is centered on a young man who wanders through a succession of dreamlike realities wherein he encounters a series of people who engage in insightful philosophical discussions."

Andy 'Dang' Litefoot

Suburbia - 1983 coming-of-age drama thriller. Follows "a group of suburban youths who run away from home and adopt a punk lifestyle by squatting in abandoned suburban tract homes."

Goldfinger - 1964 spy film and the third installment in the James Bond series. "The film's plot has Bond investigating gold smuggling by gold magnate Auric Goldfinger and eventually uncovering Goldfinger's plans to contaminate the United States Bullion Depository at Fort Knox."

Fire in the Sky - 1993 biographical science fiction mystery. "It is based on Travis Walton's book The Walton Experience, which describes an extraterrestrial abduction"

Paula Donvalson

Muriel's Wedding - 1994 Australian comedy-drama. "The film focuses on the socially awkward Muriel whose ambition is to have a glamorous wedding and improve her personal life by moving from her dead-end hometown, the fictional Porpoise Spit, to Sydney."

The Long Kiss Goodnight - 1996 action thriller. "The story follows an amnesiac schoolteacher who sets out to recover her identity with the help of a private detective when they discover a dark conspiracy."

Under the Tuscan Sun - 2003 romantic comedy-drama. "Based on Frances Mayes' 1996 memoir of the same name, the film is about a recently divorced writer who buys a villa in Tuscany on a whim, hoping it will lead to a change in her life."

[demifiendrsa]

EGOT winning american film, television, and broadway actor James Earl Jones has passed away on September 9, 2024 at the age of 93.

Jones made his film debut in Stanley Kubrick's Dr. Strangelove. He received a Golden Globe Award nomination for Claudine. Jones gained international fame for his voice role as Darth Vader in the Star Wars franchise, beginning with the original 1977 film. Jones' other notable roles include in Conan the Barbarian, Matewan, Coming to America, Field of Dreams, The Hunt for Red October, The Sandlot, and the voice of Mufasa in The Lion King. Jones reprised his roles in Star Wars media, The Lion King (2019) remake, and Coming 2 America.

Jones' television work includes playing Woodrow Paris in the series Paris between 1979 and 1980. He voiced various characters on the animated series The Simpsons in three separate seasons. He then was cast as Gabriel Bird, the lead role in the series Gabriel's Fire which aired from 1990 to 1991. For that role, he won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series and was nominated for his fourth Golden Globe Award, this time for Best Actor in a Television Series Drama. He played Bird again in the series Pros and Cons, which ran from 1991 to 1992; that earned him his fifth and final Golden Globe Award for Best Actor in a Television Series Drama. He then had small appearances in the series Law & Order, Picket Fences , Mad About You, Touched by an Angel, Frasier. His role in Picket Fences earned him another Primetime Emmy Award nomination, one for Outstanding Guest Actor in a Drama Series. His later television work includes small roles in Everwood, Two and a Half Men, House, and The Big Bang Theory.

Jones' theater work includes numerous Broadway plays, including Sunrise at Campobello (1958–1959), Danton's Death (1965), The Iceman Cometh (1973–1974), Of Mice and Men (1974–1975), Othello (1982), On Golden Pond (2005), Cat on a Hot Tin Roof (2008) and You Can't Take It with You (2014–2015). He was also in various off Broadway productions and Shakespeare stage adaptations such as The Merchant of Venice (1962), The Winter's Tale (1963), Othello (1964–1965), Coriolanus (1965), Hamlet (1972), and King Lear (1973). His roles in The Great White Hope (1969) and Fences (1987) earned him two Tony Awards, both for Best Leading Actor in a Play.

[cassandraclare]

New publishing announcement!

Hi guys!

I know it’s been a long time since there’s been news about The Wicked Powers. I’ve actually been sitting on information for a long time because I was not allowed to talk about it. It was making me pull out all my hair, so I am super glad to be able to share the following announcement with you: The Wicked Powers is scheduled for publication, and will be published by Walker Books in the UK and Random House in the US.

There’s a bunch more about this announcement, including the announcement of a brand-new YA romantasy series I’ll be doing called In Fire Foretold. That will be published by Pan Macmillan in the UK (same people who published Sword Catcher) and by Random House in the US.

I know there will be a lot of questions about what my schedule is, why things are coming out when they are, whether I have anything coming out next year (Yes, The Ragpicker King, the sequel to Sword Catcher, and also for those who participated in the Kickstarter, those four books) and the overall future of everything Shadowhunter-related. So I will be doing followup announcements to address all that stuff, but first, here are both press release from my publishers in the US and then in the UK with all the info!

GLOBALLY BESTSELLING FANTASY PHENOMENON CASSANDRA CLARE TO PUBLISH  FINAL TRILOGY IN THE ‘SHADOWHUNTER CHRONICLES’  AND NEW DUOLOGY WITH ALFRED A. KNOPF BOOKS FOR YOUNG READERS  First book in THE WICKED POWERS to release in Spring 2026

(New York, NY, April 5, 2024)—Alfred A. Knopf Books for Young Readers, an imprint of Random House Children’s Books, will publish five new books from #1 New York Times and USA Today bestselling author Cassandra Clare, whose novels have sold more than 40 million copies worldwide, been translated into 43 languages, and published in more than 60 countries. The new publications will begin in Spring 2026 with the first book in THE WICKED POWERS trilogy, the sixth and final series in Clare’s 23-book, young adult fantasy franchise The Shadowhunter Chronicles. Also slated for publication with Knopf is a brand-new YA romantasy duology, IN FIRE FORETOLD. The news was announced today by Melanie Nolan, VP and Publisher, Alfred A. Knopf Books for Young Readers, who acquired North American rights from Suzie Townsend and Joanna Volpe of New Leaf Literary & Media in a highly competitive auction. Michelle Frey, Senior Executive Editor, Alfred A. Knopf Books for Young Readers, will edit both series. 

Cassandra Clare mesmerized readers across the globe with the publication of City of Bones (2007), the first book in the Mortal Instruments series, and was quickly dubbed the “New Queen of Fantasy” by the Wall Street Journal. The Mortal Instruments became the basis for the far-reaching Shadowhunter Chronicles, an intricately drawn world that has seen global success and has been adapted into both a feature film and television show. The books follow the Shadowhunters, a secretive race of humans born with angel blood, whose mission is to eliminate the demons that plague the Earth. Knopf’s first publishing collaboration with Clare, THE WICKED POWERS (Spring 2026), will follow Kit Herondale, Ty Blackthorn, and Drusilla Blackthorn from The Dark Artifices series as they are drawn into the final massive conflict between the demons and the angels. 

IN FIRE FORETOLD is a pulse-pounding YA romantasy duology set in a new world with entirely new characters. The story centers a young woman who must learn to control her dangerous magical abilities in order to save her kingdom, all while finding herself torn between two brothers—the kingdom's princes, born to a cursed royal bloodline. The publication date for IN FIRE FORETOLD, as well as news of additional books to come from Cassandra Clare and Knopf, will be announced. 

Says Cassandra Clare: "I am delighted to have Knopf and Penguin Random House as my publishers for this last trilogy in the Shadowhunters world. They truly understand what it means—both for the story and for my readers—to wrap up such an epic tale that has been told over so many years. I'm also excited to be launching my next YA series — a kickass portal fantasy that contains a ton of things I love, from a bold and reckless heroine to a magical wasteland filled with terrifying monsters that must be fought, to a love triangle with two very unusual cursed princes. I can't wait for us to bring these stories to the world."

Says Michelle Frey: “Cassandra Clare is a beloved author whose work has a massive following for good reason: she sucks you into a fully imagined world and never lets go until the last, satisfying page. I have long admired Cassie and am thrilled to be working with her on both the delectable final trilogy in the Shadowhunter Chronicles and the heart-stopping new love triangle she has dreamed up with IN FIRE FORETOLD.”

Random House Children’s Books (rhcbooks.com) is the world’s largest English-language children’s trade book publisher. Creating books for toddlers through young adult readers, in all formats from board books to activity books to picture books, novels, and nonfiction, the imprints of Random House Children’s Books bring together award-winning authors and illustrators, world-famous franchise characters, and multimillion-copy series. Random House Children’s Books is a division of Penguin Random House LLC.

UK/AUS/NZ:

Walker Books will publish three new books, the final trilogy in Shadowhunter Chronicles, the first coming in Spring 2026.

Separately, First Ink will publish a brand new YA duology, introducing readers to a fantastical new world of Clare’s creation, filled with enticing new characters and heart-racing action. With sales figures for Cassandra’s novels exceeding 40 million copies worldwide, translated into 43 languages and published in more than 60 countries, these are exciting and major acquisitions for both publishing houses.

Walker will launch THE WICKED POWERS in Spring 2026 with the first book in the trilogy, The Last King of Faerie. THE WICKED POWERS is the final instalment of Clare’s 23-book, young adult fantasy series, Shadowhunter Chronicles.

THE WICKED POWERS (Spring 2026), will follow Kit Herondale, Ty Blackthorn, and Drusilla Blackthorn from The Dark Artifices series as they are drawn into the final massive conflict between the demons and the angels. The novel marks the beginning of the final trilogy in Clare’s globally beloved series.

Cassandra Clare Says about THE WICKED POWERS: "I’m thrilled to be taking this momentous step in the Shadowhunter chronicles with Walker! They published City of Bones in 2007 and now we will be bringing this huge epic to a close together. With their creativity and dedication, I know they’ll do it justice."

Denise Johnstone Burt says: “We at Walker are immensely proud to have been Cassie’s publishers from the very beginning, when City of Bones launched the Shadowhunters into the world. Since then Cassie has become one of the most beloved writers in YA fantasy all over the world, and with very good reason. Her world-building and character portrayal are absolutely second to none and her books never fail to mesmerise her fans. I am delighted that we will be returning to the world of Shadowhunters once again in THE WICKED POWERS, and know Cassie will bring the Chronicles to a conclusion with her trademark brilliance and consummate style.”

First Ink will publish IN FIRE FORETOLD, a pulse-pounding YA romantasy duology set to delight all fans of Cassie Clare. UK and Commonwealth rights were acquired by Samantha Smith, Publisher of First Ink and Macmillan Children’s Books’ Fiction, Non Fiction and Picture Book List, from Danny Baror and Heather Baror-Shapiro at Baror International.  The duology will be a super lead title for First Ink and will launch with a significant multi-channel communications campaign including national media, influencer and fan events [HBS1] and multimedia advertising.

IN FIRE FORETOLD sees the launch of a brand new world and set of entirely new characters for Clare. The story centres on a young woman who must learn to control her dangerous magical abilities in order to save her kingdom, all while finding herself torn between two brothers - the kingdom's princes - born to a cursed royal bloodline.

Cassandra Clare says about IN FIRE FORETOLD: “I’m so excited to be publishing IN FIRE FORETOLD with First Ink. This story contains so many things I love- it’s a portal fantasy that swings between worlds, where the gritty LA streets exist alongside a dangerous magical world filled with deadly monsters - and a uniquely tough heroine who’s ready to do battle on all sides. Not to mention some gorgeous princes with shady pasts. I know how much Pan Macmillan loves fantasy and how well they publish it so I’m thrilled for this partnership."

Samantha Smith, Publisher at First Ink, says: “Cassandra Clare is a phenomenon author who has delighted and surprised her millions of readers across the world for decades now. As a huge fan of both her YA Mortal Instruments series and latest adult fantasy Sword Catcher, I cannot wait for her to turn her formidable pen to a new, heart-stopping series in In the Fire Foretold and could not be more excited to welcome her onto the First Ink list”

Belinda Ioni Rasmussen, Managing Director at Macmillan Children’s Books, says: “ Welcoming Cassandra Clare to First Ink with a brand new fantasy world is very exciting - both for us and her fans.  Her storytelling is second to none and her new duology on our list is the perfect partner series to her brilliant publishing that sits on our Tor list at Pan Macmillan.”

About Walker Books

Home to books for all ages, Walker Books publishes many award-winning authors, illustrators, and literary franchisesincluding Anthony Horowitz, Angie Thomas, Cassandra Clare, Lucy Cousins, Anthony Browne, Patrick Ness, Guess How Much I Love You by Sam McBratney and Anita Jeram, We’re Going on a Bear Hunt by Michael Rosen and Helen Oxenbury, and Where’s Wally? by Martin Handford. Walker Books is part of the vibrant international Walker Books Group that includes Walker Books Australia; Candlewick Press and Walker Books US in America and Walker Productions.

About Pan Macmillan

At Pan Macmillan we publish a broad and vibrant range of books for audiences of all ages, from dazzling bestsellers to influential prize-winners; books to inspire lifelong readers and listeners to enduring classics for generations to come. The fourth largest UK publisher, we pride ourselves on publishing successfully and sustainably and are committed to working together to positively impact culture and society at large.

[k-i-l-l-e-r-b-e-e-6-9]

[doyoulikethissong-poll]

Billie Eilish - No Time to Die 2020

"No Time to Die" is the theme song for the James Bond film of the same name. Performed by American singer-songwriter Billie Eilish and written by Eilish and her brother and collaborator, Finneas O'Connell, the song features orchestration by Hans Zimmer and was produced by Finneas O'Connell and Stephen Lipson. Seventeen years old at the time of recording, Eilish is the youngest artist to have recorded a James Bond theme in the history of the franchise.

The song debuted at the top of the UK Singles Chart and the Irish Singles Chart. It became Eilish's first number-one single in the UK and made her the first artist born in the 21st century to top the chart. The song is the second Bond theme overall to top the UK chart. "No Time to Die" debuted and peaked at number 16 on the US Billboard Hot 100.

"No Time to Die" received various accolades, including the Grammy Award for Best Song Written for Visual Media, the Golden Globe Award for Best Original Song, the Critics' Choice Movie Award for Best Song, and the Academy Award for Best Original Song, making it the third-ever and third consecutive Bond theme to win the Academy Award (after "Skyfall" by Adele in 2012 and "Writing's on the Wall" by Sam Smith in 2015). Eilish became the first person born in the 21st century to win an Academy Award.

"No Time to Die" received a total of 62% yes votes! Previous Billie Eilish polls: #10 "NDA"

[neganerd]

Guys, I've never interacted w american media as a child-teen, but doesn't Cheers end with the MC and his partner breaking up and taking different paths in life, right?

Uh...Is Fionna and Cake's last episode being titled "Cheers" + Simon and Betty relationship issues being highlighted during the whole franchise really a coincidence anymore?

[renthony]

Lost in the Remaster: Star Trek, Vintage Special Effects, and the Charm of Old Media

by Ren Basel renbasel.com

Originally created by Gene Roddenberry, Star Trek is a franchise that spans decades. From the original series of 1966 to current shows such as Lower Decks, it stands as a titan of television and pop culture. The real world has undergone incredible change since Star Trek’s first appearance, yet nerds everywhere still find entertainment, inspiration, and hope in its classic episodes. Recently, along with my husband and best friend, I decided I wanted to attempt the gauntlet of watching the entire franchise from beginning to end, revisiting favorites and finally checking out the ones I missed. Media and fandom studies are my passion, after all, and Star Trek is a foundational part of modern American nerd culture.

Starting with the original series proved more difficult than expected. Living in a tiny apartment, we don’t have much space for DVDs, so Star Trek wasn’t in our existing collection. The local public library didn’t have copies, either, and putting in a purchase request doesn’t guarantee it will be made available. My family doesn’t have the funds to pay for every single streaming service on the market, and Star Trek isn’t available on any we do have access to. Piracy was starting to look like the only option, but even that fell flat when we couldn’t find a version with subtitles. Finally we dug it up officially and with subtitles, for free via PlutoTV, but there were still limitations: PlutoTV only streams season one, and season one is only available in the remastered edition that replaced the original special effects with new visuals.

It wasn’t ideal, but, hey, it was Star Trek.

Watching just one episode a week gave us enough time to scrape together savings to get what we really wanted for seasons two and three: the official BluRay release, which includes both remastered and original-release versions of each episode. The remasters are fine, but as a lover of media history and practical effects, I’m always disappointed to lose a chance to appreciate the originals. It doesn’t matter how good it might look, remasters are never as much fun to me as matte paintings, camera tricks, and whatever the prop department could pull off with ten dollars and some glue.

Finally having the BluRays in hand for season two only affirmed my love of vintage practical effects. Seeing the Enterprise in her original glory, before she was ever rendered in digital form, felt like opening a time capsule. I love time capsules. My favorite pieces of media are always those which capture a moment in time, showcasing the aesthetics, concerns, and culture of the time and place they were created. Star Trek: the Original Series is rooted in the late sixties, when mainstream culture in the United States was experiencing immense upheaval and social change. That context is written all over the show. The vintage effects add to it, grounding it in a very specific time and place. Updating the show’s effects takes away some of that 60s aesthetic, and while some may see it as making the show more timeless, I don’t care for it. To me, seeing what they could pull off before modern technology is half the fun of watching old shows. The ingenuity and creativity of propmakers, makeup artists, and set designers working on shoestring budgets is unparalleled.

To be clear, digital effects are also done by skilled professionals who deserve much more respect and many more labor protections. There are some truly stunning works created with digital tools. That said, I hate when digital effects are used to cover up the practical effects that came before. It feels disrespectful to the original artists, as if telling them their work wasn’t good enough; as if their work was just a placeholder until something better could come along and fix it. Practical effects aren’t a placeholder, they’re an art form in their own right, and that art form is one for which I have deep appreciation.

It frustrates me that the original, non-remastered episodes were such a pain for us to access, but I’m very glad to have added them to my personal media collection. No matter what future tweaks Star Trek’s rights holders might make, I can always pop in our personal copies to enjoy the Enterprise and her crew in all their vintage, “outdated” glory. If you’re also too young to remember the show’s original airing, and you have the opportunity to watch the unedited version, I highly suggest you do. Watching the version that aired in 1966 gives the show a charm that no amount of remastering can ever match.

_

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[fanhackers]

Fandom/Activism

I interrupt my dive into Abigail DeKosnik’s work to note that as the United States moves deeper into its (apparently endless) election season, we’re seeing a lot of fandom-as-activism starting to emerge, as well as activism-as-fandom. De Kosnik herself was one of the early writers on fandom/activism, writing “Participatory democracy and Hillary Clinton's marginalized fandom” for the very first issue of Transformative Works and Cultures in 2008; more recently, Aja Romano wrote about how Donald Trump’s followers can be seen to be acting like a fandom for Vox: “If you want to understand modern politics, you have to understand modern fandom.” 

TWC hosted an entire guest issue on Transformative Works and Fan Activism, edited by Henry Jenkins and Sangita Shresthova; Jenkins and Shresthova also collaborated on By Any Media Necessary: The New Youth Activism (NYU, 2016) which collects essays on fan activism. Other essays on fandom/activism have been published by TWC with Alex Xanthoudakis’s Mobilizing minions: Fan activism efficacy of Misha Collins fans in "Supernatural" fandom (2020) and  Hannah Carilyn Gunderman’s Fan geographies and engagement between geopolitics of Brexit, Donald Trump, and Doctor Who on social media (2020) being recent examples. Meanwhile, Tanya Cook and Kayle Joseph are the authors of Fandom Acts of Kindness: A Heroic Guide to Activism, Advocacy, and Doing Chaotic Good (Penguin Randomhouse 2023), a guide on how to use fandom and fannish strategies to make a difference. 

Some examples of fandom/activism emerging this U.S. election season include Heroes 4 Harris: Kamala-Con  which is scheduled to happen online today, Sunday September 8, 2024, 1pm PT / 4pm ET: this is billed as “a Comic-Con for Kamala” and “the largest fandom led gathering in support of a presidential candidate in American history.” It will feature: “actors, writers, directors, and super fans of Hollywood's most inspiring heroic fandoms” and promises not just inspiration from some of our favorite stars (Mark Ruffalo, Sean Astin, Rosario Dawson and others - not to mention Henry Jenkins himself) but also breakout groups and training in “fan mobilization.”  

Meanwhile, Lynda Carter (always a Wonder Woman!) is also trying to get out the fan vote for Harris with her group Geeks & Nerds for Harris Walz (@GeekOutTheVote); this is also billed as “a fan activist campaign” and they are planning special online events, the first of which will be an online call on September 24, 2024.  As they describe on their website: “Fandom has never just been about media consumption. Fans are artists, creators, and digital ambassadors. When we share what we love, it radiates around the world. And to paraphrase the Vice President, it’s how we show them who we are. By connecting battle-tested campaign canvassing strategies to the heritage and practices of fan communities, we can encourage fans to get out the vote in key battleground states.”

Donald Trump, aside from being his own fandom with himself as fan in chief, also seems to have had some self-identified fandoms collectively organizing for him over the years - these include Fans of Kanye West, Fans of Race Car Driving, and, strange but true, Fans of the 1980s, who apparently believe that Donald Trump would also be a fan of 80s horror movies, Scritti Politti, and  the soundtrack to Pretty in Pink. (I’m not making that up; it’s on their Twitter.) That said, Mel Stanfill’s newest book Fandom is Ugly (2024) argues that, despite its popular reputation, media fandom is not essentially progressive; that in fact, “reactionary politics and media fandoms go hand in hand.” Stanfill’s book looks at the ways in which fans have organized in conservative, reactionary, or even hateful ways, from Gamergate to the collective abuse and harassment of actors in the latest Star Wars franchise. 

The discipline of fandom studies is now being used to study all different kinds of affiliations and advocacy movements, not just those based around film, tv, sports, or music. Fan studies is now applied to political and social movements. Jenkins is still a powerful voice on the relationship between fan studies and participatory democracy (whether progressive or reactionary): read this 2024 interview with him published in Communication and the Public: “The path from participatory culture to participatory politics: A critical investigation—An interview with Henry Jenkins.”  As Jenkins notes:

Part of the ethos of fandom is to ask questions—from nitpicking to imagining other outcomes, different trajectories for character arcs, and other worlds where the story might occur, all of which is expressed through fan works. I would say that fans are often more critical than the general audience in asking these questions, which makes them somewhat different from many partisans and activists I might know who rarely question their beliefs and ideological commitments. And fans are more tolerant—as an aggregate—of different interpretations than partisans are of different ideological stances. So, you could do worse in grounding a democracy than engaging with fans.