NEW WHO: Series 12 of Doctor Who started up on New Year’s Day. With three weeks gone and now three episodes in, our Who-loving hosts sit down to talk about it (mostly just the first two episodes SPOILER WARNING for “Spyfall, Part 1” and “Spyfall, Part 2”).
WEEK IN GEEK: Andrew dives into “the German Stranger Things” as he watches the first three episodes of the Netflix series, Dark, while D. Bethel gets lost in an RPG-tinged clicker game called Almost a Hero by Bee Square Games.
WEEK IN GEEK: Andrew starts rewatching Star Trek: The Next Generation on Bluray while Dan finally opens up about Mass Effect: Andromeda now that he has finished the game.
THE LAST GRIPE: The video game expo, E3, always has its share of stories, reveals, and, most recently, at least, controversy. Tim Soret, founder of the studio Odd Tales, scored a coup by getting to go onstage during Microsoft’s pre-E3 press conference and talk about his game, The Last Night, and how it would be an exclusive to the company and its new powerhouse console, the XBox One X. However, Soret has a dicey history with gamers, and his pro-GamerGate and anti-feminist tweets were brought to light despite happening years ago. He has even said that The Last Light was created as a statement on feminist ideology. However, at E3, he apologized on stage for his stances. Should he be forgiven? Should he be held accountable? Should we play his game? Dan and Andrew discuss this static caused between art and artist.
WEEK IN GEEK: Andrew watches Netflix’s Travelers while Dan watches Warner Bros.’ Suicide Squad.
GAME OVER ALL OVER AGAIN: This week, Dan and Andrew discuss not only the built-in replayability of games but also examine why we replay games. Simply among the two hosts, the reasons for replaying games differs vastly, which caused us to ask the following:
Why do you replay games and what games (or kinds of games) those would be (tell us in the comments)?
SPOTLIGHT – RESIDENT EVIL: With the release this week of Resident Evil VII: Biohazard (or for those in Japan, Biohazard VII: Resident Evil), Andrew and Dan look back at the game that spurred a genre and kicked off a franchise that is now over twenty years old.
It’s no surprise by now that I’m a fervent X-Men apologist and proudly so. Such sentiments are only bolstered by their very strange treatment by Marvel over the last eight or so years. Most of my conspiratorial talk is just for fun, but there are some details that eke through and seem just a bit too shady to be mere coincidence. There was the omission of any mutants from the cover of Marvel’s 75th Anniversary magazine, which was given away for free (which Andrew and I discussed early in our show’s history). Since then, they have made Cyclops––the boy scout figurehead of the mutants (ostensibly the Superman of the X-Men)––a terrorist murderer (#cyclopswasright), they have legit killed the most famous mutant character, Wolverine, and now they are having the team nobody really knows about (but they really want people to know about) fight the team they want everyone to forget about in the “Inhumans vs. X-Men” event (but not before they have a prologue event literally called “The Death of X”).
Comicsverse are, admittedly, as apologetic about the X-Men as I am, but they approach this topic with a collectively cooler head. Jack Fisher’s article looks at what he describes as the problem with this fight beyond the obviously corporate undertones that poison the well. He sees this forced skirmish as a severely problematic one based on the origin of these teams and how these continuous “…vs. X-Men” storylines are doing more cultural damage in the long run even if books are being sold. Fisher boils it down beautifully:
Whatever the outcome and whatever the legal undertones, the concept between Inhumans vs. X-Men is flawed. On one side, you have a minority that has been forcibly sterilized twice in the past decade. On the other, you have a team with a tradition of racism, xenophobia, and slavery. It’s not a battle between heroes as much as it is an exercise in contrivance.
I don’t know much about the Inhumans, but it seems that in the cinematic universe they are building them from the ground up. On more than one occasion, it has been noted (especially by co-host Andrew) that they’re just trying to slot them in the empty socket where mutants normally go. But that exacerbates the problem, I would argue.
It’s not as the Den of Geek article linked to in the last paragraph argues that the Inhumans are “the same basic idea, but with the serial numbers filed off.” It’s worse than that. It’s a self-fulfilling prophecy. Mutants were created to represent the minorities of this country and to dramatize their plight and struggle to accomplish two things: first, it presents these otherwise uncomfortable and possibly unknown issues to the predominantly white readership; second, it gives minorities (be it color, creed, gender, or sexual orientation) a safe place to go in the world of comics. The X series of books is about showing what true prejudice, bias, and hate looks like and having the minority survive.
And what happens?
In 2005, editor-in-chief, Joe Quesada instructs the X-writers to kill off all mutants except for 198. Genocide. Narratively (and creatively), it made sense. Mutants work best when they are a minority. But they were also presented as being the next stage in human evolution. With so many mutants on the planet (by 2005, at least) it seemed that theory was correct––science wins again––until they were forcibly made a minority again. That, of course, was the big event. But the small things, such as the omission from the Marvel 75th Anniversary Magazine cover, killing off fan-favorite characters, pitting C-level characters against them, etc., when piled together that makes a pretty loud squeaky wheel. Holistically, it looks like corporate monkey-wrenching and favoritism and simple catering to what is popular right now. But that isn’t all of it.
When taken in as a whole with the knowledge of what the X-Men actually mean, it looks like the type of thing the scared majority does to keep a minority down, and, in this day and age, it’s rather sickening.
With Halloween behind us, a lot of Lovecraft-focused articles circulated around the internet in celebration of the ghastly day. Mostly well-trod biographies or overviews of his racism, these are valid and important conversations to have as they can add a lot to the knowledge of the casual consumer. Much like the Luke Cage article I shared before, the most interesting article that I saw this last week was a roundtable discussion of Lovecraft and his work by three writers whose works have been influenced by his mythos: Kij Johnson, Cassandra Khaw, and Ruthanna Emrys.
The conversation is important because, despite being short, it digs deeper than a normal roundtable usually goes. The interviewer gets right to the point and discusses Lovecraft’s racism and what his legacy should be in a modern context, and––even better––the writers don’t shy away from giving tough answers.
As a reader of both Lovecraft and Lovecraft criticism, I belong to a few Lovecraftian fan pages on Facebook in the hope that there will be discussion as found in Joel Cunningham’s article. However, on the whole it’s a rather soft engagement with the material. What frustrates, however, is whenever an article that addresses his racism or intolerance starts making its way around the internet, the claws come out and the hate speech––for lack of a better word––fills the subsequent comments. Just as bad is the insistence on apathy in many cases, and that is a tragedy.
To say anything about Lovecraft’s work requires an acknowledgement of his love for the sciences. Like, a capital-L Love. The scientific method is all about asking questions, not picking sides. Science seeks to find how things thread into their place within the context of the universe and to see how that weave is part of a larger puzzle, a puzzle getting larger all the time. Science does not reward partisanship or apathy, it rewards the explorer. The fact that most Lovecraft stories warn people away from the scientific method is because Lovecraft himself was intrigued by the seemingly infinite possibility that science could offer us and then turned it on its ear for dramatic purposes. Why? Because horror stories are fun.
Again, referring to that previous Luke Cage roundtable I previously linked to, this type of conversation that these writers have about Lovecraft are the types of conversations we should be having because they are new and interesting and the ultimate outcome of this discourse is not to decide whether Lovecraft should be banished from modern thought or not––far from it. If we did that, we would be unable to have some interesting conversations. If anything, it would actually more firmly establish his place in the canon as someone worth talking about. Simply brushing off his racism will only keep him from reaching that place where I, most certainly, and most Lovecraft fans feel he should be woven into.
First of all, Dan is correct. This movie rests a lot on nostalgia for prior Terminator movies. More accurately, this movie rests a lot on nostalgia for the first two: the 1984 film, The Terminator, and the 1991 film, Terminator 2: Judgment Day. The first fifteen or twenty minutes of the movie almost feel like a reboot of the original, with post-apocalyptic soldier, Kyle Reese, being ordered by revolutionary leader, John Connor, to step into the time travel device in order to stop a vicious killing machine from destroying the past. Not much later, we get to see the recreation of a popular moment of cinematic history: the Terminator beats up some weird ’80s punks to get some clothing.
From there, of course, the movie starts to go sideways. An older Arnold Termin-egger, along with an unidentified sniper, work together to stop the younger-looking killing machine. Soon after, Kyle Reese encounters a strange police officer who is revealed to be a T-1000 made of liquid metal (but not in the guise of Robert Patrick). It’s crazy, it’s out of control, and the movie lets us know that despite starting like the original The Terminator, this will be anything but. Soon enough, we have heroes Kyle Reese and Sarah Connor time travelling FORWARD to 2017, which should be after Judgment Day but is not. Instead, the nefarious villains of Cyberdyne Systems are about to realize some sort of stupid mega-app called “Genisys,” which promises to be the bomb.com, but will probably end up just being the bomb.
A few reviews I read expressed concern over the convoluted time travel timelines of this movie, and given that the producers intended to make a trilogy of films, the confusion is probably legitimate. But, as a sort of sequel to the first two Terminator films, I found this movie to be an interesting companion piece and contrast to the previous second sequel, Terminator 3: Rise of the Machines. The following analysis may contain spoilers, so be warned.
The original film The Terminator left the audience with the interesting idea that the whole story could only happen because it happened. The entire thing is a causal loop: Kyle Reese is sent back in time by John Connor to protect Sarah Connor, and in the process becomes John Connor’s father (explaining why John sent him back in the first place). Terminator 2: Judgment Day doubled down on the causal loop, further explaining that Cyberdyne Systems developed the requisite technology for Skynet and the Terminator from the remnants of the Terminator left behind in the first film. So, the audience realizes that this whole world and its future exist because of the fact that they exist.
Terminator 2: Judgment Day tries to change the narrative. After we learn what’s going on and who the real bad guys are, Sarah Connor convinces everybody that the best solution is to prevent Cyberdyne from ever being created. The takeaway theme from the movie is, “There’s no fate but what we make for ourselves.” By destroying all remnants of the Terminators and Cyberdyne Systems, Sarah and John Connor are able to avert the future apocalypse. Of course, this creates a bit of a paradox-sandwich as we have an established past that involves a future that no longer happens. But, let’s not worry about paradox sandwiches just yet.
Terminator 3: Rise of the Machines took a hard left on this theme, changing it into “No fate but what we delay for ten or so years despite our best efforts.” Watching that movie back in 2003, I was exceedingly disappointed on the turn that it took, although it made sense given that the producers were more interested in making post-apocalyptic, dark future Terminator movies. That’s also where we got Terminator: Salvation, which I am certain that I watched but I disliked with such intensity that I forgot everything about it.
That hard left is what I think makes Terminator: Genisys stand out from the other films and makes it feel more like a proper sequel to Terminator 2: Judgment Day. By the end of the movie, we find out that the personification of Skynet has essentially manipulated time in order to re-sequence the timeline to its own benefit. Instead of the “it’s going to happen eventually” narrative of T3, we have Skynet actively taking a role in manipulating time to its benefit. I guess you could say that Skynet has adopted the “No fate but what we make for ourselves” philosophy for itself. Oh, and Skynet is played by Matt Smith.
And that’s the thing that I really like about this new Terminator movie. T3 took the “take the story into your own hands” narrative of Terminator 2: Judgment Day and stole the agency and control of it. It said that no matter what you do, the terrible thing is going to happen. Terminator: Genisys did something different. It still acknowledged that the terrors of the future are a threat, but that it’s because they are actively working against you. It acknowledged that the “take the story into your own hands” narrative was just as much a thing that the villain could do as the heroes. It’s an interesting twist on the story. Somehow, that difference was important to me and I think is what makes Genisys a better “third movie” than Terminator 3:Rise of the Machines.
SPOILER ALERT: Dan and Andrew go into detail about the plot of Star Wars: The Force Awakens in this episode. So, if you haven’t seen it, please refrain from listening. You have been notified.
The new year is brought in an…interesting…fashion. Base humor and extended conversations are but a small step into 2016!
Week in Geek: The boys play some catch up as Andrew plays Assassin’s Creed IV: Black Flag and Dan watches Cowboy Bebop.
The Force Awakens A Lot of Opinions: The movie that caught the world’s imagination is under the lens this week, though both Dan and Andrew come to Star Wars: The Force Awakens from very different places with very different attitudes. It is a movie that has been universally praised but severely dissected among the fandom. Andrew and Dan dissect the schism as well as offer bits of their own insights into this, overall, fun movie.
If you want to respond to any of the topics discussed this week, you can leave a comment on the page for this episode at forall.libsyn.com. Be sure to join the official Facebook and Google+ pages for exclusive content and discussion. You may also e-mail any questions, comments, or concerns to forallpod [at] gmail [dot] com. Be sure to leave a review on iTunes to help spread the word to new listeners through the magic of Apple’s algorithms.
For all intents and purposes, that was an episode recap!
-“Stayin’ in Black” by Wax Audio
-“Main Title and the Attack on the Jakku Village” by John Williams (from Star Wars: The Force Awakens)
-“The Jedi Steps and Finale” by John Williams (from Star Wars: The Force Awakens)