film

Art has been, is, and will always be political and in the most absolute way. We are often under a misconception that artists are rebels with the courage to challenge accepted truths. While I am certain there are artists like this, probably many, these are not the artists we are acquainted with. The rebel-artists we cite—take for example Lin Manuel Miranda—are not struggling with popularity. They are famous not because they have challenged the world with new ideas but because they are a voice through which a generation speaks, or, since a generation is never a monolith, more accurately, a significant portion of a generation. Perhaps it is a new and rising voice, but the popularity of the artist is a sign that the scale is tipping or has already tipped.

Continue reading →

I’m watching Star Trek Beyond and Krall just threatened to kill Sulu in order to coerce the crew into giving him the Abronath (a bioweapon capable of huge destruction). But rather than letting a crew member die, an Ensign named Syl turns over the weapon from its hiding place in the back of her head. It’s a very familiar scene. You find similar scenes in Star Wars, most of the superhero films, and even children movies like Disney’s Hercules. Remember when Hercules gives up his power to save Meg and thus allows Hades to terrorize the city and even assault Mount Olympus?

My complaint is not that this trope has become repetitive (here’s a long list of similar scenes), but that we simply accept it as a legitimate ethical decision. Do we agree that it is appropriate to surrender thousands, millions, possibly billions of lives (the stakes keep getting higher) in order to save Sulu? Why does this ever make sense? Spaceballs even parodies this trope when The King sacrifices himself and the entire population of his home planet just so the princess doesn’t get her old nose back. When it’s a nose, we understand the absurdity, but that absurdity is harder to recognize when someone’s life is at stake. Continue reading →