Like many fanbases, the Bioware fanbase/playerbase is a trash fire at any given time. Said fanbase didn’t even let Mass Effect: Andromeda get off the ground before lambasting it for various graphical inadequacies and stilted line delivery. However, while there do exist some graphical glitches, weird bugs, and a disappointing character creator, ME: A is not that bad. Since I’m not even halfway through the game yet (no spoilers!) this isn’t going to be a full review, but rather a look at a troubling reaction by Mass Effect’s audience. After already being labeled as “SJW propaganda” by people who loathe anything that looks like a diverse cast, it’s absolutely no surprise that there’s such negativity surrounding a woman in charge; even less surprising when that woman is Black. While there’s absolutely fault on the fanbase for the unfair treatment surrounding her, in what I’ve seen and experienced I can only come up with one conclusion: Bioware set up Sloane Kelly to fail.
Pacific Northwest Stories, which has expanded to becomePublic Radio Alliance, the same group that creates shows like The Black Tapesand Tanis, has recently come out with a new podcast called Rabbits. The podcast is only four episodes in and it is definitely addictive and interesting, but it also already has several issues that really bug me.
One of the hottest comics when I got into the medium was Locke & Key, written by horror author Joe Hill and illustrated by Gabriel Rodriguez. At the time (about four years ago now), it was far enough along in its run that it would have been silly verging on impossible to attempt to find single issues, so when I came into a gift card, I bought the first trade. From the slew of awards it had won or at least been nominated for, and the strong recommendations from both friends and comics personalities whose opinions I trusted, I started to read it expecting to have my socks knocked clean off… and never finished it. This week, it caught my eye from between my Sandmans and my DC Bombshells on the shelf, and I figured, welp, might as well try again.
Time and distance, apparently, do not make the heart grow fonder. Maybe I have bad taste in comics, but I have no idea how this won an Eisner or anything else. Locke & Key Vol. 1: Welcome to Lovecraft did absolutely nothing for me.
This isn’t typically what I do for Trailer Tuesdays, or at least I usually don’t go out looking for a terrible trailer to trash. However, the moment I saw the trailer for Wish Upon playing silently on my Facebook wall, I knew the film would be bad. Out of some morbid curiosity, I decided to find out just how bad this film was willing to be in the name of hopping on the generic gritty fairy tale trend, and hoo boy, does this film look bad in the terrible, boring ways we’ve all become accustomed to.
Good. God. I don’t know where to start with this. As soon as I heard about this I rushed to trade posts with Lady Geek Girl so that I could write about it. However, upon sitting down to do so, I realized that to write about it, I’d have to—ugh—actually watch the trailer.
If you know anything about me or this website, you can stand assured that I did not enjoy a second of it. This movie looks like it will be a disaster on every possible level, and on top of that, releasing it in the week after Iron Fist crashed and burned in no small part due to whitewashing complaints feels almost comically idiotic.
I don’t have to tell you, dear readers, that Jordan Peele’s Get Out is good; all other film review outlets have done that for me. But allow me to say that if you haven’t seen this film yet, do so as soon as you can. If you’re worried that this film is a Boo! Haunted House sort of horror, then let me soothe your fears. Get Out is absolutely a horror film, but it’s horrific more in its realism than in any sense of gore or otherworldly fiends (though there is gore to be had). More than horror, though, the film is clever in its message. Like Zootopia, Get Out relays the message that racism continues to be damaging in its persistence in modern-day culture, but unlike the Disney flick, Get Out doesn’t lose its message due to a lack of direction. Instead, Get Out focuses on exposing the subconscious racism that lingers in a portion of its audience. Get Out sets itself apart by subtly—and then not-so-subtly—showing that white people who consider themselves progressive can be just as racist as the blatantly racist, and that this liberal-coded racism can perhaps be some of the most damaging racism of all.
Hollywood loves few things more than it loves itself. I grew up watching old musicals with my mom, and many of them were super meta: musicals about actors putting on a show. Judy Garland and Mickey Rooney headlined a whole host of these films, enshrining the “Show within a Show” trope. My dad put it well, when I auditioned for a play in middle school: “Just don’t think you can solve the world’s problems by putting on a show.”
La La Land may not be trying to solve the world’s problems, but it’s certainly trying to save a few people. It won a stupid number of Oscars and was mistakenly announced as this year’s Best Picture (Moonlight actually received this year’s honor). But for all its adulation, La La Land is currently on the receiving end of accusations of racism. And those accusations are well-founded: as Refinery29 points out, one of the two main plots is about a white manic pixie dream boy saving real jazz from the silly Black sellouts. Ouch.
Is La La Land actually racist? The truth is a bit more complicated.