PopCult: June 2007 Archive Page

Back in the projector room, five hairy men wearing nothing but overalls, hardhats, and grime were toiling away, trying to get things under control. "It's too powerful! It can't take no more!" they yell as they hopefully pull levers and turn valves. "The movie is living up to the franchise! We're going down!"

Meanwhile, in the audience, we all gasped at the disturbing site of celluloid going to pot. But, once the shock wore off, everyone began clapping and cheering. There were no qualms about what we had just witnessed: this film, in all it's sheer awesomeness, destroyed itself. --Living Free, Dying Hard, and All That Jazz (Tranquility Lost)

Mike Rubino writes about how the movie melted during the climax of the showing he was watching.

I have a weakness for the 2nd movie in the Die Hard series, because I watched it over the summer while taking a German intensive-language class, and the bad guys spoke German.

Investigators are looking into who altered pro wrestler Chris Benoit's Wikipedia entry to mention his wife's death hours before authorities discovered the bodies of the couple and their 7-year-old son. --Dead wrestler's Web page was altered (Yahoo! | AP (will expire))

I wasn't particularly following this story, but this is an interesting wrinkle. When I first started teaching journalism at Seton Hill in 2003, it was common for mainstream publications to publish information that a quick Google search would reaveal as a hoax (or at least very suspicious). Now we see journalists making routine references to the nuts and bolts of the new information economy.

Update, 29 June: "The anonymous individual responsible for suggesting, 14 hours before police discovered the body, that WWE wrestler Chris Benoit's wife was dead is confessing, saying his/her comment was a 'terrible coincidence.'" -WikiNews

Is that the end of the story?

The New York premiere of the film, on Wednesday, was held to support the organisation Reporters Without Borders, which defends journalists against persecution and combats censorship and laws that undermine press freedom.

But several journalists covering the premiere objected when Jolie's lawyer demanded they sign pre-interview contracts limiting exactly what they could and could not ask her. --Catherine Elsworth --Jolie accused of hypocrisy over press 'gag' (Telegraph)

Bravo to the reporters who refused to sign the contract and declined the opportunity to promote the movie.

News emerged over the weekend that Church authorities have complained to Sony about the depiction of Manchester Cathedral in the game. Some reports have stated that the Church may pursue legal action against the company.

But according to Alex Chapman of Campbell Hooper solicitors,"The Church will have an uphill battle in a legal claim against Sony, and indeed it is likely that there is no basis for a claim." --Church will face ''uphill battle'' if suing Sony, says legal expert (Games Industry Biz)

I've been following this story about Resistance: The Fall of Man.

I'm reminded of when sculptor Frederick Hart was surprised to discover that that a copy of a sculpture he had created for the National Cathedral in Washington D.C. was featured for about 20 minutes in the movie Devil's Advocate, and that the filmmakers had actually animated the sculpture to turn it into what the Anglican church leaders called a distortion of a religious sculpture.

Sony was forced to re-edit the film before they could release it on DVD and video (after agreeing to put disclaimer stickers on the copies of the movie that had already been produced).

The National Cathedral case involved a living artist, who still owned the copyright to a work that was commissioned for a religious purpose. The Manchester Cathedral case probably doesn't involve much recently-produced art, and the leaders object to the fact that the digital re-creation of the church is the setting for a gunfight.

It will be interesting to see how the mainstream media represent the Manchester case, since it involves a video game. (We've already seen that even the very edgy indie Slamdance Film Festival is not a safe place for envelope-pushing videogames.)

"There are days when I watch 'The Daily Show,' and I kind of chuckle. There are days when I laugh out loud. There are days when I stand up and point to the TV and say, 'You're damn right!'" says Brown, chair of the communications department at Syracuse University's S.I. Newhouse School of Public Communications and an associate professor of broadcast journalism.

Brown, who had dismissed the faux news show as silly riffing, got hooked during the early days of the war in Iraq, when he felt most of the mainstream media were swallowing the administration's spin rather than challenging it. Not "The Daily Show," which had no qualms about second-guessing the nation's leaders. "The stock-in-trade of 'The Daily Show' is hypocrisy, exposing hypocrisy. And nobody else has the guts to do it," Brown says. "They really know how to crystallize an issue on all sides, see the silliness everywhere." --Rachel Smolkin --What the Mainstream Media Can Learn From Jon Stewart  (American Journalism Review)

Thanks for the suggestion, Mike.

But if Colandrea's character was there to kill Tony Soprano, the actor who played him isn't saying.

"I do have an idea, but I cannot really talk," Colandrea said Monday. "I have papers signed that I can't make any comments on that."

Colandrea, who was born in Naples, auditioned for the role after a casting agent stopped for a bite at his shop. He claims to know definitely his character's intent and what happens following the episode's conclusion, but won't divulge it. (A bit of trivia: Colandrea's character wears a Member's Only jacket; the first episode of the final season was titled "Member's Only.") --Jake Coyle --`Sopranos' extras thrown into TV history (Yahoo! | AP)

I don't have cable TV, and I've never seen an episode of the show, but shouldn't that be "Members Only" (without the apostrophe)?

With all the gratuitous use of Shakespeare language and imagery in the series (including its four spin-offs, a successful franchise of feature films and a short-lived animated series), is there an underlying reason to the use of the Bard's works? Does the combination of classic literature and pop-culture sci-fi result in something greater than the sum of its parts? According to Stephen M. Buhler, the use of Shakespeare in the Star Trek universe, specifically the film Star Trek VI: The Undiscovered Country, serves to define which characters are the villains. (Buhler 18) In general, he says the contemporary popular film use of characters who have the ability to quote Shakespeare is used as a device to establish moral ambiguity and to symbolize personal viciousness. (Buhler 18) Here he relies on the many quotes of the villain of the film, General Chang (Christopher Plummer) and the chameleon shapeshifter Martia (supermodel Iman). (Buhler 22)

However, not every Shakespeare-spewing character is evil and Mary Buhl Dutta argues that, instead, the use of Shakespeare in the original Star Trek series served as endorsement for the male-centric, Americanized ideal of a typical Shakespeare hero. (Dutta 38) Within the progress of the series, the lead character of Captain James T. Kirk (William Shatner) "becomes" Macbeth, Hamlet, Ferdinand, and Petruchio. Always the hero, he has the ability to defeat the villain, even when his Shakespearean counterpart could not. For example, Dutta points out that in the episode "Catspaw", Kirk is essentially Macbeth (Dutta 40), yet here he has the ability to resist the evil pressure of the Lady Macbeth figure of Sylvia, unlike the original Macbeth.

Marc Houlahan furthers this theory by arguing that the use of Shakespeare in Star Trek is not only an endorsement but rather a continuation of America's attempts to Americanize Shakespeare. (Houlahan 29) As the financing of BBC's official versions of Shakespeare, by four major American corporations (Time-Life, Exxon, Metropolitan Life Insurance and the Morgan Guarantee Trust Company) and the creation of the Folger's Shakespeare Library (located between the Supreme Court and the Library of Congress in Washington DC) serve to show America's attempt to claim Shakespeare as their own, so does Star Trek's use of the Bard's materials. (Houlahan 29) Thus he uses again the film Star Trek VI: The Undiscovered Country to illustrate the assumption the Captain Kirk and the system of government that he works for, the United Federation of Planets, is a representation of the United States of America. Thus, Kirk's use of Shakespeare, as well as General Chang's serve as an attempt to mainstream Shakespeare for a primarily American audience. (Houlahan 30)

Going in a totally different direction, Emily Hegarty argues that the use of Shakespeare in Star Trek: The Next Generation serves as a symbol of high culture. (Hegarty 55) She writes, "It [the series] uses Shakespearean allusion to underwrite repressive and elitist ideological gestures within its populist format." (Hegarty 55) She uses the example of a Next Generation episode "The Perfect Mate", in which Captain Picard uses Shakespeare sonnets to express desire, confirming the ideology that Shakespeare is the quintessential symbol of love poetry in our culture. (Hegarty 56)

With all the use of Shakespeare in Star Trek, one might think that the symbolism would be lost and eventually become stale and, in fact, it arguably has. Fewer references to Shakespeare are found in the last three series spin-offs, Deep Space Nine, Voyager and Enterprise. However, within the framework of the original series, The Next Generation and the (at least early) films, Shakespeare has become an integral part of the universe that the show inhabits. It uses Shakespeare as a springboard to discuss new ideas and to maintain a connection with the future and the past. --Shakespare and Star Trek (Memory Alpha)

If I recall correctly, wasn't there an episode in which Picard had to pretend he was in love with a woman, possibly as part of a bluff? I seem to recall that he started off giving a very vague, unconvincing declaration of love, and then when he shifted into poetry, he started hamming it up. The subtext to the audience was clear -- he didn't love her at all, he was just drawing on his knowledge of Shakespeare to simulate love, and part of the point was that the aliens involved (the Ferengi -- depicted in The Next Generation as greedy and rather stupid caricatures, if it's possible to caricature a fictional race) weren't expected to recognize Shakespeare. I wonder if Hegarty takes that into account. (I just looked it up... the episode was Ménage à Troi.)

So I pour myself a glass of red wine, settle in with a fresh pair of flannel pajamas and start channeling my inner geek with glee. Primetime or not, I love the Bee. I love it. I love the celebration of intelligence, the championing of nerd-ship, of the brotherhood of brainiac. This is why the Bee should be on primetime network television. So that the Steve Jobs in all of us gets some real screen time. So that the incredible freakiness of spelling into your hand has an audience. A chance to shine. A chance to let every kid who spends his evenings rocking back and forth in his bedroom dreading the misery of junior high see that it is going to be okay. That geekiness has a freaking point! The Bee is a nerd manifesto! WHOO-HOO! --West Coast Bee Call (Throwing Things)

Detailed commentary on last night's spelling bee championship, which I watched with the family.

A screenwriter couldn't possibly have come up with the victory interview, in which the winner says he prefers math and music to spelling because spelling is "just memorization." After the reporter invites him to give his opinion of the bee now, the kid pauses for a long, long time and says, "Does that mean I'm supposed to like it more now?"

Way to put a serrefine on that post-competition enthusiasm.