Dealing with racism through the metaphor of supernatural beings in a world very similar to our own, Bright is superficially similar to the vastly superior Alien Nation. Will Smith plays the mildly racist cop Daryl Ward, with Joel Edgerton as his stoic Orc partner Nick Jakoby. In a world full of fantastical creatures but little magic, the discovery of a magic wand sets off a chaotic night with Ward and Jakoby protecting the wand from the various groups intent on wielding its’ power. There’s also some stuff about a prophecy, but if you’ve ever seen that trope in action Bright won’t surprise you.
This blogpost is focused on looking at how the Star Trek: Discovery episode The Butcher’s Knife Cares Not for the Lamb’s Cry fits into the events and themes of the previously established universe. I’ve written a similar blogposts looking at previous episodes and one specifically looking at how The Vulcan Hello explores how phrases can have different layers of meaning to different groups.
Inside the Replicator
The episode opens with bursts of energy shooting up and down from the top and bottom of an undefined area, in a way that reminded me of the Badlands, a Maquis stronghold featured frequently in DS9 and in the opening of Voyager. My instinct was that this was going to be either the Badlands itself or a similar region of space that Discovery was moving through. (In Star Trek science, I think these are known as plasma storms.) But we zoom out to reveal that this is the process of Michael Burnham’s uniform being replicated – I assume this is the first time we’ve seen the process on such a microscopic level. It’s a similar trick to how the series began, with T’kuvma monologuing as the viewpoint moved through the stars, before transitioning into his eye and moving out to a room of Klingons. Given that the mycelial network that the Discovery navigates has been described as a microscopic web, and that the show has drawn attention to the importance of context to understand different mindsets, the opening is a quick reminder of the show’s themes – that sometimes up is down, and nothing should be taken for granted.
This blogpost is focused on looking at how the Star Trek Discovery episode Context is for Kings fits into the events and themes of the previously established universe. I’ve written a similar blogpost looking at the first two episodes, and one specifically looking at how The Vulcan Hello explores how phrases can have different layers of meaning to different groups.
The Future is an Undiscovered Country
In a throwaway line, Captain Gabriel Lorca seems to regret that “the future happened”, which affected his family’s restaurant. This kind of thing is, to me, one of the best arguments for continuing the Star Trek franchise. We’ve seen Star Trek‘s utopian vision before, but contextualised against the Cold War and the ‘end of history’ period of the 1990s, never contextualised against the real world of the 2010s.
In the real world we’re currently going through a period of ‘digital disruption’ with new technologies throwing old business models into chaos. Think of taxi firms facing the challenge of Uber; newspapers facing the challenge of free-to-access websites. Since TOS, it’s seemed that the 23rd century Federation relies on a combination of ‘food synthesizers’ and real food, suggesting that this is a period of disruptive innovation. In England of the 1810s innovations in weaving technology allowed owners to increase their profit margins and put many workers on the scrapheap – resulting in the Luddite movement.
If Lorca is to be considered reliable, then among the victims of the disruptive innovation in the 23rd century are restaurant owners. Perhaps fewer people are eating out, preferring to eat at home, as is the case with cinemas in real life? Perhaps the end of food scarcity has made sales of food less profitable? I love the action-adventure side of Star Trek, but I hope the details of how Federation society functions, the winners and losers of change, are explored regularly. One of the great joys of Star Trek is the opportunity to explore what a near-utopian society would look like, and who would lose out by moving to that system.
Trigger Warning – abusive relationships.
The goal with this blogpost is to build on the post I wrote the other day about the importance of themes in fiction. I’ll be exploring the themes and thematic importance of characters a particular work of fiction and their relation to the real world, in this case the first season of Netflix’s Jessica Jones.
Jessica Jones is the story of a superpowered private investigator in the superheroic world of the ‘Marvel Cinematic Universe’ – the world of The Avengers. The scale of the story is smaller, making the tone more grounded and noirish. The first season covers Jessica fighting against her abusive ex-boyfriend Kilgrave.
For the purpose of this analysis I’ll be focusing on the following key themes:
- Abusive relationships
- Entitlement and abuse of power
- Trauma, PTSD and guilt
- Female solidarity and empowerment
- Male allies and ‘nice guys’
and the following key characters:
- Jessica Jones – a superpowered private investigator
- Kilgrave – her superpowered, abusive ex-boyfriend
- Trish Walker – Jessica’s closest friend
- Jeri Hogarth – Jessica’s lawyer and employer
- Hope Shlottman – Jessica’s client and a fellow victim of Kilgrave
- Will Simpson – Trish’s love interest, a cop and an ally to Jessica and Trish
- Luke Cage – Jessica’s on-off lover and ally
- Dorothy Walker – Trish’s mother, a TV executive
- Albert and Louise Thompson – Kilgrave’s parents
- Malcolm Ducasse – Jessica’s neighbour
- Dr Wendy Hogarth-Ross – Jeri’s wife
- Pam the Secretary – Jeri’s secretary and girlfriend
- Guy in the Jacket
- Guy at the Bar