giandujakiss: (Default)
I know there's a new Marvel thing but so far I'm thinking pass. And there's Star Trek. Anything else?
giandujakiss: (Kirk)
Everyone is right, it's filmed fanfic. Mainly because of the space battle which is, hands down, the best space battle ever made. All other space battles can go home. In future decades, other movies will have space battles, and people will say yeah, I guess that was good, but it wasn't, like, Star Trek Beyond good.
giandujakiss: (fandom)
So here I am at my second Vividcon. My first was 3 years ago; I still consider myself a newbie. And they let me do a vidshow! My show was "You're My Best Friend," dedicated to BFFs. Designing the show, I was graced with an embarrassment of awesome choices - it was actually kind of painful to narrow things down. I quickly learned that my choices were less about vid quality - there were many excellent quality vids to choose from - than about constructing the right mix. Like, a mix of buddies in different settings, with different relationships to each other, different song types, different moods - it meant I couldn't include a lot of really wonderful vids because they didn't fit with the mix. In a couple of cases, I had to choose among several excellent vids to the same song, each about a different buddy pairing. (hey, that could have been a whole 'nother show!).

But anyway. Here's how the BFF Vidshow turned out:

From Here on Out by Mithborien. Teen Wolf. Buddies have your back.

Strength in You by Here's Luck. Gilmore Girls. Buddies give you strength to endure.

We Are Gonna Be Friends by humansrsuperior. Life. Sometimes buddies have different ways of doing things...

Do My Thing by Laura Shapiro. The Heat. ...but buddies still fit together.

My Best Friend by Killa. Lost Girl. Buddies inspire lots of feelings.

Ain't No Easy Way by Danegen. Butch Cassidy & the Sundance Kid. So sometimes you get into bad situations with your buddy.

Shine by Eunice. Thelma & Louise. But your buddy stays with you until the end.

Thick as Thieves by Charmax. Dead Like Me. And even beyond.

Motown Philly by Jarrow. Psych. Buddies can be playmates.

King and Lionheart by cosmic llin. Star Trek: Voyager. And comrades.

I Do The Dumbest Things For You by Purplefringe. Stargate: Atlantis. And poor influences.

My Secret by Such Heights. Elementary. Buddies can teach us about ourselves.

Gimme Shelter by Thandie. Starsky & Hutch. You can shoot people with your buddy.

Never Always Getting Back Together by Ash. Supernatural. Even though you don't always get along, you and your buddy will still find a way back to each other.

And that was the show! Thank you so much to everyone who made suggestions and everyone who allowed me to use their vids!
giandujakiss: (Kirk)
He died at an old age, of essentially natural causes, both beloved and an inspiration to millions of people. That's about as close to a perfect ending as anyone can get.
giandujakiss: (Default)
but here are my general observations.

Male protagonists are permitted to go on violent sprees to avenge the harms inflicted on female loved ones, but not on themselves. They often may have endured horrible tortures personally, but their violent vendettas are rooted in harms to women who they must protect.

Villains, however, frequently base their vendettas on harms to themselves, rather than loved ones. Silva in Skyfall, or Lex Luthor in some Superman versions, are examples. It is a sign of vanity and weakness if one goes on a vendetta to avenge harms done to one's own person.

Unless you are a woman, because female protagonists - unlike male protagonists - are permitted to avenge themselves. Which I take to be a subtle suggestion that women are expected to be vainer and more self-centered than men.

Generally, when heroes - male or female - avenge others, those others are female. Both women and men may avenge mothers, female lovers, daughters, female friends, sisters - but not men. Presumably, this is because women are viewed as uniquely vulnerable and helpless; men are expected to care for themselves, and so harms done to them, while tragic, are not worthy of vengeance by heroes (though they might be by villains).

There are exceptions - I can think of several off the top of my head. Khan avenged his wife; Maggie Q's Nikita avenged her male fiance. Emily Thorne/Amanda Clarke is sort of avenging her father, although she's also largely avenging herself so I'm not sure how much that counts. Nonetheless, I believe these are decently accurate general rules.


Aug. 30th, 2014 01:02 pm
giandujakiss: (Kirk)
[personal profile] thirdblindmouse has posted a fairly tragic holograms'-eye-view of the Star Trek universe, here.
giandujakiss: (Kirk)
The end of The Menagerie kind of reminds me of Angel's Not Fade Away. Do I need to include spoiler space for these?

Spoilers )
giandujakiss: (Kirk)
The Economics of Star Trek

How the Star Trek Economy Works

The Star Trek economy thing

You're welcome.

(TBH, these got kind of technical and I didn't read all that carefully but I don't think they grapple with the basic problem of inconsistencies in the Star Trek universe. We're told there's no money and no hunger or poverty, but we also know that Federation people clearly have some kind of currency - credits, or latinum - that they use to pay for things at least when dealing with people outside the Federation, and possibly even within it. And we also know that people work at jobs not just for the sheer joy, but the kind of jobs people don't ordinarily take unless they're doing it for money - like, you know, the waitstaff who work at the bars and restaurants we know that the 'verse contains. So there must be some kind of unit of exchange, though possibly its only use is to buy "luxury" items, which in many cases means non-replicated ones.)
giandujakiss: (Default)
So ... these are, like, just an early form of Star Trek replicators, right?
giandujakiss: (Default)
It is a pretty standard trope in Hollywood films to have a male character - usually a child/teen - who is unpopular and kind of nebbishy, but finds himself drawn into some great and exciting fantasy story, where he alone can do the thing and his nerdiness is finally an asset and everyone admires him.

TVTropes calls this the Ascended Fanboy. Examples include Galaxy Quest, and Paul. Hell, Wesley Crusher was this kind of character. Not to mention Hiro on Heroes.

And in general, when Hollywood introduces a character who is a big nerdy fan of pop culture, the vast majority of the time, those characters are male, and when you do get a female, she is portrayed far more harshly, and far less sympathetically, than male characters are. (I.e., compare Becky in Supernatural to the male analogs - Garth, the fake Winchester brothers in Real Ghostbusters, even the horrendous evil teen in Swap Meat - the guys get to go on advantures and save the day, while Becky gets to be a rapist whose only interest in Supernatural is sexual. Or Big Bang Theory, where the guy nerds are fans, the girl nerd is not. SPN belatedly "apologized" with Charlie's introduction, but I strongly suspect that was in reaction to fan criticism.) Anyhoo, this was actually a real problem for me when I made A Different Kind of Love Song - male fan representation was easy to find, female fan representation was like pulling teeth, and canonically positive female fan representation was pretty much limited to Charlie on SPN and Laura in a single episode of Remington Steele.

I mean, male fans are mocked, but it's an affectionate mockery, with a recognition of their humanity, and usually a chance for them to be the hero at the end. Not so female fans - for example, the fan stand-ins in Xena are not only portrayed unattractively throughout the episode, but are used to mock the trope of fan heroism, when they try to interject themselves into the climactic fight and quickly get their asses kicked. The female fans in West Wing and Star Trek: Voyager exist only to be lectured to by men about their poor life choices.

Which is why Skye is awesome. She's the exact same male fantasy that we see on screen all the damn time, from nerdiness to computer geekery to fannishness to her superspecial power to save the day. Only this time, she's a chick. I am thrilled to see her. (And this is why I did not object - as some did - to the line about sweaty cosplay girls. Because while I could have lived without the "sweaty," it was an explicit acknowledgement of her fannishness - which is so very, very hard to find for women characters.)
giandujakiss: (Default)
Save the Movie! The 2005 screenwriting book that’s taken over Hollywood—and made every movie feel the same.
If you’ve gone to the movies recently, you may have felt a strangely familiar feeling: You’ve seen this movie before. Not this exact movie, but some of these exact story beats: the hero dressed down by his mentor in the first 15 minutes (Star Trek Into Darkness, Battleship); the villain who gets caught on purpose (The Dark Knight, The Avengers, Skyfall, Star Trek Into Darkness); the moment of hopelessness and disarray a half-hour before the movie ends (Olympus Has Fallen, Oblivion, 21 Jump Street, Fast & Furious 6).

It’s not déjà vu. Summer movies are often described as formulaic. But what few people know is that there is actually a formula—one that lays out, on a page-by-page basis, exactly what should happen when in a screenplay. It’s as if a mad scientist has discovered a secret process for making a perfect, or at least perfectly conventional, summer blockbuster.

The formula didn’t come from a mad scientist. Instead it came from a screenplay guidebook, Save the Cat! The Last Book on Screenwriting You’ll Ever Need. In the book, author Blake Snyder, a successful spec screenwriter who became an influential screenplay guru, preaches a variant on the basic three-act structure that has dominated blockbuster filmmaking since the late 1970s.

When Snyder published his book in 2005, it was as if an explosion ripped through Hollywood. The book offered something previous screenplay guru tomes didn’t. Instead of a broad overview of how a screen story fits together, his book broke down the three-act structure into a detailed “beat sheet”: 15 key story “beats”—pivotal events that have to happen—and then gave each of those beats a name and a screenplay page number. Given that each page of a screenplay is expected to equal a minute of film, this makes Snyder’s guide essentially a minute-to-minute movie formula.

...[O]nce you know the formula, the seams begin to show. Movies all start to seem the same, and many scenes start to feel forced and arbitrary, like screenplay Mad Libs. Why does Kirk get dressed down for irresponsibility by Admiral Pike early in Star Trek Into Darkness? Because someone had to deliver the theme to the main character. Why does Gina Carano’s sidekick character defect to the villain’s team for no reason whatsoever almost exactly three-quarters of the way through Fast & Furious 6? Because it’s the all-is-lost moment, so everything needs to be in shambles for the heroes. Why does Gerard Butler’s character in Olympus Has Fallen suddenly call his wife after a climactic failed White House assault three-quarters of the way through? Because the second act always ends with a quiet moment of reflection—the dark night of the soul.

And if the villain of the past few years of movies is the adolescent male for whom it seems all big-Hollywood product is engineered, Snyder’s guidelines have helped that bad guy close the door to other potential audiences. Save the Cat! doesn’t go so far as to require that protagonists be men. But the book does tell aspiring screenwriters to stick to stories about the young, because that’s “the crowd that shows up for movies.” Following this advice to its logical conclusion means far more stories about young men—since that’s who shows up at the multiplex the most. It’s not an accident that the chapter on creating a hero is called “It’s About A Guy Who … ” not “It’s About A Person Who … ” And with a young male protagonist, women are literally relegated to the B-plot—the love interest, or “helper,” who assists the male protagonist in overcoming his personal problems. It’s not an accident that Raimi’s megabudget Oz movie featured not Dorothy but a male protagonist.
If true, maybe that explains...Weekend Box Office Reflects a Season of Big-Budget Stumbles

Joy is....

Jun. 20th, 2013 04:02 pm
giandujakiss: (Default)
...watching people on your FList discover the shows you love.

Current fannish obsessions are great, but it's equally marvelous to see them marathoning your old faves, like various Star Trek incarnations, or Xena, or Starsky & Hutch.


May. 20th, 2013 06:52 pm
giandujakiss: (Kirk)
Is actually spoilery for Star Trek Into Darkness, but only for that THING that everyone already knows anyway, so -

Read more )


May. 18th, 2013 01:34 pm
giandujakiss: (Kirk)
[W]hat I usually hope to take away from these films is Chris Pine getting hit in the face a lot. It's a very specific interest, but I try to own it.
-- [personal profile] greywash, in a spoilery angry post about Star Trek Into Darkness
giandujakiss: (Kirk)
Oh my god that was terrible.

The dialogue was so stilted, the action so over the top, it was like a parody of a science fiction movie. I kept expecting a voice to yell "cut" and then the camera would pull back to reveal a movie set in a Hollywood satire.

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