tag:blogger.com,1999:blog-10764776759951109202024-03-13T09:56:01.276-05:00GeekklesiaCalled out to proclaim Christ to the Geek Culture
(I Peter 2:9-12)Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.comBlogger77125tag:blogger.com,1999:blog-1076477675995110920.post-59904925608202488882020-08-09T12:39:00.001-05:002020-08-12T15:29:01.552-05:00Introducing Geekklesia TV!<p> A few nights ago, I sat down (virtually) with three other geeky pastors to talk about our geeky hobbies, and how they are intersecting with our vocations as pastors in our different churches. On the panel sat Ben Avery, one of the hosts of the Strangers and Aliens podcast and children's pastor at Nappanee Missionary Church in Indiana, Hector Miray, author of the <a href="https://www.amazon.com/Faith-Fandom-7-Book-Series/dp/B08F7VX4D6/ref=sr_1_1?dchild=1&keywords=faith+and+fandom+series&qid=1596994287&s=digital-text&sr=1-1">Faith and Fandom series of books</a> and host of the<a href="https://faithandfandom.podbean.com"> Faith and Fandom podcast</a> and Location Pastor at Vertical Church in North Carolina, and Derek White, a.k.a. the Geek Preacher, one of the hosts of the <a href="https://www.youtube.com/channel/UC2AKE4cUnIlYt7wIIOUQH2Q">Dungeon Pastors vlog</a> and pastor at Matthews Memorial UMCin Tennessee.</p><p>Part 1 was posted to the <a href="https://www.facebook.com/watch/?v=294433418284374">Geekklesia Facebook page</a>. <a href="https://www.facebook.com/watch/?v=289748415661074">Part 2</a> has just been posted.</p>Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-14905532025743930712018-05-03T09:44:00.000-05:002018-05-03T09:44:12.125-05:00My Marvel Movies RankedThe TL:DR version - My Final Ranks: https://boxd.it/1JTjC<br />
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It seems that a lot of the folks I follow have put together their list of the top Marvel Films. Now that Avengers: Infinity War is out, I thought it was probably time for me to at least take a stab at a list of my own.<br />
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But with eighteen films to work with, it seemed to be a very overwhelming task. So I decided to apply a very simple methodology to my ranks:<br />
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First, I looked at the films releases by the "Phases" as ordered by Marvel:<br />
<br />
<h3>
Original Release List:</h3>
<h4>
Phase One</h4>
<br />
<ol>
<li>Iron Man (2008)</li>
<li>The Incredible Hulk (2008)</li>
<li>Iron Man 2 (2010)</li>
<li>Thor (2011)</li>
<li>Captain America: The First Avenger (2011)</li>
<li>Marvel's The Avengers (2012)</li>
</ol>
<br />
<h4>
Phase Two</h4>
<br />
<ol>
<li>Iron Man 3 (2013)</li>
<li>Thor: The Dark World (2013)</li>
<li>Captain America: The Winter Soldier (2014)</li>
<li>Guardians of the Galaxy (2014)</li>
<li>Avengers: Age of Ultron (2015)</li>
<li>Ant-Man (2015)</li>
</ol>
<br />
<h4>
Phase Three</h4>
<br />
<ol>
<li>Captain America: Civil War (2016)</li>
<li>Doctor Strange (2016)</li>
<li>Guardians of the Galaxy Vol. 2 (2017)</li>
<li>Spider-Man: Homecoming (2017)</li>
<li>Thor: Ragnarok (2017)</li>
<li>Black Panther (2018)</li>
<li>Avengers: Infinity War (2018)</li>
</ol>
<br />
<br />
I began by ranking the films within their release “Phases:”<br />
<br />
<h4>
Phase One</h4>
<br />
<ol>
<li>Marvel's The Avengers (2012)</li>
<li>Captain America: The First Avenger (2011)</li>
<li>Iron Man (2008)</li>
<li>Iron Man 2 (2010)</li>
<li>Thor (2011)</li>
<li>The Incredible Hulk (2008)</li>
</ol>
<br />
<h4>
Phase Two</h4>
<br />
<ol>
<li>Captain America: The Winter Soldier (2014)</li>
<li>Guardians of the Galaxy (2014)</li>
<li>Ant-Man (2015)</li>
<li>Avengers: Age of Ultron (2015)</li>
<li>Iron Man 3 (2013)</li>
<li>Thor: The Dark World (2013)</li>
</ol>
<br />
<h4>
Phase Three*</h4>
<br />
<ol>
<li>Black Panther (2018)</li>
<li>Captain America: Civil War (2016)</li>
<li>Doctor Strange (2016)</li>
<li>Guardians of the Galaxy Vol. 2 (2017)</li>
<li>Spider-Man: Homecoming (2017)</li>
<li>Thor: Ragnarok (2017)</li>
</ol>
<br />
<br />
At this point, I then took the number films and listed them by phase, so I listed the films together by their ranks in order of the Phases (i.e., Phase One #1, Phase Two #1, Phase Three #1, Phase One #2, Phase Two #2, Phase Three #3, etc.). Once I had all eighteen films ordered this way, I then looked at their orders, and adjusted accordingly.<br />
<br />
From the above, the final rankings are like this:<br />
<br />
<br />
<ol>
<li>Captain America: The Winter Soldier (2014)</li>
<li>Black Panther (2018)</li>
<li>Marvel's The Avengers (2012)</li>
<li>Captain America: The First Avenger (2011)</li>
<li>Captain America: Civil War (2016)</li>
<li>Guardians of the Galaxy (2014)</li>
<li>Doctor Strange (2016)</li>
<li>Iron Man (2008)</li>
<li>Ant-Man (2015)</li>
<li>Guardians of the Galaxy Vol. 2 (2017)</li>
<li>Spider-Man: Homecoming (2017)</li>
<li>Thor: Ragnarok (2017)</li>
<li>Avengers: Age of Ultron (2015)</li>
<li>Iron Man 2 (2010)</li>
<li>Iron Man 3 (2013)</li>
<li>Thor (2011)</li>
<li>Thor: The Dark World (2013)</li>
<li>The Incredible Hulk (2008)</li>
</ol>
<br />
<br />
Needless to say I’m surprised by the final order. I never thought that a film like Spider-Man: Homecoming would have fallen so low, for example. But then, I still think that there is not a stinker among these films. I would rather watch The Incredible Hulk again, than say, Suicide Squad.<br />
<br />
<hr />
*Avengers: Infinity War (2018) – currently unranked, as it is part of a larger story. Will have to reserve ranking until the second part is released in 2019.<br />
<div>
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-46228316675839936842017-05-29T10:00:00.000-05:002017-05-29T10:00:00.351-05:00Max Headroom: Thirty-Year Celebration Reblog - Michael Cassutt: The Max Headroom Interview<br />
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Michael Cassutt is a writer and producer of a number of television series, including THE TWILIGHT ZONE (1985), THE OUTER LIMITS (1990), and EERIE, INDIANA (1991) and most recently, Z NATION (2014). But he can also take credit for his work on MAX HEADROOM (1987), and during this 30th anniversary celebration, I am thrilled that he agreed to an interview on what is now regarded as “the first cyberpunk television series.” The interview was conducted during the 25th anniversary, and reposted here.</div>
<div>
<br />
GK: Thanks for subjecting yourself to this interview- this is very exciting for me, as I was in college, majoring in Radio/Television/Film when MAX HEADROOM debuted, so you can imagine how it resonated with me. And that affection has only grown over the years.<br />
<br />
So, to begin, how did you become involved in the MAX HEADROOM TV series? <br />
<br />
MC: I got hired on MAX because of Phil DeGuere, who was my boss on TWILIGHT ZONE. A vastly experienced network showrunner, Phil had been teamed with Peter Wagg (who was the point man for all things MAX from Chrysalis) to develop, then run the ABC series. Phil had screened the UK MAX movie, “Twenty Minutes into the Future,” for several of us on TZ. Then Jim Crocker, George R R Martin, Martin Pasko & Becky Parr and I were assigned to write episodes. Based on my episode, "Security Systems," I got hired as the story editor in January 1987. <br />
<br />
GK: What were your initial thoughts about the series? <br />
<br />
MC: My initial thought: this has no business being on American network television. (I was right about that, especially for 1987). But I was incredibly excited about it... a satirical show about the world of the future in which television viewing was the primary activity? I was BORN for MAX. <br />
<br />
GK: What was your favorite episode? Your favorite memory about the series? <br />
<br />
MC: My favorite is "Neurostim," originally a pitch, outline and draft by Art Sellers that I worked on a lot. My favorite memory of the series is the wonderful attention it got -- cover of NEWSWEEK etc. And also just the way it looked and sounded on the air, and the effect that had on viewers. <br />
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GK: Describe how you found out that the series had been cancelled – how did you feel about the news? <br />
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MC: Frankly, I was relieved. I had been working too hard for too long to be looking forward at that point. We were only about one script ahead of production when you should really have at least four scripts ready to go. So I knew trouble was looming: someone was going to get fired or the show was going to get canceled. <br />
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GK: How would you like to have seen the series conclude its TV run? <br />
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MC: I never gave a moment's thought to the end of MAX. I would have loved to see it run for five years, a hundred episodes. Maybe Max himself would have become ruler of Earth. <br />
<br />
GK: That would have made an awesome tele-election-style episode! If the series had made it to a full second season, what direction do you think it would have taken? <br />
<br />
MC: We would have just explored the characters of Max, Theora, Bryce e<i>t al</i> more thoroughly -- and Max himself, of course. And shown you more of the world 20 Minutes into the Future. <br />
<br />
GK: Could MAX HEADROOM be rebooted today? Should it? Why or why not? If yes, would you like to be a part of it? <br />
<br />
MC: It could, and who knows? I don't think it should. BATTLESTAR GALACTICA aside, re-boots are usually awful. I'd like to believe I'd resist the temptation to return to MAX, if someone did re-launch it. It should really have a new team. <br />
<br />
GK: It has been 25 years since we first got this vision of life “20 minutes into the future.” What lessons have we learned? How is this future the same as that portrayed in the series, and how is it different? <br />
<br />
MC: If you replace "television channel" from MAX with "internet", you can see a lot of similarities.... frightening ones in terms of human behavior, especially when it comes to the nature of popular entertainment and its effects on society. To go back to question 6, if Max came back now.... he'd be a Kardashian, wouldn't he? <br />
<br />
GK: Max as a Kardashian. The very thought makes me shudder – but you are most likely right! What surprised you most about what the series got right? What surprised you the most about what it missed? <br />
<br />
MC: In addition to the development of the internet, the growth and evolution of media, especially television... the expanding gap between rich and poor, all of that was in MAX and is evident in today's world. <br />
What we missed - I can't say. Given the nature of the series, there were giant freaking swaths of human activity we never looked at or presented. We don't discuss space flight, for example. If we missed anything, it was the shrinking size and massively improved capability of personal data devices. <br />
<br />
GK: iPads and smartphones would certainly have opened up new possibilities. What do you wish people would remember about MAX HEADROOM that they don’t now and, conversely, what do you wish they would forget? <br />
<br />
MC: They should remember that it was prescient, smart, amusing and stylish. They should forget that some of the story-telling was slow and confused. <br />
<br />
GK: Have you ever been invited to conventions based on your stint on MH? Have you ever been invited to speak on the series at a convention? If so, will you give us a little background? <br />
<br />
MC: I did one MAX-related speaking event in Boston circa 1988, and later that year was invited back to my alma mater, the University of Arizona, to speak at an event where MAX was prominent. Other than that, I recall no MAX-centric events.... of course, I've attended two dozen conventions and spoken at schools, etc., and MAX has frequently come up... but those are the only two direct invites I remember. <br />
<br />
GK: I find it very sad that Max isn’t as fondly remembered at conventions nowadays. But speaking of today, what are some of your current projects? <br />
<br />
MC: My current project is a trilogy of SF novels written in collaboration with David S. Goyer, he being the screenwriter for BLADE, DARK CITY, BATMAN BEGINS, the upcoming MAN OF STEEL (new Superman), etc. Book one was HEAVEN'S SHADOW, published in July 2011... Book 2 is HEAVEN'S WAR, out last July... #3 is HEAVEN'S FALL, coming this August. All are from Ace. HS is in paperback now, HW will be this summer. And all three have been sold to Warner as potential feature films; David has written a script for HS and the studio is sending it out to potential directors. You can find out more about it at the HEAVEN’S SHADOW Facebook page <a href="http://www.facebook.com/heavensshadownovel">http://www.facebook.com/heavensshadownovel</a> <br />
<br />
GK: Thanks for interview! As for me, I really wish that MAX would be remembered with as much respect (thereabouts) as STAR TREK or FIREFLY, mainly due to its standing as the first cyberpunk TV series. <br />
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-250905472313683802017-05-22T10:00:00.000-05:002017-05-22T10:00:17.426-05:00Max Headroom: Thirty-Year Celebration Reblog - Shades of Gray: Morality in the Max Headroom Series<span style="background-color: #1d1d1d; color: #9ba2a8; font-family: Roboto, sans-serif; font-size: 15px;">Having watched the entire series thanks to Shout Factory’s release of the complete series on DVD, I have noticed that there are some six distinct shade of morality present in the series.</span><br style="background-color: #1d1d1d; color: #9ba2a8; font-family: Roboto, sans-serif; font-size: 15px;" /><br />
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<u>Morally Bankrupt<o:p></o:p></u></div>
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Ned Grossberg, the original chair of Network 23 is clearly the most morally bankrupt person in the series. He was ousted as the chair of the largest network in the world after he authorized the failed Blipvert campaign. The blipvert technology compressed an entire 30-second advertisement into a fraction of that time. The intended result was the prevention of channel switching, thus ensuring Network 23’s hold on the ratings lead, but what actually happened was that particularly sedentary viewers had a nasty habit of spontaneously combusting because they’re nerve endings were over stimulated by the blipverts. Grossberg refused to pull them, choosing to profit above people. </div>
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He later resurfaces as the chairman of Network 66, a rival of Network 23. Not long after joining Network 66 as an executive in charge of new technologies, he manipulates a tele-election in order to orchestrate the deposition of the chairman and then, to take his place. When asked what he did for a conscience, Grossberg replied, “I occasionally rent one.” <a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftn1" name="_ftnref1" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[1]</span></span></span></span></a></div>
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In the last episode aired<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftn2" name="_ftnref2" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[2]</span></span></span></span></a>, Grossberg is involved in a scheme to kidnap babies who are not only conceived in vitro, but also gestated outside the mother’s womb in a process known as “baby gro-bags.” These babies would then be used to star in a reality/game show that exploited supposed advanced cognitive abilities of these babies. He later claims to not be behind the scheme claiming that such an accusation is “beyond even me!” He at least acknowledges that his morals are self-serving, but his claim of innocence in this case rings rather hollowly. He was willing to kill sedentary viewers, and even Edison Carter to protect the investment in the blipvert campaign; he was willing to smear a politician and entrap a fellow broadcaster (as well as the man who gave him a job after he was removed at Network 23) so that he could ascend to a seat of power; he was willing to be linked with an ethically ambiguous project in order to have a ratings winner and defeat Network 23. Why should we believe his denial of involvement?<u><o:p></o:p></u></div>
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<u>Morally Challenged<o:p></o:p></u></div>
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The Network 23 Board represents the next level, or shade of morality. I believe that they are the ‘morally challenged,’ due to the fact that they seem to have a firm grasp of right and wrong, but often fail to exercise it. They are too willing to follow Ned Grossberg’s lead and keep airing the blipverts, even after it is shown conclusively to them that they are lethal. When Ben Cheviot takes over at the end of the pilot, they willingly follow him. The board seems to lack the will to make independent and risky choices, settling rather for the easy way out. In fact, one of the board members by the name of Edwards notes that “In our business morals are one thing but ratings are everything!”<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftn3" name="_ftnref3" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[3]</span></span></span></span></a><u><o:p></o:p></u></div>
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<u>Morally Under/Un Developed<o:p></o:p></u></div>
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Bryce Lynch, the teen <i>wunderkind</i> who first developed the blipverts and was responsible for the creation of Max Headroom, falls into the category of “Morally Under- or even Un-Developed.” As a disclaimer, please note that I am confining my observation to Bryce as portrayed in the television series; the Bryce Lynch in the original British telefilm is much darker and closer to the moral bankruptcy of Ned Grossberg.</div>
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Bryce was sent away at a very early age to the Academy of Computer Sciences (ACS), and upon graduation, employed at Network 23. The only thing he says about his parents is that they are in ‘middle management.’<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftn4" name="_ftnref4" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[4]</span></span></span></span></a> The lessons he learned about morality, he learned while at ACS, and in the episode ‘The Academy,’ we see that a basic understanding of morality is not taught. In fact the Head SYSOP of the Academy tells Edison Carter “We don’t deal in guilt; we deal in information.” As a result, Bryce’s moral compass is simply not present. </div>
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However, the more time he spends with Edison, Theora and Murray, we seem him developing a conscience. In the pilot (based heavily off the UK telefilm), he confesses that he’s glad Edison wasn’t killed. This is a markedly different attitude than the British Bryce. The next episode shows Bryce struggling with whether or not to be party to another’s death so that a terminally-ill wealthy woman could be given a life-sustaining treatment<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftn5" name="_ftnref5" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[5]</span></span></span></span></a>. In another episode, Bryce covers up a crime committed by classmates at ACS and shifts the blame to an innocent person, believing that the authorities would figure out that their suspect was innocent. However, when it looks like the suspect will be found guilty of a capital offense, Bryce manipulates the guilty parties into revealing themselves and proving the suspect’s innocence.<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftn6" name="_ftnref6" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[6]</span></span></span></span></a></div>
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Bryce is far from being a role model, but we see him growing during the series.<o:p></o:p></div>
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<u>Morally Conflicted<o:p></o:p></u></div>
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Ben Cheviot is the current Chairman if Network 23 following the scandal of the blipverts and fall from grace of Ned Grossberg. Cheviot is the one who clearly sounded the call for blipverts to be pulled in the face of their deadly side effect of causing people to blow up.</div>
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But let’s not be fooled. Cheviot is also a man of his time and trade. He did not get to a seat on the Network 23 board by being a clarion of righteousness. He has no qualms about participating in the fraud known as tele-elections, noting that the results are negotiated long before the tele-election is held. He has even gone on record as saying that when Network 23 manipulates the news, they always do so for the public’s own good.<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftn7" name="_ftnref7" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[7]</span></span></span></span></a> His priorities occasionally conflict with crusading journalist Edison Carter’s, as they did when Edison wanted to rescue a girl from death, while Cheviot believed that his time was better spent convincing Max Headroom to go on air and boost the ratings.<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftn8" name="_ftnref8" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[8]</span></span></span></span></a></div>
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In short, Cheviot is a much better network executive that either Grossberg or anyone else on the board, but he’s clearly flawed.</div>
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Murray is the news producer and Edison Carter’s direct boss. Murray is a good man, who lost his family presumably due to his dedication to his work. He’s much closer to what I could call morally upright than even Cheviot, but Murray is caught between his desire to see the truth exposed and the desire to maintain his job at the network. He is willing to help but refuses to cross the line and thereby jeopardize the only life he has.<o:p></o:p></div>
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<u>Morally Upright<o:p></o:p></u></div>
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I’ve mentioned Edison Carter several times earlier and Theora Jones at least once. They compose the investigative journalist team that is consistently Network 23’s top-rated program. Edison and Theora fiercely pursue the truth no matter how dangerous it is to them personally, or how difficult it might be for certain persons to hear it. They are the true heroes of the series. However, as upright as they are, even Edison is not above falsifying a ‘live’ interview in order to accomplish something good.<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftn9" name="_ftnref9" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[9]</span></span></span></span></a> He is not as pure as the driven snow, nor will anyone ever accuse him of being a boy scout. He is a man determined to truth and justice, but will bend the truth if necessary to secure justice.</div>
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As you watch the series, take special note of the ways in which these layers or shades of morality are played out. It really is fascinating to watch.<o:p></o:p></div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftnref2" name="_ftn2" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[2]</span></span></span></span></a> Episode 208 “Baby Grobags.” The series ended its network run on ABC May 5, 1988, but this episode didn’t air in the US until September 10, 1995 on the Sci-Fi Network (now known as SyFy)</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftnref3" name="_ftn3" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[3]</span></span></span></span></a> Episode 105 “War”</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftnref4" name="_ftn4" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[4]</span></span></span></span></a> Episode 201 “Academy”</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftnref5" name="_ftn5" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[5]</span></span></span></span></a> Episode 103 “Body Banks” Actually, this is the third episode aired, but it was the second episode produced.</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftnref6" name="_ftn6" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[6]</span></span></span></span></a> Episode 106 “Blanks”</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftnref7" name="_ftn7" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[7]</span></span></span></span></a> “Blanks.” Cheviot also acknowledges here that tele-election votes are “computer enhanced.”</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/08ShadesOfGray.rtf#_ftnref8" name="_ftn8" style="color: #2196f3; text-decoration-line: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[8]</span></span></span></span></a> “Body Banks”</div>
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-20906618817416317142017-05-15T10:00:00.000-05:002017-05-15T10:00:29.300-05:00Max Headroom: Thirty-Year Celebration Reblog - In Consequence<br />
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As a follow up to the previous post on Truth and Justice in the <i>Max Headroom</i> world, I wanted to reflect on the consequences for crimes and misdeeds as portrayed in the series. One of the tropes in cyberpunk (of which Max Headroom is an example<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftn1" name="_ftnref1" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[1]</span></span></span></span></a>), is the subversion of justice in favor of the wealthy. I’ve already explored briefly the fact that justice is outside of the means of the have-nots dwelling in the Fringes and beyond<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftn2" name="_ftnref2" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[2]</span></span></span></span></a>.</div>
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But on the other side of the equation, it appears that the Haves in the world of Max Headroom don’t have a problem securing sufficient cash to avoid much of the consequences of their actions. In the pilot episode, “Blipverts,” Ned Grossberg is the chairman of the number one television network, Network 23. Edison Carter is the largest ratings producer though his investigative journalism program<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftn3" name="_ftnref3" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[3]</span></span></span></span></a>. Edison stumbles upon a conspiracy to roll out a revolutionary advertising system that has the unfortunate side effect of causing sedentary viewers to spontaneously combust. In order to prevent Edison from airing his expose’, Grossbergs hires thugs to stop him, which results in Edison’s near-death. In order to discover how much Edison knows, his memories and consciousness are downloaded to the Network 23 computer, which results in the creation of the virtual character, Max Headroom. Determining that Edison is now expendable, Grossberg orders him to be done away with, and taken to a body bank. However, Edison is ‘not quite dead’ and returns to expose the nefarious plot. At the end of the episode, Grossberg is disgraced and loses his place as the chairman of Network 23. There is no sign that the police are called or that Grossberg has been arrested for his part in the plot. In the second season, in the episode titled, tellingly enough, “Grossberg’s Return,” Grossberg has joined up with a rival network, and manipulates his way to the chair of that network<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftn4" name="_ftnref4" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[4]</span></span></span></span></a>.</div>
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Harriett Garth, the political candidate sponsored by Network 66<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftn5" name="_ftnref5" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[5]</span></span></span></span></a>, is herself exposed for her part in a tele-election fraud. When confronted by her wrongdoing, she remains philosophical: “A couple of weeks is a long time in video politics. This week, ruined; next week, revered. One good show with the right ratings I’ll be back in days.” Garth indicates that she is not concerned with the consequences of her actions, as it will soon be forgotten by the public and she will return to be a force to be reckoned with.</div>
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In the episode “Body Banks<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftn6" name="_ftnref6" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[6]</span></span></span></span></a>,” one of the Network 23 board members, Julia Formby is blackmailed into kidnapping teen genius Bryce Lynch to have him replicate the ‘Max Headroom process’ for a wealthy man to preserve his dying mother in digital form. She is clearly exposed as having played a part in not only the kidnapping of Bryce, but also in the kidnapping and attempted murder of a young woman from beyond the Fringes. However, the end of the episode shows her being reconciled with the chairman of Network 23.</div>
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Season two episodes featured this theme in almost every episode. “Dream Thieves,” a story about a company harvesting dreams from people of the Fringes in order to provide a new entertainment option, actually shows no police presence or justice outside of a few fists flying.<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftn7" name="_ftnref7" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[7]</span></span></span></span></a> The process of collecting the dreams is shown to be in fact killing people. However, no one is ever arrested on camera in the episode which leaves one wondering, who will pay for the crimes?</div>
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“Whacketts<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftn8" name="_ftnref8" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[8]</span></span></span></span></a>” is a story about a couple of program packagers who sell a terrible game show laced with a digital signature that causes viewers to become addicted and watch no matter what is occurring around them, even when an entire apartment building collapses in ruins. The perpetrators are eventually arrested, but mostly because they were responsible for the death of a MetroCop Lieutenant, and not for any other crime.</div>
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The very next week, the episode “Neurostim<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftn9" name="_ftnref9" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[9]</span></span></span></span></a>” introduces a bracelet (provided by Network 23 sponsor Zik Zak Corporation) that causes wearers to become obsessed with purchasing Zik Zak products. When Edison Carter is about to expose the plot, they give him an even more powerful bracelet to keep him away from breaking the story. At the end of the episode, again, no one is brought to justice. In fact, Murray tells Edison “<i>You can fight Zik Zak, but you’re not going to beat them.”</i><a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftn10" name="_ftnref10" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[10]</span></span></span></span></a></div>
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And so it goes. This is a common theme throughout the series. The Have-Nots are denied the opportunity for justice because they do not have the resources to pay for a fair hearing, while the Haves are very rarely mad to pay for their misdeeds.</div>
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The media circus surrounding the events of the trial of former football player O. J. Simpson for the murder of his ex-wife and a friend captivated America. Every day there was a new development and we saw it all on television. Many believed that he was acquitted due to his wealth and notoriety, and not because there was insufficient evidence for a conviction.</div>
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Many years later, the infamous “Tot-Mom,” Casey Anthony was on trial for the death of her daughter, Caylee. The trial was covered in great detail through many media outlets, including a program by ex-prosecutor Nancy Grace, who declared that the Devil danced when an innocent verdict was proclaimed. And in recent years, there have been numerous stories of people who have been acquitted, in many cases years, after advances in forensics have shown their innocence. It is almost no wonder that many people are often suspicious of the justice system.</div>
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The Book of Psalms contains many passages where the writer laments that the powerful wicked seem to prosper, while the innocent suffer.<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftn11" name="_ftnref11" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[11]</span></span></span></span></a> The Believer is called upon to speak on behalf of those who have no voice and to oppose any system that would allow the privilege the Haves over the Have-Nots based solely on a bank account, and not on the merits of their individual cases<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftn12" name="_ftnref12" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[12]</span></span></span></span></a>. Ultimately, justice will be pronounced by God Almighty<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftn13" name="_ftnref13" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[13]</span></span></span></span></a>. And that is the hope that we have not usually found in cyberpunk fiction.</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftnref1" name="_ftn1" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[1]</span></span></span></span></a> <a href="http://tvtropes.org/pmwiki/pmwiki.php/Series/MaxHeadroom?from=Main.MaxHeadroom" style="color: #2196f3; text-decoration: none;">http://tvtropes.org/pmwiki/pmwiki.php/Series/MaxHeadroom?from=Main.MaxHeadroom</a></div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftnref2" name="_ftn2" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[2]</span></span></span></span></a> Episode 103, “Body Banks.” Mel (played by Scott Kraft) tells Edison Carter that he cannot “afford to buy law.” And Blank Reg later reminds Edison that “Justice is cash flow.”</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftnref3" name="_ftn3" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[3]</span></span></span></span></a> Alternatively titled “What I Want To Know” and “The Edison Carter Show”</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftnref4" name="_ftn4" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[4]</span></span></span></span></a> Episode 203</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftnref5" name="_ftn5" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[5]</span></span></span></span></a> This is the rival network that Grossberg assumes the leadership of in the episode “Grossberg’s Return</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftnref6" name="_ftn6" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[6]</span></span></span></span></a> Episode 103, above</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftnref7" name="_ftn7" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[7]</span></span></span></span></a> Episode 204 (10/9/87)</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftnref8" name="_ftn8" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[8]</span></span></span></span></a> Episode 205 (10/16/87)</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftnref9" name="_ftn9" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[9]</span></span></span></span></a> Episode 206 (10/23/87)</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftnref10" name="_ftn10" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[10]</span></span></span></span></a> Emphasis mine</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftnref11" name="_ftn11" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[11]</span></span></span></span></a> Psalm 73:16, for example.</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftnref12" name="_ftn12" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[12]</span></span></span></span></a> Exodus 23:6, Proverbs 17:15</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/07InConsequence.rtf#_ftnref13" name="_ftn13" style="color: #2196f3; text-decoration: none;" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[13]</span></span></span></span></a> Lamentations 3:35</div>
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-65690341361675088512017-05-08T12:04:00.000-05:002017-05-08T12:04:15.715-05:00Max Headroom: Thirty-Year Celebration Reblog - Truth, Justice and the MetroCity Way There was once a disparaging comment about believing in something simply because “I saw it on TV.” <i>Max Headroom </i>takes that tension and makes it a central theme. Many episodes deal with what people see and how easily they can be duped and the cavalier attitude that people in power have toward the truth.<br />
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In a media and corporate-driven society, ratings are cash and cash is power. If one has enough cash, one has enough power to shape truth to whatever form is most expedient to increase ratings and thereby increase revenue.</div>
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In this world, network executives realize that they are playing fast and loose with the truth, but that knowledge is of no concern. One board member of Network 23 accuses Network 66 of theft by “falsifying ratings,” to which Network 23 Chairman Ben Cheviot responds “Nonsense, its merely ethically dubious, perfectly normal practice.” <a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[1]</span></span></span></span></a></div>
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The same episode focuses tightly on the role of media and its manipulation of the truth. Theora Jones, controller for ace reporter Edison Carter exclaims that their rival has moved past simply reporting the events and on to creating them, with the dire statement that “they’re manufacturing their own truth!”<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[2]</span></span></span></span></a></div>
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Theora’s outrage is somewhat suspect when we realize that even Network 23 is not necessarily above a little manipulation in order to get what it wants. Murray says as much when we notes that “Pictures don’t lie, at least not until you’ve assembled them correctly.”<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[3]</span></span></span></span></a> In another episode, even Edison and Theora stoop to the same practice by recording politician Simon Peller refusing to issue an order to free the Blanks he has had arrested, then using a “data rescan process” to present video evidence that Peller had, in fact, capitulated.<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[4]</span></span></span></span></a></div>
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In the season two episode “Grossberg’s Return,” the former chairman of Network 23, Ned Grossberg, has taken a position on the board of 23’s rival Network 66. He neatly maneuvers the board into ousting its current chairman and getting elected to the position himself. His position on matters of truth and falsehood is reflected in two statements. The first is an observation by Edison Carter that Grossberg is a “man who regards truth as a market commodity,” in other words, as something that can be bought and sold without much thought as to its use or its consequences. The second statement is an admission from Grossberg himself: “What, after all, is one more lie?” Finally, we can see how this cynical attitude is pervasive throughout this episode in the following exchange between Edison Carter and the Network 66-sponsored candidate Harriet Garth:</div>
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Edison: “We’ll see where the truth lies.”</div>
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Harriet Garth: “The Truth lies, all right, Mr. Carter. We saw the pictures.”</div>
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Closely allied with truth in this series is a notion of justice. It seems that justice is reserved in the city for those who have the power to fight (or pay) for it. Those without the means to do so often find themselves disenfranchised, disparaged, and disengaged from any opportunity for a better life. In the third episode of the first season (though apparently the second episode produced), Edison encounters a young man from outside the city who had come into town with his girlfriend to sell blood in order to have some money to live. When Edison learns that the girlfriend was kidnapped, he asks why weren’t the MetroCops (local police) notified. The young man replies “I can’t afford to buy law.” “Justice is cash flow, my son,” Blank Reg clarifies.<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[5]</span></span></span></span></a></div>
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When a Blank is arrested in the roundup ordered by Simon Peller, it is noted that she has an off switch on her TV – a criminal offense. She is then taken to be tried in a secret court in which a computer adjudicates her crime. She objects stating that she knows her rights and refuses to be “judged by a machine.” The court functionary rejects her plea. “You don’t have any rights – you’re a blank!” he snorts.<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[6]</span></span></span></span></a></div>
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In another episode<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[7]</span></span></span></span></a>, Blank Reg is arrested for “signal zipping,” which is interrupting a network television feed, and is considered a “terminal offense.” As he is a Blank, that is, a person whose entire history has been erased from all computer databases and are thus able to live completely ‘off the grid,’ there is no way to determine if Reg has a criminal past. So, they upload his personality template into something called the “Career Capacity Malfeasance Program,” which matches his template with unassigned criminal profiles. Since there is no way to prove that he is not in fact the person represented by the unassigned template, there is sufficient cause to try him. This disgusts Reg’s friend Edison Carter: “Template matching isn’t justice, its convenience.”</div>
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His trial is put on the network’s premier justice program, “You the Jury,” which allows viewers to determine the innocence or guilt of any person tried in its studios.</div>
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I am reminded that just a few years after the <i>Max Headroom</i> series went off the air, the nation thrilled to the criminal proceedings of the State of Californian vs. O. J. Simpson. The former football player was on trial for the murder of his ex-wife and a young man who apparently was in the wrong place at the wrong time. This was followed by the cable channel Court TV (later renamed TruTV) and followed by criminal prosecutor-turned-TV commentator Nancy Grace. Many cases today are tried in the court of public opinion, and justice is often subverted as a result.</div>
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Truth and Justice are inextricably linked for the Christian. In the Old Testament, we read the story of King David’s seduction of Bathsheba, a woman who was not his wife. When she discovered she was pregnant by the king, David attempted a deception by bringing her soldier husband home from the front so he could have a conjugal visit. When that failed, he arranged for the man to be killed at the battlefront. God’s spokesman, a man named Nathan, confronted the king with his deception and his act of injustice in the sanctioned murder of the king’s loyal subject and Bathsheba’s husband. <a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[8]</span></span></span></span></a></div>
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Truth must always be the counterpart of Justice; they can never be separated.</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[1]</span></span></span></span></a> “Grossberg’s Return” (episode 203, 10/2/87)</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[2]</span></span></span></span></a> Ibid. In an earlier episode (“War”, episode 105, 4/28/87), there is some light banter between characters. One says “Since when has news been about entertainment?” “Since it was invented” was the quick response.</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[3]</span></span></span></span></a> “Grossberg’s Return”</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[4]</span></span></span></span></a> “The Blanks” (episode 106, 5/5/87)</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10pt; line-height: 15.3333px;">[5]</span></span></a><span style="font-size: 10pt; line-height: 15.3333px;"> “Body Banks” (episode 103, 4/14/87<o:p></o:p></span></div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[6]</span></span></span></span></a> “The Blanks” (episode 106, 5/5/87)</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/06TruthJustice.rtf#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[7]</span></span></span></span></a> “Academy” (episode 201, 9/18/87) Would this be considered a cyberpunk version of ‘racial profiling?’</div>
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-25202005254931938982017-04-18T10:00:00.000-05:002017-04-18T10:00:14.485-05:00Max Headroom: Thirty-Year Celebration Reblog - Matters of Faith<br />
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There are three episodes of the <i>Max Headroom </i>series which deal either directly or indirectly with religion and matters of faith. The first season episode ‘finale,’ “Blanks,”<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[1]</span></span></span></span></a> dealt with individuals who have elected to remove themselves from the computer databases of the world. There is no official record of their existence and they are referred to as the “Blanks” of the episode title. The plot of the story is one where the political chief executive officer,<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[2]</span></span></span></span></a> Simon Peller, has decided to wage a campaign against the Blanks. Because they have no records, they don’t officially exist, and therefore have no rights. In a later episode where another Blank is arrested,<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[3]</span></span></span></span></a> we see that Blanks are matched up by a computer with unsolved crimes regardless of whether or not they actually committed them. It’s almost as if racial profiling has gone berserk. In “Blanks,” Simon Peller arrests and imprisons the Blanks because he finds them “untidy” and a threat to his vision of “order.” The Blanks, led by computer genius Bruno, decide to fight back, targeting the main computer on which the city depends for everything from running a coffee maker to powering the television networks.</div>
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Should the networks go down, the television-obsessed public will react violently. The Blanks interrupt the broadcasts in order to provide warnings of what will happen should the campaign not cease and desist. During these interruptions, members of the Network 23’s board observe the reactions noting that people are going to the black market and purchasing video players and old recordings of programs in order to continue to feed their habit. Network 23, Simon Peller’s network sponsor in the tele-election that placed him in power,<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[4]</span></span></span></span></a> attempts to pressure him into relenting. Peller refuses to budge. Meanwhile series protagonist Edison Carter and his team try to convince Bruno and the blanks to relent. Max Headroom himself visits Bruno via his computer terminals. In their ensuing dialogue, Bruno accuses the world of being devotees of a cult: “<i>Your network, and the authorities, are mesmerizing millions into worshipping the new priesthood of the computer. Like cavemen worshipping fire! It’s a false faith, Max.” </i></div>
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Worship is simply attributing supreme worth to someone or something. In other words, its deciding that someone or something is worthy of all you have to offer, and acting accordingly. Bruno’s accusation stings, because in that world, it’s too close to the truth. It is awfully close in our world as well. Network executives are always at war to keep people in front of the television screen. Too often, as I noted in an earlier post, people are more aware and literate of television programs than they are of history, politics, and even religion.</div>
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The second episode that deals with religious themes is the second season episode “Deities.”<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[5]</span></span></span></span></a> In this episode, Edison Carter’s producer, Murray, wants him to do a story on the skyrocketing success of the ‘Vu-Age Church,” led by Vanna Smith. Unknown to the rest of the team, Edison dated Vanna when they were both in college.</div>
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But again, the religion promulgated by the Vu-Age Church is nebulous at best. The Vu-Age church promises a ‘salvation’ that is poorly defined. Salvation from what? To what? Why is salvation needed? It is never explored any further than that. The church’s broadcast is modeled on that of many Christian televangelists, but many of the core Christian doctrines are never mentioned. In the end, when the ‘resurrection process’ is exposed as a fraud, the church’s teachings are also revealed to be empty promises. When Edison Carter is interviewing one of Vanna’s subordinates, he asks “Are you a clergyman? Or just a PR man?” The reply is telling: “When you come right down to it, Mr. Carter, is there a difference?”</div>
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While there are many discussions of religion on television, tax emption status of religious entities, and when ‘holy men’ are found to have feet of clay<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[6]</span></span></span></span></a>, the central conflict seems to be simply between selling hope (a blind one as it turns out) versus offering the truth.</div>
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The third episode that touches on religious themes present in the series is “Lessons.”<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[7]</span></span></span></span></a> In this episode, Edison and Murray enter an old church building located in the Fringes, or the desolate part of town populated primarily by the Have-Nots. At the front, on the platform, is a television set, and the people in the pews are watching Network 23. As the pair moves through the church, Edison asks Murray “Whatever happened to the old religions?” Murray responds, “Television killed it. We have better miracles.”</div>
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These episodes address the role of religion in the world of <i>Max Headroom</i> (one specifically, and two tangentially). And I see this as a warning to the Church that this future is, again, only 20 minutes away.</div>
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Specifically, the Church may be on the verge of making itself irrelevant to the life of the world around it. For the purposes of this discussion, my definition of the Church is the body of Christian believers around the world. The Church was established by God the Holy Spirit at Pentecost to be a witness to the world of the Resurrection of Jesus and to proclaim the salvation from sin that He accomplished by that miraculous event. Religion refers to the outward expression of that body; it is the life that we as believers in Jesus are called to live. <i>“Religion that is pure and genuine in the sight of God the Father will show itself by such things as visiting orphans and widows in their distress and keeping oneself uncontaminated by the world.”</i><a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><i><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><b><span style="font-size: 11pt; line-height: 16.8667px;">[8]</span></b></span></span></i></span></a> This was written by the Apostle James, who many believe may have been the half-brother of Jesus. It is in keeping with the long tradition of Old Testament prophets who decried religious ceremonies and rites, but rather called for God’s people to live out their faith in service to others. However, we need to be reminded that salvation from sin and to a complete reunion with our Heavenly Father is not predicated on doing the right things. Rather, our works should be a reflection of a life transformed by the Resurrection of Christ. The Apostle Paul makes this clear when he writes “<i>For it is by grace you have been saved, through faith--and this not from yourselves, it is the gift of God-- not by works, so that no one can boast. For we are God's workmanship, created in Christ Jesus to do good works, which God prepared in advance for us to do.”</i><a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><i><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><b><span style="font-size: 11pt; line-height: 16.8667px;">[9]</span></b></span></span></i></span></a> Vanna Smith’s Vu-Age Church is about buying one’s way to salvation (however it was defined), but there were no following good works. These good works flow from a saved life, they do not earn it. I believe that living this transformed life, with Christ as our center, will result in the miraculous. In Max Headroom’s world, believers were co-opted by the world (see James 1:27 again) and made irrelevant. The Church is at its most relevant when it is counter-cultural and speaking the truth (the whole truth) in love to power.</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[2]</span></span></span></span></a> The series never gives the position a title. Is he the Mayor? The President? The Majordomo? The Big Kahuna? We never find out.</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[3]</span></span></span></span></a> Episode 201, “Academy,” aired September 18, 1987</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[4]</span></span></span></span></a> Elections in the world of Max Headroom are held via network ratings during the election period. Whichever network “wins” the ratings period, the candidate that it sponsors wins the election. It is also noted that the results are often negotiated in advance which makes even this kind of election a sham.</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[5]</span></span></span></span></a> Episode 202, originally aired on September 9, 1987.</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[6]</span></span></span></span></a> “<i>Betrayal comes to us in many forms: the husband whose credit account shows visit to unlicensed sex therapists; the child who won’t watch his TV; the TV hero who turns out to be quite un-heroic. This is a story about an even greater betrayal: when those who claim to speak for God turn out to be liars.”</i> – Edison Carter.</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[7]</span></span></span></span></a> Episode 207, which was the last episode aired on ABC, on May 5, 1988.</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/05Matters%20of%20Faith.rtf#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[8]</span></span></span></span></a> <i> </i>James 1:27, Phillips NT</div>
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-26344122113546019052017-04-11T08:57:00.001-05:002017-04-11T08:57:35.856-05:00Max Headroom: Thirty-Year Celebration Reblog - Future TenseIn celebration of the thirtieth anniversary of the premiere of the Max Headroom television series that ran on ABC in the US, I am reblogging my posts from five years back and on:<br />
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The <i>Max Headroom</i> television series almost invariably begins with the tagline “20 minutes into the future.” This is usually seen in a caption at the bottom of the screen superimposed over the establishing shot for the episode. It is also, not coincidentally, the title of the UK telefilm that served (with a handful of adjustments) as the pilot for the series.</div>
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But I see it as more than just a clever indicator of the setting. In one way, it reveals a sense of immediacy. That is, it informs us that the society we are witnessing on the screen is right around the corner. We are not that far off from the passage of laws banning off switches on televisions, the limitation of education for only those who can afford to pay for it, and from television network ratings determining elections. This future is upon us and we must deal with it, the tagline subtly warns us.</div>
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The largest corporate sponsor of Network 23 is the Zik Zak Corporation. While it maintains offices that are only slightly smaller than the Network 23 building, its main headquarters is in “New Tokyo.” </div>
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Zik Zak has taken diversification to heart. It produces fast food ‘burger paks,’ ‘soy muffin mixes,’ and many other items (in fact, one slogan says “We make everything you need, and You need everything we make.”). One item in particular Zik Zak made was a bracelet that stimulated the pleasure centers of the brain, creating a euphoric vision that also dampened the internal controls on impulse behavior, thus causing the wearer to seek out more Zik Zak products for purchase.</div>
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Its corporate brand is “Know Future.” This is a promise that Zik Zak will deliver the future. But what future will arrive courtesy of Zik Zak? Its burger paks promise convenience at the expense of taste and nutrition. The Max Headroom character famously noted that the burgers doubled their nutritional value simply by being packaged in its plastic wrapper.</div>
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In addition, the future that Zik Zak is inviting us to ‘know’ the one that is only ‘twenty minutes’ away, is a future in which art and politics are heavily influenced by business interests. The quest for financial gain determines the courses of government and culture. In the episode entitled ‘Neurostim’<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/04FutureTense.rtf#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[1]</span></span></span></span></a> (from which the Zik Zak bracelet mentioned above appeared), one bit player lamented the fact that “no one makes anything new anymore,” which reveals that in the world of <i>Max Headroom</i>, creativity and originality has taken a back seat to rushing to make a profit. And in the political arena, it was noted that at the corporate executive levels that ‘everyone knows’ that the tele-elections (elections determined by network ratings) are rigged. Each network takes turns supplying its endorsed candidate for the leadership of the government. Keep in mind that the politicians are beholden to the networks for their candidacy, and the networks are not beholden to the viewers, the common citizens, but to the corporate sponsors, like Zik Zak.</div>
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Once elected, the Network 23-endorsed candidate begins a program of harassing those individuals who have chosen to live ‘off the grid,’ i.e., outside of the prevailing digital culture. These people, known as ‘Blanks,’ have managed to surreptitiously have their records expunged from the computerized databases. The politician, Simon Peller, believes in order, and the Blanks represent a threat to this order, and so he is willing for the Blanks to completely destroy the public’s access to its television programming rather than release innocent Blanks who he has ordered imprisoned. The stated result of corporate control over government is that very often, justice is about ‘cash flow,’ and Blanks and those forced to live in the Fringes (outlying poverty-strangled areas of the city) are obviously bereft of cash.</div>
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Is this the future we are invited to ‘know?’</div>
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One of the recurring character, Blank Reg (played by the marvelous William Morgan Sheppard), notes “Remember when we said there was ‘no future?’ Well, this is it.” This is the character’s assessment of the world he lives in. Blank Reg and his companion Dominique, operate a pirate television network called ‘Big Time TV.’ In the original UK telefilm, Big Time is the mirror for Channel 4, the British television network featuring the Max Headroom character as the host of its music video program in the 1980’s. In the US series, Blank Reg, Dom and Big Time TV are allies of intrepid tele-journalist Edison Carter and his comrades at Network 23. They live in the Fringes, and the network is housed in a large, pink RV, and thus mobile, setting up shop wherever the mood strikes them. Blank Reg is illiterate, but still cherishes education. In one famous exchange, he is approached by a denizen of the Fringe who has stolen Edison’s video camera. She wants to trade it for something of value. Blank Reg produces a book. She says “What is it?” He responds, “It’s a book. A non-volatile storage medium. It’s very rare. You should have one.” To which she tells Blank Reg to “Shove it!”</div>
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If we look at the warning that this future is only ‘twenty minutes’ away, the corporate suits’ invitation to ‘know’ it and the assessment of someone who lives in that future and decides that it is empty, we wonder if we really want to live there ourselves. It is a bleak vision of the future, one that seems to offer no hope for a happy ending.</div>
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But for the Believer, we look forward to a happy ending. We have faith in the promise of one and that there are no trials, tribulations or difficulties that can in anyway compared to the joys to come. This does not negate the reality of the hardships of this world, but rather encourages us to endure them. Stripping away much of the eschatological prophecy seeking in the Book of Revelation we read one common theme: that the end of the story, filled with light and rest and joy is promised to those who have endured the hellish persecution presented in the first nineteen (or so) chapters.<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/04FutureTense.rtf#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[2]</span></span></span></span></a> Elsewhere, the Bible contains promises for the believer, where God promises to give those who trust in Him a ‘hope and a future’<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/04FutureTense.rtf#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[3]</span></span></span></span></a> Other passages also indicate the promise of a future full of good to those who believe.<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/04FutureTense.rtf#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 16.8667px;">[4]</span></span></span></span></a> Once again, the Book of Revelation teaches us that no matter how bad things get, human history is progressing toward a definite end, and it is an end full of promise. That is the future I want to know.</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/04FutureTense.rtf#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[2]</span></span></span></span></a> Revelation, chapters 21 and 22</div>
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<a href="file:///C:/Users/Hank.Harwell/Dropbox/Seekrit%20Projekt%20Mycroft/Draft%20Posts/04FutureTense.rtf#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif;"><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 15.3333px;">[4]</span></span></span></span></a> Psalm 2:1-6 and Proverbs 31:25, for example</div>
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-5027414858087137282017-02-13T08:31:00.000-06:002017-02-27T16:22:53.528-06:00[Monday Review] Identity Crisis, by Brad Meltzer and Rags Morales<p dir="ltr">A friend of mine loaned me his copy of <i><b><a href="https://www.goodreads.com/book/show/26085.Identity_Crisis">Identity Crisis</a></b></i>, and I finished it in one sitting. It is a heartbreaking story about the toll being a superhero can take on your personal life and the lives of those around you. Also, as a friend on Facebook pointed out to me, it was a very intimate story, as worlds were not at stake. It was personal, and yet, the tension was still high, because you cared about the characters enough to want to solve the mystery and resolve the titular "crisis."</p>
<p dir="ltr">I have been a fan of Brad Meltzer, surprisingly enough not from his books, but from his History Channel television series, <b><i><a href="http://www.history.com/shows/brad-meltzers-decoded">Brad Meltzer's Decoded</a></i></b> and <i><b><a href="http://www.history.com/shows/brad-meltzers-lost-history">Brad Meltzer's Lost History</a></b></i>. The latter program identified artifacts that had been lost, misplaced or plain stolen and asked for viewers to aid in their recovery. The first episode detailed the story of the "911 Flag" that was raised over Ground Zero.  Toward the end of that single season, it was reported that someone had come forward and returned the flag. This was followed by several months of testing, and then a follow up standalone program aired on the investigation that led to the recovery, identification and verification of the artifact. His writing and delivery sold me on his skills to tell a story.  These skills served him well in making these characters human. </p>
<p dir="ltr">I must confess I was not (and still am not) very familiar with the entirety of the DC pantheon of heroes and villains, but what I knew helped me follow the story. I can completely understand why this is considered a classic.</p>
<p dir="ltr">Of special interest is the article at the end detailing some of the pop figure personalities that the artist used to model his figures of the characters on.</p>
Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-87508855668988337702016-07-11T09:00:00.000-05:002016-07-11T09:00:24.707-05:00Skylab's Skyfall<div dir="ltr">
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On this date, in 1979, The United States' first space station, <i>Skylab</i>, tumbled out of its orbit and disintegrated in the earth's atmosphere near Perth, Australia.</div>
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<tr><td style="text-align: center;"><a href="https://www.nasa.gov/sites/default/files/sl4-143-4706_1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://www.nasa.gov/sites/default/files/sl4-143-4706_1.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: NASA</td></tr>
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I remember watching occasional news reports of the four <i>Skylab</i> missions between launch in 1973 and its final mission and subsequent abandonment in 1974, and the video images of the station in orbit over the earth were exhilarating. While in orbit, US astronauts set the space endurance records.</div>
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We had already demonstrated our space travel superiority over the Soviets by landing men on the moon and returning them safely to earth nearly eight times over a ten year period, and it seemed that there was nothing that could keep up us from setting up a permanent station in orbit around the earth, then one on the moon and from thence, beyond into the rest of the solar system. It was a heady time to be a NASA groupie, to be sure.</div>
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But then, after only six years in orbit and a cost of over $2 billion, on July 11, 1979, the once proud achievement became only so much space junk that was discarded and allowed to crash ignominiously back to earth.</div>
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When I saw that the anniversary of its fiery death was approaching, I began to reflect on the story of the Tower of Babel as told in Genesis 11:1-9 (NIV):</div>
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"<i>Now the whole world had one language and a common speech. As people moved eastward, they found a plain in Shinar and settled there. They said to each other, “Come, let’s make bricks and bake them thoroughly.” They used brick instead of stone, and tar for mortar. Then they said, “Come, let us build ourselves a city, with a tower that reaches to the heavens, so that we may make a name for ourselves; otherwise we will be scattered over the face of the whole earth.” But the Lord came down to see the city and the tower the people were building. The Lord said, “If as one people speaking the same language they have begun to do this, then nothing they plan to do will be impossible for them. Come, let us go down and confuse their language so they will not understand each other.” So the Lord scattered them from there over all the earth, and they stopped building the city. That is why it was called Babel —because there the Lord confused the language of the whole world. From there the Lord scattered them over the face of the whole earth.</i>"</blockquote>
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Now, let me be very clear: I am in no way suggesting that the destruction of <i>Skylab</i> and the Tower of Babel are the same in terms of epic impact on the human race. After, all, less than twenty years later we launched the next attempt, the International Space Station, or ISS.</div>
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But I think its instructive for us to pause and consider that often we initiate these big, technological achievements and forget that it is only by the grace of God that anything succeeds at all. Often, we think it is all us. We are the masters of our destiny. We are as powerful as God Himself. Until something happens that we can't fix, that our ingenuity didn't account for or know to correct or avoid.</div>
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We would do well to remember that while our God has given us intellect, wisdom, and the ability to do some pretty awesome things, He still wants us to choose to love Him, to obey Him and to be dependent on Him. To do otherwise invites our own technological marvels to flame out. </div>
Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-92194322820231278112016-07-07T11:13:00.001-05:002016-07-07T11:13:38.939-05:00What I'm grooving on, Summer 2016 edition<div dir="ltr">
Every once in a while, I get sucked into something I hadn't expected, and find myself enjoying a property is just so perfect in its conception.</div>
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I'm speaking, of course, about Fox's <i><a href="http://www.imdb.com/title/tt4539954/">Houdini & Doyle</a> </i><br />
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<i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG4uyeJTWgYEO-ZxA8lDVUkcqWIM8DTfUQC9SlO6z09pas8zptT0DgHk6H-MJ5qw-UR5RtEmDe7ImNHhc9Trvl6b0FikvJ1NwxrHDuxmLlACUerDMsGTybzbDGnkVZa4oQnJQEAkW8hjQ/s1600/HouDoyle_2shot_01_hires2-e1461029769907.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG4uyeJTWgYEO-ZxA8lDVUkcqWIM8DTfUQC9SlO6z09pas8zptT0DgHk6H-MJ5qw-UR5RtEmDe7ImNHhc9Trvl6b0FikvJ1NwxrHDuxmLlACUerDMsGTybzbDGnkVZa4oQnJQEAkW8hjQ/s320/HouDoyle_2shot_01_hires2-e1461029769907.jpg" width="213" /></a></i></div>
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The series is set not too long after author Arthur Conan Doyle has just published "The Final Problem," a short story in which the great Sherlock Holmes and Professor Moriarity have plunged over Reichenbach Falls to their deaths. It was a move to allow Doyle to move on to other pursuits. </div>
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In the television series, Doyle (played by Stephen Mangan) teams up with showman and escape artist extraordinaire Erich Weiss, better known to the world as Harry Houdini (played by Michael Weston) in order to investigate crimes that at first blush have a supernatural origin. This is based at least partly on the real-life friendship between the two, and their respective worldviews: Houdini as the skeptic, Bradly debunking most paranormal claims because as a magician and illusionist himself, he knows ask the tricks, and Doyle, as the true believer (Doyle was once fooled by paper cutouts into believing that fairies had been photographed). To balance these two opposing philosophies, the pair is joined by Constable Adelaide Station (played by Rebecca Liddard, who reminds me of a young Rachel Weisz from there Mummy movies).</div>
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The show seems to be attempting an X-Files-but-set-in-the-Edwardian-era vibe, which I think they pull off rather well, despite a few glaring anachronisms.</div>
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What I really like about the show is that each of the main characters' views carries enormous personal stakes: Doyle desperately wants the supernatural to be real, as he is struggling with the impending death of a dearly loved member of the family, and Houdini is struggling with the guilt of leading a young widowed mother to kill herself, orphaning her children because she desperately wanted to believe that she would be reunited with her recently deceased husband. Houdini insists that people look to the near and now and not be so preoccupied with death that they forget to live</div>
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For Geekklesiastics, this tension holds a special appeal. As believers, we are totally on board with the supernatural. We get that when we die, we will be reunited with our Creator and Savior. But on the other hand, we are called to remain in this world as long as possible, being salt and light. The Apostle Paul echoes this tension when he writes in his letter to the Philippians:</div>
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<i>I am torn between the two: I desire to depart and be with Christ, which is better by far; but it is more necessary for you that I remain in the body</i>. (Philippians 1:23-24 NIV)</blockquote>
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But this tension is resolved in a very famous passage just two verses before:</div>
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<i>For to me, to live is Christ and to die is gain. </i>(Philippians 1:21 NIV)</blockquote>
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It is possible to live within both extremes. We can both believe in a world to come after this one, but we cannot allow ourselves to become "so heavenly mined that we are no earthly good." But Jesus promises us that although we do well to look forward to heaven as our eternal home, He will make our lives in <i>this</i> world completely worth living.</div>
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This is (was) a joint US - British production and as of this writing, there is no word on whether or not it will be renewed for a second season. However, the ratings for the putative first season were not promising. There is an official Facebook group dedicated to the series, but there has been no announcement one way or the other. Which is a shame, as I would love to see them explore this tension even further.</div>
Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-84396257524540128222016-05-27T15:11:00.001-05:002016-07-07T16:30:25.094-05:00Captain Hydra?<i>Update: There have since been some further "big reveals" from issue 1 to issue 2 that have clarified my position somewhat. Read on, then see below</i>.<br />
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So the first issue of Steve Rogers: Captain America, I think the heat from the firestorm raging on the Internet is contributing to the global warming crisis.<br />
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While I have not read the comic, there is a pretty big reveal at the end: Steve Rogers has been a Hydra sleeper agent almost his entire life.<br />
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I'll let that sink in a little.<br />
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Steve Rogers, the sickly. scrawny young man who volunteered for the top-secret Super Soldier program of the US Army, the kid who hates bullies and just wanted to help the war effort, and as Captain America, the only successful recipient of the Super Soldier Serum, he punches out Hitler a full year before the United States enters the war, was actually aiding and abetting the enemy the whole time.<br />
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There are plenty of blog Twitter and Facebook posts on this with most on the side of this being a heretical turn and others asking what's the big deal?<br />
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One pretty compelling <a href="http://panels.net/2016/05/26/on-steve-rogers-1-antisemitism-and-publicity-stunts/">post </a> I saw put the scandal in the historical context of comics in general and Captain America specifically. The discussion pointed out that this reveal invalidates who Steve Rogers is, and treats the Holocaust as nothing more than an attention grabber, "clickbait," to use the author's expression. Again, as I have not read the first issue (and am not certain that I want to), this could well be hyperbole.<br />
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But what if it isn't?<br />
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And what if the writers and editors were doing something that they may not realize themselves?<br />
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<a href="http://www.ew.com/article/2016/05/25/captain-america-villain-hydra-nick-spencer-tom-brevoort?xid=entertainment-weekly_socialflow_twitter">In an interview with Entrainment Weekly</a>, writer Nick Spencer says "Captain America is not just one of the most recognizable faces in the Marvel Universe. He’s an inspiring figure, somebody who brings people together. Everybody here obviously gets that. What you hope is that this story, in its own very different way, highlights those things and only continues to elevate the character in importance, and only serves to illustrate how powerful that symbol is."<br />
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Mostly, I believe that Captain America is and has been a symbol of what America should be. But what if this darker turn illustrates more what America really is.<br />
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Don't get me wrong: I am an American Exceptionalist. I believe in the promise of America, that when its right, there is nothing else like it and it should be a shining beacon of hope to the rest of the world. That is the essence of Captain America's power as a symbol.<br />
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But by portraying Cap as a secret Hydra agent, I believe that there may well be a message that Cap is really revealing the hidden parts of the American Dream, the parts we don't show to company, lest they get the "wrong ideas" about us.<br />
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But what if, instead of a symbol for the potential of America, this new interpretation of Steve Rogers is as a symbol for how America truly is: Outwardly displaying virtue, loyalty, perseverance, and moral righteousness, but inwardly corrupt, divisive and fearful.<br />
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Currently, we are embroiled in one of the most divisive, bitter presidential campaigns in my memory. For the first time, the leading candidates for each party carry an unfavorable rating in the most trusted polls. In other words, neither candidate is looked upon favorably by the voters. On the one hand, we have a corporate-natured tax-evading, misogynistic xenophobe, playing to the deepest most visceral fears humans of all stripes experience. On the other hand, we have the ambitious wife of a former president who routinely plays fast and loose with the rules, is under scrutiny for her use of an unsecured private email server for government business and who is consistently viewed as untrustworthy by a large number of the electorate.<br />
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The American Exceptionalism I adhere to will proclaim that America is the best possible place, and then use that as a promise, not a boast, to the rest of the world. We make this promise, and then use it to critically examine ourselves and judge how we measure up, not against any other nation but our own ideals, and founding documents. Where we fail it is not because of our ideals, but because we have failed to hold ourselves accountable to those ideals.<br />
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This version of Captain America exposes the ugly side of America. I hope he goes away soon, and the Cap that I and millions of others look up to comes back. Not because I want to hide our failings, but because I, and I presume others as well want a symbol that will inspire us to be and do our best.<br />
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<i>So, the big reveal is that when Kobik, the living embodiment of an infinity stone restored Steve Rogers and he once again assumed the mantle of Captain America, his reality was "reshaped" by Kobik, thereby making it possible for him to be a Hydra deep sleeper agent. I still think that the wrtiers are playing a dangerous game by even considering this a possibility, but I do apologize if this post seemed reactionary.</i><br />
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-147234376875262472016-05-25T09:00:00.000-05:002016-05-25T09:00:11.170-05:00Captain America: Civil War and the Book of Romans<div dir="ltr">
Now that a few weeks have passed, and I have had the opportunity to see Captain America: Civil War twice, there are some thoughts that I believe are present.</div>
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A number of bloggers and other critics have noted that neither Steve Rogers/Captain America nor Tony Stark/Iron Man are 100% correct in their views. Neither individuals nor institutions can be trusted to provide competent, reliable oversight for people with power.</div>
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<u>Personal responsibility:</u></div>
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I find it interesting that in discussing the Sokovia Accords, which would limit the Avengers to act only when they had clearance from a UN panel, Steve Rogers claims to accept that in order to act he must be willing to live with the consequences. In other words, he sys he is willing to take responsibility for the results, good and bad, of his actions. </div>
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Speaking to Wanda Maximoff/Scarlet Witch, he says "This job... we try to save as many people as we can. Sometimes that doesn't mean everybody. But if we can't find a way to live with that, next time... maybe nobody gets saved." Later, as the Avengers debate whether to sign the Accords, he has the following exchange with Tony Stark/Iron Man:</div>
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<i>Steve Rogers: Tony, if someone dies on your watch, you don't give up. </i></div>
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<i>Tony Stark: Who said we're giving up? </i></div>
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<i>Steve Rogers: We are if we're not taking responsibility for our actions. This document just shifts the blame.</i></div>
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These statements are inspiring, and even convincing in their call to take responsibility.</div>
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But then, when he and his best friend Bucky Barnes/the Winter Soldier share a private moment, Steve's tune seems to change. Only Bucky appears to accept the implications of his actions:</div>
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<i>Bucky Barnes: I don't know if I'm worth all this to you. </i></div>
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<i>Captain America: What you did all those years, it wasn't you. You didn't have a choice. </i></div>
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<i>Bucky Barnes: I know... but I did it.</i></div>
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"I did it." The simple, quiet way that Sebastian Stan (the actor playing Bucky) delivers the line is heartbreaking in its resignation. It does not matter the why he did those things. He openly acknowledges that it was by his hand that people died. Too many people try to minimize or negate their responsibility. Many years ago comedian Flip Wilson had a catchphrase that to this day people still use: "The Devil made me do it." Bucky rejects that excuse, admitting that although his mind was not his own, he nonetheless owns up to the fact that he still bears the responsibility.<br />
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Another exchange, this time between Wanda Maximoff/Scarlet Witch and the Vision also seems to resonate with Paul's message in his letter to the Romans:</div>
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<i>Wanda Maximoff: [laugh] ... I used to think of myself one way. But after this... [swirling fingers with magic]...I am something else. And still me, I think. But that's not what everyone else sees. </i></div>
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<i>Vision: Do you know, I don't know what this is [point at mind gem on his forehead]. Not really. I know it's not of this world. But it powered Loki staff, gave you your abilities. But its true nature is a mystery. And yet, it is part of me. </i></div>
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<i>Wanda Maximoff: Are you afraid of it? </i></div>
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<i>Vision: I wish to understand it. The more I do the less it controls me. One day, who knows, I may even control it.</i></div>
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<i>For we know that the law is spiritual, but I am of the flesh, sold under sin. (15) For I do not understand my own actions. For I do not do what I want, but I do the very thing I hate. (16) Now if I do what I do not want, I agree with the law, that it is good. (17) So now it is no longer I who do it, but sin that dwells within me. (18) For I know that nothing good dwells in me, that is, in my flesh. For I have the desire to do what is right, but not the ability to carry it out. (19) For I do not do the good I want, but the evil I do not want is what I keep on doing. (20) Now if I do what I do not want, it is no longer I who do it, but sin that dwells within me. (21) So I find it to be a law that when I want to do right, evil lies close at hand. (22) For I delight in the law of God, in my inner being, (23) but I see in my members another law waging war against the law of my mind and making me captive to the law of sin that dwells in my members. (24) Wretched man that I am! Who will deliver me from this body of death? </i>(Romans 7:14-24 ESV)<br />
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Where Wanda and Vision differ, of course, is their desire to fully understand and eventually control the parts of themselves that make them different and potentially dangerous. Paul, on the other hand, realizes that not only can he not control his inward nature, he will never fully understand it. He laments this failure in that 24th verse: "who will rescue me?" <br />
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Bucky seems to realize this as well, and gets that he is not in control. His solution? To lock himself away from anyone who could exploit him and his abilities.<br />
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<i>Steve Rogers: Are you sure about this? </i></div>
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<i>Bucky Barnes: [going into cryogenic stasis] I can't trust my own mind. </i></div>
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<i>T'Challa: Your friend and my father, they were both victims. If I can help one of them find peace...</i></div>
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If we had read on into the very next sentence in Paul's letter to the Romans, which leads into Chapter 8, we read Paul's solution lies outside of himself and his ability to understand and mastery: only by being surrendered to the Lordship of Jesus Christ can one hope to escape. He does not have to submit to cryogenic stasis to be freed; freedom comes from the sacrificial death and triumphant resurrection of Jesus.<br />
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<i>Thanks be to God through Jesus Christ our Lord! So then, I myself serve the law of God with my mind, but with my flesh I serve the law of sin. (8:1) There is therefore now no condemnation for those who are in Christ Jesus. (2) For the law of the Spirit of life has set you free in Christ Jesus from the law of sin and death. </i>(Romans 7:25-8:2 ESV)<br />
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<u>Unity:</u></div>
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The Avengers have never been the tightest-knit group. In fact, when they first meet (in the first Avengers film), Captain America and Iron Man take different approaches to apprehending Loki, and then when they all get together, the squabble so much that it is impossible that they could every work together, unless, of course, they get a little push in the right direction. This push comes from the death of a beloved agent, a good man, who gave his life to try to stop Loki. In the second Avengers film, again Iron Man and Captain America have different approaches to protecting the world, and each is too stubborn to compromise until it is almost too late.<br />
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The villain, Helmut Zemo, recognizes this weakness and does all he can to exploit it. His reasoning follows thusly:<br />
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<i>Zemo: An empire toppled by its enemies can rise again, but one which crumbles from within? That's dead... forever.</i></div>
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This is an echo of what Jesus said to people who claimed He was possessed by Satan:<br />
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<i>Knowing their thoughts, he said to them, "Every kingdom divided against itself is laid waste, and no city or house divided against itself will stand. </i>(Matthew 12:25 ESV)<br />
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This quote has appeared many times in our history, including speeches by Abraham Lincoln on his determination to preserve the Union during the American Civil War. Even now, 150 years later, we are still dealing with the mistakes of this great national tragedy. The phrase "United we stand, divided we fall" even forms one of the taglines for the film we are discussing. <br />
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I think its important to note here that unity in this case does not necessarily mean uniformity of presentation or thought; it means that we have a common purpose and we work together to accomplish a common vision. Much like the Avengers, the Church is a collection of people who have gifts, talents and abilities to be used for a common purpose. None of us look alike, and we certainly all don't think alike, but when we put these gifts and talents to use, working together, amazing things happen. Too often, though, the Church descends into petty squabbles based on our differences, and we end up with our own Civil War, in miniature. The problem, though is that our Civil War potentially has eternal consequences.<br />
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<u>Vengeance & Justice:</u></div>
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Zemo is nursing an overwhelming loss. During the Battle of Sokovia (as presented in Avengers: Age of Ultron), his family was killed, and he blames the Avengers. In this bit of dialogue with T'Challa/Black Panther, he shares his pain with someone who he believes understands his thirst for vengeance:<br />
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<i>T'Challa: Is this all you wanted? To see them rip each other apart? </i></div>
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<i>Zemo: My father lived outside the city, and I thought we would be safe there. My son was excited. He could see the Iron Man from the car window. I told my wife, "Don't worry. They're fighting in the city. We're miles from harm." And the dust cleared, and the screaming stopped. It took me two days until I found their bodies. My father still holding my wife and son in his arms... And the Avengers? They went home. I knew I couldn't kill them. More powerful men than me have tried. But if I could get them to kill each other... I'm sorry about your father. He seemed a good man, with a dutiful son. </i></div>
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<i>T'Challa: Vengeance has consumed you. It's consuming them. I'm done letting it consume me. Justice will come soon enough. </i></div>
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<i>Zemo: Tell that to the dead. </i></div>
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<i>[points gun to head, T'Challa stops him] </i></div>
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<i>T'Challa: The living are not done with you yet.</i><br />
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Vengeance is a fire that consumes everything. In this case, it has consumed Zemo and his actions in search of retribution have led to many others dying and/or being hurt in the process. Those seeking to avenge themselves often are careless with regard to the collateral damage they cause. They only want to hurt the object of their vengeance, and if anyone else gets in the way, too bad.<br />
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The problem is that vengeance often breed more vengeance. You hurt me, I get back at you, which drives you to get back at me, and so on and so on, <i>ad nauseum</i>. Again, Paul discusses this in his letter to the Romans:<br />
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<i>Beloved, never avenge yourselves, but leave it to the wrath of God, for it is written, "Vengeance is mine, I will repay, says the Lord." (20) To the contrary, "if your enemy is hungry, feed him; if he is thirsty, give him something to drink; for by so doing you will heap burning coals on his head." (21) Do not be overcome by evil, but overcome evil with good.</i> (Romans 12:19-21 ESV)<br />
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One might object that Paul was not thinking about the loss of family and the pain that would cause someone which then might lead them to seek vengeance. But I believe that Paul believed precisely this to be the case. He was writing to Christians in Rome, who were being persecuted for their faith. Family members and loved ones could well have been killed as part of this. Only T'Challa gets that vengeance is something that we do for ourselves, and rather than making us feel better, it only consumes us more. He rejects the notion of vengeance for something else: justice. Justice is the equitable assignment of responsibility and penalty for wrongdoing. T'Challa understands that Zemo, in his careless pursuit of vengeance must account to the survivors and those he has hurt. The living require an accounting of Zemo for the pain he has caused.<br />
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If vengeance is such a bad thing, then why does the Scripture teach that God will execute "vengeance?" Only God is unbiased and righteous enough to execute vengeance on our behalf without it consuming Him; this is true Justice. Those who seek reckless vengeance must answer to those who are left in their wake.<br />
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Many would scoff at superhero movies in general and Marvel superhero movies specifically as eye-candy and fluff. But to my eye, there is much in this film to ponder over and to consider in light of personal responsibility, unity, and vengeance and justice.<br />
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-82511342887449495552016-05-16T13:00:00.000-05:002016-06-19T21:46:22.151-05:00Supergirl v. (Batman v. Superman)<div dir="ltr">
<span style="font-family: inherit;">Now that season one of Supergirl is in the books, and the initial back and forth over the merits or crimes present in the film <i>Batman v. Superman: the Dawn of Justice</i> has died down, I have an observation I wish to share:</span></div>
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<span style="font-family: inherit;">The best presentation of Superman on screen today is in <i>Supergirl</i>.</span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">There. I said it.</span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">Now don't get me wrong, I'm not saying that the near-mythical blur that pops up every so often to prove the Man of Steel exists in this universe, or exchanges text messages with his cousin is what many die-hard Superman fans have been clamoring for.</span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">Nope.</span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">The best Superman on screen is, in fact, Kara Zor-El, Supergirl herself.</span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">Why do I say these things? Well, it's only slightly based on my own readings of comics from the seventies, a small but eclectic collection of DC and Marvel titles that my aunt had at her house for her grandkids to read when I was very young. I've also done some reading on various histories of the comics and even one specifically on Superman. In part, it is based as well on the reaction of folks far more fluent in comic book than I when reacting to what they believe makes for a good Superman story.</span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">Below is a small sample of the themes that should be present in a good Superman story, and ones I believe are found in <i>Supergirl. </i> Oh, a word of warning: There WILL be spoilers for Season 1 of <i>Supergirl</i>.</span><br />
<span style="font-family: inherit;"><br /></span> <u><span style="font-family: inherit;"> Family</span></u><br />
<span style="font-family: inherit;">Many of the comics I remember from my youth told stories involving the young Clark Kent and his adoptive earth parents. The Kents instilled in him from infancy a moral compass that served him throughout his life. Even later stories deal with this relationship. He has a groundedness because of his family that Bruce Wayne doesn't, which also speaks to how they approach crime fighting.</span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">In much the same way, Kara was adopted by loving and supportive parents, as well as a sister who looks out for her. This relationship helps her to see her powers as a gift she can use to help others in need. This was consistently the message given in every Superman movie before Snyder's.</span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">In Episode 13, "For The Girl Who Has Everything," Her family bonds are put to the test. In a battle, Kara's Aunt Astra, the leader of the Kryptonian bad guys providing the impetus for the conflict in this first season, is about to kill Hank Henshaw, the leader of the DEO, the team that Supergirl is a part of. Alex, Kara's adoptive sister and also a member of the team, drives a kryptonite sword through Astra's heart to save Hank. When Supergirl arrives, Hank immediately claims responsibility, because he doesn't want Kara and Alex to become estranged over this act.</span></div>
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<span style="font-family: inherit;">In a CW show, this subterfuge would become a season-defining arc (*cough* I'm looking at you, <i>Arrow</i>...*cough, cough*).But here, the secret lasts all of two episodes before Alex confesses. Rather than tearing them apart, the familial bonds that have grown for most of Kara's life by this point, provide a bridge toward reconciliation.</span></div>
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<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;"><u> Villains</u>The writers and producers of <i>Supergirl</i> are not afraid to use the full range of Superman-type villains. Maxwell Lord is a better version of Lex Luthor than what we saw in <i>Batman v. Superman</i>. He is subtle, cunning, charismatic. Shave his head and you have Lex.</span></div>
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<span style="font-family: inherit;">One of the biggest complaints leveled at any attempt to bring Superman to the screen is the lack of imagination writers use when finding a villain to throw against him. They seem to be fixated only on Lex Luthor or General Zod.</span></div>
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<span style="font-family: inherit;">As I noted above, <i>Supergirl</i> has her own version of Lex, and a version of Zod (Non, who is presented here as the husband of General Astra, Kara's evil aunt). But this show is not afraid to dig into the Superman catalogue of villains, giving us a version of Brainiac. Here, she refers to herself as Indigo, but make no mistake, the show calls her out as originally named Brainiac 8. </span></div>
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<span style="font-family: inherit;">We also get a look at Bizarro Supergirl, a nod to Bizarro. Bizarro Supergirl was created by Maxwell Lord in an attempt to discredit and stop Supergirl.</span><br />
<span style="font-family: inherit;"><br /></span> <u><span style="font-family: inherit;"> Hope</span></u><br />
<span style="font-family: inherit;">Larry Tye, in his 2012 history of Superman called him "...a freshly minted Man of Tomorrow for a world not sure it had one." (p. 34) One of the key elements of Superman's character is that he never loses hope. The film <i>Man of Steel</i> tried to make this connection by referring to the S on his chest as a Kryptonian symbol for hope, but I don't think it really ever explored that theme, and the newest film fails to explore it as well. But the <i>Supergirl</i> series seems to be preoccupied with the idea that she gives people hope and in one</span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">Tye also compares the Man of Steel with a couple of his inspirations: "Superman was a creature of light, and it was that very optimism that America loved most. And although (Doc)Savage and (Hugo) Danner were human and Superman wasn't, his pairing with Clark Kent gave him a groundedness and humanity Doc and Hugo couldn't match." (pp 33-34)</span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">The season 1 episode (#7) "Human for a Day" shows Supergirl losing her powers, but then putting her life on the line in order to talk a desperate man out of committing an armed robbery at a convenience store. Another episode that makes this point even more directly is the season finale, "Better Angels." Briefly, Supergirl has to go on TV to make an appeal to everyone who has been brainwashed by Kryptonian supervillains. She has to offer people hope and inspire them to snap out of it and reject the false messages placed in their brains. A snippet of dialogue also reveals one of the key tenets that makes a good Superman story: <span style="font-family: sans-serif;">Maxwell Lord tells Supergirl "If you go out there and fight, you might win. But chances are this is a suicide mission." She responds, </span><span style="font-family: sans-serif;"><i>"You know I'll never stop trying." </i>(emphasis mine). These words could just as easily come out Superman's mouth. </span> </span><br />
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<span style="font-family: inherit;"><i> Supergirl </i>epitomizes what Christopher Reeve said:</span><br />
<i><span style="font-family: inherit;"> "What sets Superman apart is that he has the wisdom to use his powers for good. He has all these powers, but he's got the mind of maturity - or he's got the innocence, really - to look at the world very, very simply. And that makes him so different.<br />
<br />When he says, 'I'm here to fight for Truth, Justice, and the American Way,' everyone goes: *snicker* *cough* *ahem*.<br />
<br />But he's not kidding." </span></i></div>
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<span style="font-family: inherit;"><i><br /></i> <u>Inspirational</u></span></div>
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<span style="font-family: inherit;">By giving us a hero who looks at the world very simply and tries to live by his moral code instilled in him by his adoptive parents, Jerry Siegel and Joe Shuster also managed to make him very inspirational.</span></div>
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<span style="font-family: inherit;">Gary Weldon in his excellent <i>Superman: An Unauthorized Biography</i>, captures this idea perfectly:</span></div>
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<span style="font-family: inherit;"><i> "...unlike Spider-Man and Batman, he is not the hero with whom we identify; he is the hero in whom we believe. He is the first, the purest, the ideal. As long as character traits such as selflessness and perseverance manage to retain any cultural currency whatsoever, we will need a Superman to show us what they look like." </i>(p. 4)</span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">He also notes the following critical themes for any good story involving Superman:</span></div>
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<span style="font-family: inherit;"><i><span style="font-family: sans-serif;">"Superman changes as our culture changes. The only thing about him, in fact, that has remained untouched, inviolate since Action Comics #1 hit the stands in April 1938 is his motivation. That motivation is at once the simplest of them all and the hardest to unpack: he is a hero. Specifically:</span><br style="font-family: sans-serif;" /><span style="font-family: sans-serif;"> 1. He puts the needs of others over those of himself</span><br style="font-family: sans-serif;" /><span style="font-family: sans-serif;"> 2. He never gives up.</span></i><span style="font-family: sans-serif;"><i>These are his two most essential attributes, the elements that make a Superman story a Superman story. As we will see, even when all of the other, more recognizable pieces of super-iconography are in place - the costume, the spit-curl, and so on - if one or both of these two bedrock elements are missing, our mind rebels; we instinctively reject it. It's just not Superman."</i> (p. 3)</span></span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">I realize that some will argue that <i>Man of Steel </i>and <i>Batman v. Superman</i> have these themes as well, but I just really feel that action set pieces have been privileged over those themes to the point that the themes are underdeveloped, and the story feels like it's missing something important. In my mind, Zach Snyder really wants to tell these stories, but I'm not sure he's skilled enough to do so.</span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">To conclude, in much the same way that CW's <i>Arrow</i> is a disguised version of Batman for TV, <i>Supergirl</i> is doing the same for Superman. I find it even more interesting that due to lower than hoped for ratings, CBS declined to renew the series on its own network, but allowed it to be picked up by the CW, where it is a more natural fit alongside other series like <i>Arrow, The Flash, </i>and <i>DC's Legends of Tomorrow</i>. I can only hope that we see more crossovers now, as the one featuring the Flash was a lot of fun, even if it wasn't the best story. </span></div>
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<u><span style="font-family: inherit;">Notes:</span></u></div>
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<span style="font-family: inherit;">Reeve, Christopher: <i>Secret Origins: The Story of DC Comics</i> (video), 2010</span></div>
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<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">Tye, Larry. Superman: The High-Flying History of America's Most Enduring Hero. 2012 Random House</span><br />
<span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;">Weldon, Glen. Superman: The Unauthorized Biography. 2013 John Wiley & Sons, Inc. Hoboken, NJ</span></div>
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-37361018048803983442016-03-28T17:25:00.001-05:002016-03-28T17:25:12.767-05:00Batman v. Superman: Dawn of Justice - A Layman's ViewI have mentioned here and elsewhere that I am not fully a comic book geek. My younger self was entertained by the small reading collection maintained at my aunt's house for her grandchildren (who were themselves closer to my own age than my cousins), but I never really maintained anything other than small collections of limited run series (like <i>Ambush Bug</i> and <i>Car Warriors</i>). Even today, I have more comic books than I have ever in my life owned, but will most likely be culling that down to a very small, non-negotiable pile of less than twenty or so in the next few months. I have read my fair share of Superman, Batman and Justice League comics, and I faithfully watched the Superfriends cartoons on Saturday Mornings (I preferred the Wonder Twins to Wendy and her idiot brother). So it should come as no surprise that I consider myself "conversant, not fluent."<br />
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A couple of years ago, I saw <a href="http://www.imdb.com/title/tt0770828/"><i>Man of Steel</i> </a>and didn't hate it. It didn't cause me anger when a young, unsure of himself Superman snapped the neck of his equally-super enemy in order to save an innocent family. Many people reacted badly to this sequence as canonically Superman has always refused to kill, instead insisting on finding "another way." While I see this argument, I did not object as I took the events as presented to me, even Superman's anguished scream afterwards, indicating that he wished that he could have found a better alternative. This told me that Superman did not spring onto the scene with his values fully-formed and inviolable, but someone who was still trying to find his place in a world that was not prepared to receive him. <br />
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This theme stood out to me throughout the film: Superman as a man doing the best that he can, looking to be accepted and trying to do the right thing. And while I know that director Zak Snyder can have difficulties with telling a strong story, his ability to show us "pretty pictures," that is, exceptional visual sequences is unparalleled in the superhero film genres.<br />
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Now we get to <a href="http://www.imdb.com/title/tt2975590/?ref_=nv_sr_1"><i>Batman v Superman: Dawn of Justice</i></a>.<br />
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Zak Snyder has never been a target of harsh criticism from me, as everything I've seen from is very well done, from a visual perspective, and that is typically what I notice far more than anything else. But this movie disappointed me.<br />
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I probably should mention that there may well be spoilers in my critique, so turn back now if you haven't seen the movie yet.<br />
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As a way to become more effective in this mission of providing content for this blog that is worthwhile to Christian Geeks, I felt that I needed to improve my awareness of comic book characters, their histories and their motivations. As a result, a number of well-done histories of both general comic book characters and Superman in particular, have landed on my shelves. What I learned is that historically, Superman has often been portrayed as more at ease, smiling, even laughing on occasion. He is serious when he has to be, but is far less the brooding anti-hero that is Bruce Wayne/Batman. In fact, they are at opposite ends of the spectrum in this regard. So for Superman to still be portrayed in this way, as he seems to be in this movie, makes me wonder about character development. In <a href="http://www.imdb.com/title/tt0770828/"><i>Man of Steel</i></a>, Superman killed General Zod. How did that action impact his worldview? Has he struggled with that decision? We really don't get any insight from Clark Kent/Superman in this movie. Yes, it has been something like eighteen months to two years later, but I would want to see some development here, even if it were in an offhand comment to Lois Lane. There really appears to be very little, if not zero, character development between <a href="http://www.imdb.com/title/tt0770828/"><i>Man of Steel</i></a> to this film. And for someone who usually doesn't notice to point that out, that's saying something. But that is not the end of my issues with this film.<br />
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Let me start with the other characters. Most of them, including Ben Affleck as Bruce Wayne/Batman and Amy Adams as Lois Lane were fine. I really don't have anything but minor quibbles (such as I would prefer Lois to be a brunette than a redhead) with them. But Jesse Eisenberg as Lex Luthor has me rolling my eyes. His twitchy, Asperger-like delivery grew tiresome for me very quickly. I'm not sure I have ever seen him in a film that I've cared for his character at all, so that may be more a personal preference for me than anything of substance. Really, the only character I found interesting and wanted to know more about was Wonder Woman, and she was not a featured character.<br />
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Another area that really glared out to me was something that I barely remember from the comics I read at my aunt's house as a young boy, namely, that Gotham and Metropolis were not that far apart geographically. In this film, they are "across the harbor" from each other. So here's my question: for the last 18 months to two years, Batman has been operating in Gotham (the movie seems to indicate he's been active for nearly twenty years), and Superman is only <i>now </i>being bothered by his activity? If crime and corruption was such an issue in Gotham, why hasn't more of it spilled over to Metropolis, and if it hasn't, why didn't Superman just jump across the harbor and deal with all the ills, introducing him earlier to Batman? Why has it taken nearly <i>two whole years</i> for this encounter to take place?<br />
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When we do get to the big fight at the end, it's only because Luthor has kidnapped Ma Kent and threatened her life unless he kills Batman. It is made clear through dialogue with Lois that he flies to Gotham to enlist the aid of Batman to help, and when he first sees Batman, Superman tries to explain what is happening but is caught in a Bat-ambush, and then all thought of parlay is immediately forgotten. Why was this a surprise to Superman? They've already had preliminary bouts in the first half of the movie. For someone as smart as Superman he should have seen that coming and held back. But no, we get the full fighting match on. Batman "cheats" and uses Kryptonite gas to weaken Superman, and just as he is ready to deliver the <i>coup de'grace</i>, Superman blurts out the name of his mother, Martha, and this freezes Batman, as it was the name of his mother who was murdered many years before. Now, I'm not saying that they should have known each others' mothers' names, but why did it take Superman so long to remember why he was there in the first place, and why did Lois have to decode the message for Batman to understand what was going on? From that point on, they put aside their philosophical differences and become best buds.<br />
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Finally, we get to the final third of the movie, part 2, where since the writers have to somehow introduce Wonder Woman and the Dawn of Justice to a sequel to <a href="http://www.imdb.com/title/tt0770828/"><i>Man of Steel</i></a> where Batman is the billed first in a fight with Superman, they decide to riff on another comic story. If the first two-thirds of the film is riffing on Miller's <i>The Dark Knight Returns</i>, then the last part riffs on the <i>Death of Superman</i> arc where we are introduced to Doomsday and Superman has to die in order to kill Doomsday and save the world. This causes me concern that the writers just really don;t know how to tell a Superman story. We have to throw in other characters and plots from other books to get us to the story we really want to tell. And I also find it telling that the upcoming Justice League movie will most likely not have Superman in it as a result of what happened here.<br />
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Finally, I'm going to pick on themes. Snyder and the writers seem to want to say something important about power corrupting, and there's even a throwaway shot where there is graffiti with the Latin phrase <i>quis custodiet custodes? - </i>Who watches the watchmen? This is a reference to a major theme here as well as a shoutout to Snyder's other film on this theme <a href="http://www.imdb.com/title/tt0409459/?ref_=tt_rec_tti"><i>Watchmen</i></a>. Another theme that gets espoused by Luthor is what is known in theology as theodicy, or the problem of evil. In other words, how can a good and all-powerful God allow evil in the world? We recognize that evil exists, therefore God must be either all-powerful and not good, or else He is all good, but not all-powerful. But these themes are not really explored or get lost in the comic-book imagery of the fight scenes which Snyder is very, very good at.<br />
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In short, I have to confess that as spectacle, <a href="http://www.imdb.com/title/tt2975590/?ref_=nv_sr_1"><i>Batman v. Superman</i></a> is a fun and enjoyable movie, if you really don't think too hard. However, I had problems with it and was very frustrated as a result.<br />
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-14023567034772072152016-01-11T06:28:00.001-06:002016-01-11T06:33:11.810-06:00A Giant Has Passed From This Earth<p dir="ltr"><u>I</u> usually write about topics that are geeky in nature, often connecting them to my faith. But today is a little different.  Later this morning, we will be celebrating the life of my father-in-law, who passed away a week ago today.</p>
<p dir="ltr">The first part of Genesis 6:4 says "There were giants in the earth in those days...."  This verse has been rolling around in my thoughts for the past several days. My wife's father was never really very tall. I think at his best he was 5'8". But there is so much more to being a great man than stature.</p>
<p dir="ltr">He was a giant in his integrity. Early on in his service as a Salvation Army officer, he was recognized as a leader and began a series of appointments in the administration that ultimately led to his final appointment at the International Headquarters in London. He inherited this send of responsibility and integrity in all he did from his parents and he passed it on to his three beautiful daughters (I happen to be partial to one in particular). People respected him because he was the same in all his dealings with people, regardless of who they were or where they came from.</p>
<p dir="ltr">He was a giant in his love and care for his children. Birthdays and holidays were always special. There were certain days he always made it a point to be home in order to celebrate with family. He was gentle and firm, taking time to teach when the opportunity presented itself. For each of his three sons-in-law,  he became a second father, welcoming us into the family, integrating us into the traditions and trusting us with his previous daughters. Even on the day he passed, he was working hard to make sure that his family would be well cared-for when his time on earth was concluded.</p>
<p dir="ltr">He was a giant in his care and concern for others. There are more stories than I can count from others who have shared with us about his compassionate interactions with people. He was constantly seeking to being people that he knew home to their long-abandoned faith. Or time he would assist those who were less fortunate, even buying shoes for children who were waiting with their mothers in line to receive Christmas toys from The Salvation Army.</p>
<p dir="ltr">Finally, he was a giant in his faith in his God. As the family gathered to discuss his funeral program that he had been thoughtfully planning for many years, long before it was even discovered that he had a debilitating illness, his overriding concern was not that it would honor him or being comfort to his family, but that it would somehow encourage others to examine their relationship with Jesus, and possibly  allow Him to transform their lives.  He not only preached his faith, he lived it.</p>
<p dir="ltr">In the parlance of The Salvation Army, he has "laid down his sword" and received his "promotion to glory." He has also left a legacy for those of us still here on this earth to follow. We may not be the giants he was, but he has left us some pretty big footsteps to follow in.</p>
Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-52552122734857245662015-12-03T09:00:00.000-06:002015-12-03T09:00:06.038-06:00Star Wars: T-Minus Two Weeks - Initial Thoughts<i>[Please forgive the stream of consciousness aspect to this post.] </i><br />
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We are now just two weeks away from the release of <i>Star Wars Episode 7: The Force Awakens</i> in the US.<br />
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I've been reflecting on this event for a while now.<br />
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I was eleven years old when the original <i>Star Wars</i> movie (now branded as <i>Episode 4: A New Hope</i>) was released and I saw it, that first, fateful summer of 1977.<br />
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Then in 1980, this was followed by <i>Episode 5: The Empire Strikes Back</i>. A new decade, and a darker turn, with an unbelievable (at the time) reveal.<br />
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In 1983, I had just finished my Junior year of High School, and my best friend at the time and I were among the first in line to see the conclusion of what is now seen as the "Original Trilogy," <i>Episode 6: The Return of the Jedi.</i> There was no camping out at my little theater near Texarkana, Texas. In fact, when I pulled up, we were the first to arrive. But rather than starting the line, we went back and sat in the car. When others arrived, we got out of the car, and still ended up as the fourth or fifth people in line. My friend and I got our popcorn and cokes and sat down in the theater. While we waited for the opening, he took the lid off of his drink and flung it like a frisbee. It flew toward these two kids and as it approached it tilted on its edge and slipped neatly between them. They were so startled that they both stood up and stared after it, trying to see where it went. They never looked back to see where it might have come from.<br />
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My very first science fiction convention was in 1979; I was in eighth grade and a member of a sci-fi club. At the convention, I met Anthony Daniels (C-3PO) and David Prowse (Darth Vader).<br />
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I collected trading cards from the original films (not really seriously, but I had a few). I had a vinyl record that summarized the film's story using audio from the soundtrack.<br />
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I watched the Holiday Special on TV when it aired, and was happy, even though it was weird and trippy, because it was more <i>Star Wars</i>, and it was on TV!<br />
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My wife took me to see <i>Star Wars in Concert,</i> a retelling of the entire saga (to that point) using John Williams' incomparable score and narrated by Anthony Daniels<br />
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22 years after the world changed with the premiere of <i>Star Wars</i>, the "prequel trilogy" was launched with the premiere of <i>Episode 1: The Phantom Menace.</i> The film was meant to tell the story of the rise and fall of Luke Skywalker's father Anakin into the villain known as Darth Vader. This was followed by <i>Episode 2: Attack of the Clones</i> and <i>Episode 3: The Revenge of the Sith</i>. These films followed the release pattern of one film every three years established by the Original Trilogy. While visually stunning, the story told by the Prequel Trilogy did not engage my imagination like the story told in Episodes 4, 5, and 6. I'm not sure if it's because the story was lacking, George Lucas tried to do too much, or if I had become somewhat jaded in the two-decades-plus space between the two trilogies.<br />
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I read the first three Han Solo tie-in novels, and the first (post-episode 4) Marvel Comics. While I enjoyed the Han Solo novels, the comics really turned me off to the nascent "Expanded Universe" so much that I never really read anything else.<br />
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The other day, I caught a video of a capella group Pentatonix's tribute to the music of <i>Star Wars.</i> When the orchestral fanfare kicked in and we heard the main theme played, I nearly wept for joy.<br />
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These are mostly just ruminations as I am looking forward to the release of the new <i>Star Wars</i> film, <i>Episode VII: The Force Awakens</i>. The last time I was this excited about a new film was when I heard that someone had finally made a live-action <i>Lord of the Rings</i> movie, and my mind was blown, as so much of what I saw on screen was what I visualized when I read the books. But this is <i>Star Wars</i>. This is the film franchise that forever altered the way I looked at the world. It presented a seismic shift in many of my choices, from entertainment to collections, to college major. I do not think it is a major stretch to say that I am the man I am today due to my God, my family and friends, and (for better or worse) for <i>Star Wars</i>.<br />
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I can hardly wait.<br />
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-34480384928739831232015-05-30T14:58:00.001-05:002015-05-30T14:58:13.900-05:00Two Possible FuturesLast weekend, I was able to pull off a rare treat for myself: I got to see two movies, as it was Memorial Day and I had the time. My wife and I together went to see <i>Tomorrowland</i>, and then on Monday I soloed at <i>Mad Max: Fury Road</i> (while she went to see <i>Age of Adeline</i>).<br />
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The two films together are at opposite ends of the spectrum when it comes to our possible futures. On the one hand, <i>Tomorrowland </i>wistfully presents us with the possibility thaht our future can be bright, hopeful and full of promise, while the latest installment (NOT reboot) of the <i>Mad Max</i> franchise is as far to the other side of the spectrum as one can get: dark, grim, violent, uncertain in morals or promise of a better life.<br />
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Most reviews of <i>Tomorrowland </i>I have seen have not been positive. They seem to focus on the positive message of the film. When I was a kid, this was the future I was promised: gleaming skyscrapers, high-speed monorails, jetpacks and flying cars. As I grew up, I discovered post-apocalyptic entertainment, even though I didn't have a name for it. TV shows like <i>Ark II</i> and <i>Logan's Run </i>presented me with a whole new way to look a the world and the future. Nowadays, we have film franchises like <i>Mad Max</i>, <i>The Hunger Games</i> and the <i>Divergent </i>series are huge moneymakers for the studios and publishing houses, mostly because we share an uncertain interpretation of what the future might hold.<br />
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But I have to ask, why can't we be reminded to have hope? Why is it wrong to want things to be better? Why must we accept that things have to be awful, and that's "just the way it is?"<br />
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<i>Tomorrowland </i>is bright, hopeful, joyous. There is an undercurrent of menace, certainly, a sense that darkness is just outside the door, that there is a snake in our garden, But in the words of Robert Kennedy, “There are those that look at things the way they are, and ask why? I dream of things that never were, and ask why not?” The youthful protagonist in <i>Tomorrowland </i>challenges her teachers who repeat the dire warnings of a dismal future with the question, "what can we do to fix it?" This stumps the teachers, because they don't consider the possibility of a future than can be fixed. Some critics have pointed out that this is a weakness in the film that there is this challenge, but no solution outside of the "think positively" mantra. But perhaps the first step is in challenging the status quo.<br />
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"You've got simultaneous epidemics of obesity and starvation, explain that one. Bees butterflies start to disappear, the glaciers melt, the algae blooms. All around you the coal mine canaries are dropping dead and you won't take the hint! In every moment there's a possibility of a better future, but you people won't believe it. And because you won't believe it you won't do what is necessary to make it a reality." -- Governor Nix, <i>Tomorrowland</i></blockquote>
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The film gets a lot of criticism for its apparent vapid "touchy-feely" message that all of the evils of the world don't have to be, but can be resolved with good intentions and positive thinking. As a Christian, I understand that the only way for the world to be redeemed is for the crown of his creation, mankind, to be restored to a right relationship with their Creator. But as Christians, we should never be satisfied with the idea that "that's just the way it is." Some Christians believe that our lives on earth are a "dress rehearsal" for the hereafter. My faith tradition leans in the direction that Believers have a responsibility to live as if we are already in the presence of God, because we are. Is the world longing for God's intervention, and will mankind's rebellion result in an apocalyptic age? Yes. But we should never be okay with violence and injustice.<br />
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Mad Max lies at the other extreme on the utopia/dystopia scale. It is dark, violent, and human life is extremely cheap. It is a prime example of what post-apocalyptic fiction and entertainment is all about. We live in an age where we have almost no hope for the future, and the Mad Max films resonate with us in that respect. Again, as a Christian, I understand that this is the way it is to be. Even the very earth itself is anxiously awaiting the redemption of Jesus (Romans 8:19-22)<br />
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But even in this nihilistic view of the future, Mad Max:Fury Road shows us that humankind has an amazing capacity for hope: a minor character discusses how she has saved seedlings for plants and fruit trees and tries planting them to see if life can be reintroduced into the bleak landscape presented in the film.<br />
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"We're in the 21st century and I don't care that I don't have a flying car; I just want to know how I ended up as an extra in A Clockwork Orange." -- Berin "Uncle Bear" Kinsman</blockquote>
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Some will look at <i>Tomorrowland </i>and call it a childishly naive view of the future, and that <i>Mad Max</i> is more grown up. Biblically speaking, we are called to "grow up" in our perspectives (I Corinthians 13:11). However, there is a difference presented in Scripture. On the one hand, we are told that we can only enter the Kingdom of God as a child. How do we resolve this tensions? By understading that God wants us to have a sense if wonder and dependence on Him. We need to put away childish fear, selfishness, impulsiveness and other ills. A childlike heart of wonder is not only okay, its expected of Believers.</div>
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In short, I believe that we can appreciate both. Yes the, world is in dire straits. But Believers have the responsibility, mandate even, to hold out hope for the future. This is a hope found only in Jesus, but that should never stop us from working and doing our part to better the world we live in now. We may never have a <i>Tomorrowland</i> future, but it need not be a <i>Mad Max</i> one either.</div>
Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-69756574631198492902015-04-24T09:00:00.000-05:002015-04-24T09:00:05.553-05:00[Review] Daredevil (Marvel/Netflix TV series)<div dir="ltr">
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The Marvel Cinematic Universe has proven to be an unstoppable force, regularly producing films and television programs that mine the depths of their catalog. These productions feature properties that bring larger-than-life characters from the four-color pages of comic books, thus introducing these characters to a whole new audience that would never otherwise sweet foot in a comic shop. </div>
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Since re-acquiring the Daredevil property from 20th Century Fox in 2012, Marvel has displayed a consistent ability to "get it right" when it comes to putting their properties on either the large or small screens. A year after the rights reverted to Marvel, it was announced that they had entered into a deal with Netflix to produce a number of serious based on Marvel paperless, including Daredevil.</div>
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Two weeks ago, the thirteen episode series Daredevil premiered on Netflix, marking a major departure from other Marvel productions. The series is dark and gritty in tone, seeking to emulate a crime drama, which is a radical departure from all the other Marvel offerings, to date.</div>
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There is a lot to really like in this series. Starting with the title sequence beginning with the slow reveal of blind Justice (a nod, perhaps, to Matt Murdock's own blindness as he strives for justice for the disenfranchised?), the music really sets the stage for what it's too follow. In fact, there are some very interesting musical choices that while being unexpected at times, serve to perfectly set the stage for what we are seeing on screen. At times the lighting also works in unexpected ways. Often, the heroes are shot in dim, diffused lighting, highlighting the low-rent office space area while the corporate villains that are working against Daredevil and his allies are for in bright, high key lighting that also provide a visual counterpoint to the deeds of darkness that are done in the daylight.</div>
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One of the real surprised to me is the fight choreography. It is epically good, probably the best I've ever seen. I used to think the best was on Arrow, but I've seen Daredevil and now I know better. <a href="http://www.tv.com/news/marvel-daredevil-hallway-fight-scene-one-shot-video-netflix-142929599473/">TV.com recently posted an interview</a> with the fight coordinator explaining how a three-minute, single-shot sequence where Daredevil takes on a gang Russian mobsters in a hallway was pulled off.</div>
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The writing is excellent, the acting is top-notch, and especially Vincent D'Onofrio is perfectly cast as Wilson Fisk, aka, the Kingpin, the series' major villain. The only thing about the acting that have need pause was that it seemed as if D'Onofrio was using vocal inflections from his character in Men in Black.</div>
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One of the major themes that finds through out the first session is "What keeps a good man from becoming like that which he fights against?" Daredevil & Fisk state repeatedly that their purposes for doing what they do are in fact, the same: "To make their city a better place to live." In fact, this is spoken almost word-for-word by each of them at various times. But how they go about it is a fascinating display of opposites. When he first bursts onto the scene, Matt is dubbed "Devil of Hell's Kitchen," which seems to play up an almost anarchic sense of justice: the police and those who we have been taught to trust to protect us are failing, and someone must intervene. On the other hand, Fisk is determined to live in the shadows, refusing to allow even those closest to him to "speak his name." Even when we does venture out into public, he is immaculately groomed: everything has its place and everything in its place. On the surface, the Kingpin (a name that sadly does not appear in the series thus far), represents order, but as the series develops, it is a Mephistophelian order, one that brooks no dissension, nor deviation from the visualized destiny.</div>
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The struggle to maintain one's sense of righteousness, and not be sucked in to the temptation to use your enemy's methods against him is palpable. I especially appreciate the fact that Matt is motivated to seek out guidance from outside of himself. As a Catholic, he understands that the seal of the confessional is inviolate, and so his secrets are safe with the priest, Father Lantom. Every interaction between Matt and Father Lantom is powerful. It is as if the priest gets Matt and is gently guiding him along a moral pathway that is fraught with "dangers, toils and snares." Two scenes from the series, I believe, brilliantly illustrate both just how good the writing is and this moral dilemma Matt faces. In episode 9, "Speak of the Devil," Matt's best friend Foggy Nelson, their secretary Karen Page and reporter Ben Urich are discussing the motivations of the "Devil of Hell's Kitchen:"</div>
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Foggy Nelson: "Why did he come to Ben? Why not just take Fisk down himself?"</div>
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Ben Urich "Maybe he knows there's some roads you can't come back from."</div>
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Likewise, in the very next episode, Madame Gao, the leader of a Chinese heroin smuggling ring lectures Fisk on the conflict within himself:</div>
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Madame Gao: "Man cannot be both savior and oppressor" </div>
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While I was watching this series, I was also reading Greg Garrett's excellent resource <a href="http://www.amazon.com/Holy-Superheroes-Revised-Expanded-Edition/dp/0664231918"><i>Holy Superheroes!: Exploring the Sacred in Comics, Graphic Novels, and Film</i></a> (revised and expanded, from 2008) In a chapter on vigilante justice, Garrett references a couple of issues of the Daredevil comic from 2003 that seem to have an influence on the overall tone of the series:</div>
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"Seeing how superheroes deal with the kind of human problems we might face can be instructive. In the issues of Daredevil, written by Brian Michael Bendis, the character of Matt Murdock/Daredevil has faced many problems that couldn't simply be solved by a well-placed fist, and his response to them has been morally ambiguous. Matt tells his friend and law partner Foggy Nelson that he misses going toe-to-toe with one of his most dangerous foes, Wilson Fisk/the Kingpin, because he says, 'I knew where I stood with Wilson, I knew the rules.' (Daredevil, vol. 2, #45 [2003], p. 8)</div>
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"Matt has returned to pragmatism, instead of relying on a rock-solid moral code to do what's right. And as a result, one of Matt's friends, fellow superhero Luke Cage, tells him he's turned into a 'low-life piece of garbage.' Luke goes on to explain: 'Our entire existence, we put on the outfit -- all the crap we been through -- what puts us apart from the lowlifes is how we behaved with the crap we didn't ask for...Be a man! Stand for something more than just a pair of tights.'" (Daredevil, vol. 2, #44 [2003], pp. 20, 22, quoted in Holy Superheroes! by Greg Garrett)</div>
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Greg Garrett mentions a notion prevalent in many comics, that of "pop fascism" (p. 65), which is where the superhero imposes his or her own interpretation of justice in a situation where it is apparent that the appropriate authorities are either incapable or unwilling to do so. The problem with this, as Garrett sees it, is that that it can lead to moral pragmatism, or the determination that only what "works" is all that is important, without being anchored to a moral code that applies across the board. This small-screen iteration of Daredevil could very easily head down this road and end up in a place where he is uncertain of where he stands with the so-called "bad guys." Instead, he is guided by Father Lantom, Foggy Nelson, Karen Page, and another character that challenges his motivations Claire Temple (played by Rosario Dawson).</div>
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Overall, Daredevil is excellently produced. I would caution viewers that the series deserves its TV-MA rating. In fact, that is probably my only criticism. I think I would prefer less language and less gore. That said, neither the language or the for feels that out of place, just an observation in the interest of full disclosure.</div>
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-69097873893681774992015-04-23T09:00:00.000-05:002015-04-23T09:00:09.203-05:00Why Geekklesia<div dir="ltr">
I'm always thinking about what I want to say here as well as over at the <a href="https://www.facebook.com/Geekklesia">Facebook </a>and <a href="https://plus.google.com/u/0/communities/110964919393627809503">Google +</a> companion page for this site. But I don't limit myself to just the what; I also think about the why. Why do I seek to post nuggets of interest (perhaps only of interest to me), and look for ways that these nuggets can illustrate spiritual truth?<br />
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I think it is because we live in an essentially pagan culture. And by pagan, I mean a culture that is biblically illiterate at is core. A culture that, for all of its technological advances, is deeply wary, even cynical, when it comes to faith. <br />
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The 21st century is in many ways like the first century: despite pockets of believers, the wider world just doesn't know. <br />
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I recently saw a meme that claimed that geeks are people for whom the details matter. I'd also add that geeks also embrace the possibilities.<br />
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According to the Bible, mankind (both male and female) were created in the image of God. We aare introduced to God in Genesis 1, where the very first thing we see Him doing is creating the world. So, creativity is an intrinsic part of our makeup. For far too long the Church in general has not reacted well to creative people, many times mocking and even suppressing them. It's no wonder that geeks are often quite creative, but feel as if the Church has no use for them.<br />
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But even those who do not subscribe to any particular faith seem to acknowledge that there are things like right and wrong and truth and beauty. As such, they are drawn to the stories about heroes righting the wrongs and saving the day. As G. K. Chesterton wrote in "The Red Angel, "<i>Fairy tales, then, are not responsible for producing in children fear, or any of the shapes of fear; fairy tales do not give the child the idea of the evil or the ugly; that is in the child already, because it is in the world already. Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon.</i>" Echoing this idea, C. S. Lewis added "<i>Since it is so likely that they will meet cruel enemies, let them at least have heard of brave knights and heroic courage. Otherwise you are making their destiny not brighter but darker.</i>" (<a href="http://yourdailycslewis.blogspot.com/2005/02/let-them-at-least-have-heard-of-brave.html">Of Other Worlds, "On Three Ways of Writing for Children" (1966)</a>) Lewis' good friend J. R. R. Tolkien also wrote in his essay "On Fairy Stories" that all these classic stories of heroic derring do ultimately point us to the "True Myth," -- the Gospel story.<br />
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Our world is desperately seeking a hero. We have been disappointed that so many of the people we have been taught to trust - the police, clergy, teachers and so on have proven to be less than perfect in their trustworthiness. The government is mired in petty, partisan squabbles, and even the Church is caught up in debating minor points of doctrine which should not hang us up so much, but rather lead us to appreciate the majesty and beauty of Jesus Christ, our Risen Lord.<br />
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It is no wonder that some are drawn to speculative fiction, what some my call a geek culture. In this culture, we find readers, television and film viewers, gamers, writers, costumers, and the list goes on. Many of them have rejected those institutions that the majority culture was taught to believe in, and to strike out on their own, and find Truth for themselves.<br />
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It is this culture that Geekklesia seeks to serve. In the seventeenth chapter of the book of Acts, the Apostle Paul used an image from the local culture to point to Christ (Acts 17:22-34). It is our intention to do the same here, to the geek culture, rather than the Greek culture.<br />
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Therefore, "Geekklesiastics" are geek believers who will find ways to incorporate their faith in Christ along with their hobbies and synthesize them into an expression that reflect their whole being.<br />
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The Greek word "ekklesia," (ἐκκλησία) from which we draw the name "Geekklesia," means "those who are called out." It is the New Testament name for the Church. Geekklesia is not a church, per se, but an expression of it. In the same way that the early Christians were "called out" from their culture to form a new community based on their mutual faith in Jesus, Geekklesiastics are those who are "called out" of the mainstream by their shared love of science fiction, fantasy comic books and other geeky pursuits, but they are also "called out" of the geek community by their love for Jesus.</div>
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'Nuff said.</div>
Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-59069748246083080322015-03-17T12:02:00.000-05:002015-03-17T12:02:42.635-05:00 Thoughts on Cosplay<div dir="ltr">
While recuperating from my still-broken ankle, I attended Madicon 24, on the campus of James Madison University. Since I was not 100%, I wanted to at least go for a few hours on Saturday and check out the scene. It has been 30+ years since I attended an honest-to-goodness convention, and I really wanted to see what remained the same and what had changed in the intervening years.</div>
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One feature that hadn't changed is the <i>cosplay</i>. Cosplay is a portmanteau mashing up the words <i>costume</i> and <i>play</i> and describing an aesthetic expression where individuals can identify with a favorite character or setting in science fiction or fantasy.</div>
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Back in 1996, <a href="http://%20http//www.cnn.com/EVENTS/1996/year.in.review/fringe/trekkie/trekkie.html">Barbara</a><a href="http://%20http//www.cnn.com/EVENTS/1996/year.in.review/fringe/trekkie/trekkie.html"> </a><a href="http://%20http//www.cnn.com/EVENTS/1996/year.in.review/fringe/trekkie/trekkie.html">Adams</a><a href="http://%20http//www.cnn.com/EVENTS/1996/year.in.review/fringe/trekkie/trekkie.html"> </a><a href="http://%20http//www.cnn.com/EVENTS/1996/year.in.review/fringe/trekkie/trekkie.html">made</a><a href="http://%20http//www.cnn.com/EVENTS/1996/year.in.review/fringe/trekkie/trekkie.html"> </a><a href="http://%20http//www.cnn.com/EVENTS/1996/year.in.review/fringe/trekkie/trekkie.html">headlines</a> when she wore a uniform based on ones featured on the <i>Star Trek: The Next Generation</i> television series as part of the juror pool during the Whitewater trials. When asked why, she simply said "I always wear my uniform on formal occasions."</div>
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It is interesting that Ms. Adams recognized the seriousness of the event, and I don't believe she was trying to mock the proceedings. Rather, she incorporated something she loved into her life, making it public, and no one in the courtroom objected to her choice of dress.</div>
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A year after Ms. Adams wrote her <i>Star Trek</i> uniform to a high-profile national trial, the 501st Legion was established. The 501st is, <a href="http://%20http//www.501st.com/faqs.php">in its own words</a>, "the leading force in fan-based charity events.... (and) is truly dedicated to brightening the lives of those less-fortunate." But it is best known as the organization of <i>Star</i><i> </i><i>Wars</i><i> </i>stormtrooper costumers. Members create all their costumes themselves. No item can be purchased, so as not to infringe on the intellectual property of Lucasfilm (owned by Disney).</div>
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For a number of years, I participated in a historical reenactment club known as the Society for Creative Anachronism (SCA). This group researches the Middle Ages, and is known for holding events where attendees dress in garb, or historical costumes. Other groups also focus on the period dress of the American Revolution or the American Civil War.</div>
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In a <a href="http://%20http//ifanboy.com/articles/what-is-cosplay-and-why-do-people-do-it/">blog</a><a href="http://%20http//ifanboy.com/articles/what-is-cosplay-and-why-do-people-do-it/"> </a><a href="http://%20http//ifanboy.com/articles/what-is-cosplay-and-why-do-people-do-it/">post</a><a href="http://%20http//ifanboy.com/articles/what-is-cosplay-and-why-do-people-do-it/"> </a><a href="http://%20http//ifanboy.com/articles/what-is-cosplay-and-why-do-people-do-it/">from</a><a href="http://%20http//ifanboy.com/articles/what-is-cosplay-and-why-do-people-do-it/"> </a><a href="http://%20http//ifanboy.com/articles/what-is-cosplay-and-why-do-people-do-it/">December</a><a href="http://%20http//ifanboy.com/articles/what-is-cosplay-and-why-do-people-do-it/"> 2012,</a> Molly McIsaac wrote about the various reasons people engage in cosplay. In short, it really boils down to two main reasons: <i>identification</i> and <i>community</i>.</div>
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Identification is a factor in that the cosplayer is seeking to emulate a particular character. For example, at Madicon, I saw someone cosplaying Kim Possible (from the Disney cartoon) and several Links from the Legend of Zelda video game from Nintendo. Ideally, the person cosplaying one of these characters has identified a quality or trait that they would like to replicate in their life.</div>
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The other reason people cosplay is for community. They want to belong to something bigger than they are - there's the sense that the more the merrier - and stronger. At Madicon a "garrison" of the 501st were present, so there were several variations of stormtroopers, fighter pilots, snowtroopers, and so on. The last con I attended (some 30 years or so ago), I recall seeing two people dressed like Viper pilots from the old <i>Battlestar</i><i> </i><i>Galactica</i> TV series.</div>
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Again, identification plays a large role, but rather than identifying with an individual character, the cosplayer focuses on the goals and values of a group, and seeks like-minded souls to participate in the fandom together.</div>
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This all got me to thinking: Who do we identify with? Who are we "wearing"?<br />
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There are some well-meaning Believers (and a few clueless ones as well) who are concerned about people who spend so much time and energy in cosplay. What they forget is that it's not about what someone is wearing (1 Samuel 16:7, Matthew 15:17-20), but rather <i>who </i>you are wearing.<br />
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The Apostle Paul teaches in his letter to the Roman church that we should "<i>clothe yourselves with the Lord Jesus Christ and forget about satisfying your sinful self.</i>" (<span style="font-family: sans-serif;">13:14, </span>NCV) What he is saying is that out pursuit of Christ's likeness that it is as if we wear His righteousness and goodness and holiness like a garment. Now, by this I do not mean to imply that there is a particular "dress code" that Christians should wear like a uniform, but that we should be known by how we live our lives. Elsewhere, we are encouraged to have the same mentality and attitude of Jesus, by placing the needs of others ahead of our own, and living in humble obedience to God (Philippians 2). This'd id's the example Jesus gave for us to model for the world, as if it were a fine for of clothes. Outwardly, we could wear shorts and a T-shirt, or a jumpsuit, or even a kilt: the actual fabrics and designs don't matter, only the character of our lives. </div>
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This also fulfills the two main reasons people cosplay: identification and community. But in this case, we identify with the character of Jesus Christ Himself, and in so doing, we also seek to be a part of His body, the Church. </div>
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The main difference is that most of the time, at least, cosplay is temporary. Cosplayers dress up like their favorite character, or someone from their favorite franchise, for a short time, and then they take it off. But the Christian is to be clothed in Christ permanently. Every day Jesus' life should be on display in the Believer.</div>
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Suit up!<br />
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See also: <a href="http://412teens.org/qna/should-a-Christian-be-involved-with-cosplay.php">Should a Christian be Involved with Cosplay?</a></div>
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<a href="http://thinkchristian.reframemedia.com/cosplay-and-wearing-our-character">Cosplay and Wearing Our Character</a></div>
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<a href="http://www.christianitytoday.com/women/2014/july/confessions-of-cosplay-mom.html?paging=off">Confessions of a Cosplay Mom</a></div>
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<a href="http://costumersforchrist.blogspot.com/">Holy Heroes/Costumers for Christ</a> by pastor and cosplayer Scott Bayles</div>
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And the opposing view: <a href="http://www.calvarypandan.sg/images/articles/01.06--COSPLAY-harmless%20or%20harmful.pdf">Cosplay: Harmless or Harmful?</a></div>
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-34932417429918760842015-03-12T16:37:00.002-05:002015-03-12T16:37:40.983-05:00[Retro Review] Unbreakable<div dir="ltr">
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Last week I broke my ankle slipping on some ice. Since I wasn't going anywhere for a while, I decided to catch up on a movie I hasn't seen when it first came out, but one I had heard many good things about. That movie was M. Night Shyalaman's 2000 exploration of what makes a superhero or a supervillain, <a href="http://imdb.com/rg/an_share/title/title/tt0217869/"><i>Unbreakable</i></a>, starring Bruce Willis and Samuel L. Jackson.</div>
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<i><b>WARNING! The below synopsis and analysis contains spoilers!</b></i></div>
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My initial thoughts were that in this film, every character is in some way broken. David Dunn (Bruce Willis) is dealing with a personal sacrifice he made twelve years ago that has apparently limited his future. His grief over this loss leads to a restlessness that causes his relationships with his wife and son to be broken as well.</div>
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Elijah Price (Samuel L. Jackson), unlike David, is physically broken. He has a rare condition that leads to brittle bones, which means he is highly susceptible to injury. Although deeply embittered by his condition, he is loved by his mother, and yet that doesn't seem to be enough. He desperately desires the approval of the other kids in school who bestowed him with the name "Mr. Glass." </div>
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Both are seeking something. David wants peace of mind and spirit and a sense of purpose. Elijah wants to find someone else like him, even if it's a physical opposite. David denies his "specialness" while Elijah exploits it. Only as David discovers what his purpose is does he find the peace that he had been missing.</div>
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In the end, it is revealed that Elijah is the arch villain of the story, committing unspeakable crimes to force his "opposite," David, out into the open. In an interesting reversal of the tropes, David does not use his superhero power to defeat Price; he does what any ordinary person would do - he turns him into the police.</div>
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Many people hold up the graphic novel Watchmen as the supreme deconstruction of the superhero genre. I think a serious case could be made for Unbreakable. The film asks questions about what is a hero's purpose, and that of his opposite, the supervillain. But what if, in the end, David and his villainous opposite were equally gifted by God to fulfill a good purpose, and not to occupy the opposite ends of the morality scale? What if the evil perpetrated by the villain was not borne out of necessity, but out of his choice, viewed through his bitter resentment for his life? What if Elijah had, as the old quip goes, "used his powers for good, instead of evil?"</div>
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The essence of sin is to miss the mark of God's glory (Romans 3:23), and that failure to live up to the perfect image of God inherent in people is the result of <i>transgression</i>, literally a "stepping across the boundary," or rebellion against God's will. In short, sin boils down to a choice (this is a pretty simplistic comparison, but it will suffice for my purposes here). Elijah became too wrapped up in his hurts and pain to see anyone else, and was guilty of great acts of evil in order to elevate himself.</div>
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Sin leads us to broken relationships between ourselves and God, nature and each other, and none of us can find rest in anything until we learn to rest in God (<a href="http://http//www.newadvent.org/fathers/110101.htm">Augustine, <i>Confessions</i>, 1:1)</a>. Once we accept that our purpose is to honor God and find fulfillment in a life lived in obedience to Him, will we know the peace that transcends all of our loneliness, pain, and bitterness.<br />
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We are broken because of our sin, and we can only find peace and purpose when we are united with our Creator and live within His will for us.</div>
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-61798791754215783382015-02-27T19:25:00.000-06:002015-03-20T21:29:07.071-05:00Not As Happy A BirthdayI had been looking to this week for a few days. Friday is my birthday, and although my wife was scheduled to be out of town this week at a conference, she was due to return on Friday night, and we would be celebrating on Saturday, with a visit to an Irish pub in town. While she was away, I thought about spending a little "me time" at my favorite big box book store just browsing.<br />
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I should have seen it coming. First, we had been pounded two weekends previously with snowstorms which forced us to cancel many of our church activities, something I really dislike doing. I also had to learn to shovel a precariously steep driveway at our home so that we could get out when the roads were clear enough. Not once, but twice.<br />
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The second time, I didn't get as much cleared, and on Monday night (two days before my wife's trip), I slipped on a patch of ice, and went down hard. Not quite twenty years ago I severely sprained my right ankle, and thought at first that I had done the same thing here, even down to the same ankle. Our bedroom are on the second floor, so I drug myself up to the room and changed into my pajamas, took aspirin and elevated my foot to try to reduce the swelling, The net morning, after a restless night, I fainted in the bathroom when I got up. So, a trip to an orthopedic specialist later, I got put in a walking boot. I was relegated to sleeping on the couch since our rooms were on the second floor and I was in no physical condition to climb steps. Needless to say, I didn't sleep well.<br />
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Between the lack of sleep and the medications, I haven't enjoyed the week like I had hoped. To make matters worse, Today, on my birthday, I learned that Leonard Nimoy, the actor who portrayed Mr. Spock on the<i> Star Trek</i> TV series and movies, passed away.<br />
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I have not updated this page as often as I would like due to our move to a pastoral assignment, but I felt that I needed to address this as <i>Star Trek</i> was one of the earliest geek memories I have. There was action, there was space travel, there were ideas and there was humanity. And Nimoy as Spock stood out the most in a show full of standouts. He was the one alien in a show dedicated to learning about "new life and new civilizations." His character was explored even more deeply on the films and the contradictory nature of his descent from and human mother and an alien father was itself a fun examination of what it meant to be different to a kid who had always experienced the difficulty of fitting in. In fact, I never felt like I belonged until my sophomore year of high school.<br />
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As I got older, I finished college, attended seminary and was ordained. However, I never forgot that earlier gravitational pull toward sci fi and fantasy, and found that there was room in God's kingdom for geekly pursuits, and so I dedicated myself to seeking out way to communicate the old, old story of the gospel message contained in the Christian faith by using the metaphors and stories of genre fiction, including science fiction and fantasy. One of the lessons I believe that Spock learned was that adherence to a philosophy of pure logic and a repudiation of all emotion is essentially empty, or as the author of Ecclesiastes would put it, "vanity." Rather, for there to be true fulfillment, one must embrace a sober balance of the heart and the head.<br />
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This has not been my most favorite birthdays of all time, for the reasons outlined above. I hope it doesn't come across as whining, because all in all, aside from the major inconvenience, it could have been a lot worse. I am deeply moved by the death of Leonard Nimoy on my birthday, but I am all the more grateful for the influence he had on my early development as a geek, and appreciative of the opportunity I have today to stop and really think about what his decision to play this role has meant not just to me but millions of others around the world. While I cannot claim to have always been his friend, or that he was the most human of all the souls I have met, I do pray that his legacy and memory would indeed live long and prosper.Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-74165315197158635402014-11-13T11:33:00.002-06:002014-11-13T11:39:44.606-06:00A Dr. Who Noob Watches Season 8Confession: I have never been a Whovian, that is a fan of Dr. Who. I stumbled across the character and the series on my local PBS affiliate when I was a young teenager and immediately dismissed everything about it as being irredeemably cheesy: the stories, the props, the sets, even (and I know I will lose some points for this) the Doctor himself (as played by Tom Baker). As a youngster who was exposed to the glorious effects of Star Wars, I thought that the American science fiction TV series like Buck Rogers, the original Battlestar Galactica and others were more compelling to me. Even a series as dated as the original Star Trek was, it had better sets and effects than Dr. Who.<br />
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As I grew older, Dr. Who faded even further into the background. I didn't know (or care) who played the Doctor after Peter Davison (Tom Baker's successor - the only reason I knew even that was due to an article in STARLOG Magazine that I read). I didn't keep up with much in traditional geekdom for a number of years, preferring to keep up with the Society for Creative Anachronism (a medieval reenactment group) instead. After some time, Dr. Who fandom reappeared on the horizon, thanks in large part to a completely rebooted series, starring Christopher Eccleston. I wasn't even cognizant of that fact until Eccleston was cast in a bit part in the American TV superhero show, Heroes. Of course, I only learned that fact after he had left Dr. Who in the hands of David Tennant, who also played one of the villains in the Harry Potter film franchise. Once again, I didn't make the connection until recently, after I was more familiar with Tennant from his film role.<br />
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I would occasionally parachute in and catch reruns of old episodes, but nothing really captured my imagination much. I learned some of the history and lore of the series from online acquaintances who would gush about their love for the series, referring to a certain actor's portrayal as "my Doctor" and so forth, but I just wasn't interested.<br />
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I think I know one of the things that kept me from really getting into the series: the serial structure of the season. In the early days, I was more comfortable with the episodic structure, where every episode was a standalone and the status quo remains unchanged. That model was the pervasive form for American television programs in my developmental years, like Star Trek, Buck Rogers, and Original Battlestar Galactica. You might have recurring characters and the occasional two-part episode, but again, once the story was over, nothing really had changed as far as the characters were concerned. In Dr. Who, I picked up right away that there was much more to the character, the history and so forth that I didn't know, and jumping in was not an option, as I didn't want to enter the series in the middle of an ongoing story, and not know what was going on. If I invest in any type of serial program, I need to be able to go back and start from the beginning and follow it from there. When I first encountered the Doctor, there was no NetFlix, no Hulu, no On Demand, no complete seasons on DVD (no DVD for that matter). When the series was rebooted with Eccleston, I still had difficulty in starting in because I couldn't always find the beginning.<br />
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Then I heard that there was to be a new "regeneration" of the Doctor, that is a new actor would be taking over the role. The actor's name was Peter Capaldi, and I knew almost nothing about him, other than what a few online acquaintances posted. The general consensus was Capaldi was an acceptable choice, even though there were very vocal groups who had hoped for an ethnic minority or a female as the new Doctor.<br />
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Over the summer, my wife and I got hooked on a series from the BBC titled The Musketeers, which was a series based on the Dumas' novel The Three Musketeers. I was interested to learn that Capaldi was cast as the Machiavellian Cardinal Richlieu. Throughout the first season of The Musketeers, I was impressed with Capaldi's take on the Cardinal. I was so impressed, that I decided to give Dr. Who a shot, starting with the first episode with Capaldi in the role.<br />
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There have been several articles bemoaning the stories told in this season of Dr. Who, and I'm sure that there may well be some merit to their lack of enthusiasm over the use of stock Who villains Daleks, Cybermen and Missy (The Master). But for me, someone who has no history or familiarity with them, it was all new and I watched as the Doctor had to overcome the threat each one presented.<br />
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Again, Capaldi is an amazing actor, able to go from eccentric to menacing to totally befuddled to supremely confident seamlessly. He is an absolute joy to watch. And I did watch. I thought at first that I would give it a couple of episodes to get me, and while I didn't always enjoy the stories, Capaldi brought me back again and again, and I finished out the season (and am looking forward to the Christmas special).<br />
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The stories were uneven, but I discovered a great deal of thought provoking (for me anyway) takes on the theme of redemption, good and evil, pain and loss, and many others. One could even explore the idea of God's apparent silence in times when we really need Him the most in one episode. The Doctor's struggle with his own identity is apparent in the first episode ("Why did I choose this face?") and whether or not he is a "good man," and even admitting that he had made a lot of mistakes, before announcing a determination to "do something about that."<br />
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Some may think that this was a weak season for Dr. Who, but for me, it dealt with a number of my objections, mostly with regard to the sets, props and special effects. But as I imagine most Whovians will tell you, those are peripheral to the portrayal that each actor brings to the role of the Doctor. I think Capaldi plays the kind of Doctor I would like to watch.Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0tag:blogger.com,1999:blog-1076477675995110920.post-38719049327536344682014-11-05T10:00:00.000-06:002014-11-05T10:00:01.116-06:00Geek Theology 001<div>
<span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;"><i>For some time now, I have been collecting quotations, lines from movies, television series, books, etc. that illustrate defining values of what I and others have taken to calling "Geek Theology." When I run across them, I like to post them on the various Geekklesia social media outlets (Facebook and Google+), but I'd like to start posting them here, grouped by themes.</i></span></div>
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<span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">"Once you let the darkness in, it never comes out." -- ARROW, season 2, episode 17 "Birds of Prey."</span></div>
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<span style="font-family: Tahoma;"><br /></span><span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">Sarah Lance/Black Canary: "I spent six years in the darkness, and I looked into the eyes of the devil, and I gave him my soul."</span><br /><span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">Ollie/Arrow: "Let me help you get it back." -- ARROW, S2, episode 21: "Seeing Red"</span><br /><span style="font-family: Tahoma;"><br /></span><span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">Barry Allen/The Flash: "Turns out no one can outrun pain. Life is tragic. But it's also precious and sweet and extraordinary and the only way I know to honor my mom's life is to keep running." -- THE FLASH, S1 Ep 3, "Things You Can't Outrun"</span><br /><br /><span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">Detective James Gordon: "I promise you, however dark and scary the world might be right now... there will be light. There will be light, Bruce." -- GOTHAM, S1, episode 1 "Pilot"</span><br /><br /><span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">Ichabod Crane: “The way we fight monsters must not be to create monsters. We must be better than them.” -- SLEEPY HOLLOW, S2, episode 2 "The Kindred"</span><br /><br /><span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">"Faithless is he that says farewell when the road darkens." - J. R. R. Tolkien</span><br /><span style="font-family: Tahoma;"><br /></span><span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">“The world is indeed full of peril, and in it there are many dark places; but still there is much that is fair, and though in all lands love is now mingled with grief, it grows perhaps the greater.”― J.R.R. Tolkien, The Two Towers</span><br /><span style="font-family: Tahoma;"><br /></span><span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">"Oft hope is born when all is forlorn." - Legolas, The Return of the King, by J.R.R. Tolkien</span><br /><br /><span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">Buttercup: You mock my pain.</span><br /><span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">Man in Black: Life is pain, Highness. Anyone who says differently is selling something. -- The Princess Bride</span><br /><span style="font-family: Tahoma;"><br /></span><span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">"Just because someone stumbles, loses their way, doesn’t mean they’re lost forever." -- Charles Xavier (Professor X), X-MEN: DAYS OF FUTURE PAST</span><br /><br /><span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">Scooby-Doo taught us that the real monsters are human.</span></div>
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Cleireachttp://www.blogger.com/profile/09663623624406561851noreply@blogger.com0