Some white ‘Star Trek’ fans are unhappy about remake’s diversity; Washington Post, June 23, 2017

Travis M. Andrews, Washington Post; Some white ‘Star Trek’ fans are unhappy about remake’s diversity

"Indeed, the ‘Star Trek’ series, as Manu Saadia put it in the New Yorker, has always been about inclusion, diversity and breaking down human-made social barriers. Saadia wrote:

Each successive “Star Trek” cast has been like a model United Nations. Nichols’s black communications specialist worked alongside George Takei’s Japanese helmsman and Walter Koenig’s (admittedly campy) Russian navigator. Leonard Nimoy’s Spock was half-human, half-Vulcan, and he bore traces of the actor’s own upbringing in a poor Jewish neighborhood in Boston. The Vulcan hand greeting, for instance, which Nimoy invented, is the Hebrew letter shin, the symbol for the Shekhinah, a feminine aspect of the divine. The original series aired only a few years after the Cuban missile crisis, at the height of the Vietnam War and the space race, and its vision of a reconciled humanity was bold. Nichols, who considered leaving the show after the first season, has said that she was persuaded to stay on by Martin Luther King, Jr., who told her that he watched “Star Trek” with his wife and daughters.

This isn’t the first time an entry in the “Star Trek” series has come under fire for including ever more diverse characters. Just last year, the film “Star Trek Beyond” portrayed Sulu as a gay man. It was the first time the series featured an openly gay character, and some fans were furious."

Cleveland’s Unthinking Racism; New York Time, 10/29/16

David Leonhardt, New York Times; Cleveland’s Unthinking Racism:

"Baseball fans, even outside Cleveland, have been looking at Chief Wahoo for so long that many of us have become inured to the logo. We’re aware that it has become controversial and probably understand that it’s offensive. But then we go back to watching the game.

It is worth pausing to think about what the equivalents might be for other ethnic groups — for minorities less marginalized than Native Americans. They’re horrific. Imagine the Philadelphia Blacks, featuring a logo with exaggerated lips and similar big teeth. Or the San Francisco Chinamen, featuring slanted eyes and a pointy hat (as the National Congress on American Indians suggested). Or the New York Jews, with a short mascot who had a large, crooked nose and wore a yarmulke."

Comic-Con Fans Find Diversity With ‘Black Panther’ and ‘Captain Marvel’; New York Times, 7/24/16

Brooks Barnes, New York Times; Comic-Con Fans Find Diversity With ‘Black Panther’ and ‘Captain Marvel’ :

"Comic-Con, which ran from Wednesday to Sunday, started in the 1970s as an almost entirely male gathering of comic book enthusiasts. It has grown into a sprawling event for fans of superheroes, horror movies, animation and television shows of all kinds, attracting roughly 140,000 people to downtown San Diego every July. The nonprofit organization behind the event does not release demographic information about attendees, except to say that crowds are now roughly 50 percent female."

Turns Out, Fighting Fat Shaming And Racist Trolls Is Also A Ghostbuster's Job; NPR, 7/22/16

Tanya Ballard Brown, NPR; Turns Out, Fighting Fat Shaming And Racist Trolls Is Also A Ghostbuster's Job:

"I don't know what makes trolls attack so viciously on social media. Is it that they don't like it that some women — in this case a 6-ft.-tall, larger than size zero dark-skinned black woman — are confident and comfortable with themselves?

Who knows, but now that Leslie has returned and is once again engaging on social media with her fans, maybe she can reach out to help some of the women who aren't comedians or actors in summer blockbuster movies navigate troll attacks."

To Boldly Go Where No Fan Production Has Gone Before; Slate, 7/13/16

Marissa Martinelli, Slate; To Boldly Go Where No Fan Production Has Gone Before:

"The issues at the heart of the Axanar case are complex—in addition to copyright infringement, CBS and Paramount are accusing the Axanar team of profiting from the production by paying themselves salaries, among other things. Abrams, who directed 2009’s Star Trek and 2013’s Star Trek Into Darkness, promised during a fan event back in May that the lawsuit would be going away at the behest of Justin Lin, the Beyond director who has sided, surprisingly, with Axanar over Paramount. But despite Abrams’ promise, the lawsuit rages on, and in the meantime, other Trekkie filmmakers have had to adapt. Federation Rising, the planned sequel to Horizon, pulled the plug before fundraising had even started, and Star Trek: Renegades, the follow-up to Of Gods and Men that raised more than $132,000 on Indiegogo, has dropped all elements of Star Trek from the production and is now just called Renegades. (Amusingly, this transition seems to have involved only slight tweaks, with the Federation becoming the Confederation, Russ’ character Tuvok becoming Kovok, and so on.) Other projects are stuck in limbo, waiting to hear from CBS whether they can boldly go forth with production—or whether this really does spell the end of the golden age of Star Trek fan films.

Axanar may very well have crossed a line, and CBS and Paramount are, of course, entitled to protect their properties. But in the process, they have suffocated, intentionally or otherwise, a robust and long-standing fan-fiction tradition, one that has produced remarkable labors of love like Star Trek Continues, which meticulously recreated the look and feel of the 1960s show, and an hourlong stop-motion film made by a German fan in tribute to Enterprise—a project almost eight years in the making. It’s a tradition that gave us web series like Star Trek: Hidden Frontier, which was exploring same-sex relationships in Star Trek well before the canon was ready to give us a mainstream, openly gay character."

At Comic-Con, Bring Out Your Fantasy and Fuel the Culture; New York Times, 7/15/15

A.O. Scott, New York Times; At Comic-Con, Bring Out Your Fantasy and Fuel the Culture:

"The deeper mythology of Comic-Con is that fans and creators are joined in communion, sharing in the holy work of imagination. The logic of popular culture today suggests that every fan is also an artist. This is literally true in the blossoming fields of fan art and fan fiction, in which devotees of intellectual properties (the ubiquitous San Diego shorthand for books, comics, movies and shows) make their own images and stories involving their favorite characters. Cosplay is a live-action form of fan art, or maybe fan nonfiction, and the owners of the intellectual property rights are careful not to interfere too much.

The organizers of Comic-Con, meanwhile, provide encouragement for fans who dream of professionalizing their passions. A smattering of panels offered advice on how to pitch an idea, how to market a product, how to make a living in a crowded marketplace. Social media and digital technology encourage the fantasy that everyone can make stuff and put it out there for everyone else.

Or maybe it isn’t a fantasy. The world of popular culture only gets bigger, and as it does it grows more diverse, more inclusive and more confounding."