#oxyspeculativetv

[zanewatchestuff]

Love Death + Robots: Alternate Histories

This 8-minute episode of Love Death + Robots, Alternate Histories”, explores the fictional concept of an Alternative History Research App, Multiversary. The app allows users to “modify any historical fact” in order to simulate what major events that occurred after would change and what possible new events could be presented. One of the most popular requests of the research app that we see from the episode is the death of Hitler, and what would happen if he died at a different point in his life in different ways.

What is the koinos kosmos (common world) and mutually assumed knowledge the series shares with viewers?

The series is episodic, however, in this particular episode, the mutually assumed knowledge shared with its viewers is Hitler’s lifespan leading up to his death in 1945, his interest in art and writing in earlier years of his life as the episode depicts this in every new alternate timeline that is simulated. Additionally, common events appear in every timeline such as the space race or the world wars, however, the episode delves into alternative depictions of these events, for example having different countries or even identities land on the moon first, or presenting different ‘victors’ and allyships during both world wars if they even occur in these new timelines. The current age of technology is another piece of mutually assumed knowledge the series shares with viewers, as technological advancement is explored in numerous ways, for example, the shift from horse-drawn carriages to automobiles and the implication of that if it happened at an earlier time in Germany.

How does the series depict cultural hybridity through the alerted history’s role in reflecting and reshaping cultural assumptions?

Even with certain technological advancements and events being depicted as inevitable in every alternate timeline, the episode highlights the obsession with the exploration of space and how it was (and still is) fueled by the competitive nature of nationalistic identity under the guise of advancement for all of humanity. Regardless of who manages to land on the moon first, the series plays on how this event, coined as “a giant leap for all mankind” is riddled with all sorts of American culture, technology, and imagery e.g. the American flag that is placed on the moon as an indicator of “humanity’s presence.” We see different countries place their own flags and use their own technology to reach the moon.

How does the series depict the power of understanding world creation?

The episode places a large importance on Hitler's impact on the events of the current world, or the “future” if we’re viewing 1908 as the “present” in the episode. Whether an earlier death can create those particular timelines or not, the episode has an emphasis on chain reactions and how individuals can be incredibly large catalysts in how the world is created.

In what ways do formulations of the past, present, and future engage with prospective realities of what might have been and what might be in the series’ alerted history?

The episode revels in formulating absurd and bizarre futures such as a rat society that is built upon an earth completely destroyed by nuclear war alongside its more digestible formulations of alternate pasts of known events such as the different victors of the Great War, but the series does a great job of engaging both through quick and concise descriptions of how this sort of timeline can emerge all from Hitler’s death. The animation style definitely makes it much simple to tie it all together, especially with the graphical elements utilized.

How do multiple realities or contemplations of multiple realities merge with questions of authenticity?

The questions of authenticity aren’t explored too much, since what comes before the events of the episode start are more or less considered historical fact, at least from the perspective of American Research, however, from the initial dialogue about the capability of what the Multiversary app can do (modify any historical fact) does merge these questions of authenticity, as we can then question what exactly is authentic about the common world and what isn’t about these alternate timelines. Who is to say some of the events simulated in the alternate timelines haven’t or can’t occur, and are the historical facts that align with the history that is documented and researched by a single nation’s perspective truly authentic?

@theuncannyprofessoro

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[yico0]

Signal

"Signal" is a South Korean television series that blends crime thriller, mystery, and science fiction elements. The central characters, a profiler from the present day and a detective from the past, use this unconventional means of communication to collaborate on solving cold cases and preventing crimes.

What is the koinos kosmos (common world) and mutually assumed knowledge the series shares with viewers? 

The common world in "Signal" involves a walkie-talkie connecting individuals in different time periods. This device enables characters to communicate across timelines, influencing investigations and crime-solving. The common world would include the shared understanding of this supernatural element and its impact on the characters and their investigations.

2. How does the series depict cultural hybridity through the alerted history’s role in reflecting and reshaping cultural assumptions? 

It depicts cultural hybridity by utilizing its time-travel narrative to reflect and reshape cultural assumptions. The series navigates different time periods, seamlessly blending the past and present to showcase the evolution of societal norms, values, and cultural references. Through the characters' interactions across eras, the show explores the dynamic nature of culture, illustrating how the past and present coalesce to form a hybrid narrative. Cultural references specific to each time period, from technology to fashion, contribute to this amalgamation, engaging viewers in a rich tapestry of historical and contemporary contexts. The altered history aspect introduces ethical dilemmas that transcend temporal boundaries, challenging characters to grapple with evolving ethical standards. Additionally, the collaboration of characters from diverse backgrounds fosters a cultural exchange, highlighting the series' nuanced portrayal of how cultural assumptions influence both investigations and interpersonal dynamics across time.

3. How does the series depict the power of understanding world-creation? 

"Signal" depicts the power of understanding world-creation through its exploration of the consequences of altering historical events and timelines.

Temporal Influence: The walkie-talkie serves as a tool for characters to communicate with people in the past, allowing them to intervene in historical events. By doing so, they alter the timeline and influence the course of history, showcasing the significant power and responsibility associated with understanding how events shape the world.

Butterfly Effect: The series delves into the butterfly effect, demonstrating how small changes in the past can lead to substantial and unforeseen consequences in the present and future. This concept underscores the fragility and interconnectedness of events, emphasizing the characters' ability to create a ripple effect through their actions in the past.

Moral and Ethical Dilemmas: As characters grapple with the consequences of altering history, "Signal" explores the moral and ethical dilemmas associated with manipulating the natural order of events. The power of understanding world-creation is not just a narrative device but a thematic exploration of the complexities and responsibilities tied to temporal intervention.

4. In what ways do formulations of the past, present, and future engage with prospective realities of what might have been and what might be in the series’ alerted history? 

The series intertwines these temporal elements through the use of a walkie-talkie that enables communication across different time periods. The alerted history in "Signal" prompts characters to reconsider and reassess what might have been had certain actions or events unfolded differently. Furthermore, the exploration of the alerted history raises questions about the characters' agency in shaping their own destinies. 

5. How do multiple realities or contemplations of multiple realities merge with questions of authenticity? 

"Signal" seamlessly weaves historical reality into its narrative tapestry by incorporating authentic elements of the past to construct compelling crime stories. The series delves into meticulously researched historical contexts, immersing viewers in a captivating portrayal of crimes, investigations, and mysteries rooted in the annals of real history. These narratives, while invented for the purpose of the show, are intricately presented within the authentic frameworks of socio-political climates and cultural landscapes of specific time periods. The distinctive charm of "Signal" lies in its profound exploration of altered history facilitated by a walkie-talkie. Within this historical backdrop, the series introduces a speculative twist where characters, grounded in their meticulously portrayed eras, embark on a journey to reshape the course of events. Although the crimes and investigations themselves are fictional, the show introduces a thought-provoking element as characters endeavor to alter the course of history by communicating with figures from the past. This alteration of historical events serves as a central and enthralling plot device, allowing characters to wield influence over the outcomes of cases and delve into the intricate consequences of their interventions, thus blurring the lines between fiction and the rich tapestry of real historical landscapes.

@theuncannyprofessoro

#oxyspeculativetv

[luciaiscool7]

The Disastrous Life of Saiki K. - Superhero Roundtable

How do structural mythology, cultural studies, and cultural history reflect the series’ world and world-building around superheroes? 

The Disastrous Life of Saiki K centers on the titular character, Saiki K, a highschool student with Superman-esque levels of psychic power. He has trademark pink hair and must wear green glasses and antennae in order to limit his powers. Saiki, as one of the only actual psychic characters in the anime, actually doesn’t want to solve problems, or help anyone with his powers, and most of the show he uses his powers to minimize attention and keep to himself. His only really widespread use of power was changing everyone in the world’s hair color to also be colorful so that he doesn’t stand out as much. In direct opposition to Saiki’s nonexistent need for attention and immense psychic power, his classmate Kaidou, has no power whatever but claims to be The Jet-Black Wings, the only person standing against The Dark Reunion, an evil organization running the world behind the scenes. This is played for satire as Kaidou loudly brags about being the Jet-Black Wings and blames every mishap on the Dark Reunion, wears red bandages on his arms to “control his power,” and a dramatic action song “Judgement Knights of Thunder” plays everytime he does anything. 

Saiki K is a comedy anime satirizing the idea of a “superhero” through Saiki K, who kind of sucks and doesn’t care that much about other people, but even in using his powers selfishly, ultimately helps the people around him. This show challenges the idea that superheroes would necessarily swing to complete good or complete evil, and makes fun of those ideas in the example of satirizing binary thinking through Kaidou’s fake enemy, The Dark Reunion. Although the show begins with Saiki K doing everything he can to avoid attention and making friends, he warms up to his classmates over the show and uses his powers for their benefit, even as he convinces himself he’s just trying to help himself. 

The origination of manga in Japan was influenced by the globalization of American comics, including superhero comics, brought during WWII. Interestingly, as members of the Axis Powers, Japan and Japanese characters were featured in American superhero comics as enemies to the nation, often depicted as racist stereotypes for wartime propaganda. On an international scale, superheroes are associated with the US, as a national export and national representation of American might and power. This can be seen in superhero anime like My Hero Academia, where All Might represents the All-American superhero figure. Shows like Saiki K and Mob Psycho 100 have superhero-like characters and themes but distance themselves from calling them that, positioning themselves as psychics rather than superheroes.

In what ways are the superheroes and their abilities informed by their racial, gender, sexual, and cultural identities? 

Saiki K definitely participates in the de-racialization of characters as Will Bridges spoke to in “The Past Tense and the Future Perfect,” which we read for Cowboy Bebop. All of the characters are assumed to be Japanese, and are very homogeneous in appearance, save Nendo, whose butt-chin and weird mohawk are played for laughs. In many ways, Saiki represents the ultimate hegemonic male character who is conventionally attractive, cishet, middle class, and extremely able bodied. The only way that Saiki represents “other” could be through his lack of romantic or sexual interest in the show, much to the chagrin of Kokomi, the self proclaimed queen of the school, who appears with a halo of light around her at all times and has caused multiple stampedes of men chasing after her. The character Kaidou, who isn’t very popular with his classmates (somewhat because he always talks about the Dark Reunion), could be acting out social rejection through his fixation on being a superhero fighting evil, above the social dynamics of highschool.

In what ways do costumes and concealing identities further separate the superheroes from normal society? How necessary is it for the superheroes to hide their true identities to successfully achieve their goals? 

For Saiki, hiding his identity is his goal. To this end, he has changed everyone’s hair in the entire world to be colorful so that he doesn’t stand out. When the school has a sports test in gym class, Saiki has to tone down his supernatural speed and strength to blend in, including teleporting a ball back when he throws it so far that it can’t be seen, and squeezing a grip strength monitor so hard that that needle goes all the way around and it looks like he has an average score. For many superheroes, putting on a costume/disguise is necessary to carry out their goals, but for Saiki, his physical appearance is connected to his supernatural abilities, and the antennae and glasses he wears serve not to express his powers or his superhero role, but rather to minimize and control them.

How do the economic, political, and social events that occurred during the series’ creation and broadcast cultivate and inform the superheroes’ decisions and actions? 

The Disastrous Life of Saiki K first appeared as one-shot manga chapters published from 2012-2011, then serialized in Weekly Shonen Jump from 2012-2018. The anime based off of this manga was aired from 2016-2018. I think Saiki K intentionally builds off of the context of preexisting superhero media to satirize it, questioning the characterization of other characters with superpowers as good and selfless or evil and self-serving- Saiki is literally just some guy and he doesn’t feel any pressure to use his powers for anyone. The anime creates a depoliticized superhero- he isn’t connected to any hero organizations or governments, he doesn’t have any enemies. He is so depoliticized and inactive as a superhero figure that his morals swing all the way around into questionable because he is so powerful, and could solve so many problems, but only changed everyone’s hair.

How do the superheroes question themselves, each other, and their obligations and duties to the people around them? 

Saiki K as a show challenges the superhero trope of questioning their purpose, sense of self and obligation to others by making Saiki antisocial and feel pretty neutrally about everyone besides himself. He always ends up helping the people around him, even when he doesn’t mean to, often doing so because it’s the easiest way to avoid being exposed, or not taking action will negatively impact him in some way. In one episode, he watches a magician on TV being locked in a box, and when it seems like he won’t be able to escape in time, Saiki teleports onto the set to save him. He does this in order to save the magician from a deadly incident which could potentially delay the rest of the tv channel, including Saiki’s favorite mystery show that after the magic show. He does help people, but his obligation is (allegedly) to himself first.

@theuncannyprofessoro

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[samlamwambam]

History Redesigned: Koala Man (2023-)

Koala Man takes place in Australia. However, in this universe, the Titanic never sank, leading to the destruction of America and a superiority complex among Australians. In episode 3, an Ameircan named Chad Wagon begins to plot to make Australia the next America 2.0. 

What is the koinos kosmos (common world) and mutually assumed knowledge the series shares with viewers? 

It’s common knowledge that nationalism in America is unlike anywhere else, to the point where some Americans genuinely believe that all global politics revolve around them. Koala Man makes fun of America’s extreme patriotism through uses of satire and farce. Chad Wagon is the stereotypical American, wreckless, and constantly thinking about hot dogs, hamburgers, and ketchup. 

How does the series depict cultural hybridity through the alerted history’s role in reflecting and reshaping cultural assumptions? 

In episode 3, Nicole Kidman is revealed to be Australia’s queen, a figure both Australian and American viewers know well. By placing an American-Australian icon at the head of the table, Koala Man pokes fun at the fact that America has trouble accepting anyone with any ties to another country as a true American. 

How does the series depict the power of understanding world-creation? 

The series uses the character Maxwell to provide understanding to the historical changes the series makes. At the beginning of episode 3, an old and tired Maxwell is placed at a bar, reflecting on how he changed the world. In the Koala Man universe, different time zones actually adhere to the numerical time a moment happens, so Australia being 19 hours ahead of America, actually knows what happens in America 19 hours before America does. Thus, when Maxwell was young, having learned of the Titanic sinking, breaks what’s known as The Red Hot Rule, and sends a telegram to warn the Titanic captain of what's to come. Maxwell’s plan works, and he is able to prevent the sinking of the Titanic, but this singular event launches into another, leading to the election of a Mummy President and the self-destruction of America. Maxwell’s narration and telling of The Red Hot Rule provides the context for the world that Koala Man is set in. 

In what ways do formulations of the past, present, and future engage with prospective realities of what might have been and what might be in the series’ alerted history? 

With Koala Man being set during a time where all of America is set in flames (except for Hollywood which broke itself off and is now a floating island), Koala Man allows for a universe where Australia is a major power free of American influence. Furthermore, the concept of The Red Hot Rule leaves characters grappling with the choice to alter other major disasters. 

How do multiple realities or contemplations of multiple realities merge with questions of authenticity? 

The concept of multiple realities and timelines that go along with Koala Man’s interpretation of time zones leaves audiences wondering whether major historical events, such as the sinking of the Titanic, were authentic or were they set in motion by fate. Koala Man episode 3 tells us that the sinking of the Titanic needed to happen, and if that’s the case, do we really have control of our future?

@theuncannyprofessoro

#oxyspeculativetv

[aimlessgeology]

The Venture Bros.

The Venture Bros. comments on many assumptions from the Golden and Silver Age of comics. It parodies certain elements of comic book history, including ‘the boy adventurer’ (Jonny Quest) trope and space-age fiction themes and aesthetics. The series follows Dr. Thaddeus “Rusty” Venture, a sad failure of a Super Scientist living in the shadow of his late larger-than-life father, Dr. Jonas Venture. Rusty is a superhero in title but not in practice, yet he still has a rotating cast of villains and sidekicks around him. His arch nemesis is a villain called The Monarch, who I focus on for this piece. I think Rusty represents the more cynical, morally ambiguous Silver age of comics while his father represents the authoritarian Golden age, to put it into Williams’ framework from “(R)Evolution of the Television Superhero”. The Venture Bros contributes to a misanthropic view of superhero narratives. All of the characters have major flaws directly connected to their association with Super Heroism and its flipside, Super Villainy. Changes in values over time are shown in the narrative through flashbacks and convoluted storylines involving many characters over several seasons. Overall, though, the series pokes fun and levies criticism against prevalent superhero notions. 

The Monarch, Dr. Venture’s Arch Nemesis, is a scrawny, goateed, middle-aged white male who has made a career out of being evil. In some ways, he is very successful, with an awesome spaceship headquarters, a team of devoted henchmen, and a sexy villainess girlfriend. However, the Monarch is shown to oscillate between overconfident and insecure, as seeking validation, and as unable to thwart his self-proclaimed nemesis, no matter how many opportunities he gets. 

The Monarch represents an attitude of dissatisfaction among men who actually have quite a bit going for them. I feel like this reflects a culture of misplaced victimhood held by some men as the liberation of women and other oppressed groups makes them feel like they are losing some kind of power or status. 

The Venture Bros. is all about funny costumes and character design. The Monarch has leaned all the way into his butterfly-and-insect-themed villainy. His costume is an integral part of his character, and he is rarely seen without it. 

His voice and mannerisms are enough to make the Monarch recognizable even when he is not in costume, but he derives much of his power from his outfit, the consistent theme of his evil operation, and his flashy technology. The Monarch has a hard time performing villainy when not in costume. In this universe, Villany is a career, and the job requires a uniform.

The show is definitely influenced by 9/11 and the entrance of Gen Xers into the media scene. The show debuted in 2003, when the Cold War Kids (not the band) were finally entering the workforce and the public eye and expressing their feelings and attitudes about social and political realities of the time. The Monarch is an expression of social, economic and political disillusionment that can go in divergent directions and lead to extremism. Venture represents apathy and adherence to established systems, despite their idiocy.

In Season 1 Episode 11, the viewer gets a glimpse into the normal and domestic side of super people when they meet members of The Guild of Calamitous Intent when Venture hosts a yard sale at his compound. He invites all the Villains he works against and among, with the understanding that no harm can come to him because it is not guild-approved and therefore the villains have no legs to stand on in terms of evil.

Even so, the Monarch, Dr. Venture’s sworn enemy, wreaks non-approved havok at the yard sale, causing a brawl in search of a suitable bathroom. Monarch and Dr. Girlfriend sneak into the compound and see the sad emptiness of Dr. Venture’s life. For a moment it seems the Monarch has a realization about his Villainy and almost gives up “Arching” Dr. Venture, but when the security team gives him a fright, the Monarch vows to destroy Dr. Venture and reconstitutes the Nemesis status.

I think this faltering of ideology that the Monarch experiences shows how perceived obligations are subject to change situationally. This applies to foreign relations because attitudes about domestic policy, domestic views on other countries, and also relationships between nations and states are products of history but also are fluid.

@theuncannyprofessoro

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[loganm233]

Roundtable Presentation: History Redesigned

What is the koinos kosmos (common world) and mutually assumed knowledge the series shares with viewers?

Quantum Leap is a show where a scientist named Sam Beckett is a time traveler stuck in the past who leaps into different people's bodies in order to change something in history for the better. This background is also provided in the show’s intro to keep this context in the viewer’s mind as a shared understanding. The two episodes I focused on were Season 5 Episodes 1 and 2 which follow Sam as he leaps into Lee Harvey Oswald, the assassinator of John F. Kennedy. These episodes start with a disclaimer that states “The following story is based upon the known evidence and established facts collected in the three decades since the JFK assassination.” These episodes then shift into a collage of historic photos of JFK during his lifetime. While it is not expected that the viewer is a complete expert as more context is provided throughout this two-part storyline, Quantum Leap assumes that the viewer has surface-level knowledge of who John F. Kennedy is and his assassination.

(Stop at 1:00) - Introduction

How does the series depict cultural hybridity through the alerted history’s role in reflecting and reshaping cultural assumptions?

Typically in time travel media, the time traveler travels as themselves throughout time. Quantum Leap, however, takes a different approach where it incorporates body switching into the time travel arena. This new incorporation blurs the lines between two individuals as they become one. In these two episodes in particular, Sam struggles with maintaining himself and his own morals while in the body of Oswald. Throughout the two episodes Sam struggles to not lose himself claiming he cannot control Oswald as he is taking over his mind. There was a part of Oswald that merged into Sam when he leapt making him more aggressive. He continually had to fight and snap out of this connection. This mergence questions the balance between varying personalities and views. It also reflects upon ones mental strength to not lose oneself in the presence of immense influence as well as reshapes the audience’s understanding of self.

Additionally, during the majority of the two episodes it is assumed that Sam leapt back in time for the purpose of saving John F. Kennedy, but in reality this is not what ends up happening, which shifts the viewers' consideration of what really is “for the better.” They have to shift their mindset of what the situation needed because saving JFK might have led to a series of unforeseen cause-effect events. Due to this both Sam and the viewers had to readjust to realize that it was unrealistic to save JFK, but the real goal was to save Jackie, John F. Kennedy’s wife. When reflecting upon JFK’s assassination it is a common assumption that if he wasn’t killed, the United States would be in a better spot, but this change in viewpoint questions whether or not changing this huge event would actually have had an overall positive influence. This challenges both Sam and viewers to question their initial assumptions of a situation, suggesting that these interpretations might not always be as straightforward, or even complex, as they first seemed.

How does the series depict the power of understanding world-creation?

Quantum Leap assumes that world creation is constant, interconnected, and ever changing with many aspects influencing and building upon themselves. The show also assumes that time is not set as there could be multiple outcomes through time travel changes, however, in all instances the shaped creation story remains the same. The timelines that Sam jumps into are slightly alien, but his skills and knowledge transfer and function in these varying realities because they all still share a common backbone. Furthermore, the series attempts to answer the question of who we are and what is one’s individual purpose. Everytime Sam leaps he does so with the goal of figuring out what is there for him to fix in hopes of leaping home. This constant striving for improvement shows Sam’s path towards discovering why he is there.

In what ways do formulations of the past, present, and future engage with prospective realities of what might have been and what might be in the series’ alerted history?

This ties back to the whole premise of the show. In Quantum Leap, Sam has to figure out who he is, why he is there, and what he has to fix so that history can move forward on the path it is meant to take. Sam leaps back and forth throughout time to change reality so that it is on its best path, suggesting that what was going to happen, or what might have been, is not what should be. This alteration of reality and perspective is prominent in the Lee Harvey Oswald episodes because originally he assumed that the reason he leaped into Oswald was to save John F. Kennedy from being assassinated or to figure out the truth behind the conspiracies revolving around JFK’s assassination. However, Sam later discovers that what he thought he was there for might not actually be why he is meant to be there. In particular, in these episodes he jumps around in multiple time periods all in Oswald’s body which further complicates things. Thus, his understanding of the situation and the differentiation between the past, the present, and the future become interconnected. Once the task is completed, reality changes making everything even more intermixed and blurring the lines between history and reality.

How do multiple realities or contemplations of multiple realities merge with questions of authenticity?

Given how in Quantum Leap Sam goes back in time and alters history as different individuals, it forces audiences to question what is real, what was meant to be, and what is original. The changes of history made in the show, however, have to be plausible enough that it is believable that it could happen. Since the changes that take place are influential, but not overly dramatic or impractical, it is easy for viewers to buy into this interpretation of the altered reality. While the changes do have an impact on reality, they are changes audience members can still wrap their head around because they are not so overly unfamiliar that viewers can still see it as an authentic option for reality.

@theuncannyprofessoro

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[rachelkruglyak]

Queen Charlotte: A Bridgerton Story (History Redesigned Panel Presentation)

What is the koinos kosmos (common world) and mutually assumed knowledge the series shares with viewers? 

Queen Charlotte and the Man in the High Castle both invite viewers to consider an alternative historical reality that results from a slightly different course of history. Both shows challenge the viewer to consider the different paths that history can take and to suspend some disbelief to imagine alternative worlds. In both shows, the viewers can be expected to know what is historically accurate. The true Queen Charlotte was a German princess selected to marry the future George III. In The Man in the High Castle, the viewer can be assumed to know that the allies, not the axis powers, won World War II. But both shows provide the viewer with a chance to wonder “What If?” What if a mixed woman from Germany was selected to become Queen? What if the axis countries had won the war. In describing Philip Dick’s The Man in the High Castle, James Thrall writes, of “Dick’s overarching project of inviting his readers to consider history itself as fluid by presenting our assumed past set slightly askew.” Indeed both shows present altered versions of the agreed-upon past. The Man in the High Castle presents a fictitious New York City ruled by the Nazi party and a San Francisco administered by the Japanese. Queen Charlotte: A Bridgerton Story presents a fictitious Britain in the late 18th century in which the German young woman Charlotte of Mecklenburg-Strelitz has risen to prominence and power. In the show, Charlotte was brought from Germany to be the wife of King George III, an event that mirrors agreed-upon history. However, unlike the woman who was actually selected, Charlotte in the TV show is of mixed race, raising questions about the openness of the royal court and the British people to a ruler with a mixed race identity.

How does the series depict cultural hybridity through the altered history’s role in reflecting and reshaping cultural assumptions? 

Queen Charlotte: A Bridgerton Story depicts cultural hybridity by imagining that the Queen of Britain and Ireland played by a mixed girl. The show plays out one possible version of how history might have looked with a mixed girl marrying the future king. Much of the show focuses on how different parts of British society react to a mixed race Queen, which would have been the first in British history. The Man in the High Castle also involves culture clash as the Germans are imagined to control the Eastern Coast of the United States while the Japanese control the West Coast. James Thrall writes, “His characters muse regularly about differences between types of people as indicated by, for example, distinguishing characteristics of Germans and Japanese. The rippling image of fused flags that concludes the credits encapsulates Dick’s presentation of these two countries as linked but uneasy and culturally distinct allies.” The interactions between the German and Japanese occupiers represents an important plotline in the show.

In Queen Charlotte: A Bridgerton Story, the presence of a mixed race Queen leads to some shifts toward a more inclusive society that receives a mixed response. After hearing from Lord Bute that there will be talk about Charlotte’s race and being told that it might be best to cancel the wedding, the King’s mother, the Dowager Princess, who thinks it’s too late to cancel, says it’s only a problem if the palace makes it a problem. She then says that people from Charlotte’s “court” are invited to the royal wedding. Later in the episode, at the wedding, the Dowager Princess continues this shift to a more inclusive nobility. She refers to Mr. Danbury, a Black British citizen, as “Lord Danbury,” which surprises him. The Dowager Princess says that he “shall be receiving the official proclamation from the King. You are honored to be Lord and Lady Danbury now. All the members of the ton must be titled.” She then goes on to say that it is time they were united as a society.

In episode 2, Lady Danbury tells the Dowager Princess that she needs her husband not to be denied entry to White’s, for him to be invited on hunts, for her to be able to cross the street to the best modiste, to take the finest seats at the opera. When the Dowager Princess says that this is unreasonable, Lady Danbury reminds her that she needs to know what is going on at Buckingham House and says that they need to be equal members of the ton.

The Danbury Ball in episode 3 is another example of cultural hybridity and reshaping cultural assumptions. After Lady Danbury expresses to the Dowager Princess that she would like to host the first ball of the season, the Dowager Princess is appalled and says it will not be accepted, to which Lady Danbury says that it would be difficult for the Dowager Princess to hear about the Queen being with child long after the fact. The Dowager Princess says she will take it up with Lord Bute, but later that day, before the Dowager Princess can come to a decision, Lady Danbury decides that she will just have to send out invitations first. The White members of the ton are reluctant to come until they receive a personal message from the King that he will be attending. During Charlotte and George’s dance at the ball, Lord Ledger, who is White, asks Lady Danbury to dance, which prompts more mixed pairings to be made. Later that night, George tells Charlotte that “with one evening, one party, we have created more change, stepped forward more than Britain has in the last century.”

How does the series depict the power of understanding world-creation? 

Queen Charlotte: A Bridgerton Story exists in the world of lavish, opulent wealth of the British royal family. Queen Charlotte lives in a huge mansion with intricate furnishings. She has an entourage that dresses her in the morning, feeds her, and watches her as she eats. She has elaborate, high-style clothing and shoes. She wears expensive jewelry and her hair is fashioned in elaborate hairdos. In addition to the opulence and privilege, her movements are carefully prescribed and often criticized. There are members of the court who gossip about her and are seemingly in control her life. And, to her dismay, her new husband seems completely uninterested in spending time with her. Through scenery, costumes and styling, Queen Charlotte: A Bridgerton Story transports the viewer to the world of British royalty. This ability to create a compelling and unfamiliar world is powerful as it invites the viewer to escape their daily life and become part of a world that is intriguing and beautiful even with its flaws.

In what ways do formulations of the past, present, and future engage with prospective realities of what might have been and what might be in the series’ altered history? 

Both Queen Charlotte: A Bridgerton Story and The Man in the High Tower start with a different possible reality. They consider what might have been, but wasn’t, and the story unfolds from there. As James Thrall writes, Margaret Atwood, author of The Handmaid's Tale stated, ‘[p]rophecies are really about now. In science fiction it’s always about now. What else could it be about? There is no future. There are many possibilities, but we do not know which one we are going to have’. Queen Charlotte tackles the fallout from one possible choice, one possible reality.

There are two timelines present in Queen Charlotte. One takes place in the present of Bridgerton, beginning in 1817 with the death of the royal heir Princess Charlotte, which causes the Queen to pressure her children into producing another royal heir. The other timeline begins in 1761 with Charlotte meeting and marrying King George III. This timeline explores the King and Queen’s marriage and the King’s mental illness.

In episode 3, after being told by the Dowager Princess to cancel her ball, Lady Danbury goes to talk to Charlotte about it. She asks if Charlotte could encourage the other ladies-in-waiting to attend. Charlotte doesn’t understand what the issue is. Lady Danbury says that the Dowager Princess asked her to cancel the ball. Charlotte wants to know how it applies to her. Lady Danbury says that Charlotte is the Queen and has that power. If she were not the Queen, her life in London would be completely different. She is the first of her kind. She opened the door and the titles given to Lady Danbury and the other colored folk of the ton are brand new. She tells Charlotte that she should focus on the fate of the country as she hold its fate in her hands. She accuses Charlotte of being unaware of what’s happening outside the palace walls. This scene shows that there is a decision point surrounding whether the ball will be held, and with time it is clear that the ball had a major impact on creating change in the ton.  

In episode 5, colored members of the ton meet with Lady Danbury and ask her what will happen now that the Lord Danbury has passed on. Lord Danbury is the first member of their side to pass on and the rules for inheritance have not been established. They want to know if Lady Danbury’s 4-year-old son will inherit the title, if the laws of succession from “their side” will apply to “our side.” Lady Danbury says she never realized, that they could lose it all in a generation. This too is a critically important inflection point because if the title ends with Lord Danbury, the transition to a more inclusive society would essentially end.

How do multiple realities or contemplations of multiple realities merge with questions of authenticity? 

There are two different questions of authenticity in Queen Charlotte that exist at different levels but ultimately merge and inform the other. At one level, there is the question of alternative reality being depicted. The TV show tells a story that did not actually occur as there was a real George III, who was married to Queen Charlotte, but she was not mixed race. On one level, the writers are attempting to convince the audience that this alternative reality is plausible, that 18th century English royalty, in hunting for a mate for the king, might select a woman like Queen Charlotte, and that a similar narrative could transpire. From this perspective, the writers seek to establish some level of authenticity in their attempt to convince the audience that this narrative represents a story that could have taken place.

At another level, within the story, the royal court is attempting to convince the rest of England that the woman they have selected to be Queen is in fact a legitimate Queen of England. In “The Great Experiment” they seek to convince any doubters of Charlotte’s suitability for the throne. This level of authenticity within the show also hinges on the same issue of whether Charlotte can convince the English nobility and population at large that she is an authentic Queen. In episode 2, Charlotte’s authenticity as Queen is said to hinge on whether she and George III consummate the marriage, something that everyone, including George’s mother, is concerned about. Indeed, in the present timeline, their concerns are warranted as George leaves the palace and spends all of his time at the observatory after his honeymoon, leaving Charlotte completely alone. However, through the flash forwards, the audience learns that George and Charlotte will have 15 children in the future. 

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[danae-c-y]

Superheroes Roundtable: Wordgirl

How do structural mythology, cultural studies, and cultural history reflect the series’ world and world-building around superheroes? 

Wordgirl (PBS) represents a cultural shift towards the prioritization and valuing of literacy and education for young girls. When the show premiered in 2007, there were not many kids' superhero shows that featured female protagonists. This issue still persists today in both child and adult media. Not only does Wordgirl feature a young female protagonist, but her superpowers subvert traditional expectations of violence and fighting. To platform spelling and literacy as “powers” is to highlight the value of these abilities in our society. 

In what ways are the superheroes and their abilities informed by their racial, gender, sexual, and cultural identities? 

It is interesting to consider this question in relation to Wordgirl’s character because while her gender is platformed and even included in the name of the series, her racial identity is purposefully abstracted and blurred. While Wordgirl is technically from the planet Lexicon, and thus is not affiliated with any known race or ethnicity, she has light brown skin and thus could arguably resemble/represent multiple different races. As a young woman of color, usually facing off against male-presenting adversaries, her identity never hinders her ability to defeat her enemies with her impressive vocabulary. 

In what ways do costumes and concealing identities further separate the superheroes from normal society? How necessary is it for the superheroes to hide their true identities to successfully achieve their goals? 

While I think in traditional superhero narratives, concealing identity is very necessary in ensuring the safety of the character in their day to day lives, I would argue that Wordgirl plays off of this trope and even satirizes it. Her disguise is a cape and a mask that covers just her eyes, and most of her enemies interact with her regularly when she is not in her superhero costume. It is very clear who her real identity is, however the show has her wear the cape and mask to call attention to these tropes and solidify its place as a less serious yet no less important superhero text. 

How do the economic, political, and social events that occurred during the series’ creation and broadcast cultivate and inform the superheroes’ decisions and actions? 

Besides the political relevancy discussed in question #1, individual epsidoes of the show sometimes mirror socio-political events. For example, an episode aired in 2009 in which one of Wordgirl’s recurring enemies, Toby, runs for president. Given that the episode aired the year following the 2008 presidential election, it is clear that the showmakers sometimes wanted to feature topics that were especially culturally and politically relevant. 

How do the superheroes question themselves, each other, and their obligations and duties to the people around them? 

The show picks up after Wordgirl has already decided that she wants to use her powers to save people and catch criminals. Because she is self assured and confident in her role and the way to harness her powers for good, an internal struggle surrounding her obligations does not have a place in the show. She fights crime and teaches villains how to spell not out of obligation but out of a desire to do so, which I think is a valuable type of empowerment to show in a series for kids.

@theuncannyprofessoro

#oxyspeculativetv

[lenaschin]

The Haunting of Hill House

In “We’re Going to Make You into a Proper Woman: Postfeminist Gender Performativity and the Supernatural in Penny Dreadful,” Pedro analyzes two female protagonists in relation to their supernatural abilities, or "uncanny doubles," a term used to personify the socially deviant side of one's identity--ones 'otherness.' Pedro critiques the lack of liberation for these women, whose tragic endings frame their 'social deviance' as not only failed, but as worthy of punishment. The show thus reinforces gender norms despite its focus on female perspectives. The Haunting of Hill House similarly explores “uncanny doubles,” which take the form of supernatural spirits that haunt Olivia and Nell Crain (mother and daughter). The show surrounds the Crain family reunion (4 siblings and 1 father), as they gather for Nell's funeral. We soon learn of the family’s complications, all of which are tied to their summer at Hill House (~30 years ago), where Olivia (wife & mother) was driven to hysteria and committed suicide. I focus on Episode 5, as Nell’s perspective is shown through flashbacks, and the supernatural forces behind her death are revealed.

1. How does the series form and content inform the relationship of female physical and emotional growth and development?

The show’s form as a gothic horror enables a fictitious and creative exploration of loss, grief, & trauma's effect on female growth. Nell’s trauma takes the form of the Bent Neck Lady, a spirit whose random appearances cause paralysis and constant fear. This hinders Nell's development, resulting in her social withdrawal. Flashbacks reveal the spirit emerged at Hill House, creating a tie between the trauma experienced there, the Bent Neck Lady and Nell’s resulting development. While Nell temporarily finds a loving partner and shows positive growth (confronting her emotional trauma and fighting her physical paralysis), his death both halts and reverses her positive development, as her childhood grief resurfaces. At his death, the Bent Neck Lady stands next to his dead body, and visually marks the parallel between this loss and that of her mother. This marks the beginning of Nell's end, as she becomes emotionally weak and returns to Hill House. Her final development occurs at death, when she falls through time and realizes that she has just become--and has always been--the Bent Neck Lady. The series illustrates the role of loss in female development through Nell's final transformation into the Bent Neck Lady, aka, her trauma; trauma defines her--she has internalized her loss, and we watch grief literally consume her from the inside out.

Arthur's Death

2. In what ways does the series use cinematic timing to chronicle character transformations? 

The show provides information surrounding the Cain family members’ individual character transformations through its editing style, in which flashbacks to 1) ~30 years ago at Hill house and 2) the recent past–prior to Nell’s death, are interspersed throughout the present (Nell’s funeral). Each episode focuses on one character’s perspective, and reveals their individual childhood experiences at Hill House in relation to their current adult lives. Luke, Nell’s twin brother and the second most affected of the Cain children, exemplifies a stark transformation through two back-to-back scenes. We flashback to childhood, and see him as a strong, self-sufficient boy who takes care of Nell–he teaches her a counting method to use as a distraction from the Bent Neck Lady. This is contrasted by a switch to the recent past, in which Luke–an addict a dirty, scratched face–walks the streets alone. The Tall Man—a spirit that emerged at Hill House—floats behind him. He uses the counting method he previously taught Nell, now attempting to distract himself, rather than helping her. His initial youthful fearlessness and positivity contrast with his current vulnerability and anxiety, and this transformation is heightened through the switch from the past’s bright, colorful clarity to the dark, sickly yellow tones of the present. The Tall Man’s presence and his switch to represent Olivia at the end of the scene visually highlights this transformation as directly tied to his childhood trauma and loss.

Luke's Transformation (15:55 - 17:25)

3. How are the primary characters’ ages and development coded by the characters around them? 

All of the primary characters develop with age, and initially represent narratives of youthful innocence, but take a turn after their summer at Hill House. I focus on Nell, as her siblings play a particularly large role in the choices she makes, including her eventual death and final development into the Bent Neck Lady. Nell’s siblings treat her as a naive child during both childhood and adulthood, leading her to internalize feelings of “invisibility.” This invisibility follows her throughout life, as her siblings disregard her fear of the Bent Neck Lady and ideas of the supernatural, blaming them on mental illness. This treatment results in Nell feeling unheard–invisible–, and leads to feelings of worthlessness and isolation, which are framed as partially responsible for Nell’s eventual despair and return to Hill House/death.

Nell's Invisibility

4. In what ways does the series reflect narratives of youth and represent narratives of adult functionality or dysfunctionality?                               

The series focuses on youth as a key part of the Crain childrens’ later identities as adults, connecting their level of functionality to the varied levels of trauma they faced as children. Youth is portrayed as naive and innocent; a blank canvas to create a fully functional adult. Those touched by trauma develop into dysfunctional adults, while those less affected are more functional. The two most dysfunctional adults are Luke and Nell, who experienced the consistent appearance of evil spirits at Hill House. Steven, who experienced the least supernatural trauma, is framed as the most functional sibling, and as such, doesn’t understand the source of his family’s dysfunctionality. He blames his mother’s haunting on mental illness, and later does the same with Nell. Nell’s dysfunctionality is framed in contrast to Steven’s functionality, evident in a scene where she crashes his book signing at the height of her grief.

Nell's Breakdown

5. How does the series use the fantasy genre as an area for framing virtue and villainy?         

Just as Pedro notes in the reading, the supernatural can be used to empower women, but this series fails to do so, and instead frames the two most narratively significant characters as villains. While Olivia is initially framed as a warm, loving mother, her victimization quickly leads to her villain hood. Poppy Hill, an evil spirit, feeds on Olivia’s loving emotionality, and convinces her to kill her children to save them from the “evil” of the outside world. While this plan fails, Olivia accidentally poisons a little girl in the process and is framed as hysterical. Years later, her vilification continues when Olivia's spirit fully consumes the role of her uncanny double (Poppy's spirit), orchestrating Nell’s death just as Poppy did to her.

Poppy Hill (spirit) urges Olivia to "wake her family up" from the nightmare of life--to kill them, keeping their spirits 'alive' and 'safe' in Hill House, forever.

Nell's Death (TRIGGER WARNING: Stop Before 1:35)

Nell illustrates an even clearer clash between victimhood and villain hood, as she has always been her uncanny double, the Bent Neck Lady. By framing Nell as her own villain, the narrative blames her for her own victimization, and thus punishes, rather than liberates her. While last episode allows her to reclaim virtuosity, as her dead spirit helps her trapped siblings escape from Hill House, the truly impactful act is framed as her father's sacrifice, shifting the focus to male heroism and away from Nell.

Moments before Death, Olivia blurs Nell's view of Hill House. She hallucinates beauty and the presence of her loved ones, and only wakes up when it's too late, and Olivia literally pushes her to death.

Critical Thinking Questions:

Do you think that Nell and Olivia are victims, villains, or neither?

Hill House is framed as a place where time is non-linear, which enables the characters (Nell) to interact with themselves in different time periods. How is this meaningful in relation to confronting their trauma?

In the end of the show, Hugh sacrifices himself, fully calming Olivia down and enabling his children to escape from Hill House. Do you think his heroism overshadows the horrible fates of the female protagonists?

Nell's constant anxiety is only truly resolved when she returns to Hill House, the source of her trauma. In response to this, do you view her ending as closure instead of punishment/torture?

#oxyspeculativetv @theuncannyprofessoro

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[neikikardartv]

Where is the true racism in True Blood?

While vampires are notoriously known for being sexy outsiders, HBO’s True Blood amps up the sexiness and takes the vampires out of the darkness and into the light of the public eye. True Blood aired in 2008 and is set in the fictional town of Bon Temps, Louisiana. The town resides in a version of the world where vampires “came out of the coffin” two years ago via “The Great Revelation” where they made their existence known to the world. They were able to do so because synthetic blood was created, called True Blood, that allows vampires to get their sustenance from it rather than needing human blood. Although vampires are now allowed to enter mainstream society now, they are not treated as equals. The American Vampire League is a political group that is lobbying to get the Vampire Rights Amendment (VRA) passed that would put an amendment in the constitution, permitting vampires to have the same rights as humans. As interesting as it is, vampire politics are not the main focus of the show and are just embedded in through references, and some TV interviews with the AVL spokesperson, Nan Flanigan. The show actually follows Sookie Stackhouse, a waitress with telepathy, who falls in love with the first vampire she meets, Vampire Bill (underwhelming name, I know), as it is only with vampires that she doesn’t worry about reading their minds. The first season of the show focuses on a murder mystery, as bodies of women who have had sex with vampires –referred to as “fangbangers”, a derogatory term– keep piling up in Bon Temps.

In the show vampires are “othered”, having parallels with Black people and Gay people in America, with the VRA being reminiscent of the Civil Rights Act and the “God Hates Fangs” image in the title sequence being reminiscent of the homophobic Westboro’s church slogan, among other things. While there’s plenty to say about these parallels and critical race theory, what I am going to analyze is the treatment of Black people in the first season of True Blood, in comparison to the new vampire minority group.

First of all, with the shows being set in the south there are mentions of The Civil War being a significant moment of history, but no outright condemnation of it. For some reason there is a trend of making vampires confederate soldiers. The Vampire Diaries did it with Damon Salvatore, Twilight with Jasper Hale, and in True Blood it is the main love interest of Bill Compton. Since Bill is a Vampire who’s been around a bit and was an original resident of Bon Temps, Sookie’s grandma presumes he was a confederate soldier. When it is confirmed, she gets excited and wants Sookie to ask him to speak at a meeting of her Civil War historical group, The Descendants of the Glorious Dead. As the title implies they’re not going to shame Bill for having fought to keep slavery, instead he is an honored speaker at their meeting, where as you can see the confederate flag also makes an appearance

The only stance he makes on his views of the war, was that he and the other soldiers didn’t understand what they were really fighting for or had a choice, which seems a bit revisionist Despite this we are meant to believe that none of the people of the town are explicitly racist towards Black people. Sookie’s grandma’s love of the confederacy isn’t a problem for Sookie’s Black best friend Tara, who sees her as more of a mother figure than her own mother. In fact, when Tara is the only one to actually acknowledge Bill’s role in the war by asking if he owned slaves–which he responds his family did!– she is the one that gets chastised for “spoiling the mood”, while Bill having owned slaves is not confronted.

This leads to a disconnect between the southern setting of the show and its treatment of Black people as all the racism has been displaced onto the Vampire race, who are mostly white. As Sabrina Boyer describes, “In Southern texts by many Southern writers, white characters tend to experience ways of becoming black, which is a recognition of a racist region, as well as a moderately progressive way to comment on racial relations within the South”[1].She argues that True Blood’s use of “white characters that embody blackness” is part of this larger Southern trend that puts racial “otherness” on white characters to confront racism. While, she does acknowledge that this is not unproblematic and makes an argument against it later on. I disagree with the initial progressive analysis of this phenomenon. White characters will never be able to actually embody Blackness and True Blood’s take on this is problematic. The attempt to show racism through “othering” vampires–again the main being a confederate soldier–- panders to white audiences and is a weak hegemonic negotiation. Especially as the show makes no references towards intersectionality with Black vampires who rarely appear. Boyer concludes, “the series, while it] attempts to counter the hegemonic forces surrounding racism in our culture, doesn't critically engage with the fact that people of color, because of their skin or when in the act of passing they are discovered, are immediately othered”[2]. Now, this statement I agree with because True Blood’s displacement of racism onto vampires takes away from actual racism. In doing so True Blood fails its two Black characters by undermining their acknowledgment of racism and putting the oppression of actual minorities below Vampires.

Overall, True Blood takes the metaphor of othering its vampire population too far when its paralleling of oppression of actual minorities takes away from legitimizing racism towards its human population. Despite its Southern setting and call backs towards confederacy, the show does not properly tackle actual racism to justify its use of those images. By not acknowledging the racism of white people towards Black people in favor of vampire othering, the show fails its Black characters and is not as complex as it could be within concepts of intersectionality.

@theuncannyprofessoro

1. Boyer, Sabrina. “‘Thou Shalt Not Crave Thy Neighbor’: ‘True Blood’, Abjection, and Otherness.” Studies in Popular Culture 33, no. 2 (2011): 21–41. http://www.jstor.org/stable/23416382. Pg. 28

2. Ibid. Pg. 36

#oxyspeculativetv

[taitchison]

Attack on Titan

In her article titled “Growing up in Magical Time: Representations of Female Growth and Development in ABC’s Once Upon a Time'', Katherine Whitehurst emphasizes the use of flashbacks and emphasizes how they allow for the audience to see character change in a nonlinear fashion. Flashbacks are also used to compare and contrast the way the certain character is in the moment. The audience can better see how much a character has progressed by looking at them in the past. This idea is used constantly throughout the show Attack on Titan.  Not only are flashbacks used to unearth important information at the right time, they also are used to show character growth coded by physical appearance and attitude. Whitehurt writes that “In addition to providing a back story and guide to the characters’ development, the flashbacks rationalize characters’ behaviors and relationships in the present.” (7) The characters in Attack on Titan are better fleshed out through flashbacks that provide the audience the ability to see the personal growth a character has undertaken.

How does the series form and content inform the relationship of female physical and emotional growth and development?

Attack on Titan as a series has many important female characters that round out the ensemble and have been praised for their contributions to the story. Isayama has been praised for his depiction of female characters as well rounded and multi-faceted in an anime considered to be shonen/seinen. One of the characters who has very apparent development throughout the story is the character of Hisotria Reiss. First known to the viewer as Christa, Historia is a good example of the journey from timid, obedient girl to one with her own agency and ability to be selfish. In season one, the audience is first introduced to Christa during the training arc in which we are able to learn more about the ensemble cast of characters. She is shown as kind, and selfless, with her personality almost too good to be true. She goes out of her way to help Sasha (one of the cadets) with food and water after her punishment. This moment establishes her type of character to the audience, and for the remainder of season one we only see Krista as a pure character.

Throughout the show, the audience becomes more aware of the way things work in this world. You must be cold and use everything to your advantage in order to survive. Season 2 moves her to a more central role and strengthens her relationship with Ymir. 

The clip shows that Christa is not saving Daz out of the kindness of her heart (the persona that she wants others to see). She wants to die a hero. Ymir knows Christas true identity and makes her promise that once she reveals her true name she will live her own life and not someone else's. After a sacrifice from Ymir, Christa reveals her name is Historia. This is her taking one step into accepting herself and not hiding behind the idea of someone. In season 3, Historia is revealed to be the true queen of the walls and the current king is a fake. With Ymir gone, she is forced to finally accept that she's been putting on a persona. She states that she will now be showing her true stupid self. This change makes her feel more lifelike and relatable and shows that she is no longer hiding. Because of her royal blood, Historia is able to take control of the Founding Titan.

In what ways does the series use cinematic timing to chronicle character transformations?      

The series often uses flashbacks to provide more information or reveal plot twists in a non-traditional way. These flashbacks are usually important background information that fleshes out the characters experience and explains why they are the way they are. Oftentimes, the audience doesn’t know what exactly has happened throughout the story until a few seasons later when there is a big reveal through a memory/flashback. Most of Historia's backstory and growth is shown through flashbacks, sometimes through different characters' perspectives and sometimes her own. This allows the audience to slowly uncover why a character is the way they are. This is true of almost all the other characters in the show. Attack on Titan is full of mystery so the use of flashbacks and memories for continuing and fleshing out the story is particularly helpful.   

How are the primary characters' ages and development coded by the characters around them? 

Most of the main cast of characters are teenagers and experiencing the horrific events of being a cadet for the first time. The main characters start out as young and inexperienced and the audience watches as their youthful drive and optimism is crushed the first time they actually face the titans. As the story progresses and the characters age and start to grow up, their experience in fighting the Titans contribute and shape their growth. During most of the flashbacks in the series, the character that is the main focus, is often the only one who is young. They (especially Historia) are often surrounded by adult figures which tend to emphasize their youngness and naivety. The time skip towards the end of the series is also a big way that age is shown in the show.

In what ways does the series reflect narratives of youth represent narratives of adult functionality or dysfunctionality?       

In the beginning of the show, the main cast of characters are young teenagers and display youthful idealism in the way they try to fight titans. They are not aware of the horrors that wait outside the walls, believing that their training is enough to keep them alive. This idealism is contrasted with the older characters of the series who continuously emphasize the harsh realities of the situation. The world inside of Attack on Titan is full of adults perpetuating a dysfunctional system of living. They've built society up to be full of secrets, corruption and power struggles showing that adult authority figures aren’t portrayed as functional or effective. The idea of youth rebelling against a corrupt and oppressive adult society is used often in Attack on Titan and is a driving force for many important plot points.

How does the series use the fantasy genre as an area for framing virtue and villainy?

Attack on Titan challenges the traditional narratives of good vs evil and blurs the lines between virtue and villainy often. It shows the worst parts of being a human and what war does to a person and their morals. The series is filled with morally ambiguous characters and the characters that we come to see as “heroes” commit morally reprehensible acts for the sake of “the greater good” while the characters are labeled as the villains often have redeeming qualities and justifiable motivations for their actions. The story is interesting to follow as a viewer, because there is a big shift in the side that the characters view as “the right side.” At the beginning of the show there is a clear source of evil and villainy. The titans are portrayed as horrific creatures who don’t have any ability to think and feel. They are driven by the simple thrill of the kill; killing and eating people despite having no need to consume food to live. However as the show continues, more and more is revealed about the titans and the strict line between good and evil begins to be blurred. However, while the titans pose an extreme threat to humanity, the series also highlights the internal conflicts with humanity. The actions portrayed by all sides of humanity and the morally questionable decisions made by the characters show that the conflict is not black and white. Even the humans (who should be considered as virtuous in this context) commit despicable acts in the sake of self-preservation and ideology. 

Discussion Questions

In what ways does the fantasy genre allow us to relate to characters in unexpected ways that stories set in real life do not?

Does animation make it easier for characters to be one dimensional or represent a specific trope in television?

How does the form of animation contribute to the fantasy genre? Are some stories better when they are told through animation?

@theuncannyprofessoro

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[zanewatchestuff]

Superhero Roundtable: Invincible

How do structural mythology, cultural studies, and cultural history reflect the series’ world and world-building around superheroes?

Invincible, much like many modern iterations of the “Capepunk” superhero genre that explores superheroism in a “realistic” manner accompanied by dark comedy and gruesome conflicts, offers commentary and its own unique premise on the cultural studies, cultural history, and structural mythology especially. The structural mythology of the show that initially borrows and parodies the structural mythologies of shows like The Justice League (2001) constantly explores what it means to be a hero through the main character, Mark Grayson. The 17-year-old half-human-half-Viltrumite high school student grapples with not just having to learn how to use his new powers, but also what being a superhero means, a concept that Mark struggles with throughout his entire career. A modest example of this is how Mark dubs his superhero alter-ego as “Invincible”, yet throughout the series, he is constantly beaten to near death and loses many major conflicts. Additionally, his father, otherwise known as Omni-man, someone whom Mark initially looks up to and models his superhero identity and perspective after, reveals to Mark that he comes from an alien race whose purpose is to conquer the universe and nearly kills Mark after Mark’s refusal to join in his father’s conquest. This is one of the most pivotal events in the series, as not only did it result in the death of thousands of people, but also is the beginning of the deconstruction of the illustrious image superheroes held and greatly influenced Mark’s career as a superhero.

The media of Invincible, which includes both the show and the graphic novel from which the show is adapted, greatly reflects cultural beliefs in their audience, more so in the comics, and adds onto these shaped beliefs. Apart from the show bolstering a wide array of superheroes from many different races and ethnicities, Invincible adds to the cultural view that anyone can wear the mask, a view famously explored through Spider-man media. Superhero monikers in the world of Invincible, primarily in the comics, are interchanged and evolved upon e.g. numerous people taking on variations of Omni-man’s identity and a few characters temporarily and permanently stepping in as Invincible with their own perspectives on what that position means.

The comic run of Invincible spans from 2003 to 2018, meaning there is a large element of cultural history that each major arc of the comic run is influenced by, however, the current run of the show makes some attempt to modernize some of the cultural history elements. One that particularly jumps out is the change in values of broadcasting and information exchange and how that has played a part in the growing caution and distrust for authoritative bodies, namely the U.S. government, among the younger generation. In some scenes in the show, as Mark is starting to develop agency in being a superhero, he has numerous arguments with Cecil Stedman, the government agent in charge of the Global Defense Agency, and even defies orders that Cecil gives him in acts of both rebellion and growth in his own ideologies on ‘superheroing’.

In what ways are the superheroes and their abilities informed by their racial, gender, sexual, and cultural identities?

In many cases, superheroes in Invincible are inspired by already existing superhero entities of both Marvel and DC with a range of alterations, some of which are informed by their racial, gender, sexual, and cultural identities. Both Mark and his father Nolan exhibit powers popularized by DC’s Superman that also similarly stem from their cultural identity as aliens, namely, Viltrumites from the planet Viltrum. Though not explicitly explored in the early stages of Mark’s career, his Asian identity also plays a role in his superhero identity. Many male characters seemingly naturally have some degree of increased physical strength and durability as part of their abilities with very few exceptions like Rex-Splode whose ability is able to create explosions by charging molecules to an unstable level of power. Most female superheroes exhibit abilities that aren’t necessarily akin to physical strength or explosiveness and more so some form of manipulation of matter, with very specific exceptions in characters like Monster Girl who shares similarities to Marvel’s Hulk in that she can transform into a large monster with supernatural strength, durability and healing, and War Woman who bares similarity to DC’s Wonder Woman in numerous ways, including her supernatural strength, speed, and durability

The show also shamelessly plays into the trope of having black male characters have superstrength and/or supernatural durability, as there are numerous black male characters, both heroes and villains, who have almost the exact same abilities with the exception of characters like Darkwing, the Batman-inspired superhero.

In what ways do costumes and concealing identities further separate the superheroes from normal society? How necessary is it for the superheroes to hide their true identities to successfully achieve their goals?

The show takes some time to explore the process of how superheroes pick their costumes and how they choose to have their identities displayed, such as hiding one of their identities or making attempts to separate them.

A somewhat common trend among some superheroes of the world, usually superheroes who have had experience in the careers or are generally older, is that they don’t wear a mask or any sort of garment that could skewer their identity, which makes a lot of sense for superheroes who don’t have separate identities in their day-to-day lives, but for characters like Omni-man/Nolan Gray and Atom Eve/Samantha Eve Wilkins, one of Mark’s friends and allies, they’re still able to hide and separate their identities without using a mask of some sort. This isn’t quite successful for Eve as Mark is able to recognize her at school after encountering her as her superhero counterpart earlier, and she offers an explanation that most people don’t expect someone they know to be a superhero, a very Hannah Montana situation that mostly works. Mark, however, has a number of reasons as to why he has to wear a mask, especially for the safety of his friends and family, as there are numerous cases in the comics where villains exploit his identity as well as his ties to his Father.

The costume designs also play a part in separating the superheroes from society and are explicitly described as symbols. When he starts, Mark builds his costume with the notable goggles and bandana to hide his identity. He later visits Art Rosenbaum, a suit tailor who designs many of the costumes of the show, and we see him create Invincible’s suit and mask that he dawns for most of his career that helps hide his identity as Mark Grayson (an important detail that will be explored quite soon in the series). When picking a suit design with Art, Mark states that he doesn’t like the orange and yellow suit designs and wants something “more iconic” (hence the yellow ‘I’ in the middle of his suit). This reflects both Mark’s understanding of the superhero identity that is modeled greatly after his father who dawns an ‘iconic’ white and red suit with the letter ‘O’ on it, a symbol, as Omni-man describes it, and the design of other superheroes entities of the time that dawned sleek black lines and colors that accompanied whatever other color scheme the superhero wore.

How do the economic, political, and social events that occurred during the series’ creation and broadcast cultivate and inform the superheroes’ decisions and actions?

The Invincible comics began its run in 2003, meaning some of the comic elements and stories may have been influenced by the period of time in which there was a heavy focus on the United States combatting terrorism following the events of 9/11, as many “alien threats” dealt with by the superheroes resemble this period. Sam Raimi’s Spider-Man (2002) also came out a year prior and is heralded as a large influence in comic book superheroes, most likely also being an influence in the creation of Invincible as they share very many similar elements (and even have various comic runs where both characters crossover to work alongside each other and are drawn by the same artist).

Nonetheless, the T.V. show that’s been broadcasting since 2021 very much attempts to modernize the story, and we see elements of more transparent Government involvement (or rather more exposure into the credibility of the Government) following major events such as Trump’s impeachment. Additionally, in recent years there has been general dialogue and questioning over the State following more and more largely broadcasted and empowering social justice movements and mass protests in recent years (e.g. the Black Lives Matter movement) that have worked to counter a lot of authoritative policies as well as deconstruct prevailing social constructs. In the show, this can be reflected by how Invincible (and several superhero characters) begins to make more of his own decisions instead of simply following orders given to him by Cecil, as well as a general distrust for Government authorities by the general public due to either their reliance on Superheroes and their continuous exploitation of people, both superheroes and non-superheroes.

How do the superheroes question themselves, each other, and their obligations and duties to the people around them?

Mark especially questions his role and obligation as Invincible as his plate grows larger, takes on more responsibilities and constantly has his beliefs toyed with. Growing up with a father as a superhero, being a superhero just like him had been Mark’s dream for 17 years. However, after having his whole world shattered when his father revealed himself to be a world conqueror playing “superhero” and “family man” as a means to accomplish his goal of conquering Earth, killing the most powerful superheroes and thousands of civilians due to Mark refusing to join in the conquest, Mark begins the continuous journey of questioning his role and responsibility as a superhero, often fearing he would turn out like his father and constantly blames himself for the destruction Omni-man/Nolan caused. Even in the second episode, we see Invincible learn the nuances and difficulties of superhero work when he causes the death of an Old lady while trying to evacuate her from an alien invasion.

A common theme in the show is the irony of Mark’s superhero name, Invincible, and how he is often going up against threats that are a lot more powerful than him and he repeatedly gets beat up and loses his battles. This takes a toll on Mark, causing him to question his abilities more often than not, as well as those close to him e.g. his mother. It also plays into the theme of growing up and independence and all the challenges that come along with it.

Atom Eve also goes through her own journey of establishing her obligation and duties as a superhero, as she comes to the realization that her abilities (the power to see and manipulate matter at subatomic levels) could be used for more humanitarian purposes like solving world hunger and building homes rather than being reduced to violence in the form of crime fighting. She leaves her superhero team in order to pursue this goal, which she learns comes with its own challenges that cause her to question whether or not she’s doing the right thing.

Our season 1 antagonist, Omni-man, has his own journey of questioning himself and his obligation as a superhero. Initially, his militaristic, planet-conquest mindset that is instilled in Viltrumite culture is conflicted when he comes to Earth and learns about humanity and societies on Earth, developing an obligation to protect the planet, even if he planned to conquer it in the future. Even after revealing his goal was to “breed” a suitor, a.k.a Mark, that could help him on his conquest, he is unable to follow through because he’s overcome with emotion and memories of his time on Earth while nearly killing his son. In the 4th episode of the 2nd season, Omni-man shares a vulnerable moment with Mark/Invincible where he talks about how he doesn’t understand why he cares for and feels obligated to protect a “weak” alien species, why he feels like this should be his purpose instead of the Viltrumite conquest, and why death and the guilt of his actions suddenly begins to weigh on him for the first time in his life. The episode ends with Omni-man fighting his ex-comrades to protect an alien planet alongside his son, completely showing an overhaul in his initial ideologies, and is prepared to die for the Thraxan alien species.

@theuncannyprofessoro

#oxyspeculativetv #Youtube

[simonspeculativeothering]

Rick and Morty S2 E6: The Ricks Must Be Crazy(Panel Presentation)

How does the series use other worldliness (aliens, robots, non-human beings, etc.) to signify otherness in human identity (race, gender, sexuality, class, etc.)? 

This episode uses other-worldliness as a metaphor for class, with Rick stealing energy from the society that exists inside of his battery. The hypocrisy of his immoral behavior is revealed when a scientist inside of Rick’s battery creates the same invention, which leads them into a 2nd battery world where another scientist has a battery with the same technology. After going into the 3rd battery world, the 3rd scientist realizes the hypocrisy of the whole situation and commits suicide, leaving them in the 3rd battery world to fend for themselves. 

How does the series's genre portray technology as a humanist and post-humanist practices?           

Rick and Morty takes on a post-humanist stance, in the sense that Rick’s nihilistic perspective of being unimpressed by different realities. In another part of the episode, there is a side-plot where Morty’s sister is trapped in the ship with humans and giant spiders engaging in race-related diplomacy. Since spiders are often considered a scary animal, it makes a comedic gesture regarding race relations in our world and how people ironically view other races as being as scary as a giant spider.                

In what ways does the series use technology to symbolize "alien" monstrosity?

The series often uses eccentric examples of alien concepts to highlight the silliness of the idea of monstrosity. While Rick is often familiar with these many absurd types of aliens, there is always a new, silly rendition of what an alien could represent which wouldn’t be thought of intuitively. In this episode, the aliens are technically on earth, but existing microscopically. Though the aliens resemble monstrous figures, it does seem that the aliens all resemble human behavior on some level. In the societies that they live in, though, the assumption is made in this episode of Rick and Morty that the aliens exist in an earth-like world with the same types of societies and technologies.

How does the series use political metaphors to address geopolitical concerns during the period(s) the series was released? 

This episode in particular uses metaphors for both class division and racial division. In terms of the class metaphor, there is a bifurcation in morality between Rick and the other scientists, with each of them thinking that the society in their battery is inferior. At one point, Rick insults the other scientist by mentioning that his whole society is used just to power his spaceship. This insult seems to bring up the idea of imperialism in the sense that people of lower classes are dehumanized by their lack of power.

How does the series use science fiction genre as a space for framing humanity?

The series uses science fiction to frame humanity in an ironic sense. Similarly to Family Guy or South Park, Rick and Morty uses childish-looking cartoons to create absurd plots that couldn’t be fabricated with real film, but creates a very adult narrative, often questioning some aspect of society. Differently from these other shows, Rick and Morty caters to an intellectual audience, and the element of science fiction seems goes well with this audience since the plotline is able to be deviated in such a way that might be more difficult to understand than a show like Family Guy, which focuses on “immature” style jokes in a standardized American society.

Critical Questions:

Does a cartoon make it easier to suspend disbelief in science fiction?

Can a comedy show like Rick and Morty genuinely change someone’s opinion about race, gender, class, etc?

How does the length of the plot arch in a science fiction make a difference in its ability to introduce irony in regard to real-life social issues?

#oxyspeculativetv #@theuncannyprofessoro #Youtube

[yico0]

Love Alarm

"Love Alarm" uses the love alarm app, a piece of advanced technology, to signify otherness in human identity, particularly in love and relationships. The app creates a world where a person's desirability is quantified and broadcasted for others to see. This can be seen as a commentary on how technology can impact and commodify human relationships, touching upon themes related to class, popularity, and social hierarchy. It also explores the emotional distance that technology can create in human connections.

Humanist Practices: enhancing Human Connection and the emphasis on Human Emotions. The love alarm app is introduced as a tool to help people find love and emotional connection. It aims to enhance the human experience by allowing individuals to easily identify potential romantic partners. Post-Humanist Practices: blurring boundaries, dependency on technology, and people's exploration of identity. While the series primarily focuses on human emotions and relationships, it does introduce the idea that technology can blur the boundaries between the digital and physical worlds. The love alarm app creates a new layer of reality in which people's feelings are quantified and publicly displayed. It also depicts a society increasingly dependent on technology for matters of the heart. It suggests a shift in the way humans engage in romantic relationships, relying on algorithms and digital interfaces.

While "Love Alarm" doesn't explicitly involve aliens or monsters, it does depict the Love Alarm app as something that can feel alien and monstrous in its ability to disrupt traditional human relationships. The intrusive nature of the app, which broadcasts one's feelings to the world, can be seen as a form of emotional invasion, creating a sense of alienation and monstrosity in the characters' lives.

“Love Alarm" doesn't directly address geopolitical concerns in the traditional sense. Still, it touches on broader societal issues related to technology and social dynamics that can be interpreted as indirect commentary on contemporary problems. For example, the app "Love Alarm" raises questions about privacy and surveillance as the app collects and broadcasts users' emotional data. This theme resonates with contemporary debates on data privacy, surveillance, and the ethics of technology companies collecting and using personal information.

The central premise of the love alarm app serves as a reflection on the complexity of human emotions. It raises questions about whether love can be reduced to a numerical value and whether technology can accurately capture the nuances of human emotional experiences.

Questions:

In the context of the love alarm app's impact on social inequality and self-esteem, how does the series comment on the intersectionality of identities, such as gender, class, and physical appearance? How do they relate to broader discussions of identity in contemporary society?

"Love Alarm" introduces a world where emotions are quantified and exposed for public scrutiny. Can you draw connections between the show's exploration of this theme and real-world examples or ethical frameworks?

How does the love alarm app in "Love Alarm" impact the characters' everyday lives and decisions, and how does this reflect the influence of technology on modern relationships and societal norms?

#oxyspeculativetv #@theuncannyprofessoro #Youtube

[joe-dayton]

Love, Death & Robots Panel Discussion

1. Swarm (S3 / E6 of Love, Death & Robots) uses the otherworldliness of the titular alien race, the Swarm—a semi-sentient hive mind consisting of a large variety of symbiotic species of insectoid aliens—to explore and challenge common Western conceptions of technology, intelligence, and culture through a confrontation of both the conceived superiority of western values and the othering of different ontologies of being and intelligence. 

2. Although not every episode within the series as a whole remains strictly within the boundaries of what could be considered SF, those that do present the use of technology as an extremely violent and militant post-human practice of a staunch dividing line between intelligent, virtuous humans and beastly, egotistic aliens. Swarm, however, subverts this trope and presents an alternative ideology on the virtue of exploiting intelligence and technology for power, ultimately championing a naturalist alternative to an egotistical humanistic narrative.                        

3. Rather than using technology in the classical sense, Swarm presents a unique “biological machine” with the power to easily rival the capabilities of the technology that humans possess in this future. Throughout the series, aliens are not used as an allegorical representation of othering within a societal context but rather as a dangerous pest that must be culled for the good of humanity. The biological machine and instinctive intelligence of the Swarm challenge our conceptions of technology and intelligence and instead posit humans as the monstrosity.

4. As a series, Love, Death & Robots rarely goes beyond the narrative structure and nuance of humans are good, anything else is evil. Across the majority of the episodes, there are heavily pro-military narrative themes and Western dominance spliced between gratuitous gore. Swarm, however, presents an albeit ambivalent but strongly anti-human sentiment, exploring themes of colonialism and expansion as well as human greed for power and resources.

5. When analyzed within the framework of Jablonski’s theory on technology as a racial construct, Love, Death & Robots almost reads like a dark and ironic comedy attempting to satirize the ego and self-importance of our society and humans in general. As such, Swarm is a refreshing narrative within the series’ overall use of the SF genre, framing humanity not as the only species in the universe that matters but rather as an insignificant and egotistical blip in the grand scale of the universe.

Discussion Questions:

How can science fiction specifically be a unique avenue for geopolitical concerns? Does it encourage dissent and discussion or does it stifle it with generic pro-war popcorn movies?

What do you think is the significance of “anti-human” science fiction or fiction in general? Is it helpful to awakening social consciousness or is it just “resigned anti-utopian pessimism”, even nihilistic? (Godhe, 2019)

How do you feel that imagined alternatives of intelligence and culture are typically portrayed in science fiction? Are those cultures and forms of intelligence valued or distrusted and destroyed?

@theuncannyprofessoro

#oxyspeculativetv #@theuncannyprofessoro

[aimlessgeology]

The Magic of Sisterhood: Panel Presentation

Gliding on the coattails of Buffy, Charmed (1998-2006) follows the lives of three sister witches, navigating their newfound powers and defeating evil from the other side, all while balancing their delicate bonds with one another.

Tensions between the Halliwell sisters are high at the outset of the series, when Prue (Shannon Doughtery) and Piper’s (Holly Marie Combs) youngest sister Phoebe (Alyssa Milano) returns to their inherited home in San Francisco after a long time away. The sisters fill the archetypes of their ages. Prue, the eldest, is responsible and uptight. Piper the middle child is a fantastic mediator in clashes involving little Phoebe’s free-spirited, naive and reckless tendencies. 

The main point of the series is the ever-deepening bond between the sisters (“The power of three will set us free!” S1:E1.). The sisters act as mirrors to one another and ultimately they all provide council to one another in differing but all-important ways. 

Katherine Whitehurst wrote the piece “Growing Up in Magical Time” dissecting the female development in the magical fantasy world of the ABC series Once Upon a Time (2011-2016), specifically discussing “what ‘ideal’ female development looks like, framing the ideal female as self-sacrificial and benevolent” (11) and the show’s complex structure that includes both episodic and non chronological storytelling which assists in the complex development of female characters. 

As a product of the 1990s, Charmed is not, so far as I’ve seen it, super complex or boundary-breaking when it comes to female character development or any other issue for that matter; it’s a fairly white-bread fantasy romance comedy show, starring three attractive white women, who date a rotating cast of square-faced men, as they fight evil beings and then go home after the battle to their impossibly whimsical three-story manor in San Francisco.

That being said, there is some interesting character development and relationship dynamism at play in the series. Whitehurst’s point about the effects of ‘magical time’ in Once Upon a Time, where happenings in the magic realm lead to unpredictable, nonlinear change for the characters, applies to Charmed as well. 

The Halliwell Sisters’ change into witches marks a transition into magical time where their characters and relationships develop rapidly. They are given emotional depth because they’re grieving the recent death of their mother. The introduction of magic intensifies their lives.

The Halliwell Sisters have it all AND THEN SOME… They are magical witches, specifically “the most powerful good witches of all time,” which seems like a big thing to just… Become. 

Appropriately, all the sisters struggle with some form of imposter syndrome, though they don’t suffer equally. By the 2nd episode, Prue, the eldest, has implored Phoebe, the youngest, to not use her powers under any circumstances (even though none of them can control it).

In the 2nd episode, Prue has a fun night with square-faced man and afterwards her sisters slut-shame her (in an "empowering" way?), suggesting judgement about ideal female sexuality and what's socially acceptable for Prue, a well-to-do white lady in the 90s.

Not only does this scene reveal some of the values of the time concerning women and casual dating, but it also shows the tension that surrounds the sisters’ newfound powers. Here, their powers divide them. They can’t even agree on how to talk about it. They’re judgemental towards one another about their magic and their sex lives; typical catty ladies, amIRight?

By the end of the episode, however, Piper and Phoebe strike a different tone. Phoebe, generally the naive one, offers some sound and comforting advice to her older sister, who is struggling with the transition into being a witch. It’s kind of like the Halliwell sisters enter a sort of puberty all at the same time, which is different then the way they would have experienced such a profound change in their human lives, as they all occupy different ages, and therefore different roles.

To Whitehurst’s point that the flashback structure of Once Upon a Time shows “how the past and present resonate in unison when considered beyond a linear and ordered temporality” (9), despite Charmed being entirely episodic and mostly chronological thus far (not including the premonitions experienced by Phoebe), the text develops a language of nonlinear development by having the sisters operate as a system, whose different parts and actions influence each other in nuanced ways. The sisters experience growth together that they wouldn’t be able to separately. It is also explained that their powers continue to grow and change. For eight seasons!

CRITICAL THINKING QUESTIONS:

What does a piece’s character development writ large say about the message of a text? Are there good and bad kinds of development? Does a narrative benefit from development in one direction or another, or is a balance necessary?

What does the protagonists’ positionality as privileged women contribute to their character development? Does their privileged status have a connection to the assertion that they are “good” witches? 

Charmed doesn’t do very much in the way of challenging the status quo. What components of the show do you think would be different if it was interested in exploring an ideology different from the dominant white and western perspective it represents?

--Melissa (aimlessgeology)

@theuncannyprofessoro

#oxyspeculativetv #charmed #Youtube