I’m still part of the show and enthusiastic about it — I just did a rewrite on the first episode which starts filming this week. Bryan Fuller and Michael Green left, after disagreements over budget issues. (They wanted more than the 9 million an episode they had). Gillian Anderson was only signed up for one season. Kristen should be back the next time Easter is in the story.
Gillian Anderson was absolutely sublime. Her absence from season 2 will be a real loss. Glad we get more of Easter, at least – she was nothing like I imagined in the book, and on the whole I like the TV version better.
I’ve been called and teased as “Apu” from the Simpsons many times. In fact my real full name even evokes Apu, and in high school I was one of exactly two kids of Asian descent. I smelled funny, I looked weird, I was a geek and a loner (and still am). Apu was introduced to the world in 1989, my junior year, so I didn’t have to coexist with Apu for that long, and today’s kids probably see the Simpsons as archaic TV so I doubt Apu’s cultural resonance is as relevant now as it was during the 90s and 2000s. Still, at least two or three generations of brown kids have had to endure, at some point, a comparison to Mr. Nahasapeemapetilon. That sucks, sure.
However, had Apu never existed, would brown-ness have been invisible? Was Apu the cause of alienation, bullying, mean-ness, feeling different, feeling Othered? I think Apu was a handy tool for the kind of schoolyard nonsense we all endure in varying forms – and let’s be clear, being brown meant you were privileged in a way that other minorities were not, so enduring Apu and Kwik-e-Mart jabs during adolescence was hardly an existential identity crisis of the sort that Muslim Americans (kids and adults alike) have had to endure since 9-11.
Look, soft racism is racism, racism is bad. But soft racism can be endured without losing your dignity in a way that hard racism cannot be endured without true pain. I have experienced both and frankly, being compared to Apu is a mark of pride for me. Lets ask ourselves who Apu is?
Apu is not accused being part of a cultish religion that allegedly either controls the media and the world’s finances, or is set on replacing the world’s law with a throwback system of brutal control over unbelievers. Apu is not portrayed as a sexual fiend, a criminal, or a academically talented but poorly-endowed freak, based on the color of his skin or the shape of his eyes. Apu is not a member of an elite who makes your life miserable, who has everything you deserve.
Apu is a father, an entrepreneur, and a kind person, who minds his own business (literally and figuratively), who others rely on, who has sometimes needed help. But most of all, Apu doesn’t change who he is. Apu has been the target of soft racism for 20 years and hasn’t changed his hair, his clothes, his accent, his beliefs, his values.
Let’s compare Apu to the current heroes of the Brown Folk today: Aziz Ansari and Kumail Nanjiani. I commented elsewhere that these two real-life humans have done more (on screen) to damage Brown identity in just the past couple years than anything Apu has done in the past 20. Why? Others have said it better than me:
The bottom line is that the Simpsons and Hollywood have two different versions of brown males. One is someone who embraces his identity, even in the face of mockery. The other is one who does the opposite. I’m with Apu.
teaser from SyFy below – god I love this show, but i love the books even more. #WhatsFirefly?
Incidentally, I just finished (audiobook) of Persepolis Rising, which kicks off the new trilogy, and pulls a Star Wars timejump. This is as deep a well of excellence as Game of Thrones, except that the authors are actually writing the next novel, and the TV show is comfortably far behind 🙂
EXCLUSIVE: Iain M. Banks’ classic sci-fi Culture book series is headed to television. Amazon Studios has acquired the global TV rights to the first novel in the series, Consider Phlebas, with Utopia creator Dennis Kelly set to pen the TV adaptation, Plan B Entertainment (World War Z Moonlight) slated to produce and the Estate of Iain Banks attached as executive producer. The book had been pursued by a number of top film and TV producers.
I think Player of Games would have been a more engaging entry – but I can see why Phlebas is getting first billing, what with the monsters and the trains and the big booms and all.
Fundamentally, Spock is the central character of Star Trek. His presence connects space, time, and reality. He has appeared before TOS and after DS9; he has appeared as an infant and an adult; he has appeared in an alternate timeline (Prime) and an alternate Universe (Mirror); he has appeared on screen with himself, he has died, he has been reborn, he has suffered the loss of his mind, he has suffered the loss of his brain. There is no axis of star Trek that can omit Spock.
Consider also that even putting aside the visual retcon of Star Trek: Discovery, Spock as a character has been played by a total of eight actors, two of which played Spock in his prime (Nimoy and Quinto). Spock is akin to Superman – a character who is instantly iconic and recognized, even though the face changes.There was no angst about Zachary Quinto’s portrayal on par with the angst currently suffusing Star Wars fandom over casting Alden Ehrenreich as Solo. We, the Trek collective, did not even have any real issue with Quinto-Spock receiving personal effects of Nimoy-Spock including the iconic cast photograph in which the visual discrepancy between all of the bridge crew was simply presented on screen without explanation or fuss. It simply was. It simply is.
Spock must appear in Season 2. We can quibble over warp nacelle shapes and surface veneer when it comes to the Enterprise, but even the critics of that design choice still had at least one heart palpitation at seeing the original NCC-1701 grace a television screen again for the first time in decades. Spock, however, is beyond debate.