By Chris Snellgrove
| Published 46 seconds ago

Star Trek: Deep Space Nine is considered the best show in the franchise by many fans, myself included. The show focused on extensive characterization, long-running arcs, and fairly dark plots, including the Dominion War story that dominated the last two seasons. Decades later, NuTrek shows like Discovery, Picard, and Starfleet Academy fizzled, leaving the frustrated fandom to ask a simple question: why can’t these newer shows be more like Deep Space Nine?

However, here’s a troubling fact: NuTrek sucked so much precisely because the creators were trying to make shows like DS9. Obviously, they didn’t do a very good job, mostly because executive producer Alex Kurtzman is a complete hack. But if you pound a few shots of Romulan Ale and squint, you can see that the architects of NuTrek went all-in on the idea of creating “darker” Star Trek shows in a failed attempt to recapture the magic of what made Deep Space Nine so special.

Star Trek Into Darkness

Deep Space Nine is considered the dark (if not the darkest) Star Trek show for many reasons. It doesn’t feature the squeaky-clean heroes of The Next Generation; instead, our heroes include a former terrorist (Kira), a former spy (Garak), and an angry widower who ends up becoming a reluctant Space Jesus (Sisko). His chief foe is basically Trek’s closest analog to Adolf Hitler (Gul Dukat). Even the relatively “normal” characters get dark backgrounds and plots. For example, fresh-faced medical prodigy Dr. Bashir is revealed to be a Khan-like augmented human. Affable everyman O’Brien, meanwhile, gets physically and mentally tortured at least once a season.

The show also used its Dominion War arc to test the boundaries of Star Trek’s endless idealism. Sisko becomes an accessory to a murder, but he never admits it because this act finally gets the Romulans to join the war. He also discovers that Starfleet has a secret wetworks division known as Section 31, which handles everything from assassinations to genocides. Odo gets so distracted by shapeshifter sex that he becomes a collaborator with monsters (again). Oh, and Worf murders Gowron (with Sisko’s blessing!) so he can install his buddy as Chancellor of the Klingon Empire.

NuTrek Is An Edgerlord’s Paradise

Obviously, DS9 had dark characters and storylines, but what does that have to do with NuTrek? In short, the entire Kurtzman era of this franchise has been filled with lame, edgelord attempts at making the franchise darker. The first season of Star Trek: Discovery, for example, centers on a mutineer who started a war as its main character. It’s a season where Klingons eat their dead foes and strip down to engage in sex that’s half play, half intimate assault. An evil Starfleet captain tortures a tardigrade before the good Starfleet captains one-up him with a plan to blow up an entire planet in an attempt to end a costly war.

Star Trek continued going (ahem) into darkness with other spinoffs. Picard inexplicably features a beloved Voyager B-lister getting tortured and murdered while Picard cozies up to a Romulan swordsman whose only solution to any problem is cutting someone’s head off. They’re fighting to save a Federation that is now cool with creating synthetic slaves. Later, Season 2 has our heroes fighting ICE, watching Q die, and discovering that a young Picard accidentally helped his mother unalive herself. Even the relatively lighthearted Starfleet Academy had the good guys put the entire Federation in danger because they meddled with and accidentally weaponized the most dangerous molecule in the galaxy. 

It’s All About Testing Characters’ Morality

In retrospect, it’s clear that Alex Kurtzman and his writers thought they could recapture the old Deep Space Nine magic by throwing a bunch of grimdark characters into gritty situations and calling it a day. However, this didn’t work because DS9’s characters weren’t inherently dark; instead, they were good men and women forced to weigh their morals against the greater good. In the classic episode “In the Pale Moonlight,” Sisko isn’t compelling simply because he’s a morally murky character. No, what makes this episode fascinating is that he’s a good man forced to do bad things, with the fate of potentially billions of lives riding on his decision.

Similarly, Worf doesn’t kill Gowron because of petty vengeance or a haunted past. Instead, he weighs his cultural values as both a Klingon and a Starfleet officer, ultimately deciding it’s better to kill a tyrant than let him continue getting others killed. Even plain, simple Garak seems happy with his life as a tailor, and he’s only reluctantly drawn back into active spycraft because he realizes the best way to save his homeworld is to save it from the Cardassians who have sold its soul, one alliance at a time.

This obviously extends to the Dominion War arc as a whole. We see the toll the war has on good men and women: Nog becomes a wounded and disillusioned war veteran, and Rom nearly gets killed trying to save the Alpha Quadrant. Jadzia Dax does get killed fighting superpowered space Hitler, and Odo begins to question his loyalties. However, characters retain their morality throughout every ordeal. Bashir repeatedly refuses to join Section 31, and Odo saves the Changelings from that organization’s attempted genocide. Standing victorious on Cardassia, Captain Sisko and Admiral Ross refuse to toast their victory, instead choosing to mourn this utterly senseless and completely preventable loss of life.

NuTrek Made Its Worst Villain Into A Hero

Compare that to NuTrek, where the Klingon War hardens hearts and makes the wisest people lose their moral compass. Both Sarek and Starfleet are willing to blow up the Klingon homeworld and kill billions in order to end the war. Starfleet has suddenly decided to trust its war planning to Mirror Universe Georgiou, a woman who has terrorized the entire galaxy while murdering countless people. Later, she’s put in Section 31 (a DS9 invention NuTrek tried very hard to capitalize on) so the entire Federation can continue to benefit from her completely amoral advice. That’s because the Feds believed the same thing that Picard suddenly starts believing over a century later: violence is great as long as the ends justify the means.

This is basically the problem with NuTrek in a nutshell. We don’t get fully fleshed-out characters whose morality is tested by unthinkable scenarios. Instead, we get one-dimensional characters who are dark and compromised from the beginning. Michael Burnham is meant to be the embodiment of Starfleet ideals, but she comes to us as an angry, nearly broken mutineer who, in her guilt, saves an alternate universe’s most murderous monster from certain doom. Even formerly complex characters like Picard are made dumb, violent, and impulsive by writers who value blunt spectacle over elegant storytelling.

Star Trek Needs More Than Darkness

Alex Kurtzman tried to copy the Deep Space Nine formula for NuTrek, but, in typical fashion, he went about it in the stupidest possible way. It’s not enough to give us dark settings and plots; we need well-developed characters whose morality is an idealistic counterpart to the darkness around them. Stories needed to reinforce Star Trek’s hopeful ethos and reward audiences who never lost faith in the greatest sci-fi franchise of all time. Instead, what we got was a collection of dark characters, pointless action scenes, and endless violence, all wrapped up with another snoozeworthy Michael Burnham speech.

This is Kurtzman’s warped idea of what makes Star Trek so great. Is it any wonder that every one of his NuTrek shows has been a colossal failure?

By Jonathan Klotz
| Published 36 seconds ago

Ask anyone on the street to name the greatest movie of all time, and you’ll get a wide range of answers, from Avengers: Endgame to Gone with the Wind, but ask someone to name the greatest sequel ever, and it narrows the field. Star Wars: The Empire Strikes Back is in the conversation, Star Trek II: The Wrath Of Khan is a classic, but nothing compares to The Godfather: Part II, not only is the best sequel ever made, it’s one of the greatest movies in history. Both sequel and prequel, the return of Michael and Vito Corleone pulled off the rare feat of improving on the near-perfection of the original. 

The Godfather Part II Is A Cinematic Masterpiece

The Godfather: Part II splits its narrative along two timelines: first, the rise of Vito Corleone (Robert De Niro) in Italy as he takes his first steps into the Mafia. De Niro’s award-winning performance shows the struggle of the future Don as he tries to do right by his family when life keeps kicking him down. When we first met Vito, as played by Marlon Brando in the original, he was confident and in control, ruling an empire, but as we learn in the sequel, it’s an empire doomed to fall. 

Vito’s sons, Michael (Al Pacino) and Fredo (John Cazale), struggle to hold onto the Corleone’s top spot in the Mafia amid assassination attempts and a traitor from within the family. While Vito’s story is about building an empire, Michael’s is about the struggle to hold onto one, and you can see how the sons of an immigrant are losing touch with their homeland. The Godfather: Part II is, at its heart, a story about the immigrant experience, which also happens to be the movie that defined crime movies for decades. 

Defining A Genre

Impressively, The Godfather Part II earned $93 million worldwide in 1974, which is unadjusted for inflation, which means 50 years later, Francis Ford Coppola’s masterpiece outgrossed Borderlands. At the time of its release, the sequel/prequel was slammed by critics for being overly slow, and no less a critic than Roger Ebert slammed the dual-narrative. It didn’t take long, though, for the film to be rightly recognized as a landmark achievement in movie history, to the point that not even Megalopolis could diminish the legend of Coppola.

Every Mafia movie that has come after The Godfather Part II is standing on the shoulders of a giant. The Sopranos owes it a debt for building off of Michael’s story, Boardwalk Empire contains echoes of Vito’s struggle to build his Empire, and even the legendary Goodfellas pulls from the tragedy of Fredo. Few films are so successful that they define an entire genre, but that’s exactly what Coppola’s magnum opus has achieved.

The luxurious pacing of The Godfather Part II sticks out even more today in the era of rapid-fire mini-climaxes every 20 minutes. It isn’t a weakness, though; it’s a strength, because when you give the film all of your attention, each and every detail, every subtle interaction, every inflection of De Niro and Pacino carries weight and meaning. Francis Ford Coppola is one of the greatest directors in history, The Godfather is one of the greatest films in history, and yet, its sequel is required viewing by everyone who has even a passing interest in crime cinema.

The Godfather Part II is now streaming for free on Pluto TV.

By Chris Snellgrove
| Published 12 seconds ago

Growing up as an ‘80s kid, I had a fairly awesome childhood (thanks, mom and dad!). My nostalgia for that era is quite strong, which is why I’m typing this while surrounded by a small army of GI Joes, Transformers, and Ninja Turtles. It’s no surprise, then, that when friends ask me what movies they should show their children, I typically recommend films from the decade that brought us everything from the Ghostbusters to Big Trouble in Little China.

When a friend recently asked what she should show her two kids, I didn’t hesitate to recommend Labyrinth. Cute songs, wacky muppets, wacky David Bowie, and Jennifer Connelly in a breakout role; what’s not to love? Soon, she reported that her kids were having nightmares about the Goblin King and his monstrous minions. I felt bad for about two seconds before realizing the problem: Jim Henson’s Labyrinth is still a perfect children’s movie. Unfortunately, Hollywood has transformed modern kids’ movies into vibes-based screensavers that no longer allow children to safely explore crunchy concepts like love, death, and even human mortality.

Ziggy Stardust And The Goblins From Mars

After my friend chided me about my recommendation, I had to be honest with myself: Labyrinth is a pretty scary movie. The central plot involves a mysterious man kidnapping a small child, and poor Jennifer Connelly must navigate a world of increasingly nightmarish Muppets in order to rescue him. The titular labyrinth often feels like a prison with no way out, and things like the “Helping Hands” scene and the masked ball are the stuff of fever-dream nightmares. Hovering over all of this is the fact that the Goblin King is a middle-aged menace trying to secure a child bride, one played by a girl who wasn’t even old enough to get her learner’s permit.

Despite all of that, though, I still think Labyrinth is a great film to share with children. To me, the scary aspects mentioned above are a feature, not a bug. It may be “only” a kids’ movie, but these frightening features infuse Labyrinth with a sense of genuine tension from beginning to end. Tension is, of course, the secret ingredient of any good story because it provides the narrative with real stakes for the characters that we care about. Those characters grow through tension and conflict, but most modern children’s movies have surgically removed everything scary and tense in an effort to make their films less offensive and more palatable.

A Star Is Born

In A Minecraft Movie, for example, no kid thinks the malevolent Malgosha is going to take over the world; they understand the plot is just window dressing for a film trying to squeeze in as many game references as possible into the runtime. Similarly, no youngsters watching Sonic the Hedgehog think Dr. Robotnik will win the day. They’re just here for the in-jokes and slick special effects that precede the inevitable happy ending. Furthermore, no children think Bowser, Jr. is going to conquer the universe in Super Mario Galaxy; they’re just here to appreciate the parade of Nintendo memes onscreen and hope their favorite Smash Bros. characters pop up. 

These movies are not designed to challenge children; instead, they serve as two-hour distractions for parents who need some peace and quiet. Unfortunately, the concerted Hollywood effort to make these films inoffensive has also made them bland and creatively bankrupt. It’s functionally impossible for children to enjoy these works as films: instead, they are designed as just another bit of colorful stimuli for an ADHD generation raised more by their iPads than their parents. But Labyrinth is proof that it doesn’t have to be this way and that we can (and should) be giving our children plenty of substance to go with their spectacle.

The World’s Creepiest Muppets

Why, specifically, do I think children should watch Labyrinth? The first reason is that, at the risk of sounding overly blunt, fear is something that everyone must deal with every single day. Watching a spookier children’s movie allows kids to microdose fear and learn to process it within the context of a story that ultimately offers an inevitably happy ending. You know how some people are so nervous that a loud noise can ruin their entire day? That’s what happens when you lead a sheltered childhood protected from all things scary. Conversely, a regular diet of mildly frightening kids’ movies can help the audience grow into well-adjusted adults.

On a related note, movies like Labyrinth are a safe, controlled way to introduce kids to important real-world topics that might just save their lives. This is a film about child abduction, extortion, power imbalances, and so many other ‘dark’ topics, but it’s all wrapped in a shiny wrapper that includes cute songs and cuter creatures. Take it from a parent: you’ll eventually have to talk with your children about how all of this works in the real world to keep them safe. That conversation will be a lot easier for you (and more believable for them) if they have had time to process these scary ideas within a fictional context.

Teaching Kids Lessons (One Scream At A Time)

Finally, if you actually watch the movie with your kiddo instead of just using the TV as a babysitter, you can help teach them the most elusive skill of all: critical thinking. Every moment that makes them cover their eyes in fright is an opportunity for an open and honest conversation, with leading questions like “why did that scare you?” and “what do you think that character should have done instead?” This teaches children to actually engage with and learn from media, all while improving their self-confidence by helping them get over their fears. Not for nothing, they’ll also feel a sense of pride for emerging from a scary movie, stronger than ever.

Want to teach your own child a few important lessons? Or want to relive the glory days of weird ‘80s cinema? Heck, do you just want to jam out to the Goblin King’s impossibly catchy tunes? No matter your motivation, you’re in luck: Labyrinth is streaming on Netflix today. It’s a scary good time that, regardless of what my friend might tell you, is fun for the whole family. Fair warning, though: you might want to make sure nobody’s around before you start dancing your own magic dance in the living room!