This is an interesting reinterpretation of masculine and feminine that speaks to contemporary perspectives on to what extent gender is a spectrum, especially when we consider the fates of all the so‐called "masculine" men in Dune. On one level, in Denis Villeneuve's Dune women become empowered, while the men become emasculated. Examining gender in Dune would be incomplete without a look at Baron Harkonnen, who, in both Frank Herbert's book and in David Lynch's 1984 film, is clearly depicted not just (...) as gay, but as embodying a sort of deviant sexuality. So, it appears that the traditional masculine/feminine gender binary is challenged throughout Villeneuve's part one, with many of the male characters embodying a feminized masculinity and with most of the female characters existing within a feminine imaginary to the point that Dune 's society borders on the androgynous. (shrink)

This chapter explains some sort of feminist transformation from Snow White to Moana. There are four waves of feminist philosophy which can help us understand the progressing role of Disney princesses since Snow White's debut in 1937. Disney's three waves of princesses reflect the waves of feminism from which they emerge. In subtle but profound ways, Disney princesses have evolved as each wave of feminism has crashed upon the shores of culture. They shift people's focus from reinforcing patriarchy, to challenging (...) it, and finally turning it on its head, redefining their very understanding of what it means to be feminine and masculine. The implication is that equality is not based on making women and men equal to one another, but rather on making them balanced within themselves. Going forward, people can only imagine what the next batch of Disney princesses will offer. (shrink)

This essay examines how Black Mirror presents mortality as a moral dilemma, asking if we should use technology to rewrite the rules of existence. Through the exploration of philosophical perspectives from Martin Heidegger, Albert Camus, Jacques Derrida, and Sigmund Freud, the essay illustrates the choices Black Mirror presents regarding how we should deal with the death of others and the death of ourselves, as well as the meaning of death and whether we should defer it or embrace it.

In The Empire Strikes Back, African American actor Billy Dee Williams turned the trio into a quartet as Lando Calrissian. Novelist and social activist Alice Walker coined and defined colorism as the “prejudicial or preferential treatment of same‐race people based solely on their color,” according to Kimberly Jade Norwood and Violeta Solonova Foreman. For Norwood and Foreman, colorism is concerned with the lightness and darkness of skin tone, with preference given to whiteness. Colorism in the United States took root during (...) the period of slavery, when “coalescence of needs, beliefs, justifications, and practices had the effect of placing white skin at a premium and dehumanizing black skin.” Jennifer Bloomquist writes that there is “a protracted history of Whites creating Black caricatures,” which includes “underdeveloped Black characters” in American entertainment. Boyega overlooks the presence of culture and the representation of other races and ethnicities throughout the Star Wars films and even throughout the various television series. (shrink)

This chapter looks at several ways philosophy deals with natural law, especially through the work of Ayn Rand, whose thought was a major influence on one of the creators of Doctor Stephen Strange, Steve Ditko. Rand's philosophy, known as objectivism, covers a lot of ground, but the chapter focuses on what she perceives to be its foundation, the three basic axioms of life: existence, consciousness, and identity. For an Objectivist like Mordo, knowledge must serve natural law. For Strange knowledge serves (...) the mission: he sees violating natural law as another option, and one that sometimes allows him to uphold it in a broader sense. Strange was not only willing to defend Earth by using his knowledge and choosing to violate natural law, but in doing so he became the only one able to stand up to Dormammu and defeat him. (shrink)

One of the pleasures of watching Saturday Night Live (SNL) comes from knowing the show is live. The not‐ready‐for‐prime‐time‐players, their guest hosts, the unannounced walk‐on cameos, the house band, and the guest musicians are all in New York at the very moment the show airs, offering us a mocking, postmodern representation of reality through absurd (and sometimes very juvenile) humor. From guest hosts spoofing themselves in sketches, to the various impersonations of cultural figures, to the parody commercials to the pseudo‐news (...) of “Weekend Update,” SNL humorously captures the present and reflects it back to us, satirically revealing the hidden realities we all experience. This chapter explores if Plato (427–347 BCE) and his Cave Myth, and Jean Baudrillard (1929–2007) and his conception of simulacra, can help us better understand the nature of SNL's reality. (shrink)

Agent Ross's interrogation of Ulysses Klaue doesn't just explain the significance of vibranium, it frames vibranium as “the most valuable metal known to man,” which, in turn, establishes what ends up being a moral dilemma for T'Challa – when Agent Ross gets shot and, later, when T'Challa learns the truth about his father's past. The scene also adds to the fabled mystery that the larger Marvel Cinematic Universe (MCU) narrative weaves throughout the other films. Although the metal's uses are fictional, (...) the concept and presence of vibranium in Black Panther and the depiction of Wakanda in the larger MCU narrative present some philosophical issues with regard to vibranium's value. While vibranium's use value is important to Wakandans and its exchange value is important to villains like Klaue, another way to understand the value of vibranium is to examine its cultural value. (shrink)

Blue is a significant color in science fiction: Star Trek, Star Wars, Avatar, Marvel, and DC all have aliens, mutants, and superheroes that come in shades from aqua to cerulean to cobalt. In Dune, however, blue is not a skin tone, it is an eye color – not for aliens, but for humans. Specifically, it is meant to visualize and symbolize the Fremen, and anyone who is either addicted to spice or has been around it long enough for their eyes (...) to change. Accordingly, the blue eyes of Zendaya and Duncan‐Brewster are not just visually striking, they are culturally striking, especially in light of contemporary philosophy of intersectionality and critical race theory. Thus, Denis Villeneuve's Dune is not just re‐colored, it is re‐contextualized to fit a twenty‐first‐century awareness regarding diversity and cultural pluralism. (shrink)

Wakandan women can play stereotypically male roles because of the political construction of Wakandan identity. Wakandan women emerge, for starters, in a radically different cultural context than women of color in other countries and cultures. Despite their tacit representation of feminist ideals, Wakandan women resist the full‐throated feminism we associate with the modern era: the no‐husband, no‐children feminism championed by the French philosopher Simone de Beauvoir. In 1966 Black Panther, the Marvel comic superhero, made his debut during the height of (...) second‐wave feminism. Back in Wakanda, M'Baku's renouncement of Shuri's non‐domestic activities makes an implicit appeal to the feminine mystique. Recognizing feminist and womanist elements within Wakanda helps explain the masculine and feminine performances of Wakandan women. Demystifying Wakanda requires us to recognize and reckon with The Panther Mystique : uncoerced appropriations of masculine and feminine norms for the sake of collective, communal freedom. (shrink)