Fictional characters

3055 quotes found

"Darth Vader: "I saw your ship. What are you doing out here?" Padmé: "I was worried. Obi-Wan told me terrible things." Vader: "What things?" Padmé: "He said you turned to the Dark Side, that you killed younglings." Vader: "Obi-Wan is trying to turn you against me." Padmé: "He cares about us." Vader: "Us?" Padmé: "He knows, he wants to help you. Anakin, all I want is your love." Vader: "Love won't save you, Padmé, only my new powers can do that." Padmé: "But at what cost? You're a good person, Anakin, don't do this." Vader: "I won't lose you the way I lost my mother. I am becoming more powerful than any Jedi has ever dreamed of. And I'm doing it for you, to protect you." Padmé: "Come away with me, help me raise our child. Leave everything else behind while we still can!" Vader: "Don't you see, we don't have to run away anymore. I have brought peace to the Republic. I am more powerful than the Chancellor, I can overthrow him. Then together, you and I can rule the Galaxy, make things the way we want them to be." Padmé: "I don't believe what I'm hearing. Obi-Wan was right, you've changed." Vader: "I don't want to hear anymore about Obi-Wan. The Jedi turned against me. Don't you turn against me!" Padmé: "I don't know you anymore. Anakin, you're breaking my heart. You're going down a path I can't follow." Vader: "Because of Obi-Wan?" Padmé: "Because of what you've done, what you plan to do. Stop! Stop now! Come back! I love you!" Vader: (discovers Obi-Wan) "Liar!" Padmé: "No!" Vader: "You're with him! You brought him here to kill me!" (force-chokes Padmé) Obi-Wan: "Let her go, Anakin!" Padmé: (weakly) "Anakin..." Obi-Wan: "Let her go!""

- Darth Vader

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"The few publishers who considered the proposal rejected it. Frustrated with the failure, Joe went into a rage and began destroying the manuscript, Jerry intervened but managed to save only the cover. The cover, showing the Superman leaping at a gun-wielding thug, was eerily reminiscent of Mitchell Siegel’s death. Still not quite right. The work continued. As the writer, Jerry took the lead in developing the now-classic story line that finally emerged. Superman is born on the planet Krypton. His scientist father places him in a small rocket ship and launches him toward Earth just moments before Krypton erupts in devastating earthquakes and explosions that kill all the inhabitants. The spacecraft lands on earth, where people discover the baby and take him to an orphanage in a small Midwestern town. A family named Kent adopts him, gives him the name of Clark, and raises him on a farm. After realizing the possibilities of his superhuman powers, Clark moves to the big city of Metropolis and becomes a reporter for a great metropolitan newspaper. In times of trouble Clark sheds his street clothes and peels off his glasses to become Superman. He uses his powers to leap great heights, to hoist huge weights, to deflect bullets, to soar into the sky, and to subdue criminals. His only motives are to protect the innocent, to bring the guilty to justice, ad to crusade for a better world. After saving the day, Superman returns to his guise as the mild-mannered Clark, who works at the newspaper with a gutsy “girl reporter” named Lois Lane. But Lois has little time for bespectacled, nerdy Clark. She only has eyes for Superman. Sensing that the character was special, the two creators worked feverishly to fill in the details of his persona. Before long the full picture was on the page. Superman had his rugged good looks, his shock of blue-black hair, his muscular physique, his flowing red cape, and the bold S insignia on his chest. Joe designed his uniform as a cross between a spaceman suit and a classic circus performer outfit-down to the blue tights, red shorts, and cape. He skillfully captured each of Superman’s actions in single comic panels: the caped crusader raising his arms toward the heavens, leaping off the ground with incredible strength, soaring upward at supersonic speed, and landing with both feet firmly planted on the ground. The Man of Steel-also called the Man of Tomorrow in those early days-stands tall, hands on his hips, bullets bouncing off his chest, as befuddled, gun-packing gangsters fire shot after harmless shot. In time the classic image would evolve: The handsome, smiling superhero would save Lois Lane from all kinds of danger, hoist her in his arms, soar over the flickering lights o Metropolis, and deliver her safely home."

- Superman

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"To breathe life into the Superman character, Jerry and Joe drew upon their love of science fiction, their passion for movies, their fascination for books, and their experienced growing up Jewish during the Great Depression. The Greek and Roman myths they learned at school featured heroes with superhuman strength. Strange visitors from distant planets were common in the science fiction stories they devoured night and day. Daredevil heroes clad in masks and capes were all the rage in the movies they watched at the Crown and the Uptown. Even heroes with dual identities were commonplace on the screen and in print. The silent screen character Zorro was the alter ego of Don Diego de la Vega, a sissified aristocrat who ate, drank and dressed the dandy to throw off suspicion of his role as the night-riding avenger. The Shadow, a pulp magazine character, was the alter ego off Kent Allard, a famed pilot who fought for the French during World War I. Just as the name Clark Kent was a cross between actors Clark Gable and Kent Taylor, the name of the mythical city of Metropolis came from the 1927 silent film of the same name. For Superman, the magic was in the mix. Jerry and Joe’s Jewish heritage deeply influenced the makeup of Superman too. The all-American superhero reflected many of the beliefs and values of Jewish immigrants of the day. Like them, Superman had come to America from a foreign world. Like them, he longed to fit in to his strange new surroundings. Superman also seemed to embody the Jewish principle of tzedakah-a command to serve the less fortunate and to stand up for the weak and exploited-and the concept of “tikkun olam”, the mandate to do good works (literally, to “repair a broken world”). Before Superman is blasted off the dying planet of Krypton, Superman’s father, Joe-El, names his son Kal-El In ancient Hebrew, the suffix ”El” means “all that is God.” Then there is the Moses connection. Just before Krypton explodes Superman’s parents place him in a crib-size rocket and launch him toward Earth to be raised by loving strangers. In the Old Testament, after Pharoh decrees that all newborn Jewish males must be killed, Moses’s mother places him in a crib-size basket and launches him down the Nile River to be raised by others. Just as Pharaoh’s daughter rescues the infant Moses from the bulrushes and nurtures him as her own, the Kents find and raise Superman on Earth. The Superman story also resembles the tale of Rabbi Maharal of Prague, who created his own superman, called the Golem, to protect the people of the Jewish ghetto from hostile Christians."

- Superman

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"While Superman was a complex conglomeration of influences, Jerry and Joe left plenty to reader’s imaginations. What Superman “wasn’t” was just as important as what he was. The character had no clear ethnic background, no hint of an accent or dialect, no stated religious preference, and no political affiliation. The Superman character offered a little bit to everyone. Coming from a distant planet, he was the ultimate foreigner. Raised in the Midwestern heartland, he was the quintessential American. Growing up in a small town, he was rural at heart. Moving to a big city, he became more sophisticated and worldly. He was both weak and strong. Hi meek, mild alter ego, Clark Kent, was a sheepish bumbler, but he was always ready to transform himself into the all-powerful superhero. So Superman was relevant to the prairie farmer, the urban factory worker, the white-collar insurance salesman, the hardworking waitress, and the struggling immigrant. Millions or ordinary people struggling through the Depression could imagine themselves shedding their plain, run-of-the mill exteriors to reveal their real power within. True, Superman had descended from the heavens with the power of a god. His intention was godly too-to protect humanity from its own worst instincts. But Superman had characteristics the masses could relate to. He could beam with a smile, burst into anger, and form lasting friendships. Beneath it all Superman seemed like a regular guy. Superman was also a creation of his times. To keep up with those times, Jerry and Joe often spent Saturdays flipping through out-of-town newspapers and national newsmagazines for ideas at the Cleveland Public Library. The headlines described crisis after crisis. The New York Stock Exchange had lost 90 percent of its value Millions of Americans were out of work, a Midwestern drought had engulfed prairie farms in the Dust Bowl, and desperate farmers had to pack up their starving families and head to California to start anew. The international news was no more comforting. Headlines warned of economic collapse in global markets, the rise of fascist regimes in Europe, and the new communist experiment in the Soviet Union. The whole world seemed to be heading toward an explosion."

- Superman

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"The radio show was no more immune to criticism than the comic books were. Some critics claimed that Superman reflected the concept of “der Ubermensch”, a German term that could be translated into “the Superman.” The term was coined by 19th century German philosopher Friedrich Nietzsche, who argued that certain people could transcend the influences of religion, culture, and conformity to become enlightened supermen. According to Nietzsche, the person could reach this pinnacle by rising above the pestering of the masses, who buzz like “flies in the marketplace.” After Nietzsches death, the German Nazis twisted his words to mean that their ideal of the blond, blue-eyed German (what they called Aryan) could rise above all “inferiors” to create a dominant race of supermen. The criticism that Superman manifested a Nazi concept showed a complete lack of understanding of the character. While striving to create a popular superhero who would attract a mass audience Jerry and Joe had forged Superman to embody the best parts of the American way of life and to raise awareness of un-American” attitudes. The notion of un-American behavior applied not only to gangsters who broke the law, crooked politicians who violated the public trust, and wealthy industrialists who exploited workers, but also to foreign powers that threatened democracy. So Superman’s creators-too busy to be sidetracked by the critics-aimed their superhero at the looming Nazi threat in Europe."

- Superman

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"THE CREATORS of the superman character had been firing their initial salvos at the then undeclared enemy even before the United States entered the war. At first the creators kept their attacks subtle-by comic book standards. Superman writers never mentioned German chancellor Adolf Hitler, Japanese emperor Hirohito, and Italian dictator Benito Mussolini by name, even though it was clear that the jabs and barbs were aimed at these Axis leaders, as well as their ruthless lieutenants, devious spies, and formidable combat troops. Furthermore, Superman’s team sought to hammer home to their readers that the foreign dictators followed a philosophy of racial and religious superiority and that their quest for world domination included plans to conquer America. At about that time, nationally circulated “Look” magazine commissioned Siegal and Shuster to create a strip entitled “How Superman Would End the War.” For that special assignment, the collaborators took off their gloves and actually named Hitler as the target. So in the pages of “Look” the caped crusader grabbed the Fuhrer by the scruff of the neck and growled, “I’d like to land a strictly non-Aryan sock on your jaw.” Instead of taking justice into his own hands, however, Superman delivers Hitler to a tribunal of world leaders to face justice. In another direct challenge in a Superman strip the caped crusader demolishes part of the German Westwall with France. That’s when Superman’s fictionalized triumphs over the Nazis came to the attention of the German ministerial bureau that tracked foreign press commentary. The German propagandists did not respond well to the Superman stories, and the U.S. press covered their response. U.S. news paper reports that infamous minister Joseph Goebbels exploded ina meeting over the Superman anti-Nazi crusades were almost certainly exaggerated if not outright false. But it is true that “Das Shwarze Korps”, the weekly newspaper of the infamous Nazi Secret Service, denounced Superman. In April 1940 the paper ran the proclamation, “Superman “ist ein Jude”! (“Superman is a Jew!”) The sarcastic, mocking piece referred to Superman’s primary creator as Jerry “Israel” Siegel and accused him of sowing “hate, suspicion, evil, laziness, and criminality in young hearts”: Jerry Siegel, an intellectually and physically circumcised chap who has hid headquarters in New York, is the inventor of a colorful figure with an impressive appearance, a powerful body, and a red swim suit who enjoys the ability to fly through the ether. The inventive Israelite named this pleasant guy with an overdeveloped body and underdeveloped mind “Superman.” He advertised widely Superman’s sense of justice, well-suited for imitation by the American youth. As you can see, there is nothing the Sadduccees [an ancient Jewish sect] won’t do for money! Jerry Siegellack stinks. Woe to the American youth who must live in such a poisonous environment and don’t even notice the poison they are swallowing daily. Superman “did” reflect the culture of his Jewish creators. The Jewish American story was baked into the personality of his character and his exploits. Superman also seemed to reflect the more modern-and frightening-Jewish realities of the time. The story of baby Superman’s journey from Krypton seemed to foreshadow the saga of the Kindertransports-the emergency evacuations of hundreds of Jewish children, without their parents, from Nazi Germany to safety in Great Britain prior to the war."

- Superman

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"Like most Americans, the Superman creative team foresaw the long road ahead and knew that victory hinged on the effectiveness of the nation’s leadership and the bravery and blood of its fighting men. The creators wanted to use Superman to support the war effort, but there was a problem, which “Time” dubbed “Superman’s Dilemma.” Given the character’s power to soar to the sky, to change the course of mighty rivers, to turn back tidal waves, and to survive massive explosions without a scratch, it only stood to reason that he could single-handedly defeat the enemy in short order. More specifically, Superman ought to be able to drop thousand-pound bombs from the sky on German troops, flick Japanese Zeros out of the air, and drag battleships to the bottom of the ocean. In the end the editors decided against publishing what would certainly be several years of highly implausible Superman combat adventures. Instead Superman would be stationed at home in Metropolis and would make only periodic visits to the front lines to support the troops or to handle delicate, secret missions for the top brass. In Metropolis he would serve as a model for life on the home front, and his encounters with villains like Lex Luthor, the Prankster, the Toyman, and the Insect Master would provide readers with an escape from the weighty issues of the war. Once the home-front strategy was set, the writers needed a plot device to explain why the Man of Steel was not joining the Army, Navy, or Marines and going off to war with the rest of the troops. The solution appeared in the “Superman” newspaper strips that ran from February 15 to February 19, 1942. The story begins with Clark Kent arriving at his recruitment center to sign up for duty. The bumbling reporter is so excited about joining the armed forces that he inadvertently botches his eye exam. The reason: His x-ray vision kicks in, and he accidenatly reads the eye chart in an adjacent room. The doctors declare him 4-F (undraftable) and send him packing. As a result, in the pages of “Superman” comics, Kent does not don a military uniform for the duration, and Superman is free to influence the war as an outsider."

- Superman

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"The homebound Superman encourages Americans to buy war bonds, to ration scarce supplies, and to donate to organizations like the Red Cross and the United States Services Organization (USO). In his adventures, Superman travels outside Metropolis to military training centers to lift the spirits of the troops and to prepare them for the action ahead. In one comic book adventure he travels to a fictional U.S. military training center, where he takes part in a mock war game by taking the side of the blue army in a simulated battle with the red army. Superman ferries blue troops across rivers, bombs red airfields with sandbags, locates red snipers with his x-ray vision, and finally tunnels through a mountain to lead blue troops into the red camp. Facing defeat, the red general implores his men to fight on. “What if they were Japs or Nazis?” he asks, “Would you let down the folks who are counting on your to save your country and the world?” At this point the red army summons the strength to repel the blues and win the game. Superman, happily experiencing a rare defeat, concludes that American soldiers are the real superheroes and congratulates the men for being “Super-Soldiers.” Still, from 1941 to 1945 there were stories of Superman’s periodic trips to the front lines, Siegel clearly designed one newspaper strip to draw the attention of American children to the evil of the enemy. In this strip, Hitler Mussolini, and Tojo (Japan’s prime minister) kidnap Santa Claus as part of their plan for world domination. Superman is forced to rescue Old Saint Nick and save Christmas. In addition to these occasional war stories, a number of powerful “Superman” magazine covers trumpeted the war effort, even though there were usually no corresponding stories inside to back up the symbolic cover art; Superman, seen through the periscope of a German U-boat, swimming furiously toward the submarine in the wake of the Allied ship that the sub just sank; Superman holding an eagle on his arm, standing proudly in front of the Stars and Stripes; Superman delivering supplies to an American machine-gun squad fighting in the jungles; Lois Lane, with an Army soldier, a Navy sailor, and a Marine, telling them with a wink, “You’re my Supermen.”"

- Superman

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"[Talking about what Rose Wilson said earlier] It wasn't just a thought, it was a wish. A wish for family. It pervades this place. Rose wants to know the dead half-brothers she probably never met and every girl in this facility wants someone they can count on and call their own. We all want something that will last forever. But what we get is love. Batman would say that morals are the bottom lines, the thing that lasts. I've heard him say that no matter what depend on yourself to respond with predetermined ethical integrity. I know that's true for him, but I'm not so sure I agree with the principle in general. I think most of us surprise ourselves a lot. Most of us run on the fly. Maybe what matters most is the person we're hoping to impress. For years and years, I tried to evaluate every move I made through Batman's eyes. I was morally reliable, almost predictable. Whether or not he actually held me accountable to standard I set for myself in his name was irrelevant. I was inspired. When I finally let go of that. I was lost. I could still operate on habit, but everything felt empty. I didn't belong to anyone. I had nothing to live up to. For a short, wonderful while I had Barbara, and that worked, that was more than enough. She was a friend an intimate and an inspiration. And she was smart enough to know I still had some growing up to do. Suddenly, I have a whole new appreciation for Batman. Having someone count on you for their physical and emotional safely is intense. It's another another set of expectations you have to live up to. And maybe they're even more demanding than the ones you set up yourself. Ultimately, I'm sure we have to frow to become our own judges, and mentors, and charges. And I'm also sure that that's going to be the hardest goal of all to live up to." (Nightwing #112, 2005; by Devin Grayson)"

- Dick Grayson

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"I went and talked to David Whitaker, the script editor of ‘Doctor Who’, and I came up with a story idea. They liked it, they bought it, and that takes us up to where the Daleks started. I don’t know to this day what the enormous appeal of the Daleks was. I’ve heard all sorts of ideas about it, but they were slightly magical, because you didn’t know what the elements were that made them work. I’d been a cinema-goer all my life, and loved going to what were rated in those days as horror movies. Whatever the creature was, somewhere in your heart of hearts, you know it was a man dressed up, so my first requirement was to take the legs off. Take away the humanoid form, and we were off and running. Further inspiration came from the Georgian State Ballet, the Russian dance trouple which was performing in London at the time. There was a dance that the women did, where they wore floor-brushing skirts, and evidently took tiny steps, so they appeared to glide across the stage. There was no suggestion of what form of locomotion they were using. That’s what I wanted for the Daleks. The rest of it comes easily, you put on an eye, and something else for hands. We made a big mistake with the hands, of course, we should have been smarter, but I had no faith in the show. It was the old writer’s axiom, ‘Take the money and fly like a thief’. I really didn’t think that it could work. After the Daleks, I was for a short time the most famous writer on television. The press interviewed me, there was mail arriving in great van loads. There was stuff coming to my house that said ‘Dalek Man – London’, and I was getting lots of them. Almost all the kids wanted a Dalek, and nobody was quick enough. The BBC, not being the great commercial operator, wasn’t ready, so there was no merchandising, there were no plastic Daleks, there were no buttons, there were no anything. My God, was that to change! Within the year, there were Dalek everythings."

- The Daleks

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"The authoritarian system we live under is set to benefit a tiny minority — an all-powerful elite gets obscenely rich, while billions are cheated out of realizing their true potential. But the system is rotten. It's ripe for collapse. It's the duty of every revolutionary — everyone of us — to hasten that collapse... It's not a crime to fight injustice... The system's conditioned us — hypnotized nearly everybody into accepting that life has to be the way it is. We're hypnotized into believing war is natural — famine is natural — crime is natural... but they're not. They're products of the system and its all-consuming greed! People have become robots — zombies — too busy scrambling for day-to-day existence to be able to see they're really victims. It's up to us to open their eyes. From cradle to grave, we're taught — indoctrinated! — that happiness depends on always getting more. Buy — throw away — buy more! Doesn't matter if we destroy the planet on the way! Politicians say they can fix the world's problems. Just give them more power. Religions say do more of what they order and you'll be happy — but only after you're dead! They've been making the same hollow promises for thousands of years, and we, the people — the sheep — have listened. But it's time to wake up and smell the coffee — the days of external authority and force-backed power are numbered... that's the way the system is set up! A sham democracy that acts as a front for the elite's ambitions... It doesn't have to be like that. We can change it!"

- Anarky

0 likesFictional charactersDC Comics
"Director James Gunn has confirmed fan suspicions that Marvel hero Adam Warlock makes a cameo (in cocoon form) in Marvel's latest offering Guardians of the Galaxy. … Adam Warlock is a character created to be the perfect human at a scientific installation called The Beehive. … We know that Marvel are working towards a film which will bring everyone together as Thanos (Josh Brolin) threatens existence itself once he acquires the Infinity Stones and places them in the Infinity Gauntlet. … This is believed to be Marvel's plan for Avengers 3, which is still some years off. When it does happen it will be an adaptation of Marvel's The Infinity Gauntlet comic, in which Adam Warlock plays a pivotal role. His cocoon was first spotted in the credits scene of Thor: The Dark World, which saw characters from that film visit The Collector's base aboard the space station Knowhere. During the course of Gunn's movie, the Guardians encounter The Collector and bring to him an orb which he reveals to be an Infinity Stone. While explaining their origins, The Collector's red-skinned assistant touches the stone, levelling the entire room and destroying most of what is inside. … The film's post-credits scene shows The Collector sitting among his ruins … In the background of this scene we see that the cocoon is broken, meaning Adam Warlock has escaped and is now walking around Marvel's cinematic universe — most likely to show up Gunn's 2017 Guardians sequel."

- Adam Warlock

0 likesFictional charactersMarvel Comics
"So... I see you received the free ticket I sent you. I'm glad. I did so want you to be here. You see it doesn't matter if you catch me and send me back to the asylum... Gordon's been driven mad. I've proved my point. I've demonstrated there's no difference between me and everyone else! All it takes is one bad day to reduce the sanest man alive to lunacy. That's how far the world is from where I am. Just one bad day. You had a bad day once, am I right? I know I am. I can tell. You had a bad day and everything changed. Why else would you dress up as a flying rat? You had a bad day, and it drove you as crazy as everybody else... Only you won't admit it! You have to keep pretending that life makes sense, that there's some point to all this struggling! God you make me want to puke. I mean, what is it with you? What made you what you are? Girlfriend killed by the mob, maybe? Brother carved up by some mugger? Something like that, I bet. Something like that... Something like that happened to me, you know. I... I'm not exactly sure what it was. Sometimes I remember it one way, sometimes another... If I'm going to have a past, I prefer it to be multiple choice! Ha ha ha! But my point is... My point is, I went crazy. When I saw what a black, awful joke the world was, I went crazy as a coot! I admit it! Why can't you? I mean, you're not unintelligent! You must see the reality of the situation. Do you know how many times we've come close to World War Three over a flock of geese on a computer screen? Do you know what triggered the last world war? An argument over how many telegraph poles Germany owed its war debt creditors! Telegraph poles! Ha ha ha ha HA! It's all a joke! Everything anybody ever valued or struggled for... it's all a monstrous, demented gag! So why can't you see the funny side? Why aren't you laughing?"

- The Joker

0 likesDC ComicsFictional charactersAbsurdism
"The 50th Anniversary Special, “The Day of the Doctor,” offered a welcome respite from this dreary slog; it was easily the best Who episode Moffat had written since “The Pandorica Opens/The Big Bang.” Despite the generally positive notices the special got, some critics hated Moffat’s retconning the defining act of the revived series: It turns out that the Doctor didn’t actually kill all of the Time Lords, as it had been written by previous showrunner Russell T. Davies, he just hid them away in a pocket universe. While I find Moffat’s compulsion to insert his own characters into existing Who continuity annoying (c.f. the laughable Forrest Gumping of Clara into footage of Classic Doctors in “The Name of the Doctor”), I actually don’t think his rewriting of this act of genocide totally obviates the Davies era’s emotional content. So it turns out that the Time Lords are lost, instead of annihilated? Hell, the Doctor thought he’d destroyed the Daleks, too, and they just keep coming back. Why shouldn’t the Time Lords get an out? But while, within the context of the episode, this turning-already-established-defeat-into-victory didn’t bother me, it does fit into a pattern of storytelling cowardice on Moffat’s part. There are just never any consequences for any main characters in Moffat’s Doctor Who. Every apparent sacrifice, tragic loss, or moral compromise is invalidated by some kind of reset button, with no physical or psychological cost. The “loss” of the Ponds was so nonsensical that it doesn’t even count. They got to live full lives together in the past, but the Doctor could never go back and see them again? It’s insulting. Why not have the two of them make a meaningful sacrifice and actually, you know, die? Whose feelings is Moffat trying to spare here? As Capt. James T. Kirk witheringly observes of himself—in a neat bit of character development that also doubles as commentary on how static Kirk’s persona was during the original Star Trek series—he’d always been able to find the out, the cheat code, the reset button. He’d never had to face the no-win scenario. He thought he’d gotten away with it again—and then he found out that sometimes victory does have a cost, in this case, the life of his best friend. Now, in story terms, it sucks that the Star Trek franchise promptly undid this by bringing Spock back in the next movie, but it’s because of Kirk’s change and growth that Khan is rightly regarded as the best of the Trek films. The 11th Doctor is TV-show Kirk, not Wrath of Khan Kirk. He neither changed nor grew. Moffat even dubbed him “The Man Who Forgets” in the 50th Anniversary special—and in that episode, his journey is away from a defining, horrific moral choice he made, and towards a cheat code."

- Eleventh Doctor

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"Doctor: And we're off! Fingers on buzzers, are you feeling lucky, are you ready to play the game? Who's going to be quickest, who's going to be luckiest? Kate: This is not a game! Doctor: No, it's not a game, sweetheart, and I mean that most sincerely. Bonnie: Why are you doing this? Kate: Yes I'd quite like to know that too. You set this up. Why? Doctor: Because it's not a game, Kate! This is a scale model of war! Every war ever fought, right there in front of you! Because it's always the same! When you fire that first shot, no matter how right you feel, you have no idea who's going to die! You don't know whose children are going to scream and burn, how many hearts will be broken, how many lives shattered, how much blood will spill until everybody does what they're always going to have to do from the very beginning, SIT! DOWN! AND! TALK! Listen to me, listen, I just- I just want you to think. Do you know what thinking is? It's just a fancy word for changing your mind. Bonnie: I will not change my mind. Doctor: Then you will die stupid. Alternatively, you could step away from that box, you could walk right out of that door, and you could stand your revolution down. Bonnie: No. I'm not stopping this, Doctor. I started it, I will not stop it. You think they'll let me go after what I've done? Doctor: You're all the same, you screaming kids, you know that? "Look at me, I'm unforgivable," well here's the unforeseeable: I forgive you! After all you've done, I forgive you. Bonnie: You don't understand. You will never understand! Doctor: I don't understand? Are you kidding? Me? Of course I understand. I mean, you call this a war? This funny little thing? This is not a war. I fought in a bigger war than you will ever know! I did worse things than you could ever imagine! WHEN I CLOSE MY EYES... I hear more screams than anyone could ever be able to count! And you know what you do with all that pain? Shall I tell you where you put it? You hold it tight, 'till it burns your hand, and you say this: No one else will ever have to live like this. No one else will have to feel this pain! Not on my watch."

- The Doctor

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"Wonder Woman failed to challenge the long-standing prejudice that the feminine ideal was white. Not only were Wonder Woman and her sister Amazon's all fair skinned, the Wonder Woman comic books reinforced racism by debasing minority characters. While the grotesque and evil "Jap" enemies that populated Wonder Woman's adventures were the most frequent illustration of this racism, the comic book was rife with other degrading characterizations, like the dim-witted African American porter and duplicitous Mexican "hussy" who make an appearance in Wonder Woman #1, (Summer 1942) (187). Hateful depictions of Asian, African American and Mexican characters reinforced the racist association of "white with "right". This inherint racism undercut Marston's message of women's freedom and empowerment and would have required minority readers to negotiate some serious obstacles in accepting or rejecting, his comic book superheroine as a feminist role model. On top of this racism, Marston's view that women deserved to be in power because that were intrinsically virtuous and would use their power to bring about peace and happiness further complicates Wonder Woman's feminist claims. Although Marston aimed to elevate women, arguments that base women's right to power on a set of assumptions about "the female character" ultimately reinforce the idea that women must adhere to the standards identified by the dominant culture as appropriately feminine. Those women who fail to meet society's expectations, whether by circumstance or by choice, risk being denied the rights that "acceptable" behavior would presumably earn them. For such individuals, Marston offered a rather unsympathetic solution: conform."

- Wonder Woman

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"Careful to show that women's strength and assertiveness did not unsex them, Wonder Woman adhered to the dominant standards of a acceptable femininity. Marston's Amazon princess was kind, nurturing and self-sacrificing; she was also quite beautiful. Wonder Woman was tall and svelte and had a womanly, if athletic body with "perfect modern Venus' measurements" (Marston and Peter, Wonder Woman #6, 139). She had long eyelashes, painted lips, and long, thick shiny hair. She was also very fashionable and knew how to accessorize with earrings, bracelets, a tiara and knee-high high heeled boots. This keen fashion sense undoubtedly came from her interest in shopping, which was one of the first things she did upon arriving in America (Marston and Peter, Sensation Comics #1, 20). Occasionally yielding to a "girlish impulse, "Wonder Woman could be caught dressing up and admiring her appearance from time to time. She even mooned over Steve Trevor, who was known in their comic world as "the strong girl's weakness" (Marston and Peter, Wonder Woman #6, 118) Rather than emasculate Steve with her incredibly strength, Wonder Woman often played the coquette, protesting for him to stop teasing her while thinking to herself "But I hope he won't!" (Marston and Peter, Sensation Comics #22, 166). Attractive, flirtatious and occasionally frivolous, Wonder Woman delivered a healthy dose of traditionally expected femininity."

- Wonder Woman

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"Not only was Wonder Woman a more enduring character than Rosie, her contribution to the war effort was also more direct. Rosie's war job was to make planes, weapons and ammunition that would help men win the war. She was the quintessential woman behind the man behind the gun, Wonder Woman, on the other hand, fought alongside men on the front lines of battle; she was the woman who led the man who held the gun. Defying convention that relegated woman to the role of man's submissive helpmate, Wonder Woman fought not for men, but for liberty and freedom and all womankind!" (Marston and Peter, All Star Comics #8, 15). Whereas Rosie suggested that women work in order to help men, Wonder Woman encouraged women to work because it enabled their independence from men. When misogynistic Dr. Psycho hypnotizes his wife, Marva, and forces her to help him in his plot to enslave American women in Wonder Woman #5 (Jun./Jul. 1943), Marva bitterly laments: "Submitting to a cruel husband's domination has ruined my life! But what can a weak girl do?". Wonder Woman of course, has the answer: "Get strong! Earn your own living- join the WAACS or WAVES and fight for your country! Remember - the better you fight, the less you'll have to!" Because Marston believed that women's economic independence was a necessary step towards their empowerment, he used Wonder Woman to encourage women and girls to pursue work outside of the home for the sake of their own autonomy and personal fulfillment. In doing so, his character directly challenged traditional gender roles in a way that Rosie did not."

- Wonder Woman

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"The original 1954 Japanese film, Gojira was iconic, and only made a couple mistakes of any significance. (1)They killed him in the end, and we saw his body turned to skeleton. Not the best way to begin 60 years worth of sequels. (2) Godzilla was depicted as a dinosaur, and was associated with living trilobites. Even if there was some sort of ‘realm that time forgot’ out in the Pacific somewhere, Trilobites were already extinct before the first dinosaurs, and Godzilla was clearly no dinosaur. The conceptual artists reportedly referenced illustrations of dinosaurs, but that’s not what they rendered. All bi-pedal dinosaurs [Therapods] were digigrade, walking on their toes, like birds, and usually only three or four digits. Godzilla was plantigrade and pentadactyle, (having five digits and walking on the whole foot) just like lizards. It even looks like a lizard, apart from the fact that no reptile has an actual nose or external ears. In a sense, what Toho pictures created was actually an oriental dragon. These tend to mix reptilian and mammalian traits. Amusingly in 1954, Toho made a giant lizard and called it a dinosaur. In 1998, Tristar re-designed Godzilla as a dinosaur, but called it a lizard. Of course that wasn’t the only thing Tristar did wrong. They tried to ruin the monster completely. They took away the only thing that worked in decades of sequels, the look of the monster itself. Then they took away everything that made Godzilla appealing to Kaiju fans, then they tied it down and shot it. Such disrespect. If you’re going to make a movie that already has a fan-base, and they are the ones who will decide whether your film will pay off, respect those fans and the story they’re paying to see."

- Godzilla

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"The outlandish metaphors of the science-fiction and horror genres are useful vehicles for imagining the unimaginable, speaking the unspeakable. In pop creations like "Godzilla," the blunt metaphors, like the monsters themselves, tend to develop minds of their own: they run rampant, flattening even the sturdiest intentions. The most peculiar thing about Godzilla as a metaphor for the bomb is the creature's simultaneous status as a legendary beast of Japanese islanders' mythology: surely a more precise representation of the disaster that befell the country at the end of the Second World War would be an agent of destruction from far away, unheard of even in legend, not this native, almost familiar monster. Is Godzilla, then, also on some subterranean level a metaphor for Japan's former imperial ambitions, which finally unleashed the retaliatory fury that leveled its cities? Maybe. But the runaway metaphor of Honda's Godzilla isn't nearly so easy to pin down. It's more ambiguous, more generalized and perhaps more potent than that. And its significance can be glimpsed only in the Japanese version of the movie, because what Honda's "Godzilla" is most fundamentally about, I think, is a society's desire to claim its deepest tragedies for itself, to assimilate them as elements of its historical identity. The world of the uncut, un-Americanized original "Godzilla" is literally insular. There's no occupying army, no heavy-set Caucasian reporters, no United Nations representatives, nothing but Japanese people, screaming at, worrying about and ultimately vanquishing their Japanese monster. By the end of the picture, Godzilla himself seems already on his way to becoming a beloved figure. Dying, the beast sinks into the sea with one last plaintive roar, and Honda gives him the sort of send-off our westerns used to reserve for those stubborn old gunfighters that history kept leaving behind. All that's missing is "Shall We Gather at the River." Having claimed this monster as its own, Japan or at least, the Toho film studio was then free to export it. Toho cranked out dozens of prehistoric-creature features in the next couple of decades (many of them directed by an increasingly unengaged Honda), and the anguished resonances of the original "Godzilla" were never heard again. The metaphor had slipped its moorings and headed far out to sea, refitted as a tacky cruise ship. It's no wonder the jocular, mega-budget American remake landed with such a spectacular thud in 1998: even the Japanese hadn't believed in their metaphor for ages, and had long since turned their home-grown monsters into lovable entertainers. In Honda's berserk "Destroy All Monsters" (1968), for example, we find Toho's repertory company of scary creatures warehoused on an island called, none too imaginatively, Monsterland, where they live in slightly crotchety coexistence with each other, like retirees in a managed-care facility. For part of the movie, they're permitted to revert to their old, bad, global-destruction-threatening selves, but it's not their fault; they're being controlled by space aliens. And in the end, the Toho monsters, like tag-team wrestlers, get together to administer an old-fashioned scaly-tail whipping to the space creature Ghidrah. Godzilla, our hero, raises his stubby arms in triumph, while his son, who looks disturbingly like Barney the dinosaur, does a happy dance."

- Godzilla

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