"Stories Are Just Something That Can Be Eaten by an AI": Marvel Lashes Out at AI Content with a Mind-Blowing X-Men Twist; ScreenRant, January 9, 2024

TRISTAN BENNS, ScreenRant; "Stories Are Just Something That Can Be Eaten by an AI": Marvel Lashes Out at AI Content with a Mind-Blowing X-Men Twist

"Realizing the folly of her actions, Righteous laments her weakness against Enigma as a creature of stories, saying that “Stories are just something that can be eaten by an A.I. to make it more powerful. The only good story is a story that has been entirely and totally consumed and exploited.”.

While this isn’t the mutants’ first battle against artificial intelligence, this pointed statement has some sobering real-world applications. Since the Krakoan Age began, it’s been clear mutantkind's greatest battle would be against the concept of artificial intelligence as the final evolution of “life” in the Marvel Universe. With entities like Nimrod and the Omega Sentinel steering the forces of Orchis and other enemies of the X-Men against the mutant nation, this conflict has been painted as the ultimate fight for survival for mutants. However, with Enigma’s ultimate triumph over even the power of storytelling, it is clear that the X-Men aren’t just facing a comic’s interpretation of artificial intelligence – they’re battling the death of imagination.

In this way, the X-Men’s ultimate battle parallels a very real-world problem that both fans and creators must confront: the act of true creation versus the effects of generative artificial intelligence."

How Review-Bombing Can Tank a Book Before It’s Published; The New York Times, June 26, 2023

 Alexandra Alter and Elizabeth A. Harris, The New York Times; How Review-Bombing Can Tank a Book Before It’s Published

"Reviews can be weaponized, in some cases derailing a book’s publication long before its release."

Some white ‘Star Trek’ fans are unhappy about remake’s diversity; Washington Post, June 23, 2017

Travis M. Andrews, Washington Post; Some white ‘Star Trek’ fans are unhappy about remake’s diversity

"Indeed, the ‘Star Trek’ series, as Manu Saadia put it in the New Yorker, has always been about inclusion, diversity and breaking down human-made social barriers. Saadia wrote:

Each successive “Star Trek” cast has been like a model United Nations. Nichols’s black communications specialist worked alongside George Takei’s Japanese helmsman and Walter Koenig’s (admittedly campy) Russian navigator. Leonard Nimoy’s Spock was half-human, half-Vulcan, and he bore traces of the actor’s own upbringing in a poor Jewish neighborhood in Boston. The Vulcan hand greeting, for instance, which Nimoy invented, is the Hebrew letter shin, the symbol for the Shekhinah, a feminine aspect of the divine. The original series aired only a few years after the Cuban missile crisis, at the height of the Vietnam War and the space race, and its vision of a reconciled humanity was bold. Nichols, who considered leaving the show after the first season, has said that she was persuaded to stay on by Martin Luther King, Jr., who told her that he watched “Star Trek” with his wife and daughters.

This isn’t the first time an entry in the “Star Trek” series has come under fire for including ever more diverse characters. Just last year, the film “Star Trek Beyond” portrayed Sulu as a gay man. It was the first time the series featured an openly gay character, and some fans were furious."

Marvel Artist Complains After 'X-Men: Apocalypse' Giveaway Uses His Work; Hollywood Reporter, 7/29/16

Graeme McMillan, Hollywood Reporter; Marvel Artist Complains After 'X-Men: Apocalypse' Giveaway Uses His Work:

"Bill Sienkiewicz, known for work on such Marvel titles as X-Men spin-off New Mutants and Elektra: Assassin, took to Facebook to complain after discovering that Fox was giving away limited edition promotional replicas of an album cover used as a prop in the movie, using artwork he had created three decades earlier. Previously unaware of the promo item, he discovered its existence at Comic-Con itself when fans asked him to sign them, he explained.

"I've been doing this comic-book thing for years. I'm aware most everything is Work-Made-for-Hire," Sienkiewicz wrote on his post. "Still, I received no prior notification (a common courtesy), no thank you (ditto), no written credit in any form whatsoever either on the piece or in connection with the premium, absolutely no compensation and no comp copies of the album. It's like two losing trifectas wrapped in an altogether indifferent f--- you."

The artist, who originally created the image as part of a cover for Marvel's Dazzler No. 29 in 1983, in collaboration with Marvel's in-house designer Eliot R. Brown, went on to say that he had to be physically restrained by colleagues from "making a scene" at the Fox booth during the show about the giveaway.

"Am I over-reacting here?" he continued. "Do I have the right — at least on behalf of fellow creators — to, at the very least expect decent treatment and some kind of minuscule, even boilerplate, acknowledgment?"

Turns Out, Fighting Fat Shaming And Racist Trolls Is Also A Ghostbuster's Job; NPR, 7/22/16

Tanya Ballard Brown, NPR; Turns Out, Fighting Fat Shaming And Racist Trolls Is Also A Ghostbuster's Job:

"I don't know what makes trolls attack so viciously on social media. Is it that they don't like it that some women — in this case a 6-ft.-tall, larger than size zero dark-skinned black woman — are confident and comfortable with themselves?

Who knows, but now that Leslie has returned and is once again engaging on social media with her fans, maybe she can reach out to help some of the women who aren't comedians or actors in summer blockbuster movies navigate troll attacks."

To Boldly Go Where No Fan Production Has Gone Before; Slate, 7/13/16

Marissa Martinelli, Slate; To Boldly Go Where No Fan Production Has Gone Before:

"The issues at the heart of the Axanar case are complex—in addition to copyright infringement, CBS and Paramount are accusing the Axanar team of profiting from the production by paying themselves salaries, among other things. Abrams, who directed 2009’s Star Trek and 2013’s Star Trek Into Darkness, promised during a fan event back in May that the lawsuit would be going away at the behest of Justin Lin, the Beyond director who has sided, surprisingly, with Axanar over Paramount. But despite Abrams’ promise, the lawsuit rages on, and in the meantime, other Trekkie filmmakers have had to adapt. Federation Rising, the planned sequel to Horizon, pulled the plug before fundraising had even started, and Star Trek: Renegades, the follow-up to Of Gods and Men that raised more than $132,000 on Indiegogo, has dropped all elements of Star Trek from the production and is now just called Renegades. (Amusingly, this transition seems to have involved only slight tweaks, with the Federation becoming the Confederation, Russ’ character Tuvok becoming Kovok, and so on.) Other projects are stuck in limbo, waiting to hear from CBS whether they can boldly go forth with production—or whether this really does spell the end of the golden age of Star Trek fan films.

Axanar may very well have crossed a line, and CBS and Paramount are, of course, entitled to protect their properties. But in the process, they have suffocated, intentionally or otherwise, a robust and long-standing fan-fiction tradition, one that has produced remarkable labors of love like Star Trek Continues, which meticulously recreated the look and feel of the 1960s show, and an hourlong stop-motion film made by a German fan in tribute to Enterprise—a project almost eight years in the making. It’s a tradition that gave us web series like Star Trek: Hidden Frontier, which was exploring same-sex relationships in Star Trek well before the canon was ready to give us a mainstream, openly gay character."