Cooking Through The Climate Crisis: Book Review of C. Pam Zhang’s Land of Milk and Honey
By David Sutton A number of scholars in Anthropology and related disciplines have posed the question “What is the Future…
By David Sutton A number of scholars in Anthropology and related disciplines have posed the question “What is the Future…
By Emma Louise Backe In year marked by monumental legal cases against abusive men—Gisèle Pelicot in France, Cassie’s lawsuit against…
By Emma Louise Backe When War for the Planet of the Apes (2017) concluded, Caesar had successfully led his people…
What if we trained our imaginations to appreciate that the way for reaching the stars in a Starship i.e., attaining knowledge, unity and harmony, was not strictly technological but social and cultural as well? What if we recognised that technological and social innovation did not come from the apparent eureka moments (and individualised capital) of the elites but the accumulated wisdom and creativity of our species?
Rings of Power fails to lean into the possibility of moral ambiguity, instead reproducing the same simplistic binaries between good and evil. For the Elves, the inherent “goodness” of their race, and their purpose on Middle Earth is eminently visible, communicated through the sheer beauty of their people, their clothes, their architecture, their relationship to nature. Even more disturbingly, Rings of Power also reinforces cultural narratives that equate deformity with evil through the character of Adar, a “corrupted” Elf or Uruk.