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    After Black Panther, Now Is the Time for a Storm Movie

    Theres a moment in Black Panther where Angela Bassett removes her headdress revealing white dreads and I gasped. The Queen mother of Wakanda looked not only regal and powerful, but she also looked like the woman Id always imagined Storm would grow intoa true depiction of the Marvel Comics weather maven who has led the X-Men and ruled Wakanda alongside her once-husband TChalla.

    Maybe Hollywood was never truly ready for Storm until Black Panther. A white wig slapped on Halle Berry and dialogue like, Do you know what happens to a toad when its struck by lightning? was never going to shake the earth. An attempt to reboot Storm in X-Men: Apocalypse was similarly bankrupt, despite Alexandra Shipps likability, as the character barely had any lines. Each attempt to bring arguably Marvel Comics most popular female character to the big screen has been one disaster after another.

    Sure, we couldve had an exciting Storm film reminiscent of the fantastic Blade franchiseparticularly Blade II, directed by Guillermo del Toro, who brought the same kind of visual flair and depth of storytelling that Marvel has displayed in films like Winter Soldier, Black Panther, and Thor: Ragnarok.

    As great as some of the earlier X-Men films could be, looking back on them now, they were woefully inadequate in their treatment of Storm. Bryan Singers films never seemed able to explore social commentary beyond the tenuous being a mutant is like being gay metaphor he continued to double down on, and do we really believe that Fox was going to hire a black woman to mold Storm as she truly deserved to be? Back in the 2000s? None of the major film franchises, from Marvel to DC to Lucasfilm, have managed to do that nowand its 2018. When Ava DuVernays A Wrinkle in Time is still a first, you know that the industry has been ill-equipped to handle a goddess like Storm. God forbid we end up with another iteration of Berrys horrendous Catwoman film.

    The creator Storm deserves in her debut film should care as much about her African-American identity as they do her mutant powers. Ryan Cooglers Black Panther feels like a revelation because its not Hollywoods usual depiction of black peopleit depicts black Americans, black Africans, black people of different skin tones, black people who are heroes and villains and fathers and mothers and lovers and warriors. It is a film interested in the identities of African-Americans, what separates black Americans from black Africans, and what also brings us together. Storm is the daughter of NDare, a Kenyan tribal princess, and David Munroe, an American photographer. Many of the themes brought up during the conflict between TChalla and Killmonger would have to be revisited in a Storm film.

    Meanwhile, weve yet to have a Storm film announced, while films for Captain Marvel and Black Widow and Kitty Pryde march on, but with the release of Black Panther its not merely necessary for Marvel to greenlight a Storm film, it would be insane for them not to. Black Panther has become a global phenomenon at this point, and the film exhibits such beautiful, nuanced portrayals of black women that it would be disheartening to see those black women relegated to the sidelines of the Marvel Cinematic Universe.

    To be fair, the Fox-Disney merger has not yet closed, and it seems like if Marvel were to make a Storm film, it would be a Disney enterprise. No one wants Storm hanging out in whatever current state the X-Men films are in right now. She deserves to roam the African continent with her brothers and sisters in Black Panther. She deserves to prove that she is capable of running a team in an Avengers film. She deserves the care that Kevin Feige has shown to films like Thor: Ragnarok and Black Panther by letting directors Taika Waititi and Ryan Coogler put every ounce of their souls and culture into their film projects, despite them being part of a sprawling franchise.

    Storm deserves the best. The men who tried to give us to her before werent ready for her greatness, but her future looks bright.

    Read more: https://www.thedailybeast.com/after-black-panther-now-is-the-time-for-a-storm-movie

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    Segregation in baseball was the norm until this relatively unknown player stepped up.

    As the pioneer and historical face of desegregation in sports, Jackie Robinson experienced taunts and death threats at every point of his Major League career as the first black player admitted to the league.

    His bravery and persistence in the name of equal rights have been well-documented and honored not just in baseball history, but in the larger context of the struggle to end the disparate treatment of black citizens endemic to American institutions.

    But Robinson’s success, in no slight to his considerable achievement, came as the result of the road paved by many less-celebrated predecessors, who, through their careers in the Negro Leagues, brought a resolve and speed to the game unmatched by their Major League counterparts.

    In the shadow of Jackie Robinson’s legacy are the efforts of Andrew “Rube” Foster, who was inducted into the Baseball Hall of Fame in 1981, having earned the title of “the father of black baseball.”

    Foster scoring a hit. Photo via digboston/Flickr.

    Known to few modern-day baseball fans, Foster sought to ensure that black players were given the due attention and compensation they had long been denied in “separate but equal” America.

    No individual before Foster or since has been as instrumental in legitimizing black baseball both internally and in the eyes of the fans and media. His achievements, though largely disregarded at the time, were integral in eventually affording all black players the right to play in the Major League.

    For example, Foster quietly broke a baseball color barrier almost four decades prior to Jackie Robinson, playing with a semi-pro mixed-race squad out of Otsego, Michigan. Most notably, Foster served as the star pitcher for the Philadelphia X-Giants, pitching four of the team’s five wins in a contest dubbed the “colored championship of the world” in 1903.

    In his era and in the decades following, Foster’s success on the mound was virtually unmatched. For instance, the current MLB record for most consecutive wins by a pitcher stands at 24 by the New York Giants’ Car Hubbell, whose streak ended on May 31,1937.

    Foster won 44 games in a row three decades prior in 1902.

    But as compelling as Foster’s accomplishments on the diamond were, it was his contributions to the game after his playing days that continue to endure almost a century later.

    Foster’s goal was simple: Turn the largely overlooked black baseball leagues into a legitimate, respectable, and sustainable organization.

    Before his involvement in league management, the black baseball leagues were deemed inferior — if they were considered at all. Yet Foster’s blueprint for a unified organization ushered in a new era that would prove crucial in eroding the Major League’s color barrier.

    In 1911, a great step was taken toward legitimizing black baseball as Foster negotiated a partnership with the Comiskey family of Chicago to use the White Sox ballpark for his new team.  With a premiere venue and the team’s marketable aggressive style of play, the newly-formed Chicago American Giants skyrocketed in popularity, leading his once-marginalized club to draw more fans than the neighboring Cubs and White Sox.

    Following the success of his own team, Foster immediately set his goal higher, aiming to help elevate all black players, not just those on his team.

    Foster with a white player from Joliet, Illinois. Photo via Wikimedia Commons.

    In 1919, as his city of Chicago was embroiled in race riots, Foster felt a sense of urgency to unify black baseball players in one league. He wrote regularly in the Chicago Defender of the need for a league that would “create a profession that would equal the earning capacity of any other profession … keep Colored baseball from the control of whites [and] do something concrete for the loyalty of the Race.”

    Gathering the owners of unaffiliated teams, Foster held a meeting at the Kansas City YMCA and shared his vision. The next year, on Feb. 13, 1920, the Negro National League was created, with Foster serving as both president and treasurer.

    As other regions developed, they followed in Foster’s footsteps and established their own leagues for black players, serving as an economic boon not just for the players and front office, but for black communities as well.

    Sadly, Foster’s oversight would prove to be short-lived as health issues forced him to step away from overseeing the burgeoning league he had created. But that didn’t end the progress he started.

    Rube Foster plaque. Photo via Penale52/Wikimedia Commons.

    Even though Negro Leagues shuttered due to the Great Depression and lack of leadership, many teams would return under the banner of the Negro American League in 1937. It was this organization that served as the springboard for Jackie Robinson to make his legendary inroads to Major League Baseball.

    While Jackie Robinson remains a civil rights icon, desegregating baseball is an act that no one man can lay claim to. Rube Foster’s legacy may not be as well known as Robinson’s, but his efforts helped ensure equality not just for Jackie Robinson, but every black player who has played Major League baseball since.

    Read more: http://www.upworthy.com/segregation-in-baseball-was-the-norm-until-this-relatively-unknown-player-stepped-up

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    These Two Brothers Were Texting Each Other From Inside The Florida Shooting And The Messages Are Heartbreaking

    Twitter / @SzZeif and Twitter / @Melody_Ball

    On February 14, 17 people were killed in the Florida shooting at Marjory Stoneman Douglas High School. As the nation continues to reel from the tragedy, survivors from the mass shooting are flooding social media to tell their stories, many of which are, quite honestly, hard to read.

    It was just another day at school for Sam Zeif when the shots rang out and students and teachers began taking cover. But Sam wasn’t just worrying for his own safety in that moment — he was worrying about his brother, who was on the floor above him.

    Sam tweeted screenshots of their text conversation in the midst of the shooting, and honestly, they’re heartbreaking. Their fear and their love for one another make it a little hard to read.

    Twitter / @SzZeif
    Twitter / @SzZeif
    Twitter / @SzZeif

    Honestly, if the tweet didn’t get me, the text exchange did. Can you imagine being in a situation like that with your sibling, not knowing whether you’ll both get out alive? Can you imagine that fear, not only that you fear for your own life, but for your brother’s?

    The students of Marjory Stoneman Douglas High School will not be silenced. They will tell their stories, they will speak their minds, they will make a difference — even if they’re just reminding you that life is short, and that you should love the people in your life wholeheartedly while you can.

    Read more: https://thoughtcatalog.com/callie-byrnes/2018/02/these-two-brothers-were-texting-each-other-from-inside-the-florida-shooting-and-the-messages-are-heartbreaking/

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    5 Awesome Sci-Fi Movie Technologies That’d Suck In Real Life

    Why are we still driving non-flying cars to our non-space workplaces while fantasizing about our merely two-boobed prostitutes? Where are all the snazzy gadgets and awesome technologies movies promised us? In many cases, they’re right here. We just don’t use them because, well, they kinda suck. Like how …


    Controlling Computers With Hand Gestures Is Awful

    In Minority Report, Tom Cruise plays a future cop who tries to warn everyone that Max von Sydow is evil, but no one will believe him, even though he’s clearly Max von Sydow. But what most people remember best are the scenes wherein Cruise controls his futuristic crime lab computer by waving his arms around.

    How cool is that? Instead of having to say “enhance” and then clicking a boring old mouse, Cruise picks up files and videos from the air itself, and explores them using simple gestures. Soon, other movies were jumping in on this hot futuristic action. From Iron Man 2

    Marvel Studios

    … to Prometheus

    20th Century FoxSpoilers: This movie will show up a lot in this article.

    … to Star Trek: Discovery.

    CBS Television StudiosThank you in advance for the 100 comments about how this one’s not a movie.

    Why We’re Not Using This Today:

    As everyone who has ever owned a Kinect knows, this crap gets old fast. The biggest issue is that your arms get tired very quickly if you hold them up for even a short period of time. If you make that a long time, the feeling gets absolutely excruciating. Engineers actually identified this problem in the ’80s, and even gave it a name: the “gorilla arm” effect. You know, because your arms get “sore, cramped, and oversized,” and you end up looking and feeling like a gorilla. Not even a cool sci-fi cyborg gorilla like in Congo.

    Take another look at that Minority Report scene. When Cruise goes to shake Colin Farrell’s hand, he accidentally moves a bunch of files he’s working on. That would happen all the time. Imagine you’re holding 350 slides that took you five hours to organize and you suddenly get an itch on your butt:

    20th Century FoxOr any other activity where you might be shaking your hand while staring at your screen …

    Any interface that lies flat and gives you a wide range of control — even if you only move your hands a few inches — would beat this thing … hands down. If only we had something like that!


    Sci-Fi Holograms Are Inferior To 2D Images In Almost Every Way

    If somebody in a sci-fi movie needs to look at something important, a paltry two dimensions simply will not do. They need holograms for absolutely everything, even when audio alone would do the job. Like in Star Wars, when R2-D2 shows Leia’s holographic recording to a horned up Luke:

    LucasfilmWhile Obi-Wan silently screams on the inside.

    Here it is again in The Last Starfighter:

    Universal Pictures

    And here’s a dude’s head popping out of a monitor on Star Trek: Discovery:

    CBS Television Studios

    Hell, even the highly advanced race of spacefaring giants who created mankind love holograms! From Prometheus:

    20th Century FoxYou need to adjust the tracking on your Space Voldemort.

    Why We’re Not Using This Today:

    You may have noticed something about the holograms above: They A) look like crap, B) are completely pointless, or C) both. That pretty much sums up holograms in the real world, too. Remember that time Tupac’s blue ghost crashed a Snoop Dogg performance? And remember how the company responsible went bankrupt soon thereafter? Turns out there isn’t much real use for blurry, semi-transparent 3D projections that cause eye strain if you look at them for too long.

    Even the nicest example is so fuzzy and transparent that it’s not clear why you would bother with it over a 2D video feed. In the 2017 Ghost In The Shell, a hologram is used to reconstruct a murder scene, but it’s so imprecise (red tint, kinda blurry, semi-transparent) that it’s hard to think of a use for it other than making up for the investigator’s chronic lack of imagination.

    Paramount Pictures“Ohhh, that’s what tables look like. OK, I’m good.”

    In Prometheus (again!), the Weyland Corporation’s holograms don’t have a tint, but they’re so transparent that everyone on the crew probably ended up with a migraine anyway.

    20th Century Fox“Oh, I thought it was the script causing that.”

    If you absolutely need to communicate visual information over a vast distance, why would you choose this technology? Think of the bandwidth charges! We already know the future doesn’t have Net Neutrality.


    Nobody Likes Video Calls (Except In The Movies)

    With the possible exception of flying cars and sex-bots, no technology shows up in sci-fi movies as often as video calls. Whether they’re discussing something of galaxy-shattering importance or reminding their spouse to buy eggs, everybody in the future does everything via video calls. We see it in …

    Marvel StudioGuardians Of The Galaxy

    Warner Bros. PicturesDemolition Man

    TriStar PicturesTotal Recall (the good one)

    Columbia PicturesTotal Recall (the Colin Farrell one)

    Paramount PicturesStar Trek Into Darkness

    … and like a million other movies. We’ll stop now, or we’ll be here all day.

    Why We’re Not Using This Today:

    We are! Video calling is finally a reality! And it sucks. Seriously, unless it’s for Twitch streaming, nobody uses it. And it’s easy to see why.

    You can take voice calls in almost any situation where you can talk, but if you take a video call, you have to look like a decently dressed, reasonably groomed human being. Plus, you have to make sure you didn’t leave something like, say, a giant pink dildo visible in the background. Which has happened. On the BBC.

    And yet sci-fi characters love this technology so much that they’ll literally risk their lives to use it. In 2017’s Valerian And The City Of A Thousand Planets, right as the characters are leaving a planet’s orbit, the face of their boss pops up smack dab in the middle of their ship’s front viewport. That could kill you while you’re driving a car, let alone piloting a spaceship.

    EuropaCorp“Just called to remind you that driving and Skyping is illegal. Also, you’re fired.”


    Super Advanced Robots Always Have Needlessly Terrible Vision

    One of the coolest types of shots is when we go inside a robot’s head to see the way they look at the world. Like in the Terminator movies, in which Arnold Schwarzenegger sees everything through a badass red filter, with a bunch of important-looking numbers and text readouts:

    TriStar PicturesWhy isn’t the text in Austrian, though?

    Or the recent RoboCop remake, where the Robo-Vision (that’s the official name, look it up) shows everything in an old-timey reddish sepia tone, with, again, added text and data prompts:

    Metro-Goldwyn-Mayer“08 threats and 15 cliches detected.”

    Why We’re Not Using This Today:

    Look at any decent first-person shooting game. The status bars and prompts are always minimal and in the corners of the screen. If they took up 30 percent of your monitor, like in the examples above, the developers would have angry nerds with actual guns outside their houses. All those big letters and numbers are covering up important visual information, allowing AmishTeabaggz42069 to sneak up and shoot you in the head. And what are they even there for? Terminators have computers for brains. Why do they need to see the data they themselves are processing?

    On top of that, the obligatory red tint makes these killer robots effectively colorblind, and prevents them from easily distinguishing between, say, blood and other liquids, which you’d think would be important in their line of work. At the other end of the spectrum, we have medical robots like Baymax from Big Hero 6, whose internal HUD looks like this:

    Walt Disney Pictures“Slack-jawed and dumb-looking … perfectly healthy for a teen boy.”

    All those widgets are probably helpful for a robot that patches up humans, but that blue tint … isn’t. Baymax needs to see his patients as accurately as possible, not just to identify any physical symptoms, but also to make treatment easier. It’s been demonstrated that blue light hinders injections, since it’s harder to find a vein under the patient’s skin.

    Meanwhile, in Chappie, the law-enforcing robots that patrol the streets are all apparently equipped with crappy late ’90s webcams. Imagine trying to shoot the correct criminal if this was what you saw:

    Columbia PicturesCan robots get motion sickness?

    To be fair, all these examples are still an improvement over 1973’s Westworld, wherein the highly advanced Yul Brynner robot, whose sole purpose is to shoot people in gunfights, can’t even tell a fork from a spoon.

    Metro-Goldwyn-MayerSporks make their heads explode.


    Computer Screens In Science Fiction Movies Are Worse Than The Ones We Have Today

    In sci-fi movies, computer screens are elaborate displays of carefully matched colors and captivating animations (even when no one’s using them). They’re all packed with graphs and numbers and all sorts of doubtlessly essential information. Marvel at the snazzy monitors in 2009’s Star Trek

    Paramount Pictures

    … and Avatar

    20th Century Fox

    … and naturally, good ol’ Prometheus:

    20th Century Fox

    Why We’re Not Using This Today:

    We lose ten minutes of work time every time a pigeon lands outside our window. If you had to do your job next to a bunch of huge screens that kept looping through colorful graphics, you’d probably get quite distracted. And if your own screen insisted on performing a lovely animation every time you updated some data or asked for an analysis, you’d probably start daydreaming about Microsoft Excel for the first time in your life.

    In almost every sense, these sci-fi screens are a huge step backwards compared to what we have now. Nearly all of them have low contrast (making it harder to read things at a glance) and a grand total of four colors, all of which are usually variations of blue and green. The Avengers:

    Marvel StudiosThis would look better if they were all playing Galaga.

    Mars (a National Geographic miniseries):

    National Geographic


    20th Century PicturesLast time, we promise!

    Not only does this mean that you run out of ways to highlight important stuff quickly, but the preponderance of blue and lack of red tones can even be dangerous. See, when your eyes have adapted to a dark environment, light of any color except red will disrupt that adaptation. This is called the Purkinje effect. That’s why interfaces for things like submarines and airplanes use a lot of red, which allows, for example, pilots flying at night to clearly see both the screen and the view outside their cockpit. But on the other hand, blue looks neater, so that’s a fair tradeoff.

    These sci-fi screens fail at the most basic function of a user interface: conveying information quickly and easily. Everything important is hidden in dense blocks of tiny text and numbers scattered around the screen. The only way the following screenshots make sense is if the characters have superhuman vision or magnifying glasses:

    Marvel StudiosThe Avengers

    Paramount PicturesStar Trek Beyond

    20th Century PicturesAvatar

    For comparison, here is a real-life NASA mission control room:


    Note the lack of flashy animated visualizations. The multiple high-contrast colors. The text that is readable when you’re at the intended distance. And Earth has yet to be attacked by alien invaders. Coincidence? We don’t think so.

    Prometheus isn’t a bad movie, but please make sure you’ve seen Alien before watching Prometheus. We talk about that movie a lot on this site too.

    If you loved this article and want more content like this, support our site with a visit to our Contribution Page. Please and thank you.

    Read more: http://www.cracked.com/article_25385_5-awesome-sci-fi-movie-technologies-thatd-suck-in-real-life.html

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    The NRA Really Wants You To Stop Making Fun Of Trump Now, OK?

    The NRA really doesn’t like it when people don’t show enough respect to President Donald Trump

    A new spot from the gun lobbyists features an angry guy stewing as a TV shows clips of the media criticizing Trump and the National Rifle Association. Some of the clips are of comedy shows, including “Saturday Night Live” and “Last Week Tonight With John Oliver.”

    Eventually he lowers a set of goggles and destroys the TV set with a sledgehammer in a tantrum as it displays a “Morning Joe” segment. 

    The angry guy in the video is right-wing radio host Grant Stinchfield, who made headlines last year when he suggested that North Korea drop a nuclear bomb on Sacramento, California

    He later apologized, saying he was only joking about destroying an American city. 

    The odd new spot is getting a reaction on Twitter… just probably not the one the gun group was aiming for: 

    Read more: http://www.huffingtonpost.com/entry/nra-tv-smashing-ad_us_5a826959e4b0892a035243ec

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