Shaun Duke

Shaun Duke is an aspiring writer, a reviewer, and an academic. He is currently an Assistant Professor of Digital Rhetoric and Writing at Bemidji State University. He received his PhD in English from the University of Florida and studies science fiction, postcolonialism, digital fan cultures, and digital rhetoric.

Film Reviews, Movie Reviews, Movie Roulette

Brokeback Mountain (2005) and the Unbearable Violence of Gay Love

In 2005, the United States found itself in a renewed culture war over the place of homosexuality in society. Just two years prior, the Supreme Court overruled Bowers v. Hardwick to establish sodomy laws as unconstitutional. None of this was new to civil rights activists, of course. Gay rights had been part of the national conversation for decades, especially in the wake of Stonewall (1969) and the DSM’s redefinition of homosexuality as non-pathological (1973). By 2005, the year Brokeback Mountain blew up the box office, Massachusetts had legalized same-sex marriage and a flurry of bans had swept the country, ushering in an era not just of tacit acceptance of bigotry against gay people but also of systemic, government-supported bigotry. All this was hot on the heels of decades of brutal murders of gay people, and an especially tumultuous 1990s, which saw well over a dozen murders and executions of gay men (and women), some of them so high profile that they would eventually lead to legislation designed to protect gay people from (or at least create greater punishment for) murderous homophobes. For a young man raised in a deeply homophobic culture, all of this was a bit of a shock, not least of all because my mother was a gay woman, and for about a decade up until 2005, my life had been packed with gay people being people with regular people problems. And here we were being asked as citizens to determine if other citizens had the right to live their lives without government interference. For me, there was no question that same-sex marriage should be legal.

Announcements

Capricon 41: My Schedule (Panels, Live Podcasts, etc.)

Welp. It’s that time of year for Capricon, a Chicago-based science fiction convention to run virtually this year. Capricon 41‘s guests of honor include Aliette de Bodard, Brandon O’Brien, John Jennings, Michi Trota, and Dr. Cacophonie Tamayo, all exceptional individuals in general (and within their respective fields). Needless to say, Capricon is going to be on fire this year! This year is unusual, too, for the fact that I helped a little with programming, though not nearly as much as I should have or wanted to when I first chose to participate. It’s been a learning experience, though, and I hope to continue growing and being better at this going forward! With all that out of the way, here’s my schedule of panels (all times in CDT). Come hang out!

Film Reviews, Movie Roulette

So Much For Rules: The Zany Sports Massacre of Space Jam (1996)

In 1996, a young 13-year-old me didn’t so much drag my family to see Space Jam as convince them by osmosis that this would be the most important film of our lives. In retrospect, I was wrong, but that doesn’t change the fact that of the animated films for kids in the 90s, Space Jam had a surprising impact. It earned $230mil worldwide on an $80mil budget in an era before one expected a blockbuster film to near or break the $1bil mark. And it spawned new merchandise and even its own video game (not exactly surprising for the era, but still a fun fact). While folks today look back at the film with humorous horror, critics of the day didn’t exactly hate it. Roger Ebert and Gene Siskel both gave it a thumbs up. Leonard Maltin in his 2010 movie guide praised Michael Jordan’s performance and the understandably impressive visual effects for the time. Others were more critical, such as Looney Tunes director Chuck Jones, who apparently did hate it and whose views are understandable given he directed numerous Warner Bros. productions and gave us Rikki-Tikki-Tavi (1975)! Meanwhile, 1996 me, a most esteemed critic, would have told you that we repeatedly rented and eventually owned the VHS to Space Jam, and we played it quite a lot.

Announcements

Announcement: The Joy Factory is on Medium!

For those who follow me here or on Medium direct, you’ll be pleased to know that I’ve put together a space for The Joy Factory content in the form of a Medium Publication. This will create a central designed space for all of the joyful content! It also means that following me there and my personal Medium page will go a long way to supporting the content I create for this project. Content will still show up here and on the Patreon page for The Joy Factory, but you’ll see a bit more thought going into their placement on Medium going forward. Also in the works: a newsletter. More on that later. So there you go. Go follow me on Medium. Support my stuffs!

Random Stuff

Musicals Made 2020 Bearable; Long Live the Musicals

If you’d asked me in 2019 whether musicals were “my thing,” I might have said something like “well, I do enjoy musicals from time to time, but I wouldn’t say I go out of my way to watch them.” If you’d asked me the same question by July 2020, the answer would have been something like “oh my sweet mother of god I absolutely love musicals they are keeping me from going mad.” Throughout 2020, I consumed what to me was an absurd number of musicals for someone who had only dabbled in the genre previously. And the world was happy to oblige my desperate need for the joy a good musical can bring. Andrew Lloyd Webber’s The Show Must Go On YouTube channel joyfully screened some of Webber’s classics, including Joseph and the Amazing Technicolor Dreamcoat and Phantom of the Opera. Other music institutions also happily aired operas, symphonic performances, and even professional productions of Shakespeare and other plays. And Spotify’s music catalogue gave me even more to enjoy, from Gilbert & Sullivan to walls of EDM and symphonies I’ve never heard before. But it was the musicals that gave me an escape.

Film Reviews, Movie Roulette

Ape Lincoln: The Beauty and Terror of Planet of the Apes (2001)

As Palpatine would say: long have I waited to discuss this film! A film reviled for its infamously confusing ending, its gleeful presentation of punk apes and other humanistic ape-eries, and its attempt to convince us that Mark Wahlberg earned his way onto an expensive Air Force ape research space station while still getting away with calling apes monkeys every ten seconds. A film that shockingly made a decent chunk of change and almost got a sequel. It’s Tim Burton’s Planet of the Apes (2001)! Call it a remake or a reboot or a reinterpretation, Planet of the Apes has rightly earned its place as one part visual marvel and one part disastrous narrative — beauty and terror fused into one glorious package. Its position in the Planet of the Apes oeuvre has, alas, earned it additional and unfavorable comparisons to its more successful and narratively compelling predecessor and successor. Have the twenty years since this film’s release helped its perception?

Scroll to Top