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Quotes: We're Still Relevant, Dammit

Sinatra had, or at least appeared to have, a firm sense of self and maintained it during the good times and the bad and from decade to decade. If one liked him, great. If not, too bad. Sammy, on the other hand, was desperate to please everyone, to be loved by everyone, and to be in the forefront of whatever was in vogue at any given moment. If Frank was a rock, Sammy was a chameleon. People sensed this and lost respect for him as a result, particularly in the late sixties and seventies, when social and political change was coming fast and furious in the United States and around the world. Sammy tried to ride the wave but didn't skim beneath the surface...The upshot was that he became a figure of derision, the inspiration for the deadly and damaging impression by Billy Crystal on Saturday Night Live.
Gary Fishgall on Sammy Davis Jr, Gonna Do Great Things

So, now we have a 20th century Cenobite, a people consumed with technology. If these Cenobites existed now they'd all have iPhones sticking out of their heads.

NBC was planning a Say Anything TV show until Cameron Crowe echoed the world’s thoughts by screaming, 'NOOOOOOOO.' Thank God NBC cares what Cameron Crowe thinks, because we really don’t need to see Lloyd and Diane’s son blast a cover of 'In Your Eyes' by 5SOS from a Jawbone while standing outside of his girlfriend’s townhouse.

Yes, the product does have to 'change with the times'. That’s perfectly fine. I get it. Every form of entertainment, be it music or movies or video games or even pro wrestling has to evolve to maintain an audience. Although saying wrestling is ‘evolving’ when WWE’s main show has turned into a Gong Show-esque mish mash of bad guest hosts and even worse skits seems to be a bit misleading.

When McCoy himself come on board, he’s presented as a relic of the sixties. He looks like he has been living in a hippy commune. He’s grown a great big bushy beard and is even wearing a medallion under his open shirt. Mc Coy, it seems, has fully embraced counter-culture in his time away from the ship, becoming a left-over piece of the sixties Star Trek in need of an update. When Jim explains the situation to Bones, Mc Coy gets all existential on him, “Why is any object we don’t understand always called a ‘thing’?”

He’s less than happy to be working for Starfleet, the establishment, again. “They drafted me,” he tells Jim, calling to mind the infamous Vietnam draft, which had ended four years after the show, but six years before the film. McCoy is introduced as outdated, and out-of-touch – perhaps reflecting the franchise itself. However, we’re assured that this retro vibe is purely cosmetic. Soon enough he’s in uniform, his beard is shaved and his medallion is gone. Like the franchise itself, he only needed to clean up a little bit.

And yet, despite that obvious acknowledgement that time is marching onwards, there are still some suggestions that Star Trek is still stuck in the sixties. Consider the character of Ilia, a character so sensuous she had to take an “oath of celibacy” to work in Starfleet. It turns out that – in perfect Roddenberry style – she’s a beautiful alien who has a culture based entirely around sex...How very sixties. And, in a way, it very clearly foreshadows some of the difficulties that Gene Roddenberry would have writing Star Trek: The Next Generation in the eighties and nineties. While references to sixties sexual subculture were embarrassing in the late seventies, they were unforgivable during the AIDS scare of the late eighties.

The best-known and most successful of the post-Trek projects was Ronald Moore's revamp of Leslie Stevens' Battlestar Galactica, which added a fresh coat of Bush-era paranoia...Diving deep into a reality resembling your typical Daily Kos/Salon.com commenter's worst nightmare, Moore's BSG depicted his militarized universe as a stylish kulturkampf between monotheists and nominal polytheists, although his Democrats-in-Space theme would be considerably more accurate if the humans were militant atheists. BSG was beloved by liberal reviewers, despite the military monoculture it helped to reinforce in the public imagination.

A time traveling mobile phone with boundless signal through time and space — can you imagine a better way to dazzle the youth of today?

It being an odd-numbered episode, it’s time for the show to revamp itself once again, with characteristic subtlety. Now we’re in a big metaphor about the financial crash.
Phil Sandifer on Torchwood: Miracle Day

What’s Dick Tracy doing on this fine Saturday? Oh, you know, just making some chili with extra cumin and singing Chumbawamba, like you do.

If you want to prove Superman is still relevant, all you have to do is tell good Superman stories. Jumping up and down and screaming 'HEY, I’M STILL RELEVANT!' is the quickest way to lose the argument that nobody was asking you to have, and it’s even worse when you’re doing it by having a character beat up a parody of characters that were themselves already a parody. It’s 22 pages of DC’s inferiority complex about Superman, literalized into a story that features Joe Kelly trying to do a written impression of Warren Ellis.
Chris Sims on What’s So Funny About Truth, Justice And The American Way? (2001)

When you consider the entire history of Magneto, it’s pretty ridiculous. He’s been assumed dead at least half-a-dozen times; he’s probably flip-flopped from villain to hero more times than that; and he’s been resurrected as both a Nelson-haired clone (millennials: Google 'Nelson band' to get how funny that is) and a star-headed Taoist. Mistakes have been made with the character; mistakes so big that the character’s retcons and course-corrections have diminished his stature, leaving readers to wonder; Just who the hell is Magneto?
John Parker on Marvel NOW!'s Magento