Opinion: BlacKkKlansman Benefits the Jewish Community During the Discussion of Prejudices in America

As a Jewish person who watches plenty of movies, I rarely see any representation of the Jewish people unless it is Holocaust-related. Other than that, Hollywood tends to steer away from anti-Semitic issues while they forgive people like Mel Gibson. 2018 had a surprising, Oscar-winning film to come out that sent its message to a broader audience, BlacKkKlansman.

Spike Lee’s latest film has a precise focus, the prejudices that the black community has faced throughout American history and how it relates to today, but there is more to it. The inclusion of Adam Driver’s character Flip Zimmerman broadens the conversation. Members of the KKK hate more than people of color, like Jews. At some point in the story, Flip reveals his Jewish background and deal with some scenes of anti-Semitism.

One of the several ways Lee pays respect to other demographics is by letting Driver take hold of scenes to develop his character. The most gripping has pain, yet remains calm throughout. Flip says this to his partner Ron Stallworth (John David Washington),

“Ron, I wasn’t raised Jewish. It wasn’t a part of my life. So I never thought much about being Jewish, was just another white kid, didn’t even have my Bar Mitzvah. No Chanukah for me. Christmas. In this job, you try to keep things at a distance. You put up a shield, so you don’t feel anything… This shit is deep. When that Fuck Felix had me in that room, and I kept having to deny my heritage… I have been passing.”


While not much more is done throughout the length of the movie, this scene along with a few other vital moments moves the spotlight to another demographic that has been beaten down for years throughout history. Myself included with Flip, I never grew up religiously Jewish or acknowledged it, but plenty of people will hate me for it despite that information.

Uniting people when looking at racism tends the be the point of these films, but usually, the message is generalized, which is not entirely bad.  When Ron tries to get Flip to go undercover with him, he brings up that their issues are the same. Ron’s argument is on point since hatred towards a demographic vs. another should bring those groups together. While that is not always the case, this conversation does not separate prejudices into different categories but lumps them together to further the point about people who loathe others for basic reasons from skin color, religion, and more.

Using comedy on serious subjects could undermine the importance of the film’s intent, but Lee, Charlie Wachtel, David Rabinowitz, and Kevin Willmott utilized humor to enhance their stance on prejudices in America. When Lee spoke to Hollywood Reporter he discussed rather than writing jokes, the focus became about the “absurdity” of the premise and various situations that are seen in the film. Making the audience laughs lightens them up to the darker moments of the narrative without overwhelming them with crazed Klan members ready to burn crosses.

Anyone sensible can laugh at scenes where Klansmen talk about how Jews killed Jesus or how the Holocaust never happened. We know the truth, so knowing people think this way is laughable while concerning. Without the right tone, the impact would be altered, for better or for worse. In this case, Lee managed to strike a necessary balance to execute his latest project.

Presenting an argument has its dos and don’ts to win over an audience. While BlacKkKlansman has its flaws in its presentation, one thing it gets right is avoiding the Hitler fallacy. If an argument makes a comparison to Hitler or the Nazi Party, then that hit the head on the nail for this mistake often made. Plenty of factors go into why this is a terrible idea, but some of it stems from overuse and timeliness. The Holocaust happened so long ago, if one wants to make an example of a tyrannical leader or a case of atrocities against a demographic, then it is more impactful to use an example that is more recent. The 70s may appear so long ago, but much closer and relevant compared to the 40s. The use of footage from Charlottesville ties together the Stallworth’s journey all those years ago with how racism acts in today’s America.

BlacKkKlansman has its issues like any other piece of entertainment, but it holds plenty of significance to the problems minorities and other demographics face. It may get preachy here and there with its agenda, but the overall message is well executed. Some may not like Lee’s latest flick, but he has done a better job for the Jewish community than most filmmakers. Hopefully, others look to what has been done well here and can improve upon it when representing people who have been pushed down by Neo-Nazis and White Supremacists.

Images and videos via Focus Features, Movieclips Soon/Fandango, and Senseitional Videos

5 Biggest Snubs From the 2019 Oscar Nominations

The Academy Awards can never satisfy anyone due to the abundance of films that come out every year; however, sometimes their issues cannot be ignored like some major snubs that happen each year. Now that the nominees have been announced, the gaping holes shine the light on plenty of issues, but five of which infuriate me the most.

#5: Annihilation gets nothing?

Many have forgotten this beautiful film, but the sci-fi adaption delivered a brilliant artsy narrative along with the best visuals from the year. The film could easily grab at most eight nominations. The Academy should have put Alex Garland’s trippy flick under the following categories: adapted screenplay, makeup and hairstyling, visual effects, sound mixing, sound editing, costume design, production design, and cinematography. While many missed out on one of 2018’s best films, the ones who saw and fell in love with Annihilation will agree its right to take home an Oscar.

#4: Avengers: Infinity War deserves more nominations

Many may disagree, but Infinity War deserves more nods than Black Panther. The cultural significance of Black Panther makes it an essential film for all of Hollywood and the superhero genre. Comparing quality, Infinity War holds up far better and achieved the impossible by standing as one of the biggest blockbusters in history, not in budget and earnings, but in its stature in storytelling and directing.

Black Panther could move the comic book adaptions into the Academy more often, but I worry for the future recognition excellent movies in the genre will receive. Hopefully, King T’Challa can break through to the prestigious award ceremony to let in his fellow Avengers for the coming years.

At the very least, the epic battle against Thanos should have earned more nominations from the other visual oriented categories.

#3: Eighth Grade got nothing?

Offensive is the only word to describe Bo Burnham’s directorial debut snub. The resonating story made this small teenage journey one of the most important films of the year. Despite praise upon its release, the Oscars are for the cool kids, and not the awkward teenager.

Both Elsie Fisher and Josh Hamilton could squeeze into best actor and actress categories or replace someone for their position these significant slots.

Bo Burnham himself could get a place for his directing and original screenplay, however, he sits out just like his cast and crew.

Shame on the Academy Awards.

#2: Toni Collette ignored for her performance in Hereditary

I don’t know which of these last three slots on my list make me angrier, but Toni Collette not getting a nomination for her performance in 2018’s best horror film drives me insane. She delves into such emotion ranging from rage, feeling resented, depressed, desperate, and so much more to bring her character to life.

While most of my list is wanting a film or person to get a simple nod by the Academy, this is the one I demand to win due to her incredibly moving performance that took my breath away.

#1: Bradley Cooper does not get best director for A Star Is Born

How does one of Hollywood’s best actors get in so many categories, but not the best director? The Academy loves directorial debuts, but somehow Cooper could win all of the biggest awards despite one for one of his most momentous achievements in his career. Criminal might go too far, but describes how robbed he has been from such a respectable selection.

What are the biggest snubs from this year’s Oscar nominations to you? Comment what you think below.

Image via A24 and Warner Bros. Pictures


Spider-Man: Far From Home Theory: How Mysterio Will Turn into a Villain

Trailers for any entry into the MCU gets jam packed with content to dissect and with Spider-Man: Far From Home, one specific detail caught me, Quentin Beck/Mysterio (Jake Gyllenhaal) fights on the same side as our friendly neighborhood Spider-Man. Traditionally the special effects worker turned criminal has given Spidey plenty of trouble, but seeing him as a hero feels wrong. Due to Marvel’s current trend with their baddies, I have a few ideas about where Mysterio will end up.

The story we know so far is that Nick Fury (Samuel L. Jackson) highjacks Peter’s (Tom Holland) vacation to Europe into a new adventure to face against Hydroman and the other Elementals. He gets introduced to Mysterio who has been hired by the uniter of the Avengers to help the web-slinger defeat these new foes.

Marvel has addressed their antagonist problem in a significant way with Thanos (Josh Brolin), Killmonger (Michael B. Jordan), and Vulture (Michael Keaton), who have all been able to prove themselves as worthy foes and have a sympathetic backstory that makes their motivations impact the audience point of view. My thoughts here are that Mysterio will start off as a hero, but end as a criminal. Something traumatic will occur to lead him down a darker path, which leads to a loveable new character to turn down the wrong path, not only affecting Peter but the audience too.

Image via Marvel Studios

Having a change of heart for Mysterio will become important, especially as Vulture gets reintroduced. Keaton’s excellent birdlike crook will make a return in a way that has not been shown or mentioned. The most obvious reason is to move into a Sinister Six direction. Mysterio and Vulture both tend to have significant roles in the clubhouse of supervillains, along with Shocker (Bokeem Woodbine) and Mac Gargan (Michael Mando) who eventually turns into Scorpion. Since the standalone films have consisted in threes, Spider-Man’s third journey could have the ultimate climax by facing against six of his greatest enemies, all we need is two more introductions.

Often times the leader of the Sinister Six flips between Green Goblin or Doc Ock, neither of whom have made an entrance into the MCU, yet. The Osborn storyline has been beaten to death with the Garfield and Maguire films, so going to Otto Octavius who has not made any live-action appearances since Spider-Man 2 in 2004. Tony Stark will no longer be around as Peter’s superhero guardian, introducing Otto as a new father figure could push the iconic hero into a new direction that has not been seen on film, along with the leading into his toughest challenge to take on alone.

The motivations to Mysterio could go in a different direction if the Sinister Six option becomes a reality, even without five villainous buddies, he has room to digress into a supervillain. His drive in the comics relates to frustration with the film industry and a desire to become famous, so he tries to take down Spider-Man to achieve a high level of stardom. Not a strong motive for a big screen adaption, but his ego driving him for glory could work against him by moving towards heroism then having those plans blow up in his face to corrupt his moral compass.

Another direction for his desires can stem from a falling out with either Nick or Peter. Seeing heroic men not turn out who he expected could lead Quentin Beck to a darker life. The classic story of betrayal or having different outlooks could turn Quentin into a sinister force rather than an avenging one.

Marvel has come to love their misdirection like in the trailers for Thor: Ragnarok and Infinity War. Due to how many edits were made in the third Avengers, I can no longer trust what gets shown in any preview for new entries in the MCU. No matter what trick lies waiting for audiences, I can guarantee a plan for Mysterio to go rogue will occur at some point in Far From Home.

What do you think about my ideas about Sinister Six or the lone Mysterio fighting against Nick Fury and Spider-Man? Comment any of your thoughts on my theory or your own theories below.

Header image via Marvel Studios

Opinion: Horror Movies are Making a Comeback From the Grave: How the Horror Genre is Rising Back to Greatness

The lucrative horror movie genre has always been profitable, but the quality is often rotten. Sequel after sequel of storylines that get beaten to death then mutilated to further their descent into utter garbage and bad Rotten Tomatoes scores, the overall quality of most films in the world of everything spooky has gone downhill, especially in the 2000s. In the last couple of years, a shift has taken place where these films are making money and people, both critics, and audiences, enjoy these pieces of entertainment for their value rather than seeing it for the sake of watching something at the theater. With movies from 2018 like A Quiet Place, Halloween, and Hereditary finding success and 2019 having plenty to offer, creating something terrifying never looked so good as it does now.

The amount of tickets sold in horror continually goes up and down. According to The Numbers’ data, a sharp 6.98 percent increase has taken place from 2014 to 2017. The most notable movie during this increase is Andy Muschietti’s IT remake which grossed over $700 million during its run in the theaters, making Pennywise’s return the highest grossing in the horror genre and for R rated movies.

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2017 had more to offer than just the excellent adaption from Stephen King’s classic novel. The New York Times reported that the year saw the biggest rise for the genre. The USA alone saw $733 million total from scary movies and worldwide the total came to slightly over a billion. Get Out, Happy Death Day, and Jigsaw all helped the killer clown shapeshifting entity take the horror into new heights. Comparatively the biggest year prior was 2000 which grossed $616 million due to reboots of classic horror films like Rob Zombie’s Halloween and original flicks like Saw. The 2010s have increased due to those same reasons, but more original ideas have been popping up.

Get OutA Quiet Place, and Don’t Breathe not only score well at the box office but did well on the Tomatometer. While Rotten Tomatoes is not the judge, jury, and executioner in the world of film, it still holds value as a respectable measurement when looking at how audiences and critics view a movie’s quality. John Krasinski’s A Quiet Place scored a 95 percent with experts and an 83 percent with viewers while grossing $340 million on a roughly $17 million budget. Jordan Peele stepped out of the comedy into the darkness to deliver his standout debut with Get Out received a 98 percent from critics and an 86 percent from fans with a slam dunk by earning $255 million on a budget of $4 million. The director of the 2013 remake of Evil Dead, Fede Alvarez made his most successful film with Don’t Breathe got an 88 percent from the professional reviewers while obtaining a respectable 78 percent from the public. No matter whether people die by a blind slasher, a racist family, or aliens, the masses will throw their money and high opinions over who can scare and entertain better than the rest.

Plenty of good ideas go to waste in the past, still happens today, but riskier projects can thrive. As Above So Below received an abysmal 25 percent with a mediocre return in profit, Flatliners got crushed by a 4 percent by squeaking in $45 million, and Chernobyl Diaries got eaten by a 17 percent but making a respectable $37 million off a $1 million budget. Original ideas in the last few years such as the brilliant Get Out, the unique It Follows (a 96 percent on Rotton Tomatoes), the adrenaline pumping Train to Busan (96 percent), and sweat-inducing A Quiet Place takes their new ideas to win over the world.

Films need to have a better objective, a focus on jump scares and high body counts will not do any justice in creating an enjoyable horror flick. According to a survey of 200 movies from the reviewing juggernaut, any film with higher than five deaths will most likely hinder its rating and proceeds. A Quiet Place and Hereditary (89 percent then raking in a modest $79 million while costing $10 million) came out on top as some of 2018’s highest reviewed horror flicks. Both films have a few deaths while their attention centered around suspense, character development, and narrative. Just like an action movie, if you have nothing but explosions with no meat on the story or personalities, then you become a Michael Bay movie.

The future for these grim films looks bright as they dismember and spread nightmares throughout the world. 2019 holds the sequel to the wildly successful IT, Jordan Peele will deliver a terrifying experience that matches Get Out‘s thought-provoking message with his second outing with Us, another Stephen King adaption storms through with John Lithgow (Dexter), John Clarke (Zero Dark Thirty), and Amy Seimetz (Alien: Covenant) in Pet Semetary, the long-awaited sequel to zombie-comedy Zombieland arrives this fall, and the insanely popular superhero genre will showcase The New Mutants, and Brightburn will turn the idea of cape-wearing vigilantes upside down. Based on the past few years of the rising numbers of these horrific tales that get brought to life on the big screen, make sure you lock your doors and windows every night because this year will be a dangerous and haunting time with evil Superman, killer clowns, and vicious dead animals.

Header image via Warner Bros. Pictures, RADiUS-TWC, Universal Pictures

Opinion: Vincent D’Onofrio’s Wilson Fisk is the Best Supervillain Portrayal Put on Screen

Sorry, Josh Brolin’s Thanos, Tom Hiddleston’s Loki, Michael B. Jordan’s Killmonger, and the best portrayals of The Joker ranging from Mark Hamill to Heath Ledger because Kingpin dominates this genre. Vincent D’Onofrio’s performance in Netflix’s Daredevil is the best the world has seen out of any superhero adaption to the big or small screen. The big bad guy of the gang world in Hell’s Kitchen manages to be the most complex baddie a superhero has had to face on TV or film.

Just a warning, there may be a few minor spoilers. If you do care then go watch Daredevil because the show is phenomenal.

One of the many reasons Tom Hiddleston, Heath Ledger, or any other memorable performance of a villain is due to several reasons, one of which being the subtle nuances they put into their character to make them come to life. D’Onofrio goes all out to not play as Wilson Fisk but to become him. Seriously, just look at comparison photos, the similarities are shocking. The actor gained 30 pounds going from 250 to 280. Taking into account that the character in the comics is 6-foot-7 and weighs 450-pound monster, that is quite a lot to take on after being a 6-foot-3 man. While he is not the exact weight or height, D’Onofrio towers over every other actor. Not only did he gain the weight, but he also shaved his head then once the wardrobe department gets him his suit, nothing can distinguish between the actor and the Marvel character.


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Image via Netflix/Marvel

He has the suit, especially the white suit in season three of Daredevil, the stature and mass along with being bald, but there is more to him. The writing in the Netflix original is fantastic, especially in creating his character. The best antagonists are often the sympathetic ones who blur the definition of being a bad guy. A chubby kid with an abusive father becoming an all-powerful crime lord. His journey is painful, yet inspirational. A flip on the rags to riches story for someone who murders his father and commits plenty of other horrific acts of violence.


Image via Marvel/Netflix


While his origin makes for a complex man, his heart is what can trick anyone to root for him over our blind hero. He is ruthless with a mix of being an overly emotional child who throws temper tantrums. He has a love interest and shows genuine affection for her. Some stories show the monster with a disingenuous heart, but Fisk is in the head over heels type of love for Vanessa (Ayelet Zurer). The amount of emotion always comes out in his voice. D’Onofrio has stated that his voice for Fisk is intentional by putting all of that anger, sadness, and all of the other feelings come through by the way he speaks, no matter the subject manner.

Motivations for any character are arguably the most crucial aspect to their personality. Batman’s parents died which leads him to a life of fighting crime, Killmonger wants to fight against injustice against his people, Thanos witnesses his people going extinct, and Fisk wants to make Hell’s Kitchen great again. A man who has empowering speeches about rebuilding the city to create a safer neighborhood for the community. What generally goes wrong is these people have extreme methods. Having mass genocide is a bad idea, Thanos. If you want to improve your part of the city, then avoid criminal organizations, bombing buildings, corrupt police officers, and bashing a man’s head in with a car door until nothing is left except for some splattered brains.

The man does not need to say a word to outperform most of the already stellar cast in the Netflix original. The subtle expressions with his hands, eyes, and overall demeanor give the character an extra layer. Similar to Heath Ledger’s licking the inside of his mouth and Tom Hardy’s memorable accent as Bane, D’Onofrio mixes the loud way to tackle a performance and the quieter approach. The way he stares at the white painting is always impactful and haunting.


Image via Marvel/Netflix


While a villain such as Loki gets multiple movies, the amount of screentime for Fisk is much greater, allowing for further development. The state of entertainment today gives room for a show to shine brighter than the blockbusters. While Daredevil has the advantage with more time, not every show does. Luke Cage stumbles with its villains, and Iron Fist delivers too similar to stories that feel repetitive in the storytelling. One of the biggest differences between great and bad TV is often time management. While season two of Daredevil was a bit messy, season one and three manage to utilize every minute with care. Allowing for Wilson Fisk and every other character to be developed into the endearing personalities that lift the show up.

D’Onofrio captures the complexities to one of Marvel’s most iconic villains. He has always had this multilayer personality that can switch in a few sentences. One minute is a raging bull then the next he is a crying baby. While many characters that are too emotional can come off as annoying, D’Onofrio strikes the balance to make for a captivating performance that rivals anything done in the superhero genre. Taking the old tropes that are seen in his character, but taking the initiative to take the extra step to bring the character to life.

While many excellent portrayals of iconic villains have been seen from Jack Nicholson’s Joker to modern-day performances by Michael B. Jordan in Black Panther, fans of the superhero genre have plenty to be happy about. While Vincent D’Onofrio’s process is similar to many of these talented actors, what holds him above is his consistent acting and the fantastic writing that brings one of the most iconic, complicated, and brutal Marvel characters to life.

All three seasons of Daredevil are available on Netflix right now.

Header image via Netflix/Marvel

Opinion: How to Properly Create a LGBTQ+ Character

Diversity in any medium is a hot topic right now, especially for video games and movies. Recently at E3, a lot of games have announced female protagonists, choices to let the player choose to be gay or lesbian, and characters that are designed to be gay or lesbian. Of course, people who are misogynistic or homophobic have cried foul against the industry. That is not what I am going to discuss. Some shows, movies, and games create these characters as a statement, which is fine. However, making a statement with a diverse character can be a slippery slope. Doing so can alienate the audience or take away from the cast. The writers need to write a character who feels natural that does not feel forced. That will let viewers adjust and accept a character quicker than forcing a characteristic into whatever medium the character is apart.

Often characters are stereotyped in the worst ways. If done well you might be able to utilize a stereotype that is not offensive. However, too many times we see overly flamboyant characters who fall in line with every stereotype that society has created. In I Now Pronounce You Chuck and Larry is a great example of stereotyping in the worst way. Kevin James and Adam Sandler are straight characters who pretend to be gay for their benefit. The way they play off being gay is by overacting on every stereotype. The film tries to give a meaningful point of view by the end, but the film is unable to save itself. Continuing certain stereotypes will keep LGBT characters in particular archetypes without being able to expand to more unique characteristics.


Image via Universal Pictures


A universal sin for any medium is when an LGBT character is pointed out for their identity in hopes to show how diverse the show, game, or book are being. The problem is that the character is used as a tool. The main cast of characters will get more development than once a character comes in who is different, the whole point will be to show that someone is not a white straight character. The characters can be any color of skin or sexuality, but when the creators feel the need to shoehorn in someone different, the audience will pick up on what is happening.

A third issue we often see are LGBT characters who are kept a secret in the primary source material. The character is only revealed to have specific sexuality by the creator of the medium, but the audience does not get to experience the character for who they are meant to be. Harry Potter is the best known for having a secretive gay character, Dumbledore. J.K. Rowling has confirmed that he is gay, but never made an effort to flesh this out in the novels. Doing this makes Dumbledore’s sexuality a piece of throwaway trivia for die-hard fans who want to know everything. Making him more apparent with his sexuality would be groundbreaking and help young LGBT readers.


Image via Warner Brothers


A way to fix the issue is to treat every character the same when developing them. Taking a character in anything by giving them a backstory, personality, looks, and more to make them as believable as possible should be done for everyone equally. Two great examples being The Last of Us and Day 5Day 5 is a drama from the internet production company called Rooster Teeth where a group of survivors struggles with an epidemic that causing people to die when falling asleep instantly. One of the main protagonists is Ally, a nurse who is alive because of a long night shift. The reveal of her relationship with a colleague Lex is natural. The audience is not subject to any messages or pointing out the young lesbian couple in any disrespectful way. The audience gets to know Ally over time and sees another aspect of her personality, which happens to be her sexuality. After a brief kiss, the show continues its story. The Last of Us has done the same and will continue to expand on Ellie has a character in the upcoming sequel. In the game’s DLC the player gets to see Ellie kiss her best friend, Riley. The quick reveal is interrupted by zombies coming into the room and chasing the two girls. The latest trailer and gameplay video shown at Sony’s press conference this past E3 shows more of Ellie. Her new companion is demonstrated as they dance then eventually kiss. The relationship is not focused on too much allowing the audience to experience the game’s gameplay. Naughty Dog’s Neil Druckmann crafted realistic characters in a believable apocalyptic world.


Image via Rooster Teeth


Characters across the board need to be organically developed just like any other character. When the writers of a movie, game, or book decide to make an LGBT character or even a character of a particular religion or race, they must make a believable character. Shoehorning in someone to have certain traits does not do the character any justice. People who do not want the diversity will shut down much easier if they feel something is forced upon them. Of course, it is difficult to handle the naysayers in any way. The people who will accept a character who is transgender or gay, that person still needs a character well developed to enjoy.

I believe one of the core reasons we get a lack of LGBT characters and so many bad ones is on the writing. People who write are the ones creating a person on paper to put on a screen or many pages of paper. That person needs to know enough about LGBT people to properly craft the character. People need experience in creating a diverse set of strong characters who can help carry the story.

As audience members, we need to voice our opinions properly to creators. I am not talking to those who want to shut down a person’s vision for having a character like Rosa Diaz from Brooklyn Nine-Nine or Ellie from The Last of Us. We do need to make sure to voice when a character feels wrong that makes it feel more disrespectful to the LGBT community. We are a long way away from having an organic set of characters with their backgrounds whether they are straight, LGBT, or anything else. With E3 just passing, the sun is shining bright for the video game world. Players are getting choices in games such as Assassin’s Creed and Cyberpunk 2077 that allow them to choose a character who can be the sexuality or gender of their choosing. While television and movies may need some help in some areas, things are progressing in the right direction.

Header image via Naughty Dog

Opinion: Why Battlefield V Doesn’t Deserve the Outrage

Since the announcement of the next Battlefield game, the internet has exploded with outrage. Whether this outrage is a minority or majority group is hard to determine since the internet always has that loud minority who spews out their anger over anything. Still, no matter how many people there are who are angry, they have made themselves known. There are multiple reasons as to why people are mad over this new entry. The first primary reason is that a woman is on the cover art and the trailer which makes people feel this will be a historically inaccurate representation of World War 2. The other reason is the trailer which looked to over the top with its action. I will discuss my thoughts on both manners, first by the trailer.

Note, I am not trying to dictate how people should view this game or about this current controversy. I want to provide my point of view on the manner. Also, I see a trend of people having a knee-jerk reaction to something such as a woman being in a World War 2 game. I am going to logically look at this with some evidence to assess this situation and formulate an opinion.

The trailer starts off as an action-packed cinematic that transitions into gameplay. All you get is action, a female soldier, a World War 2 confirmation on the setting, and some glimpses as to what changes appear in the gameplay. Nothing about the trailer is impressive, but it is not terrible either. Whether you like the trailer or not is up to you. What needs to be discussed is this is the first look at the game. The purpose was meant to give an announcement to say, “Hey, this is the new game. Look at how beautiful it is and the crazy action you will experience.” When the EA Play event happens June 9-11, we will get a lot more information on the game. We see every developer do this with a trailer then more details at a later date, whether they are showing it at an event like E3 or post about it online when they are ready. We have not seen anything unusual out of this strategy, and there is no real reason to be outraged over the first trailer. Rumors started a while ago that we would go into World War 2 after the successful World War 1 entry that the series made with Battlefield 1. Gamers have a right to be skeptical, not enjoy what they have seen, or love what they have seen so far. What we should do as gamers are to allow EA and DICE to show more of the game before making a definitive opinion on the game before EA Play.

The other major complaint people have is about the female soldier we see in the trailer. People have stated this is historically inaccurate. Yes, female soldiers in World War 2 were not that prominent as male soldiers. However, they were still around and made their impact. The United States had roughly 400,000 women who served in the military. Those were traditional jobs for women, so they did not fight there. Other countries did have women going out into combat.

To take a look at the Russian side of the war, these are some of their strongest females. Some of these women serving had to enlist in the military, while others were more underground in their operations. Zoya Kosmodemyanskaya was a teenager when she had died because of her guerrilla activities, but had managed to do some damage to the Germans. She would set landmines, set fires, and other methods to cut off the Germans. After Zoya’s death, she would receive the title Hero of the Soviet Union, the first of any woman in World War 2. Russia had many well-known sniper women who had high kill counts such as Roza Shanina who had over 50 confirmed kills. Lyudmila Pavlichenko is a common example during the debate about Battlefield V and its historical accuracy. Lyudmila has over 300 confirmed kills and is considered to be one of the greatest snipers ever to live. Then the Soviet Union had Nadezhda Popova, a deadly pilot who took down a lot of German aircraft. She flew over 850 missions in her biplane. Herself and the rest of her squad completed deadly missions at night which granted their team the nickname, “Night Witches.”  Just by 19 she had become a pilot and is known to be one of the best.

Throughout Europe, other women were fighting off Nazi Germany. Nancy Wake was living in France with her husband when the war broke out. She becomes a spy, who ruthlessly killed Nazis, even with her bare hands. Besides killing Nazis, she ran messages for the resistance, helped people flee, and also participated in raids. Pearl Cornioley worked as a courier in France to support the resistance and eventually rose to command 3,000 fighters. She and her soldiers had accomplished a lot by killing 1,000 German troops and making 18,000 surrenders. These women had a mighty hand in the resistance and caused significant damage to the Germans.

From deadly spies to snipers, women made quite the impact during World War 2. Of course, they did not do as much damage as the men in combat due to numbers, but there are plenty of excellent examples of said women. To see a woman in an announcement trailer for Battlefield V then call it historically inaccurate right away is too quick of an adverse reaction.

Above everything, this is a video game. Movies, video games, and books take real-life tragedies into entertainment. Drawing the line properly then there is nothing that should be disrespectful to the real event such as a major war. The need to entertain players comes first so there will be some inaccuracies here and there. We might see too many female soldiers, but if that is the most abhorrent historical inaccuracy, then DICE did not do a bad job at making Battlefield V. DICE’s boss Oskar Gabrielson says, “Our commitment as a studio is to do everything we can to create games that are inclusive and diverse. We always set out to push boundaries and deliver unexpected experiences. But above all, our games must be fun!” You can view his whole tweet thread by clicking below:

The Battlefield franchise has been the more realistic route to go for first-person shooters. This holds true especially when looking at mainstream first-person shooters like Call of Duty. People have a preference on the fast-paced combat from Call of Duty or slow pacing that has an emphasis on sandbox gameplay such as Battlefield. This is a franchise that has been about playing the way you want in either a realistic strategic way or running an ATV that is strapped with C4 to blow up a tank. Video games are meant for fun so some historical inaccuracies will have to take place for the game to work for the players. If a game is too realistic or accurate to a historical event, then that will take away from fun gameplay. Developers are the ones who need to have a clear vision for their game to strike the balance they feel necessary for realism and fun.

Image via DICE