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Public transit 1s the worst
place to hit on people

> Commute dispute

Jessica Berget
Staff Writer

 

pwr transit is my salvation. My
commute is one of the only spaces I
can relax before going to class or work. It
is my time to listen to music or catch up
on reading. It is like a safe space where
I don’t have to talk to or try to impress
anyone. I can just put my headphones
in, bury myself in a book, and make my
commute. This is why it is so awful and
annoying when strange men approach me
and intrude on that space by attempting
to hit on me, even though I am clearly
not interested. I am not looking fora
date; | am just trying to get to home.
Public transit is not a social event
or a place to get dates, so stop treating
it as such. The bus is not a place I get
all dressed up to go to in the hopes
someone will ask me out. It’s literally
just how I get around. | didn’t ask
to have an hour long commute.

Isn't it some sort of social code that
transit commuters just leave each other
alone? It is an invasion of my privacy
when strangers attempt to talk to me
on public transit if I am either in the
middle of a book or listening to music, or
even staring wistfully out the window.

The bus especially is not the place
to try and hit on people. It’s awkward
for everyone when I have to reject you in
front of some 20 or so fellow commuters
who are probably eavesdropping on
our conversation, and you will have
no one to blame but yourself.

The idea of meeting someone on the
bus may be romantic to some people, but
it comes off as a little desperate and very
creepy. I can't think of a less attractive
place to be hit on than public transit. It
can often get uncomfortable. Some guys
are so aggressive and persistent about
getting your number that it can put you
in an awkward position. You might be
too scared to reject and feel inclined to

give out your number just so they leave
you alone, which can put you in a lot of
danger. But unfortunately, sometimes
this is the only way to get rid of them.
Bars, parties, Tinder, these are
places where it would be okay to ask fora

  

Photo by Analyn Cuarto

number. The public transportation system
is exactly what it sounds like—it’s solely
for public transport, not a place to get
dates. The next time you find yourself
thinking about asking the person next to
you on the bus for their number, don't.

What is the deal with movie reboots?

> What makes themsuck or not suck

Katie Czenczek
Contributor

 

h, the wonderful world of

movie reboots. At times they
can offer nostalgic reinterpretations
of films from our childhood that are
adapted to a modern audience....
or they are absolute garbage.

Before I get into what makes a good
reboot, we need to differentiate between
a remake, sequel, and reboot. Remakes
are when a (usually) old film is brought
to a new audience where most of the plot,
characters, and setting remain the same.
Sequels are the follow-up toa story, and
there are often returning characters. The
plot needs to line up with the first film,
but preferably does not completely imitate
it. Movie reboots are neither remakes nor
sequels. They are the complete revival of
a previous character or world, where new
actors are brought into the mix along
with new stories. Nolan’s Dark Knight
trilogy would count as a reboot when
compared to the 1989 Batman. For all
of the Michael Keatons and Christian
Bales of the world, it can be absolutely
fascinating to revamp a seemingly closed
film or TV series by giving it an entirely
new direction. Alternatively, they just
cause heartbreak and disappointment
to the hard-core fan base.

Now that that’s been cleared up, let’s
get into what makes a good movie reboot.

 

First, we must discuss how it ruins a film
to crush a writer and director’s vision all
for the sake of maintaining the status
quo. Movie reboots are not supposed

to be about completely copying every
single detail the previous movie had.
They are supposed to go off the beaten
trail to find a way to revive a series that
already has five different interpretations
of how a main character should act, or
what they should look like. The reason
that any series reboot works is hinged
on whether there has been a noticeable
change in plot, how the character is
viewed, and the antagonist. However,
everything cannot be completely changed
or else the story will alienate fans of the
“original” series. Mad Max: Fury Road
does this the right way by introducing
new and interesting characters, while
still keeping to the same twisted and
dystopian world. New and old fans

Photo from ‘Jumanji: Welcome to the Jungle’

alike can enjoy the new movie without
feeling like it completely ripped off the
first film or made it unrecognizable.
Another huge error that goes
overlooked in film is rebooting a franchise
that has not been dormant for very
long. From the Spider-Man series to the
Amazing Spider-Man series to this year’s
Spider-Man: Homecoming, there has been
only a 15-year span between the three
reboots. This is only a problem if the
upcoming film allows for it to be. Where
Amazing Spider-Man crumbled was that
it went into Peter Parker's origin story just
as Spider-Man did, while adding nothing
that made the origin story seem worth
retelling. The origin story may have been
important to recreate if there was a 20-
year gap in order to introduce the story
to new fans, but within such a short span
of time it was needless. This differs from
Spider-Man: Homecoming. From what we

know thus far about the upcoming movie,
they do not relive Uncle Ben’s death
scene, and pick up with a more seasoned
Peter Parker, when he has been Spider-
Man for longer. This gives me hope that
there will finally be a Spider-Man that
is beloved by hard-core comic fans and
causal superhero movie lovers alike. Also,
Tom Holland is arguably the first Spider-
Man to actually look like a teenage boy.
Whether or not producers of a
movie remake are just trying to make
a quick dollar by using a character’s
famous name or not, the least they
could do is ensure that the movies they
reboot are well-written and original,
and provide a new way of looking at a
character. This is why it is pivotal that
writers and directors have agency when
creating reboots. Hugh Jackman’s
goodbye to X-Men is a testament to
the need of supporting artistic vision.
Though Logan can be considered part
of the X-Men franchise, the way this
film brought Wolverine into a new light
allowed for character development
not seen in the previous films. He was
centered, humanized, and not simply
an action hero with cool one-liners.
With all of the movie reboots
that are happening, all I can ask is
that they take more time to really
delve into a world or character. That
way, a story’s—and character’s—full
potential can be seen, original or not.