governor – Houghton STAR

On what many thought was an ordinary August day, within a suburb outside of St. Louis, in Ferguson MO, a not so ordinary incident occurred. Michael Brown an unarmed African American 18 year-old was shot and killed by a white police officer, Brian Wilson. The event initiated violent riots and protests throughout the country, which have continued and only heightened after the grand jury made their final decision. The account of the event has varied. However reliable sources state Brown fled from a Market and Liquor store where he and one other person stole cigarillos, a type of cigar.

A block away, Officer Wilson met him on the street. Wilson then proceeded to stop the men, calling them from his S.U.V. A quarrel erupted between the two, where some witnesses say Brown attempted to grab the officer’s gun. Two shots were fired, missing and/or grazing the teenager. The officer supposedly proceeded to chase the suspect. Brown then turned and began to run towards the officer who fired several more shots. A majority of the evidence collected appears to support this testimony, investigators say.
The grand jury, made up of 9 whites and 3 blacks, was responsible for determining whether or not there was a probable cause to indict Officer Wilson with crime. A New York Times article reported the recently published transcripts, forensic and photographic evidence by the county prosecutor, which is traditionally kept clandestinely away from the public.

The Ferguson case is arguably unique and intricate in more than one way. First, typical court cases are usually presented to a jury within one day whereas the grand jury in the Ferguson case met over a span of 25 days within a 3 month period. Secondly, the grand jury received testimonies of the incident from over 60 witnesses. A jury will usually see only two to three witnesses per case. Thirdly, a jury doesn’t usually hear from the defendant themselves, however Officer Wilson’s testified for 4 hours. Fourthly, a prosecutor generally offers a range of specific charges, which a grand jury may base their indictment on. In the Ferguson case, Robert P. McCulloch, the county prosecutor, did not recommend any charges against Wilson. Lastly, under Missouri Law, all evidence and related material is kept secret within the courtroom, and may be submitted at a later trial. Not so here, McCulloch released all documents following the grand jury’s decision not to indict Officer Wilson.

However, the case doesn’t end here. Two investigations are underway. A civil rights inquiry was opened up by the F.B.I., involving the shootings that took place on August 11. The other civil rights investigation was opened by the Justice Department, who has begun to examine whether the policy in Ferguson have a historical background of discrimination and exploitation of force. The death of Michael Brown sparked numerous protests and riots for weeks. Buildings were set on fire and raids on business were reported. Police were forced to respond with tear gas and rubber bullets. Governor Jay Nixon deployed the state’s National Guard to curb the violent responses prior and post the jury’s decision.

Recently President Obama responded to the uprisings following the grand jury’s decision, suggesting this case represents “the broader challenges we still face as a nation,” involving discrimination. Furthermore, the President responded to accusations of racism in Ferguson as a result of the “legacy of racial discrimination in this country.” These statements reflect the facts that Ferguson County consists predominantly of black communities.

Nearly the entire police force in Ferguson consists of white males, with the exception of four blacks. This ratio reflects a historical trend ‘white flight’ in many American cities over the last few decades. As many white families moved out to the suburbs, black families have moved into the suburbs. However, the large number of white officers may reflect the nature of job placement or historical relationships and ties to the community.

As riots and protests are breaking out around the country, people are wondering what will happen next. The death of Michael Brown has raised questions about the relationship between black communities and law enforcement. Perhaps the case reiterates the demand for our nation to address our criminal justice system. However, without a doubt in terms of dispensing true justice, many contend our system is the best in the world. “But, like every facet of the American democratic experience…,” CNN legal analysis and criminal defense attorney, Mark O’Mara remarks, “…it can use polishing.” Within these months and even years to follow, The Justice Department will be forced to grapple and respond to these harsh realities facing our nation today as it pertains to justice and discrimination.

Courtesy of collider.com — Courtesy of hypervocal.com

As one of the biggest pop culture phenomena of the decade, it is hard to argue with the statement that zombies are everywhere. From cult classics like 28 Days Later and Dawn of the Dead, to comedic satires like Shaun of the Dead, and the recently released Warm Bodies, it would only stand to reason that the small screen would soon adapt the genre to an ongoing dramatic series. The Walking Dead, based on the graphic novel series of the same name, is Hollywood’s attempt at feeding our culture’s insatiable hunger for all things gruesome, twisted, and undead.

When the series began two and a half years ago, the story had observable momentum and strength. The first episode was almost seductively powerful as it followed the hero, Rick Grimes, who woke up from a coma to a post-apocalyptic Georgia after “the outbreak.”

The audience is just as mystified as Rick as they watch him exit the abandoned hospital he has found himself in and walk through rows of bodies laid out across the ground. As the camera pans out, viewers soon realizes the true enormity of the situation when the rows of bodies become fields upon fields of them, covered in white sheets and completely covering the town he once called home.

As he tries to make sense of these shocking surroundings, he happens across his first zombie, or “walker,” as they are later coined. This female zombie is missing everything below her belly button, and thus can only snarl at Rick as he passes, reaching out with graying and rotting hands toward sustenance.

The episode continues with a bewildered Rick finding his home deserted and in shambles, his wife and son nowhere to be found. A man and his son then take him in while he recuperates, and this is where more of the situation is explained to him. The man points out his wife who “turned” as she aimlessly walks the streets with the rest of the undead, and explains that he cannot bring himself to kill her.

After acquiring guns and ammo, he decides to head to Atlanta in search of his family. Before the episode ends, we see him find that first zombie woman, look her square in the face as she snarls and thrashes at him, and puts her out of her undead misery with a bullet in the brain. These incredible and haunting sequences formulated an immediately dark and powerful tone for the show, and were an undeniable factor in its success.

With only six episodes, the first season was short but powerful. In fact, I would argue that the one and a half seasons to follow still have not lived up to brilliance of the first. The second season was stagnant, with story arcs that lasted for six or seven episodes that could have been better told in just one or two. The characters were so underdeveloped and their motives so unclear that I often found myself annoyed with them. With a few exceptions, particularly the mid-season and season finales, the second season as a whole was underwhelming.

The third season, while still problematic in some areas (particularly in regards to character development), has finally begun to rectify many of its second season faults. With the introduction of a new villain, the Governor, and a few other new characters like the ninja-sword-wielding-and-pet-zombie-toting Michonne (you would need to see it to really understand just who, or rather what, she is), and with only a few dry plotlines, the forecast of the series as a whole is finally looking bright.

Despite its faults, this show manages to harness a genre that, more often than not, has been difficult to take seriously. Somehow it manages to deliver a convincing and terrifying apocalypse as a result of a completely unrealistic situation. While doing this, it still manages to explore deep ideas and problems, like the complexities of the human condition, the struggle to hold onto hope in a hopeless world, the inherent value of life and how the destruction of the social institution as we know it can change that, and the simple question of the importance of interactive human relationships. The formal artistic attention to cinematography, the very serious subtext, and the mere excitement of a horror series are all reasons to look past the show’s definite shortcomings and to tune in every Sunday evening at nine on AMC.