The reenvisioned Uhura portrayed by Saldana reflects a more well-rounded characterization, exhibiting attitude and spunk as well as intelligence and dedication. (..) This unexpected revelation [of the Spock/Uhura relationship] upended Star Trek fans’ expectations that Spock would be emotionally aloof and isolated from the other crew members while Kirk’s character would have love interests (and sexual conquests). More important, however, it offered the strongest evidence of just how much the Uhura character had developed. The depiction of Lt. Uhura in the 2009 film demonstrated that a powerful female character could be depicted with a love interest without reducing her to being “just” the love interest—something that Trek fans and feminist scholars had suggested, as recently as the late 1990s, might not be possible.

Star Trek and History, Nancy Reagin (excerpts from ‘More Than “Just Uhura” written by Margaret A. Weitekamp with Nichelle Nichols’ input)

“..with Lt. Uhura in 2009, Star Trek finally included a fully realized female character who could be in a romantic relationship without being overshadowed, defined, or otherwise reduced by it. In fact, Uhura acts as the emotional lead in the couple.
When Spock retreats from the bridge to the turbolift after the planet Vulcan has been destroyed, killing almost all Vulcans (including Spock’s mother), Uhura follows him and, after the turbolift doors close, embraces him. As he stands impassively (he is a Vulcan, after all), she cradles his head in her hands and whispers over and over, “I’m sorry.” She tries to draw him out, asking, “What do you need from me?” When he answers, in typical Vulcan fashion, “I need everyone to continue performing admirably,” she tips her head and nods, understanding his limits. Uhura’s departing kiss reveals Spock’s willingness to be intimate.
Rather than overwhelming the female character, the romantic relationship enhances the depiction of Lt. Uhura. It is only during an intimate moment between the couple, as Spock prepares to transport off the Enterprise for a risky rescue mission, that the audience hears Uhura’s first name, Nyota, spoken for the first time. During that scene, Lt. Uhura’s flat catchphrase from the 1960s, “Hailing frequencies open,” becomes a deeper promise to Spock, “I’ll be monitoring your frequency.”
A passionate kiss ends their good-byes. As Uhura leaves the transport room, the other male characters exchange looks: Spock’s relationship with the tall, beautiful, and intelligent officer has raised his standing in their eyes.
Throughout the rest of the film’s denouement, Uhura is present on the bridge, acting as the ship’s communications officer, having been elevated to that position at the beginning of the film because of her extraordinary language skills, including the ability to distinguish Romulan from Vulcan. In the 2009 film, not only has the character of Lt. Uhura been allowed to develop as a professional, making real contributions to the starship’s command team through hard-won expertise and language skills, but she is also presented as a three-dimensional female character, one permitted to exhibit the greater range befitting a woman with romantic interests, strong opinions, and emotional depth.

Lt. Uhura represents an essential part of the mixed-sex, racially integrated, international space crew depicted in the Star Trek franchise, a depiction that was not only innovative at the time but that also helped to change history.
When Whoopi Goldberg saw Nichelle Nichols on the first Star Trek series, she was delighted to see an African American face depicted in the future. When Gene Roddenberry began work on Next Generation, Goldberg requested a role on the show (and was cast as Guinan) in tribute to Nichols’s path-breaking role. Moreover, the astronaut corps recruited by NASA in the late 1970s owed at least part of its racial and gender diversity to Nichols and her fame as Lt. Uhura. The evolution of the Uhura character both reflected—and spurred—historical changes for women and people of color in postwar America.”


the gaurdians of the galaxy are literally the five stages of grief.

Starlord: Denial, his mom dies and he leaves earth and doesn’t open her present because he doesn’t want to face the fact that she is dead

Drax the Deystroyer: Anger, his species is naturally angry and since they can’t take things figuratively they are more prone to fighting

Gamora: Bargaining, she bargains with Starlord and the rest of the gaurdians that they can split the profit from the infinity stone

Rocket the Raccoon: Depression, he has many moments in the movie where he shows his true feelings like during the bar fight scene with Drax and Groot

Groot: Acceptance, he is mellow, calm and collected through out the entire movie because he knows his fate and he gladly accepts his death to save the other gaurdians 


Mon film coup de cœur du festival de Deauville 2014 arrive enfin au cinéma. 

Renommé Daddy Cool (titre original Infinitely Polar Bear), le film sortira le 8 juillet en France et sera présenté en avant-première au Champs Elysées Film Festival.

Porté par un Mark Ruffalo très touchant et Zoé Saldana, Daddy Cool est une pépite d’émotions qu’il ne faut pas louper.

Découvrez la bande annonce en attendant :)