Aron eisenberg biography of martin luther king

CNN — Aaron Eisenberg, who played Nog from the Star Trek spin-off "Star Trek: Deep Space Nine," has died, his widow said. He was 50.

"He was an intelligent, humble, funny, emphatic soul," Eisenberg's wife Malíssa Longo posted on Facebook.

"There will never be another light like Aron's. The beauty that he was and the legacy he leaves behind is beyond words. I love him dearly and will miss him eternally. At the moment I'm not sure how to do life without him."

Eisenberg's cause of death was not released. The actor had received two kidney transplants, most recently in 2015, StarTrek.com reported.

"We didn't officially announce that we had eloped on December 28th, 2018," his widow posted. "We were hoping to have a big shindig in celebration of our nuptials, but had to wait to save up the money."

In addition to "Deep Space Nine," Eisenberg also had roles in the TV movie "Amityville: The Evil Escapes" and the features "The Horror Show," "Playroom" and "Beverly Hills Brats," all in the late 1980s.

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In honor of Martin Luther King Day ’11, it’s my privilege to discuss Star Trek and stereotypes. For whatever reason, I’ve spent the better part of the past six months watching episodes of different Star Trek series in my spare entertainment time. Whether the theatrically great DS9 (Deep Space 9), the ever-goofy TNG (Next Generation), or the uneven and mediocre Voyager, the Star Trek franchise that made runs of four different series between ’87 and ’05 had at least one theme consistent with our much less harmonious twentieth and twenty-first century times. Playing to stereotypes seemed to be a common undercurrent, though with great makeup artists — and at least with DS9, good writing and acting — those stereotypes were light and subtle.

In watching, it amazed me that nearly all actors who played the alien Ferengi were Jewish. Yes, the actors who played the Ferengi characters were supposed to be short, but I didn’t know that Jews had cornered the acting market for people under five and a half feet tall. Armin Shimerman, Aron Eisenberg, Wallace Shawn, and Max Grodenchik all played the main Ferengi characters on DS9. Not so ironically, the Ferengi culture centered itself on making profit by virtually any means necessary, a pretty vile stereotype for an entertainment franchise based on a future and better human race.

Even while watching DS9 in the late-90s, when all of

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At some point in middle school or high school, most people were exposed to two different types of rudimentary essay-writing. There’s the five-paragraph essay, that goes, intro/thesis-body-body-body-conclusion. And there’s the compare-and-contrast essay, in which you start with two seemingly opposed subjects and unify them by juxtaposing the ways they’re different, but also the ways in which they’re similar. From a distance of decades it’s easy to mock both essay structures, but they’re both incredibly useful ways of teaching young writers to approach complicated topics.

I’m not sure if the new season of National Geographic‘s Genius anthology is the most ambitious compare-and-contrast essay every written, but MLK/X is at least a generally well-intentioned illustration of both pros and cons of the format.

Over eight hours, Genius: MLK/X uses a frequently on-the-nose back-and-forth approach to the lives of Martin Luther King Jr. (Kelvin Harrison Jr.) and Malcolm X (Aaron Pierre), one that allows the series’ writers, starting with Jeff Stetson, to take two men who have been painted into the corner of being iconic ideological opposites and explore their philosophical journeys to surprising commonalities.

It’s reductive, but it gives the new Genius season a workable structure that the Pablo Picasso and Aretha Franklin seasons frequently lacked. There are complicated ideas that the structure lets Genius: MLK/X begin to reconcile, plus the writers