I’m obviously very delighted by the return of The Clone Wars. It’s wild to reflect on how my relationship with the show has evolved–and how I’ve evolved as a person. I think I’ve already beat that drum on this site before, though. It’ll be interesting to see how much the show’s conclusion crosses over with Revenge of the Sith. And the whole season is a fascinating artifact, partially prepared while Lucas was still involved in the series. To what extent? How much does the final season reflect his vision for The Clone Wars, or for Star Wars overall? If we talk about Lucas’s vision for Star Wars, is that the saga films plus TCW, or all that minus the last season? (What about the Ewok movies, which he prepared stories for and in which he served as executive producer?)
And what of Dave Filoni? He’s often been presented as sort of the storytelling heir to George Lucas, but he’s of course coming to Star Wars with his own perspective and impulses. I find myself viewing Rebels as closer to what George Lucas would have done with Star Wars if he stuck around–but is that right? (I could see something like Underworld having gone the animation route eventually.) How does Lucas privately view the state of Star Wars today? Does he feel his vision is most fully realized through some particular media or through a specific story or through an individual storyteller? Or is he still mostly just bitter about the loss of creative control in the sale?
I think it’s safe to say that the films don’t track with how he would have wanted the story to go, for better or worse. I find myself increasingly viewing every non-Lucas-involved project as another Expanded Universe franchise deviation, a way to keep money flowing into the machine. At one point, that was guided by a flawed auteur with a unique vision, who still seemed to enjoy making his own Star Wars projects in his own sandbox. In Kathleen Kennedy, there is some sense of continuation, but I get the impression that she’s better at getting movies made than being a storyteller. And I think she’s done an overall good job of shepherding the franchise post-Lucas! But while Lucas did not write his movies all by himself, and while he didn’t even direct all of them, he still was the man behind the story throughout his films. The books and comics and games could do their own thing because they weren’t his story; there was room for others to dabble in his universe, but he still held the keys to the most visible presentations of that galaxy far, far away.
I think that there’s something lost in the removal of the single, personal vision. Still, creators like Dave Filoni and Rian Johnson (and the creative team behind The Mandalorian, including Filoni but also Deborah Chow, Rick Famuyima, Bryce Dallas Howard, Taika Waititi, and of course showrunner Jon Favreau) certainly show the benefit of other perspectives bringing their own personal ethos to the franchise. No version of Star Wars is perfect. Every creator brings their own flaws, and the fundamental nature of the franchise is to filter through so much pop culture history that it’s hard to keep problematic elements entirely out of the distillation process. But these creators feel like they’re bringing something new and fresh to the franchise. For that matter, I think there’s a lot of good content in Star Wars literature, and there are probably more consistent successes by a more diverse range of artists now than in the old Expanded Universe–especially when keeping in mind that this is only about eight years from the reboot and corporate transition (wow, it’s almost been a decade already?). In contrast, J.J. Abrams’s films, though fun to watch, bring nothing of substance–they feel more like the production-by-committee, formulaic Marvel movies that have grown so stale for me.
What’s my point? I don’t know for sure (and writing without a point is probably always bad writing). This is something I return to every now and then, and I think that I’m just barely scratching at much deeper conversations about the nature of art, including pop art, and consumerism and popular culture and late-stage capitalism and nostalgia that have been explored in much greater length by many other writers over time. I guess I find myself returning to my hesitancy about the great beast of manufactured pop content that Star Wars represents. It’s funny that my concerns dissipated somewhat after the purchase by Disney. I guess I was just hopeful for the reset. Here we are, though. I’m not bitter. And I’m certainly not over Star Wars, Disney or otherwise. This isn’t a manifesto. Just half-formed reflection born out of equal parts eagerness and uneasiness.
Thankfully, the release of expectation, the recognition that this Disney era of Star Wars isn’t exactly “official,” no matter who “owns” Star Wars, allows me to enjoy the stories I want and to disregard the rest. It’s been a few years in the making, but I’ve cooled in my urge to simply consume every new “canon” Star Wars story coming out. (A seemingly impossible goal at this point, given how many stories have piled up and in light of my persistent refusal to read solely new Star Wars content.) I doubt that this will be the last time that I touch on the subject, but I don’t know if I’ll ever find a satisfactory conclusion to it.