TROS and the questions that were answered

I finally saw The Rise of Skywalker for the second, and presumably last, time in theaters with my wife. It was her first time. She wasn’t a big fan of it (for the record, her favorite of the sequel trilogy was The Last Jedi). I found that I still rather enjoyed it. I’d started to dread watching it again because I recognized so many weaknesses in the story, and I had read so many critical reactions that I found I agreed with. I felt there was no way that I’d be able to enjoy it as much as the first time, if at all. Thankfully, I was wrong on this count.

This very well could be the dumbest main Star Wars film, but it’s full of emotion, a resounding score, and amazing visuals. I wish the trilogy had ended on a stronger note, but it is what it is, and while the story has many flaws, there are a lot of interesting plot threads that can be expanded in future stories. There is a lot condensed into this movie, even as relatively long as it is, and there are plenty of additions to the characters and larger mythology that can be mined for years to come. No Star Wars film is perfect, and the original final chapter in the Star Wars saga, Return of the Jedi, sure had its share of problems. So yeah, TROS can be dumb, and I’ll still incorporate it into my larger appreciation for Star Wars over time (even as I simultaneously become more interested in considering Star Wars in three categories: George Lucas’s vision as told in the first six films and The Clone Wars; the parallel universe created through licensing under Lucas’s rule, which at times influenced his own design and story choices; and the new parallel universe that covers much of the same ground with new stories and claims to provide a “canon” continuation to the original saga under Disney).

I started a post that was attempting to address questions left from The Last Jedi that The Rise of Skywalker answered. Whether one likes the answers provided or not, TROS did at least feel like a response to its predecessor, even if it feels more connected to The Force Awakens. That attempted post was heavy with spoilers, though, and I felt like it would be good to have at least one more view before moving forward. After finally getting that second viewing, I feel ready to share this post, now that the movie’s been out for so long that anyone concerned with spoilers should have seen it already. If you haven’t seen the movie yet for some reason, please beware of the massive spoilers that will follow.

The questions I’m responding to are those I specifically discussed in a previous post before the release of Episode IX. Since I’d raised those questions in particular, it seemed worthwhile to see how TROS dealt with them.

1. What is the fate of Kylo Ren? Will he be redeemed? Killed? Imprisoned? Could you even safely imprison a powerful Force user? And what would redemption look like for such a monster if it doesn’t end in death?

Well, this is sort of the center of the plot of TROS. We learn that he is redeeemed and killed. I guess we don’t know what redemption without death could look like. Ben’s ending works well enough, and his final sacrifice to restore Rey to life is truly a selfless act that is at least on par with Anakin’s own final sacrifice for his son. I think it would have been more interesting to see a version of Ben who has to work to atone for his past actions in some way, but that’s a lot to ask for one already bloated last chapter.

I’ve resumed my rewatch of The Clone Wars with the approach of its new season, and I’ve realized my question about imprisoning a Force user has been answered quite thoroughly in the new canon. We had the Citadel specifically for imprisoning Jedi, and a battalion of clones successfully imprisoned Pong Krell. For that matter, Obi-Wan was successfully imprisoned in Attack of the Clones, and it was only a screwy staged execution and subsequent rescue mission that spared him. Ben seems to be on a unique level of power, but it seems theoretically possible to imprison any Force user.
2. What will Rey do with the legacy of the Jedi? Will she establish a new Jedi Order or something else? Will any of her compatriots be revealed to have Force powers as well?

One of my favorite things about TROS was that Finn was revealed to be Force-sensitive. I guess not everyone registered that on viewing, but it seemed quite evident to me, and I remember reacting excitedly to moments demonstrating his Force sensitivity. His conversation with Jannah did everything but explicitly say, “I feel the Force.” I also read that conversation as indicating Force-sensitivity in Jannah and some or all of her comrades. And on second viewing, I felt the movie may have been hinting at Force potential in Poe (especially given his apparently impossible abilities with hyperspace-skipping). This suggests to me that the broad awakening of Force abilities and inspiration of a new generation of Force users thanks to the actions of Luke and Rey that was suggested in The Last Jedi has been preserved and expanded upon. I think much like the Jedi Exile in KOTOR II, Rey seems to draw unaware Force users to her, awakening their powers as their bonds with each other are strengthened.

Rey has become a Jedi and embraced the legacy of the Jedi. We don’t know, though, if she will actually train others. Her legacy is still up in the air, maybe to be explored further in canon another day.
3. How will this trilogy’s romantic entanglements be resolved? There are quite a few implicit and explicit love triangles. Will Rey end up with Finn, or Kylo, or no one at all? How will Finn navigate his relationship with Rey and with Rose? And does Poe finally come out as gay?

Rey ends up with no one at all, but she seems the closest to romance with Ben, unfortunately. I think the kiss is ambiguous, but it’s certainly there. Of course, they kiss and then he dies, so on the one hand that frees her up again, but on the other hand that could be deeply traumatizing for her. It’s crucial to me that the kiss is between Rey and Ben, not Rey and Kylo–he’s happy and light and good, having cast off his Kylo Ren persona entirely and sacrificed a lot to get there. Still, Ben and Kylo are the same person. Ben never really died, just like Anakin never really died when he became Vader. They have their excuses and dramatic metaphors, but at the end of the day, they chose to do evil. And they continued to do evil at every opportunity. Sure, they found redemption in a loved one at the end, but that doesn’t erase everything they’d done.

Finn doesn’t navigate his relationships at all. (How could he explore a relationship with Rose when J.J. and Terrio barely allow her onscreen?) He’s given a new female companion he spends his time with, who just so happens to be a female black former stormtrooper. That seems a bit too neat, and while they don’t become romantically involved, it feels a little convenient that Finn is paired off with another woman and Poe is as well, as if to suggest that they have heterosexual options and thus need not end up with each other, while also clearing the deck for an uncomplicated Reylo climax. I’m uncomfortable with the racial, sexual, and gender politics in this decision. Jannah is a cool character but underused, and she largely appears in support of and alongside Finn. I don’t think that’s a particularly well-thought-through decision.

More frustratingly, Poe is bonded to Zorii Bliss. Poe didn’t need a new romance story. Poe didn’t even need a new background, for that matter! His subplot and backstory feel incredibly arbitrary, like J.J. and Terrio decided to insert answers to questions that were never asked because they felt Poe wasn’t interesting enough. The inclusion of his history as a spice runner feels like a desperate bid to make him even more like Han Solo–and on this second viewing, I was all too aware of the reactions from fans who were troubled by giving one of the few Latino actors in Star Wars a character with a background as a drug smuggler. On top of this, Poe already had a backstory that was deeply associated with the Resistance and with the inter-generational legacy of the Rebel Alliance in non-film media, so this felt out of left field.

But back to Poe and Zorii. I was really bothered by Poe’s recurring attempts to get a kiss from Zorii. Even though they never do kiss, it felt like an unnecessarily defensive, hetero-normative reaction to FinnPoe. No, folks, not only is he not interested in Finn, he’s actually had an ex-girlfriend he wants to get back together with this whole time. Frankly, Oscar Isaac seems so half-hearted in his efforts that I’ve convinced myself that Poe and Zorii are in fact both gay, and that this is an inside joke between them. They’re just two old friends who know he’d never kiss her even if he could. While this works as a head canon, it’s incredibly disappointing that the filmmakers went in this hetero-romantic direction at all, especially when the only explicitly queer moment in this film (in any Star Wars film, for that matter) involves two background characters briefly kissing in the celebratory crowd at the end.

4. Now that the Supreme Leader has been replaced and Hux finds himself following a man he despises, does he stay loyal to Kylo? Does he lead a coup?

Hahaha! He does not stay loyal to Kylo. He also doesn’t lead a coup. He becomes a spy for the Resistance out of spite, and he gets shot dead like a dog.

5. Who was Snoke? Where did he come from? How did he influence Ben into becoming Kylo? And where did the First Order come from, for that matter?

Snoke is a clone, apparently. A clone of what/whom? I don’t know. Sounds like the comic series The Rise of Kylo Ren is addressing Snoke’s influence on Kylo, but I don’t know when or if we’ll learn more about what Palpatine was really doing with Snoke. And it seems that we still have an incomplete idea of what the First Order was or where it came from, let alone the newly revealed Final Order. Although Palpatine’s weird Sith cult activities and hidden Imperial military might fit in rather nicely with elements of the Aftermath trilogy, there are still a lot of questions.

6. Does Kylo really hear from Anakin Skywalker? Does he suffer from some form of psychosis? Has Anakin become corrupted in the afterlife even after his redemption? Is there someone else impersonating Anakin? Why didn’t any Force ghost appear to Kylo to intervene?

Turns out it was all Palpatine. Why did no Force ghost intervene, though? That’s unclear to me. In many ways, TROS didn’t give a fuck about the mythology of this universe.

Example 1: All the Jedi apparently live on in Rey. They speak to her and give her power in her final battle. But George Lucas had previously established over six films and The Clone Wars that most people, including Jedi, merely become one with the Force on death. Only those who lived selflessly could freely preserve their identities in death, not for personal benefit but so that they could instruct and guide others. Prior to the sequel trilogy, the only ones who preserved their identities after death were Qui-Gon, Obi-Wan, Yoda, and Anakin, and while Anakin had a great sacrifice at the end, it’s always been something of a mystery as to how he achieved this feat. Qui-Gon didn’t even take his body into the Force. But now everyone’s back, for some reason.

Example 2: Before the sequel trilogy, Force ghosts seemed limited in their abilities. Obi-Wan could not help Luke in his fight against Vader, and he tells Luke as much. Obi-Wan often provides advice and information, but I don’t recall him actually acting on the physical world. The same with Yoda. The Clone Wars and Rebels provided interesting spirits and creatures that were specially in tune with the Force, but these were separate from the Force ghosts I’m talking about. The Last Jedi had Yoda striking the tree with lightning, but this was mystical and calling on a natural element; it’s not clear to me that that suggests he could have lifted an X-Wing or tossed a lightsaber. Luke has such a physical presence in TROS, and it becomes quite curious as to why Force ghosts wouldn’t more directly meddle in putting down evil.

Example 3: Anakin was supposed to restore balance to the Force, and while it was never certain what exactly that meant, it was generally agreed that he did do exactly that by the end of Return of the Jedi. And yet Palpatine wasn’t truly defeated, only deferred. I was more on board when we were dealing with a new awakening in the Force–Kylo rising in power within the Dark Side, and the Light answering with the rise of Rey. It feels like Anakin only inconvenienced the Dark Side for a few decades, in the end.

Example 4: The Sith had never before discovered the power to escape death. It was one of the ironies of Star Wars: if you’re selfish enough to do anything to survive death, you aren’t able to do so. We had Sith spirits in Legends, but even then they were typically bound to a particular physical element–perhaps a temple, a tomb, an amulet, or a weapon. They were not free. The Dark Side, at best, provided them an immortal prison. Now, it turns out that the Sith actually retain some form of immortality by inhabiting their successors. When a Sith disciple strikes down her master, she apparently inherits the spirits of all the previous Sith. This could be a cool thing–and it still bounds the Sith to one physical element–but it doesn’t sit easily with the existing mythology. Also, what is the trigger for this transfer? If Rey would be possessed whether she struck Palpatine down in a moment of anger or in ritual, why is there an exception if she gets Palpatine to destroy himself by deflecting his Force lightning back at him until he dies? How much was Palpatine lying about this? Perhaps he wanted her to kill him in the ritual tradition, and hate alone wouldn’t do it? But then again, wanting someone to strike him down in hate suggests that he would have actually been fine if Luke had killed him in Return of the Jedi, and that’s an interesting idea. Imagine that: Palpatine feels he’s in a win-win situation. No way the Rebellion can win, the Emperor thinks. That leaves three scenarios: (1) Luke is killed, and Vader has nothing left to cling to; (2) Luke kills Vader and turns to the Dark Side, thus becoming Palpatine’s student; or (3) Luke kills Palpatine and is possessed by all Sith, becoming a powerful, young new host body. Luke’s decision to stop fighting, and Vader’s decision to aid his son and defeat Palpatine, are unfathomably remote options for the Emperor. And it turns out he had contingency plans for if everything went wrong, anyway.

At the end of the day, while I find these new bits of lore difficult to reconcile, they are interesting. This is a movie that concludes a whole trilogy about legacy. Appropriately, some of the key new insights into the Force and Force practitioners relate to legacy. The Jedi are able to commune with those who precede them. The Sith literally embody previous Sith, spiritually consuming them. All Sith live within one body, the closest they can come to immortality, I guess. No wonder there can only be two Sith at any one time–and no wonder that the Sith are unique for Dark Siders.

Finally, while not playing light with the mythology, I have way too many questions left about how Palpatine came back. I have only read the first arc of Dark Empire, and that Legends comic seems more relevant than ever now. Certainly, Aftermath also hints at some of the Dark Side occult elements involved in resurrecting the dead. It’s not at all clear to me if this is somehow a reconstructed original body of Palpatine (and this seems unlikely, given how he died) or if it’s a greatly corrupted clone body. How will destroying this Palpatine prevent him from coming back? Are we really sure all Sith cultists were killed in that end battle? What about the Snoke clones in the canisters that were missing by the time Rey arrived? What connection does Snoke have to Palpatine? A lot of questions to presumably be answered some other day.

7. Who are the Knights of Ren?

Kylo Ren’s boy band. “Ghouls.” That’s all. Disney wants us to make sure to read all the ancillary materials, I guess. Star Wars has always seemed larger and deeper because of the references to things that aren’t developed within the movies, but this seems a big thing to leave so blank, especially when they serve as (nameless, faceless) tertiary antagonists in the film.

8. Were there any other survivors of the destruction of Luke’s training temple?

I guess we still don’t know.

9. How is the Resistance rebuilt? What allies join the cause, and why didn’t they respond to Leia’s message?

Again: I guess we still don’t know. Lando assembles a People Power fleet. Maybe people were motivated by the story of Luke’s sacrifice and the survival of the Resistance. Maybe Leia’s message did get through but people couldn’t react in time. The film starts about a year after The Last Jedi, but the Resistance is still more or less in shambles until Lando brings in the cavalry.

10. What happens to Leia? How does she fit into the movie? It seems likely that she was intended to have a significant role, but how much can she really appear in the film with the untimely death of Carrie Fisher?

She appears almost enough for the plot that was ultimately provided for her character. She proves pivotal to the final reformation of Ben Solo. On second viewing, it’s more apparent how little she appears and how much the movie is molded around what available footage they had of Carrie Fisher. Harrison Ford comes back as a vivid hallucination/memory to provide the final push, and I wonder if they would have used Leia in that scene if Carrie had been available. Another bizarre mystery of the Force: why does her body remain until Ben also dies? For that matter, the Leia material offers another example of J.J.’s apparent disregard for the new unified canon: it’s hard for me to reconcile Leia’s training under Luke so soon after Return of the Jedi with her portrayal as someone who had never undergone Jedi training in Bloodline. For the record, I was fine with her display of Force abilities in The Last Jedi because training isn’t essential to use the Force. But having her training basically completed, and then giving up her saber and the Jedi path, doesn’t quite fit with what is suggested in Bloodline. (For that matter, how does she know Rey is a Palpatine? When does she learn this? When did Luke learn this? And if she knew some of Ben’s tragic fate, why did she make the choices she did in allowing him to train as a Jedi?) That said, it’s not explicitly contradictory, either…


As a bonus round, I’d just point out that Lando appeared as sort of a retired trader / elder statesman, but the subject of L3-37 and her final fate is left unresolved. Bummer.


So, those were the questions I had going into The Rise of Skywalker, and those were the answers I took away from it. They weren’t always the answers I wanted to see, some of the answers seemed like very poor options out of the many available choices, and sometimes there wasn’t an answer at all, but it’s still clear that TROS continues on from The Last Jedi, continuing to develop themes and character arcs from that film even while making some course corrections to apparently better align with J.J.’s original vision. It’s very Star Wars of the saga to end with answers that often prompted even more questions!

That’s a wrap: The Mandalorian 1.8

Hoo boy, that was a good finale. Plot threads dangling throughout the season were resolved, there’s a clear sense of closure for this season, and there’s a clear and direct focus for next season. The Mandalorian and the Child are bonded like father and son, and they have allies who may come to stand by them again in the future (while unfortunately losing other allies in this explosive climax). And this final episode brought in a lot of elements from The Clone Wars and Rebels, in particular regarding the Mandalorians and one very special weapon.

I dearly hope that The Mandalorian honors its narrative promise to pursue the homeworld of Yoda’s species in this new season. But at the very least, the Mandalorian now believes he must care for a child of a culture (the Jedi) that has historically been an enemy of his adoptive people. That’s meaty enough to warrant another season or more by itself.

Review: Ahsoka

Ahsoka (Star Wars)Ahsoka by E.K. Johnston

My rating: 4 of 5 stars

Ahsoka is a satisfying bridge tale that connects the dots in Ahsoka’s life between where we left her at the end of the Clone Wars and where we found her in Rebels. It’s also a pretty decent character study of Ahsoka, and I felt like the spirit of the character was really captured. For that matter, what time we have with Bail Organa is a real treat, as Johnston has portrayed him as charming, calculating, maybe a little exhausted, and compassionate yet wary. He felt pitch-perfect to me.

The story itself is a fine adventure that introduces us to elements from Rebels like the Inquisitors and the nascent Rebel Alliance. We also get a fair amount of completely new characters, planets, and ideas that continue to make that galaxy far, far away feel like a very real and very big place. I rather liked most of the new characters as well, from the farmers of Raada to the Fardis smuggling family. By the novel’s conclusion, I shipped Ahsoka and her new farmer friend Kaeden, for what that’s worth.

By the way, on finishing, I did go back and re-read Johnston and Ashley Eckstein’s “By Whatever Sun” in From A Certain Point Of View, and I found that I enjoyed the story much more this time around. It’s a rather satisfying epilogue to the story of Kaeden and Miara.

I obviously didn’t race through this book, but I enjoyed reading it, and I’d certainly recommend it to anyone who is a fan of Ahsoka or the Filoni animated shows.

View all my reviews

Review: Solo: A Star Wars Story

I liked Solo. It was better than I expected, and even knowing about its troubled production history, I didn’t see anything about the movie that made it appear jagged or flawed or thematically inconsistent. Ron Howard’s mid-production step into the director’s seat appears to have been a good decision, and he delivered a slick space action flick.

At its core, Solo is a heist movie, and it’s a really fun one at that. We see young Han, played charmingly by Alden Ehrenreich, escape from an oppressed life on Corellia, join and then defect from the Empire, and meet his loyal friend Chewbacca (this time portrayed by Joonas Suotamo, who seems to have done a very good job of capturing Peter Mayhew’s physicality down to small gestures and cocks of the head) and his less-than-loyal frenemy Lando Calrissian (with Donald Glover absolutely nailing the role, even if a few moments leaned past Billy Dee Williams imitation to perhaps even parody) as he gets involved with an outlaw crew in a job that quickly goes south, putting them in the debt of terrifying crime boss Dryden Vos (Paul Bettany switches fluidly from charming to violent, his personality always domineering and seething with energy). To work off the debt, Han’s new crew attempt to steal Coaxium, an explosive hyperfuel McGuffin, from Kessel and deliver it to a refinery outside of the Empire before it goes boom.

The ensemble cast rounding out the crew Han associates with is great. Woody Harrelson’s Tobias Beckett is folksy, rough-spun, and charming; someone who could be a mentor figure if it weren’t for his unreliability. Harrelson’s delivery suggests a worn and worldly character looking to survive, and the plot gives him the classic heist leader drive of wanting to do one more job to get out of the game. Thandie Newton’s Val presents a cold veneer and trusts no one, but in her softer moments she shows her love for Beckett. Rio, voiced by Jon Favreau, is a sort of weird uncle. Qi’ra (Emilia Clarke) is an eager dreamer when we first meet her, but when Han rediscovers her after escaping Corellia, she already hides a thousand sorrows and sins. Clarke does a good job of tinging Qi’ra’s manner with guilt and broken spirit, but Qi’ra is also a survivor and a pragmatist and a fierce fighter. We can tell that things will never work out between her and Han as soon as they are reunited–and it’s not just the fact that she’s not around by the classic trilogy. There’s a distance between them, a distance imposed by Qi’ra herself, something we see in her eyes and hear in her voice, even though she still obviously has love for him. It’s a complicated performance and in some ways seems like a dark mirror or inversion of Han’s relationship with Leia (who is an idealist and who refuses to outwardly portray her affection for Han).

Lastly, there’s Lando’s copilot, L3-37 (Phoebe Waller-Bridge), a cranky droid revolutionary who secretly loves her captain. There is so much warmth and chemistry between the two. And L3 raises some genuine issues about the treatment of droids in the Star Wars galaxy. Her big moment midway through the film draws a clear connection between the restraining bolts and memory wipes used on droids and the chains and prods used on organic slaves. Disappointingly, most of her revolutionary attitudes are used for laughs, often seemingly at her expense. On one occasion, Lando asks her if she needs anything, and she quips, “Equal rights,” which makes it seem almost as though she’s in on the joke too. Even that big moment I mentioned is initiated by L3 through an incidental afterthought gesture; the fact that it spirals into something bigger is initially an obvious joke and only turns serious as it goes on. Of everything in the film, L3’s portrayal might have been the least tonally consistent. I loved L3, but I didn’t love how she was framed. The character concept was cool, and Waller-Bridge was great, but the droid was played for easy laughs for much of the film. At one point, Lando even jokes that he would wipe her memory if her navigational databanks weren’t so valuable, which seems an incredibly cruel thing to say to someone who is a friend and who is so personally outraged by the treatment of her kind. His joke really only works to the extent that we don’t take L3 seriously and view her ideals as absurd.

I want to circle back to Ehrenreich for a moment. He does a fantastic job of portraying a young, good-at-heart Solo who desperately wants to be a rogue outlaw (even if he’s always going to be a hero). He was funny, he was charming, he was clever, and he managed to convey Han’s often-backfiring efforts to quick-talk his way out of every situation. I liked him. I like that Star Wars was able to recast a major character and was able to find someone who had a loose physical resemblance to Harrison Ford but who, more importantly, could capture the speech and body language of the character. Even more so than Glover’s take on Lando, Ehrenreich’s reinterpretation of a classic character is less imitation and more adaptation; he brings something new to Han Solo, and I think Star Wars benefits from it. (But let me be clear: Glover is a tremendously joyous delight as Lando, and I love him more with everything new I see him in. I’d love to see a Lando film starring Glover getting up to wacky adventures.)

Interestingly, the plot of the film leaves young Han revealed as a fundamentally good and heroic person who can’t just walk away from people in trouble. By the end of the film, he’s had to make some hard decisions and he’s seen a lot of people die, but he’s still largely done the right thing whenever he has enough information to know what the right thing is. Sure, he steps away from open rebellion against the Empire at the end, but it certainly feels like he’s deluding himself into thinking that he can stay away from an idealistic cause for long. Quite a lot more must have happened to Han to make him the cynical criminal of A New Hope, but he’s still got plenty of years and employment with a certain Hutt to go by the end of this film.

Perhaps my favorite thing about Solo is that it is a film that can be enjoyed basically on its own, with very little understanding of the larger franchise, yet it has so many clever allusions to Legends and the new canon and provides an interesting new way to view The Empire Strikes Back [minor spoilers to follow]. I might go so far as to say that Solo is to Empire what Rogue One is to A New Hope (makes sense, given that the elder Kasdan wrote the screenplay for Empire).  We even get a new way of conceiving of Han and Lando’s relationship with the Falcon! Han’s relationship to Lando, in particular, feels very fresh and explosive and dynamic. A lot of the little attempts to explain Han’s background felt cheesy at worst and unnecessary at best, but I thought that giving Billy Dee Williams’s consistent pronunciation of Han a layer of irony-laden meaning was quite clever! (For an example of one explanation I didn’t like: how Han got his name. He has no family, so the Imperial recruitment officer assigns it to him? That’s fine, but it seems contradicted by the fact that Han reminisces about his dad working in the shipyards before he was laid off. Even if Han was lying to the Imperial recruitment officer, why would he continue to use Solo after deserting? Sure, we can fill in some possible reasons–maybe he didn’t like his dad, for instance, though he seems to remember him fondly and with heartbreak). While I liked the charisma between Han and Lando, I would say that Jonathan Kasdan’s assertion that Lando is pansexual is pretty flimsy within the film itself (his played-up flirtiness with Han in the Falcon as seen in the trailers is largely in response to a sarcastic comment from his copilot L3-37, and outside of that moment his flirting is basically directed toward females, specifically attractive human females for the most part, even though Glover’s delivery does always project a simmering self-confident sexuality).

Oh, and as for references, there are so many that I’m sure I missed a lot. Some that I noticed include:

And before I get into larger spoilers, I’d like to point out that Solo feels rather like Rogue One in showing more of a gritty, boots-on-the-ground, everyman’s view of the Galaxy Far, Far Away. The hot rod enthusiast, street-racing young punk Solo, the grimy and broken-down environments, and the consistent action tinged with genuine emotion suggest to me that George Lucas himself might rather like this film. But it also has great attention to tone. We start off in a Dickensian sort of setting, and Corellia does have an industrial nineteenth-century vibe to it. When Han gets caught up in the Empire, he has to slug it out as an infantry grunt on Mimban, where the muddy trench warfare, senseless deaths, and even the uniform designs evoke World War I. And I know I’m not alone in noting that, as Solo becomes more heroic and his prospects for a more exciting future, free from servitude to a street boss or military officer, grow brighter, the film’s lighting in turn grows brighter, away from shady, dingy, mucky locales to environments that often pop with color. So at the least, I think director of photography Bradford Young and costume designers David Crossman and Glyn Dillon did some excellent work (not to mention the colossal art department–and it should be mentioned that the variety of aliens new and old was great, too!).

I had some issues with the film, but to discuss them involves bringing up BIG SPOILERS. So if you haven’t seen it yet, I’d suggest you stop reading now. Though I hope you’ll come back to finish after you’ve seen the film–I’d love to hear others’ thoughts!


hs-ff-002782_c783af8d

My biggest complaint with the film is more of a nagging sensation, really. I don’t love how the film treated women. But at the same time, they were equals in capability and importance to the plot. And while the background figures still had a male-dominated bent, the main cast was closer to balanced than most films in the franchise.

The film used several characters’ deaths to motivate our central protagonists. Val and Rio die early on. Val dies in a way that hardens Beckett, makes him even more self-interested, and prompts him to repeatedly caution Han not to trust anyone. Rio, dying, tells Han that you shouldn’t die alone. And L3 dies later in the film. I don’t think her death counts as fridging because she dies in a significant way, and she dies accomplishing her life’s mission–starting a revolution. Her death is still about her and not about furthering another character’s emotional journey (though it hits Lando really hard). It was also incredible to realize that her processing core becomes one with the Falcon’s computer–she is the ship in a very real way. It certainly puts a different spin on how Han and Lando talk about the Falcon, right? Suddenly the metaphoric seems more literal.

I say that I don’t think L3 is a fridged character. But I’m not sure if anyone is. While being stuffed into a fridge isn’t exclusively a trope about women, its sexist overtones certainly arise because of the tendency of female characters to be fridged for male protagonists’ emotional development. Characters become plot devices when they’re fridged. Are Rio and Val fridged just because they die early? I don’t know. The trope might apply here, but at the same time, it’s less odious when it’s not just women dying in that role and when there are enough women in the cast that losing one doesn’t substantially deplete the non-male presence. Women viewers might disagree with me, though! And I’d be inclined to listen to those women viewers who express dissenting voices. Maybe the fact that it was a little uncomfortable to me should be enough to tell me that representation of women in this film is still somewhat problematic. At the very least, it was weird to have Val and Rio portrayed fairly significantly in promotional materials when they would have so very little screen time.

On the other hand, there are some cool women characters here. The surprise reveal about Enfys Nest’s true identity and actual purpose is awesome, and Enfys becomes a really cool early rebel figure! Now I want to know more about her backstory–and more of what happened to her after Solo. (Probably nothing good–was that one of the Two-Tubes lurking around in her posse, or am I being a fantasy racist who thinks all Tognath look the same?) L3 brings droid rights to the center in a Star Wars film, and she’s got a sarcastic attitude that makes her a perfect counterpart to Lando. Val is cool, though we see very little of her (I can’t help but draw comparisons to Brand, though, and wonder why black women can’t have other roles than ice queen assassins in Star Wars; even Sana Starros fits that mold to some degree). And Qi’ra is a complicated character acting in her own best interests; she has her own narrative. As Beckett tells Han, “It was never about you.” I was so glad to see that the filmmakers found a way to sever Han and Qi’ra by the end of the film without needing to kill her off. Too bad she squarely falls into the outdated femme fatale trope.

I guess what I’m saying is, the film did some things right, but I’d echo the many women out there who say that Star Wars needs more women in creative positions to improve representation in the stories that appear. Men–here, Howard and the Kasdans–don’t typically set out to tell stories that are disrespectful to women. I think everyone here tried to tell a good story and wanted fully developed men and women. But women in the writing room, or a woman directing, might have led to some improved outcomes here.

I have two other complaints. Both are fairly small.

First, before this film, I could just assume that Han picked up Shyriiwook some time over his life as a smuggler and outlaw. It didn’t really matter how; it was just an interesting element to his character and reflected his bond with Chewbacca. This film, however, answers a lot of minor questions about Han but now makes this language question one of the central mysteries remaining. Han knew Shyriiwook before he met Chewbacca; he understood it pretty well and could even speak a little bit of it. He meets Chewie three years after he leaves Corellia, and that time in between was spent in the Imperial Academy and then in the infantry. So…when did he learn it? Probably not on Corellia. Corellia was locked down by the Empire, and Han was on the low end of society. He probably didn’t take Shyriiwook in school, for however long he even was in school. We don’t see any Wookiees hanging out on Corellia, and we know that the Empire basically enslaved all of Kashyyyk, so there shouldn’t be very many free-roaming Wookiees anyway. I don’t recall anything that suggested that Han’s close girlfriend from his youth knew Shyriiwook, either. If not Corellia, why would it have been the Empire? The Imperials on Mimban, even those guarding Chewbacca, don’t understand Shyriiwook (actually, why was Chewbacca in a mud pit on Mimban? He’d been enslaved for a while–did they bring him there specifically to torture him and feed him deserters and traitors?). We know from Aftermath that the Empire discouraged foreign language learning: “The Empire had little interest in learning the ways and tongues of other cultures. They didn’t even want their people to learn on their own time” (p. 33). Maybe this was yet another act of rebellion by Han. But why did he pick that language over any other? It’s a really small thing to be bothering me, but in answering so many questions, the film starts boxing in Han’s character and highlights the mystery even more. And by the way, Life Debt reintroduces the concept of Chewie’s life debt to canon–nothing in the new film directly contradicts Life Debt, but I am curious about when Chewbacca got around to swearing that oath.

Second, I’m really conflicted by the reveal that Darth Maul was the true leader of Crimson Dawn. Maul makes sense here in the timeline. There’s a gap between The Clone Wars Son of Dathomir and Rebels. Maul had criminal connections, and it would make sense that he would try to quietly rebuild a criminal empire but would be more inclined to rule from the shadows after his defeat in Son of Dathomir. It’s a cute nod for fans of the animated series. And it’s a ridiculous thing to spring on the general movie-going public. It’s a really bullshit thing that I would previously have associated with Marvel, a need for hyper-connectivity for uber-fans that I had hoped wouldn’t spread to my favored franchise. And yet, here we are. Why is this so awful to me? Because for most people, those who are casual viewers or who are fans of the movies or who just never bothered to watch the animated series, Darth Maul died in The Phantom Menace. And not just of a simple stab or fall. Dude got cut in half and fell down a seemingly bottomless shaft. It was absurd that he survived, and The Clone Wars took time to build him back up into a threat and to make this seem credible. New audiences don’t have that. Their reaction probably wouldn’t be, “Oh, cool reference,” or, “Holy shit! Maul’s back!” I’d guess it would be a more resounding, “HUH?!” Maybe I’m wrong (though I will say that while there was some scattered applause and laughter throughout the film during the screening that I attended, the room was silent throughout Maul’s reveal). As someone who understood why Maul would be here, it wasn’t shocking to me–I didn’t anticipate it, but I’d heard there was a major character from one of the older trilogies, and Maul made sense. There’s the other thing: Maul’s presence wasn’t radically shocking. And it didn’t really add anything to the story. It was the equivalent of a Marvel end-credits sequence (although it was, at least, in the film itself). Qi’ra could have reported to any higher-up crime boss. Bringing Maul into the film itself was weird, but I’ll admit that it was cool that they used Ray Park, the original physical actor, and Sam Witwer, the voice actor from the animated series, to fill the role.

All in all, I had a lot of fun, and I felt that the flaws were overshadowed by the film’s strengths. I could easily watch this movie again and again. It’s not one of my top three Star Wars films, but I think it’ll join those flawed-but-fun films like The Force Awakens and Rogue One, entering regular rotation along those two as a frequently viewed title in this franchise that I continue to love.

Forces of Destiny, Round 5: Season 2.5

Whoops. I was plain wrong when I believed that the first eight episodes represented the entirety of Forces of Destiny Season 2. Now we have another seven more. At this point, I feel fully indoctrinated into this series. The character models are crude, but the animation looks slick. The backgrounds are lacking in detail but make up for it with crisp architectural lines and paintbrush-like landscapes. And most importantly for my transformation of opinion, no moment in this batch of episodes felt forced or over-packed. We have some things happening in and around the movies and Rebels, but the moments happen in spaces that make sense (at least, I think so–I haven’t seen the final season of Rebels yet, and while I’ve been spoiled on plenty of the broad details, I wouldn’t be able to place where exactly the Rebels moments are happening).

One of my favorite new episodes was “Perilous Pursuit,” which appears to have been based off a deleted scene in The Force Awakens. It fits into the general chronology of the film, and it’s just a great buddy action scene between Finn and Rey. Rey’s the pilot, Finn’s the gunner, and they’re just a damn good team together (and so supportive of and excited for each other!). The episode left me with a warm, fuzzy feeling.

I also liked “Monster Misunderstanding” for its focus on Padme. It let her use her intelligence and empathy to arrive at a solution for the central dilemma of the episode. And it was also a glowing reminder that there is so much room for storytelling throughout much of the period of Padme’s time as queen and then senator of Naboo. I’d love to see more involved stories following some of her political adventures (and occasional aggressive negotiations) during this decade-plus time period.

I enjoyed the Ewok-infused, post-battle episodes set on Endor, too. They were fun, fit conveniently into the timeline as our heroes are handling mop-up duties after the destruction of the Death Star, and provide happy little insular adventures. The Ewok episodes in this round–“Chopper and Friends” and “Traps and Tribulations”–were even more fun because of the goofy reincorporation of old Legends material, like the Gorax from Caravan of Courage or the little female Ewok who looks like (and apparently in fact is) Princess Kneesaa from the Ewoks animated series.

 

“Art History” and “A Disarming Lesson” are fun Rebels-adjacent moments that fit within the types of stories that show told. And “Porgs!”…it’s about porgs! Plus Chewie being sweet. (Actually, that’s probably my least favorite episode–not bad, but sort of boring, and I don’t love how sentient Forces of Destiny has made these little birds.)

All in all, another good batch.

 

Sith Eyes

Guys, I promise, I’ll get over this wave of Star Wars posts eventually. It’s just on my mind a lot right now.

And something I’ve been thinking about is the physical manifestation of the Dark Side. In Revenge of the Sith, when Anakin turns to the Dark Side, his eyes go bloodshot and yellow. His eyes are still stained like this when we see him partially exposed during his fight with Ahsoka in Rebels. When Luke redeems him and removes his helmet, Anakin’s eyes are soft and friendly again.

 

 

Other Dark Siders may have yellow eyes. Darth Maul and Savage Opress both have those tainted yellow eyes. Pong Krell’s eyes are…yellow-ish. And Palpatine’s eyes are the bright yellow of a predatory animal, when he’s not wearing the kindly face of the Chancellor.

 

 

But I don’t think we ever see Count Dooku with anything but those dark eyes of his. Snoke’s eyes are not yellow. Asajj Ventress is known for her ice-blue eyes. And Kylo Ren’s eyes have so far remained a dark color.

 

 

We could say that perhaps the yellow-red eyes are just visual metaphor, signifying corruption, and not meant to be literally present. However, Dark Disciple confirms that the yellow eyes are visibly present, at least to some. When Ventress finds Vos after his corruption under Dooku, she sees that “Vos’s eyes were no longer a warm, rich brown. They were a blood-rimmed shade of yellow” (185). When Ventress briefly gets Vos to calm, the “yellow hue faded from his eyes,” but that “awful yellow hue returned to his eyes” when her entreaties fail and he returns to his impassioned attack (189).

Interestingly, Ventress later finds Vos without the yellowed eyes but knows he is still corrupted because she still feels “the fury inside him now” (209). Vos eventually admits that he had remained loyal to the Dark Side, that Ventress was correct.

quinlan-vos-bio-8_8136f4e8

I don’t know if there’s a canon answer as to what causes a Dark Sider’s eyes to yellow. Speculation on Reddit suggests that it is an intense connection to the Dark Side. If so, how would Palpatine not always have those eyes, with his intense Dark Side presence and constant evil hatred and malevolence? I suppose he could mask his face the same way he masked his presence from the Jedi (and this certainly would not be the first time that someone has suggested that Palpatine only revealed his true face after his encounter with Mace Windu, that he was not actually “disfigured” at all then).

palplightningmace.jpeg

My personal feeling is that the yellow eyes represent a loss of control. A Dark Sider strives to control the Force, but some let the Dark Side ultimately control them. For Palpatine, the Dark Side is a tool. For Anakin, the Dark Side is desperation and anger and confusion and fear all being unloaded at once.

What does that mean for Kylo Ren, though? I see Kylo as perhaps the most unstable Dark Sider yet, prone to violent rages and tantrums. But he has constant conflict in him; maybe he has never fully given himself to the Dark Side.

Or maybe this is just an inconsistent element that changes with the story being told and the creative team telling that story.

I bet that there’s at least a partial canon answer floating around in the minds (and files) of the Lucasfilm Story Group. But we don’t have a full answer yet.

Fairly weak Forces of Destiny

I watched Star Wars: Forces of Destiny this weekend, making me remarkably up-to-date for once on a Star Wars project that doesn’t involve a theatrical release. It’s a fun little concept, with one-off adventures focusing mostly on the heroic ladies of the Star Wars galaxy. The end result is a bit of a mixed bag.

I thought some episodes, particularly the ones involving Leia, were pretty engaging, but all in all they didn’t really show or tell anything vital. All style, no substance. It’s the nature of this micro-episode format, but I already have a more interesting point of comparison: Genndy Tartakovsky’s Star Wars: Clone Wars. Those super-short episodes still managed to have something substantial to say and were incredibly effective at packing in a lot even within bite-sized chunks. I suppose the comparison is not entirely fair, since Tartakovsky’s series had a long-form story being told across episodes, while Forces of Destiny is just a scattered collection of one-offs. But it does seem like the creators want the comparison to be made, with an animation style that apes the stylized visuals and minimalist animation of the preexisting property. Even here Forces of Destiny feels distinctly less than; the animation falls flat, more along the lines of an amateur Flash video than a true spiritual successor to Clone Wars, and many of the character models were just sort of ugly. I was especially unhappy with the smooshed-up look on Anakin Skywalker’s face.

In short, I wanted to like the show, and what I could like I did, but there was a lot that I was not a fan of. This is especially disappointing in contrast to the continually great Rebels. While I think it’s fantastic to give more screen time to women in genre fiction, including in Star Wars, I would point to Filoni’s work with The Clone Wars or Rebels, or the new movies coming out, or many of the new-canon books, as better examples. Women should be in the story to do things, not to simply highlight the fact that they are women; diversity should not be synonymous with tokenism.

My final concern is that while Star Wars has always been used to sell merchandising, Forces of Destiny appears to exist only as a catalyst for the resultant merchandising. Even the press release announcing the series premiere concludes as follows:

A new short will premiere online each day at 10 a.m. PT, culminating with their broadcast debut on Disney Channel, Sunday, July 9; books, apparel, bedding, and toys based on the series will arrive August 1

Maybe this concern is a little silly, given that Star Wars has always been commercial, but normally the franchise has been more than just a vehicle to sell stuff.

Oh, by the way, and as evidenced by my header image, IG-88 is briefly in the series, in “Bounty of Trouble.” IG-88 is shown to be…fairly incompetent here. Further support for my theory that the Empire bounty hunters are far from the best, just the closest and most desperate!