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gffa · 4 years

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OKAY, IF I’M GONNA DO THIS, I’M GONNA DO IT PROPERLY. WHICH MEANS YEAH IT’S GONNA GET REALLY LONG. A couple of things to say ahead of time: Lucasfilm’s Story Group has always said CANON > WORD OF GOD when it comes to these matters, so when I quote canon examples from supplementary materials that contradict what he says, that’s LF’s official position, but that doesn’t mean that an influential person like Dave’s views couldn’t affect how things will be shaped in the future, like Deborah Chow listening to this may be influenced by it on the Obi-Wan show, despite that Master & Apprentice contradicts him. It’s an incredibly murky area! Mileages are going to vary. Another thing to keep in mind is that Dave Filoni never worked on The Phantom Menace, that was long, long before his time at Lucasfilm (which I think he joined sometime around 2007? and TPM was released in 1999), that he has worked with George more than probably anyone else, but we cannot and should not treat him as infallible or the True Authority on things, because even Dave himself has said things like: “I mean, I know why I did that and what it means, but I don't like to explain too much. I love for the viewers to watch stuff and come up with their own theories -- and they frankly come up with better things that I intended.” --Dave Filoni, Entertainment Tonight 2020 interview Or, in the same episode as the above Qui-Gon interpretation:

So, when I dig into this, I’m not doing this out of a sense of malice or even that I suddenly hate Dave or don’t appreciate all the incredible things he’s brought to SW, but in that I disagree with his take, Dave understands that he doesn’t always get it right, that he enjoys that fans come up with different things than he does and sometimes he likes those even more. There’s room for both of us and, for all that Dave mentions George a lot (and, hey, fair enough, the guy worked with George and I’m just quoting what George Lucas has said) doesn’t mean that this is straight from George, especially because I have never seen George Lucas utter so much as a peep about how the Jedi were responsible for Anakin’s fall. He has explicitly and frequently talked about how Anakin’s fall was his own choice, as well as I’ve never seen him say anything Jedi-critical beyond “they were kind of arrogant about themselves”. I have read and watched every George Lucas interview I could get my hands on and maybe I’m still missing something, but that’s literally the extent of him criticizing the Jedi I have EVER seen. (It’s from the commentary on AOTC where he put in the scene with Jocasta to show they were full of themselves, but I also think it’s fair to point out that Obi-Wan immediately contradicts this by going to Dex for help, showing that it’s not necessarily a Jedi-wide thing.) Before I go further, I want to say: this is not a post meant to tear down Qui-Gon, he is a character I actually really do love, but the focus is on showing why the above interpretation of him is wrong, which means focusing on Qui-Gon’s flaws. He has many wonderful qualities, he is someone who cared deeply and was a good person, I think things would have been better had he lived! But Anakin’s choices did not hinge on him, because Anakin’s choices were Anakin’s, that has always been the consistent theme of how George talks about him, the way he talks about the story is always in terms of “Anakin did this” or “Anakin chose that”, and the Jedi are very consistently shown as caring, they believed very much in love and Dave’s own show (well, I say “his own show”, but honestly TCW was George’s baby primarily and he had a lot of direct, hands-on say in crafting it, through at least the first five seasons) is plenty of evidence of that. I’m not going to quote the full thing because this is already a monster post, I’m just going to focus on the Jedi stuff, because I like the other points a lot, but if you want the full text, it’s here. The relevant part is: “In Phantom Menace, you’re watching these two Jedi in their prime fight this evil villain. Maul couldn’t be more obviously the villain. He’s designed to look evil, and he is evil, and he just expresses that from his face all the way out to the type of lightsaber he fights with. What’s at stake is really how Anakin is going to turn out. Because Qui-Gon is different than the rest of the Jedi and you get that in the movie; and Qui-Gon is fighting because he knows he’s the father that Anakin needs. Because Qui-Gon hasn’t given up on the fact that the Jedi are supposed to actually care and love and that’s not a bad thing. The rest of the Jedi are so detached and they become so political that they’ve really lost their way and Yoda starts to see that in the second film. But Qui-Gon is ahead of them all and that’s why he’s not part of the council. So he’s fighting for Anakin and that’s why it’s the ‘Duel of the Fates’ – it’s the fate of this child. And depending on how this fight goes, Anakin, his life is going to be dramatically different. “So Qui-Gon loses, of course. So the father figure, he knew what it meant to take this kid away from his mother when he had an attachment, and he’s left with Obi-Wan. Obi-Wan trains Anakin at first out of a promise he makes to Qui-Gon, not because he cares about him. When they get Anakin, they find him on Tatooine, he says “Why do I feel like we’ve found another useless lifeform?” He’s comparing Anakin to Jar Jar and he’s saying “this is a waste of our time, why are we doing this, why do you see importance in these creatures like Jar Jar Binks and this ten-year-old boy? This is useless.” “So, he’s a brother to Anakin eventually but he’s not a father figure. That’s a failing for Anakin. He doesn’t have the family that he needs. He loses his mother in the next film. He fails on this promise that he made, “mother, I’m going to come back and save you”. So he’s left completely vulnerable and Star Wars is ultimately about family. So that moment in that movie which a lot of people I think diminish, “oh there’s a cool lightsaber fight”, but it’s everything that the entire three films of the prequels hangs on, is that one particular fight. And Maul serves his purpose and at that point died before George made me bring him back, but he died.“ --Dave Filoni I’m going to take this a piece at a time to show why I really disagree with the content of both the movies and The Clone Wars supporting what Dave says and, instead, contradicts it a lot. The rest of the Jedi are so detached and they become so political that they’ve really lost their way and Yoda starts to see that in the second film. He doesn’t explain what this means, but I’m pretty sure that he’s referring to this conversation: OBI-WAN: “I am concerned for my Padawan. He is not ready to be given this assignment on his own yet.” YODA: “The Council is confident in its decision, Obi-Wan.” MACE WINDU: “The boy has exceptional skills.” OBI-WAN: “But he still has much to learn, Master. His abilities have made him... well.... arrogant.” YODA: “Yes, yes. A flaw more and more common among Jedi. Hmm... too sure of themselves they are. Even the older, more experienced ones.” MACE WINDU: “Remember, Obi-Wan, if the prophecy is true, your apprentice is the only one who can bring the Force back into balance.” OBI-WAN: "If he follows the right path.” None of that has anything to do with being “detached” and, further, I think this is something that’s come up with Dave’s view of Luminara a lot, because he’s described her (re: the Geonosis arc): “We were trying to illustrate the difference between the way Anakin is raising his Padawan, and how much he cares about her, and the way Luminara raises her Padawan. Not that Luminara is indifferent, but that Luminara is detached. It’s not that she doesn’t care, but she’s not attached to her emotionally.” Here, he says that the Jedi care, in the above, he says that the Jedi don’t care, which makes me think there’s a lot of characterization drift as time goes on, especially when fandom bombards everyone with the idea that the Jedi were cold, emotionless, and didn’t care. However, look at Luminara’s face in that arc, when she’s talking with Anakin:

That is not the face of someone who doesn’t care. She even smiles brightly in relief when Barriss is shown to be okay, that this really doesn’t convey “detached” in an unloving or uncaring way. (We’ll get to attachment later, that’s definitely coming.) (I’m also mostly skipping the political thing, because I think that’s just a fundamental disagreement of whether Jedi should or should not lean into politics. My view basically boils down to that I think ALL OF US should be leaning more into politics because we are citizens who live in the world and are responsible for it, and the Jedi are no different. This is evidenced by: - M&A’s storyline has Qui-Gon and Obi-Wan saving the day specifically because they play politics, that’s how they manage to free the slaves, through playing politics and being part of the Republic/having Senate backing. - The Clone Wars has shown that the Jedi believe “lasting change can only come from within” and “it’s every citizen’s duty to hold their leaders accountable” when Ahsoka teaches the cadets on Mandalore, as well as that politics are not inherently bad, given that Padme and Bail are working to make the system better or “create lasting change from within [the system]” - "Trying to serve the greater good does not always make you popular” says Padme Amidala in a very caring speech - Star Wars Propaganda makes the case that the Jedi might have won the war had they leaned more into politics. - Sometimes the Jedi get unfairly accused of playing politics when there’s just no good choice and they still have to choose one or the other.) But Qui-Gon is ahead of them [re: caring and loving] all and that’s why he’s not part of the council. This is flat-out wrong in regards to canon. Mileages are going to vary, of course, on how much one takes a novel into consideration, but Dave Filoni is not a fan with the luxury of deciding what is or isn’t canon, he works on Star Wars where canon is canon. Now, does that mean canon will never contradict itself, especially if Dave gets to write something for Qui-Gon? Of course not, SW isn’t immune to continuity errors and they themselves have never said otherwise, even when fans want to hold them to that standard. However, this is still pretty much a big “that’s not what happened” instance. In Master & Apprentice, the Jedi Council offer a seat to Qui-Gon on the Council, specifically BECAUSE he has different opinions from them and they welcome that. (Excerpt here.) “We hope it will also be our gain,” Mace replied. “Qui-Gon Jinn, we hereby offer you a seat on the Jedi Council.” Had he misheard? No, he hadn’t. Qui-Gon slowly gazed around the circle, taking in the expressions of each Council member in turn. Some of them looked amused, others pleased. A few of them, Yoda included, appeared more rueful than not. But they were serious. “I admit—you’ve surprised me,” Qui-Gon finally said.“I imagine so,” Mace said drily. “A few years ago, we would’ve been astonished to learn we would ever consider this. But in the time since, we’ve all changed. We’ve grown. Which means the possibilities have changed as well.” Qui-Gon took a moment to collect himself. Without any warning, one of the turning points of his life had arrived. Everything he said and did in the next days would be of great consequence. “You’ve argued with my methods often as not, or perhaps you’d say I’ve argued with yours.” “Truth, this is,” Yoda said. Depa Billaba gave Yoda a look Qui-Gon couldn’t interpret. “It’s also true that the Jedi Council needs more perspectives.” Ultimately, Qui-Gon is the who turns them down and gives up a chance to shape the Jedi Council because he doesn’t like the shape they’re taking. That he does become less political, but this is after he’s argued that the Jedi should be working to push the Senate harder, so when he has a chance to help with that, he turns it down. It has nothing to do with caring and loving, it’s about Qui-Gon’s desire to not have to deal with the work himself, when he wants to be more of a hippie Jedi. (I’ve written a lot about Qui-Gon in M&A, why I actually think it’s really spot-on to someone who can be both really kind and really kind of a dick, but it’s not the most flattering portrayal, even if narrative intention likely didn’t mean what came across to me. I think this post and this post are probably the most salient ones, but if you want something of an index of the web that’s being woven with all the various media, this one is good, too.) So he’s fighting for Anakin and that’s why it’s the ‘Duel of the Fates’ – it’s the fate of this child. And depending on how this fight goes, Anakin, his life is going to be dramatically different. I have only ever seen George Lucas talk about Anakin’s fate in one instance and it’s this: “It’s fear of losing somebody he loves, which is the flipside of greed. Greed, in terms of the Emperor, it’s the greed for power, absolute power, over everything. With Anakin, really it’s the power to save the one he loves, but it’s basically going against the Fates and what is natural.“ –George Lucas, Revenge of the Sith commentary I’ve made my case about why I think Anakin’s fate is about that moment in Palpatine’s office, and so I’m not fundamentally opposed that “Duel of the Fates” is about Anakin’s fate, but here’s what George has provably said about the “Duel of the Fates” part of the story: - In the commentary for The Phantom Menace during “Duel of the Fates” and none of Dave’s speculation is even hinted at, there’s more focus on the technical side of things and the most George talks about is that it’s Obi-Wan who parallels Luke in going over the edge during the fight, except that instead of a Sith cutting off a Jedi’s hand, it’s a Jedi cutting a Sith in half, drawing the parallels between them. - He does say of the funeral scene that this is where Obi-Wan commits to training Anakin and how everything is going to go (though, in canon we see that Obi-Wan still struggles with this a bit, but Yoda is there to support him and nudge him into committing even more to Anakin, because the Jedi are a supportive community to each other). This is some solid evidence for that Obi-Wan is already caring about Anakin beyond just Qui-Gon. - Then here’s what he says about the “Duel of the Fates” fights and themes of them in "All Films Are Personal": George Lucas: “I wanted to come up with an apprentice for the Emperor who was striking and tough. We hadn’t seen a Sith Lord before, except for Vader, of course. I wanted to convey the idea that Jedi are all very powerful, but they’re also vulnerable — which is why I wanted to kill Qui-Gon. That is to say, “Hey, these guys aren’t Superman.” These guys are people who are vulnerable, just like every other person. “We needed to establish that, but at the same time, we wanted the ultimate sword fight, because they were all very good. It sort of predisposes the sword fight between Anakin and Obi-Wan later on. There’s real purpose to it. You have to establish the rules and then stick with them. The scene illustrates just how Jedi and Sith fight and use lightsabers.” “So Qui-Gon loses, of course. So the father figure, he knew what it meant to take this kid away from his mother when he had an attachment, and he’s left with Obi-Wan. Obi-Wan trains Anakin at first out of a promise he makes to Qui-Gon, not because he cares about him. We’ll get to the “attachment to his mother” thing in a bit--but, for now, let’s just say, George Lucas’ words on this are not that attachment to her was a good thing. Fair enough that “not because he cares about him” is up to personal interpretation, but canon has also addressed the topic of Obi-Wan’s treatment of Anakin and Obi-Wan stepped up to the plate on this. In addition to how we see Obi-Wan REPEATEDLY being there for Anakin and being concerned and caring about him, they specifically talk about Qui-Gon and overcome this hurdle.

No, Obi-Wan is not Anakin’s father figure, on that we definitely agree. Anakin never really even treats Obi-Wan like a father--he says “you’re the closest thing I have to a father” in Attack of the Clones, as well as he says Obi-Wan practically raised him in The Clone Wars “Crystal Crisis” story reels, but Anakin has never actually acted like Obi-Wan is his father--”then why don’t you listen to me?” Obi-Wan points out in AOTC--as well as Obi-Wan glides past those remarks, which I’ve always taken that he doesn’t want to reject Anakin’s feelings, knowing that Anakin can be sensitive about them, but neither does he want to confirm them. This does not mean Obi-Wan was not supportive, caring, and loving. He says, “I loved you!” to Anakin in Revenge of the Sith, he asks after him and if he’s sleeping well in Attack of the Clones, and even George Lucas himself said that the elevator scene was set up TO SHOW OBI-WAN AND ANAKIN CARE FOR EACH OTHER:

PUTTING THE REST UNDER A READ MORE FOR A BETTER LENGTH REBLOGGABLE VERSION, IF YOU WANT.

This is further evidenced by how the Jedi do see themselves as family, they just don’t need to put it into strict nuclear family dynamics: - “You were my brother, Anakin! I loved you!” [–Obi-Wan Kenobi, Revenge of the Sith] - “We are brothers, Master Dibs.” [–Mace Windu, Jedi of the Republic - Mace Windu] - “Did your parents bicker?” she asked. “The adoptive ones, I mean.” A slow smile broke across Ashla’s face, curling first one side of her mouth and then the other. Whatever she was remembering, Kaeden could tell it was good. "All the time,“ Ashla said, almost as if she were talking to herself. [–Kaeden Larte, Ahsoka Tano, Ahsoka] - Vos, brought to the Temple even younger than most, felt that he had hundreds of brothers and sisters, and it seemed that whenever he went into the dining hall he ran into at least half of them. [Dark Disciple] - “It was not his birthplace, exactly, but the Jedi Temple was where Quinlan Vos had grown up. He’d raced through its corridors, hidden behind its massive pillars, found peace in its meditation hall, ended-and started-fights in rooms intended for striking blows and some that weren’t, and sneaked naps in its library. All Jedi came here, at some point in their lives; for Quinlan, it always felt like coming home when he ran lightly up the stairs and entered the massive building as he did now.” [Dark Disciple] Brothers, sisters, and other more non-traditional kinds of family are not lesser and Obi-Wan and Anakin absolutely were family, just as the Jedi are all family to each other, so, no, there was no “failing” Anakin, except in Anakin’s mind, perhaps. (In that, I can agree. But not on a narratively approved level, canon too thoroughly refutes that for me.) Rebels as well pretty thoroughly shows that non-traditional families are meaningful and just as important--we may joke that Hera is “space mom”, but she’s not actually Ezra or Sabine’s mother, Kanan is not actually their father, and even if they sometimes stray into aspects of those roles (as the Jedi do as well in the movies and TCW), that they don’t need that traditional nuclear family structure. Mentor figures--and Kanan is Ezra’s mentor--are just as meaningful and needful as a “dad”. And I’m kind of :/ at the implication that anyone without a dad/father figure or mom/mother figure is being “failed”. When they get Anakin, they find him on Tatooine, he says “Why do I feel like we’ve found another useless lifeform?” He’s comparing Anakin to Jar Jar and he’s saying “this is a waste of our time, why are we doing this, why do you see importance in these creatures like Jar Jar Binks and this ten-year-old boy? This is useless.” Whether or not Obi-Wan is being genuinely dismissive in this movie (I think you could make a case either way), the idea that Qui-Gon is better than Obi-Wan about this, as shown through Jar Jar isn’t exactly very supported given how Qui-Gon and Jar Jar first exchange words:

QUI-GON: “You almost got us killed. Are you brainless?” JAR JAR: “I spake.” QUI-GON: “The ability to speak does not make you intelligent.” Qui-Gon is just as bad as everyone else to Jar Jar, he’s not somehow elevated above them. It’s also baffling because, Dave, I have watched your show. The Jedi are specifically shown to be kind to people and creatures, not considering them “useless”. Henry Gilroy (who was the co-writer for The Clone Wars and frequently appeared in featurettes on the same level as Dave Filoni) explicitly draws this to The Jedi Way, that “life is everything to the Jedi“, when he said this about the Ryloth episodes:

(Caps cribbed from Pan’s blog, because I cannot make another gif, save me, please.) Henry Gilroy in an Aggressive Negotiations Interview: "Obi-Wan truly is a Jedi in that he’s like, ‘Okay, I’m not going to murder these creatures [in the Ryloth arc of The Clone Wars]. They’re starving to death. They’ve basically been unleashed against these people as a weapon, but it’s not their fault. They’re just doing what they do. They’re just animals who wanna eat.’ "So the idea was–and I think there was an early talk about how, 'Oh, yeah, he’ll go running through them and slicing and dicing them and chop them all up or whatever, and save his guys. And I’m like, 'Yeah, but that’s not really the Jedi way. He’s not just gonna murder these creatures.’ "And I know the threat is [there], to save one life you have to take one, but the idea of him [is]: why can’t Obi-Wan just be more clever? He basically draws them in and then traps them. "It says something about who the Jedi are, they don’t just waste life arbitrarily. And someone could have gone, 'Oh, yeah, but it would have been badass if he’d just ran in there with his lightsaber spinning and stabbed them all in the head!’ And 'Yeah, you’re right, I guess he could be that, but he’s trying to teach his clones a lesson right then, about the sanctity of life.’ "That is the underlying theme of that entire episode. Which is: A tactical droid is using the people as living shields. Life means nothing to the Separatists. The droids. But life is everything to the Jedi. And even though he doesn’t have to say that, it’s all through the episode thematically.“ It’s also Obi-Wan who teaches Anakin about kindness to mindless creatures in the Obi-Wan & Anakin comic:

"These beasts are nearly mindless, Anakin. I can feel it. They are merely following their nature, they should not die simply because they crossed our path. Use the Force to send them on their way.” Now, fair enough if you want to say Obi-Wan was taught by Qui-Gon, but also Qui-Gon is dead by that point and Obi-Wan growing into being more mature is his own accomplishment, not Qui-Gon’s, especially given that we see Qui-Gon himself being pretty dismissive to Jar Jar in TPM. This isn’t unique thing either, Padme is incredibly condescending to Jar Jar in “Bombad Jedi” and expresses clear annoyance with him to C-3PO when sighing over him. Jar Jar is a character you kind of have to warm up to, pretty much the only one we’ve seen consistently being favorable to him is Yoda (and maybe Anakin, though, Anakin doesn’t really interact with him a ton) and Mace Windu warms up to him considerably in “The Disappeared” and even specifically is shown to be teaching him and helping him, which is a huge theme of the Jedi and how much they care.

So, ultimately, the point I’m winding my way towards is--the other Jedi do show kindness and consideration to Jar Jar Binks, including characters like Mace Windu, so if you’re judging the Jedi based on that, the conclusion of Qui-Gon somehow being more compassionate and loving is really pretty thoroughly disproved by The Phantom Menace and The Clone Wars themselves. So, he’s a brother to Anakin eventually but he’s not a father figure. That’s a failing for Anakin. He doesn’t have the family that he needs. He loses his mother in the next film. He fails on this promise that he made, “mother, I’m going to come back and save you”. So he’s left completely vulnerable and Star Wars is ultimately about family. You could be charitable and say this is just from Anakin’s point of view that it’s a “failing”, but within the context of what Dave’s saying, it’s clearly meant as a more narratively approved take, not just Anakin’s point of view, and I really, really dislike the idea that Anakin--or anyone, really--needs a traditional nuclear family, ie a “mom” and/or a “dad”, or else it’s a “failing” for them. Setting aside that the idea that Qui-Gon would need to be Anakin’s dad to be kind to hi (which is ?????) is contradicted by The Clone Wars as well. Yes, Qui-Gon is warm with Anakin in several scenes, which is what Dave is presumably drawing on to show that Qui-Gon believed the Jedi should be caring and loving, but you know who else is warm to younglings? OTHER JEDI COUNCIL MEMBERS.

Those two scenes have the exact same kind of warmth to them. Ie, THE JEDI ALL BELIEVED IN BEING LOVING AND KIND, NOT JUST QUI-GON. The things evidenced to show Qui-Gon was loving and kind are evidenced just as much in other Council members, in Dave’s own show. As a bonus--have Mace Windu, known Jedi Council member, being super kind and loving towards a young Twi’lek girl he just met in a canon comic:

But I know that this is about the way the Council treated Anakin in The Phantom Menace testing scene, but here’s the thing--when I go back and I watch that scene and the Jedi aren’t ever mean to him, they’re neutral in an official testing situation, where they are trying to determine if he’s able to adapt to the Jedi ways. They never once say he’s bad for holding onto his fear, only that he does--which Anakin digs his heels in and gets angry about, he can’t really even admit that he’s afraid and that’s a huge deal for the Jedi. I’ve made a longer post about it here (and here), but the basic gist is: - That scene has Yoda giving the famous “Fear leads to the dark side” speech which is almost word for word how George Lucas describes how the Force works, showing the Jedi are narratively correct - “Confronting fear is the destiny of a Jedi” may be from the sequels, but it is thoroughly supported by the movies and TCW and Rebels and even supplementary canon material, including that the Jedi literally design their tests around both Masters and Padawans for it (Ilum, the Jedi Temple on Lothal, etc. - Anakin cannot admit to his fears in that TPM scene - We have examples of Jedi younglings do admit to their fears and the point isn’t not to have them, but to face them--the younglings in “The Gathering” are the most blatant example of this, but it’s also pretty much the entire theme of Jedi: Fallen Order, especially when Cal goes to Ilum to face his fears and get another kyber crystal. The point isn’t that Anakin--who has very good reasons to be afraid! nothing in the story or the Jedi have said he didn’t!--is wrong or bad, but that he’s not a great fit for the Jedi life because he is “unwilling to accept [Jedi philosophy] emotionally”. And they’re right about this, because this is how George Lucas describes Anakin in commentary: “The fact that everything must change and that things come and go through his life and that he can’t hold onto things, which is a basic Jedi philosophy that he isn’t willing to accept emotionally and the reason that is because he was raised by his mother rather than the Jedi. If he’d have been taken in his first year and started to study to be a Jedi, he wouldn’t have this particular connection as strong as it is and he’d have been trained to love people but not to become attached to them.” --George Lucas, Attack of the Clones commentary And so this brings us to A T T A C H M E N T, which, yeah, we’ve been having this discussion forever, but I’m going to state it again: Within Star Wars, ATTACHMENT IS NARRATIVELY A BAD THING. It is consistently tied to possessive, obsessive relationships, to greed and an unwillingness to let things go when it’s time (letting go is a huge theme in Star Wars) and equating love with attachment is fundamentally wrong according to George Lucas’ Star Wars worldbuilding: “The Jedi are trained to let go. They’re trained from birth,” he continues, “They’re not supposed to form attachments. They can love people-- in fact, they should love everybody. They should love their enemies; they should love the Sith. But they can’t form attachments. So what all these movies are about is: greed. Greed is a source of pain and suffering for everybody. And the ultimate state of greed is the desire to cheat death.” --George Lucas, The Making of Revenge of the Sith If attachment and love were the same thing, then he would be saying, “They should love their enemies, they should love the Sith. But they can’t love.” The way George makes the distinction shows that, no, attachment and love aren’t the same thing at all, attachment is not caring. Further, there’s another instance of him showing there’s an important distinction between relationships and attachment and the association of attachmets with possession: "Jedi Knights aren’t celibate - the thing that is forbidden is attachments - and possessive relationships.” --George Lucas, BBC News interview So, yes, when Anakin is attached to people, it is directly tied to obsession, possession, and greed, all things of the dark side: “He turns into Darth Vader because he gets attached to things. He can’t let go of his mother; he can’t let go of his girlfriend. He can’t let go of things. It makes you greedy. And when you’re greedy, you are on the path to the dark side, because you fear you’re going to lose things, that you’re not going to have the power you need.” --George Lucas, Time Magazine “But he has become attached to his mother and he will become attached to Padme and these things are, for a Jedi, who needs to have a clear mind and not be influenced by threats to their attachments, a dangerous situation. And it feeds into fear of losing things, which feeds into greed, wanting to keep things, wanting to keep his possessions and things that he should be letting go of. His fear of losing her turns to anger at losing her, which ultimately turns to revenge in wiping out the village. The scene with the Tusken Raiders is the first scene that ultimately takes him on the road to the dark side. I mean he’s been prepping for this, but that’s the one where he’s sort of doing something that is completely inappropriate.“ --George Lucas, Attack of the Clones commentary ATTACHMENT IS BAD IN STAR WARS AS THEY DEFINE IT. Finally, I’m going to circle back to: Because Qui-Gon is different than the rest of the Jedi and you get that in the movie; and Qui-Gon is fighting because he knows he’s the father that Anakin needs. Because Qui-Gon hasn’t given up on the fact that the Jedi are supposed to actually care and love and that’s not a bad thing. Here’s the thing about this: You know who else, by this logic, Qui-Gon should have been a father to? OBI-WAN KENOBI. This isn’t said as “Anakin specifically needs a father” (which I think would be an interesting idea to bandy about and I’m not disagreeing, though, it’s complicated because of what Anakin refuses to accept emotionally), it’s said in a bigger context, that Qui-Gon is better than the other Jedi because he understands the need for fathers (and thus this ties into Return of the Jedi) and he’s ahead of the other Jedi, who apparently think loving and caring about people are bad things, but Qui-Gon does not treat Obi-Wan like his son. Or, if he does, he’s not exactly a stellar dad about it. Within Master & Apprentice, there’s an incredibly consistent theme of how Qui-Gon thinks supportive things about Obi-Wan, but never says them aloud. He thinks he should talk to Obi-Wan about the upcoming decision to be on the Council and then never does. He could have explained why he kept Obi-Wan training the basics but he never does. There are multiple instances showing that Qui-Gon is actually really, really bad at actually handling a young apprentice who needs him to talk to them about important things. Qui-Gon continues this in From a Certain Point of View where he still never talked to Obi-Wan about everything that happened, even after he became a Force Ghost. Damn, damn, damn. Qui-Gon closed his eyes for one moment. It blocked nothing; the wave of shock that went through Obi-Wan was so great it could be felt through the Force. Qui-Gon hadn’t thought Kirames Kaj would mention the Jedi Council invitation. It seemed possible the soon-retiring chancellor of the Republic might not even have taken much note of information about a new Council member. --Master & Apprentice That comment finally pierced Qui-Gon’s damnable calm. There was an edge to his voice as he said, “I suspected you would be too upset to discuss this rationally. Apparently I was correct.” “I thought you said my reaction was understandable,” Obi-Wan shot back. “So why does it disqualify me from hearing the truth?” Qui-Gon put his hands on his broad belt, the way he did when he was beginning to withdraw into himself. “…we should discuss this at another time. Neither of us is his best self at the present.” --Master & Apprentice Obi-Wan walked toward the door, obviously outdone. “At the beginning of my apprenticeship, I couldn’t understand you,” he said. “Unfortunately, that’s just as true here at the end.” Only yesterday they had worked together as never before. How did Qui-Gon manage to get closer to Obi-Wan at the same time he was moving further away? Just before Obi-Wan would leave the room, Qui-Gon said, “Once, you asked me about the basic lightsaber cadences. Why I’d kept you there, instead of training you in more advanced forms of combat.” Obi-Wan turned reluctantly to face him again. “I suppose you thought I wasn’t ready for more. The same way I’m not ready to believe in all this mystical—” “That’s not why.” After a long pause, Obi-Wan calmed to the point where he would listen. “Then why, Qui-Gon?” “Because many Padawans—and full Jedi Knights, for that matter—forget that the most basic technique is the most important technique. The purest. The most likely to protect you in battle, and the foundation of all knowledge that is to come,” Qui-Gon said. “Most apprentices want to rush ahead to styles of fighting that are flashier or more esoteric. Most Masters let them, because we must all find our preferred form eventually. But I wanted you to be grounded in your technique. I wanted you to understand the basic cadences so well that they would become instinct, so that you would be almost untouchable. Above all, I wanted to give you the training you needed to accomplish anything you set your mind to later on.” Obi-Wan remained quiet for so long that Qui-Gon wondered if he were too angry to really hear any of what he’d said. But finally, his Padawan nodded. “Thank you, Qui-Gon. I appreciate that. But—” “But what?” “You could’ve said so,” Obi-Wan replied, and then he left. --Master & Apprentice "I owe you that. After all, I’m the one who failed you.“ "Failed me?” They have never spoken of this, not once in all Qui-Gon’s journeys into the mortal realm to commune with him. This is primarily because Qui-Gon thought his mistakes so wretched, so obvious, that Obi-Wan had wanted to spare him any discussion of it. Yet here, too, he has failed to do his Padawan justice. --From a Certain Point of View, “Master and Apprentice” (Further, in Master & Apprentice, Qui-Gon thinks that the Jedi give Rael Averross--who is HUGELY paralleled to Anakin--too many exceptions, were too soft on him because he came to the Jedi later than most and has trouble thinking of them as his family, and he thinks they should have been stricter with him.) It’s also readily apparent within The Phantom Menace itself:

You can take some charitable views of this scene, that Qui-Gon was pushed into a corner where he had few other options (and this is the view I generally take even!), but this is after the entire movie where he’s never once indicated that Obi-Wan was ready, has instead indicated that he still has much to learn (not just of the Living Force, but in general), as well as made it clear that he’s still teaching Obi-Wan, like on the Trade Federation ship. And I do think Obi-Wan got over this because he understood, because Obi-Wan actually is a very selfless person, he clearly cares (which is furthered by how we see him warm up to Anakin very quickly), but look at their faces. This was not a good moment, and they do somewhat make up, where Qui-Gon says that Obi-Wan has been a good apprentice, that he’s wiser than Qui-Gon and he’ll be a great Jedi--but if we’re counting that as Qui-Gon being this great Jedi, then you can’t say Obi-Wan failed Anakin, given that we show him doing the exact same thing, except better. He tells Anakin, “You are strong and wise and will become a far greater Jedi than I could ever hope to be.”, echoing Qui-Gon’s words, but also he never threw Anakin aside for someone else. This is kind of a major undercurrent throughout The Clone Wars, where Obi-Wan never takes another apprentice, where he continues to teach Anakin, to support him, even to the point of occasionally co-Mastering Ahsoka with him. “This has been quite a journey for our Padawan.” Qui-Gon’s treatment of Obi-Wan in this scene isn’t the worst, he’s kind about it later (though, he never actually specifically apologizes for this), but we can see that this is a moment where Qui-Gon hurts Obi-Wan and knows it. And you know what George Lucas has to say about Qui-Gon? This: “So here we’re having Qui-Gon wanting to skip the early training and jump right to taking him on as his Padawan learner, which is controversial, and ultimately, the source of much of the problems that develop later on.” –George Lucas, The Phantom Menace commentary There’s nothing about Qui-Gon being right or better than the other Jedi, but instead that Qui-Gon’s actions here are a source of much of the problems that develop later on. So, ultimately, I liked some points Dave made in that speech, it’s a beautiful and eloquent one, but I thoroughly disagree with his interpretation of George’s intentions for Qui-Gon and I thoroughly disagree that that’s what the movies, The Clone Wars (DAVE’S OWN SHOW), and the supplementary canon show about Qui-Gon and the other Jedi. I still stand by my appreciation of Dave’s contributions to SW as a whole, I think he does a really good job at making Star Wars, but he doesn’t always get everything right and this is one thing where I think the canon and George’s commentary show otherwise, as much as I love his desire to defend the prequels’ importance in the story. Because, my friend, I have felt that every single day of my SW life.

#anakin skywalker #qui gon jinn #jedi order #george lucas #dave filoni #meta #long post #really long post

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missshezz · 3 years

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Another week and another disappointing episode of The Omega Sue show (trust me, folks, the show is all about the godling with the titular characters used just to lure us in).

I know people are trying to explain the five episodes since the first one away as slowly building the story, getting us to love the characters and all but...

It’s not building the story or focusing on the characters at all.

There is a technique to world building. Infusing tidbits here and there to create intrigue and add mystery. Build suspense and ramp up the drama. Not every episode has to be action-packed.

It does need to move the story forward. Every episode should be building towards the “end”. Sixteen episodes is not a lot when you have a 28-30 minute runtime. Every minute counts.

Sadly, the only focus of Bad Batch is on easter eggs, characters I didn’t give enough of a shit about to sit through multiple episodes of in Clone Wars and telling us how awesomely special and wonderful some ten-year-old twerp is.

Hunter has become a caricature of himself, Tech is reduced to snarky comments, Echo has been turned into a service droid and Wrecker has become a dumbed down wreck.

All to allow one female character to shine.

Here’s some notes I wrote as I watched the episode this morning:

Of course, even the scum in Cid’s cantina fawn all over Omega Sue, why wouldn’t they?

She isn’t a natural? So, we’ve forgotten she outshot Crosshair her first time using a blaster?

And Omega tags along, again, on a mission she’s unnecessary for...

“Stay here...” yeah, right, that won’t happen... (and it didn’t because the little brat was needed to get into trouble so Hunter could rush to her rescue).

Useless CW characters I didn’t care about in CW showing up because why not? We don’t want story or to see the Bad Batch as the elite force they are. Noooo, we want to see them needing rescue by a child week after week while getting random guest appearances of characters we don’t care about or want instead of, yanno, the ones we do!

Wrecker again bumps his head and we start to see his chip failing. Oh, we can’t get CROSSHAIR in any of these episodes but can hear his voice as Wrecker is laying there. Thanks for that, Dave! Cannot give us Crosshair but you can remind us he was their lookout by shoehorning your brat into his place!

Of course Hunter rushes to the Godling’s aide (gee, didn’t rip this off from another movie, either, did ya, Dave?)

And the useless characters even come to her aide and fall in love with her, too because gosh darn-it, she’s just sugar and spice and everything nice!

Ah the “unnatural” who was struggling in the beginning to even shoot the damn bow has suddenly perfected shooting the damn bow! Yup, didn’t call that, at all!

Folks, this episode would have worked a ton better without Omega in it. It was the perfect episode to showcase the Bad Batch struggling with being one man down (a vital member of their team, at that). Gave them a challenge to overcome as they tried to retrieve the tactical droid and fight the security droids because they’d realize how much of a well-oiled machine they were until the team fragmented.

The time wasted on Omega getting into trouble could have explored Wrecker’s head situation and put concern into the others about those chips and what they could cause them to do. Made them start wondering who they could turn too and ask for help.

The ending with the girls contacting whoever is another meh because it will not lead to anyone I wanna see (Rex, specifically or even Bail Organa as I initially thought it might be). It will likely lead to another guest appearance of another CW, Rebels or Mandalorian character because that’s all Dave Filoni is interested in giving us: rehashed storylines, one-dimensional Sue characters, and easter eggs that don’t deliver the show we were promised.

#the bad batch #bad batch 1x06 #bad batch spoilers #more of the lackluster same #more Omega Sue #anti omega

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smokeybrandreviews · 4 years

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Rise of the Skywalker

This sh*t with Lucasfilm is wild to witness. I’m not really one to buy into entertainment gossip but i am emotionally invested in Star Wars so I’m feasting n these rumors and leaks. I’m an Eighties kid, man. Star Wars helped to shape our childhood growing up. Vader is one of my all-time favorite antagonists. Ahsoka has grown to rival him in my heart as a beloved character. As a cat who creates, myself, i can’t help but adore the passion and creativity within the entire lore around the Skywalker legend. I mean, look at everything built upon those first three films. Just taking Legends into account, you have the absolutely excellent Shadows of the Empire and the Thrawn trilogy. More than that, and probably one of the best game franchises ever realized, you have Knights of the Old Republic. F*ck, dude, Revan? Nihilus? Bastila? Kreia? HK-47? This is Bioware at it’s finest, save Mass Effect 2. And then Disney came in and f*cked it all up.

Kathleen Kennedy has been a poison to the franchise, and not because of her identity politics. Look, you can work in your ideals and messages without being so goddamn heavy-handed with it but this chick, and her “writer’s group” can’t craft a story to save their lives. That’s the problem here. Not Rey or Finn or Poe. Not Holdo or Rose Tico. Not even Snoke. It’s how these characters were presented, it’s how the writing shaped them. I’ve written at length about how Rey was a missed opportunity and, according to the original leaked treatment, that misstep was more like an outright face-plant. The narrative where our heroine grows throughout the Sequel trilogy, culminating in a battle between a fully realized Jedi Knight Rey and a fully realized Sith Lord Ren, is what we should have gotten. Instead, we got what we got and it shattered the credibility of the entire franchise. Star Wars, the most successful franchise in cinematic history until the MCU came through, is on life support. Forty years of solid, narrative storytelling, ancillary material, and fan passion, squandered because the chick in charge wanted to instill everything with her identity politics and ego driven entitlement, using something she had no creative relationship with, co-opting the shine of another, to secure a phony legacy. And she did just that; Kathleen Kennedy was the person who almost killed Star Wars. Kennedy’s legacy of failure is now quite secure. But then, a new hope. Jon Favreau, the progenitor of the MCU, stepped forward and saved Star Wars with his show, The Mandalorian.

John Favreau is a great creator. Dude not only gave us Iron Man but Chef, Swingers, and Elf. He gets the content. Favreau understands how to craft a goddamn story. He was appointed to The Mandalorian and given creative control by, at the time, CEO of Disney, Bob Iger. Favreau, in partnership with the genius pariah, Dave Filoni, architect of Star Wars: Clone Wars, Rebels, and the best f*cking character created in the modern era, Ahsoka Tano, set about crafting a proper Star Wars series in more than just name only. With these two at the helm, Mando returned to the true essence of a Star Wars tale. They created their own pocket universe, one with the evolution of actual Mandalorian culture and sprinkled in shenanigans of an adorable, and marketable, Baby Yoda. That first season gave us amazing characters like Din Djaran, Cara Dune, Greef Kaga, and Moff Gideon. That first season saved the franchise and that is not an exaggeration to say. It felt like Star Wars. The characters were rich and developed. More than anything, the stories told were absolutely excellent. The funny thing about that? Mando wasn’t expected to succeed like it did. No, everyone, including Kennedy, thought it was going to fail. She fought, tooth and nail, against what Favreu was trying to create, sabotaging him at every turn. But he was able to complete his show and the fandom received it with utmost fervor, eclipsing anything Kennedy and her idealouges ever created. Then season two dropped.

I’m not going to sit her and say that the narrative for season two was better than the first. It wasn’t. But that’s because season two of The Mandalorian was a love letter to the fans. Favreau and Filoni had a hit on their hands with and they made Star Wars profitable again. This gave the two of them a margin of creative freedom which expanded into something truly marvelous. That second season was able to dig deep into the lore, introduce fan favorite characters like Ahsoka Tano and Bo-Katan Kreyze, reintroduce Boba Fett while giving him a bad-ass second in Fennec Shand, while expanding the universe for spin-offs, culminating in the franchise altering return of a Jedi Knight, Luke Skywalker! Kennedy spent her entire sequel trilogy discrediting and marginalizing the old trilogy, typified by the complete destruction of Luke in The Last Jedi. Mando season two set out to overturn, redeem, and empower Luke with a two minute gauntlet of Force awesomeness that rivaled the utter dominance displayed by his father at the end of Rogue One. That tidbit about Vader? Yeah, Kennedy fought against that, too. The Mando came through and proved that following Lucas’ path was the true way of the Star War and Chepek, the new CEO over at the Mouse House, agreed. We now have this entire blueprint of shows birthed from this one season, that will build toward an Avengers-level event set in the Star Wars universe and i am losing my sh*t over it. Ahsoka, Rangers of the New Republic, and The Book of Boba Fett, will all culminate in a cinematic experience, most likely a theatrical film, based around Thrawn. People are excited about this sh*t. People are looking forward to this sh*t. People want this sh*t. What they don’t want is more of Kennedy’s politics and bullsh*t hot-takes, masquerading as Star Wars canon. Case in point, the abject failure of The High Republic.

Before Favreau and Filoni came through to save a galaxy far, far, away, Kennedy had this entire idea for a full-on Star Wars universe built upon token diversity and f*cking Space dinosaurs. There was a pitch meeting that showed a literal checklist and story was the third or fourth option. How the f*ck is story not the first thing on the list for an actual narrative you’re writing? Why the f*ck isn’t the writer’s group, not putting story first, in a narrative they’re constructing by committee? That is the genesis of The High Republic. In the time that Youtube preview hit the fandom with all the force of a wet fart, Mando came through and proved no one wants that sh*t. Then season two came through and proved people want more Luke and more Lucas Star Wars, weeks before The High Republic, the jumping off point for Kennedy’s original vision for “New Star Wars” was supposed to launch. Yeah, that launch ain’t go so well. The High Republic is out, right now, and you can buy it. No one is buying it. They’re all paying for Disney+ memberships to watch Mando sh*t on everything Kennedy has done or will do. Disney announced a whole slate of Star Wars shows and material. One of which is The Acolyte, a spin-off from The High Republic starring Brie Larson and written by Leslye Headland. The Acolyte is going to bomb for the same reasons The High Republic is bombing; No one wants to be preached to and that’s all these woke blue hairs want to do. I know that because they’ve told you as such.

The Force is Female. All of that sh*t with Pablo Hidalgo. The recent controversy of Justina Ireland telling people not to buy The High Republic if they don’t agree with her politics. The fact that Kathleen Kennedy has been trying to get Favreau fired for “sabotaging” her High Republic launch by redeeming Luke and galvanizing the entire fandom. The thing about this, though, is the fact that everything Kennedy has crated, is creatively bankrupt. Everything Favreau and Filoni have built with Mando, has been genuine, organic, and fun. Just to be clear, i actually like Brie Larson. I think she’s an excellent actress with very valid opinions. I think the sh*t she wants to make should be made. I don’t think she should co-opt a long running franchise with decades of lore and a ravenous fandom who are already on the outs with the current management of their beloved franchise. I can’t say i like Headland but i did adore her Netlfix show, Russian Doll. Tat sh*t was hilarious and dope. I don’t think her type of film making lends itself to Star Wars, however, for the same reason i don’t think Larson should have a show in the fandom. Having opinions is fine. Installing those opinions in your writing is fine. Installing your opinions in an established property is not fine. You can do that, Black Panther was able to integrate that sh*t successfully, but they did it with deft nuance and genuine aplomb. It didn’t get clumsy and ridiculous until the end. Kennedy’s writing group started with the awkward preaching. Those weren’t the droids you were looking for, bro.

Ultimately, The High Republic is going to fail, as will the rest of Kennedy’s Star Wars legacy. Favreau is already working toward altering her most precious OC, Rey Palpatine. There are plans in the works to make her a Kenobi going forward, redeeming the most egregious of Darth Kennedy’s transgressions, something that wouldn’t even be necessary if they had followed the original treatments JJ left for them. Rey Palpatine should have been Rey Skywalker. She should have been Luke’s daughter. She should have been trained by her pops and took that discipline into the final film where she and her cousin would have a proper reckoning. Rey should have been a real character with an established legacy. Jjabrams is a lot of things but idiot is not one of them. He knew exactly what Rey was supposed to be in order for the next trilogy to make sense, to tie in with the first two. Kennedy decided otherwise and in that hubris, she failed. She has failed, not because she is a Femanzi or has an eye toward activism or an agenda to push. Kennedy has failed because she decided to heavy-handedly force those politics down our throats with no nuance or grace, by slighting everything that came before with malicious intent, while bolstering her analogous creations with the worst kind of writing and non-existent development. Favreau succeeded by weaving a compelling tale, that mirrored the Hero’s tale which has been the bread-and-butter of great Star Wars narratives, filled it with realized characters who became fast fan favorites, staunched in the lore that came before. He respected the genesis and built something great from it, while revering the stuff which came before. Kennedy thought she was bigger than the franchise. Favreau understands he is in service to it. That’s the difference. That’s why Mando is flying high and The High Republic has been laid so low.

#Star Wars #Star Wars: The High Republic #The Mandalorian #Kathleen Kennedy #Jon Favreau #Lucasfilm

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padawanlost · 4 years

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What was your take on Dave Filoni's speech on the Duel of Fates & Qui-Got Jinn?

I’m surprised people were shocked by that. I mean, he didn’t say anything new.

His take is the same take that has been explored since TPM came out. I don’t know if people shocked by it are new fans who weren’t around when the movies came out or didn’t have access to the interviews/EU or of if they are in deep denial about the characters portrayed on screen.

“What’s at stake is really how Anakin’s going to turn out, because Qui-Gon is different than the rest of the Jedi.”

FACT since 1999. We know Qui-Gon was a ‘rebel’ since TPM came out. He’s even known as a ‘maverick jedi’ for that very reason, with multiple novels and comics exploring that side of him. Hell, he was Dooku’s apprentice, a guy known for being one of the Council’s biggest critics even when he was still a Jedi Master.

“Obi-wan: Do not defy the council, Master, not again. Qui-Gon: I shall do what I must, Obi-Wan. Obi-wan: If you would just follow the code, you would be on the council.” The Phantom Menace, 1999.

You get that in the movie, and Qui-Gon is fighting because he knows that he’s the father that Anakin needs, because Qui-Gon hasn’t given up on the fact that Jedi are supposed to care and love and that that’s not a bad thing.

FACT since 1999.

He was angry that the Jedi Master would dismiss him so abruptly in favor of the boy, but he realized, too, the depth of Qui-Gon’s passion when he believed in something. Training this boy to be a Jedi was a cause Qui-Gon championed as he had championed no other in Obi-Wan’s memory. He did not do so to slight his protégé. He did so because he believed in the boy’s destiny. Obi-Wan understood. Who could say? Perhaps this time Qui-Gon was right. Perhaps Anakin Skywalker’s training was a cause worth fighting for. [Terry Brooks. The Phantom Menace – published in 2000]

That Filoni himself reinforces in 2013 during an interview about TCW’s season 5: “I’ve always felt that one of Anakin’s downfalls, like it’s never that Anakin was innately going to be evil, but the people around him, the Jedi, in their lack of compassion, in being so selfless that they almost forgot to care.” Dave Filoni

The rest of the Jedi are so detached and they’ve become so political that they’ve really lost their way and Yoda starts to see that in the second film. But, Qui-Gon is ahead of them all and that’s why he’s not part of the council, so he’s fighting for Anakin.

FACT since 1999.

“With Episode I, I didn’t want to tell a limited story. I had to go into the politics and the bigger issues of the Republic and that sort of thing. I had to go into bigger issues.” George Lucas

In The Phantom Menace one of the Jedi Council already knows the balance of The Force is starting to slip, and will slip further. It is obvious to this person that The Sith are going to destroy this balance. On the other hand a prediction which is referred to states someone will replace the balance in the future. At the right time a balance may again be created, but presently it is being eroded by dark forces. All of this shall be explained in Episode 2, so I can’t say any more!- CUT interview 09/07/99?

“The first film starts with the last age of the Republic; which is it’s getting tired, old, it’s getting corrupt. There’s the rise of the Sith, who are now becoming a force, and in the backdrop of this you have Anakin Skywalker: a young boy who’s destined to be a very significant player in bringing balance back to the Force and the Republic. George Lucas - from the American ANH VHS tape in the making of Episode II in the 2000 release.

[The Jedi] sort of persuade people into doing the right thing but their job really isn’t to go around fighting people yet there are now used as generals and they are fighting a war and they are doing something they really weren’t meant to do.They are being corrupted by this war, by being forced to be generals instead of peacemakers. – George Lucas for E! Behind the Scenes - Star Wars Episode III Revenge of the Sith

That’s one of the few times in history when the bad guys were very clearly delineated for us. There really was a fight for survival going on between pretty clearly good guys and bad guys. The story being told in Star Wars is a classic one. Every few hundred years, the story is retold because we have a tendency to do the same things over and over again. Power corrupts, and when you’re in charge, you start doing things that you think are right, but they’re actually not. . – George Lucas

That’s why it’s the duel of the fates, it’s the fate of this child and depending on how this fight goes, Anakin, his life is going to be dramatically different.

If good and evil are mixed things become blurred - there is nothing between good and evil, everything is grey. In each of us we have balanced these emotions, and in the Star Wars saga the most important point is balance, balance between everything. It is dangerous to lose this. – George Lucas

"So, Qui-Gon loses, of course, so the father figure, he knew what it meant to take this kid away from his mother when he had an attachment and he’s left with Obi-Wan. Obi-Wan trains Anakin at first out of a promise he made to Qui-Gon, not because he cares about him. Obi-Wan trains Anakin at first out of a promise he makes to Qui-Gon, not because he cares about him.

FACT since 1999. We literally see this in the movie.

He stopped his pacing and stared momentarily at nothing, thinking of Qui-Gon Jinn, his Master, his teacher, his friend. He had failed Qui-Gon in life. But he would carry on his work now, honoring him in death by fulfilling his promise to train the boy, no matter what. [Terry Brooks. The Phantom Menace]

When they find Anakin on Tatooine, he says, “I feel like we’ve found another useless lifeform.” He’s comparing Anakin to Jar Jar. And he’s saying, “This is a waste of time. Why are we doing this? Why do you see importance in these creature like Jar Jar Binks and this 10 year old boy? This is useless.”

FACT since 1999.

So he’s a brother to Anakin, eventually, but he’s not a father figure.

“He is like my brother. I cannot do it.” Obi-wan Kenobi in Revenge of the Sith.

This, then, is Obi-Wan and Anakin: They are closer than friends. Closer than brothers. Though Obi-Wan is sixteen standard years Anakin’s elder, they have become men together. Neither can imagine life without the other. The war has forged their two lives into one. [Matthew Stover. Revenge of the Sith]

[With Ahsoka] I wanted to develop a character who would help Anakin settle down. He's a wild child after [Attack of the Clones]. He and Obi Wan don't get along. So we wanted to look at how Anakin and Ahsoka become friends, partners, a team. When you become a parent or you become a teacher you have to become more respnsible. I wanted to force Anakin into that role of responsibility, into that juxtaposition. I have a couple of daughters so I have experience with that situation. I said instead of a guy let's make her a girl. Teenage girls are just as hard to deal with as teenage boys are. - George Lucas

That’s a failing for Anakin, he doesn’t have the family that he needs. He loses his mother in the next film. He fails on this promise that he made to his mother that 'I will come back and save you.' So he’s left completely vulnerable and Star Wars is ultimately about family.

FACT since 2002.

“Love people. That’s basically all Star Wars is.” — George Lucas

So, that moment in that movie, which a lot of people diminish as a cool lightsaber fight, but it’s everything that the entire three films in the prequels hangs on, is that one particular fight and Maul serves his purpose and at that point died before George brought him back.But he died, showing you how the Emperor is completely self-serving. He doesn’t care, he’s using people and now he’s gonna use this child.

FACT since 1999.

Each Sith has an apprentice, but the problem was, each Sith Lord got to be powerful. And the Sith Lords would try to kill each other because they all wanted to be the most powerful. So in the end they killed each other off, and there wasn’t anything left. So the idea is that when you have a Sith Lord, and he has an apprentice, the apprentice is always trying to recruit somebody to join him — because he’s not strong enough, usually — so that he can kill his master. That’s why I call it a Rule of Two — there’s only two Sith Lords. There can’t be any more because they kill each other. They’re not smart enough to realize that if they do that, they’re going to wipe themselves out. Which is exactly what they did.” George Lucas

Everything that Filoni said has been part of the lore and movies for 20 years now, so I really don’t get why people are so shocked by it. Also, context people! People have been using Disney canon to ‘prove’ Filoni wrong but these movies and the clone wars were written with long before Disney came into play. Filoni, like so many of us, grew up with Star Wars belonging to George and that colors how he look at the franchise and the characters. And don’t get me started on the ‘the EU doesn’t matter’ argument because it absolutely does.

“And then George Lucas tells me one day, ‘We’re gonna put the Mandalorians in the Clone Wars.' And I go 'Oh boy. That’s interesting. Cuz, lemme show you this.' And I move this big pile of material over and I said 'This is everything. This is everything that the Mandalorians are right now.’ And so George and I do what we always do when we come across something that I know exists well in the EU, we go over it all.“ Now, all the history of Mandalore you prior to The Clone Wars⁫ it does exists. It absolutely exists.” — Dave Filoni

There’s actual behind the scenes footage of Filoni and George Lucas working on The Clone Wars and checking the EU to keep everything as cohesive as possible. The guy literately had thousands of conversations with George Lucas – the guy who actually created Star Wars – about these characters but somehow people are now trashing him because he said they should’ve know already?

Look, anyone who knows me know I’m not a Filoni stan but I believe in respecting people’s work and giving credit where credit is due even when I don’t agree with them 100%. If they don’t like his take, fine, that’s their right but please tone down the outrage fest because it’s entirely unjustified (and, to be completely honest, a little desperate for validation). He’s an actual person, not a fictional character there for you to hate or stan.

There’s a lot I don’t agree with it in this life but I don’t go around attacking real people and their jobs. But maybe we shouldn’t be so surprised, considering the people going after Filoni are the same people who have not problem whatsoever with star wars authors receiving death and rape threats.

#ask #anon #dave filoni #sw meta #anakin skywalker #meta: fandom #meta: anakin #txt

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smokeybrand · 4 years

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Rise of the Skywalker

This sh*t with Lucasfilm is wild to witness. I’m not really one to buy into entertainment gossip but i am emotionally invested in Star Wars. I’m an Eighties kid, man. Star Wars helped to shape our childhood growing up. Vader is one of my all-time favorite antagonists. Ahsoka has grown to rival him in my heart as a beloved character. As a cat who creates, myself, i can’t help but adore the passion and creativity i n the entire world lore around the Skywalker legend. I mean, look at everything built around those first three films. Just taking Legends into account, you have the absolutely excellent Shadows of the Empire and the Thrawn trilogy. More than that, and probably one of the best game franchises ever realized, you have The Knight of the Old Republic. F*ck, dude, Revan? Nihilus? Bastila? Kreia? HK-47? This is Bioware at it’s finest, save Mass Effect 2. And then Disney cam in and f*cked it all up.

Kathleen Kennedy has been a poison to the franchise, and not because of her identity politics. Look, you can work in your ideals and messages without being so goddamn heavy-handed with it but this chick, and her “writer’s group.” can’t craft a story to save their lives. That’s the problem here. Not Rey or Finn or Poe. Not Holdo or Rose Tico. Not even Snoke. It’s how these characters were presented, it’s how the writing shaped them. I’ve written at length about how Rey was a missed opportunity and, according to the original leaked treatment, that misstep was more like an outright face-plant The Rey that was to grow throughout the Sequel trilogy, culminating in a battle between a fully realized, Jedi Knight Rey and a fully realized Sith Lord Ren, should have been the Last Jedi we got. Instead, we got what we got and it shattered the credibility of the entire franchise. Star Wars, the most successful franchise in cinematic history until the MCU came through, was on life support. Forty years of solid, narrative storytelling, ancillary material, and fan passion, squandered because the chick in charge wanted to instill everything with her identity politics, using something she had no creative credit toward, co-opting the shine of another, to secure her legacy. And she did just that; Kathleen Kennedy was the person who almost killed Star Wars. Kennedy’s legacy of failure, secure. But then, a new hope. Jon Favreau, the progenitor of the MCU, stepped forward and saved Star Wars with his show, The Mandalorian.

John Favreau is a great creator. Dude not only gave us Iron Man, but Chef, Swingers, and Elf. He gets the content but, more than anything, Favreau understands how to craft a goddamn story. He was appointed to The Mandalorian and given creative control by, at the time, CEO of Disney, Bob Iger. Favreau, in partnership with the genius pariah, Dave Filoni, architect of Star Wars: Clone Wars, Rebels, and the best f*cking character created in the modern era, Ahsoka Tano. With theses two at the helm, Mando returned to the true essence of a Star Wars tale. They created their own pocket universe, one with the evolution of the Mandalorian culture and sprinkled with shenanigans of an adorable, and marketable, Baby Yoda. That first season gave us amazing characters like Din Djaran, Cara Dune, Greef Kaga, and Moff Gideon. That first season of Mando saved the franchises and that is not an exaggeration. It felt like Star Wars. The characters were rich and developed. More than anything, the stories told were absolutely excellent. The funny thing about that? Mando isn’t expected to succeed like it did. No, everyone, including Kennedy, thought it was going to fail. She fought, tooth and nail, against what Favreu was trying to created, sabotaging him at every turn. But he was able to complete his show and the fandom received it with utmost fervor, eclipsing anything Kennedy and her idealouges every created. Then season two dropped.

I’m not going to sit her and say that the narrative for Season two was better than the first. It wasn’t. But that’s because season two of The Mandalorian was a love letter to the fans. Favreau and Filoni had a hit on their hands with Mando and, more importantly, they made Star Wars profitable again. This gave the two of them a margin of creative freedom that expanded into something truly marvelous. That second season of Mando was able to dig deep into the lore, introduce fan favorite characters like Ahsoka Tano and Bo-Katan Kreyze, reintroducing Boba Fett while giving him a bad-ass second in Fennec Shand, while expanding the universe for spin-offs and delivery a franchise altering return of a Jedi Knight, Luke Skywalker! Kennedy spent her entire sequel trilogy, discrediting and marginalizing the old trilogy, typified by the complete destruction of Luke in The Last Jedi, only for Mando to overturn, redeem, and empower Luke with a two minute gauntlet of Force awesomeness that rivaled the utter dominance displayed by his father at the end of Rogue One. That tidbit about Vader? Yeah, Kennedy fought against that, too. The Mando came through and proved that fallowing Lucas’ path was the true way of the Star War and Chepek agreed. We now have this entire blueprint of shows birthed from this one season, that will build toward an Avengers-level event. Ahsoka, Rangers of the New Republic, and The Book of Boba Fett will all culminate in a cinematic experience, most likely a theatrical film, based around Thrawn. And, more to the point, people are excited about this sh*t. People are looking forward to this sh*t. People want this sh*t. What they don’t want is more of Kennedy’s politics and bullsh*t hot-takes, masquerading as Star Wars canon. Case in point, the abject failure of The High Republic.

Before Favreau and Filoni came through and saved Star Wars, Kennedy had this entire idea for a full-on Star Wars universe, built upon token diversity and f*cking Space dinosaurs. There was a pitch meeting that showed a literal checklist and story was the third or fourth option. How the f*ck is story not the first thing on the list for an actual narrative you’re writing? Why the f*ck isn’t the Writer’s group, not putting story first, in a narrative they’re constructing by committee? That is the genesis of The High Republic. In the time that Youtube preview hit the fandom with all the force of a wet fart, Mando came through and proved no one wants that sh*t. Then season two came through and rived people want more Luke and more Lucas Star Wars, weeks before The High Republic, the jumping off point for Kennedy’s original vision for “New Star Wars” was supposed to launch. Yeah, that launch ain’t go so well. The High Republic is out, right now, and you can buy it. No one is buying it. They’re all paying for Disney+ memberships to watch Mando sh*t on everything Kennedy has done or will do. Disney announced a whole slate of Star Wars shows and material. One of which is The Acolyte, a spin-off from The High Republic tarring Brie Larson and written by Leslye Headland. The Acolyte is going to bomb for the same reasons The High Republic is bombing; No one wants to be preached to and that’s all these woke, blue hairs, want to do. I know that because they’ve told you as such.

The Force is Female. All of that sh*t with Pablo Hidalgo. The recent controversy of Justina Ireland telling people not to buy The High Republic if they don’t agree with her politics. The fact that Kathleen Kennedy has been trying to get Favreau fired for “sabotaging” her High Republic launch by redeeming Luke and galvanizing the entire fandom. The thing about this, though, is the fact that everything Kennedy has crated, is creatively bankrupt. Everything Favreau and Filoni have built with Mando, has been genuine, organic, and fun. Just to be clear, i actually like Brie Larson. I think she’s an excellent actress with very valid opinions. I think the sh*t she wants to make should be made. I don’t think she should co-opt a long running franchise with decades of lore and a ravenous fandom who are already on the outs with the current management of their beloved franchise. I can’t say i like Headland but i did adore her Netlfix show, Russian Doll. that sh*t was hilarious and dope. I don’t think her type of film making lends itself to Star Wars, however, for he same reason i don’t think Larson should have a show in the fandom either. Having opinions is fine. Installing those opinions in your writing is fine. Installing your opinions in an established property is not fine. You can do that, Back Panther was able to integrate that sh*t successfully, but they did it nuance. It didn’t get clumsy and ridiculous until the end. Kennedy’s writing group started with the awkward preaching. Those weren’t the droids yo were looking for, bro.

Ultimately, The High Republic is going to fail, as will the rest of Kennedy’s Star Wars legacy. Favreau is already working toward altering her most precious OC, Rey Palpatine. There are plans in the works to make her a Kenobi going forward, redeeming the most egregious of Darth Kennedy’s transgressions, something that wouldn’t even be necessary if they had followed the original treatments JJ left for them going forward. Rey Palpatine should have been Rey Skywalker. She should have been Luke’s daughter. She should have been trained by her pops and took that discipline into the final film where she and her cousin would have a proper reckoning. Rey should have been a proper character with an established legacy. Kennedy decided otherwise and in that hubris, she failed. She has failed, not because she is a Femanzi or has an eye toward activism or an agenda to push. Kennedy has failed because she decided to heavy-handedly force those politics down our throats with no nuance or grace, by slighting everything that came before with malicious intent, while bolstering her analogous creations with the worst kind of writing and non-existent development. Favreau succeeded by weaving a compelling tale, that mirrored the Hero’s tale which has been the bread-and-butter of a great Star Wars narrative, filled it with realized characters who became fast fan favorites, staunched in the lore that came before. He respected the genesis and built something great from it, while revering the stuff which came before. Kennedy thought she was bigger than the franchise. Favreau understands he is in service to it. That’s the difference, That’s why Mando is succeeding and The High Republic has been laid low.

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d3sertdream3r · 4 years

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How do you feel about Boba Fett coming back? Personally I’m really upset that the whiny fanboys are getting exactly what they want AGAIN 😤 Why do they only listen to the most toxic people?? Mandalorian was a great show, now idk if I’m going to watch season 2. I don’t want more meaningless nostalgia in Star Wars 😔

Ohhh boy. Buckle up folks; this is going to be a long one!

Little disclaimer before I begin; I don’t have any inside knowledge of Lucasfilm or Disney. I’ve just been collecting knowledge over the years from many different interviews, autobiographies, behind the scenes content, etc that inform my opinions. I’m merely a random citizen with binoculars trying to see what is going on over there, because it’s definitely been one train wreck after another these days.

Now let’s kick it!

I was conflicted about the Boba Fett news. The prequels were coming out when I was a kid, and I actually saw those movies before the originals; the prequels ARE my originals. They were Star Wars to me. When people mentioned SW, the first people that came to my head were Anakin, Obi Wan, and Padme; not Luke, Han, and Leia. I already knew who Vader was when I watched the originals because of this, and I also knew who Boba Fett was. He was Jango Fett’s son and a fellow clone of the troopers.

When I watched the originals, I felt like his death was stupid. Not because I thought his armor was cool, but because like I said; I knew who he was. So hearing that the official canon is bringing him back made me happy for that poor boy that watched his father get decapitated to have his chance at a more fulfilling ending. However, like you, I was annoyed. Because the fanboys have been getting everything they want lately even though they are never satisfied with it, and the women of the fandom have been largely ignored.

But I’ve been watching Gallery, the documentary about how The Mandalorian was made. Keep in mind it was being made around the same time as Tros, yet the themes and messages are completely the opposite. Dave Filoni gives a speech in the second episode of Gallery that covers the mythic storytelling of SW from The Phantom Menace to Return of the Jedi. It’s very powerful and is the essence of everything most of the female fans have been saying from Day 1.

This got me thinking about the behavior of certain LF employees on social media towards Reylos and female fans in general, while others have been very supportive and blatant that they didn’t like Tros. Actors in Tros that spoke of redemption and a unique ending for the movie that later changed to confused faces when asked how they felt about the film. Chaotic productions of films and shows that always result in “creative differences.” Empty nostalgia in Tros vs deeply thought out lore and heartfelt themes in the video games, tv shows, comics, novels, and TLJ. I feel like there is a civil war going on at Lucasfilm.

Some of them want nostalgia, fan service, Luke Skywalker as the untouchable God of Star Wars, evildoers to be punished without remorse, Rey to be the new vessel of God Luke that stays pure and stands alone, etc. The fanbros certainly back those people and I think Bob Iger/Disney does too. That’s why Tros happened; JJ said he was on the phone with Bob every day during production. And Bob told George Lucas that pleasing the fans was more important than anything else when The Force Awakens was being made, which GL did NOT agree with at all. He even admitted that GL said he felt betrayed by the vision Disney had for LF.

Dave Filoni and Kathleen Kennedy are massive GL fans and close friends of his. They worked with him a lot before Disney bought Lucasfilm, and they know how he likes his Star Wars and what it all means to him. I’m not KK’s biggest fan, but I don’t blame her for Tros; she has shown she ain’t afraid to fire people if they try to create something in SW that doesn’t match up with the themes of it, as seen with how she dumped Colin Trevarrow’s terrible script. She was personally responsible for both Adam Driver playing Kylo/Ben, and Rian Johnson directing TLJ. She tried to get Rian back for Tros but he was busy with Knives Out. She wanted to push back the release date so there was time to make sure the ending was fulfilling. She has said many times she wanted this era of SW to be for the younger generations and new fans, not retreading old ground and pleasing those who were in theaters for the originals. As soon as JJ was put in charge of the film, he was spending his time talking to Bob Iger instead of her. He also didn’t work with the Story Group at all, which shows why it creates so much dissonance with all the other stories in SW.

Meanwhile Rian worked closely with Story Group, exchanged notes with Dave Filoni, talked a lot with KK, etc. You could say he got an A+ on his homework! 😉 Rian was backing George’s vision and his themes and what he was trying to tell the world when he started production on A New Hope. GL liked TLJ a lot and talked to Rian right after he saw it to tell him it was beautifully made.

So, it seems the root of the problem here is the battle between the creators that support George’s inherently feminine and compassionate version of SW, and those that support Disney’s space ships and fanbros version of SW.

Dave Filoni is 100% on the side of George Lucas, KK, Rian Johnson, and good old Joseph Campbell’s version of Star Wars. He is the one that is in charge of all SW tv shows. He oversees The Mandalorian. Season 1 was marketed as a badass bounty hunter kicking butt through the Outer Rim, but it was actually about a lonely man longing for a family and a deeper purpose in life. Instead of just being a random guy kicking ass, he is a guy trying to protect his child from evil; it’s all about family. Like SW is supposed to be. Like what Tros miserably failed at and then attempted to claim it was.

Dave didn’t bring Maul back or Ahsoka back several times just to please fans. He did it because it was good for the story; those characters supported the themes of family and redemption and mythic storytelling in different ways. I don’t think he is bringing Boba Fett back for nostalgia; I think he is going to use him in a way that will develop the themes of the story and ultimately support GL, compassion, redemption, family, and love conquers all.

I don’t have any idea how yet, but all I’m saying is that the last season of Clone Wars had several shot for shot parallels to TLJ. There is a reason for everything he does, even the framing of a scene. So I have a lot of hope that bringing back a character from the dead will have a great reason too.

Let’s hope that someday George Lucas’ Star Wars wins the battle when it comes to Ben Solo as well. Until then, May the Force be With You!

#keep the faith!#even though it is hard right now #we do have people making SW stories on our side #boba fett #dave filoni #kathleen kennedy #george lucas #star wars #the mandalorian #the mandalorian spoilers #reylo #ben solo #kylo ren #tros #anti tros #ask #anon #tlj #rian johnson

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unpopularly-opinionated · 5 years

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You know how Rogue One did a pretty decent job of adding some nuance to the Rebellion? How they weren’t this objectively pure and innocent band of do-gooders who took down the Empire with hopes and dreams? How they actually had to get their hands dirty sometimes, showing that war is messy, and no one is objectively good, at least not all the time?

I want a movie like that, but for the Jedi Order. A movie that really goes dives in deeper into just how badly the Jedi Order, and the Jedi Council in particular is. Showing how it’s a great start to learning how to use the Force for good, but that it isn’t all-knowing or objectively right all of the time.

While this story has been told before in the Clone Wars series, and it might be a tiny bit messy to set up in a movie, I really want a movie adaptation of the few episodes of Clone Wars about Ahsoka’s trial. It really does an amazing job at showing the flaws with the Jedi Council, and the Order as a whole, if only those bits were a bit more fleshed out.

Clone Wars spoilers below (I know it’s an old series, but a lot of people haven’t gotten into it yet and I highly recommend that you do if you’re one of those people)...

Semi-quick rundown of Ahsoka’s trial, in case you forgot or don’t care about spoilers, is that Ahsoka gets wrongfully blamed for murder, panics when they try to arrest her, runs away, seeks the help of known-terrorist and former-Sith Apprentice, Assaj Ventress to help her find and capture the real culprit, but gets arrested before they can find out who did it.

Then, the Jedi Council have to decide what to do with her, but because the person who was murdered was a prisoner of the Senate, the Senate tells the Council to banish her from the Order so the Senate can give her a trial instead, fearing the Jedi would be too lenient on one of their own and the Council actually goes and banishes her from the Order.

She’s raised by the Jedi, trained by the Jedi, and she fights alongside the Jedi in a war spanning across several years, and the moment she’s accused of a crime so far beyond what should be anyone’s expectations of her, they throw her to the mercy of the Senate.

Now, I know what you’re probably thinking, the Council’s been betrayed before in the past. Count Dooku probably comes to mind. He was Qui-Gon Jinn’s apprentice and then he decides to fuck off and become a Sith (ironically because he thought the Jedi Council would fail at keeping the peace), and you’re right, the Council is moderately justified to at least question whether or not she did it.

But that’s all the more reason to give her a trial within the Order, which they don’t do. It’s honestly baffling that they don’t do this, truly, like I’m so far beyond expecting the Council to make a rational decision, but fuck this should always have been their first decision. Give her a trial within the Council, determine whether or not you think she’s guilty, and if so then banish her and throw her to the Senate. If not, then convince the Senate to give the Council time to prove her innocence.

They quite literally fuck her over despite all she’s done for them, and when it eventually comes out that she was innocent they actually have the gall to ask her back into the Order and, PRAISE THE FUCKING WRITING IN CLONE WARS, she fucking refuses and it is fucking great. I absolutely loved the fact that Dave Filoni decided to go that route with her character and not give it some cliched “all is forgiven” bullshit ending.

Now, obviously, converting this to a full-length film would have some challenges. Not to mention, half the reason it’s such a great series of episodes is because Ahsoka is, at this point, well and truly established as a character and all of her relationships to the Jedi, including Anakin. Obviously, we wouldn’t have any of that pre-established bits in the movie, which probably wouldn’t be great, but fuck honestly I just want a movie of this because it deserves one.

And honestly, even if it wasn’t about Ahsoka, I still want a movie about how fucking terrible the Jedi Order is. The prequels don’t do well enough to establish this, in my opinion. Yes, they fuck up and inevitably create Darth Vader, but I don’t personally feel like enough emphasis is put onto the fact that it was because of the inaction of the Jedi Council that led to Anakin’s fall. Often, their failings seem to get brushed aside by “the will of the Force”, or too much emphasis is put on the consequences of their actions, and not the actions themselves.

EDIT: Honestly, another great fucking part about the mini-series of episodes is that both Ventress and Barris (the Jedi responsible for the murder) throughout the episode point out that it’s 100% the fault of the fucking Jedi Order for basically every problem in the galaxy but yeah, no, it gets brushed aside because Ventress is a former-Sith and Barris is a traitor.

It’s very much a case of “cool motive, still murder” but like they’re fucking right and no one knows it.

EDIT 2: Yeah, I’m rewatching them as I’m writing this, fucking sue me, but fucking hell, man watching the scene where the Council asks Ahsoka back into the Order and listening to them all try and brush aside their fucked up decision by claiming “the Force works in mysterious ways” and “this was actually your great trial all along, this proves you’re a stronger Jedi than you were before” like holy shit man, this whole thing is fucked and thank fucking god they animated Ahsoka to literally cross her arms as a total “yeah I’m not fucking buying this shit you’re selling” before she tells them to fuck off.

EDIT 3: Now, I know Plo Koon says “you have our most humble apologies” but damn does it sure feel like the Council isn’t really apologizing, and the fact that it starts with Anakin apologizing which just has me asdhasfhasdka like you were the only one who actually fucking stayed on her side the whole time, you just couldn’t do anything cause you weren’t on the Council.

Like TBFH, I 100% believe that the only way I would’ve bought this “our most humble apologies” BS would be if Mace Windu or Yoda made the apology. While I’m sure they all know, love, and care for Ahsoka, it sort of feels hollow coming from Plo Koon because we know that her and Plo Koon spent a considerable amount of time together (I think he’s the one who found Ahsoka from the beginning), and obviously Obi-Wan and Anakin are close were her (albeit Obi-Wan couldn’t be more distant from her in this but w/e).

Honestly, it feels like when that kid at school beats you up and then the teacher apologizes for them, like yeah, no, that’s not how apologies work, but I digress.

#random rant #star wars #clone wars #ahsoka #rogue one

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jayne-hecate-writer · 4 years

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The Mandalorian... In Lego form

What can I add to the praise about the Disney Plus series, The Mandalorian, that has not already been said?

Yes, it is really very good, I was captivated within the first minute and was heart broken during the third episode, entitled The Sin, when the Mandalorian handed over the child to the Imperial officer, played so beautifully by Werner Herzog. Of them all, it is probably episodes three and four that are my favourites, showing the more gentle side to the character. But let us be honest, when choosing favourite episodes of this series, we the viewer have been rather spoilt because there is not a dud among them. Not even the sixth episode, which was a heist story and could easily have been done rather badly, but wasn’t and even included a fabulously dry Dave Filoni cameo as a New Republic pilot. No, not a single missed beat, bad line or failed joke throughout series one.

This is not to say that it does not have its cold brutal moments though, the Quarren being bisected in the first episode was utterly shocking, you even hear his legs heit the floor! Encasing the good natured Mythol in carbonite was really mean. Yet, they saved the humour of child abuse right up until the end and the speeder scouts indifference in violently handling the child. These moments of suffering are balanced so perfectly with real heart and leave a lump in the throat, even when dealing with an assassin droid walking into a lava flow. Terminator eat your heart out!

So, it must be time to combine some of the biggest loves of my rather childish, adult life into one hobby, namely my love of Star Wars and my love of Lego. With every new franchise released under the Star Wars banner, Lego get good dibs on making tie in sets. With the release of the Mandalorian, the Lego sets have been exceptional and if you have not yet seen them, you should go and have a look at the Brickset page.

The first set, number 75254 or AT-ST Raider is a glorious reworking of the beloved Imperial walker, as seen during the Battle of Endor, but here it comes with loose wiring and scratched paint. The colours are indicative of rust, repainting of old worn out parts and some battle damage, all achieved with coloured bricks and several stickers. The effect is really very pleasing and the walker stands at just over twenty five centimetres tall. All that it is missing is the red glow in the cocpit. The minfigs that come with this set just wonderful. Cara Dune, played so effortlessly well by Gina Carono in the show, is a really lovely minifig, although having a globally available minifig of your character must be exciting even for a movie star. Along with the walker come two raider pilots and then even Mando himself, in his dirty and mismatched armour, which is a little odd. By this point in the show, when he meets and briefly fights with Cara Dune, he already has his new Beskar cuirass of armour, complete in shining silver. So one has to ask why he is presented to us in the older colours of his armour that was destroyed by the Mudhorn in the second episode? Over all though, 75254 is a lovely set, even with the annoyance of having to apply stickers (which is a topic that takes on the additional needs of disability issues for me and my manky old lady fingers), rather than using printed pieces.

Set 75267, the Mandalorian Battle Pack is simple, cheap and rather pretty. This is a basic set with four minifigs, all in various colours of Mandalorian armour which may be different clans, with a small gun emplacement and speeder bike. The warriors are split equally male and female, but I have no idea which is which, due to the lack of lipstick, floral tops and flowing long hair, the usual key indicators used by Lego to show the gender split (stories of my subverting this by placing the ‘male’ bodies with the ‘female’ heads, are very likely true!). Removing the helmets reveals an unprinted black head, which is slightly disturbing, but this is something that Lego had done for several years now.

The big set of this theme for 2020 has to be the fabulous ship used by the Mandalorian, the beautifully named Mandalorian Bounty Hunter Transport Ship… Oops yeah, it seems that somebody fucked up. Set number 75292, Razor Crest has in some cases been renamed following claims of trademark usage by another company, who just happen to make Lego compatible sets and some may claim have been guilty of cloning Lego sets without license. Oh dear.

I pre-ordered my set a good three months prior to release and thank the heavens that I did, because it was hopelessly delayed and finally cancelled three days after release and so I had to deal with Lego directly... during a pandemic outbreak... when every anguished parent with a Star Wars addicted child was no doubt screaming for their Mandalorian set too. Lego were hellishly busy and no doubt there were many like me, disappointed Amazon customers scrabbling to find the sets they had ordered weeks before. How many of those adults with debit cards were buying the toy for themselves though, remains a closely guarded industry secret.

When the set arrived, I was impressed by the actual size of the box which was huge and which my cat now uses for a bed! This was just the outer packaging used by Lego to ship the set, but the actual set box was still quite large and also beautifully printed, if surprisingly heavy.

Building the model was fun, even if there is a fair amount of repetition due to the chirality of the ship and the usual struggles with yet more bloody stickers! The engine nacelles are probably the least screen accurate feature, given the rough tooth like arrangement on the front intakes bares little resemblence to the smooth circular versions on the screen rendered ship. This is a tiny little complaint about an otherwise awesome model though. (I am just going to pause here for a moment. Are they really air intakes? Given that this is a spacecraft and it can travel at ‘light-speed’, why does it have these large open front intakes that resemble the compressor fan of a jet engine? Actually, that is a stream of thought that can only lead to sadness, especially with the roar of said engine as it flies across screen, supposedly in space, you know space. The place where NO ONE can hear you scream! But can hear if you miss a gear on your spaceship!)

Minfigs with this set are thoroughly cool, with our classic Mando himself, Din Djarin. He does of course have the child with him and the fidure of the child is adorable. This set also includes Greef Karga, a Scout Trooper and IG11… Um. Once again, this is a potentially confused set. Is this from the first episode or the last two? I don’t recall seeing the Scout troopers in the first episode so much, but they are present and a large part of the finale. Mando does of course have some serious issues with droids, having been orphaned during the Clone Wars, by a B2 Super Battle Droid (Speaking of droids and the Clone Wars, this does explain to me why when Luke and Obi Wan visit Mos Eisley, the cantina owner tells Luke that the droids are not welcome. It was a glaringly obvious issue that I never gave thought to, of course people would mistrust droids, the Clone Wars were a political tool used by a member of the elite, to secure their own power while creating political turmoil in which they could thrive and in which many thousands of innocent people lost their lives. I wonder if this was written to parallel real life, not that we have many examples of this in the real world), which is shown in heart breaking visceral detail during the several flashbacks we see. Again, this is just another element in this series that goes to such great depth to give the characters real heart. Anyway, back to my point, a part of his redemption was Mando coming to accept and even trust a droid, which he does with IG11, despite it being Mando himself who terminated the IG unit to begin with. So with a Scout trooper, IG11 and Greef Karga, would it be fair to say that with the child in hand, Mando should be in his silver Beskar armour? It would appear not and thus Mando is still in his dirty, rusted and damaged armour with this set. At some point they simply must release a set with him in shiny new Beskar, but maybe that will come with the release of Series two.

Over all, the sets released in this theme for 2020 have all been excellent and to an adult child like myself, well worthy of collecting, building and displaying… Because these are not toys! They are valuable collectors pieces, future antiques and actually rather pretty. Which leads me onto my next section, how to display the models while making them look like something interesting and not just a pile of bricks. I had a space that you could have called a bookshelf, not a great space for books if I am honest, being slightly awkward and on top of my Lego desk. So I decided to fill this space with a Lego Diorama that measures one hundred and six studs wide and twenty four studs deep. It was a crap bookcase and my Lego books kept falling over or worse, falling off altogether to land on whatever I was working on at the time. The gloss painted finish proved to be be sticky, which damaged a couple of my instructions booklets and well, these are the issues you get when you design and build your own furniture, out of scrap wood and offcuts. Yes, the furniture is a bit mismatched in my office, but I made nearly all of it. Maybe one day I will do a show and tell.

The display started as a simple thing, a couple of enclosed boxes in which I could build a pair of scenes. My first scene was the Rebel Alliance looking at a hologram of the Death Star, while planning an attack on the technological terror. It is half based on Episode four with a dash of episode six. I added flickering lights and a large Death Star shell from the planets sets and stood back to admire my work. It was… OK-ish and sat like that for several months as I planned the next box and then what was to go above it.

With the release of the Mandalorian, I knew that the remaining box had to be the Covert, with the Armourer and her forge. I also knew that with the Razor Crest, I wanted some kind of scene above the covert to place both the ship and the AT-ST together, which while technically mixing a couple of episodes set on different worlds, could be seen in the soul of the show, rather than an accurate depiction of the Mandalorian itself. With the addition of some more lights it was all going so well and then I had to re-home Vader's castle, a task of Sisyphean proportions.

Humour aside, I need a larger office. With my Solo, Rebels, Rogue One, Clone Wars, New Hope and final trilogy themes to my Star Wars Lego display, plus the collection of Technic lego so large it required specialist furniture to be built, I have run out of room. Vader’s castle is thankfully taller than it is wide and it fitted onto the shelf fairly well. It also took lighting effects really nicely and I was pleased with the results, in particular, the glowing hologram of the Emperor that appears in miniature in front of Vader's desk. However, it now looks like I have a nice castle, built on the edge of a run down city slum, with the sewers taken over by rogue blacksmiths and a group of noisy political activists. If any of you can spot the social commentary in here, well done you. Poor old Vader however can barely get any sleep, no wonder his mouse droid keeps leaping off the model and onto my carpet, it wants to escape for some peace!

So now that the office shelves are filled, what should I do next? Well actually, there are some things on the Razor Crest that I am not happy with, aspects that need some work to make it look a little better. First to go is that hideous hole in the top. Yes, it allows you to claw the pod out, but for display, rather than play, the hole is unacceptable. I made my own Moff Gideon (Using Winstone from Ghostbusters for the head and an Imperial Pilot body) and equipped him with a Darksabre. I added a pair of speeder bikes too, one for the scout that came with the Razor Crest and one for a scout that I added later.

I dread to think how much I have spent on this project, there is easily three hundred pounds in sets on my shelf alone, consisting of three large ships, one walker and a castle. There are also the various minifigs I bought from else where, such as the Rebel Alliance leadership and spare Mandalorian warriors. There are all of the lights, the wire and the switches, which cost about twenty pounds. It all adds up rather quickly and luckily for me, most of the Lego consists of bricks that I have collected over the years and a lot of those bricks were second hand.

Was it worth it? Yes it was. Not only was it a lot of fun to plan and build, but as a disabled person, it is nice to have a hobby that I can still manage and do fairly well. It is nothing like climbing a mountain, or wild camping with my mountain bike, but it stopped me going insane with boredom, especially during lockdown. Who knows what I can do next, but it is nice to be back on the technic and building actual gear boxes again.

#lego star wars #the mandalorian #star wars #lego moc #Custom Lighting #Disability #Lockdown #Scout Trooper #the razor crest #Darth Vader #Vader's Castle #AT-ST Walker #Scout Walker #Chicken Walker #The Armourer #Beskar #IG11 #The Child #baby yoda

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greyjedireylo · 6 years

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Hasn't George Lucas explicitly and repeatedly state that the force is in itself morally neutral and that indeed both light and dark side are as necessary for its existence? That it is the *tension* between good and evil, rather than good with aberrations?

the short answer: no.

the long answer: I understand that canon descriptions of the Force are often nebulous and sometimes seem contradictory, but if you pay attention to what SW actually says about morality, about the nature of good and evil, it becomes a lot clearer.

the Force has two aspects:

the Living Force (which I think can best be explained as the energy that connects all things, embodied in the speech Rey makes in TLJ about the balance–death and decay which brings new life, etc.), and yes, this one is neutral by virtue of just being about life itself

the Cosmic Force seems to be the aspect of the Force that’s semi-sentient, the thing people refer to when they talk about the will of the Force (and this one necessarily does have a morality system

this is what George has to say about the difference between the Light side and the Dark side, as quoted by Dave Filoni:

“One of the fundamental things to always understand about the light side and the dark side of the Force and the intentions that drive those things are willingness or will to be selfless or selfish,” he said. “From those two key points of starting grow out either in enlightenment of selflessness or greed and fear and anger and hate, and you just go spiraling down and down and down, but those are the building blocks that George [Lucas] would always talk about and I always keep trying to come back to in everything I do because if you work from that point, then actually you can tell a story with the Force.” (x)

“The point of Anakin Skywalker’s story is that we are all making those choices everyday as Anakin does. We start out our day where we don’t intend to turn to the Dark side but so quickly we make choices that tunnel us down into the darkness. […] that’s kind of the whole point of Star Wars. You can be selfish or selfless. I keep saying it because it’s what George spoke about the most. Selfish or selfless. This will lift you up, this will tear you down. It’s really that simple. And that’s the Force in a nutshell.” (x)

and a direct George quote:

“It’s still…you know…basically [just] don’t kill people, and be compassionate,” Lucas said in an interview with Charlie Rose at the Chicago Ideas Festival earlier this month. “Love people. That’s basically all ‘Star Wars’ is.” (x)

it’s quite straightforward–there’s no debate to be had here. the Dark side embodies selfishness and anger and hate–everything that opposes love and selflessness and compassion. if SW is teaching us to love people and be selfless, then it’s also taking a moral stance against the Dark side.

another thing to take note of when you watch the movies is that Light-siders rarely use the phrase “the Light side.” they call it “the Force”–because the Force is naturally attuned to the Light (the thing people are actually thinking of when they claim the Force is supposed to be neutral, I think). additional evidence of this: canon kyber crystal lore:

Kyber crystals were inherently attuned to the light side of the Force, and resisted any effort by dark-side practitioners to use them in lightsabers. To this end, a Sith or other dark-sider could use a kyber crystal only by using the Force to dominate the crystal, bending it to their will. This process caused the crystal to “bleed,” as if it were a living organism, resulting in the distinctive crimson-bladed lightsabers synonymous with the Sith. It was possible to “heal” a corrupted kyber crystal. (x)

there’s nothing balanced or neutral or natural going on there, only more selfishness and greed and forcing things to bend to your will through harm and destruction.

I have to make the distinction (which I think a lot of people fail to) that the Force is not synonymous with the Jedi and vice versa. I’m not talking about the Jedi here, I’m talking about people who use the Force with compassion and selflessness, thus rejecting the Dark side in all its forms. more quotes supporting this:

“The only fight. Against the Dark side. Through the ages, I’ve seen evil take many forms. The Sith. The Empire. Today, it is the First Order.” -Maz in TFA

“I’m no Jedi, but I know the Force. It moves through and surrounds every living thing. Close your eyes…feel it. The Light…it’s always been there, it will guide you.” -Maz in TFA

“That Force does not belong to the Jedi. To say that if the Jedi die, the Light dies, is vanity.” -Luke in TLJ

saying that life and death, light and dark, in nature, as the Living Force, is the natural course of the galaxy is a completely different thing than saying good must have evil to balance it out. and SW itself, in every story it tells, blatantly rejects that notion. that’s why the stories have happy endings, with evil defeated, and why there are no Star Wars to tell during the times when evil is eradicated or hiding. evil is what throws the galaxy off-balance, because it’s greedy and selfish, and it consumes everything in its path. and this is why evil that remains evil has to die in the end, and evil that repents and redeems and changes itself is reborn in the Force through selflessness and love.

#putting this under a cut because it's lONG #this is my long-brewing treatise on the living force/cosmic force #brought on by my constant frustration with this fandom's terrible understanding of force theology lmao #really the kyber crystals are the key to the whole thing #they're clearly a metaphor and not a subtle one at all lol #asks #the force #dave filoni #george lucas

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yborjen · 5 years

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THE MANDALORIAN: CHAPTERS 9 - The Return

First, if you have not yet watched The Clone Wars animated series, or Star Wars Rebels, stop now, go to Disney+ and just knock it out it.

This story is a love letter to Dave Filoni’s years of dedicated work with Master George Lucas. Jon Fav is amazing, he’s an icon and a visionary (and I envision him as Paz in this story), but The Mandalorian would not exist but for the world that Dave executed from George’s vision.

Second, this is a completed story, that is being edited and posted a chapter at a time. Comments are appreciated but the plot is fairly set.

Third, this is pure FAN FICTION. I have no affiliation with anyone living or dead who has any role in the Star Wars universe. Or Disney. Or anything. I’m a fan only.

The story built up in my head over the first series of The Mandalorian and I could not wait for the second series, so I wrote it just for fun.

Enjoy.

******************************************************************

CHAPTER 9: THE RETURN

The Mandalorian set his course and the ship surged as the familiar hypnotic streaks of hyperspace flowed into view. He always felt relief each time they entered hyperspace even though he never really trusted anywhere was safe. Even since the threat on Nevarro was destroyed he still felt uneasy, partly because he was still not completely healed, in more ways than one.

His body ached, in every direction. He prided himself on quick recoveries, and near indestructibility. But his brush with death a week ago had broken down many of his ideas of who he thought he was. He had faced for the first time in his life that his mortality was catching up to him, sooner rather than later. And that meant something now that he had a Child who needed him. He remembered his father figure going through the same process. And as the older man slowed down, he had watched with pride as Din found himself coming up as the most impressive fighter in the Death Watch corps. Well, him and Paz, of course.

His training fights with Paz were legendary in their Clan. Clan Vizsla prided themselves in keeping the strongest Foundlings. And Din, while physically smaller, was faster and smarter to match Paz’ brute force. They built a friendship and respect over the years, and when their mother was executed and their father died in the conflict they were hunted and forced to flee by their Clan in order to preserve the future, and Paz left Mandalore with Din until they found the Tribe.

His heart ached. The Tribe was now gone, and so was Paz. They had fought over Din’s bounty hunter activities, Paz never approved of the questionable moral code of killing people who did not deserve death. Din asserted that anyone who runs is guilty. In hindsight, Paz could not have been more right. They had reconciled with Din reclaiming his honor in Paz’ eyes the night he rescued the Child. His guilt at the following destruction of the Tribe, however, weighed heavier than even his new mission.

His heart also had new holes where friends were now gone. They had given their lives so that his aching body could continue to safeguard the Child. Every time he felt he might lose his temper, he heard Kuiil in his mind reminding him to reinforce with patience. And every time he took off his helm and looked at the mirror, he thought about what IG-11 had seen with his synthetic eyes. Had he seen what Din now saw? These days he barely recognized the man he was before he met the Child.

His head ached and his brow furrowed as he continued to second guess the course he had laid in the navigation. The Armorer had said she knew of old tales of battles between the Mandalorians and the Child’s kind — the Jedi. His only lead then was to find those tales. He had to return to Mandalore. He had not returned since the Purge, and for the past ten years had been so focused on survival that he never even considered looking back. Now, with mind, body and heart still recovering from the battle on Nevarro, he was about to reopen old wounds.

A soft beep on the comm caught his eye and made his heart jump with more of the same uneasy feeling that had been nagging him. He turned back to the ops station and found the Child asleep in the seat with the Mythosaur skull still in his mouth, covered in drool. Then he turned back to the console and pressed the blinking button.

A ghostly holoprojection of Cara Dune appeared and Din found he was holding his breath as he stared at her face.

“Hey Mando — checking in on you as planned. This week Greef and I have confirmed the few remaining Imps are on the run, but I will feel better once the new militia has cleared every building in the city. Once that’s done we will check in with the Jawas and start cleaning up this place. Greef is setting up the Cantina as his base of operation, so contact us there at this signal. You should see him. You’d think he was already Mayor, General, and Senator of Nevarro.” She could not contain a chuckle. “Listen, do me a favor and give yourself a quick medscan. It will put me at ease to know you’re physically capable to take care of the Kid, OK? As agreed, I expect a response within two days, even just an acknowledgement with your code if that’s all you can do. If you fail to respond we are coming after you. Stay safe, buddy.”

Cara had a small smile on her lips then dropped her eyes as she reached down to close the comm channel message, and Mando felt a slight clench in his stomach when her image fizzled out. He pushed down that feeling and turned back to the Child who was now soundly snoring and the Mythosaur skull was hanging out of his mouth.

Din gritted his teeth and took in a sharp breath to avoid making any sounds as the pain caused a tear to form in the corner of his eye. He knew if he stood up his message would be more convincing. His last medscan was less than encouraging, he was healing, but not nearly as quickly as he had hoped. From the blast and fall he had multiple fractures of his ribs, vertebrae and torn sacral ligaments, and fluid on his bruised lungs. IG-11 had healed his skull fracture and subarachnoid bleed from the fall but the concussion was still affecting him daily. And he also had a healing torn rotator cuff from his stunt on the TIE fighter.

His first stop after they left Nevarro was to acquire some bacta so he could start infusions. It took every ounce of his infusions to keep healing fast enough to convince the Child he did not need to intervene. IG was right about his wounds healing in a matter of hours, but there were just so many wounds that the hours kept adding up… and there wasn’t a chance he would ever tell Dune any of that.

He caught his breath again as he straightened up and then composed himself and pressed the comm button.

“Dune, good to hear from you, and that Greef is already setting himself up as the new emperor. Medscan is improving. We have a new heading. I will send encoded coordinates so you can monitor our progress. Please confirm the Armorer is safe and if any others of the Tribe —have returned.” His voice wavered as a shock of pain jolted through his ribs. “The Kid is asleep, so I’ll keep this short. Djarin, out.” He reached for the comm button and closed the channel quickly before catching himself on the console and taking long, slow breaths.

He looked at the hyperspace navigation timer, he had just enough time for a quick infusion. He had to get it started before the kid woke up. He moved carefully down the ladder leaving the cockpit door open so he could hear any movement. The quiet snores were reassuring. He had to stop a couple of times to catch his breath, but his focus was unwavering. His kit came with an infusion port which made his hookup simple, so he just had to remove his armor and expose his shin where the port was drilled into his bone.

Once the line was set in place he decided to lay back on his sleep cot just for a few minutes.

******************************************************

He woke with a start, but there was a warm spot at his side were the Child had clearly moved to sleep with him and he was snoring again. He looked up at the bacta bag and found it was empty and he was actually feeling less pain around his head, shoulder and ribs. He flexed his abdominal muscles and self-corrected as he groaned to sit up — there was less pain.

The Child immediately stirred and yawned loudly. He looked up at Din and sleepily blinked then chirped with a questioning tone.

“I’m feeling better, kid. Thanks for keeping me company.” He picked up the bag and showed it to the Child. “See? This will help fix me up.”

The Child cocked his head slightly, as if unconvinced.

“Tough audience. Come on, let’s check on our course.” He gingerly moved himself off the sleep bench and then tucked the Child into his arm with the bad shoulder and with the other pulled himself up just high enough up the ladder to deposit the Child up on the command deck, then climbed up the rest of the way with both arms.

Every time, the kid made a beeline to the controls and Din had enough practice to stay just far enough ahead of him to scoop him up and deposit him back into his seat before he could drop them out of hyperspace into a black hole. The Child whined with a squeaky pout but admitted defeat again.

Din checked the timer and found they had just under ten minutes left in hyperspace. Then he noticed he had another message. He frowned. And his finger actually shook just a little as he reached for the blinking button.

The ghostly image of Cara Dune appeared again, “This message is for the Kid. Hey Kid, please do me a favor and tell your father to try putting on a brave face for someone who isn’t an idiot. Miss you Kid. Take care of him for me. I’ll report back on the Armorer when I have made contact.”

She disappeared, and this time her image was not smiling. Din’s head bowed slightly. He should have waited to reply after the infusion.

Then he looked up at the Child who was returning his gaze. “We’ve got each other’s backs, Kid. We are going to be OK.”

The Child giggled and reached a small three claw hand toward him. Din reached out with his finger and the Child grabbed it and squeezed.

The hyperdrive now started beeping, they were approaching their destination. Din set the Child back in his seat and then turned to the controls. With years of experience he eased the Razor Crest out of hyperspace just early enough to avoid alerting of the old Outer Defense perimeter. He had heard that it was back in force and he did not want to start off this encounter with a fight.

He flipped his universal local transmission switch, “Outer Defense, Outer Defense, this is Razor Crest requesting permission to approach.”

No response.

“Outer Defense, Outer Defense, do you copy?”

Another long beat, Din’s heart began to quicken.

“This is the Outer Defense, please repeat your sign,” the deep voice on the other end sounded suspicious.

Din sighed relief, but also pursed his lips. His ship should be known to the Outer Defense database. They were no doubt scanning him to confirm — it was the ship Paz and he had taken off Mandalore.

“This is the Razor Crest. Repeat, the Razor Crest.”

There was another short pause. “Clan Vizsla celebrates your return Paz.”

Din swallowed hard, “Negative, Outer Defense control, this is Din Djarin. My brother Paz — his location is unknown.”

There was another heavy silence. “Din Djarin, Clan Vizsla celebrates your return. The foundlings are the future. Proceed to the Vizsla Landing and report to your Clan for the Rebuilding. Welcome home.”

Mixed emotions filled Din hearing these words, but all he said was, “Acknowledged.”

Coordinates were sent for his heading, and he did not recognize it. The Vizsla compound was no doubt destroyed in the Purge. Din put the Razor Crest on autopilot and then reached back to pick up the Child so he could see everything on their approach to his new home.

“See this Kid? This is your new adopted home. Mandalore.”

The Child looked all around with wide eyes as they passed the Outer Defense in the meteor belt and made their way towards the brown planet with swirling white clouds. As they moved closer, patches of green were visible surrounding interconnected small lakes of blue below. It looked like a small part of the eco-system was reasserting itself. He desperately wished that Paz was there with him to see the planet slowly coming back to life.

The ship moved into orbit and then began the gentle descent to the ruins of the Capital city, Sundari. He recognized many destroyed landmarks, many historic locations lost to future generations. They passed the old palace of the Prime Minister and the Representatives which looked like it was being rebuilt. The square of statues, however, which previously held colossi of Mandalorian history was now full of rubble.

The other thing he noticed as they moved closer to the large squares was he could see hundreds of people, some with helmets, but mostly without. He knew that the Way was not widely observed, and mostly within the military, but it still felt jarring to him to see so many Mandalorians without helms. Living normal lives. His entire life since the Clone Wars had been about survival and protecting the safety of others. His life was the Way, but life went on outside the Way. And that was as it should be; it was what he should be fighting for.

Then he realized that the ship was aimed toward the old headquarters of the Chancellor of Defense. He smiled to himself. Clan Vizsla had come home. The Death Watch was the highest level Defense Squadron of Mandalore before they split from the pacifist government. He was happy they had been restored to their honorable mission.

The Razor Crest set down on the first landing pad and Din started shutting down all systems. The Child, however, could not contain his excitement and immediately jumped down from his seat on Din’s lap and started toward the ladder.

“Wait! KID!” Din shouted as he quickly flipped switches in order. Then he rushed after the Child and found him in the sleeping bunk retrieving his blue blanket and his silver ball. Din had to laugh and sighed with relief.

“I’m ready to settle in for a while too, but let’s take this one step at a time ok?” He put the ball and blanket down again on the bed, picked up the Child set him down on the ground, and then squatted down to his level.

“We have a mission. We need to find your people. And we need to find out if we have a place here if our mission to find your people fails. These people are our kin, but they respect strength.” He smiled to himself. “Who am I kidding, We know you have plenty of that.”

The Child looked at him thoughtfully, and then lifted up his arms. Din picked him up again and they touched foreheads and then looked at each other.

“Be brave, be careful, and stick with me, ok?”

The look the Child gave almost looked like a small smirk, and he got the distinct impression he was thinking, I’m always brave. He couldn’t help but suspect the Child was starting to understand him.

“Let’s go.” He put the Child down again, and then lowered the ship’s outer door.

******************************************************

By the time the door lowered down completely there was a greeting party already arriving on a speeder. They all wore Clan Vizsla armor, and several ancient Clan helmets, but no individuals that he specifically recognized. That did not surprise him because the Clan previously numbered in the thousands and stretched across multiple settlements. Din started to walk down the ramp and he could hear the Child walking next to him.

The female at the head of the party stepped down from the speeder and waited for them to approach her. Din walked slowly to accommodate for smaller legs and feet.

Din stopped just in front of the female and then eased down on one knee and bowed over his knee.

“Din Djarin, Foundling of Clan Vizsla. I’m reporting home because I have — a new Clan Vizsla Foundling. I also must report that Paz Vizsla is currently — missing. He was lost on Nevarro when former Imperials attacked, but the Tribe reports that he may have escaped off-world.”

The female stepped forward and reached down to Din’s pauldron and ran her fingers over his sigil. Then placed a hand on top of Din’s helmet.

“Din Djarin, House Vizsla rejoices in your return. Clan Vizsla’s losses were among the heaviest. Clan Wren was nearly decimated. And Clan Saxon has failed to make restitution. The Foundlings are the future. Rise, Din Djarin.”

Din looked up and stood before her, and gestured to the Child standing by his leg.

“This is my Foundling. He did not have any identification when I found him. He does not yet understand the Way. We come before you seeking his acceptance in the Clan, and for him to be named.”

The female nods, “Of course. What significance is the sigil?”

Din nodded back. “The Child and I fought the Mudhorn together. He used his mind to hold the Mudhorn back long enough for me to kill it. He saved my life, and then I saved him from the Empire.”

The entire party on the speeder now turned their helmets towards the Child. He looked back at them with large black eyes and squeaked, but then he puffed up his chest a little proudly. Din was happy his smile was hidden by his helm.

The female looked back at Din and nodded again. “We will find an appropriate name for this impressive show of strength from one so small.” She cocked her head. “Do you intend to train him?”

Din shook his head, “The Foundling is in my care but he would not survive the training. I must find his own kind, or find someone who can train him to use his powers — as a Jedi.”

Every person on the pad froze at the mention of that Order. Din could barely comprehend how he had never heard of them before if so many Mandalorians knew of them. The female had frozen as well but now recovered her composure.

“Come, let us discuss this mission in more detail — inside.”

She turned and stepped back onto the speeder. Din motioned for the Child to follow, then Din was the last to board. The whole ride inside the structure he could feel the eyes of the entire party on him and he could feel the Child next to him inching closer to him nervously. But Din was proud he stood his ground and did not cower or hide under his cape.

The speeder stopped inside the compound at a grand door with high arches that once held stained glass. Four of the Mandalorians stepped out and took posts next to this door. Then the female stepped off and led the way through the door and down a stately hallway for Din and the Child to follow. She did not walk slowly, so Din picked up the Child and he rode on his shoulder. Din walked a little slower as he looked around and hid his stiff joints from the others. The female stopped outside a large office and waited for them to walk inside.

Once inside two others of the entourage stopped to stand guard and she closed the doors and turned to face them. Her helmet had accents of gold and white, and the eyes came out to a wider point compared to the Armorer. She was taller, as tall as Paz, and carried all of the authority expected in his Clan.

“Din Djarin, I am Zaral Vizsla. I am Paz Vizsla’s cousin — and yours. Your father, my mother’s younger brother, as you know, died during the Purge. Your father saved many Foundlings, you are among only four to complete the training, and you are the only one to return after the Purge.”

Din felt his legs going slightly weak as the weight of this information set in.

“Then... you do not know of Paz’s whereabouts?”

Zaral shook her head. “He has not yet returned. You were the last to see him alive.”

“I was not. The leader of the Tribe on Nevarro, the Armorer, she saw him when the Imperials attacked. He was last seen during the assault. He was among many that disappeared and were assumed escaped — or captured.” He finished quietly. To be captured would mean death.

Zaral nodded. “We must make contact with the Armorer then. We must continue to bring our sisters and brothers home.”

Din nodded, “The Tribe as you know has no communication equipment, to prevent detection. But I have people on Nevarro that may contact her directly.”

Zaral nodded, and she then turned toward the volumes of data on the shelves behind her desk and walked around behind it.

“Today, however, I’m afraid we must face an unpleasant task before we can celebrate the naming of your Foundling. We must address the issue of his apparent power in the Force.”

“The Force?” Din said.

“It is the name of the power this Foundling has a connection to. It is how he lifted a Mudhorn that was ten thousand times his weight,” Zaral replied.

“He also stopped a fire trooper’s weapon. And he healed a Mynock venom wound.”

Zaral now looked up from the data console and stood. “This Child has done all of these things?”

Din nodded, and the Child chirped in response.

Zaral stood astounded. “I have only heard legends of Jedi with such powers. Even the few left that have met our Clan cannot do all of these things, with years of training.”

Din was now also stunned. “But — what does that mean for him?”

Zaral shook her head. “I do not know.” She beckoned for him to move closer to the desk.

A symbol appeared on the holodisplay, one that he did not recognize. “This is the symbol of the Jedi. They were an Order of sorcerers that began untold eons ago, the Order trained those with a strong connection to the Force to use their power to protect freedom in the Galaxy from those who would dominate others.

“They grew in number and then began the discord. As with all organizations splinters began and some maintained a peaceful demeanor while others tended toward a warrior way of life. The warriors, however, became too enamored with their growing power and soon left the Order completely to grow as a new Order called the Sith. They cultivated their power in Darkness and waged war on the Jedi, nearly wiping them out. The Jedi power came from the Light and soon their numbers of recruits far surpassed the growth of the Darkness and they were victorious, destroying the Sith Temple at Moraband.

“Five thousand years ago, the Jedi Order established a Temple on Coruscant, and became advisors to a rising power that eventually became the Old Republic. But after three thousand years the Mandalore found a decline in that Republic was due to the philosophy of the Jedi, avoiding battle at all costs, and protecting weak leaders, and they came into conflict. Our weaponry was developed over millennia in order to manage battle with Jedi whose powers required no machines. We were victorious on many battle fields. Over a thousand years ago, Tarre Vizsla, a Mandalorian with an unrivaled connection to the Force, was allowed to train with the Jedi because his mother felt that the conflict must end. He became one of the fiercest warriors of the Jedi, and he created a weapon called the Dark Saber. But ultimately, due to politics on both sides, he was forced to choose. He refused to fight against his own people, and he left the Order, leading the Mandalorians against the Jedi to his death. His Dark Saber was brought back to the Jedi temple until it was stolen back by House Vizsla and used as a symbol to rule Mandalore.”

Zaral turned back to Din and the Child who still sat on his shoulder with his mouth open in awe. “This story is for you both to understand what you are facing on this quest. You see before you nearly ten thousand years of history, and three thousand years of conflict with Mandalore. However, I want you both to understand that does not mean there is no hope for your Clan to bring Mandalore into a stronger future. For a member of a Clan who has such powers to heal should have a name worthy of a Jedi.”

Din reached up to his shoulder and picked up the Child to set him on Zaral’s desk. She reached out and placed her hand on his head.

“I name you, Tarre-Haal, the second of House Vizsla to be a Jedi warrior — and the first Jedi healer.”

Din also put his hand on Tarre-Haal, who cooed, but did not move.

Din whispered, “Ni kyr'tayl gai sa’ad,” I know your name as my child.

Zaral replied, “Gai bal manda,” Name and soul.

When Zaral and Din removed their hands Tarre looked up at them, and Din saw in his eyes a look that said, I’ll make you proud.

Din looked back up at Zaral, “You agree then, I should take him back to the Jedi? How am I to find them? Are they still on Coruscant?”

Zaral shook her head, “The Order was destroyed by the Emperor at the end of the Clone Wars. The fugitive Jedi were hunted during the Age of the Empire, and very few remain. However, I heard that it was two Jedi who returned the Dark Saber to House Wren before the Purge, and it was Bo-Katan of House Kryze who used it to unite Mandalore to resist the Empire, but ultimately failed.”

Din had not heard of the final events on Mandalore. “So House Kryze was destroyed.”

Zaral nodded, “And Bo-Katan murdered. Her nephew, Kor-Kayan, was captured and presumed dead. When the Empire fell the Governor and the Imperial Security Bureau were finally driven from the planet. And we began to rebuild.”

Din leaned forward. “Who murdered Bo-Katan?”

Zaral looked back at Din, “Moff Gideon.”

Din suddenly felt his breath leave him, and had to brace his hands on the desk. Tarre-Haal walked over to his father and put one hand on his arm, slowly closing his eyes.

Suddenly, Din felt a warmth spreading from his arm to his injured shoulder and up further to his head and down to his lungs. When he realized what was happening, he reached over to Tarre and placed a hand over the tiny one on his arm.

“Stop, please, Tarre. You have done enough, you need your strength.” He gently pulled the tiny hand off his arm and Tarre looked up at him with his large black eyes. “Save your strength.”

Din looked back to Zaral. “I am injured because I fought and killed Moff Gideon on Nevarro. His forces are in retreat as we speak.”

Zaral nodded. “Your entire Clan will be told of this victory.”

Din stood up again and looked her in the eye. “I will also return to that fight, but first, I must find the two Jedi. I must speak with House Wren.”

#the mandalorian #the mandalorian fanfic #the mandalorian fanfiction #star wars fanfiction #fanfiction #din djarin #cara dune #the child #baby yoda #the armorer #paz vizla #greef karga #ahsoka tano #sabine wren #clone wars #star wars #star wars rebels #darksaber

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rebelsofshield · 6 years

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Ranking Rebels: The Top Ten

It’s been several months now since Star Wars Rebels concluded and we learned the fates and futures of the surrogate family that lived in the halls of The Ghost. Rebellions were sparked. Sacrifices were made. There was a lot of critical theory about art. Fruit was stolen. Droids sang. Pufferpigs puffed. It made for a beautiful, if not always perfect, four year story that will become a cherished part of the Star Wars mythology.

With a new animated series on the horizon, what better time to take a look back at Rebels history. Not all episodes were created equal. For every, “World Between Worlds” there is a “Blood Sisters.” Just as I did for The Clone Wars, I plan to rank every episode of Star Wars Rebels from worst to best. As always, feedback and discussion is appreciated!

Previous Installments: 66-61, 60-51, 50-41, 40-31, 30-21, 20-11

10. Rebel Assault

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The attack on the Empire’s factories on Lothal was an operation that had been building for seasons. With Hera finally receiving approval to lead a squadron of X-Wings to the grassy plains of Ezra’s homeworld, “Rebel Assault” opens up with a triumphant and brilliantly executed dogfight that Steward Lee directs to near perfection. Seeing classic Star Wars starfighters chase each other through blockades and high atmosphere is the stuff of dreams and Rebels delivers, before smartly transitioning into a tense and bleak second half. Hera’s attack fails and as a result she and Chopper are left to sneak through the locked down streets of Lothal’s capitol as Imperial forces close in around her. Lee dials back on the music and allows the episode to fall eerily quiet which does wonders in ratcheting up the unease and tension. It ends on a killer cliffhanger that opens up Rebels for an incredible final stretch of episodes and makes for a great midseason finale.

9. Fire Across the Galaxy

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While it showed signs of confidence and maturity throughout its first season, it wasn’t until its first finale where Rebels finally felt like a show that had come into its own. Whether it’s the ensemble’s thrilling attempt at rescuing their friend and mentor from the clutches of The Empire, Kanan’s cathartic and wonderfully choreographed duel with The Grand Inquisitor, or the universe altering reveal of Ahsoka Tano at its conclusion, “Fire Across the Galaxy” is filled to the brim with excitement, adventure, and character. The fact that writer Simon Kinberg is able to fit as much content into a single twenty two minute episode is stunning and it is even more impressive that it comes across as wonderful as it does. By its conclusion, most of its central cast has grown and the series has taken its first step into a larger world and cemented itself as a Star Wars story that will be worth remembering.

8. The Siege of Lothal

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Darth Vader was a specter that loomed over Rebels since its premiere. Kanan and Ezra could only go so long before attracting the attention of the galaxy’s most famous Sith Lord and with Ahsoka Tano now in play, the appearance of the Dark Lord seemed inevitable. Before Rogue One, Rebels brought Darth Vader back to the screen in menacing and iconic fashion. Whether its James Earl Jones’s effortless voice performance, Henry Gilroy’s script, or Bosco Ng and Brad Rau’s direction, Vader fills every frame he is a part of with a dark presence and in the process tests the Ghost Crew like never before. It makes for a stunning premiere that not only impacted the main cast but hinted at some of the iconic and emotional stories that were to come throughout Rebels’ second season.

7. The Honorable Ones

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“The Honorable Ones” was a risk from the get-go. Even if it played off a familiar trope of two adversaries being forced to survive in dangerous conditions, Kevin Hopps’s script had the challenge of carrying a full episode that is essentially two conflicted men arguing and also providing a nuanced view of war without undermining Star Wars’ purposefully simplistic morality and condemnation of fascism. Hopps succeeds by making “The Honorable Ones” about Kallus the man rather than the organization he represents and in the process allows for two series best performances out of Steve Blum and David Oyelowo. In the process, both men are able to come to an understanding about each other as beings and about their own struggles even if they cannot reconcile the conflict they find themselves embroiled in. It makes for a powerful script and would set up one of the series’ best long term character arcs in Kallus’s eventual defection to the Rebellion.

6. Jedi Night

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Until its conclusion, “Jedi Night” plays out like classic Rebels fun. The crew conducts a rescue of a team member and loved one the sorts of which have played out through the show dozens of times. Dave Filoni and Henry Gilroy pepper the script with moments of action and levity and while the stakes are high, there is a sense of playfulness that echoes throughout. In actuality, “Jedi Night” is a sort of pre-emptive eulogy for the man it is about to sacrifice. Kanan Jarrus slowly sheds and reforms his appearance, his identity, and eventually his life to rescue those he loves and director Saul Ruiz does this through smart visual cues that play off well with both the script and Freddie Prinze Jr.’s incredible performance. “Jedi Night” feels like a collective breath before its act of tragedy and sacrifice and the result is gut-punching but also unforgettable.

5. Twin Suns

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“Twin Suns” is an artful and beautifully directed closure of not only Ezra’s character in the third season of Rebels but also of one of the most winding and tortured character arcs in the franchise. After decades of turmoil, Maul’s life comes to a close. From its opening frames, director Dave Filoni creates a clear visual language that emphasizes open space, isolation, and character action and in the process prepares us for what is to come. It makes for one of the most creatively inventive installments the show attempted and this, of course, culminates in its incredible final moments. Stephen Stanton’s masterful recreation of Alec Guinness’s Obi-Wan Kenobi is jaw dropping and it makes his moments of wisdom passed onto Ezra feel genuine and his pity and remorse towards Maul oddly heartbreaking. Filoni’s decision to stage this final battle between the decades long adversaries as a Kirosawa-like samurai film represents one of his best directorial decisions to date and the result is unexpected but entirely appropriate and even poignant.

4. A Family Reunion-and Farewell

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Rebels’ final episode could have stretched on for hours and fans would likely have lapped it up. Trying to conclude this four year story of family, resistance against tyranny, and maturity in adolescence in forty four minutes seemed like a near impossible challenge. The result is an episode that makes every second of that runtime count with an explosive final charge for Lothal’s independence that brings aboard a sprawling ensemble of the Ghost Crew and some of their most iconic allies. It is super charged with action and heroism, but it is ultimately the conclusion of Ezra Bridger’s emotional arc that makes “A Family Reunion-and Farewell” sing. Taylor Gray’s performance here is mature and emotionally resonant as Ezra finally comes to term with the loss of his family but also how best to honor those who are caught under tyranny and oppression. It marks a moment where Ezra not only becomes an adult but also a hero to which the galaxy can aspire to. Even then, this isn’t even taking into account the incredible series epilogue that not only provides a much needed conclusion to the series’ beloved characters but hinted at new adventures to come. It makes for a powerful and near perfect finale to a show with a legacy that will stretch on for years to come.

3. Trials of the Darksaber

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Like “The Honorable Ones,” “Trials of the Darksaber” is one of the rare episodes of Rebels that slows down the action to focus entirely on character. However, this Sabine-centric episode foregoes any sort of plot oriented B-Story at all and instead bunkers down for an emotionally raw tale of a master and student. Directed by Steward Lee and written by Dave Filoni, “Trials of the Darksaber” begins with a visually dynamic lore-dump about the blade that passed hands from Pre Vizsla to Darth Maul and now rest in the hands of Sabine Wren. With the importance of this strange weapon now understood, Sabine now faces a responsibility that could change the tide of the war to their favor. Forced to not only conquer her own insecurities but also face the trauma of her past, Sabine undergoes a rigorous training under Kanan that culminates in an emotional outburst that lays all bare. Freddie Prinze Jr. and Tiya Sircar provide phenomenal voice performances that feel vulnerable and genuine and it makes for an episode that is quite unlike anything else in the series and one of the highpoints of Rebels as a whole.

2. A World Between Worlds

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For decades one of the few story concepts that Star Wars never touched was time travel. In a universe where lightspeed travel was as simple as taking a bus and a magical energy force could lead to all manner of strange abilities, the power to traverse time and space was always off limits. That is until “A World Between Worlds.” Selling Star Wars fans on this concept would’ve been risky from the start, but it helps that this installment of Rebels is close to perfection. We knew from early on that there was something special about Lothal and the Jedi Temple that lay hidden at its center. With the Emperor’s interest and the mystical behavior of the Lothwolves adding onto this mystery, it slowly became apparent just what kind of realm was lying hidden beneath the coned walls of this strange building. The design and execution of the World between Worlds itself is one of Lucasfilm Animation’s best creations. With twisting and churning pathways that seem to stretch through space in infinite directions and populated by ethereal voices that connect throughout the Star Wars saga, this pathway into the stars feels like something ancient, unknowable, and mythic. The result is suitably awe inspiring and entrancing. Even better, writer and co-director Dave Filoni, alongside Steward Lee, ground this world in a key emotional arc for its characters. In addition to allowing fans to see Ahsoka Tano one more time before the close of the series and show a tease of what the next chapter of her story was, Filoni and Lee position this realm as a key emotional turning point in Ezra’s grieving over the death of Kanan. Ezra is given a taste of ultimate power in the hopes of saving those he loves, but is forced to realize that the past shouldn’t be changed and not everyone can be saved. It’s an emotional beat that is key to the final steps of his series long arc and rings true as the episode comes to a close.

1. Twilight of the Apprentice

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How could it be anything else? The season two finale of Star Wars Rebels is not only the best of the series, it is arguably the best product that Lucasfilm Animation has released, and some of the most powerful material in the entirety of the franchise. “Twilight of the Apprentice” is an atmospheric, emotional, and suspenseful hour of television that is filled with betrayals, sacrifice, revelations, and character altering decisions. It leaves a trail of changed lives in its wake and the series would never be the same after. Written by Dave Filoni, Simon Kinberg, and Steven Melching and directed by Dave Filoni, “Twilight of the Apprentice” would see the convergence of several generations of current and former students of the Force on the planet of Malachor. There Ezra’s frustrations with Kanan’s teachings combined with his own empathy for those in need would lead to his near seduction to the Dark Side by a reemerging Darth Maul. Kanan’s inability to trust fully in his student would be a partial catalyst in his blinding by the same former Sith Lord. And Ahsoka, poor Ahsoka, would come face to face with the man that used be her master. It makes for a dark and painful installment of television, but the incredible voicework by the full cast sells the experience and thrilling lightsaber duels abound. It is hard not to find yourself wrapped up in the saga that unfolds even before the final fifteen minutes elevate this installment into the realms of a classic. Ahsoka’s confrontation with Darth Vader was clearly a fascination of Filoni’s and the resulting product is as apocalyptic, tragic, and mythic as one could hope or dread for. Ashley Eckstein, James Earl Jones, and Matt Lanter sell the moment with heartbreak, anger, and disbelief, Kevin Kiner provides a beautiful musical score, and Filoni crafts a risk taking and iconic sequence. Like all great Star Wars, “Twilight of the Apprentice” ends with a wordless montage set to music. It’s a cinematic moment that feels earned and appropriate and may just be the best Star Wars that we have seen in years.

------------ So, there you have it. Rebels has been ranked. As always, feel free to reach out to tell me where you agree, disagree, or if you just want to chat about the show. I loved getting to critique this series and offer my thoughts as it crew into a truly great piece of television. I feel that I grew as a writer and a person with this show and getting to share my excitement, speculation, frustration, and adulation for it has been a highlight of my life for years now.

Thank you all for your readership and friendship.

May the Force Be With You

Nic

#Star Wars #Star Wars Rebels #review #reviews #swr #Rebels

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aion-rsa · 3 years

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Star Wars: Why Hera Syndulla Should Be in The Mandalorian Season 3

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Din Djarin doesn’t want to be involved in galactic war. He just wants to find a happy life for his kid, Grogu. But like Rebels, the animated show that took on the bulk of Star Wars storytelling outside of the movies before Disney+ was a thing, The Mandalorian has gradually become more connected to the rest of the saga. Set after the fall of the Empire, the live-action series has already touched on the Mandalorian civil war, Ahsoka Tano’s search for Grand Admiral Thrawn, and even brought in elements from Legends canon.

If Din’s destiny is tied up to the final battles against the Imperial remnant, Rebels regular Hera Syndulla is the perfect character to guide Mando through that larger saga story as someone who once fought on the fringes but is now a New Republic leader. She’s also a popular character with the versatility to appear in a variety of different situations, and her voice actor is an obvious choice for her live-action portrayal. In fact, The Mandalorian has set a precedent for voice actors to return to their characters in live action roles with Katie Sackhoff playing Bo-Katan in season 2. Hera’s voice actor Vanessa Marshall, well-known for her animated characters, has played Hera in several different animated mediums and did motion capture for a relatively realistic-looking version of the character in the video game Star Wars Squadrons. She certainly has the chops and the look to fit neatly into Hera’s shoes.

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An ace Twi’lek pilot and general for the New Republic, Hera’s been fighting the Empire since it first took over the galaxy right at the end of the Clone Wars. Her childhood on Ryloth, which had a rich tradition of freedom fighters including her father, taught her about fighting invaders early on, lessons that came in handy when the early Empire established a presence on her home planet, as shown in The Bad Batch. After initially fighting the Imperial occupation on Ryloth, she eventually joined the effort to thwart the Empire in other parts of the galaxy.

She became the captain of the starship Ghost, the central hub for her most well-known appearance as the mother figure of the found family in Rebels. After helping the Rebel Alliance take down the Empire, she rose through the ranks of the New Republic after the Ghost crew split up on separate adventures.

Years after Return of the Jedi, Hera serves as a general for the New Republic, and has a minor but important role in the Alphabet Squadron book series as the commander of a mission to take out an elite squad of Imperial pilots determined to keep going after the Empire proper has failed.

But how does Hera fit into Din and Grogu’s story? Hera’s work with the Rebellion and New Republic has generally kept her out of the underworld Mando thrives in, although she does work with Lando Calrissian from time to time. The most direct connection is via Ahsoka.

Remember when Ahsoka said she was looking for the evil Grand Admiral Thrawn? Thrawn was dragged into hyperspace in his apparent defeat at the hands of Jedi apprentice Ezra Bridger, who disappeared alongside the villain into parts unknown in the series finale of Rebels. Ezra is Hera’s found family “son,” with Ahsoka and some other Rebels characters setting off on a mission to find him at the end of the series.

When Din meets Ahsoka in The Mandalorian season 2, the Jedi is still looking for Thrawn, which means she’s most likely still searching for Ezra, too. And you can bet that Hera is aiding in that search from her position of power within the New Republic.

A connection to Ezra, Thrawn, or Ahsoka would be the clearest “six degrees of separation” to Din. But even a live-action cameo in The Mandalorian could be a good stepping stone for Hera to become a major part of the upcoming Rangers of the New Republic series, a spin-off that presumably explores Mando’s world from the perspective of the galactic government (and is being produced by Hera’s creator, Dave Filoni). When first announced, Rangers was said to be one of four shows that would eventually collide in a big crossover event, providing plenty of space to explore different corners of the galaxy within the timeline of The Mandalorian.

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While the state of Rangers is in flux due to the firing of rumored star Gina Carano, if the show still exists, it would be a perfect place to explore more of Hera’s story within this point in the Star Wars timeline. The time period of The Mandalorian, nine years after Return of the Jedi, takes place after Hera’s last chronological appearance in Alphabet Squadron: Victory’s Price. Hera is presumably still a general, and involved with the New Republic. With Din’s connection to the galactic government mostly restricted to begrudging space traffic stops, it would be interesting to see how he handles someone more sympathetic to the Republic who is also much higher up the chain.

Hera is primarily known as a pilot, an officer, and a strategist, which opens up a lot of different roles she could hold in The Mandalorian universe. With the Razor Crest destroyed, Din is going to be on the lookout for a new ship. And Hera has flown with Mandalorians before. Her crew mate Sabine Wren even held the Darksaber before Moff Gideon and Din. Needless to say, there are many ways in which Hera’s story could connect to The Mandalorian.

Ahsoka and Luke Skywalker’s inclusion in The Mandalorian season 2 offer some suggestion as to what does and does not fit the show’s tone. Not every character has to be a bounty hunter or a Mandalorian or a mercenary or a crook. It’s clear after two seasons that the show wants to use different kinds of characters to explore other facets of the Star Wars universe beyond the criminal underworld, while also remaining smaller in scope than the big screen installments.

Hera would give Din Djarin an opportunity to connect to the wider saga without having to connect to the movies directly. She would show a different facet of the New Republic too, beyond the marshals and X-wing pilots patrolling the Outer Rim, and someone who’s used her resources to fight for Din’s very own people in the past. And, while not exactly one of the classic characters the “toy box” storytelling of The Mandalorian usually plays with, Hera provides continuity with the rest of the saga, just like Ahsoka, Luke, and Boba Fett do, making the galaxy around Din feel that much bigger. Combine that with the ease of transitioning her to live action and her popularity on Rebels, and it’s really a no-brainer.

The Mandalorian season 3 will begin filming later this year. In the meantime, you can check out some of Hera’s early adventures on The Bad Batch, which is currently streaming on Disney+.

The post Star Wars: Why Hera Syndulla Should Be in The Mandalorian Season 3 appeared first on Den of Geek.

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frxstguardian · 7 years

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My review of the Rebels S4 finale

Overall, I’m very pleased with the finale. It was a proper sendoff to all the characters we love while leaving room for future adventures/stories. It was a fitting conclusion to Ezra’s story, ending where we began on Lothal. For me, Rebels was honestly the most enjoyable part of current Star Wars canon, not the movies, so I eagerly await Dave Filoni’s next animated TV show.

Spoilers below the cut.

Ezra: This boy has grown up so much since S1, from a street rat to a leader, Jedi, and hero. Opening the last episode with Ezra talking to his parents was a sucker punch to the gut. I’m so proud of how confident/competent he is compared to the scared lost boy from S1. Ezra singlehandedly planned and led a mission to liberate his planet and even put backup plans in place! Also he legit threatened to let the wolves eat Governor Pryce omfg what a badass. Idk why but when he said “one last time” before crawling into the vents like the old days is the exact moment I realized how far he’s come. Back in S1, I used to think Ezra was annoying and generic, but now he’s one of my favorite Star Wars characters and it’s gonna be agony waiting years to see him onscreen again.

Sabine: I thought Sabine would return to Mandalore and retake the Darksaber or at least be Bo-Katan’s second-in-command/heir apparent? Maybe they’ll revisit Mandalore in the next animated TV show idk. But her ending was still fitting. I think she felt she owed it to Ezra to stay and protect Lothal especially since Zeb’s people needed him and Hera wanted to fight with the Rebellion. Also I love that Dave Filoni kept their relationship platonic in the finale. I think it was implied that she’s keeping Ezra’s lightsaber for him?

Hera: Every time any character referred to Hera as “General Syndulla” I ascended to higher dimension. Tbh she didn’t really have much to do in the finale, since her major storylines were earlier in S4. Also Hera randomly wearing makeup in the epilogue scene felt weird/OOC but oh well.

Zeb: I legit thought Zeb was gonna die for a minute during that fight with Rukh. Also is kalluzeb canon now omfg??? I watched an interview where the voice actors for Zeb and Pryce were both like “we ship it” haha.

Thrawn: Thrawn’s monologue to Ezra where he completely outmaneuvered the rebels really showed why he’s a scary opponent. I can’t believe the Bendu was being literal when he prophesized Thrawn’s defeat in S3... Filoni knew all along and played us just like with Ahsoka and those Topps cards. Also Thrawn’s henchman Rukh was so annoying and not interesting as a villain, I’m glad he’s finally dead lmao. Since both Ezra and Thrawn survived I’m interested how his character will be relevant moving forward.

Pryce: I liked Governor Pryce in the finale after she was pretty bland in S3. The voice actress did a really good job. The interaction between Pryce and Kallus acknowledging their shared history as Imperial officers was a nice touch. Also Thrawn didn’t have to obliterate her entire life with “I expected Governor Pryce to fail, but not so completely” but he DID and it was SAVAGE.

Palpatine: Okay Palpatine was so good in this episode! His grandfatherly Chancellor persona dressed in white was so unnerving since we know what he really looks like. The hologram flickering into his hooded Emperor persona was freaky in a good way. Ian McDiarmid’s voice acting was impeccable. I was expecting him to say “DO IT” but he never did haha.

Ahsoka: I’m glad Ahsoka only showed up at the end. It would’ve distracted from the main cast otherwise. Bless Dave Filoni for confirming she lives post-ROTJ though. Her Gandalf the White cosplay was stunning a;lsdkfjal;dj.

Miscellaneous: Honestly wasn’t expecting the purrgil and yeah it’s a deus ex machina but it was a nice callback and a clever solution to the “where is Ezra during the OT?” problem. Ezra couldn’t defeat Thrawn but he could remove both himself and Thrawn from the equation and finally give the rebels an advantage. I guess Filoni got around “Scarif was the first major victory for the Rebellion” bc technically the liberation of Lothal was Ezra’s personal mission that Rebel Command never authorized? Kevin Kiner’s music was brilliant as always and elevated every scene to new emotional heights. Dave Filoni himself revealed as the voice of Chopper oh my god...

Epilogue: The parallels between the openings of the pilot and the epilogue!!! ALSO BLUE SKY BLUE SKY BLUE SKY. That was the first time we ever saw a clear blue sky over Lothal and it’s so beautiful and symbolic. Jacen Syndulla’s design honestly isn’t that bad, like the green hair is kinda atrocious but he’s not that ugly haha. What an ominous name choice though... How many years was the time skip? Even right after the Battle of Endor is 5 years later which is longer than how much time Ezra spent with his family on the Ghost :( Sabine’s short hair is a lesbian haircut a;lksdjfl;asjdf;j. My Ahsoka and Sabine dream team riding off into the sunset together to find Ezra <3

Top 3 emotional moments:

The entire “Sabine sees Ezra” scene

Ezra crying while letting go of his parents

Ezra’s goodbye before jumping to hyperspace

Top 3 dramatic shots:

Ezra igniting his lightsaber with 3 giant wolves behind him

Ahsoka arriving with a wizard cloak and staff

Ezra facing the Emperor in the ruins of the temple

Top 3 dialogue lines:

“For that boy, there is nothing I would not do.” BIG MOOD

“It was an honor to fight with you for something we chose to believe in.” BRB CRYING FOREVER

“You think you can take whatever you want. Things you didn’t make, didn’t earn! Things you don’t even understand.” Me while Ezra (and Hera when Thrawn taunted her with the stolen kalikori) lecture Thrawn on cultural appropriation: “Go off!!!”

#fox talks #star wars rebels #swr spoilers #swr

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rebelsofshield · 5 years

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Ranking a Saga

It’s that time again everyone! Two more Star Wars films have been released since I last posted this ranking in 2017, and one more, sure to be controversial, addition is on the way in just a few hours!

Part of my joy for this saga is seeing my opinions and tastes for it change over time. I find new strengths in works I didn’t originally love and see flaws in my old favorites. This time, I’ve gone ahead and ranked all existing saga films, Solo, Rogue One, and The Clone Wars animated movie from my least favorite to my cream of the crop.

Feel free to reply with your own rankings and favorites! I love sharing opinions on this site and every fan has different wants and needs for this franchise. I know my take on Rogue One has always been a minority, but I love that some find real value in it.

11. Star Wars: The Clone Wars (2008)

Watching the theatrical pilot for Star Wars: The Clone Wars is like watching a talented high school quarterback be assigned to play for a major NFL team. It’s taking something that in its own small, minor scale would be perfectly acceptable and potentially even good, and forcing it into a realm where it has no business belonging. This is the unfortunate task faced with director and eventual showrunner Dave Filoni and his crew. Star Wars: The Clone Wars is a movie that should not be a movie, in fact it barely functions as one to begin with.

I do not hide my love for the still flawed but at the same time charming, engaging, and compelling animated series that this film would spawn. It’s for this reason that the failings of The Clone Wars feel all the more painful.

Hastily edited together out of the initial five episodes for the series, quite simply everything about The Clone Wars is a mess for a film. Despite the best efforts of Director Dave Filoni, The Clone Wars cannot escape its slipshod construction. It moves along in hurts and jolts and switches focus too quickly to attain much of any narrative momentum.

It also hurts that the animation itself, while perfectly serviceable for a CG animated series for the late 2000’s, is stiff, clunky, and oddly flat. Environments are sterile and lacking in texture. Characters move in jerky motions and lack facial expressions. In a year that would bring us kinetic and gorgeously detailed CG animation from films like Wall-e and Kung Fu Panda, watching The Clone Wars is an ugly and even depressing affair.

The only passing grace for this film are the creative and at times epic in scope battle sequences, but when the film itself is this lacking in cohesion and heart it is hard to raise anything more than half-interest.

It’s unfortunate that this film would be the world’s first introduction to such beloved characters as Ahsoka Tano, Captain Rex, or George Lucas’s take on Asajj Ventress. It’s the definition of a bad first impression and it only grows more ugly and messy with each passing year.

Score: D

10. Star Wars Episode II: Attack of the Clones (2002)

By far the weakest of the so far released Saga films, Attack of the Clones acts as a call to action for all those who have issues with the prequel trilogy. While it has dropped the bizarre racial stereotyping of its predecessor, George Lucas’s second installment in the series’ second trilogy is filled with strange decision making and a convoluted plot structure.

Trying to understand the narrative of Attack of the Clones is often very difficult. While it is relatively easy to tune out and simply enjoy the spectacle of it all, the attempts to meld space opera with noir and political intrigue prove unfortunately more convoluted and stale than intriguing. In particular, the circumstances surrounding the creation and implementation of the clone army stretch credibility.

While The Phantom Menace made extensive and competent use of combining miniatures and digital effects, Attack of the Clones falls back on computer generated images to detrimental results. While it serves the sweeping battle sequences and wide arrange of alien creatures well, the pervasiveness of digital additions to the film’s world becomes distracting when it oversteps its bounds. In particular, the decision to make the armor for each of Temuera Morrison’s clonetroopers digitally rendered is an unnecessary decision and it gives a slightly uncanny feel to the clone army itself. Even worse are the completely digital environments which feel detached and weightless in their interactions with movie’s cast. It quite simply stands as the ugliest looking Star Wars film and that doesn’t seem slated to changed any time soon.

Ultimately though, the biggest failing of Attack of the Clones is Anakin himself. While Jake Lloyd may have struggled in The Phantom Menace he at least succeeded in turning Anakin into something of a likable character. While Hayden Christensen is a talented actor and he certainly improves by the time Revenge of the Sith arrives, it is hard to relate or even sympathize to the manner the character is presented in Attack of the Clones. He oscillates between arrogant, angry, and uncomfortable without giving us much to fall back upon. If we are meant to feel for his temptation and fall from the Light, then there needs to have been somethings there worth saving in the first place. By the time Attack of the Clones closes, we don’t have much of that.

The same can be said for the much maligned romance at the film’s center. While the concept is compelling in and of itself, Lucas’s writing and staging of the scenes can’t help but feel forced and impersonal. Both Natalie Portman, who was one of the previous film’s highlights, and Christensen struggle in finding a chemistry in the material that feels natural and the end result is something that at times approaches unwatchably uncomfortable in its presentation.

That being said, once the film’s political powder keg explodes, Attack of the Clones evolves into something intense and actually quite fun. Both the unique arena sequence and the Battle of Geonosis are visually stunning and entertaining action set pieces that are bolstered by a swashbuckling and charming performance by Ewan McGregor. While it does close out in the most disappointing lightsaber duel of the saga, it still ends on a relative high note given the meandering and detached mess that preceded it.

Score: C-

9. Star Wars Episode I: The Phantom Menace (1999)

While still one of the weaker films in the saga, The Phantom Menace receives significantly more ire than perhaps it deserves. Much of this is likely due to the initial hype and disappointment that it brought with it during its release in 1999. Some of this is understandable considering that it does mark a significant step down in terms of quality from 1983’s Return of the Jedi and an even further one from the first two films. However, when viewed in context of both Attack of the Clones and The Clone Wars animated film there is something about The Phantom Menace that feels inherently more watchable and even entertaining.

Much of this is that despite the fact that the film’s structure is strange and lacking in cohesion, it does move along at a pretty steady speed and provides us with a wide variety of locations and faces. There is also something about the aesthetic of the whole thing that feels significantly more in line with the original Star Wars than both the other prequel films would provide. It helps that Lucas’s action direction, even if it does tend to the over complicated and unnatural, is visually arresting and engaging. Both the extended podracing sequence and the stellar lightsaber duel between Qui-Gon, Obi-Wan, and Darth Maul are representative of the sort of fast moving fun that make the Star Wars films what they are.

Unfortunately, this is about where the praise for The Phantom Menace ends. I have already spoken at length about the rampant presence of racial stereotyping in the film and one does not have to spend much time discussing the flaws behind Jar Jar Binks or Jake Lloyd’s performance of a young Anakin Skywalker. The fact of the matter is, much of the negative aspects of the film have been so ingrained into popular culture that even discussing them at length would feel almost unnecessary. Jar Jar is annoying. The acting is stale. Etc.

However, perhaps the biggest detriment to The Phantom Menace as a whole is the lack of a direction when it comes to its characters. Of the cast on display only Liam Neeson and Natalie Portman are given characters with much of anything to do and while they may lack depth or charisma, their portrayals are competent and engaging enough to avoid boredom or disinterest. Unfortunately, the same cannot be said for the rest of the cast. Although there is nothing inherently poor about his presence in the movie, Ewan McGregor’s Obi-Wan Kenobi is given next to nothing to do in the film and in the process his sudden importance at its conclusion feels half-baked and insincere.

Ultimately, The Phantom Menace is a disappointment, but it remains a watchable and at times entertaining movie, especially in contrast to the worst of the saga.

Score: C+

8. Rogue One: A Star Wars Story (2016)

The second of the so-far released Star Wars films released by Lucasfilm since Disney’s heralding of the franchise is also the weakest. Rogue One: A Star Wars Story represents the first live action, theatrically released film in the Galaxy Far, Far Away that centers itself outside of the main Skywalker saga. It styles itself as both a prequel and spin-off and strikes out to capture some of the genre-bending style that has been Marvel Studios’s secret success. Telling the story of the theft of the Death Star plans, director Gareth Edwards styles Rogue One as a science fiction war epic filled with intense battle sequences and clever camera work.

When Rogue One is at war, the film is a success. Edwards’s strong visual eye, especially when detailing scope and scale, is the movie’s true secret weapon. Rogue One is a gorgeous film to look at and more so than The Force Awakens finds a way to inhabit the aesthetic of the Original Trilogy while also updating it for a contemporary audience. The blending of practical and digital effects is close to seamless (outside of the infamous digital recreations of Peter Cushing and Carrie Fisher). As an extension, the battle sequences whether they be urban shootouts in the ancient city of Jedha, storming the beaches of Scarif, or capital ships crashing into one another in high atmosphere, are stunning to behold and perfectly capture the chaos but also emotion of galactic warfare.

Similarly, when Rogue One functions as an allegory for the battles of oppressed people against fascist or totalitarian governments it is effectively stirring and even emotional. Sacrifice for freedom is a key theme of the franchise and Edwards and screenwriters Chris Weitz, Tony Gilroy, John Knoll, and Gary Whitta are keenly aware of this.

It is unfortunate then that so much of Rogue One is so starkly impersonal and flat. Throughout the film’s runtime there is an undeniable texture of ideas and concept that are intriguing. There are different political factions, sub-cultures that have clear beliefs and unique meanings to the franchise, and characters that are well drawn and conceptualized. These ideas just often feel untouchable or nebulously realized.

Nowhere is this more apparent than in the film’s central cast of characters. While the ensemble of talented actors do their strongest to bring these rebels to life, many struggle to stretch beyond their initial drawings or conceptualizations. Few outside of the film’s lead, Jyn Erso, possess much of a clear character arc or personal stake in the proceedings, but even those that do experience some form of personal realization do so in a stop gap manner that is hard to follow. At its most basic, Rogue One’s characters lack agency; their wants and desires feel removed from the central thrust of the plot and instead feel like game pieces moved about for a larger force. While this may have been done as a way to ape grunt work in military campaigns, there is still a storied history of war films that explore the personal and human side of battle, especially when the war concerns struggles of freedom against totalitarianism. Diego Luna’s Cassian Andor may hint at a lifelong history of war and trauma, but we don’t see how this shapes him as a human or why he comes to realize that this has harmed him in the third act. It says something that the most iconic scene in the film concerns a cameo from a villain from a more successful movie. As a result, Rogue One functions as a series of beautifully executed set pieces and ideas, but is told through an emotional distance and relative lack of humanity.

Score: B-

7. Star Wars Episode III: Revenge of the Sith (2005)

While it is not flawless, it is refreshing to see the franchise reorient itself so strongly during the closing act of the prequel trilogy. Revenge of the Sith is a film that blends mythos and character and at its best does both rather well.

At its worst, Revenge of the Sith recommits the sins of its predecessors. Hayden Christensen, while as a whole is significantly better than his previous take on the character, still has his moments of woodenness and has a proclivity for overly heightened melodrama. Lucas’s script also continues to struggle in providing dialogue, particularly in romantic scenes, that feels human often resulting in stilted and even sometimes nonsensical phrasings. Overall, there is something also strangely off about the tone in Revenge of the Sith which changes from relatively fun and light hearted space adventure to dark and brooding tragedy often times rather close to each other.

Similarly, there is a staleness to how much of the dialogue in the film is directed with characters frequently aimlessly wandering around rooms without clear purpose or urgency. As the stakes of the film rise this sort of detached storytelling becomes more and more distracting, but it is likely not enough to overpower what does work.

Anakin’s eventual fall from grace and the rise of the Galactic Empire carry with them a great sense of dramatic and mythological weight, even if the transition from conflicted Jedi Knight into child murderer does feel a tad rushed. The fact of the matter is, Revenge of the Sith knows how to play into its subject matter. Its story is appropriately weighty and once Grievous falls and Sidious makes his masterstroke the film evolves into some of the most consistently entertaining and weighty material in the saga, easily surpassing its predecessors in the prequels.

While it has come under fire recently for its apparent decision to select spectacle over emotion, the final confrontation between Anakin and Obi-Wan still remains some of the most intense and emotional stuff the series has seen. Its dancelike and kinetic fight choreography coupled with John Williams’s haunting score commands attention and leaves dozens of striking images in the viewer’s brain.

However, it is ultimately Ian McDiarmid performance as Palpatine/Darth Sidious that really makes Revenge of the Sith special. McDiarmid knows how to sell the myth and lore of Star Wars with nuance and restraint while at the same time is not afraid to embrace the hammy and ridiculous side of his character as well. Whenever he is on screen, he owns every second of it and he makes the film equal parts entertaining and haunting.

Score: B

6. Solo: A Star Wars Story (2018)

The very concept of Solo was a hard sell. As beloved as a character Han Solo is, few were clamoring to see a movie exploring the smuggler’s early days and the concept of any actor inhabiting the role of that helped make Harrison Ford a household name was enough to make fans call blasphemy. Given these concerns and the fact that directors Phil Lord and Chris Miller were fired mid production and replaced by Ron Howard , it is a wonder that Solo works at all. This is not to say that there aren’t bumpy sequences or clear moments of clashing creative vision, but the resulting film is one that evolves into an enjoyable adventure despite it becoming infamous for being Star Wars’ biggest financial flop.

Solo aims to capture a Saturday matinee energy that plays well into Star Wars’ roots but doesn’t shoot for the mythological grandeur of some of its best entries. Much of this has to do with the fact that Howard and Kasdan, along with his son and co-writer Jon, keep the film mired in the muck and grime of the galactic underworld. The result builds upon elements of Star Wars media that have never been given the forefront of a feature film until now. It makes for a unique feeling movie that carries an aesthetic of its own but still feels a part of the larger saga.

It is in the smaller moments of heists and robberies and double crossing where Solo leans into its western/crime film roots that the movie proves to be the most thrilling and successful. While the fate of many of its players are known, Solo does an admirable job of keeping motivations shifting and fluid but never unclear and this is captured by some solid performances at its center.

Despite the mountains of criticism and skepticism hurled his way, Ehrenreich does a commendable job of making the role of Han Solo his own. While clearly based in the mannerisms of Ford’s iconic take, Ehrenreich brings his own level of charm and swagger to Han that it is easy to appreciate him as his own character while also not losing sight of the legacy.

The true scene stealers, as most audiences likely expected, prove to be Donald Glover’s Lando Calrissian and his droid partner L3-37, played by Phoebe Waller-Bridge. Glover’s casting was lauded since it was first announced and it is a pleasure to see that he lives up to the hype. He plays the smooth talking gambler with the sort of duplicitous charm and arrogance that made Billy Dee Williams’s first appearance in The Empire Strikes Back so instantly classic. Calrissian is a clear crowd pleaser on and off screen and it makes every scene he is a part of magnetic and entertaining.

However, despite all of this, Solo is more concerned with telling a story of origins and smaller scale spectacle than it is picking apart what really makes the central smuggler tick. It’s passable entertainment without a whole lot going underneath the hood.

At the end, perhaps the biggest sin that Solo commits is that it fails to justify the purpose for its existence. This isn’t a film that audiences were clamoring for or that the franchise is necessarily improved by for having. However, unlike other origin stories, it plays with the legacy of its larger than life toys without tarnishing them. It takes them for a ride that is frequently fun and often filled with smart creative choices but can’t help but feeling disposable. It’s the Star Wars movie that inspires the least amount of emotion, one way or another, and is likely to remain a franchise footnote for sometime.

Score: B

5. Star Wars Episode VI: Return of the Jedi (1983)

Despite containing some of the most iconic and even emotional content of the series, there is something oddly stale about Return of the Jedi. It still is a consistently entertaining and engaging film, but in comparison to the two masterworks that proceeded it, something feels off.

Some of this might simply be due to the abundance of slapstick humor, the ill-fitting Ewoks, or any number of frequently cited issues with the presentation and script such as an overly long sojourn to Jabba’s Palace on Tatooine. (I do love the Errol Flynn/Flash Gordon style set piece above the Sarlacc pit all the same.) However, perhaps the most unfortunate aspect about Return of the Jedi is simply the fact that two of its principal characters are played by actors who simply do not seem to want to be a part of the film. Both Carrie Fisher and Harrison Ford turn in performances that are competent in their own right, but at the same time are a far cry from their work in both preceding films in the original trilogy. A particular exchange between the famous smuggler and princess on a balcony in an Ewok village contains some of the most forced dialogue and line delivery in the saga and it’s more than a tad distracting and disappointing.

Richard Marquand’s direction also feels relatively bland and perfunctory after the creative abundance that George Lucas and Irvin Kershner brought to the prior films. It handles the scale and action of it all competently enough, but the whipsnap editing of A New Hope or the inventive cinematography of The Empire Strikes Back are missing. It stands as one of the blandest looking films in the saga as a result.

However, Return of the Jedi progresses the narrative momentum from both previous films into an incredible three part climax that is thrilling and compelling. Whether it is the sublimely ahead of its time space battle between the scattered rebel fleet and the Imperial war machine or the final temptation of Luke Skywalker by the Emperor, Return of the Jedi draws the viewer into its dense dramatic landscape and rarely lets up. Yes, even the relative silliness and levity of the Ewok forest battle even makes for some amusing breaks of the heavy material surrounding it.

What ultimately elevates Return of the Jedi above most of the rest of the Star Wars franchise is its beautiful conclusion to the central drama of the Skywalker family saga. Mark Hamill and Ian McDiarmid are arguably the two strongest actors in the original six Star Wars films and seeing both paragons of light and dark play off one another in such a way is a rare treat that bursts with scenery chewing pathos. The tempting of Luke through family and eventually Vader’s redemption through love for his son is a beautiful thematic tableau. Vader’s slaying of his Master and his gradual death bed re-transformation into Anakin Skywalker makes for the most emotional sequences in the series. Regardless of the tragedy that has brought the series to this point, Return of the Jedi ends on a moment of unabashed peace and unity and it’s both serene and appropriately celebratory. Whether you are a “Yub Nub” fan or a fan of the Special Edition’s galactic victory revelry (I’m the latter), it is hard not to smile as our heroes embrace one another and an old generation sees its sins rectified. Score: B+

4. Star Wars Episode VIII: The Last Jedi (2017)

There is a certain strangeness to The Last Jedi. While many criticized The Force Awakens for being overly reverential of its predecessors at the cost of a unique narrative, director and writer Rian Johnson takes the franchise to its almost breaking point limit in the series’ eighth numbered installment. Whether it be through its atypical narrative structure, franchise first visual cues, abundant humor, or the frequent breaks from expectation, The Last Jedi is a different form of Star Wars film than we are used to. The Last Jedi takes risks, and while not all of them may payoff, it is to be commended that it takes them in the first place. It’s a movie that has something to say and something worthy as well, and in an era of blockbusters that aim only to please and not challenge their viewers, it’s certainly an appreciated move.

After sitting out almost the entirety of The Force Awakens, Mark Hamill finally receives the opportunity to dig back into the most iconic role of his career and to one of the most beloved heroes in a generation. One of the smartest twists in Johnson’s script comes with the playing of expectations for this. Luke is a broken man and has become that way for a reason. In particular, The Last Jedi continues the Sequel Trilogy’s smart meta-narrative. These films, perhaps more so than any other set of Star Wars media, are keenly aware of the legacy in which they play and it factors into the narrative. Within the Galaxy Far, Far Away and in real life, the characters of Luke, Leia, Han, and, even, Darth Vader have become legends. Johnson crafts a Luke that is cracking under the pressure of the legacy, but in the process creates a strong message on the importance of heroes and what they can mean to the downtrodden and a society in turmoil. It makes for one of the film’s strongest through points and this is done in no small part due to Hamill’s terrific performance. Hamill not only finds a wonderful balance in updating his iconic character to a new era of his life, but by balancing measures of sorrow, anger, and grumpy humor. It’s a move that has proved infamously divisive to both viewers and to Hamill himself, but the end result, especially in an outstanding move in the film’s third act, is pure Star Wars magic.

Paired with Luke is the still lost Rey. Daisy Ridley utilizes this confusion and frustration to craft a heroine that is at an emotional crossroads. While her determination and passion from The Force Awakens still rings through, Rey this time brings with her a strong sense of vulnerability and confusion and it makes for a harrowing character arc that is made all the better for its pairing with Kylo Ren. They see similarities in their shared frustrations and confusion, but they are still two people who are fundamentally separated on the bound of morality. As a result, Adam Driver continues to craft Kylo Ren into one of the franchise’s most successful villains. While he lacks the campy sneer of Palpatine or the undeniable dramatic gravitas of Dart Vader, Driver’s Kylo is marked by his unpredictability and instability. As a result, he’s a villain that feels disturbingly human and volatile and it makes each scene he is a part of particularly fascinating. All of this pays off in a stellar throne room confrontation between Kylo, Rey, and Andy Serkis’s Supreme Leader Snoke that marks the film’s clear action highlight.

The greatest failing of The Last Jedi ultimately comes from a middle act that at times feels aimless and overly cluttered. There are numerous moving parts and an extensive ensemble cast that branches off to multiple locations and teams. It’s inevitable that one story will feel lost in the shuffle and that, unfortunately, comes down to Finn and Rose. John Boyega and Kelly Marie Tran as a general rule are a joy to watch. Boyega carries the same enthusiasm and excitement that made him so infectious in The Force Awakes and Tran is inspirational in her quiet moments of grief and casual heroics. However, the lengthy sequence on Canto Bight including a less than inspired chase sequence feels like the film at its most aimless. At a point where all three major narratives feel stalled, it is the Canto Bight section that feels the most distracted and disinterested despite the stellar design work at hand. It’s unfortunate in that this holds back the pacing of the film but squanders a potentially strong story for two of the film’s leads, one of which was one of the standouts of its predecessor. Luckily, Poe Dameron does end up getting the spotlight and his desperate story of responsibility plays out like a tense piece of military science fiction and is one of the unsung highlights of the film.

Even when it isn’t sticking the landing, Johnson’s script still moves with intention of both theme and character. Lessons regarding failure, myth, personal growth, and courage are abundant and each of the central five characters feels like they have a clear arc and goal achieved by the end of the film, despite some of them not always being the most entertaining to watch or taking priority over others.

Combined with some beautiful imagery, a freewheeling and dynamic musical score by John Williams, and fantastic final act that is simultaneously moving and fist pumpingly fun, The Last Jedi is some of Star Wars at its best. It’s willingness to upend conventions and take risks is likely to irk some fans until the end of time, but there is genuine magic here and it ages better with each passing year.

Score: A-

3. Star Wars Episode VII: The Force Awakens (2015)

Director JJ Abrams and co-writer Lawrence Kasdan stated that the one emotion they wished to elicit in audiences while viewing The Force Awakens was delight. In that they delivered in spades. While the film may tread into some dark and even tragic material, what The Force Awakens does first and foremost is return a sense of fun, adventure, and character to Star Wars’ presence in the world. It makes for a breathless, endearing, and entirely involving viewing experience that only manages to win one over with each consecutive watch.

Much of this is due to the embarrassingly talented and engaging ensemble cast assembled in the film. Not since The Empire Strikes Back has a Star Wars film been this densely populated with genuinely relatable, exciting, and intriguing characters. It’s what makes the movie breathe, live, and thrive and in the process turns it into premium blockbuster entertainment and one of the finest installments in the series to date.

Daisy Ridley’s Rey easily finds herself fitting into the archetype of a loner elevated from poverty into extraordinary circumstances. She makes for the sort of every woman that made the original Star Wars narrative so appealing and was lacking from the prequel trilogy as a whole with maybe the exception of a childhood Anakin. In contrast, John Boyega’s Finn is a boundless source of energy, outward conflict, and humor. Boyega is about as charismatic and energetic character as the franchise has ever had. From his first traumatic introduction through the eventual end of his journey, Finn’s struggle for purpose and arguably redemption adds a level of unpredictability but also flawed humanism. Boyega clearly has a large amount of affection not only for the role but for the film and the universe itself. It’s hard not to fall in love with Finn from the second he appears on screen. Pairing off with him is Oscar Isaac’s underutilized by seductively charming hot shot pilot, Poe Dameron. Isaac owns every scene he is a part of with each spin of his fighter, smirk, and cheer.

Opposing the trinity is Adam Driver’s Kylo Ren, whom Abram’s and Kasdan craft into a fractured and unstable meta-symbol of legacy and male fragility. It turns Kylo into an entertaining and uniquely frightening villain that is not sympathetic, but understandably human. It makes the character’s slips towards the Dark scarier in their closeness to real world insecurity. This is not a fall of mythic proportions such as Anakin but one instead fueled by uncomfortably familiar emotion.

Of the returning cast members, Harrison Ford not only turns in his best take on the galaxy’s most notorious smuggler since The Empire Strikes Back but arguably his most lively and enjoyable performance in over a decade. Like much of the cast, Ford seems to be enjoying the role and luckily, unlike Return of the Jedi, he seems to have found what makes the character of Han Solo not only fun but interesting and human. The same can be said for Carrie Fisher as Leia Organa. Fisher has not lost her ability to appear both emotionally torn but also commanding at one moment, and she, like Ford, effortlessly slips back into her old role.

As it is most likely clear by this point, The Force Awakens is a film that thrives by its incredible cast of characters. Star Wars at its best is a series that works best when the mythology, despite how compelling it may be, takes a back seat to the human, robotic, and alien beings at its center. This proves doubly the case for The Force Awakens. While its central plot mostly serves as a means by which to challenge, test, and reveal its characters, it also functions as one of the most structurally weak points of the movie. Those familiar with A New Hope will find a fair share of structural similarities with the beginnings of both trilogies. Most of these center around the mostly ill-advised inclusion of Starkiller base, a third string Death Star that functions as little more than a staging ground for the film’s final act. However, while this overt reverence for the past can prove distracting and unwarranted, it does not prove as detrimental to the film as a whole as some critics and fans have claimed since its release in 2015.

Score: A

2. Star Wars Episode IV: A New Hope (1977)

Viewing Star Wars, or A New Hope, is almost an exercise in examining an indelible piece of pop culture history as much as viewing a movie. It is hard to overstate just how drastically this film has shaped the world and cinematic culture since it was first released to record breaking crowds in 1977. While it may seem inconsequential when viewed in the pure breadth and scope of the behemoth franchise that it has spawned in the 40 years since its premiere, A New Hope laid the groundwork for one of the most enduring pieces of science-fiction/fantasy in the world all the while telling a uniquely entertaining and compelling movie in its own right.

As its own artifact, A New Hope is this strange sort of mad genius cooked up within George Lucas’s often baffling but uniquely talented creative space. The sheer amount of consequential but essential world and character building that A New Hope carries within its opening act is a gargantuan feat and it does so with the same sort of on-the-nose optimism and sense of adventure that pervades the entirety of the picture. Whether it’s the thrilling opening clash between Leia’s rebellion and the Empire or through Obi-Wan’s melancholy explanation of the history of the Jedi to an eager Luke Skywalker, Lucas’s script is busy crafting a myth and its one that’s worth listening to.

A New Hope’s secret success has always been its distillation of the hero’s journey into a unique narrative. Lucas imbues his take on this classic storytelling trope with his own creative flourishes and iconic imagery: the long arm of the Empire represented as the never ending Star Destroyer filling the screen, Luke’s desire for adventure represented as an almost self-imposed prison in his aunt and uncle’s farm before it is torn away from him, and of course the cantina that represents the steps into a larger new world filled with oddities and danger. A New Hope’s iconography is memorable and steeped into pop cultural memory for a reason.

In terms of performances, outside of Alec Guinness’s stoic but appropriately haunted Obi-Wan Kenobi and Peter Cushing’s deliciously twisted and sinister Grand Moff Tarkin, A New Hope functions moreso as a stepping stone for future development than an acting showcase. This is not to say that the acting is poor. Mark Hamill’s Luke Skywalker is impatient and impetuous, but he serves as a more than adequate focal point for the film’s young audience. Harrison Ford’s Han Solo may not yet be the cocky romantic that audience’s will come to love him for, but his devil-may-care swagger makes for a magnetic secondary protagonist. Carrie Fisher is given relatively little to do here, but right off the bat brings with her Leia’s brash confidence, knack for heroism, and utter impatience for those around for her who are holding her back from her mission.

Above all, A New Hope is simply a joy to watch. It’s buoyed by an infectious sense of wonder, adventure, and optimism while at the same time hiding a hints of tragedy and even canny political awareness. It’s an appropriate blockbuster for the ages and likely will feel its legacy stretch out for decades to come. Score: A+

1. Star Wars Episode V: The Empire Strikes Back (1980)

If A New Hope was the film that laid the foundation of what Star Wars could become, The Empire Strikes Back is the movie that catapulted the series from creatively executed novelty into myth. Director Irvin Kershner and writers Leigh Brackett (to this day the only woman to write for a Star Wars feature) and eventual franchise regular Lawrence Kasdan escalates George Lucas’s original story of a hero’s journey into a layered, philosophical, and beautifully realized story of character and familial drama.

What sets Kershner apart from Lucas from the start is his sinister and almost dreamlike visual style that pervades throughout the film. To this day, The Empire Strikes Back makes for the most visually evocative film in the franchise with its dizzying moments of space flight, incredible battle over the snow drifts of Hoth, majestic and appropriately hazy skies of Bespin/Cloud City, and of course eerie and murky swamps of Dagobah. Kershner establishes a smart language through the movie’s cinematography that reorients the franchise and its characters not only as more mature beings but those that are battling their own struggles of aging and adulthood.

Appropriately, The Empire Strikes Back is a story of growing up and challenging its central cast. Luke discovers that his path to adventure leads not to one of heroism and uncovered legacies but to an inheritance that is tempered with trials and a dark and tragic family legacy. Leia finds her attempts to guide a galactic rebellion clouded by her own personal feelings. Han Solo can’t bring himself to leave because he has discovered that he is maybe addicted to heroism but is also hopelessly in love with the princess at the war’s center. Kasdan and Brackett move these characters into scenarios that routinely challenge them and in the process mines series, and even career, high performances from all involved. Harrison Ford in particular is both a dashing romantic while also remaining a cocky and oddly insecure criminal.

Similarly, while A New Hope may have established Star Wars as a cultural icon, it is The Empire Strikes Back that has left its indelible mark on the franchise as a whole. Whether through the development of the Empire into a multifaceted fascist machine spanning worlds and star systems, introducing the Force as a mystical and philosophical belief system more in tune with Buddhist and Hindu spirituality than as a magical tool through the instantly iconic character of Yoda. (Frank Oz is one of the unsung performing heroes of this series), having Billy Dee William’s bring a sense of moral ambiguity but also undeniable cool to the franchise with Lando Calrissian, or John Williams’s most mature and instantly iconic score of the franchise, The Empire Strikes Back inspires more iconic Star Wars elements than one often realizes.

However, what the central piece that draws the entire film together into pure classic territory is the onyx clad Sith Lord at its center. While Darth Vader carried a presence throughout the previous film, James Earl Jones and the general creative team in Empire establish the character as not only a sinister force to be reckoned with but one with a twisted sense of humor and a dark personal pathos. It solidifies the character as one of the most, if not the most, iconic villain in film history.

The Empire Strikes Back is a triumph. It is intelligently engaging, artistically realized, beautifully acted, and at the same time strikingly funny and entertaining. It is and likely always will be the zenith of Star Wars entertainment. I doubt anything will ever top it.

Score: A+ ----------------------------- So how did I do? Agree? Disagree? Let me know.

#Star Wars #review #reviews #A New Hope #The Phantom Menace #Attack of the Clones #The Clone Wars #Clone Wars #Star Wars: The Clone Wars #Revenge of the Sith #Solo #Solo: A Star Wars Story #Rogue One: A Star Wars Story #Rogue One #The Empire Strikes Back #Return of the Jedi #The Force Awakens #The Last Jedi

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