#listen the Jedi are great but they were incredibly flawed

[smilesrobotlover]

Crying over Anakin and Ahsoka rn I am NOT ok over those two

[d3sertdream3r]

TFA ruined SW imo. As soon as they chose to have Han and Leia be shit parents to Ben the story was broken. Not to mention Luke trying to kill him in his sleep! I don’t blame Rian because he had to provide a valid reason for Luke to be hiding like a coward while the Galaxy goes to hell (which again, was set up in TFA not TLJ) and why Ben went dark. Ben never should’ve been evil and should’ve been the MC. It’s the SKYWALKER SAGA. So a Skywalker should’ve been the MC, not a Palpatine.

This basically turned into a Meta, so stay with me if you can! 😅

I think Rey worked well as being half of the protagonist while Ben served as the other half of the protagonist, as Rian Johnson put it. I do think that his backstory was desperately needed though. The full story of the Last Skywalker should absolutely NOT be told in side-stories like comics and books that most of the audience doesn’t read. His story parallels Rey’s beautifully, and it would’ve been amazing to see them really lean into that on the screen instead of just implying it and then filling all that in later in outside material. 🙄

Honestly I don’t see Han and Leia as being awful parents. I don’t see Luke as being a terrible Uncle either. I see them as people that grew up during an age of oppression and fighting a massive war that damaged them all on a deeply psychological and emotional level.

I see Leia being a fierce woman whose parents showed her they loved her by focusing everything on making the Galaxy a better place for her. I see a girl that inherited her mother’s political prowess and insatiable desire to fight for justice, along with her father’s cunning strategical mind in battle, and using these strengths to her advantage from a very young age. I see her as someone who had to stand by and watch her parents and her entire planet explode and die before her eyes. In the novel Bloodline, we learn that the only way she was able to keep fighting after that devastating loss (that none of us can even attempt to understand) was to focus on destroying Vader and the Empire once and for all and making them pay for what they did to her. I see her as someone who found out that the man who gave her life was the same man she hated with every fiber of her being. I see her as a woman that was terrified of her biological father having an influence on her and even seeing herself in him and his actions. Of knowing she has issues with extreme pride that make her want to force people to listen to her and do what she knows to be the way things should be. Of even feeling a small, dark sense of smugness at seeing them all blow up in the sky above her after they refused to listen to her (read TFA novel; it’s in there!). She had a lot of fear and a healthy dose of anger and darkness after everything she’d been through, and frankly I see a ton of Anakin’s flaws in her, just as she did. She wasn’t just scared of Ben being like his grandfather; she was scared of him inheriting the darkness from her. She kept all these fears and feelings close to her chest. She talked a little bit with Luke but not much. She didn’t talk to Han about it at all, feeling like he wouldn’t understand. She really didn’t think anyone would. She had so many walls put up around her emotions, yet she still wanted Ben to know she loved him. So she showed him the way her parents showed their love for her: by focusing on making the Galaxy a better place for him. Unfortunately that meant not being around much. How could someone hiding so much fear and loneliness be expected to raise a child perfectly?

I see Han Solo as an orphan that loved his father so much, he became a pilot to honor the dream that the man he adored never got to live out, and even got a ship that his father likely worked on. He carried the wound of losing his parents, especially his dad, all his life. But the circumstances of his childhood didn’t allow him to truly grieve. He had to hide it and put on a passive face in order to survive, never fully dealing with it imo. In fact I think he ran from that pain; literally. From planet to planet in fact. His scoundrel swagger masked his true self; the incredibly loyal and extremely compassionate man he actually was. He didn’t see that in himself though. He believed the Scoundrel™️ mask he wore, as much as his son Ben believed he was Kylo Ren. He thought he was a bad person and he had no business raising a kid who might pick up his bad habits. He couldn’t live up to the selfless and kind father that had given up being a pilot for him. He had to keep being a pilot and having adventures because his dad didn’t get to. He kept his dad from getting to do that. How could he reconcile the guilt of his father never getting to live his dream because he was too busy raising him, with the guilt of trying to make it up to his dad by having adventures but in turn not always being there for his own small son?

I see Luke as a kid that always longed for adventure, but learned very quickly that it can sometimes come with a terrible price. I see a boy that suddenly had the weight of the whole galaxy thrust upon his shoulders at just 19 years old. I see a boy that loves his friends so much he ran recklessly to their aid, knowing it was a trap and he would probably die. I see a man that was willing to die for the tiniest chance that his father might actually love him. Someone who then had to try and live up to all the hype and legends and expectations building up all over the galaxy without letting the weight of it all crush him. Someone trying to restore a millennia old order that he knew next to nothing about. Who then had a 10 year old child to look after, train, and basically raise because the boy’s parents had so much pain to work through concerning both their personal lives and each other, along with their individual levels of selfishness they’d learned to harbor in order to survive their cruel circumstances, which kept them from being fully present for their son the way he needed them to be. How could Luke balance the weight of the galaxy on one hand, the restoration of the great Jedi Order on the other, and be the extremely attentive uncle that soft and sensitive Little Ben needed?

They all failed him to be sure. But it wasn’t entirely their fault. They are each complex and layered characters that have experienced more than any of us could ever comprehend, and TFA and TLJ chose to show the toll their inner and outer struggles had on them.

They each loved Ben with their entire hearts and souls, and when Palpatine and Snoke claimed him, their lives were utterly shattered. Han and Leia’s marriage was completely destroyed. Luke wasn’t hiding out of cowardice; he hid out of shame and pain. He crumbled under the weight of the Mighty Skywalker name and expectations of being the one to make the hard and selfless choice and always save the day no matter what. Ironically, in trying to protect what he loved most, it cost him that very same treasure; his family. Not to mention it opened up the galaxy for another Dark Organization to take over. Wouldn’t you want to hide and live miserably until you finally die? That’s how I’d feel.

Luke wasn’t perfect. Neither were Han and Leia. They weren’t gods. They were all very flawed HUMAN BEINGS. That’s what made them so relatable. That’s the beauty of the way the original trio was handled.... up until TRoS. Han was great, but Luke and Leia were handled terribly imo. However, that’s a whole other topic. 😉

Sorry for the length! I hope you made it to the end! 😬😄

[unabashedrebel]

Top 10 Characters

In no particular order

1) Lara Croft (Tomb Raider) Can I just say that I love how the reboots, both the movie and the new trilogy of games were phenomenal as a long time fan of this character? They did her right. They focused on her origins, how she came to be this mythic Tomb Raider who delves into the greatest mysteries of the world while fighting against an evil Illuminati type organization.

But she always has tenacity. She always has grit. She’s not always sure of herself, or her abilities, but still continues to do it anyways because it’s the right thing to do. Not to mention I love the whole cultured rich girl who gets her hands dirty literally all the time. I’ve loved everything about her characterization in the last few years.

2) Really the entire FF7 cast but; Tifa Lockhart (FF7) Is anyone actually surprised by this one? Look at my blog. It’s pretty Tifa-rific lately. Honestly I have no good excuse for this, I can’t actually trace back what the reason was that started me on really liking her character. Basically because she’s been my video game wife since I was about 10 years old.

I guess, if I really thought about it, I enjoy her realness. She’s an optimist but not fully in your face about it, she promotes kindness, she’s the mom friend. Always looking out for everyone else at the expense of herself. They’re traits that I really admire in people, and you know what? It wouldn’t be a stretch to say that maybe those feelings were in part brought on by a video game character from my childhood. Not only that but I’ve always loved the story thread with her about the conflict she faces in doing what she believes is the right thing, and the fallout that ensues.

Not only that but she’s a fucking badass.

3) Spider-Man (Peter Parker, Marvel) Shout to to the most relatable super-hero ever created. I don’t think it’s a stretch to say that Spider-man is a staple of New York, even if he’s fictional. He’s just... boiled down to that essence of a Queens kid. It’s amazing as someone from around this area.

But seriously, I think I like Peter the most because he really is relatable. He really does worry about the same things I find myself worrying about. He really does shoot out quips like that’s his super power. He really does try and do whats right regardless of what others think. He’s conflicted, he’s unsure of himself, he’s been granted this great power and feels the need to go out and help people with it, and again at great personal expense. He’s, to me? What a hero should be.

I guess I like him so much because I see a lot of myself in him. I can relate and put myself in those shoes. I can relate my experiences to his, and i’m not talking about getting bit by a radioactive spider. I’m talking about the human side to Peter Parker. His stresses when he’s out of the tights.

4) Geralt of Rivia (The Witcher, and again I love all the characters Geralts just tops. Ciri was a close second.) Yeah, yeah call me out and say ‘someone just binged’. YOU KNOW WHAT MAYBE I DID FOR THE SECOND TIME YOU CANT STOP ME.

Seriously though. For a character who does not like being social? Geralt is so beautifully written for. Fun fact, I haven’t actually played the games save for the half way through 2 and the intro to 3. But I read the first novel and I’m working my way through the second, and Geralt? He’s a man of few words. But when he does speak? Everybody fucking listens.

5) Kassandra (AC: Odyssey) Uhhhh, first women to win the wrestling Olympics? How could I not.

As a long time fan of Assassins Creed and the wonderfully written characters that I have been lucky enough to get to know as protagonists? Kassandra takes the cake. She was blunt, sassy, smart, and took nobodies shit. Forever has she branded the word Misthios in my head with that Greek twang. To the point where I get excited when I hear it.

Maybe it was a mix of being in the Ancient Greek world with her, another one of my favorites. But there was just something about her character that stuck out to me. Something I haven’t seen in their writing since Ezio.

6) Joel (The Last of Us) How the fuck could I not love the gruff and sad dad?

Dude the characters in this game were so insanely well done. Like you could literally tell that, besides the fact that it was an amazingly fun game? The dev team TRULY cared about the story, the reception, and the buildup.

Lets be real. That first scene with him when everything starts is about as heartbreaking as it comes. It sets you up to really accept that this man has lost everything, that he no longer cares about anything but survival, because he’s already learned that when you care? Those things can be easily taken away.

He’s cold. He’s quick. He’s capable. He’s ignorant to everyone else. Right up until he meets Ellie and that little girl begins to peel back the layers and show that Joel, under it all, is actually a pretty good guy who has been dealing with his trauma by building up walls.

All and all? I would recommend anyone playing this game just to see the transition of Joel. Ellie, as well, by no small measure. But Joel’s growth was one of my favorite things to ever watch unfold in a game.

7) Revan (Star Wars) Okay so I know this ones a bit obscure. He was actually featured as a protagonist of one of Star War, in my opinion, best roleplaying games. 

Basically I love this character because I think he actually GETS the whole thing. The cults. He doesn’t really subscribe to either of them, rather he’s used them to further his own goals. Which you know, as an RPG you get to chose, usually I like to chose he did what he did for the right reasons. Because the Jedi were failing the people they had to protect. Because he couldn’t stand by and watch a war be fought while they deliberated what to do. He never fully reasoned with the Sith, and as far as I knew didn’t quite care to share their extremist values. Frankly, he’s by far been the best representation to what I feel is a very opinionated debate in Star Wars: Why chose either side? They both suck in their own ways.

He saw passed all that, started a movement, started a war of ideologies when the universe was still young enough to hear those kinds of debates play out.

His story will forever be one of my absolute favorites in Star Wars.

8) Ahsoka Tano (Star Wars) If you haven’t watched the Clone Wars animated series and you’re a fan of Star Wars? What the fuck are you doing. This character alone is enough to justify the 7 season watch.

The Padawan of Anakin Skywalker. How can that go wrong, right? Actually, Ahsoka is one of the reasons I began to like Anakin in the first place. The whole series shows a different side to characters we love, honestly, you got to see Anakin be the best Jedi general anyone had ever seen. You got to see him train this young woman into an incredible Jedi, and honestly? The younger sister relationship that Ahsoka has with Anakin is just so well done.

But beyond that there’s so much to love about Ahsoka. If you haven’t caught the theme, I really do love strong characters who still have flaws. Who still have a lot to learn. Who make mistakes. But even after she had, never once did Ahsoka give up on what she believed in. Her values, in the end, proving to be stronger to her then the values instilled by the Jedi, even if they aligned.

My favorite thing is that you got to see her journey, literally from a learning padawan to a fully fledged Jedi badass. 

If we don’t get an Ahsoka series on Disney+ I’m gonna be pissed.

9) Nathan Drake (Uncharted) Cheeky rogue with a heart of gold that often gets by on sheer luck alone.

Need I say more?

10) Tanjiro Kamado (Demon Slayer) Okay, so don’t really expect many people to know this one.This character is the main protagonist in an anime that has literally taken all my attention. From the animation, to the story, to the undeniable ways in inspires me to write Sori.

Tanjiro, perhaps, is the driving force behind this. I just love this kid okay? He started out as NOTHING. Literally, nothing. He fought against overwhelming odds, knowing full well he would die, to save his sister. And in that moment? The person he was fighting let him go. He then sent him down the path of becoming a demon slayer.

This kid, who as far as I know was part of a large family of commoners gave everything he had to training his body to fight demons. Every time he stumbled, he found the strength to continue. He never gives up. He learns, he thinks, he’s a smart kid with this absolute bottomless well of determination.

I don’t want to ruin the plot of the anime too much because honestly this has been my favorite thing since Dragonball Super. You should go watch it. I promise you will understand right off the bat why I love this character so much.

I was tagged by: @serelia-evensong​ @safrona-shadowsun

Gonna tag: @draenei-tales​ @wildname​ @zeehva​ @ravensteel​ @fair-fae​ @monster-of-master​ @palaceofthedeadmemes​ @zariasilverleaf​ @starforger​ @asharinhun​ 

I’m also not sorry this is a long post. How dare you ask me to talk about shit I love.

[defiantbird]

Top 5 Ben Solo moments that made him a significant part of the history of popular culture

Aw now I wish I gave you a more interesting question lol

Hm. This is gonna be an essay. Like so much so I’m going to put it under a read more because I don’t think I’ll be able to shut myself up. I apologize in advance. Talks of abuse, radicalization etc. ahead

1. His first scene in the The Last Jedi. It’s not often we see emotional and physical abuse of a man depicted in movies, especially in a way that leaves him so fucked up. Usually when a man takes abuse in a story he’s sort of quiet about it, toughs it out, all stoic and such. Ben TRIES to do that but, similarly to every time other he tries to pretend he’s not falling apart at the seams, he fails. He’s visibly close to tears. When Snoke hits him with lightning, he looks terrified when he sits up (and if you read the newer comics, this is far from the first time Snoke has done something like this). 

The scene brings it up yet another level when it shows how insidious abuse is; how it makes him hate himself for caring and feeling guilty, how it tries to isolate him further from his family and his conscience. This is what abuse looks like, and it’s what radicalization looks like--something that’s a big problem in young men right now. Ben is a representative of a male abuse survivor, but also a victim of the kind of indoctrination that instills this toxicity in vulnerable young men.

2. And now for something completely different--the hand touch with Rey, because Female Gaze Fuck Yeah. Honestly all of TLJ is this, but this scene I think is where it particularly started.

(Before I go on, please note that I am looking at “the female gaze” in comparison to “the male gaze”, not getting into gender and sexuality here because that’s an entire other essay)

It’s rare that we get to see a male character from a woman’s point of view WHILE still ensuring that he’s his own person and, y’know, has a separate personality that’s not just being in love with the heroine. A big part of indulging the “female gaze” is the generation of a power fantasy many women enjoy. The power she’s given? A man who listens to her, who cares about her enough to start questioning himself and his behavior, who relates to her, who isn’t afraid to be vulnerable with her. Later on, he does become a better person for her, so much better that he makes the single greatest sacrifice you can make for another person. It’s rare that we get a male character like that that isn’t just a cardboard cutout--Ben is delicious female gaze material, but he still has goals and a history and motivations of his own.

3. Killing Han Solo. The obvious reason is that Han Solo himself is a huge pop culture figure. Killing him was a BIG DEAL. Also, this one is gonna be less deep because honestly, the scene stands out mostly for the chemistry between Adam and Harrison, and how devastating it is. Ben ALMOST turns, he’s so close, and at the last moment he pulls the trigger, committing this act that he thinks is going to free him from his emotional attachment, but instead it absolutely destroys him inside. The scene is just iconic, no one could deny how powerful it was.

4. The fight on Starkiller Base. This was the moment I connected with him as a character...because I think it’s the moment when we realize (if you’re familiar with the subject) that he has a mental illness. And again...the way mental illness is usually portrayed in men? It’s usually only outwardly harmful. And while Ben’s illness is outwardly harmful as well, the fact that it’s incredibly self-destructive is something new. He beats his wounds, self-harming, using pain to try to distract himself from what he’s feeling. His over-the-top hatred of Finn is something I read as more self-loathing...Finn escaped. Finn easily did the right thing. Ben can’t escape. Ben makes the wrong decision over and over and over again, and he build on his own hurt constantly.

I know several people with all different backgrounds that relate to Ben on this level. For me, he was exactly like how I was as a kid when my depression started manifesting: lashing out due to unbearable depression, trying to cover up sadness with anger, self-harming partly as a distraction and partly as self-loathing, feeling like my parents saw me as dangerous. Ben represents SO many people and their pain. Just a few I’ve seen were others with depression, people with BPD, people with bipolar disorder, people with PTSD, abuse survivors, people who feel rejected by their parents. This is a huge part of what makes Ben such an important character.

5. The interrogation scene, and generally the way he is so not Vader. We’re right with Rey when he takes off the mask for the first time and instead of some disfigured beast, it’s this tried, sad looking young man...who is also Han and Leia’s son so, y’know, he’s a beautiful prince. The gradual reveal of who he is--this sad, lonely person hiding under a false persona and consistently failing to be something he’s not--some people saw this as a flaw. “He’s just a whiny emo brat”. But many saw this as exactly what made him great. This contrast between him and one of the most iconic villains of all time--a villain he is desperately trying to be--is what makes Ben stand out. He’s not a cold soulless monster. He has to hide his face because his face isn’t fucking scary, it’s boyish and a little awkward and very sad. That’s a big part of what fascinated me about him from the get go. You only see his bravado the entire movie up until then, and it makes you ask, “Ok, how did THIS GUY get here?”

The fact that he’s a “reverse Anakin” makes his character iconic because he’s not what we expected. He breaks the mold of the typical macho male character.  

So uh. Ahem. Yeah. I hope that wasn’t a mess to read.

[takerfoxx]

The Rise of Skywalker Review

All right, new year, new decade, and all that jazz. Now, I do have a few things I wanna say about reflecting back on where I was and where I am now, personal growth and all that, but first, I have some major I need to get out of my system, something that’s been eating at my mind all week, something I really need to sit down and dissect to properly suss out my thoughts and feelings.

And that thing is this: what the fuck happened with The Rise of Skywalker?!

Now, just for the record, I’m that lapsed Star Wars fan who grew up with the original trilogy, who had a full shelf of EU novels that I read and reread over and over until their covers fell off, who spent untold hours replaying both of the Knights of the Old Republic games, was majorly let down by the prequels and became disillusioned by the franchise as a result, who reacted to the news of Disney’s acquisition of the franchise with cyncisim, who thought that The Force Awakens was decent but otherwise substance-less knock-off of A New Hope, who was bored to tears by Rogue One, who skipped Solo entirely, but who actually was surprising engaged and receptive to the subversive themes and new places that The Last Jedi took the franchise even if it was very flawed structurally and thought that it was the best Star Wars film since Return of the Jedi.

And hell, let’s just state my reasons right now. The Last Jedi came out at a time when I was just so tired of people trying to recapture lightning in a bottle with once-great franchises that had lived on long past their expiration date with trying to pass off clearly inferior knock-offs to their original installments as sequels. I mean, it can work, sure. Both of the Creed movies followed the Rocky movie formula pretty closely but were still great, and even if it didn’t click with me the way it did with other people, Fury Road was a fantastic film. The thing is though, both of those movies were still being handled by their original creators, specifically Sylvester Stallone and George Miller, while my beloved Star Wars and Jurassic Park had become divorced from their daddies and were now being handled by people who just. Didn’t. Get it.

And then The Last Jedi came along and was all, “Shut up about bloodlines, they don’t matter! Your main character is not the descendant of some already established character, she’s just some rando Force-sensitive that caught up in all this and decided to answer the call, so let her stand on her own! The Jedi were a well-meaning but immensely flawed, so leave them in the annuals of history and stop venerating them! Same with your heroes! Also, your Resistance has its hands dirty too because it’s a fucking war and war makes monsters of everybody while the little people suffer, sometimes you need to listen to the people in charge instead of being a hothead bucking the system, and the intimidating villains in black are in truth a bunch of insecure man-children playing dress-up to make them feel better about themselves and are pretty pathetic until they take that last step and become actual threats because that is how fascism works!”

Do you realize just how refreshing all of that was? Oh my God, is the Star Wars franchise actually…moving forward? Are we getting new stuff that’s not hampered by George Lucas’s unbearably hackneyed writing?

Yes, the whole Finn and Rose sidequest contributed nothing to the plot and ultimately went nowhere. Yes, the whole Poe vs. Admiral Holdo had the looming question of “Why doesn’t she just tell Poe that she’s got a plan instead of doing everything to set the team rebel off?” which undercut its message. These are major problems, I acknowledge that. The thing is, they are easily fixable problems that would have been smoothed out by a few more script treatments. It sucks that they weren’t, but as for me, they were roadbumps, not dealbreakers. I noticed them, I saw that they were major problems, but they didn’t make me angry, and I liked what they were trying to say enough for me to still be with it. And I felt that all the Luke/Rey/Kylo stuff was gangbusters (yes, I loved cranky, disillusioned old Luke. I know Mark Hamill didn’t care for it, but that’s fine, it worked great for me), so I ultimately left feeling pleasantly surprised. As if in, it was a flawed but very refreshing experience, one that said things I had been feeling for a long time and took things to interesting places that I actually wanted to see play out. I even got choked up when Luke let himself fade away when feeling absolutely nothing when Han died the previous film.

Unfortunately, that seemed to be a minority opinion, with many other Star Wars fan outright detesting it, sometimes to a pretty gross level (you know what I’m talking about). So when JJ Abrams was brought back on board to try to salvage things for the final installment, my reaction was, “I’m going to hate it, aren’t I?”

Still, I knew I was going to see it anyway, just to say that I did. And…welp.

…

Dafuq was that?

All right, all right, now before I continue, I need to acknowledge something. First of all, I have nothing against JJ Abrams as a person or even really as an artist. From all accounts he’s a cool guy who’s been taking all the backlash he’s been getting with a commendable amount of maturity, and he was placed in a very unenviable position by taking the reins in the midst of a very volatile situation. Plus, he had set a ton of things up in TFA that TLJ burned to the ground. Granted, it was a bonfire that I thoroughly enjoyed, but as the person watching his ideas just get cut off, that must have been frustrating watch. Like, what was he supposed to work with once he was brought back on after Colin Trevorrow had gotten the boot? And on a side-note, they really need to stop bringing Colin Trevorrow into big blockbuster franchises.

And if that wasn’t bad enough, we had the tragic passing of Carrie Fisher, which, in addition to being a terrible loss in general because she was a wonderful person that we’re all the poorer without, this movie was supposed to in some way revolve thematically around her, much like the TFA did with Han and TLJ did with Luke. But with her gone, they were just left with footage and recorded dialogue from deleted scenes from the first two films, which is next to nothing to go off of. Now there’s a debate to be had about whether or not it would be appropriate to CG her face onto a different actress, and I do get them feeling that doing so would be ghoulish…but they kinda already did that to bring Tarkin back in Rogue One, so…

Even so, that really sucks, and as awkward as the Princess Leia scenes are as a result, it isn’t their fault, so I’ll leave it at that.

And finally, it must also be acknowledged that a lot of the things I’m going to criticize them for were present in the original trilogy, and were just as awkward then. The OG movies weren’t perfect, folks. We’ve come to accept these flaws, but they were just as clumsy asspulls back then as they are now.

All right, now that we’ve gotten that out of the way, I actually want to start off on a positive note, specifically talking about the stuff I liked.

Let’s begin with the thing that I consider to not only be good, but actually kind of great: the relationship between Rey and Kylo Ren. Their weird Force-link in TLJ was one of the few new ideas that everyone seemed to like, especially since neither of them could really control it and were equally befuddled by it. It’s just a cool idea, a new aspect of the Force we haven’t seen before, and it’s slowly built upon, actually affects both the plot and the characters, and leads to some great scenes between the two of them.

And you know what? I was actually surprised by how much I liked these two together. After the wooden pile of bleh that was Anakin and Padme, I was bracing myself for more of the same. But as it turns out, Daisy Ridley and Adam Driver have an incredible amount of chemistry, and Adam especially was able to pull off the whole tortured bad boy who’s trying to be a villain but feels endlessly conflicted in a way that Hayden Christensen never could (though to be fair, Adam had way more to work with). So giving them that weird link where they’re forced to interact at different points despite being galaxies across from one another is a fantastic idea.

And I was happy to see that not only was this idea not walked back on, they actually built on it. Without giving too much away, there’s an amazing scene where they actually have a lightsaber fight despite being in two completely different locations and not really knowing where the other is, with the camera jumping back and forth from each other’s perspective and items from each other’s surroundings keep getting thrown into the other’s area and it’s honestly really great.

There were also a lot of visuals that were pretty great. The whole indoor lightning of the Sith Planet was neat, as was the flying stormtroopers, and that festival was pretty cool, and…

Actually, come to think of it, most of the scenes in this movie are, when viewed in isolation, pretty good, and could have worked if they had been buffeted by, you know, proper buildup, actual pacing, and taking the time to let events have weight.

But that leads us to this movie’s biggest failing, the problem that bring the whole thing crashing down. And that is it will just. Not. Slow. Down!

Seriously, don’t take a bathroom break, because if you do, you’ll come back to find everybody on a totally different planet doing something completely different, and the plot point you left on is completely in the rearview. It’s exhausting how quickly this movie jumps around from place to place, where we get a look at a setting and characters that might have been interesting if we got to spend actual time with them, only to drop it and we’re onto the next part. This isn’t a story, it’s a list of bullet points! It’s a three hour highlight reel of a whole-ass fourth trilogy, one that could have been cool to watch if they had chopped it up into three parts and fleshed them out into three movies. Hell, I’ll tell you where to end each one: Rey vs. Kylo on the Star Destroyer, Rey vs. Kylo on the wreckage of the Death Star, and the actual finale. Expand on the stuff in between, flesh things out with actual, you know, character development and consequences instead of zipping around, trying to come up with as many places as they can to cram into Star Tours’ randomizer.

And that’s what this basically is, an overly long Star Tours ride! Now I like Star Tours just fine, because it visits places that hold actual meaning due to being properly developed in actual movies, but these places just left me feeling hollow. And while we’re on the subject, did we really need another desert planet, ice planet, and forest planet combo? Spice things the fuck up! Say what you want about the prequels, but at least they tried to take us to cool new places.

And you know what? I’m going to say it. This movie is actually worse than the prequels. Not because it’s nearly as clumsily written and woodenly acted, or because it’s dragged down by dumb attempts at comedy; it’s none of those things. But at least the prequels were trying! George Lucas might be totally inept as a writer and should not have been given free reign, but there were attempts at things like proper plot and character development, pacing, plot twists, mystery, building things up and paying them off. Just go read the novelization of Revenge of the Sith. It’s fantastic! Same plot, same events happening, same conversations, but the dialogue is reworked to give the characters actual personality and it’s narratively told in an awesome and creative way and it’s overall just a great book. So George Lucas’s movies had the framework of a good story, he just wasn’t the right person to tell it.

In contrast, this movie has actual good acting, and the dialogue isn’t anywhere nearly as corny, but it’s just so unbelievably basic. It’s surface level writing, with barely a hint of cleverness and very little personality other than what the actors are about to wrangle out through their performances. But structure-wise, other than to expand it into a full trilogy, I don’t see how anyone can turn this mess into an engaging, single-movie narrative. So much happens, and it just feels so empty.

And…okay. Let’s address the Bantha in the room. Let’s talk about Palpatine.

Why is he back? Why? Just…why? He doesn’t need to be back! He doesn’t! It’s stupid, it’s hackneyed, it’s not even explained! I mean, there’s an offhand mention of cloning, so yeah, it’s feasible, it just makes no narrative sense! Hell, the fucking opening title crawl just plain says, “Yeah, he’s back. No reason, he just is” and goes on from that. And apparently he’s been behind everything that’s happened, like Snoke and Vader’s voice in Kylo Ren’s head and stuff, because things just can’t happen without being masterminded by someone I guess.

Really? This is the best they could come up with? I know TLJ cut off a lot of their plot branches, but goddamn it, this is the best you’ve got? Resurrect Palpatine? They do remember that the first two movies from the trilogy barely had the emperor as a presence, right? Vader carried them all just fine! Just run with that! Have Kylo Ren be the main antagonist! Have this be able his ascension to actual mega threat instead of Darth Vader cosplayer. If you want Ian McDiarmid to ham it up in the robes one last time (and hey, who wouldn’t?) just give him a cameo! Like, a holographic message to any potential successors Kylo Ren is looking for. Have him be the devil on Kylo’s shoulder in a is-he-real-is-he-just-a-hallucination sort of way. Make him something tempting Kylo Ren to fully embrace being the new Sith Lord, something Kylo has to overcome if he wants redemption. But don’t bring him fucking back! That’s just so, so stupid.

And Rey being Palpatine’s granddaughter kind of pisses me off. Her being revealed as a nobody from nowhere in the last film was great! I loved that idea! But no, let’s just retcon that whole business because we’re trying to apologize for the only one of these movies that had any balls and everybody has to be the descendant of someone important. Even fucking Lando gets a long-lost daughter in this! No, I’m not joking, he totally does.

Now, could Rey’s Sith heritage have worked? Sure! In of itself, it’s a rad idea, one that could have been used to explore all sorts of awesome themes…if that had been their plan from the beginning instead of a cheap attempt to replicate Empire’s big plot twist. But let’s face it: they threw it in as a desperate attempt to placate the fans. There never was any sort of plan. Abrams made the first movie with the sole intention of trying to recapture that nostalgic feel and fucked off, Rian Johnson took over with no notes and decided to do what he wanted, Trevorrow got fired, and Abrams got brought back for PR reasons because hey, people liked his movie, and he had to scramble to piece something together! Damn it, Disney! You literally have infinite resources! Hire someone with actual creative talent!

Oh wait, you did, and people hated it. Fuck.

So yeah. Rey’s parentage? Total waste, raises more questions than it answers. Chewie’s apparent death? Total waste, because he was actually on another ship! Though you could Force sense these things, Rey! Dark Side Rey in the trailer? Total waste, just a Force vision. That whole bit with C-3PO potentially sacrificing his entire identity? Total waste. No one seems to care, he gets no say, and after his memory gets wiped it’s treated as comic relief. Yeah, one last look at your friends indeed, Threepio. Some friends you have there. Oh, except Artoo’s got your memory backed up, so it doesn’t matter, just like everything else.

Oh yeah, and fuck Chewie’s medal! Who was really asking for that?

What a mess. What a disjointed, soulless, pandering mess. What a waste of potential, squandered on nothing. Bleh.

Oh well, at least we still have the Mandalorian. I’ve started watching that and it’s really cool so far.

[padawanlost]

Theres something interesting about Anakin behaving possessive in the Clovis arc. Hes had no healthy examples of romantic relationships ever. The closest thing hes ever seen were probably relationships on Tatooine, which probably werent ideal. It's interesting to see that, when threatened, he'd revert so quickly to a very controlling and abusive manner. Its immature: "Youre wrong, Im right, and the most efficient way of fixing this is by me telling you what to do instead of talking."

(cont) There relationship is built on shaky foundations in the first place. Having to keep their marriage a secret hasnt exactly done either of them any favors, especially Anakin who grew up with very poor, if any, expectations as to what a partnership between two people should look like. Even if he loves and respects Padme, when they disagree he rarely goes about confronting the situation in a communicative way. He becomes aggressive, like in the Clovis arc or his jealousy of Obi Wan in ROTS           

Hey! There’sa lot to unpack here, so I’ll do it in parts, okay?

“Heshad no healthy examples of romantic relationships ever. The closest thing hesever seen were probably relationships on Tatooine, which probably werent ideal.”

Nope.Anakin had plenty of examples of romantic relationships. Even in Tatooine, atleast one of his friends parents were married so he knew what marriage was like. ifthat wasn’t enough, as a Jedi, he was taught about culture and society. He had accessto books, holonews and he traveled all over the galaxy. He was incredibly perceptiveand incredibly intelligent. It’s true he lacked emotionally healthy role modelsbut he understood what marriage was (to the point he had a very idealized version of romance). Besides, you don’t need to grow up surroundedby happy marriages to understand what it is or take it takes to have a goodrelationship. The cornerstones of any successful marriage/relationship –honestly, empathy, love, kindness, loyalty, companionship, etc – were thingsAnakin was taught as a kid by Shmi.

Her reallife began the first time [Padmé] looked into Anakin Skywalker’s eyes and foundin there not the uncritical worshipof little Annie from Tatooine, but the direct,unashamed, smoldering passion of a powerful Jedi: a young man, to be sure,but every centimeter a man—a man whose legend was already growing within theJedi Order and beyond. A man who knewexactly what he wanted and was honest enough to simply ask for it; a man strongenough to unroll his deepest feelings before her without fear and withoutshame. A man who had loved her for a decade, with faithful and patient heart,while he waited for the act of destiny he was sure would someday open her ownheart to the fire in his. But though she loves her husband withoutreservation, love does not blind her to his faults. She is older than he, andwise enough to understand him better than he does himself. He is not a perfectman: he is prideful, and moody, and quick to anger—but these faults only make her love him the more, for his every flaw ismore than balanced by the greatness within him, his capacity for joy andcleansing laughter, his extraordinary generosity of spirit, his passionatedevotion not only to her but also in the service of every living being. MatthewStover. Revenge of the Sith

“It’sinteresting to see that, when threatened, he’d revert so quickly to a verycontrolling and abusive manner.”

Reverted? Whenwas he ever like that before? The clovis arc sticks out because Anakin wasnever shown to be controlling or abusive around Padmé before (or after). Theonly time he was abusive was when he was Vader, and even then he was stilllistening to Padmé a lot more than he was anyone else.

Their relationshipwas marked by Padmé calling the shots. AOTC is a gigantic example of this. Helistens to her opinions, respects her and practically worships her. Let’s notmistake Anakin’s inability to let Padmé die with an inability to respect heragency.

Thererelationship is built on shaky foundations in the first place.

Their relationshipwas built on mutual love. that’s the foundation for most relationships.

Havingto keep their marriage a secret hasnt exactly done either of them any favors,especially Anakin who grew up with very poor, if any, expectations as to what apartnership between two people should look like.

I agreehaving to keep the marriage secret caused more harm than good but as I saidabove, he does know how relationships work and he understands partnerships. Anakinand Shmi had to survive slavery together. That taught him the importance ofattachment and everything else that made him a good person. The theory that Anakinhad to be bad at relationships because he had no real good models in his lifeoverlooks the importance of Shmi Skywalker and everything she taught Anakin. ifAnakin’s life had been so devoid of good in general he couldn’t possibility begood then why make a movie to show us what a good person he was even when hewas living under the worst conditions possible?  Anakin became Vader because he lacked theemotional support he needed. He wasn’t a bad person before the turn.

Yes, theirmarriage wasn’t perfect because such thing doesn’t exist. They were young andthey were in the middle of a galactic war. they barely spent time together andif you add that to the fact all their interactions and inner monologue aremarked by nothing but positivity and love for each other, the theory that theirmarriage was bad or that Anakin was abusive falls flat.

“Milady … your seat …” Anakinheld out a dining chair for [Padmé]. Soold-fashioned. So sweet. So dangerously close to betraying himself. He’drecognized the music, too. There werequestions in his eyes. Oh my love. Don’t be silly. “Thank you,” she said,sliding onto the chair. The dining table was already set, silverware and low,wide vases of fresh flowers on a filmy white cloth. Anakin’s fingers brushed against her arms as he slid the chair intoplace. She shivered—and felt him shiver. She didn’t dare look at Obi-Wan,already seated. [Karen Miller. Stealth]

Anakin wasn’tperfect but THIS is how they usually handled things like jealousy, not somealpha macho bullshit.

Evenif he loves and respects Padme, when they disagree he rarely goes aboutconfronting the situation in a communicative way. He becomes aggressive, likein the Clovis arc or his jealousy of Obi Wan in ROTS

He doeslove Padmé. that’s the whole point. This implies constant confrontations betweenthem which is not true at all. Anakin’s communication skills aren’t the best, it’strue, but he and Padmé did communicate. They talked about their feelings likemost couples did and when they did disagree things never escalated into thekind of toxic behavior we saw in TCW.

If heexplained he’d been a Hutt’s slave, she’d dig away at it until all the badstuff came out. It was hard enoughtelling Padmé, and she was his wife. [Karen Traviss. The Clone Wars]

He could feel her patience, and her trust, andhe was so grateful for both that tears welled once more. He had to blink out at the burningnight, and blink again, to keep those fresh tears from spilling over onto hischeeks. He put his flesh hand on top of hers and held it gently until he couldlet himself speak. “It was a dream,” he said finally. She accepted this with a slow, serious nod. “Bad?” “It was—like theones I used to have.” He couldn’t look at her. “About my mother.” [MatthewStover. Revenge of the Sith]

“I don’twant to stay in the Order!” He took herface between his palms so that she had to look into his eyes, so that she hadto see how much he meant every word he said. “Don’t protect me. I don’tneed it. We have to start thinking, right now, about how WE can protect you. Because all I want is for us to be together.” [MatthewStover. Revenge of the Sith]

Something of it must have risen on his face,because he saw a flicker of doubt shadow her eyes, just for a second, just aflash, but still it burned into him like a lightsaber and he shuddered, and hisshudder turned into a shiver that became shaking, and he gathered her to hischest and buried his face in her hair, and the strong sweet warmth of hercooled him, just enough. “Padmé,” he murmured, “oh, Padmé, I’m so sorry. ForgetI said anything. None of that matters now. I’ll be gone from the Order soon—because I will not let you go away to have our babyin some alien place. I will not let you face my dream alone. I will be therefor you, Padmé. Always. No matter what.” “I know it, Annie. I know.” Shepulled gently away and looked up at him. Tears sparkled like red gems in thefirelight. [Matthew Stover. Revenge of the Sith]

This ideathat Anakin (pre-Vader) was aggressive towards Padmé only exists in Filoni’shead. Neither the movies nor the EU supports that. Btw, he never became aggressivetowards Padmé when Palpatine hinted she was having an affair.

[ladyherenya]

Books read in April

Holidays are an ideal time to find oneself with a pile of library books to read. The downside to having gone away with a pile of books is having too many books to write about afterwards.

I also reviewed the short stories I listened to: “Intro to Prom” and “Semiramis” by Genevieve Valentine, “The Shipmaker” by Aliette de Bodard and “When We Were Starless” by Simone Heller.

Favourite cover: Stand in the Sky!

Reread: Once again, didn’t get to the book I’d planned to reread.

Still reading: Ninefox Gambit by Yoon Ha Lee.

Next up: Begin, End, Begin: A #LoveOzYa Anthology. A Thousand Sisters: The Heroic Airwomen of the Soviet Union in World War II by Elizabeth Wein. Maybe Ancestral Night by Elizabeth Bear.

(Longer reviews and ratings are on LibraryThing. And also Dreamwidth.)

Pride by Ibi Zoboi (narrated by Elizabeth Acevedo): Seventeen year old Zuri Benitez is proud of her family, her Haitian-Dominican heritage and the community of her Brooklyn neighbourhood. She’s unimpressed by changes like gentrification or the wealthy Darcy family moving in across the street. This contemporary YA remix twists the events of P&P fit Zuri’s context, allowing the story explore cultural identity, class and dealing with change, and for Zuri’s relationship with Darius makes sense for 21st century teenagers. It’s a cute teen romance but most powerful as a love-letter to Zuri’s hood. The audiobook brought it to life even more vividly.

Stand on the Sky by Erin Bow: Achingly beautiful. It kept making me tear up because while it’s only sometimes sad -- while this is a hopeful and joyous story -- it captures twelve year old Aisulu’s emotions so intensely. When her older brother is taken to hospital, Aisulu is left behind with their herds and relatives and throws herself into raising an eaglet. A fascinating insight into nomadic Kazakhs living in Mongolia and into the challenges and the rewards of eagle-hunting. I love the prose, sense of place and characters; I love Aisulu’s relationships and the way this is her story -- her journey.

Song of the Current by Sarah Tolcser: Caro has grown up on the river with her father, a wherryman and a smuggler. She’s offered her first job in exchange for her father’s freedom -- to deliver a crate, unopened, to Valonikos. But when she opens the crate, its occupant has other ideas about their destination. This YA fantasy shines the strongest in the skills and knowledge Caro has about sailing and about river life. I enjoyed the rest, but some things happened a bit too quickly for me to feel invested.

Undying by Amie Kaufman and Meagan Spooner: I wasn’t very enthusiastic about Unearthed but this sequel was a lot of fun to read. High-stakes and satisfying. There’s escaping and travelling across Europe incognito and trying to save the world. And it got to build upon what had previously been established, so there’s more nuance and it all felt more believable. After reading these authors’ other books, I was confident that everything would turn out okay. I’d have liked the ending more if the authors had surprised me and there had been a higher cost -- but this is a YA novel and teenage-me certainly wouldn’t have wanted that.

Cobalt Squadron by Elizabeth Wein (narrated by Kelly Marie Tran): I didn’t find The Last Jedi very satisfying but I’m a fan of Elizabeth Wein, so I listened to this story about a mission that Rose, her sister Paige and the rest of Cobalt Squadron are involved with. Knowing that the Tico sisters survive lessened the tension somewhat, but I liked getting to know them better. (I also know that Wein is capable of writing more complex and harrowing stories but that’s not what this one is aiming for.) The audiobook includes Star Wars music and sound effects. I’d love to see music and sound effects used in more audiobooks.

A Question of Holmes by Brittany Cavallaro: Charlotte Holmes and Jamie Watson are attending an Oxford summer program before they start university. Charlotte is asked to investigate a mystery involving the drama society. It’s a quieter mystery than the preceding ones but I am not going to complain about that. I’m happy to read about mysteries at Oxford! Towards the end Charlotte makes a decision which I thought needed to be foreshadowed better and then the epilogue rushed over some things, and I wasn’t totally satisfied. I also found Charlotte’s references to things like “fall”, even though she’s living back in the UK, jarring. Minor-ish quibbles?

The True Queen by Zen Cho: The companion to Sorcerer to the Crown. This took a while to hook me, but once the story got underway, I enjoyed guessing where it was all headed. It is a delightfully diverse Regency fantasy, with some satisfying twists. If I have any quibbles, it’s that I wanted a better resolution for something -- and maybe also just more of the ending? I don’t quite know... I didn’t spend much time analysing my reaction and it was now over half a dozen books ago.

Scorch Dragons by Amie Kaufman: In the sequel to Ice Wolves, 12 year old Anders and his twin sister find themselves on different sides of the conflict between wolves and dragons, but they work together with their friends to prevent a second war. The riddle-solving and questing for a hidden objects reminded me of Deltora Quest, which I enjoyed when I was Anders’ age. A very satisfying sort of adventure.

European Travel for the Monstrous Gentlewoman by Theodora Goss (narrated by Kate Reading): In the sequel to The Strange Case of the Alchemist’s Daughter, Mary Jekyll and Justine Frankenstein set off for Europe to rescue Lucinda Van Helsing at the request of Mary’s former governess, Mina Murray, and receive help and hospitality from people like Irene Adler and Carmilla. I particularly enjoyed the Athena Club’s interjections and digressions in the narrative, and interactions with each other. They make a great team. Kate Reading does a great job with all the voices and accents, which made the story all the more engaging. Even at 1.5 speed (due to 20+ hours of audiobook to get through!) it was easy to keep track of who was speaking.

The Raven Tower by Ann Leckie: I liked it! It’s engaging, intriguing and doing some surprisingly-similar things to Ancillary Justice (which I loved), such as: a first-person narrator who neither human nor omnipotent but has greater awareness and abilities; an interesting use of pronouns -- Eolo’s actions are described in the second-person; and a story about the past eventually collides with the story about the present. I completely missed that this is ALSO themes and variations on Hamlet. That might explain why I found the ending incredibly satisfying for the first-person narrator but I was expecting something more from -- for? -- Eolo.

The Cruel Prince by Holly Black: I borrowed this because it has a delightful map by Kathleen Jennings, it’s a finalist for the Lodestar Award, and I liked the last book I read by Black. It’s an interesting exploration of what it means to love terrible things, with a clear-sighted awareness of their flaws, but I spent most of the story thinking “I hate faeries” and wishing Jude could escape them. Then the plot did its thing, and I had to admit that this is a successful piece of storytelling, if still not quite my thing.

The Austen Playbook by Lucy Parker: Parker’s fourth romance about actors from the West End -- in which Freddy accepts the role of Lydia Bennet in The Austen Playbook, a televised, audience-interactive murder mystery theatre production -- is a lot of fun. Having an interesting setting and plot outside of the romance definitely enhances my enjoyment of the story. This had Jane Austen and Harry Potter references, rehearsal tensions, important family relationships, a mystery involving a (fictional) play, banter, and a lively actress and a grumpy theatre critic who are honest with each other.

The Place on Dalhousie by Melina Marchetta: This is about Jimmy Hailler (from Saving Francesca), now in his mid 20s. But it is equally about Rosie, who meets Jimmy in a Queensland town during a flood, Rosie’s stepmother Martha and the house built by Seb, Rosie’s late-father. It’s a powerfully moving story about grief, friendship and finding family. It’s shorter than Marchetta’s more-recent novels and I finished it feeling oddly disappointed, like it needed to be longer. Then I reread the book the following day, and reconsidered. I’d like more, certainly, but it is a satisfying story as it is.

From Clarkesworld Magazine, narrated by Kate Baker:

“Intro to Prom” by Genevieve Valentine (Issue 133): About four teenagers for whom prom is like a game they play, a way to pass the time. It is intriguing but bleak.

“Semiramis” by Genevieve Valentine (Issue 57): This is Valentine-ishly bleak and yet satisfyingly so? 

The worst thing about being a sleeper embedded somewhere long-term was that inevitably, eventually, you started to care. The worst thing about being embedded long-term as an administrator at the Svalbard Seed Vault was that when you inevitably started to care, you started to care about things like proper political geo-temperate arrangement of seeds, and there was just no one else in their right mind who was going to care about that with you.

“The Shipmaker” by Aliette de Bodard (Issue 124): Set in the same universe as The Tea Master and the Detective. It is intriguing but sad, and I wonder if I’d appreciate it more if I read more of de Bodard’s stories and understood the context better.

“When We Were Starless” by Simone Heller (Issue 145): This has been nominated for the Hugo for Best Novelette and I can see why! It’s a hopeful story about survival, questioning what society teaches and finding a way to a better future. There’s also an AI with feelings.

Once, I might have felt out of place, an unwelcome disturbance. But I had left my fear of ghosts behind like an old skin a long time ago, and what I had found instead was the unforeseen, and sometimes pure beauty.

[bishreview]

Lots of Quickies

Hi, I’ve been real busy lately and have started a heap of reviews that I’ve been unable to finish because of time restraints and stress. University can get on my back quickly but I’m finished now so I’m going to finish the ones I started before getting into a top 10 for films, albums and singles for the mid year (probably released before the end of June). 

Avengers: Infinity War

The biggest crossover movie event ever pitted together the 20+ heroes against the big bad villain of the Marvel universe, Thanos. With a giant cast full of big names, a range of genres and a massive story to deal with, there were a lot of risks that the Russo brothers faced to make this movie. Despite it feeling supersaturated with characters and having some pacing issues, they were successful in creating a massive, climatic film, and Infinity War is close to the MCU’s best.

Avengers: Infinity War gets an A-

Breath

Simon Baker’s adaptation of the highly acclaimed Tim Winton novel of the same name had a surprising amount of hype for an Australian film. Although there is some gorgeous cinematography, especially with some of the surfing shots, the movie is bogged down by stale acting, shocking character development, inconsistent pacing, and a directionless plot. With the movie just coming under the 2hr mark, it feels overly long and bland, lacking originality in both the surfing genre and the coming-of-age genre.

Breath gets a D

Deadpool 2

Deadpool was an unbelievable success in 2016, shattering records and expectations as it became one of the most successful R-rated films ever. With the sequel they have expanded the universe, introducing ‘the X Force’ for the future of the franchise. This introduces many new strong characters, including Domino (Zazie Beetz) who steals every scene she’s in, and Firefist/Rusty Collins (Julian Dennison) who is works well with the titular character (Ryan Reynolds). Thankfully they haven’t sacrificed the quality of the film in order to universe build, with the sequel being almost as hilarious as the first, whilst digging into deeper themes of mortality and family.

Deadpool 2 gets an A

Hereditary

I generally split horror films into three categories; the aim to scare, the aim to gross out, and the aim to unsettle. Hereditary falls into the last category. It’s been a long time since a film has me shook by the end of it. This isn’t an enjoyable film at all, instead being a tiresome experience of slowly increasing tension and uncomfortableness. This makes it one of the best horror films I’ve ever seen. Toni Collette and Alex Wolff are both incredible and the cinematography and score are perfect, complimenting the story and giving the tension exactly what it needs to flourish. The use of shadows and wide shots create an atmosphere which is unlike any horror movie I’ve ever seen, giving you enough to be scared but not enough to know why. Hereditary isn’t for anyone, it is slow and there are no payoffs for the tension (like jumpscares), but its a testament to how one can build tension on film and up there with the greats of the genre.

Hereditary gets an A+

Solo: A Star Wars Story

Solo isn’t a complex movie. It doesn’t try to be a massive connection story like Rogue One, nor an epic adventure like The Force Awakens or The Last Jedi. Instead it plays to its strength, a low stakes origin story which gives a few characters some extra screen time. And it works to that extent, Han, Lando and Chewie being introduced well and having a fun adventure. It does have issues with pacing and the overcooked “shock betrayals” towards the climax starts getting cringy more than surprising but the journey is enjoyable fun, becoming a simple popcorn flick with a lot of replay value.

Solo: A Star Wars Story gets a B-

13 Reasons Why

13 Reasons Why has quickly become on the most decisive and controversial TV shows in recent memory. Season One had its issues but still held itself up due to its characters and story development. To put it simple, Season Two didn’t need to be made and it’s very clear that it was forced out. Only three of the characters remain interesting with their story arcs, the script is derivative and banal, and events happen only for the purpose of the plot. This all leads up to terribly cringey moments and a predictable ending (which follows one of the most disturbing and unneeded scenes in TV). I will give the show props though for attempting a realistic court hearing and a beautiful moment in which the main cast come together in memory of their deceased friend, a moment which really should’ve ended the series.

13 Reasons Why gets a D-

Atlanta: Robbin’ Season

Donald Glover’s Atlanta is something else. The debut season explored the African American life, relationships, the Hip Hop scene, poverty and young parenthood in such a unique and fresh way. With Robbin’ Season Glover gets deeper into his characters, exploring their flaws with a realistic lens. It works as well, with each episode making a range of statements, varying from depression and grief, to dating and ‘investments’. By the end of the season the main ensemble has changed so much that season three is a complete unknown. What the show doesn’t pretend to do though is become cliched, with success still an unobtainable goal and their desire to reach it getting more desperate. To summarise, this is honestly one of the best seasons of television ever produced. Also, bonus points for Teddy Perkins being the scariest character ever conceived in a hip hop story.

Atlanta: Robbin’ Season gets an A+

Arctic Monkeys - Tranquillity Base Hotel & Casino

With album number six, Arctic Monkeys attempted to completely re-image themselves. Diverting from their previous, guitar driven, indie rock, TBH&C delves into a smoother, 70s psychedelic inspired direction, with most songs utilising a keyboard to accompany Alex Turner’s almost mindless ramblings (at times successful, other times forced)). Although the band have changed the direction, it seems they’ve changed it to a familiar territory, with a lot of the songs sounds like Alex Turner’s recent The Last Shadow Puppets materiel (and some seeming like the B-sides of them). Although there are stronger moments, there’s a lot of filler and some of the weakest material of the band’s quite consistent career.

Favourite song: ‘The Ultracheese’

Tranquillity Base Hotel & Casino gets a C

 A$AP Rocky - Testing

The A$AP mob’s most successful mainstream member, Rocky, has been moving at a rapid rate. His popularity and critical acclaim has been moving up with every release. Testing is both a step in the right direction and the wrong direction. Although it’s is most ambitious record to date, influenced by psychedelic, electronica and ambient music, it’s quite messy and inconsistent. Songs start well to just fall away in their second half and there’s simply too many tracks to keep interest high. A$AP Rocky is doing very different things in hip hop and Testing will hopefully continue to lead him on his path, it’s just disappointing the album couldn’t be stronger.

Favourite track: ‘Purity (feat. Frank Ocean)’

Testing gets a C+

Courtney Barnett - Tell Me How You Really Feel

I’m one of those people that didn’t rate Courtney Barnett’s breakout debut. I found it redundant and pretentious. With her sophomore though she takes a lot of what was strong from her debut and worked with it. Although there’s a clunky and repetitive middle section, the first third of the album is very good music. Barnett has a wonderful way with melodies when she tries to write melodic music and her voice, although not the strongest, can be really emotive. There’s still some rambling tracks but her development is quite noticeable and from someone who couldn’t get through multiple listens of her debut, this was an enjoyable album.

Favourite track: ‘Hopefulessness’

Tell Me How You Really Feel gets a C+

DMAs - For Now

DMAs’ debut was something special in 2016. A 90s Brit-Pop revival album which was better than most 90s Brit-Pop. For Now continues their journey through British music, sharing similarities with bands like The Cure, The Smiths, Boomtown Rats and The Stone Roses. It’s very successful, with a wide range of influences and styles being incorporated in their sound. The album is much more consistent their debut, with each track being different yet based around the general ‘feel’ of the album. Unfortunately, it doesn’t have that big moment that their debut had, with no tracks really standing out as something incredible. That doesn’t weaken the album too much though, being one of the strongest releases of the year.

Favourite track: ‘Tape Deck Sick’ 

For Now gets an A-

Kanye West - Ye

I love this album cover. It’s very simple but very effective, representing both the minimalist, emotional, and cold album that is to come. Ye isn’t the first Kanye album to be lowkey, or sad, or left of field. It isn’t something special in his career though, an album where it really seems he condenses his talent into a short time (it is only seven songs) and really lets the production of the tracks take over, with some of the best moments being when he’s not on the mic (’Ghost Town’ has an outro which is just brilliant thanks to 070 Shake). That’s not to say Kanye’s voice doesn’t shine, ‘Wouldn’t Leave’ is a testament to his lyrical and rapping strengths, but his production is his best in nearly a decade. Although there are some weaker tracks and some cheesy lyrical moments, Ye reminds us why we continue to love Kanye, because he continues to release some of the best hip hop available.

Favourite track: ‘Ghost Town’

Ye gets a B+

Kids See Ghosts - Kids See Ghosts

If someone gave me a list of all the albums released this year before the year started, a collaboration between Kanye and Kid Cudi would definitely be my most anticipated. An album combining two of the most important voices in hip hop during the late 00s, both of them being instrumental in bringing topics of mental illness into mainstream hip hop. Where I expected Kids See Ghosts to be a darker album though, the album is almost a celebration of overcoming their demons. There are still some darker tracks, like the album closer ‘Cudi Montage’, there’s a lot of fiery tracks (like the conveniently titled ‘Fire’) and uplifting tracks (the album standout ‘Reborn’). There are some brilliant moments on this album, whether it comes from the strangely funny yet creepy sample of Louis Prima’s ‘What Will Santa Claus Say’ in ‘4th Dimension’, the ballsy attempt at scat rap in ‘Feel the Love’, or the gorgeous chorus in ‘Cudi Montage’ which features the beloved noise of Cudi humming (God bless Cudi and his biblical humming). Although the track listing works in its disadvantage some tracks do have some strange choices in direction (the end of ‘Fire’ sounds great but doesn’t fit with the song, nor the album), Kids See Ghosts is a contender for album of the year.

Favourite track: ‘Reborn’

Kids See Ghosts gets an A

Lily Allen - No Shame

Lily Allen will always be one of the most lovable cynics in music. Her career has been largely satirical takes of political and societal issues through upbeat, pop songs. With No Shame she seems to direct her satire on to herself, literally roasting herself, focusing on her recent divorce, motherhood, drug addiction, and balancing her fame and career with family life. This makes for a very deep, and at times dark, listen. Somehow though, through all this, Lily Allen has made her best album, and maybe the best album this year. Lead single ‘Trigger Bang’ is a brilliant pop song, reminding us of her humble beginnings whilst delving into criticisms of the industry and her place in it. Tracks like ‘Lost My Mind’ and ‘Everything to Feel Something’ are some of her saddest, roughly criticising her lifestyle with some beautiful production and instrumentation. And the gorgeous piano-ballad, ‘Three’, is as beautiful as it is rough, the lyrics being from her daughter’s perspective of Allen not being around for her kids. The album does allow a lighter ending, the final few tracks feeling upbeat and optimistic, something rare from albums which explore such dark themes. Although there are a couple of tracks where the dancehall vibe feels slightly too strong considering the lyrical content, No Shame is something special, and a sign of unbelievable growth for an artist over a decade old. 

Favourite track: ‘Everything to Feel Something’

No Shame gets an A

Middle Kids - Lost Friends

Middle Kids are slowly becoming the most underappreciated act in Australia. Their critical acclaim and industry cred are both high but their commercial success hasn’t blossomed in Australia. Their debut album looks to be their big push (it reached #10 on the ARIA album charts), and for good reason. It’s a really consistent album, with each song being a good alternative rock song. There are some lyrical moments which are average and some songs go for a little too long but each track fits well on the album and are enjoyable. For a debut, it’s a good one and really builds up anticipation to hear more from the band and see where they go. 

Favourite track: ‘Edge of Town’

Lost Friends get a B

Nas - Nasir

Nasir is another good release from the recent G.O.O.D Music output with Kanye West, although it’s probably the weakest so far. The production on it is really good, with the beats driving most of the songs, but Nas seems misguided and confused on a lot of the tracks. He has good messages behind the songs, referencing themes from police brutality to finances, but he doesn’t seem to really push his ideas, mostly feeling like there is a lack of passion or interest. It’s still an enjoyable album but the feeling of going through the motions is littered throughout and thus is quite disappointing.

Favourite track: ‘Everything’

Nasir gets a C+

Parkway Drive - Reverence

Australia’s premier Metalcore band, Parkway Drive, have has a mixed career for me. Their previous album, Ire, was one of their best, with the songs being meatier and relentless, not holding back at all whilst bringing new influences in. With album number six I’m not sure whether they’ve gone backwards or forwards. It’s different from their previous releases, leaning on cleaner singing much more often, and the influences are clearly from the heavy metal genre of the late 70′s to the early 90′s, but it doesn’t have a strong identity. At times it seems like a tribute album and really doesn’t standout or have its own image and sound. There are still some strong songs but a lot of the album feels like filler and for a band which has been leading the way in the genre in Australia for so long, it seems like they are now falling behind. 

Favourite track: ‘The Void’

Reverence gets a C-

Post Malone - Beerbongs and Bentley’s

Every now and then Post Malone nails it and he’s definitely ridden off the success of these moments (think the songs ‘Congratulations’ and ‘I Fall Apart’). There is a hidden talent there which is covered up by the cheesy songwriting and cliched style that he presents. On Beerbongs and Bentley’s he hides this talent better than ever. This is a very mediocre album, which is made even worse since it has 18 songs and drags for over an hour. He seems to run out of things to say very quickly and there’s few moments that really standout as interesting or fresh. It’s definitely a step backwards after the far more interesting Stoney. 

Favourite track: ‘Stay’

Beerbongs and Bentley’s gets a D-

The Presets - Hi Viz

One of my first introductions to music was Apocalypso, The Presets breakout sophomore album which blew away the Australian dance scene. It’s been about 10 years since that release and other than the left-of-field Pacifica, The Presets have been relatively quiet besides festival appearances. Hi Viz is the album they needed though. There are so many certified bangers on this album, from the lead single ‘Do What You Want’ to the giant album closer ‘Until the Dark’. They also bring in some really strong features, with both Alison Wonderland and DMAs shining on both their feature tracks. Although there are some filler in the album, and it does get repetitive towards the middle, it’s an excellent return to form from the band and establish them back at the top of the Australian dance scene.

Favourite track: ‘Feel Alone’

Hi Viz gets a B+

Pusha T - Daytona

Daytona was the first album from the G.O.O.D Music trail of releases of the past month and it really kicked off the project well. The production is really strong, the instrumentals on each track are solid, Pusha T’s lyrics are great (like usual) and the features fit nicely. I think the major weakness is that at times Pusha T’s voice doesn’t fit nicely with the music, especially with the mixing of his vocals at times. It seems to sit too high in the mix and seems out of place. Other than that though it’s a really solid album and an enjoyable listen. 

Favourite track: ‘If You Know You Know

Daytona gets a B

[chooseywoozy]

Veil of Secrets, Book One: Chapter 1 - Missing Persons

(NOW PLAYING AS JUICY)

You sit in a cold metal chair in a police interrogation room, watching the minutes tick by on the clock.

Juicy: (How much longer are they going to keep me here?)

As if answering your question, the door at the end of the room swings open, and a man in a sharp suit enters, flashing an FBI badge.

Agent Michael Kim: Special Agent Michael Kim, FBI. And you are… Juicy?

Juicy: That’s right.

Agent Michael Kim: Well, Juicy. I’m hoping you can answer some questions.

He sits down, flipping open a heavy folder full of photos…

Agent Michael Kim: See, I’m just trying to make sense of what happened in this town. Looking at this report here, I’ve got a kidnapping, multiple break-ins, an arson, and at least four homicides… And you think you know who was behind it all.

Juicy: What can I say? It’s been a wild month.

Agent Michael Kim: Can you tell me what happened here? From the beginning?

Juicy: Well.. It all started with a wedding…

Letter: You are cordially invited to the wedding of Katherine O’Malley and Tanner Charles Sterling to be held at Sterling Manor in Birchport, Massachussetts.

Your taxi pulls up outside an imposing family estate in the village of Birchport, Massachussetts.

Juicy: Wow…

The doors swing open, and a handsome stranger walks out, smiling at you.

???: Welcome to Sterling Manor! You’re here for the rehearsal dinner, I assume?

Juicy: I’m Juicy. A friend of Kate’s. Uh, Katherine’s.

???: You can relax. She’s Kate to me too. Looks like you’ve never been here before. I’m Grant Emerson. I’d be happy to show you the way.

Juicy: You’re so kind to offer.

Grant Emerson: Really, it’s my pleasure.

Grant leads you through the doors into an elegant foyer.

Grant Emerson: So how do you know Kate?

Juicy: We were best friends in college, but we kind of lost touch since. I was honestly surprised to get the invitation.

Grant Emerson: She’s told me some stories about her college days. It sounded like the two of you were a force of nature back then.

Juicy: You could say that. Let me guess. You’re… best friends with the groom.

Grant Emerson: Best friends? I wouldn’t call us that. Our families have… a long history. Both with Birchport, and with each other. Our families have been rivals for years. But Tanner and I are friendly.

Juicy: So do you live in a mansion too?

Grant Emerson: Define ‘mansion.’

Juicy: If you need me to define mansion, you live in a mansion.

Grant Emerson: Touche.

You pass a massive spiral staircase and a door leading to a gallery of expensive art. You can’t help but gawk.

Juicy: Man. Kate always joked about marrying a rich guy, but I didn’t think she’d follow through. Especially not on this scale.

Grant Emerson: Believe me, you’re not the only one surprised. The town’s been buzzing for months. Let’s just say it’s not every day the heir to the town’s richest family gets engaged to a dockworker’s daughter.

Juicy: Way to go, Kate.

Grant Emerson: What about you? Anyone significant in your life?

Juicy: Does my editor count? We spend nights and weekends together, she calls me all the time just to check in… on my deadlines.

Grant Emerson: So you’re in publishing?

Juicy: A journalist.

Grant Emerson: I’ve seen this movie. The hard-working journalist pounding coffee at her desk, no time for a personal life…

Juicy: Well… I believe in work/life balance.

Grant Emerson: Me too. I work hard, don’t get me wrong… But I don’t want to end up like my father. The man’s taken two vacations in thirty years… And one of them was a day trip to the state clerk’s office to file some documents!

Juicy: Yeah, that’s never appealed to me. I like what I do, but I’m not married to my work.

Grant Emerson: Well that’s good. I’d be awful jealous of your work if you were.

Juicy: Very smooth. What about you, Grant? What do you do?

Grant Emerson: I’m a lawyer. Following in my father’s footsteps.

Juicy: Really? Let me guess, some kind of fancy corporate law?

Grant Emerson: Criminal defense, actually.

Juicy: So if I wake up tomorrow in the drunk tank after going full whirling dervish on Birchport’s streets…

Grant Emerson: I’m the guy to call. Listen, I’d love to have you all to myself for the rest of the afternoon, but we should probably join the party.

Juicy: Lead the way…

Grant escorts you to a dining hall full of wealthy East Coast socialites. As you enter, a young woman with a beaming smile rushes over and throws her arms around you.

Kate O’Malley: Juicy! You’re here! You have no idea how much I’ve missed you!

Juicy: Kate! I’ve missed you too!

Kate O’Malley: Ahhhh! I’m so glad you came! It’ll be just like old times.

Juicy: … Except slightly less hungover, right?

Kate O’Malley: Not if I can help it! Can you believe I’m getting married?

Juicy: I honestly can’t believe it’s taken this long for someone to try to lock it down.

Kate O’Malley: Who said no one else tried?

Juicy: Well then, it must have taken a lot for this guy to succeed.

Kate O’Malley: You could say that…

Kate shows you her engagement ring… and its enormous diamond.

Juicy: Holy rock, Kate! Doesn’t that thing make your arm tired?

Kate O’Malley: That’s just an added bonus… Crossfit arms without even hitting the gym!

A handsome sharply-dressed man approaches. His bearing is aristocratic, and a little distant.

Kate O’Malley: Oh, perfect, here’s my fiance, Tanner Sterling. Tanner, this is Juicy. We were inseparable at Hartfeld!

Tanner Sterling: So lovely to meet you, Juicy. Kate speaks well of you… and often.

Juicy: Thanks, Tanner. It’s great to meet you.

Tanner Sterling: I hope the B-and-B is comfortable. We would have had you stay here at Sterling Manor, but it’s been a little chaotic with all the wedding prep.

Juicy: I only had time to drop my bags off and change, but it seems charming.

Tanner Sterling: Please let us know if you need anything. We’ll be happy to provide anything that might make your stay more comfortable.

Juicy: That’s so thoughtful, but I’m sure I’ll be fine.

An exceptionally well-dressed young woman squints at the three of you, assessing, then stalks over.

Scarlett Emerson: Don’t Kate and Tanner make such a cute couple? At least now that she’s dressing on the Sterling family’s dime…

Tanner Sterling: Scarlett…

Scarlett Emerson: I’m kidding, obviously! Kate knows how much I love her.

Kate O’Malley: Totally.

The woman glances your way.

Scarlett Emerson: Sorry, but if we’ve met, I’ve totally forgotten you.

Kate O’Malley: Scarlett, this is Juicy, my best friend from college. Juicy, meet Scarlett Emerson, my… maid of honor.

Scarlett Emerson: Oh, of course. I should have known you were Kate’s college friend. You both have that same spit-shined blue collar thing going on. Such an adorable look. I’m almost jealous of how well you pull it off. You’re the journalist, right?

Juicy: That’s me.

Scarlett Emerson: I saw you talking with my brother before. Just a tip from a friend, flirt all you want, but don’t get your hopes up. Quaint’s not really his thing.

Juicy: I’m sorry, I think we got off on the wrong foot. Can I just say you look stunning?

Scarlett Emerson: I… uh, thank you, I guess.

Juicy: And forget what everyone else is saying, okay? That outfit works. At least for you.

Scarlett Emerson: What everyone… is saying?

Juicy: If you ask me, your whole ‘no makeup, all my flaws out there for the world to see’ look is empowering. Keep rocking it just like you are, okay? No matter how much people whisper about it.

Scarlett Emerson: I… well… I mean, that…

She clears her throat.

Scarlett Emerson: Right. Well, I don’t know who you are, but… don’t try anything.

She walks off, shaking her head, vaguely confused.

Tanner Sterling: Huh. I can’t say I’ve ever seen someone handle Scarlett like that.

Kate O’Malley: It was incredible! Like some Jedi mind trick!

Juicy: I grew up in the Midwest, remember? Passive-aggressive is in our DNA.

Kate O’Malley: Still, that was amazing. She’s never that nice to anyone!

Juicy: If that’s Scarlett being nice, I’d hate to see her mean. Why is she your maid of honor? You don’t even seem to get along…

Kate O’Malley: It’s complicated…

Tanner Sterling: The social circles of Birchport often are. Now come, darling. Mother wanted to talk to you about flower arrangements…

Juicy: Find me when you’re free, Kate?

Kate O’Malley: Yes! God, yes.

Kate hugs you and leaves with Tanner. You stand there, shaking your head…

Juicy: (Kate O’Malley… what have you gotten yourself into?)

Guests start to move to their seats in the dining room. Feeling out of place, you slink to the back of the hall and find an empty seat next to a ruggedly handsome man.

Juicy: Is this seat taken?

???: I was hoping to put my feet up and take a little nap when things got boring, but sure. You just go ahead and take my footrest.

Juicy: What, you’re not absolutely riveted by rehearsal dinners?

???: Not when it’s my sister getting married to that… Never mind.

Juicy: Whoa. You’re Kate’s brother?

???: Yes? Have we met or something?

Juicy: I’m her friend Juicy. From Hartfeld?

???: Juicy? She talked about you all the time.

He offers his hand, and you shake it.

Flynn O’Malley: Flynn.

Juicy: Flynn, huh? I’d have never guessed you and Kate were related.

Flynn O’Malley: Not sure I know how to take that.

Juicy: I mean, you’re both attractive, obviously… Sorry, that wasn’t what I… It’s just that she’s so… and you’re so…

Flynn O’Malley: Yeah, yeah. She’s sunshine and pastel rainbows, and I’m…

Juicy: A midnight motorcycle ride?

Flynn O’Malley: I’ll take that.

Juicy: Has Kate changed much? I mean, I never would have pictured her marrying into a family like the Sterlings.

Flynn O’Malley: I’m as surprised as you are. Not that I’ve ever thought much of her taste in men… But I didn’t think she’d wind up with a walking sense of entitlement like Tanner.

Juicy: He seems like a nice enough guy…

Flynn O’Malley: ‘Seems’ is definitely the operative word in that sentence.

Your conversation is interrupted by the sound of a spoon tapping the side of a glass, signalling a toast. A stern older gentleman at the head table rises, a champagne glass in his hand. Diamond cuff links twinkle at his wrists.

Pierce Sterling: For those of you I haven’t had the pleasure of meeting, I’m Pierce Sterling, father to the young man whose nuptials we’ll be celebrating tomorrow. As most of you know, the Sterling legacy in Birchport goes back many generations. Tomorrow it continues onto the next. For any father, his eldest son’s wedding is fraught with emotion. Many of you know our Kate comes from a … different walk of life…

Attendees give each other uneasy glances…

Pierce Sterling: And yet, she possesses a purity of spirit that I can only describe as Sterling. Please, join me in welcoming Kate O’Malley to our family!

Before anyone has a chance to react, a huge, red-cheeked boor of a man stands up and scoffs!

???: Different walk of life? Come on!

Pierce Sterling: Bryce…

Bryce Sterling: Drop the euphemisms, Dad. Just say what we’re all thinking.

Pierce Sterling: I’m warning you…

Bryce Sterling: She’s a gold-digger!

You feel yourself tense with anger. You notice Flynn clenching his fists. You dig your fingernails into the palms of your hands in your effort to hold your tongue.

Juicy: (Just keep your mouth shut. Saying something will only make this worse for Kate…)

Flynn looks like he’s about to burst when Tanner rises to his feet.

Tanner Sterling: My apologies, everyone. It appears my little brother has once again let the party atmosphere go to his head.

Tanner tries to escort Bryce out of the room, but Bryce shoves him away. Wait staff intervene, and Bryce is removed from the dining hall.

Pierce Sterling: I second Tanner’s apologies. Bryce has been under a lot of stress lately. I’m sure he didn’t mean to disrupt your dinner.

He motions for the wait staff to begin serving guests. Across the room, Kate catches your eye. You turn to Flynn.

Juicy: Is it always like this?

Flynn O’Malley: I wouldn’t know. This is the first event the Sterlings have deigned to invite me to.

Juicy: Kate always had a way of attracting drama, but… I don’t know. This seems like too much, even for her.

Flynn breathes deeply.

Flynn O’Malley: Look. She’s my little sister, and I want to protect her. But the truth is… Tanner makes her happy. Happier than I’ve ever seen her.

You look back to the center table, where Kate’s leaning on Tanner’s shoulder, looking up at him with a smile.

Flynn O’Malley: Honestly? If we can just make it through this wedding… I think she’ll be all right.

A few hours later, the dinner is winding down. You’re lingering in the parlor when Kate comes running over.

Juicy: Hey stranger.

Kate O’Malley: Oh, Juicy… I’m so happy I found you.

Juicy: How’re you feeling?

Kate O’Malley: Excited? Overwhelmed? So happy I wanna scream and the same time so nervous I wanna throw up?

Juicy: So… normal night before your wedding stuff, then?

Kate O’Malley: Exactly!

She grins and wraps you in a massive hug.

Kate O’Malley: I know we haven’t talked much the last couple years, but… I think about you all the time, you know.

Juicy: Me too. I’m glad we finally have a chance to catch up now, though.

Kate O’Malley: Yeah, I--

But before she can finish, Grant and Scarlett walk over.

Grant Emerson: Looks like you two are reconnecting.

Juicy: So you guys are Kate and Tanner’s crew, huh?

Scarlett Emerson: I suppose.

Juicy: Oh, that reminds me! How was your bachelorette party, Kate?

Kate O’Malley: I… never had one.

Juicy: What? Scarlett, isn’t throwing Kate a party one of your duties as maid of honor?

Scarlett Emerson: Bachelorette parties are so tacky.

Juicy: They don’t have to be. Besides, this is Kate’s wedding, right? And Kate’s always loved a good party.

Kate O’Malley: ‘Love’ does not begin to describe my feelings about parties.

Grant Emerson: Well, it’s still early. Anyone got plans tonight?

Kate O’Malley: Just beauty sleep.

Juicy: You’re not going to be with your fiance?

Kate O’Malley: Tanner’s family is big on tradition. I’m not supposed to see him again until the wedding day… which means my plan for the night involved a couple glasses of wine to settle my nerves and a lot of Netflix.

Grant Emerson: Well that clinches it. Nothing takes your mind off pre-wedding jitters like a night on the town. Kate, you up for a party?

Kate O’Malley: Yes! Yes! That sounds amazing! Fancy cocktails… college stories… dancing and laughing…. Juicy? Are you in? Not to be dramatic, but… I totally need this!

Juicy: Yes! I’m totally in!

Kate O’Malley: Yay! Where should we go?

Grant Emerson: You’re the main event tonight. Your choice.

Kate O’Malley: Then… let’s head to The Red Grouse. They have a drink there that looks and tastes exactly like a unicorn.

Scarlett Emerson: Uggggggh.

Juicy: Feel free to take a rain check, Scarlett.

Scarlett Emerson: I’m the maid of honor. Besides, someone has to keep you from getting your grubby hooks into my brother.

Juicy: Just don’t rain on our parade.

You look around to invite Flynn… but there’s no sign of him.

Juicy: Huh…

Grant Emerson: What’s up?

Juicy: Nothing. Let’s get going.

A little while later, the four of you sit at a table at the Red Grouse, an upscale cliffside distillery on the edge of town. A waiter approaches…

Waiter: Can I start you off with something to drink?

Juicy: You can start us off with several! We’re having a spontaneous bachelorette party, and she’s our bride-to-be!

Kate beams, looking happier than you’ve seen her since you arrived in Birchport.

Waiter: But it appears you’ve brought a bachelor along with you.

Grant Emerson: Guilty as charged.

Juicy: Tonight he’s an honorary bachelorette.

Waiter: Works for me. What would you like to order?

Juicy: I’d like the ‘unicorn’ cocktail.

Kate O’Malley: Yes! Same! I swear, Juicy, it tastes like sparkles.

Juicy: So much better than those martinis we used to make in our dorm room…

Kate O’Malley: Oh my god, yes. We used that awful vodka that came in the plastic handles....

Juicy: And we didn’t know you needed vermouth, so it was basically just a couple of olives bobbing in a sea of cheap liquor!

Grant Emerson: Remind me never to let either of you make me a drink.

Scarlett Emerson: Right. Well the adult woman would like a pinot noir.

Grant Emerson: And I’ll have the house whiskey. Neat.

The waiter brings out the drinks, and Grant raises his.

Grant Emerson: A toast. To Kate. We should all be so lucky to find someone as amazing as you!

Kate O’Malley: Awwww! To all of you guys for taking me out before I get hitched!

Juicy: To reconnecting with old friends!

Scarlett Emerson: To wine, the only thing getting me through this.

You all toast and drink.

Juicy: Wow, it really does look like a magical creature.

Kate O’Malley: One that gets you drunk.

Juicy: Better yet!

Kate O’Malley: Soooo… who wants another?

Scarlett Emerson: You finished yours already? Are we in some kind of spring break hellscape?

Kate O’Malley: Bachelorette party! Whoooo!

She signals the waiter for another round. Soon, you all start to relax.

Juicy: So, Kate, how did you meet Tanner, anyway?

Grant Emerson: Now that’s a good story.

Juicy: Wait, let me guess. You parked in his VIP parking spot.

Grant Emerson: Kate would park in a VIP parking spot if we had them around here.

Kate O’Malley: I consider myself supremely important, thank you very much.

Scarlett Emerson: That’s probably why we don’t have any of those.

Juicy: Okay, so what’s the real story?

Kate O’Malley: You remember how I always said I’d open a bakery?

Juicy: Riiiight. What did you call it? ‘Tasty Pastry’?

Kate O’Malley: Exactly! And two years ago… well, I did it. I started my own business!

Juicy: Get it, girl! So what, you baked your way into Tanner’s heart? Because if so, I’m calling dibs on the movie rights to that story.

Kate O’Malley: Not exactly. One day we had this terrible storm. Right as I was closing up, this guy walked in just soaking wet. He was on his way to a meeting and he couldn’t go like that. So I went to the cleaners next door and borrowed a left-behind.

Scarlett Emerson: Hard to picture Tanner wearing another man’s suit.

Kate O’Malley: But the storm just got worse, and the power went out. We ate cupcakes and talked, and he blew off his meeting to stay with me. It was love at first sight. Seriously.

Scarlett Emerson: Come on. That’s not an actual thing.

Grant Emerson: I don’t know. I think it can happen. Juicy, what do you think?

Juicy: I agree with Grant. When you know, you know.

You and Grant share a meaningful look. The night goes on. You down more drinks and share more stories. Eventually, even Scarlett lightens up.

Scarlett Emerson: I couldn’t even speak! I just bolted!

Juicy: Pretty sure that’s the only reasonable response to spilling your red wine all over Elton John’s white suit.

At one point, Kate and Scarlett step away to the bathroom, and Grant smiles at you from across the table.

Juicy: What?

Grant Emerson: Well, I did promise to show you around earlier… and I’d be remiss in my duties if i didn’t offer you a chance to check out the best view in town.

Juicy: I swear, if you’re talking about yourself…

Grant Emerson: The balcony, actually. But I’ll take that as a compliment.

Juicy: ...Wow.

Grant Emerson: See? I never disappoint.

Juicy: Thanks for this, Grant.

Grant Emerson: My pleasure.

Juicy: Seriously. What an amazing view!

Grant Emerson: Birchport might be provincial in some ways, but it has a lot to offer.

Juicy: I can see that…

You take a step towards Grant, resting your head on his shoulder. He blinks, surprised… then leans into it.

Grant Emerson: You’re something else, Juicy.

Juicy: You’re not so bad yourself. You’ve really got it figured out, huh?

Grant Emerson: What do you mean?

Juicy: Back in the city, everyone’s always scrambling around, feeling overwhelmed… I can’t remember the last time I met someone as easy-going and relaxed as you. Someone who seems so comfortable in his own skin.

Grant Emerson: Money doesn’t buy you happiness, but it can give you a lot of options other people just don’t have. I… never want to forget how privileged I’ve been. Or how differently my life could have gone. But… I don’t know. I just feel like I ought to give back. Like I need to take the opportunities I’ve been given to do something meaningful with them.

Juicy: Is that why you’re a defense lawyer? Helping the innocent and the powerless?

Grant Emerson: Yeah, actually. Cheesy, right?

Juicy: I don’t think it’s cheesy. I think it’s sweet.

You turn to Grant, smiling softly… when Kate pops out the balcony doorway!

Kate O’Malley: Grant, are you trying to steal my best friend, or what?

Kate stumbles in her heels.

Kate O’Malley: Whoa. I think I had one too many… what are they called? Horn-horses?

Juicy: you should let Grant drive you home, party girl.

Kate O’Malley: Oh fiiiiine. Be boring.

She looks back and forth between the two of you, then grins widely.

Kate O’Malley: My friends are becoming friends! Juicy, maybe you can visit more often… or even move here! You can hang out with me and Tanner, and with Grant, and--

Juicy: Slow your roll there, Katie-bear.

Kate O’Malley: Why? Aren’t we friends anymore?

Grant Emerson: Um, I’m gonna let you two have some one-on-one time… I’m sure Scarlett is getting antsy, anyway.

Grant squeezes your hand and leaves.

Kate O’Malley: I’m sorry, Juicy. Am I being clingy? I always get so clingy when I’m drunk…

Juicy: Oh, believe me, I remember…

Kate O’Malley: It’s just… you know… I’m so lonely out here.

Juicy: Really? What about your family?

Kate O’Malley: You know how it is. My mom’s out of town, and my dad… well, I don’t talk to my dad.

Juicy: What about your brother?

Kate O’Malley: I love Flynn, and we still get beers sometimes, but.. It’s just hard with me marrying Tanner. There’s a distance between us. I don’t know. I can’t explain. And Tanner’s family, they’re like ice, Juicy. I can tell they don’t want me there.

Juicy: What about Tanner, though?

Kate O’Malley: I love Tanner. He’s a good guy, not like the rest. But… but…

You can tell she’s struggling, holding something back…

Juicy: What is it?

Kate O’Malley: He’s… I think he’s…

Kate reaches forward and takes your hand… Just then, the door behind you flies open! It’s Tanner, and he’s fuming!

Tanner Sterling: Kate! What are you doing out so late? The night before our wedding? Do you know how this looks for me?

Kate O’Malley: Tanner! I was.. It’s just I never had a bachelorette, and… Juicy is here now, and…

Tanner Sterling: Got it. So you thought you’d show up to your own wedding hungover. Classy.

Juicy: Tanner… Go easy on her… She just had a little too much to drink…

Tanner ignores you, focusing on his fiancee.

Tanner Sterling: I should’ve known you’d revert to your old patterns, Kate.

Kate O’Malley: My old-- what do you mean?

Tanner Sterling: You know what I mean. Now let’s go. I’m taking you home.

Tanner grabs Kate by the arm and drags her away.

Juicy: Tanner, wait!

… But they’re already gone.

Juicy: (Maybe the Sterlings were right about not seeing each other the night before the wedding…)

You feel something in the hand Kate grabbed… and realise she handed you a note!

Juicy: (Ulysses? What does that mean? What’s going on around here?)

You look around, but the restaurant’s mostly empty, except for one bored bartender. A cold wind blows over you. Shivering, you exit the restaurant and head back to your bed-and-breakfast.

You wake up the next morning to a beautiful, sunny day.

Juicy: (I wonder if the Sterlings special-ordered this weather?)

You’re about to head out, when the innkeeper stops you in the lobby…

???: Hello, dear!

Juicy: oh… hi!

Miss Harlenay: I’m Eleanor Harlenay, the keeper of this little lodge. I hope you’re liking your room!

Juicy: Oh, it’s great! Just heading out for the wedding now…

Miss Harlenay: … in that?

Juicy: I thought so… something wrong with it?

Miss Harlenay: Oh, no, it’s lovely… I just had something in the back I thought you might like more. Something that will be sure to help you impress that special someone!

Juicy: Who are you… what?

She rushes to the back room, and returns with an outfit.

Miss Harlenay: Here! If you wear this, I guarantee you’ll catch the eye of everyone there! Oooooh! You look absolutely stunning! Like Birchport royalty!

Juicy: Thanks, Miss Harlenay.

Miss Harlenay: Enjoy the wedding, dear. I’m sure it’ll be a delight.

You take a taxi to Sterling Manor. You enter the hall, which has been decked out for the ceremony, and the usher asks you where you’d like to sit. You see one seat next to Grant, and another next to Flynn. You take a seat next to Flynn.

Flynn O’Malley: Wow. Just wow.

Juicy: I take it you like my look?

Flynn O’Malley: Let’s just say it’s not every day I get to sit next to the prettiest girl in the room.

Behind you, someone gives a low wolf whistle. You turn around to see Bryce rudely looking you up and down.

Flynn O’Malley: Back off, rich boy. She’s too good for you.

You brace for a fight, but Bryce, who appears to be sober, shrugs as if he’s lost interest.

Juicy: You look pretty amazing yourself. I’ll be honest, I didn’t see you as the suit type.

Flynn O’Malley: I’m not. But it’s not every day you watch your little sister get married.

Juicy: You ready for it?

Flynn O’Malley: Not like I have a choice.

The officiant and Tanner walk to the alter, signaling the start of the ceremony. The attendees turn in their chairs to watch the bride walk down the aisle, but the doorway is empty. Everyone waits… and waits… and waits. By the alter, the Sterlings look at each other uneasily.

Flynn O’Malley: Something’s wrong. Where’s Kate?

Juicy: I… don’t know.

Another minute passes… then another, each one longer and more excruciating. The guests start to shuffle around in their chairs…

Juicy: I should go check on her. Make sure she’s okay.

Flynn O’Malley: Good call.

You head to the dressing room where Kate’s supposed to be, a sinking feeling growing in your gut. The door is locked, and you tug on the handle…

Juicy: Kate? Kate?

You jerk it hard, forcing it open…But the room is empty.

Juicy: ...Kate?

There’s no sign of her.

Juicy: She’s gone.

Thoughts on the episode…

Realistically, even if there wasn’t something suspicious going on and Tanner and Kate were actually ridiculously in love, there is no way this marriage would have worked. His family are awful to her, she doesn’t have any real friends - judging by the guest list the only people she invited were Flynn, her brother and Juicy, her college friend she hasn’t spoken to in years. Scarlett better have a good old reason for being that much of a bitch, too. Kate would be lonely and sad and squashed into this rigid way of living that doesn’t fit her at all, she’d definitely end up depressed and miserable and/or leaving him.

One bit I’m confused by is the ending. I know it was always going to happen that Kate goes missing on her wedding day but… where is Scarlett? Her maid of honor? Did Kate turn up to the venue? If she didn’t, surely Scarlett should have informed someone? If she did, where was Scarlett this whole time? Suspect.

The only two people who aren’t suspects in my book are Flynn and Grant and that’s only because they’re love interests - Pixelberry doesn’t usually include Love Interests in the guilty parties.

Fave Character of the Chapter: Grant

Least Fave Character of the Chapter: Scarlett

[gffa]

Hey! I just finished listening to the ROTS audiobook for the first time and GAWWWD i loved it. So beautiful, so heartbreaking, so tragic. So many incredible descriptions of characters and themes. So many hilarious lines and quips. But I gotta ask, during his commune with Qui-Gon, Yoda claims that the Jedi lost because they failed to change with the times whereas the Sith had evolved. Yoda apologizes to Qui-Gon for not seeing the wisdom he possessed and for being too rigid and traditional. (1/2)

(Actually 2/3) But this kinda goes against everything the Jedi and Star Wars stand for. If the Jedi are defenders of the light, peace, and balance since time immemorial, and are presented as such in the narrative (servants of the senate, forced into a war as a trap by Palpatine), how can Yoda claim that it was the fault of the Jedi they lost? And how can he claim that Luke and Leia should explicitly not be taught in the old ways (not forming attachments) if such ways are NOT wrong?(3/3) I’m Jedi fan #2 (after you of course) so hearing Yoda lament himself and his teachings in this novelization feels bad man. It certainly doesn’t come across in the movies or any other canon material. The whole idea the “flawed Jedi Order” is so annoying coming from Jedi-hating fans who misunderstand the movies but after reading this…I just can’t believe it. Thoughts?

Hi!  You’re super sweet to think to ask me about this and I do love everything I’ve read of the ROTS novelzation because IT IS SO PAINFUL IN THE BEST WAY.  As heartwrenching as it is, this is why I’m in here in SW fandom because look at all the feelings it gives me!As for where the Jedi went wrong re: the ROTS novelization, it’s sort of summed up in these two passages, when you consider the context of the galaxy around them–that this is about politics and not morals.  Here’s Yoda’s thoughts on fighting with Sidious:

    Finally, he saw the truth.     This truth: that he, the avatar of light, Supreme Master of the Jedi Order, the fiercest, most implacable, most devastatingly powerful foe the darkness had ever known… just-didn’t-have it.     He’d never had it. He had lost before he started.     He had lost before he was born.     The Sith had changed. The Sith had grown, had adapted, had invested a thousand years’ intensive study into every aspect of not only the Force but Jedi lore itself, in preparation for exactly this day. The Sith had remade themselves.     They had become new.     While the Jedi-The Jedi had spent that same millennium training to refight the last war.     The new Sith could not be destroyed with a lightsaber; they could not be burned away by any torch of the Force. The brighter his light, the darker their shadow. How could one win a war against the dark, when war itself had become the dark’s own weapon?

Then the passage from the ROTS novel about Yoda’s talk with Qui-Gon:

    And the Force answered him. Do not blame yourself, my old friend.     As it sometimes had these past thirteen years, when the Force spoke to him, it spoke in the voice of Qui-Gon Jinn.     “Too old I was,” Yoda said. “Too rigid. Too arrogant to see that the old way is not the only way. These Jedi, I trained to become the Jedi who had trained me, long centuries ago-but those ancient Jedi, of a different time they were. Changed, has the galaxy. Changed, the Order did not-because let it change, I did not.”     More easily said than done, my friend.     “An infinite mystery is the Force.” Yoda lifted his head and turned his gaze out into the wheel of stars. “Much to learn, there still is.”     And you will have time to learn it.

There’s also a line from Wild Space, about how “Too old I am to be the last hope of the Jedi.” Yoda thinks and, okay, Legends, but it always illustrated to me Yoda’s dilemma pretty well–they’re in a time of something they’ve never faced before and aren’t prepared for, because they’re not politicians and they’re not soldiers, they’re shoved into that role and run ragged so they never have a chance to recover or barely even breathe between fights, they’re manipulated into either this path or just not helping others at all, AOTC literally tells us that the Force is so clouded in the galaxy that it’s compromised for them.  Everything the Jedi had to rely on was crumbled away from them and so of course everyone ran right straight to Yoda because he had the most experience and they were looking for guidance.I’m also going to draw a lot on the Star Wars Propaganda post I made (which is a long read, like 5k words long, so I don’t expect anyone to have to Do Homework for this post, the basic summary is:  the Jedi’s greatest flaw was that they were bad at PR, because they are not talked about in the same way that the corruption and moral decay of the overall Republic is) because I feel like these two things overlap a fair amount, because it’s a great meta book on the state of affairs of the GFFA, and because it really lays this all out well!The thing about all of this is that it’s also to be taken with a grain of salt, that this is Yoda’s point of view in the very lowest point of his life, he’s just witnessed the deaths almost every Jedi and their entire culture, the Republic has fallen, they were ground down in this war they thought would be worth the sacrifices they were making, but instead everything was ashes.  Of course he’s going to feel like everything is wrong, that they were mistaken, because that’s a normal reaction to have in the moment!But it’s also about the structure of the prequels, in that politics are a huge, huge part of EVERYTHING that is going on.  One of the major themes of the prequels was ALL ABOUT Bush era politics, that’s why we had all those scenes with the Senate and all that stuff about taxes and trade routes and treaties–because that is the Republic that they had built up.  Politics set the stage for this.And the Jedi’s greatest failure is that they did not evolve to meet this new political climate.  They believed their actions would speak for them, rather than getting out into the spotlight to deliberately craft the narrative they were assigned.  They believed that tradition and trying to stay out of politics was the path that would be best for everyone–they were with the Republic (under Senate jurisdiction) because a thousand years ago the Senate asked them to become part of the Republic so that they could help smooth over the lingering war outbreaks after the last great war.  But they did not evolve to be political masterminds–while the Sith did.Palpatine didn’t kill the Jedi through being the best ever at using a lightsaber, he achieved the Jedi genocide through politics.  By becoming Chancellor.  By painting the Jedi as the narrative he wanted them painted with, rather than what the truth was about them.  By studying how they interacted with the Republic, their lore, and using it against them on a political stage.  By engineering a galaxy-wide war the was specifically designed to destroy them and destablize the entire galaxy so that they wouldn’t protest when the Empire rose.It says it right here:   The new Sith could not be destroyed with a lightsaber; they could not be burned away by any torch of the Force. The brighter his light, the darker their shadow. How could one win a war against the dark, when war itself had become the dark’s own weapon?The war itself had become the dark’s weapon.  So, that’s where the Jedi went wrong–they met a war with physically fighting back against it instead of becoming politicians who would use the war itself as a weapon, rather than a lightsaber.  They weren’t good enough at politics.Being bad at politics isn’t an inherently bad thing, there’s a reason a lot of politicians get portrayed as slimy and gross, that it’s rare to find truly good people who are also good at politics.  Star Wars itself hammers this point home pretty clearly, that people like Bail and Padme stand out because they’re good people in the swamp of the rest of the Senate!  And it’s not inherently a bad thing to be part of the system, because that’s how you can affect change, by working from the inside, by using the authority given to you to help the most people.And the point was, that they were trying to find balance in the middle and their balance (willing to help, to be part of the system so they can reach people who need them) is not inherently bad, but the political climate around them made it so that it was used against them.  To want to remain a step apart so that they could be used as neutral negotiators wasn’t bad, because that system literally worked for a thousand years, that’s probably the longest stretch of peace the galaxy has ever had!  It was only over the span of a handful of years that all this changed and they weren’t fast enough to adapt, they thought they could weather out this storm and they were wrong.It’s not as simple as “Oh, we were so wrong, we were so uncompromising, we were bad and terrible!” because that would take things out of the important context they come with.  This wasn’t about the Force or really even about being a Jedi or a Sith.  This was about narrative, propaganda, legal authority, and politics.

[hexxwhat]

Hello friends, now that I have seen The Last Jedi twice and had time to process it all I thought I would give you all my thoughts! First things first, let me just say that I am not down for the visceral way Star Wars fans are lashing out at one another over this movie? Like if you liked it, good that’s valid! If you hated it, good that is also valid! But targeting other movies or other people’s opinions to just be nasty is so petty and so exhausting and I am just not for it. So if you’re not open to having critical dialogue about a film, or if you’ve already decided how you feel about the movie and aren’t interested in other people’s opinions then don’t even waste your time reading this? Because at the end of the day it’s just a movie and it’s supposed to be entertaining. And I am saying that as someone who has invested way too much time over the course of her entire lifetime to the Star Wars franchise, the EU and the general meta of the series.

No Star Wars film has EVER been perfect; every movie has its flaws. Let’s not act like this is news.

Now TL;DR version right up front: I didn’t hate it but I thought a lot of it was rushed and Rian Johnson just really disappointed me.

Now, spoilers below the cut of course.

Let’s get to my biggest issue first shall we?

The entire plot line between Holdo and Poe was extremely frustrating to me. Not just because of the way it portrayed Poe as an impulsive and insensitive child (I’ll get into that in more detail later) but because miscommunication as a driving plot point is one of the laziest tropes ever and I am so, so sick of seeing it in film. PLUS! It goes against how information was shared by the Rebels as established by EVERY ONE OF THE PREVIOUS STAR WARS FILMS??? Like in every single other film where there was a rebellion present (and therefore excludes the prequels) whenever there was a plan that affected the entire rebellion, every member was told about it.

To prove it, here are my sources:

·         A New Hope: When everyone was sitting around reviewing the Death Star plans and talking about how people were going to blow it up, the whole rebellion was there. Not just the officers, not just the pilots, everyone. Including Han Solo who was not a member of the rebellion and was really just there hanging out at the time? Han was informed of the plan for the Death Star even though everyone knew he and Chewie would be leaving. Nobody was kept in the dark about the plan!

·         The Empire Strikes Back: Everyone is getting ready to go fight the Empire’s forces landing on the surface of Hoth and everyone is standing around in a circle listening to Leia tell them their orders. Everyone heard everyone else’s orders, even if they didn’t apply to them. Everyone knew what everyone else was supposed to do so that nobody was confused, left in the dark and so nobody would get in any body else’s way!

·         The Return of the Jedi: Everyone is sitting around in a circle listening to Mon Mothma explaining about the new Death Star and what the plan is as a whole and then listening to all the other little plans! Everyone hears about what the plan is with Lando and his squad. Everyone hears about what the plans are with Han and his ground troops. Everyone knows what part they are playing in this grander scheme so that nobody is just standing around being wasted energy and nobody will be doing anything reckless that gets in the way of the rest of the mission!

·         The Force Awakens: Everyone standing around that glowing map once Han and Finn get to the Resistance base and Poe takes Finn to Leia. Everyone hears what Finn has to say about Starkiller Base. Everyone gets to hear what the plan is that they set up. Including Han Solo, who even gets to provide input to the plan even though he is clearly not an official member of the Resistance and has in fact been off dicking around for a couple of years not helping at all. Even he got to find out what the plan was. Again.

·         Rogue One: When the team finally got back to Yavin IV and was talking about the Death Star plans literally everyone who wanted to be was crammed into that room around that glowing table having a say and or hearing what everyone else had to say. Even Jyn and Bodhi, who by rights were not part of the rebellion and if anything they probably should have been super suspicious of Bodhi because who knows he could have been a double agent? (it hurts me to even say that of Bodhi but still) Everyone who wanted to know what the plan was, what the Rebellion’s next step was, was able to find out. Was able to hear and know.

So when Holdo took command of the Resistance and was standing there in the center of the circle with the entire remainder of the Resistance watching and listening…the fact that she didn’t say shit about the plan is bullshit. It was bullshit, it was lazy, and it was straight up the thing I hated the most about this movie. Hands down, no question about it, the worst piece of nonsense. There is a precedent for how this Resistance is run based on how the Rebellion is run because Leia was the bridge between the two movements. And it was already shown in TFA that she kept the whole ‘let’s share information thing so nobody feels lost’ movement alive. So if Holdo was so trustworthy and close to Leia then why the fuck didn’t she just tell everyone the plan? Things would have been so easy if she had just done what every leader before her had done when standing in a circle surrounded by the people she was supposed to lead! Ridiculous.

That being said, Holdo’s final moment was incredibly bad ass and visually stunning. Cinematically that cut to silence was so impactful and heart wrenching. Holdo was clearly a woman with a strong will and convictions and I honestly wanted to like her more but I couldn’t because RJ was like “Do you know what we need in a time of crisis? For the leadership to be petty and condescending to one of the main characters.” Like…it was so lazy. Holdo deserved better, Rian Johnson is invited to my funeral as a pall barer so he can let me down again when I die.

Which loops me around to my second biggest issue with the movie which is the Character Assassination of Poe and Luke and to an extent Rey. Now, anyone who knows me well knows that Characters often matter more to me then Story/Plot. I have read some awful books and watched some shitty shows and movies just for the sake of a character that I really love and identify with. So when I see writers and directors really misinterpreting characters, it bothers me. Because it is often purposefully done for the sake of ego. How hard is it to look at someone else’s work and be faithful to it? Why do you have to change character’s behaviors for the sake of doing something different or edgy? It’s exhausting and Rian Johnson really tried it with me.

Poe Dameron is a risk taker who often time puts himself into incredible amounts of danger for the sake of the cause. This is seen in TFA when he goes on a mission alone, it is seen in the short story released about his life prior to the start of TFA and it is seen in his solo comics run. Poe is reckless with himself. Not with others. The opening battle was actually brilliant, it made me feel a lot of things, and it also showed the toll of war. People always die in Star Wars movies. In a New Hope only about 3 members from Red Team made it back to the base on Yavin IV. The toll has always been high. And all the background evidence Disney and LucasFilms has provided for us up until TLJ came out showed that not only is Poe entirely cognizant of the cost of war, he is respectful of it. To turn Poe into a, and let us quote “A trigger happy fly boy” is degrading. Poe is part of the Resistance because he values people and he is living up to the memory of his mother and the sacrifices of his father. To turn him into someone seeking glory at the cost of others is honestly disgusting to me. And while his coup was conducted with the right intentions at heart, it shouldn’t have happened at all because to circle back around, miscommunication as a plot device is lazy as hell and I thought we were better than this. That being said every interaction Poe had with Finn was golden, his entire bond with the droids in his life is charming and pure, and the way he slams his hand against the side of his ship before doing a sharp turn at high speed to keep from slamming his head into the glass from the force of it all is one of the best subtle acknowledgments of physics in space that I have ever seen.

Now…let’s talk about Luke shall we? Luke Skywalker has been one of my favorite characters from the time I was five years old and can remember watching Star Wars for the first time with my Uncle and Mother. My first piece of Star Wars meta that I owned was a chapter book about Luke that took place just before A New Hope started and my mother used to read it to me while I was in the bathtub so that I would actually sit still in there. My Harry Potter phase was nothing really, I didn’t even read past book 3 until I was almost a High School graduate and I really don’t think the series is as good as people romanticize it. But the reason for that is because Star Wars was my Harry Potter and there was just no room in my heart for anything to be nearly as big. Luke Skywalker is one of the single most important characters in fiction to me. He is my hero, he is my moral line in the sand. He is someone with great power who was given the choice to rule or to lead and he chose to lead. And that is an incredibly important distinction. He is an optimist about everything and everyone, but he is also confident and self-assured. He is a loving person who cares and bonds with others despite what the way of the Jedi had said because he understood the value of people. He is dramatic and thoughtful and dedicated to being a balancing act in the universe. So it meant a lot to me that I was going to get to see Luke on the big screen. I never got to see that growing up. I was seven years old when episode I came out and I have seen every Star Wars movie that has come out in my lifetime in theaters, usually more than once. But I never got to see Luke until now and I was so very excited. And while Mark Hamill’s performance was stunning because he gave everything he had to give…you could tell in parts he was just as disappointed with the way Rian Johnson wrote Luke as I was. Now in the EU, Luke did at one time just straight up leave everyone. This was after his wife was murdered and he left after looking into the future and seeing that if he took vengeance for her death he would become a Sith and be pretty much unstoppable. And because Luke Skywalker is such a good and pure soul, he said ‘nope, not going to subject the universe to that’ and left! But him going away and turning into a grumpy old man who hates people is bullshit. Him not coming back because Leia called for him is bullshit. Him closing himself off from the Force entirely and therefore not having felt the exact moment when Han Solo died IS BULLSHIT! Also, Luke trying to rebuild the whole Jedi Order as it was when it was destroyed is nonsense. Luke Skywalker was a Gray Jedi who disavowed just as much of the teachings of the Jedi Order as he did of the Sith. So that was nonsense.

Luke Skywalker never would have taken a lightsaber down to his nephew’s tent. He learned the lesson of choice in Return of the Jedi and if he saw darkness in Ben he would have done something else about it. Anything else about it. But again it was Rian Johnson using miscommunication as a plot point which is once more…lazy af.

That being said, there were moments when Luke was Luke and it tore my heart to pieces.

Luke on the Falcon and his interaction with R2-D2 was incredible. And leave it to R2 to take such an effective low blow. What good timing and sense of human guilt that droid has.

Luke and his reunion with Leia was beautiful. The fact that it was apparently written by Carrie just adds to the pain of it all. But it was beautiful and also one of the only moments the movie got to take to breath. The rest of the film was so jam packed and rushed that we never got a chance to really appreciate the toll all of this had on people. So that scene was beautiful and emotional and perfectly illustrated the whole point of Luke never placing his ego as a Jedi before the safety of people.

The entire fight scene between Luke and Kylo Ren was honestly golden. The outfit Luke showed up in was perfect and harkened back to his Return of the Jedi look. The ease with which he did everything, the shoulder brush after the First Order shot at him, the way he just dropped backwards and spun away from Kylo when he tried to half in the first time. The audacity to throw Han’s death in Kylo’s face right before utterly and fully humiliating him in front of the entire First Order. THE ABILITY TO ASTRALLY PROJECT HIMSELF THERE JUST TO TEACH KYLO ABOUT HUMILITY AND TO SAVE THE RESISTANCE WAS SO GOOD! Like there was the characterization that was missing. There was Luke Skywalker standing on the plank of Jabba’s skimmer saying ‘Free us or Die’ with the nonchalance of asking a neighbor if you can get a ball out of their back yard. There was Luke Skywalker, with a great big FU to the fascists of the Universe that I grew up cherishing. The only thing that would have made that scene better was if he was using the green saber that he made for himself. Because it honestly didn’t make sense for him to be using the saber that Rey and Kylo had literally just destroyed. That was the biggest ‘wait’ moment of that whole scene and kinda took away from the impact of the whole ‘I’m not really here, haha!’ moment.

I’m okay with Luke dying. I really am. But only if he comes back in Episode IX as a Force Ghost. If he doesn’t then Rian Johnson really and truly wasted the gift he was given.

Rey stealing the Jedi Texts was brilliant, Rey learning how to figure out the Force based on what she was given by Luke was great. REY’S FIRST INSTINCT WHEN THE FORCE BOND HAPPENED WAS TO SHOOT KYLO LIKE GOD BLESS. But the cave scene was a huge let down. I was expecting something closer to when Luke said ‘nah Yoda I’m going to go into the sketchy part of the woods’ and he fought himself as Darth Vader in episode V. Instead we didn’t really get anything? I expected more from a sketchy portal in the ground that lead directly to the dark side TM. Reducing Rey’s journey to understanding and the Force into just redeeming Kylo is trite. And beautifully summed up with her whole ‘please don’t do this’ and look of utter disappointment after the fight scene with Snoke’s guards. (That Fight scene was very good! Very good! All the action scenes in this movie was very good!) Rey not letting the fact that Luke was being obstinate get in her way of her own training was good because it really shows that she values herself, she values the Force and she values what she can contribute to the Resistance. Rey’s arc stumbled in this movie but it was still good, and her optimism in Kylo was just as valid as Luke’s optimism in Vader.  

Question, why was Yoda like that? He was like…a CGI version of his puppet self from The Empire Strikes Back and he was a weird kale green color? They gave up on his iconic speech pattern like real quick. I was mostly unsettled by the fact that he was entirely wreathed in flame for 80% of the time he was on screen like some kind of goblin. And honestly I really wish it had been Obi-Wan who showed up to talk to Luke since out of the two of them Obi-Wan was the one most similar to Luke in how he conducted himself. That being said I was very happy to see Yoda, because it was a nice call back to how the Force Ghosts operate. Which also gives me hope to Luke being a Force Ghost. I’m really clinging to that guys.

LET’STALK ABOUT LEIA AND THE FORCE BECAUSE THAT WAS SIMULTANEOUSLY ONE OF THE MOST SATISFYING AND VALIDATING THINGS I HAVE EVER SEEN WHILE BEING EQUALLY FRUSTRATING!

Leia has used the Force in every movie we see her in. She generally only used it to sense others, mostly Luke, but that was because at the time Leia didn’t understand that feeling for what it was. Also if you watch Return of the Jedi when she is strangling Jabba in one shot the chain moves by itself and that is obviously Leia exerting her will over it with the Force as she viciously chokes the life out of the slug man. Leia doesn’t start to open herself up to the Force until after she finds out that Luke is her brother and Vader is her biological father. (I say biological because Bail Organa was Leia’s father and he deserves to be respected) In TFA she talks about the Force with the confidence of someone who has used it, and it is obvious that she is much more in tune with it then before when she feels Han die. So it was very satisfying to see her use the Force in such an overt way because it really shut up all the Fake Star Wars Fanboys who were always arguing that Leia never had any Force Sensitivity whatsoever. She had Skywalker blood in her. The fuck you mean Leia can’t use the Force. That being said…the science on what happens to an organic lifeform in the vacuum of space is pretty clear. So the way RJ decided to show Leia using the Force was just…silly. It was more funny in the moment than anything else. Like really…she’s turning to ice, she had no oxygen, she dead…but okay. I’ll take it because Leia could have been a Jedi if she had made it to Obi-Wan and we all know that’s the real reason why Bail sent Leia when he could have sent anyone.

Snoke and Phasma were wasted, let’s not pretend that they weren’t. The Phasma / Finn fight should have been longer, more fighting, less one liners. I loved the fight scene, I just really wanted more from it because like….she raised and trained all the troopers, you would think she would have been a bit more brutal? And Snoke?? Why did they even take the time to build him up the way they did if we were never going to find out jack shit about him? Like come on guys what was that? But like also Snoke’s robe was fabulous and I kind of want it? The color was great and the neckline was great. The costume designer on this movie did a hell of a job. I loved it.

RIP the boyfriend jacket, lost in space when Finn and Rose changed into the Imperial Uniforms on Snoke’s ship. Rose never got to wear the jacket which is a tragedy since everyone wore the jacket in TFA.

Side note, Disney is a pack of cowards for not giving us Gays in Space and trying to shoehorn the Finn/Rose romance in at the last minute. Like bless them for an interracial couple that didn’t include a white person in it but Finn/Poe is also an interracial couple that doesn’t include a white person. But Rose Tico is a gift and anyone who shits on her for the sake of a ship is a child and can leave. Like she is a passionate and dedicated part of the Resistance. She is down in the metal and the dirt making sure the ship is running and people are being honorable. She lost her sister to this fight and she was ready to keep fighting regardless. She gave up the one token she had for the sake of the mission because she is a selfless hero. Rose Tico is a gift, we don’t deserve her vicious little spirit. I just thought the kiss came out of nowhere and was unnecessary? Her line was beautiful. Saving what we Love is at its core the whole point of everything in the Star Wars Universe. But they didn’t need to kiss. And this isn’t just because I prefer Finn/Poe. It just wasn’t necessary in that moment.Also I can not wait for the part in EP IX when Rey and Rose meet and become best friends BECAUSE THEY ARE BOTH SUCH VICIOUS LIGHTS OF HOPE AND LIFE AND UGH I LOVE EM.

I’m not here to talk about Kylo Ren, Reylo shippers or any of that. I’m too much of an adult to have a problem with people who like villains and people who ship the villain with the female protagonist. Like leave people alone. Don’t be coming into people’s DM’s acting like liking something in fiction automatically means they are okay with it in real life. Don’t act like this whole shipping the hero with the villain thing is new. It’s not, it happens, people always wants a redemption arc for the villains even if they don’t deserve it. Let people live. I don’t like Kylo Ren, I don’t ship him with Rey.  I’m not here for that discourse.

I am here to tell all you assholes who are going hard on Adam Driver for his portrayal of Kylo and his appearance to step the fuck off. You all need to learn how to separate character from actor. And you need to learn that insulting someone’s appearance just because they are the bad guy is hypocritical to the whole body positivity movement that most of you people are praising with your second breath. Adam Driver is an incredible actor, you know why I say that? Because if he wasn’t such a good actor then we wouldn’t have the violent, deep rooted responses we have to Kylo Ren. Adam Driver doesn’t deserve the shit you people throw at him. And that’s fact.

And lastly….I really don’t like the Porgs. I don’t and I’m sorry. I now understand how my dad feels about the Ewoks, I get it. I mean they were cute like the first few times I saw them but then they just…got obnoxious? It was too much to the point that it got stale. My dad is really bothered by the fact that they are birds but they have fur and like honestly that doesn’t bother me. It’s just the noise they make, it pierces my very soul and I just…I’m sorry but the little furry penguins didn’t do it for me.

….I loved the Crystal Critters tho…

But the overuse of the Porgs brings me to my biggest issue with the general humor of the movie. A lot of it got repetitious and was just not funny to me. The movie never took the time to slow down and take a breath like previous films, it was just constantly go, go, go. Which meant at times the jokes butted up against serious moments in a way that just didn’t work for me. They seemed ill timed and just didn’t always land with me.

The hardest I laughed was when Rey threw the lightsaber to Kylo and he used it to kill the guard that was choking him out. I saw the movie twice and both times I fucking died laughing at that part. That was funny to me and it wasn’t supposed to be, which really tells you something about the humor of the film.

But yeah…so if you made it all the way to the end of my long ass complex dissection of the Last Jedi, congratulations. Feel free to message me if you want to talk about anything in more depth. I am happy to talk about anything as long as it’s respectful. If you didn’t agree with something I said here, let’s talk about it. Let’s just be civil about it mkay?

Thanks friends. Here’s hopping Episode IX is better.

[teresatranbooks]

Dear Blog,

Prompt: This week I am going to have you read two articles on young adult literature that show both how we can use YAL to consider how adolescents are taught reading, and also how YAL can be used in traditional literary analysis expected in secondary English classrooms. 

Write a blog post where you react to the two articles you read this week. You can do separate sections or even separate posts to reflect on what you read. Do they change your thinking or reinforce what you already thought? 

In “Reconsidering the Hypothetical Adolescent in Evaluating and Teaching Young Adult Literature,” by Mark A. Sulzer and Amanda Haertling Thein, the authors conduct a study to evaluate how the “pedagogical practice of asking preservice teachers to read and evaluate YAL by imagining the needs, desires, abilities, and experiences of their future students...rhetorically structures preservice teachers’ stances towards adolescence/ts” (Sulzer and Thein 164). In other words, how does a pre-service teaching class where future ELA teachers read YAL books frame and position young people -- and how might these frameworks and positions turn out to be false compared to the current reality of who young people actually are and what they care about? 

According to the study’s findings, one of the rhetorical strategies that the authors located was called “the matching strategy” where future ELA teachers “articulated a vision of adolescent needs and matched those needs to the message or lesson of the novel” (Sulzer and Thein 166). They found that the preservice teachers would read a book, interpret its content/themes, and evaluate it based on its potential of teaching a young person the lessons that a “typical” young person would need to learn, given that the young person was a straight, middle-to-upper class white American, among other privileged identities. Content/themes that deviated from the “normative (white, middle class, heterosexual, and able-bodied) adolescent experiences were both rhetorically and pedagogically marginalized, as were textual themes that might speak to a wider range of questions and experiences” (Sulzer and Thein 166). 

I found this finding to be really interesting, because I have definitely seen it occur a few times in the discussion posts and zoom calls in our YAL class. Due to the fact that most of the people in our cohort are white, middle to upper class, presumably straight American Christian cis women, there’s a limit to the kind of analysis of themes and content in the diverse YAL books that we’re reading. While everyone seems to have good intentions and are coming to these books with an open and empathetic perspective, I have noticed that what preservice teachers deem as “relatable” for adolescent readers are the kind of adolescent experiences and feelings that seem “universal,” but are actually very individualistic, selfish white American experiences and feelings that in reality, a lot adolescent readers who are BIPOC can’t relate to. There’s a presumption that there’s a set of “universal” feelings, if not experiences, that everyone goes through, some examples include feeling insecure as your body and emotions develop, finding love and new relationships, developing confidence as you become a young adult, becoming angry at your parents and realizing that they’re people too, etc. But not everyone can relate to that. Not everyone experiences that during their adolescent years. Truly. And I think some of that blame has to be put on students being taught in K-12 American school about the “typical” hero’s journey by Joseph Campbell (who is actually pretty racist...) -- and the “typical” narratives, archetypes, and motifs you’d find in Western stories. And some of the other blame can be put on the not-very-diverse makeup of our cohort and our faculty. 

We can teach as much culturally relevant pedagogy as we want and include as many diverse YAL books as we want, but if we do not address the very real systemic issues present within the individual demographical makeup of the English Education cohort and faculty, and actively create an environment where more BIPOC students and teachers feel welcomed and safe to be included and voice their perspectives, as well as be able to enact change, then we’ll never be able to adequately address the apparent disparities in how preservice teachers evaluate YAL books with their questions that are used to frame their interpretations, and thus, adolescents.

In “What YAL Tells Us About Learning, Schooling, and Teaching,” by T. Hunter Strickland, the author conducts a study on the traditional narrative arc of the “young nobody as protagonist, who, under the guidance of a wise mentor, comes into possession of a symbolic object of power, and then must complete a quest or series of quests with their loyal companions, where they will come across many obstacles before ultimately facing their downfalls because of the protagonist’s character flaws” (Strickland 18). More specifically, Strickland evaluates how new YAL stories that use this narrative arc speak to the types of learning, schooling, and pedagogy present in the teachers, students, and curriculum in our real life schools. What are the parallels? How can we understand learning and teaching in schools in the US by what is being shown in the YAL texts we’re reading? What is being valued and/or prioritized in schools in the US given what we see of the mentor and mentee relationship reflected in so many of YAL books read throughout time? What is not being valued and/or prioritized? 

According to the study, “examining how learning and teaching are represented in texts that our students engage with is important because we want our students to know that learning is not perfect, and then help them to be critical examiners of the pedagogical spaces that surround them” (Strickland 19). I really agree with this point. While I have not read Scythe by Neal Shusterman, I have read plenty of YAL stories that incorporate a narrative arc where the young nobody upstart protagonist at first idolizes their wise mentor and follows every single lesson that is being taught to them, believing their mentor to be someone who has all the right answers...only for them to realize that their mentor is an imperfect human just like them with hopes, dreams, and flaws, and only has so many answers that are more often than not, incredibly biased. The protagonist must then challenge their mentor and seek their own answers, in order to become their own person -- and perhaps become a mentor to someone else. I have found this experience to be especially true when we’re young and more impressionable. We tend to look up to the adults in our lives, teachers especially, and put all of our hopes and dreams in their hands, praying they’ll guide us safely to the answers we want -- but, not necessarily need. How old were you when you realized that the adult and mentor figures in your lives were imperfect humans and didn’t have all the answers? I was probably 15/16 years old, but it definitely crystalized for me when I was 18/19 years old. And that’s when I grew up. 

In the article, Strickland discusses the idea of this old/new binary and how it can lead to some interesting thoughts on education. “We would be lying if we did not think that education has a problem with new fads versus traditional pedagogy” (Strickland 21). In other words, much like it is presented in YAL novels, there is a tension in the education world between old and new methods of teaching and learning. “The problems in education can be solved, so some would have us think, with the next new teaching method...or students would learn if only our countries would invest in the new education-in-a-box kit...” etc (Strickland 21). Which is better? The old ways of the wise, but imperfect mentors? Or the new ways of the hopeful but naive new generation? Where is the balance between those two? Should there be a balance? Is the binary between old/new teaching and learning styles actually a binary -- or is it more complicated and fluid than that? 

Given all of this food for thought to chew on, I immediately think of activism, particularly modern young activists looking to create some real change in the world. Especially given the Black Lives Matter movement, I think about how it is important that we root ourselves in the works of liberation and radical thinkers and the histories of liberation-focused movements. Following only on headlines and news will have us swimming in despair or stuck in an intellectual drought. There were people before us. There were Black revolutionaries, scholars, activists, thinkers who have written works on anti-racism and how to combat white supremacy. Mistakes on the left have been learned. We must read them, listen to them, and learn from them. 

I also think about one of my favorite “YA” movies: Star Wars: The Last Jedi (a story about an adolescent Rey learning under the guidance of the famous Luke Skywalker and becoming the new leader of a new generation of Jedi)-- and one of my favorite quotes from that movie, spoken by arguably the most iconic wise mentor of them all, Yoda: “But weakness, folly, failure also. Yes, failure most of all. The greatest teacher, failure is. Luke, we are who they grow beyond.” It’s honestly one of the most emotional moments in the movie for me because it articulates a lesson many of us teachers sometimes refuse to accept -- and the kind of potential many of us learners do not realize we possess. 

As future teachers, we have to acknowledge that we are always learning and are not perfect, and that the future students that we teach will one day surpass us and not only pass on the the parts of our knowledge that resonate with them, but also learn from our mistakes. In addition, as preservice teachers, we have so many great mentors to learn from and we must respect that there are people who have gone through what we’ve gone through and can help us. But also as simply students, we have the responsibility to ourselves and to the new generation to take what we’ve learned, critically examine it for its flaws and gems, and form our own pedagogical stances and teaching practices. 

So, to summarize, the binary between old and new teaching and learning narratives present in so many YAL stories is actually less of a binary, and more of a complicated case-by-case situation -- and this is a good thing! Because the real world is so much more diverse than we will ever be able to perceive, with so many lessons we have not yet had the privilege of learning, that it should comfort us to know that what is being valued in many YAL stories is this idea of teaching and learning as something fluid and organic and emotional and complex and very very very human. 

[padawanlost]

That quote you reblogged, Rise and Fall of Darth Vader, made me think what exactly were Anakin's issues with Obi-Wan? We know both hadn't chosen each other, only grew close coz of war, but respected each other. But how much did Anakin accept Obi-Wan in his life? He wanted a father figure, which Obi-Wan wasn't, even if he saw him as friend he didn't trust him with his personal life, so where did Obi-Wan stand in Ani's life? Idk if my que is clear..what do you think? Did Ani just put up with him?

The coreproblem between Anakin and Obi-wan was communication. The both loved each otherbut had no idea how to express it and that put a strain on their relationship.Since you asked about Anakin feelings on the matter, I’ll only talk about itfrom Anakin’s perspective so it doesn’t get too long :P

First ofall, we need to understand who Anakin was when he met Obi-wan: he was a nineyears old former slave who had just been removed from everything he knew and loved.His childhood heroes had humiliated and rejected him. His was forbidden to seehis mother and terriefied he’d never see her again. The only Jedi who seemed tocare about his wellbeing was dead. And his new friends were left in Naboo.

Obi-wan wasthe most familiar thing in Anakin’s life at the end of TPM. And Anakin, as achild, needed that familiarity and security to grow up healthy. But Anakin, asa traumatized child and former slave, required more attention than most. Hegrew up with the knowledge that his life and everything and everyone on itcould be removed and destroyed at the master’s whim. All he had was his motherso he attached himself to her and blindly trusted her to take care of him.

[Anakin] told himself he had not seen [Shmi’s]vulnerability. His mother could not be vanquished. She could not be taken. Shecould not be hurt. The core of her was strength. She could keep them both safe. That was his reality. Somehow Anakinknew that if he acknowledged Shmi’s fear he would close the door on his ownchildhood. He wasn’t ready to do that. Hewas seven years old. He needed her too much. [Jude Watson’s Path to Truth]

Anakinneeded Obi-wan, his only friend and protected, to that for him. But Obi-wan,due his own youth, inexperience and emotional issues, couldn’t give him that. sothey grew distant. The more the Jedi order and Palpatine hurt him, the moreAnakin turned inwards and the more the gap between Obi-wan and Anakin grew.

Obi-Wan had tried to talk to him about it, butthe boy would just shut down. His eyes would turn opaque and the corners of hismouth would straighten into a thin line. He would seem very far away. Obi-Wan did not know how to reach him atsuch times, but they were infrequent and passed as quickly as a rainshower. When they’d met, Anakin had beena warm-hearted nine-year-old boy with an open nature. He was twelve and a halfnow, and the years had changed him. He had grown to be a boy who hid his heart.[Jude Watson’sDeceptions]

Obi-wanloved Anakin:

Obi-Wan reached out, then hesitated. He felt astrong urge not to wake the boy, to let him sleep like this forever, to foreveranticipate a great adventure, forever dream of personal triumph and joy. Thisfeeling held too much sentiment and weakness to be allowed, but he allowed itnevertheless. This must be how a fatherfeels, looking down on his son, worried about an uncertain future, Obi-Wanthought.  I would hate to see him fail.But I would hate far more to lose this boy. I would almost rather freeze timehere, and freeze myself with it, than face that. [Greg Bear’s Rogue Planet]

But Anakindidn’t feel secure about his role in Obi-wan’s life:

Perhaps he would never have a Master-Padawanrelationship as deep and trusting as Obi-Wan had with Qui-Gon. Perhaps Obi- Wankept his as a Padawan in order to fulfill a dying wish. But maybe it didn’tmatter how it happened. He should not focus on what he didn’t have. He hadthis. This was his. And that was something. He would work hard. He would be agreat Padawan. And Obi-Wan would come to love him. He would make him do so. [JudeWatson’s The Trail of the Jedi]

Obi-wan,despite his love for Anakin, still trusted in the judgment of the Jedi Counciland was aware of their concerns. that influenced how Obi-wan treated Anakin. AndAnakin resented that and he felt like Obi-wan didn’t understand him or had hisback (the way Shmi did).

For ten years I have been a Master to Anakin,and all that got me was defiance. The more I criticize him, the more he turnsaway. The more I withdraw, the angrier he becomes. More criticism, moreemotional distance, isn’t the answer. He’s not a typical Jedi. He never hasbeen. Yet I have tried to turn him into one. I’ve tried to contain him. Controlhim. For his own good, it’s true … but even so. If he’s to be a JediKnight soon, that has to end. [Karen Miller’s The Clone Wars: Wild Space]

Anakin looked down at Obi-Wan’s hand on hisshoulder and shrugged, trying to dislodge it. “Don’t touch me. Are you deaf? Isaid leave me alone.” Still Obi-Wanignored him. Of course. Because that’s what he did. He gave orders, he neverlistened. [Karen Miller’s The Clone Wars: Wild Space]

It wasn’tuntil Anakin became a Jedi Knight and started to emotionally rely more on Padmé(and Ahsoka) that Anakin and Obi-wan finally became friends.

As a childAnakin needed Obi-wan to be his protector and provider. When Obi-wan failed to fulfill that role Anakin grew resentful and distant. But the love between themwas always there. They just din’t express it frequently enough or in a health manner.

But howmuch did Anakin accept Obi-Wan in his life?

Completely.Despite their complicated relationship, Obi-wan was all Anakin had growing up. Hewas his only close friend. The distant between was a result of the Jedi Order’steaching methods and Palpatine’s influence. But at the beginning of their relationshipAnakin was more than ready to accept Obi-wan as a master and friend.

Did Anijust put up with him?

Anakin wasa child. He had no real choice in the matter. He didn’t even know what it meantto be free before he “chose” to become a Jedi. Obi-wan was the only Jedi whowanted Anakin, so leaving him would mean leaving the Jedi. by the time he wasold enough to know better it was already too late. It’s the same with all theJedi, they are taken as children and when they are old enough to think aboutleaving are already in too deep to want to leave.

Also,Obi-wan, despite his many flaws, wasn’t cruel. He was misguided but never deliberatelyabusive or distant. He was well-intentioned, the problem was thatwhat Obi-wan wanted for Anakin and how/what he believed he should teach Anakinwere actually harmful to Anakin.

To makethis easier, I’ll separate their relationship in four stages:

Acquaintances

At this point, Obi-Wan turned to stare at boy,giving him a look that demanded in no uncertain terms, What do you mean, “we”?The boy caught the look and stared back at him, expressionless. “We will bepatient,” Qui-Gon advised, straightening himself, drawing their attention backto him. “Anakin Skywalker, meet Obi-Wan Kenobi.” The boy beamed. “Pleased to meet you. Wow! You’re a Jedi Knight,too, aren’t you?” The younger Jedi looked from the boy to Qui-Gon and rolled his eyes in despair. [Terry Brooks. The Phantom Menace]

From thevery beginning their relationship was marked by their inability to find commonground. Where Anakin was happy about meeting another heroic Jedi and maybe makea new friend, Obi-wan was already dismiss this pathetic life-form Qui-Gon hadfound.

Anakinbeing an incredibly sensitive child picked up on Obi-wan’s behavior and understoodwhat it meant. It’d later make him insecure about his importance in Obi-wan’slife and the love his master had for him.  

Master & Padawan

The phasewas marked failed expectations and communication issues. They both wanted toplease the other and do a good job but the Jedi order’s ideology and Palpatine’smanipulations made it impossible for them to find common ground. Their relationshipwas unstable. They had good moments when they talked and worked well togetherbut most of the time their buried their feelings and hurt each other.

Friendship

Away from the Jedi Council (and Palpatine), andwithout them the strain of the Master/Padawan rules they finally started to seeeach other as equals/partners. Obi-wan no longer had the Council breathing downhis neck and Anakin no longer resented Obi-wan for his teaching methods.

Enemies

This iswhen all the bad stuff comes up. Over a decade of buried anger, resentment and disappointedis now out in the open.

Here,Obi-wan is filled with regret for not seeing all the little signs about Anakin’s“darkness”. And Anakin is filled with an unhealthy need to really kill Obi-wan:P

Every stageof their relationship has its own issue but the underlining issue remain: miscommunication.Which is why they only began to understand each other after their were dead. Theywere on each other’s mind the whole time – even when they were enemies – butthey never understood each other because they never talked to each other.

[cinedave]

REVIEW: The Last Jedi - Strong with ambition, weaker with execution

A long time ago on a VHS player far away, a youngling me first watched The Empire Strikes Back... and if I’m honest he wasn’t blown away by it. He may have spent many hours running round his dad’s legs playing AT-ATs and speeders or talking like Yoda; but much of the film went over his little head. It didn’t have the simple, easy to follow story of the Star Wars or its rewarding happy ending. Neither did it have the cute fluffy animals of Return of the Jedi (he was young... forgive him). It was only as the youngling became a Padowan watching back that worn home recorded VHS cassette that he came to see what made the film so special among his favourite trilogy. It took time. It took the patience and understanding that his younger self could never master. It was this journey that the older, now “Master” (he wishes), was reminded of when walking out of The Last Jedi. While on the surface there were mixed feelings of disappointment Vs expectations. Underneath there were seeds of greater purpose and meaning to the film’s content. This is a Star Wars film that may take some time and understanding to be truly appreciated.... but still not without its flaws.

With The Republic’s destruction The Resistance are on the run from the conquering First Order. Finn (John Boyega – Detroit) and Poe (Oscar Issac – Ex Machina) hatch a dangerous plan to save them. While Rey (Daisy Ridley – Murder on the Orient Express) hopes finding the legendary Luke Skywalker will spark a new hope.

In many ways The Last Jedi feels like the Star Wars franchise looking at its own reflection for deeper purpose. It opens with the typically closing, “we must destroy the big thing” set piece. While much of what follows revolves around showing that making change and overcoming an all powerful evil is about more than shooting torpedoes into a thermal exhaust port. There’s a greater emphasis on the cost of such heroism and the difference between being a hero and being a leader; largely through the eyes of Poe Dameron as the impulsive hot head learning to see the bigger picture. That The Resistance and not the rebellion.... they are the spark that will ignite a rebellion within everyone. It shows the story as more than just good guys Vs bad. It’s about the inspiration and belief that both can create. It’s the kind of hidden depth that helped make Rogue One feel so special. This is echoed well within Luke and Rey’s scenes as Luke attributes his failures to overconfidence in being labelled a hero and legend. Or a few touching little moments like new character Rose (Kelly Marie Tran) overwhelmed to meet Finn from reputation or some ordinary kids playing with homemade Star Wars toys. A worthy mention also to Laura Dern’s (Jurassic Park) Vice Admiral Holdo for embodying the teachings of composed leadership.

Where the film falters is not from intent but sadly from execution in film making. The story quickly breaks off into multiple arcs in different locations that the script can’t seem to juggle smoothly. Particularly through the first half the pacing is clunky and uneven as it cuts to and from. This isn’t helped by polarising tones. Many parts of the film have a darker tone revolving around desperation and hopelessness. Yet against this the film still tries to be the kind of fun and enjoyable adventure most would expect from a Star Wars film. Now in places it absolutely nails this contrast, like the side mission of Finn and Rose to a lavish casino. It’s full of joyous mad-cap antics and great laughs but with the edgier undertone of all the wealth being derived from war profiteering over the Resistance/First Order conflict. For the rest of the film there’s a reliance on unexpected humour injections that at many points feel terribly goofy. Case and point, Domhnall Glesson’s General Hux is reduced to slapstick comic relief, best likened to Starscream in the Transformers sequels. Director Rian Johnson clearly wants his movie to contain all the core strengths of the franchise but didn’t listen enough to his lessons about The Force. He doesn’t respect the balance. Then there are The Porgs. They’re adorable and funny yet never overstay their welcome on screen which keeps their comedy effective. Compared to an early unfunny communication problems gag that goes on so long and so awkwardly you’ll wish George Lucas’s head would appear in space shouting, “Get on with it”. It’s creates a frustrating sense that the film is not aware of when it is succeeding or failing; that both appear to happen by chance.

Despite having less of an emphasis on bigger set pieces this is still a Star Wars film that delivers on its action and visuals. The aforementioned opening space battle not only has spectacle but fantastic variety as the fan favourite A-Wings on hulking B-Wing style bombers join the mix. The human element to the bombers also likens the sequence to a WW2 piece like Memphis Belle. The film offers one of the most creative and stunning light sabre battles since Maul sparked up his double on Naboo. There are some moments of genuine beauty. A final act set piece sees forces battle on salt planes of a white top layer and red beneath. Every explosion, every skim against the surface hurls up plumes and clouds of red against the vast white (like the colour themes of the posters) for a truly breathtaking visual effect.  Then there is, quite literally, the best 10 seconds ever. A ship collision sequence shown like samurai movie sword slice. You could have force choked me while that was happening and I wouldn’t have noticed.

Finally let’s pilot things back towards the Empire Strikes Back comparisons. Said 1980 offering is not just considered an incredible film, but many consider it one of the greatest sequels of all time. That is where The Last Jedi crucially differs. Some of its continuation from The Force Awakens is excellent. Everything about Mark Hamill’s performance and his relationship with Rey is a lovely continuation from that infamous silent ending. Similarly the bond of opposites between Kylo and Rey develops well through their Sense8 like communicating and becomes very entertaining. On the flip side, much was hyped of Supreme Leader Snoke’s actual presence within this sequel and reveals over his identity. Instead, he’s not a character, he’s a lack of. He’s nothing more than a CG Voldermort devoid of personality; a Death Star sized disappointment. Ultimately Kylo also falls short. He stood out last time for his fascinating complexity of aspiring towards being the next Darth Vader but fearful of never achieving it. This time much of that feels abandoned for an overall sense of uncertainty over just what they are trying to do with his character other than being a villain presence of necessity.

There were moments of The Last Jedi that embraced me in full blown Star Wars euphoria but more that pulled me out of the immersive escapism for their failings. I firmly believe that I will come to appreciate and enjoy The Last Jedi more in time but for now I can’t look at with the level of positively the youngling and Padowan inside me would like. It does give Carrie Fisher some good moments if this is to be her send off. It is generally very well acted from its talented cast. By no means is this a Phantom Menace or deserving of any such negative comparisons to the prequel trilogy. In the end The Last Jedi a good film where there should have been a great one.