While there are no major spoilers below, I do discuss the contents of Queen’s Shadow in detail—consider yourself warned.
On May 19, 1999, The Phantom Menace opened in theaters. It was the first new theatrical Star Wars movie in sixteen years and kicked off a new trilogy exploring the rise and fall of Anakin Skywalker before he became Darth Vader, a character that had already earned a spot in the pantheon of classic villains. However, rather than opening the movie on Tatooine, where we learn that young Anakin is living as a slave, we instead start on an unknown planet in danger of invasion, ruled by a teenage girl who will do anything to save her people.
And yet, despite a whole movie and a handful of tie-in novels that centered around Queen Amidala, she became increasingly sidelined as the trilogy went on and her character became inextricable from her doomed relationship with Anakin. Her cadre of handmaidens made a brief appearance in Attack of the Clones, but by Revenge of the Sith she was alone and left to watch her world crumble around her without any apparent support. She ends the trilogy by giving birth to the next generation’s heroes and then, at the age of twenty-seven, loses her will to live and dies of a broken heart.
Three years ago I wrote an article advocating for a Padmé novel. For far too long she had only really existed as an extension of Anakin and wasn’t given a chance to shine on her own. As arguably the main character of The Phantom Menace and (inarguably) a key figure in the story of the final days of the Republic, she deserved a better legacy than only being remembered as the object of Anakin’s fears and an indirect reason for his turn to the dark side. More importantly, for a character who started with so strong a story and so interesting a backstory, it was a shame that her movie potential was wasted with bad writing. So to finally have her given a voice after getting the short end of the stick for so long is incredibly meaningful in a way that’s difficult to put into words.
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Dragon Con is somewhat unique among large conventions in that despite its size it is still entirely fan-run, meaning you don’t really see the industry presence (read: exclusive merch and reveals) that you would at a SDCC, NYCC, Celebration, etc. However it also means that there’s an emphasis on a wide breadth of tracks to cover almost every tangentially geeky topic there is to talk about, from the obvious sci-fi/fantasy titans (Star Wars, Star Trek, Game of Thrones, etc) to more niche interests such as puppetry or LAN gaming.
The Star Wars team in particular always puts on four days of incredibly high-quality programming and discussions, and as a frequent panelist with the Star Wars track my goal this year was to bring some of that fantastic discussion to Eleven-ThirtyEight. And in a year where the fandom at large has dealt with some serious discussions around toxicity and representation, it seemed fitting to put a focus on one of the more controversial elements from The Last Jedi: Vice Admiral Holdo.
So I now present to you the latest in ETE’s Aggressive Negotiations series: a transcription of the Vice Admiral Holdo panel from Dragon Con 2018, featuring myself and three other panelists unaffiliated with ETE. For those unaware, Aggressive Negotiations are raw, largely unproofed live chats among our staff and occasionally others. They are more off the cuff and unscripted with the goal being to present fandom in its most raw form.
The panel discussion originally took place on Friday, August 31, 2018. This transcription has been slightly edited for clarity.
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Second Look is Eleven-ThirtyEight’s biannual tradition of highlighting some of our most interesting pieces from recent months. Every day this week you’ll find a different older piece back on our front page for another moment in the spotlight. – Mike, EIC
“Luke Skywalker has vanished.”
The opening line of the crawl for The Force Awakens was like a gut punch to Luke fans everywhere. And not only was Luke gone, he’d apparently gone missing voluntarily, as a result of Ben Solo falling to the dark side and becoming Kylo Ren. For two years the fandom theorized not only on why Kylo became evil but why Luke Skywalker, Rebel hero and Jedi legend, has apparently given up. In The Last Jedi, we finally get those answers. Luke takes Yoda’s advice to “pass on what you have learned” to heart, but a split-second mistake on Luke’s part brings the whole thing crashing down. And as a result Luke decides to exile himself on a remote island and leave no trace of his whereabouts. By the time Rey finds him, he’s an acerbic, sarcastic hermit who in so many rude ways tells her to leave him alone and that he refuses to help Leia fight the evils of the First Order.
This seems a sharp contrast to the bright, shining figure we see in the original trilogy. Luke had hardships and made decisions that backfired on him, but he was never one to run away from a problem. So at first glance this seems like a long string of extremely out of character moments meant to create drama and difficulty for Rey and Kylo. However, when taking a deeper look at Luke’s character and personality in the original trilogy, his circumstances in TLJ are a natural extension of his character.
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Solo was a film that I never thought to ask for, but went in hoping for a fun summer popcorn movie. After the heaviness of both Rogue One and The Last Jedi, I was ready for a more lighthearted film with lower stakes that weren’t about the fate of the entire galaxy. And for the most part I got exactly that; it was fun, there was good cast chemistry, and it added to the world of the Star Wars franchise without trying to outdo the films and stories that came before it. But though I had a smile on my face for most of the movie, I cannot truly say that I loved it. Because it was also a movie that sharply reminded me that people like myself are generally not the ones making creative decisions in this franchise.
Solo, like so many Star Wars works that came before it, is one that was so clearly (painfully clearly) written by men. The treatment of two of the female characters in particular show the blindspots that come when you’ve never had to think about what representation means to you on a personal level. That doesn’t make it an irredeemably bad movie, or make them bad people, but it shows the limitations that result when you are used to seeing yourself, day in and day out, on screen and behind the scenes and don’t understand how much it means to finally have a character who looks and acts like you. And it’s for that reason that I cannot say that I love this movie. Like with many things in pop culture, it’s one that I like…with reservations.
And with Solo, that reservation is: this movie really let down its women.
Several large spoilers below, proceed at your own risk
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It’s no secret that when it comes to Star Wars, Dave Filoni is not shy about putting the “fantasy” in “space fantasy”. Between the numerous Tolkien allusions to interviews discussing his love of Miyazaki, Filoni has always placed a high importance on the fantasy elements of the Star Wars universe—namely, the Force. Both The Clone Wars and Rebels were not afraid to mix the more standard military stories with highly fantastical detours to strange and bizarre worlds that seemed to upend everything we knew about the Force.
And it’s therefore generally met by the fandom with a not-insignificant amount of skeptical eyebrow raises. While Yoda’s encounter with the five Force priestesses in the TCW Lost Missions was more or less well-received, the Mortis arc was firmly a “love it or hate it” storyline in the fandom, and Ezra’s experience in the portal universe is looking to be similarly divisive. It’s weird and confusing and doesn’t make a lot of sense at first blush…but I’d argue that’s exactly why Dave Filoni has the best approach when it comes to depicting the Force.
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