Category: Scotch Tape and Popsicle Sticks

What is the point of Star Wars?

When I launched Eleven-ThirtyEight ten years ago, I thought I had the answer, though it would take another eighteen months for me to articulate it.

“When Luke Skywalker throws his lightsaber aside and refuses to kill his father, that’s not just Luke’s crowning moment—that’s the point. Only this expression of ultimate compassion has the power to bring Anakin back to himself, and the fact that the apotheosis of a series with “Wars” in the title is the two main characters throwing their own lives away out of love for each other cannot be overstated.”

Me, In Everything Disney Needs to Know, It Can Learn from Luke Skywalker

These days, I think it’s a little more complicated than that. Don’t get me wrong—if you asked George Lucas that’s probably about how he’d put it, and indeed he said as much to Charlie Rose around the same time:

“…everybody expresses it differently but it’s still, basically, don’t kill people, and be compassionate and love people. And so that’s basically all Star Wars is.”

George Lucas on The Charlie Rose Show, October 23, 2014

Luke’s refusal to kill his father is rewarded by said father saving his life, and for doing so at the cost of his own life Anakin is rewarded with nothing less than immortality—the very thing he’d gone to the dark side looking for. By choosing to end the stories of his two main characters this way, Lucas constructed Star Wars to articulate one specific idea: only through selflessness may we live forever.

Star Wars isn’t just an epic adventure story, it’s an argument by other means—an assertion of what Lucas had concluded was a universal human value. But after more than a decade without him at the helm, I’ve come to believe that he captured something even more universal than that. His galaxy’s unparalleled popularity around the world is due not to our ability to recognize and agree with his specific point of view, but to our ability to find within it that which we already believe. Whether the story intends as much or not.

Divorced from the whims of one quirky experimental filmmaker and given over to the expectations of Disney’s shareholders, the Galaxy Far, Far Away’s core functionality now stands revealed, for both good and ill: it’s a superficially-awesome blank slate. Freed of real history, real culture, even real physics, it’s a platform for stripping a storyteller of all artifice and revealing their core beliefs. It’s a story we tell ourselves about ourselves.

And I don’t know if you’ve noticed, but there’s not a lot of universal agreement about that these days.

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Late Monday night, a website named Above the Line reported that writer Damon Lindelof had “exited” the untitled Star Wars film project he’d previously been reported to be working on alongside Justin Britt-Gibson and director Sharmeen Obaid-Chinoy.

I’d never heard of Above the Line before this week but they style themselves as a “trade”, akin to much more established publications like Deadline or Variety. I don’t know if they’re anywhere near as reliable as the more familiar trades, but I do know that their Twitter account only dates back to October and as of this writing they have exactly 898 followers. Just last week Lindelof himself openly expressed doubts about his desire to move forward with the project at the South by Southwest festival, so for him to have officially stepped away now is certainly a plausible notion.

But I’m not here to raise any doubts about the report—one that, by midday on Tuesday, had been backed up by Deadline itself. What’s interesting to me about this news is that, Lindelof’s own comments notwithstanding, he was never actually announced to be writing a Star Wars movie in the first place.

No, this saga began in the trades and was developed further by the trades, so I suppose it’s only fitting that a trade should end it. My question for you, beloved reader, is: did all this reporting produce anything of value for us, as fans, in any way?

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Phase One of The High Republic has come to an end, and with that came the surprising announcement that Phase Two will actually be going back another 150 years, apparently to flesh out how certain long-forgotten events led to the mess our heroes are currently dealing with in the (relative) present day.

In this respect, The High Republic seems to be mirroring the release structure of the Skywalker saga, which introduced the battle against Emperor Palpatine in the original trilogy, then showed the origins of that conflict, then jumped forward again to resolve it once and for all, now with the benefit of hindsight.^[1]Depending on how one views the sequel trilogy’s efforts to integrate into the larger story an even more apt comparison might be machete order, in which the prequels are treated as an extended … Continue reading

If the creators really are intentionally mirroring the films, that suggests that Phase Three will be a conclusion of some sort—if not to the era in general, at least to the threat of Marchion Ro. For the purposes of this piece, I’m assuming as well that said conclusion will be meant to be genuinely happy, rather than the pyrrhic victory of The Phantom Menace; it’s fair to believe otherwise considering where things end up a couple centuries later, but it’s my feeling that they called this saga “The High Republic” for a reason, and the defeat of Marchion Ro will be presented as a rousing triumph of the Galactic Republic and its Jedi, rather than the first in a long line of compromises that will lead to the Empire.

Since we don’t know what we don’t know, it’s hard to say exactly what Phase Two will be about, what important context it will add to the story we’ve gotten so far. But allowing for the above priors, I have a pretty good idea of what the era is currently missing: a satisfying, multidimensional antagonist.

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The embodiment of evil in the galaxy lies disarmed at Mace Windu’s feet.

Ravaged by his own reflected lightning, Palpatine whimpers helplessly. Anakin Skywalker, standing uncomfortably close, insists that he live to stand trial. Mace swats the notion away: “He’s too dangerous to be left alive!”

Maybe he is, maybe he’s not. Maybe he’s faking his current weakness, maybe he’s not. With the entire galaxy hanging in the balance, Mace refuses to take that chance. After a moment of agonized uncertainty, he swings his lightsaber.

The saber connects. Palpatine has wagered everything on Anakin’s loyalty, and dies knowing he’s lost.

What happens next?

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AUs—alternate universes—are having a moment right now.

This is mostly Marvel’s doing, with the first season of Loki introducing several “variants” of the titular character and What If…? now doing the legwork to show how those variants might come about by changing one or two little details from the history we already know. Whether coincidentally or otherwise, Star Wars is now poised to dive heavily into AUs for the first time since D-Day with Star Wars: Visions, an anthology of anime shorts untethered by canon—some diverging in small ways (if at all), some existing in wholly different realities with only aesthetic and tonal connections to Star Wars as we know it.

While we’ve seen lots of ambiguously-canon stories over the years—from the recent LEGO games and specials all the way back to “Skippy the Jedi Droid” in the Star Wars Tales comics—that material has almost always been set in the familiar continuity, with its ambiguity stemming solely from a comedic tone. Only once before, with Star Wars Infinities, has the franchise so pointedly and prominently delved into AU storytelling. Where in Visions continuity is ultimately beside the point, Infinities was much more in line with Marvel’s What If…? model—picking a single point of divergence from the story of each of the three original films and then spinning out a whole comic miniseries from how that divergence might change the story.

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