So, how much of The Force Awakens have we seen already?

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Remember when the theatrical trailer for The Force Awakens came out, and JJ said there wouldn’t be any more? That was a little over a month ago now, and it seems like every other day since there’s either an international trailer (semantics!), a new TV spot, or even an actual clip of the movie coming out. As the new bits and pieces continue piling up, lots of people who started out content to see whatever the marketing people chose to show us have begun wondering if enough is enough.

Going solely by videos on the official Star Wars YouTube account, there are four distinct TV spots so far, but that’s ignoring several others—some which are pretty new and perhaps just haven’t been added to the account yet, and others which are especially short and/or not very distinct from the others. All told, it’s hard to be sure exactly how many different spots are out there.

But what I’ve been wondering is, what does all this material add up to, in terms of actual content from the movie? It feels like we’ve seen a lot—and indeed, too much according to many—but how much distinct footage have we seen already, with a little more than three weeks until the film’s release? I decided to find out. Read More

On “Forwards Coordination”, and those other Star Wars Rebels comics

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When you’ve been an Expanded Universe fan as long as I have, the different tiers of canon become sort of a sixth sense. I’m partly referring to the old Lucas-era system of letter grading—G-canon for the movies, C-canon for the novels, and so on—but even now, in the post-reboot phase where everything is considered canon, the more jaded fans out there will be happy to point out that no big-budget film director is likely to change his story because of a line in a years-old novel. That was certainly true of the Thrawn trilogy and its ilk, but many see it as equally true for books like Tarkin or Twilight Company, both of which lay down a lot of pipe, so to speak, regarding the status quo of eras that could easily be the subject of a spinoff film one day. What will happen, on that fateful day? I don’t know, but at a minimum I can understand skepticism on the matter.

But in the meantime, that same forgone conclusion—that the different forms of media constitute a hierarchy rather than a totally level playing field—is already playing out at the fringes of the franchise. Last month saw the US debut of Star Wars Rebels Magazine, a very child-focused periodical that’s been coming out in the United Kingdom since January. The bulk of the magazine is simple puzzles and little splashes of trivia not unlike Adam Bray’s recent Star Wars: Absolutely Everything You Need to Know, but each issue also features an original twelve-page comic story, most by English writer Martin Fisher. The stories are simple, befitting their length, but they’re solidly told and with nice art (Ingo Römling’s in particular) to boot. Twelve pages is about half the length of an issue of a typical American comic book, and with issue #10 having hit the stands in the UK last month, that means these comics have amassed almost as much material on the lives of the Rebels cast as the ongoing Kanan series from Marvel.

But while the latter is written by one of the series’ creators and has even been referenced, if obliquely, in episodes of the TV show, the Rebels Magazine comics are hermetically sealed—they utilize the first season’s complete bag of tricks, but nothing gets out. Read More

On “Boycott Star Wars”, Chuck Wendig, and Strategic Avoidance

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As the release of The Force Awakens gets ever closer, Star Wars is reentering the public consciousness to a degree not seen since 2005—when Twitter and Tumblr didn’t exist, and YouTube and Facebook barely existed. Within Star Wars fandom, TheForce.Net was still the dominant fan news source, and Wookieepedia was a brand-new idea. For both real-world and internet culture, it was a very different time.

And now that it’s happening again, we’re seeing some growing pains as our beloved franchise reenters the mainstream. To my mind, another term for “mainstream” is “lowest common denominator”; and in addition to the many awesome new fans, we’re also earning extra attention from the worst people the internet has to offer—people who have had a decade to coalesce and to practice raising hell. Kathleen Kennedy, bless her heart, seems perfectly happy to challenge those people on every front, by not only adding several women and people of color to TFA, but putting them right out front—while at the same time, Star Wars is represented on television by a group of entirely nonwhite protagonists, and in publishing by more female Imperials than you can shake an E-11 at and more new queer characters than existed in the last thirty-plus years put together.

But this piece isn’t about character diversity and how cool that all is; we’ve made our feelings clear on that by now. Instead, I want to make a larger point that proceeds from diversity being self-evidently a good thing; in fact, that I don’t feel the need to argue that position right now is the point I want to make. Read More

A Special Kind of Crazy, or Why You’re Probably Not a Rebel

RogueSquadronPilotsPicture two people, waking up on an average morning.

Person A eats breakfast, brushes his teeth, and goes to work. Person B starts to make a cup of coffee on her hot plate (can’t remember the last time she had regular electricity) but suddenly the room shakes—enemy air forces have arrived and they’re bombing. Person A clears some early work from his inbox and decides he’s got time to run out to Starbucks to grab a pumpkin spice latte. Person B shoves her few belongings aside in a rush to her computer, frantically entering in the commands to wipe it clean as a near miss blows out all the windows. A has an important question for a co-worker across the hall, but they’re on a conference call so he sends a terse e-mail instead and spends the rest of the morning waiting impatiently for them to notice it and get back to him. B didn’t have time to tell her superiors she was bugging out, so she sneaks around the CCTV cameras to an alley with a good view of the nearest drop point (luckily, there’s a restaurant dumpster nearby and she’s able to scoop up a few handfuls of leftover eggs) to wait for her contact to happen by. A comes back from lunch to find his computer frozen, so he spends most of the afternoon standing over the IT guy’s shoulder and falling behind on his work. B dozes off around hour five of watching the drop but it starts to snow and the cold wakes her up and shitshitshit, there are fresh footprints—she missed her contact.

I don’t have to ask which of these scenarios more resembles your life; unless you live in Syria or the Crimean Peninsula, it’s almost certainly A. My question is, what would your government have to do for you to willingly give up A in favor of B? Read More

Context is Everything: The Minority Report, Year One

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Not only was Force Friday our first big taste of the sequel era, it was almost the exact one-year anniversary of the release of A New Dawn—and thus, the new Star Wars canon (or NEU, as some are calling it but I refuse to). I celebrated A New Dawn‘s release by officially launching The Minority Report, Eleven-ThirtyEight’s loose ongoing series of diversity-focused articles by myself and others. While the tag has been a useful umbrella for a variety of pieces, up to and including new staff writer Sarah Dempster’s recent (and hugely popular) piece Star Wars’ Intersectionality Problem, as I originally envisioned it, the series’ main recurring feature would be a discussion of my longstanding diversity scoring system. Diversity scores, according to my initial conception, are quite simply the percentage of a story’s cast that is anything other than straight, white human men—WHMs, for short. In practice, though, they’ve become anything but simple.

To wit: on the whole, this first year of the new canon has been like a breath of fresh air. While A New Dawn‘s diversity score wasn’t exactly a mic drop, the series it led into, Star Wars Rebels, has been nothing short of miraculous. While there have been a fair amount of WHMs among its Imperial cast (and it could definitely use more women in this area) the main cast of heroes doesn’t contain a single one—as confirmed on this very site by Pablo Hidalgo. Their ranks of our heroes have grown since the premiere to include aliens like Old Joh, Tseebo, and of course, Ahsoka Tano, and people of color like Lando, Bail Organa, and Commander Sato (and soon, at least a few aging clones). For one of the most heavily child-facing elements of the franchise, Rebels is guaranteeing that the newest generation of Star Wars fans will finally have no shortage of heroes who look like them, and it’s been thrilling to see. Read More