Last Tuesday, January 31st, was the twentieth anniversary of the release of the Special Edition of Star War—ahh, I mean A New Hope. While the exact date I saw the thing is lost to history, this anniversary is doubly important to me, as it’s the twentieth anniversary of my own Star Wars fandom. Being a contrarian, I’ve always had a special appreciation of the fact that the thing that got me into Star Wars was seen at the time (and still by some) as controversial, even sacrilegious.
Can I appreciate the argument against Greedo shooting first? Sure. But if George Lucas hadn’t been nitpicky enough to want to make that round of changes—not the first round, but definitely the most high-profile—who knows if I’d ever have found an excuse to watch the original trilogy at all? Who knows if I’d have gone to college for Visual Effects, a decision to which I can trace almost everything about my life today? And of course, who knows if this blog would exist?
I did eventually learn how it felt on the other side of the fence, though—when Hayden Christensen was added to Return of the Jedi, it bugged me not so much for philosophical reasons, but because Hayden doesn’t seem to have any idea what’s going on in the take they used (the rumor is he didn’t realize what he was being filmed for) and it takes me out of the moment. I can’t stand the blu-ray version of Obi-Wan’s krayt call, and the less said about Vader’s “nooo!” in the blu-ray version of Jedi, the better. » Read more..
Jay: THIS WAS THE EPISODE I WANTED SINCE SEASON ONE.
Let me explain. I always wanted a Sabine-centric episode like this. We got a few, but I wanted to learn about Sabine the same way we learned about Ezra. We got her story teased instead: Imperial Academy references early on, and we knew she was a Mandalorian, and something happened with her family. But that’s it. The episodes were as tight-lipped about Sabine’s background as Sabine herself was. And despite our impatience, it makes perfect sense: Sabine doesn’t just volunteer this information. It’s a slow burn, once she gets to trust you.
But here there was a payoff and boy was it a payoff. This episode was elegantly simple: the training was the entire plot, so it could focus on character work. It meant there was room for it to be an ensemble episode: Ezra, Kanan, and Hera all got great character moments in addition to Sabine. And we learned a ton about Sabine, featuring some of the finest character work yet seen in this show. For my money, this was the best episode in the series to date.
We saw the characters engaging with their histories and biases, engaging with each other — having flare ups and drama. And goodness, if there was any episode to get on the day of the Women’s March, this was it. In addition to Sabine’s history, I love that Hera both called Kanan on his crap and also helped Sabine out as well.
Goodness, what an episode. » Read more..
Eeeeevery once in a while, Reddit produces something good. About a week ago, a user in the Star Wars subreddit posted a gif highlighting a particular background Mon Calamari actor in Return of the Jedi who was apparently given the direction “look confused“, and stuck with that strategy throughout the Battle of Endor. The gifs quickly jumped to Star Wars Twitter, and we all had a good laugh. Totally pointless little detail, but it brightened everybody’s day for a moment.
It called to mind an old memory of mine from way back when The Phantom Menace came out. As the first, and weirdest, Star Wars prequel, TPM was notable for just how little context we had for everything that was happening—far more so than for The Force Awakens, even. So it was that I (or maybe a friend I was with?) noticed the little PK droids in the background of the Trade Federation battleship and said “oh look, baby stormtroopers!” Obviously that wasn’t the case, but the notion that stormtroopers began life as these little dudes who did grunt work for the Trade Federation has stuck in my head all these years. To this day, I can’t help but notice them in the background and smile to myself, though no amount of explaining could ever really get across to somebody why I find them so amusing.
Star Wars is rife with little things like that; moments of whimsy, as George would say. And with all the weighty developments both in- and out-of-universe lately I thought it’d be fun to lighten up for a moment and ask the others: what’s the one little detail in the films that cracks you up every time? » Read more..
Mike: While last week’s two-parter obviously had a much more overt link to the larger narrative of the Rebellion in the form of Saw Gerrera, this episode struck me as having much more to say about the war itself, via the Empire’s differing approach to finding rebel bases here compared to the opening of The Empire Strikes Back. At first I wasn’t crazy about the idea of an Imperial probe droid stumbling upon Atollon so soon, and I’m still not a fan of the possibility that the Phoenix cell will eventually flee Atollon for Yavin (though that’s another topic entirely), but as the episode unfolded I caught lots of key details that changed how I saw what was happening.
First of all, of course, it’s not a probe droid—not technically. This thing is designated an “infiltrator” droid, and rather than immediately report its findings, it’s designed to blend in at any potential base for an indeterminate amount of time. While both it and the probe droid have self-destruct mechanisms, the infiltrator’s is substantially more powerful. I could be wrong, but this suggests to me that it may well have been designed to transmit its findings to the Empire and then go ahead and detonate itself anyway.
Why wouldn’t they want the standard probe droids to do that, too? Paradoxically, I think the more bad-ass infiltrator model implies that the Empire, even Thrawn, isn’t taking the rebels as seriously yet as they are in ESB. Where probe droids appear to be more basic models built to cover huge areas of space without actually engaging in hostilities, the infiltrator plays a more delicate game, and could have taken Chopper Base out all on its own—or at least, that’s what it’s designed for. » Read more..
Pablo Hidalgo is one of those folks worth following on Twitter for the more trivia-inclined Star Wars fan. He’s noted numerous times in the past that things and events would start to pay off more and more, that we as fans would begin to understand some of what Lucasfilm have been building toward. In the tweet I linked specifically, he was talking about Hera mentioning Mustafar at the end of Star Wars Rebels’ first season as the planet where Jedi go to die, which we learn in Rogue One is because that’s where Darth Vader has taken up residence. But that’s far from the only way Rebels has tied in to the other Star Wars media emerging around it.
Something Pablo and the other members of the fabled Story Group™ have been focused on facilitating is a new, unprecedented level of collaboration between the creative minds and licensees who have their hands on different aspects of the universe. Ideas, characters, story beats and many other things have cross-pollinated from comics to video games to books to film and TV. For the most part, in the previous continuity, this sort of thing was limited to cameos, Easter eggs and the odd reference while authors kept their own stable of characters and events in their corner and George Lucas’s work largely held a monopoly on center stage. Any collaborations were made at an author level, with friends sharing ideas, or ad-hoc retcons that bent things over backwards to try and make ideas fit together that were never intended to. Now, it’s very different.
This week in “Ghosts of Geonosis”, we not only had Saw and Rex reuniting, tying things back to The Clone Wars with their reminiscing on the conflict on Onderon and the death of Saw’s sister, we had a dizzying amount of other call-outs to events and stories in the future, most of which were laden with dramatic irony for the audience: Saw’s growing fanaticism. The lone Geonosian queen egg. Bail Organa appearing with Sato. And of course, the symbol of a circle within a circle. All of this is being coordinated from the top down, story ideas that were created, established at certain points in the timeline, and then seeded out among comic writers, filmmakers and other creatives so they could construct their stories around it as if it had already happened. » Read more..