Tag: Second Look

The Clone Wars. The rise of the Empire. The Galactic Civil War. The formation of the New Republic. The resistance against the First Order. In a galaxy plagued by warfare and strife, few worlds have played such a pivotal role as Mon Cala. Its leaders, its peoples, and its starships have affected the course of conflicts and have fought tirelessly in defense of freedom and self-determination. Famous admirals like Ackbar, mighty starships like Home One and Raddus, and selfless leaders like Lee-Char have been key to the formation and success of the Alliance to Restore the Republic, the establishment of the New Republic, and the resistance against the depredations of the First Order. From the depths of Mon Cala to Endor and beyond, this is their story.

Calm Seas to Rough Waters

The world of Mon Cala, located on the edge of the Outer Rim, is far different from the mighty industrial planets located in the Core Worlds. Home to both the Mon Calamari and Quarren, this ocean world has extensive underwater settlements and surface cities designed for contact with off-worlders. Despite a past history of conflict, the Mon Calamari and Quarren established a joint society, under the guidance of a constitutional monarchy that provided a voice to all the settlements and peoples of Mon Cala. Renowned shipbuilders though they were, the Mon Calamari didn’t build large military starships. Instead, classes of exploration cruisers, merchant vessels, and passenger liners were the primary focus of planet’s famed shipyards.

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As Episode IX steadily approaches, a year and a few months away from release, debate around the parentage of Rey has continued almost unabated, arguably intensified by The Last Jedi’s “surprise” revelation. Some fans still seem to want an easy way to connect the dots from Rey to the core family of Star Wars, even indirectly, as if the term “Skywalker saga” was a mission statement rather than a convenient identifier.

Part of this stems from how the information is revealed in The Last Jedi: a terrific anticlimax, prompted by Kylo Ren. Prompted…but not issued. The text of Rian Johnson’s film builds this up and suggests it through Rey’s tendency to look for parental figures wherever possible, even when those whom she latches onto are inadequate in some way. The “reveal” isn’t some fake-out gotcha, it’s a natural progression from what we’ve already been given, albeit couched in Abrams’s typically coy storytelling tendencies in The Force Awakens. We’ve been conditioned to expect reversal, so much so that a greater surprise comes from straightforward progression.

In a way, The Last Jedi fleshes out the thread that can make the sequel trilogy a truly essential addition to the epic of Anakin and Luke Skywalker: a story of individuals within the galaxy far far away interpreting and reconciling the tales that have come before to carve out their own path. And perhaps the best torchbearer for this journey of interpretation, emulation and discovery is someone who is a nobody from nowhere, someone without the baggage that weighs so heavily on the new arch-villain Kylo Ren. Rey, as it turns out, operates very differently from her predecessors, the Skywalker boys. She is grappling with entirely different types of problems – no more or less difficult, but complex in a different way. To that end, the scenarios in which we find each of Star Wars’ three core protagonists when first introduced to them (chronologically) hugely inform their stories to follow, both in nature and resolution. In some ways, Rey is far ahead of the Skywalker boys when we first meet her. In other ways, she isn’t. It is this contrast that helps drive this new generation forward, and helps reshape what it means to be a Jedi with “the most serious mind”, and the appeal of a nobody in the galaxy far, far away.

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The Clone Wars is BACK. The most surprising Star Wars announcement of recent times has led to an outpouring of love for a series that remains an essential part of our understanding of George Lucas’s universe. Lucas told many more hours of stories in TCW than on the big screen, and one thing that extra time and space allowed him to do was fill in and refine his vision of Anakin Skywalker.

In Attack of the Clones, Lucas arguably showed his hand too soon. With the audience aware of Anakin’s fate, the shadow of Vader looms large, both in Anakin’s “joke” about dictatorships (run, Padmé!) and his heinous slaughter of the Tusken Raiders (RUN, PADMÉ!). The petulant teenage edge and creepy behaviour makes him hard to like, and there is a sense of something fundamentally “dark side” about him that everyone around him is crazy not to see. In Revenge of the Sith, we meet a different Anakin: for the first hour he is heroic, likeable and sympathetic, haunted by the fear of his wife’s death, a pawn in a political game between Palpatine and the Jedi Council. His fall seems to come from a place of good – albeit confused – intentions. Yet it happens extremely quickly. How could he go from “what have I done?” to slaughtering younglings in a matter of moments?

It is the “heroic” Anakin that TCW picks up and runs with. Dave Filoni revealed at Comic Con that his priority in casting Anakin was, above all, “likeability” – the charismatic Republic hero Filoni imagined as a child. TCW Anakin has a square jaw, a noble voice, and is in all respects the swashbuckling hero and hotshot pilot the original trilogy led us to believe he was. We are on Anakin’s side immediately, he’s a hero we can root for – a bit Luke, a bit Han, a bit Poe. From there, TCW adds flesh to the bones of his fall, rooting it not in a fundamental darkness – but in the very things that make him a hero.

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In the Star Wars Rebels finale, there’s a masterful use of Kevin Kiner’s score, which flips its meaning on its head.

Grand Admiral Thrawn is once again pontificating on his art collection, explaining to Ezra Bridger that even though his homeworld of Lothal is about to be destroyed, at least some of the culture will be preserved. It will be safe in the hands of the Empire. Ezra is less than grateful, and counters Thrawn immediately:

You think you can take whatever you want. Things you didn’t make. Didn’t earn. Things you don’t even understand. You don’t deserve to have this art or Lothal. ^[1]“Family Reunion and Farewell”. Star Wars Rebels. 2018.

As Ezra erupts into this speech, Thrawn’s theme begins building in the background. This track is primarily used to highlight when Thrawn is closing in on victory, usually as a result of his deductive capabilities. Here, it’s building to Ezra’s victory, a moral voice slapping down Thrawn’s entitlement to cultures not his own.

It’s a re-appropriation of art on a meta level, as Ezra stares into the face of colonialism.

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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

“The biggest problem in the universe is that no one helps each other” are words uttered by one of the more barbaric characters in the Star Wars canon. But freed of their heavily ironic context the sentiment remains at the core of what drives the story: conflict and action. That’s not unique to Star Wars by any means, and neither is the quote attributed to that character’s daughter in the original film’s novelization: “They were in the wrong place at the wrong time. Naturally they became heroes.” Both thoughts, however, would serve as highly appropriate taglines for Rian Johnson’s The Last Jedi, particularly when it comes to the newest addition that roster of heroes, Rose Tico.

Much has been made of The Last Jedi’s shunning of the typical conceits and objectives that drive people in Star Wars — this is of course done knowingly by Johnson as he comments on motivation and character throughout the feature, across all story lines. With Rose, he starts with as little as possible: she’s stuck on the boat with everyone else, her remit is extremely narrow (don’t let people inspect escape pods from the inside) — she has just lost her sister, yes, but there no natural outlet for action or resolution in the way that, say, Luke has Obi-Wan waiting for him back at the sandcrawler, or Rey has First Order troops hunting for BB-8. In establishing Rose’s involvement in the plot, Johnson inverts a key moment from The Force Awakens: the meeting of Poe and Finn. In that instance, individuals from opposing sides band together for practical purposes, in the interest of survival. There is of course the gag of Finn liberating Poe because “it’s the right thing to do.” Poe cynically sees through this and recognizes it for what it is, identifying Finn’s true need immediately.

Rose, on the other hand, is drawn into the fight because it is indeed the right thing to do. Her insight and knowledge grant her the opportunity to go along for the ride, rather than the luck she sheepishly attributes it to. Whether she or Finn are fit for purpose with regard to the mission they eventually go on is material enough for an entirely separate piece, but for her to earn her seat at the table on merit rather than potential, duty, or coincidence is a refreshing change. There is a lure of the swashbuckling derring-do that she (initially) so breathlessly admires Finn for, but her core drive is an idealistic one. This makes her a fine counterpoint to Johnson’s transformation of Kylo Ren into an ideologically-driven big bad for this particular trilogy, and lies at the heart of how this film propels the saga out of its dynastic dogfight and into something more essential.

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