Rebels: "Secret Cargo" (Ep. 3.18)

-- "I've begun to see this fight cannot be won in the Senate."

One of the things I've enjoyed most about Rebels (and Clone Wars to some extent, though this has been much more prevalent in Rebels) is the introduction of characters that we have known from the movies and getting to see where they came from and how they ended up who they are, especially with the more background characters. It gives an interesting perspective on how things turn out and gives us the opportunity to get to know some characters that we never had a chance to get to know before they died. They've brought in quite a few characters from red and gold squadrons that die in the assault on the Death Star. Gold Leader is in this episode, for instance.

But what we're really getting to see is Mon Mothma coming into the rebellion and pulling all of the disassociated rebel cells together into what will become the Rebel Alliance. I'm going to admit here that I have never been a huge fan of Mothma. In Return of the Jedi, she's overly stoic and devoid of charisma, enough so that it made me wonder (even when I was 13) how it was that she got to be in charge. I always felt that Leia would have been a much better choice. This episode, though, gives us some insight into how Mothma got to be in charge, and it makes much more sense with this as background.

Plus there's a lot of fun as the Empire pursues Mothma in the hopes of capturing her alive.
Most importantly, there's what may be the best animation sequence in one of these shows that I've seen. I don't want to give anything away, but it has to do with igniting nebula gas as a weapon. Really, so cool.

And, as I said last review, things are getting serious. It's time for you to start watching.

Rebels: "Legacy of Mandalore" (Ep. 3.16)

-- "Maybe things have changed. They might be happy to see you."

You know, crash landings in spaceships in the Star Wars universe is way safer than crashing a car here in ours. I mean, no one ever dies. Or is even hurt. Sometimes, the spaceships aren't even hurt that bad. I suppose 40 years of precedence is hard to overcome. No, I don't know why I've never realized this before, but this episode gets us going with a crash landing, and the realization sort of just hit me like a spaceship to the skull. Not only is everyone fine, but the spaceship doesn't need any repairs.

Anyway...

Mandalore has gone over to the Empire, something I'm not sure I've mentioned in any of my earlier reviews, and their armor looks pretty cool in white. Sabine has gone home with the darksaber to try to rally support to the Rebellion. Hi-jinks ensue.

By hi-jinks I mean betrayal and family conflict.

This episode marks a turning point in the series. I'm not sure what kind of turning point, but I will say that Ezra and Kanan leave Mandalore with only Chopper, leaving two of their companions behind.

Yeah, read between the lines; I'm not spelling it all out for you.

Or go watch the episode.

"Didn't you tell them who you were?"
"That's probably why they're shooting at us."

"That went better than expected."

"That was better?"

Blade Runner 2049 (a movie review post)

Before I get started, this review is going to be full of spoilers. FULL! Seriously. I want to talk about this movie that, really, disappointed me, and I can't do that without talking spoilers. You've been warned.

But let's talk about Blade Runner first, which I reviewed a couple of months ago but didn't go into much detail when I did. I'm about to change that, so, if you haven't seen that movie, either, you might want to skip all of this.

We all know that Blade Runner was a visual masterpiece. It has been considered one of the most influential sci-fi movies of all time. Not as influential as Star Wars, of course, but, if you look at sci-fi movies after Blade Runner compared to before, you can see the difference.

However, it was the visuals that made the movie what it was. It's never just the visuals. The thing that was compelling about the movie, the thing that made it a great movie, was the question... I'll say it like this: What does it mean to be human? Which is actually the summation of many questions: Do I have a soul? Why do I have to die? What happens to me when I die? These are all questions Roy wants answers to.

Not that the movie definitively gives answers to any of these question, which is part of what makes the movie so compelling, but the scene at the end when Roy releases the dove is poignantly symbolic.

Blade Runner 2049 fails at all of the things that made the original so great.

Rather than the gritty realism that was so enticing in the first movie, 2049 is immaculately polished. Even the grit is polished. It's the difference between a box full of rocks and a box full of rocks that have been through a rock tumbler. Sure, they're prettier than a box of rocks, but all of the realism is gone.

Like, all of it. I mean, what the fuck is with the orange landscape with giant statues of naked women in high heels in porn poses? We're supposed to buy that as any sort of realism? And don't give me any "well, it's the future" crap, because that doesn't make the idea of that any more realistic, especially since that place would have to almost already exist so that it could be abandoned for 20-30 years by 2049. And a lot of the movie is like that: "cool" visuals for the sake of being cool but with no anchor to reality or purpose.

Not to mention how full of plot holes the movie is. Let's just talk about my "favorite" one:

Wallace has finally caught Deckard and wants some information from him that Deckard won't give up. Wallace informs Deckard that he will have to take him off-planet to torture him so that he'll talk. Wait, what? He needs to take him off-planet to torture him? What the fuck sense does that make? Wallace has already killed someone in his office, and he wasn't too worried about that. Sure, she was a replicant, but the movie tries to heavily imply that Deckard is, in fact, also a replicant -- though without coming out and saying it (it's like the writer, Hampton Fancher, can't decide if wants Deckard to be a replicant or not and, so, doesn't want to nail it down in case he changes his mind later) -- so what's the big deal about torturing Deckard in a place where, evidently, he routinely commits murder? Or whatever you call killing a replicant. Retiring?

Plus, no one knows Deckard is even still alive. He disappeared 30 or so years prior, so it's not like anyone is going to come looking for him.

The whole scenario is ridiculous and contrived so that Deckard can be put in a position for K to rescue him, something that wouldn't have been possible within the confines of Wallace's headquarters. I hate contrived bullshit that writers use to get themselves out of a hole they've put themselves in.

Other stupid things I'm not going to go into:
The threesome K has with his hologram and a prostitute. Not just that it happened but that it was inserted at a time when K should have been fleeing for his life, but, no, he has time to stop and have sex with a fucking hologram!

The junkyard people who decide to shoot down a police vehicle for no discernible reason and the divine intervention exercised by Wallace's lackey to get K out of it. Literally, K just shrugs off the fact that missiles rain down on his opponents and goes about his business, no questions asked.

The fact that this movie is no more than a bridge to set up for a replicant rebellion story line.

But the worst thing about the movie? It has no questions. There is nothing in this movie to give it any depth or, pardon the pun, soul. Its attempt to come to grips with the question, "Do replicants have souls?" is clumsy at best and results in a miracle-baby-orphan-savior cliche plot. Seriously, that's the best you could come up with, Fancher? It's not like that hasn't been done to death already. The child even has her own scar, of sorts, to mark as special, to mark her as "the one."

When the best sequel you can come up with to one of the greatest sci-fi movies of all time is a cliche, maybe you should leave the original movie to stand alone. It didn't need a sequel. But, then, maybe you needed the money.

Clone Wars -- "Front Runners" (Ep. 5.2)

-- To seek something is to believe in its possibility.

[Remember, you can sign up to join the Clone Wars Project at any time by clicking this link.]

What I'm finding myself wondering as I'm watching this story arc is whether Saw Gerrera, as we saw him in Rogue One, ever knew that Darth Vader was Anakin Skywalker, one of the Jedi who trained him as a rebel. My understanding is that Saw goes on to be in Rebels, but I'm not that far into Rebels, yet, so I don't know.

The small force on Onderon has quickly become competent enough that the Jedi head back to Coruscant, leaving only Ahsoka to supervise the band of rebels fighting against the puppet government installed by Dooku and the Separatists. I'm sure the intention here is to mimic the way the CIA has helped to equip and train rebel groups over the last few decades. Ahsoka is there as an adviser, not as a participant. She can watch and defend, but she's not supposed to actively engage in the conflict.

This, of course, causes conflict for her because of her latent feelings for Lux.

All of that said, here's some outside info that you guys might find interesting (or some inside info, depending on how you look at it):
Saw and Steela were created by George Lucas, and this story line was his. It's considered one of the most important story arcs in the entire Clone Wars series, because it lays the foundation for the Rebellion and shows where and how it forms. This is where it all started. After digging up that bit of esoterica, I wonder even more about the question I started this post with. The whole thing becomes, well, rather ironic.

Clone Wars -- "A War on Two Fronts" (Ep. 5.1)

-- Fear is a malleable weapon.

[Remember, you can sign up to join the Clone Wars Project at any time by clicking this link.]

Season five starts with a... newly found special significance, the introduction of Saw Gerrera. Saw started his opposition against the Empire while it was still the Separatist movement, and we get to see those origins in this episode.

This is also a very relevant political episode, a social commentary on terrorism and how governments can, perhaps even, inadvertently create terrorist organizations. I think nearly all modern terrorists groups in the Middle East can be traced back to the 80s and the politics of Reagan. Sure, it was to "stop the spread of communism," but we gave them weapons; we trained them, look where that took us.

The idea to equip groups and offer training to them is, of course, Anakin's. He calls this supporting rebel cells. Some other Jedi, notably Obi-Wan and Yoda, worry about the creation of terrorist groups. I think we can see the seeds of the Rebellion being planted here, certainly where it pertains to Saw Gerrara. This should be an interesting arc...

The episode is not without personal conflict as well. Ahsoka has to deal with feelings of jealousy as she watches a burgeoning relationship between Steela Gerrera (Saw's sister) and Lux Bonteri, who also shows up in this episode. Oh, that Lux, always popping up in the strangest places!

All things considered, this is a much stronger opening episode and story arc than season four had.



"A means to an end, fear cannot be. Stop those who spread terror, the Jedi must."

Rogue One: A Star Wars Story (a movie review post)

Before I get into the review itself, let me say up front that I loved this movie. I was very trepidatious about this movie ahead of time. It's not like Gareth Edwards, the director, has made anything prior to this worth watching: Monsters was the cliche of every indie movie out there, full of dialogue that was written to verbalize the personal philosophies of the director, and boring; and Godzilla was... well, it just was. That coupled with the fact that Disney took the movie away from Edwards back in June or July to do re-shoots because it was testing so poorly with audiences leads me to believe that the quality of Rogue One is due more to Disney than to Edwards.

But I did love it. In so many ways, it was like being a kid again and watching Star Wars for the first time. Not in a nostalgic way, which is what Abrams was going for with Force Awakens (and which didn't work for me at all, because I don't want to see the same thing again because I already saw that movie(s), and Lucas did it better than Abrams), but in that way of seeing something new and brilliant for the first time. Something that excites you. Rogue One did that.

Which is not to say that there aren't plenty of nods to the original trilogy, but that's the thing: They are just nods, not throwing the same story back at us.

Rogue One sets itself apart from the very beginning: There is no opening crawl. The lack of it was... weird, and I immediately went to a negative space of, "Oh, man, this is going to be bad." It went on from there to offer place name subtitles, which reinforced that initial internal groan. The movie, however, quickly overcame those initial misgivings.

So what is there that I can say about it that is not spoilery? Rogue One gives us a real view of what the Rebellion is all about. I think there is a lack of understanding about how much Luke Skywalker changed the Rebellion and what it was. The Rebellion grew out of the destruction of the Jedi. We see that at the end of Revenge of the Sith, normal humans witnessing the destruction of the Jedi Order, the protectors of peace and freedom in the galaxy, and determining to resist and fight back... on their own.

Fight back against the Empire, which includes both the Emperor and Darth Vader. With no Jedi.

That's the world we find ourselves in, and there are no holds barred. As such, this movie is... there's no other word for it than brutal.

And it's excellent.

The cast, also, is great. Felicity Jones, whom I was also trepidatious about after her performance in The Theory of Everything (which probably wasn't her fault; it just wasn't a very good movie, and her role was rather weak), performed admirably as Jyn Erso. There's not a moment when you don't believe she is not a strong, street-smart young person. You can tell she is trouble right from the beginning of the movie, unlike Luke.

In fact, there are so many great performances (from the most diverse cast of any Star Wars movie and, possibly, one of the most diverse casts of any movie (no, I haven't done the research on that, but, at least, on the rebel side of things, there are virtually no white, male cast members, highlighting the white male human supremacy of the Empire)) that it would take too long to go into them all. The only performance I was disappointed in was that of Forest Whitaker, an actor I really like, but I think that was mostly due to the very brief screen time the character of Saw Gerrera was given.

This next thing might be considered a spoiler, but it's something definitely worth noting, especially since, as far as I can tell, no one is talking about it. At least, no one is talking about it in any of the more mainstream reviews that I've seen.
Rogue One contains what I believe is the first homosexual couple in Star Wars: Chirrut Imwe and Baze Malbus. It's not explicit, which is what makes it beautiful. These are definitely two men who care deeply for each other, and I think anyone would be hard pressed to make the case that they are just "good friends." Not without some creative bending of the facts. They bicker like an old married couple and are just as affectionate. And I would really like to delve into this more, but I really can't without giving actual spoilers. Maybe I'll come back to it at a later time.

Unfortunately, I haven't had time, yet, to go see the movie for a second time, but I have a great desire to. I walked out of this one wanting to go right back in, and that desire hasn't diminished. At the moment, Rogue One is in my top three Star Wars films. It will hit you on a visceral level (my wife cried often during the movie) and leave you not knowing what to do with yourself. Other than seeing it again, that is. There's more I could say about that, but that, also, would be a spoiler. It shouldn't be (because no one ought to actually be surprised at the ending of the movie), but it would be. Just go see the movie. If you are at all a Star Wars fan, you will in all likelihood enjoy the movie immensely. If you don't like Star Wars, you might like it anyway.

It's that kind of movie.

Angels Unbound: Penemue (a to z) and Clone Wars -- "Supply Lines" (Ep. 3.3)

Penemue
Penemue, "the inside," another member of the Hand. He was both an Observer and a member of the Labbim, the Order of Healers (healing Angels). He first stepped outside of his role as an Observer by teaching men to write and of the making of ink. It is thought that he, in his role as a healer, was attempting to cure men of their stupidity.


Clone Wars

-- Where there's a will, there's a way.

[Remember, you can sign up to join the Clone Wars Project at any time by clicking this link.]

This episode is interesting in that it serves as background to the very first Clone Wars episode, "Ambush," and as background to the season one Ryloth story arc. It's a bit like getting to go back to the fork in the road to see how one event caused two separate outcomes. Also, there's a death of a Jedi, never an inconsequential act.

We get to see Bail Organa in his role as a diplomat rather than the usual portrayal of him just as a senator. I tend to like the Bail Organa stuff, because of his importance to the formation of the Rebellion. It's good background to have.

And there's Jar Jar. This episode provides an interesting look at Jar Jar as Organa turns Jar Jar's generally perceived weakness into a strength that allows him to put one over on Lott Dod, and Jar Jar's in on the plan.

While this episode is fine to watch on its own, I think it can be best appreciated if you've already seen the episodes it leads to.

Angels Unbound: Eremiel (an a-to-z post)

Eremiel
After the rebellion of Lucifer, Eremiel was set as the Watcher Over the Abyss or, as the Angels called it, the Pit. He was respected. The Angel of Hope. He was the Angel of Hope because, after the creation of Man, he kept the Demons from the Pit from getting to the souls of the dead waiting for Judgement. He was the Thunder of God and matched Barachiel, the Lightning of God. He was all of those things. Then he met Kasdaye...



Already released:

Rebels: "Droids in Distress" (Ep. 1.2)

"Your formal Jedi training starts tomorrow."

"Droids in Distress" actually opens with the distress of Ezra, distress over not being taught to use the Force by his would be mentor Kanan Jarrus, but it quickly moves to the distress of the entire crew of the Ghost as they lament over needing a job or not being able to keep the ship running. [I was strongly reminded of Firefly during this whole exchange.]

The droid part doesn't start until they actually begin their job, which is when we... Well, let's just say I was surprised to run into R2-D2 and C-3PO, basically, right off the bat for the series. They are the droids who are in distress. Okay, C-3PO is the droid who is in distress, but what's new? Of course, C-3PO believes that R2 is also in distress but, as we find out, R2 is really on a secret mission. Also sound familiar?

The episode gives us some the background for Zeb, one of the remaining of the Lasat. We get to find out why. I'll be interested to find out how this particular thread develops. It seems to me to be more along the lines of what Lucas originally had intended for the wookies before Chewbacca happened to them.

There's also what we'll call a cameo appearance by Bail Organa, somewhat like the way he shows up at the end of Revenge of the Sith. Organa was one of the movers behind the Rebellion, so I'm curious as to how often he's going to show up. I think my vote is for "more often," as long as he doesn't become some kind of deus ex machina device.