Black Panther (a movie review post)

 

MCU #18

It was a little bit difficult returning to Black Panther what with the death of Chadwick Boseman. It just made me sad. You can look back at my previous "review" here, which was less a review and more of a discussion of the cultural impact of the movie.

Four years later: What is the cultural impact? It's a little difficult to say. We've had the death of Boseman and a pandemic, which may or may not have affected the way people go to movies for all time. That's also difficult to say. We have had both Shang-chi and Eternals since the release of Panther. Would we have had those without the overwhelming success of Panther? Eternals, maybe; Shang-chi, certainly not. It's true that my prediction about the movie may have been lofty, but it's still too early to tell. And the death of Boseman and the pandemic have certainly changed things. I'll know more when the next Panther movie comes out at the end of the year.

I'm again not going to really review this movie, but I will talk about some things that stood out to me this time.

1. Why is Martin Freeman given such a prominent role? Don't get me wrong, I like Freeman, but I don't understand, exactly, how or why he ended up with the role he has in this movie. He gets to be the hero of the "space battle," and I'm not really sure why.
2. Speaking of the "space battle," I realized that Black Panther has the classic Star Wars finale:
-- Jedi Battle (in this case between Panther and Killmonger)
-- space battle (where Ross has a dogfight and shoots down the weapons supply ships)
-- ground battle (where the... you know, where everyone else fights)
I was a little bit surprised when I had this realization. I mean, this is such a Star Wars thing that one of the Star Wars CCGs adopted this as their playing format. Now I'm wondering if any other movies have used this format. Does it pre-date Star Wars? I've never really contemplated this before and am vaguely curious. Probably not curious enough to do any research about it, though.
3. Monarchy. For such an advanced society, why is Wakanda still stuck in a hereditary monarchy model? And, on top of that...
4. Leadership by combat? I mean, that is the absolute worst. I'm actually having a hard time, now, with the idea that T'Chaka was able to hold onto his kingship into his old age. Or maybe that trial-by-combat thing was only once, unless challenged by a blood heir, but still...
We saw how that worked out.

I'm kind of hoping that the next Panther movie will introduce some governmental reforms, but I'm kinda doubting it.

Don't get me wrong, I get that it made for a good movie. Lots of tension and action and all of that stuff but, as a working model of government, Wakanda needs some help.

All of that said, the movie still holds up. It was great fun to watch. I love Boseman. And am sad. I love Serkis' Klaue. He is possibly the most fun villain the MCU has had. The scene where he runs out of the club yelling, "That was awesome!" is kind of priceless. Forest Whitaker is in a second role with Disney in which he sacrifices himself. Well, the cast is stellar all around.

Of course, now I have to work it into the rankings which is a thing that keeps getting harder and harder to do. Not to mention needing to come up with a way to slam Norton. But here goes...

The rankings!

1. Captain America: Civil War

2. The Avengers
3. Captain America: The First Avenger

4. Spider-Man: Homecoming
5. Captain America: The Winter Soldier
6. Iron Man

7. Black Panther

8. Doctor Strange

9. Ant-Man

10. Thor: Ragnarok
11. Thor: The Dark World
12. Thor

13. Guardians of the Galaxy

14. Avengers: Age of Ultron

15. Guardians of the Galaxy Vol. 2
16. Iron Man 3
17. Iron Man 2
18. Incredible Hulk (Norton's ego is stronger even than vibranium.)

(You may notice that the #3 spot is no longer a tie. I feel that Captain America is slightly stronger as a movie despite my love for Spider-Man. That said, if I could put the Sony Spider-Man movies on here, Spider-Man would make the top three, for sure. Man, I need to watch that one again.)

Shang-Chi and the Legend of the Ten Rings (a movie review post)

 

I suppose I can't get into this review without at least mentioning that this is the first movie I've seen in the theater since 2019. It was a weird experience, and I think I have lost my love of "going to the movies" over the last year and a half and not just because of the pandemic, but that's a completely separate topic.

Shang-Chi and the Legend of the Ten Rings is quite possibly Marvel's most complex movie yet, not so much as far as the movie itself goes but its process for coming into being. Shang-Chi, as a Marvel character, has his own complexities, not the least of which is having nothing to do with the "Ten Rings."

And this is where I really want to get out into the weeds and talk about The Mandarin and things which, ultimately, have nothing to do with this movie yet which I find fascinating. Maybe some other post. Let me skip through all of that by saying this:
As an adaptation, Shang-Chi is a poor one. Other than his skill in martial arts, there is nothing to connect the character from the movie to the character in the comics. And I don't care at all.
From me, that's significant, because I am always looking at how adaptations stray from the source material. So a few things here:

1. I never followed Shang-Chi. His series had been cancelled before I seriously got into comics, and I think I probably don't own a single issue of The Hands of Shang-Chi, Master of Kung Fu, a cumbersomely long title if there ever was one.

2. Shang-Chi's origins are... problematic, at best. On the one hand, Marvel was trying to be more diverse. On the other hand, they were trying to capitalize on the Kung Fu craze of the 70s. Also, Roy Thomas, then editor-in-chief of Marvel, insisted that Shang-Chi be half white, over the objections of the character's creators. 
3. The Shang-Chi of the comics had no connection to the Ten Rings, which was supposed to refer to the Ten Rings of the Mandarin, but The Mandarin, as a character, has become problematic, despite his long history in Iron Man, and this movie became a way for Marvel to address some of those issues.

Looks like I'm getting out into the weeds anyway, so let's just get back to the movie: It was fabulous. Sure, you might say, it's Marvel; of course, it's fabulous, but they took a lot of risks with this one, and it could have flopped entirely, just failed to work, but Marvel is proving to be adept at going in new directions while holding course to their vision. Despite cameo appearances from Banner and Captain Marvel, this is an Asian movie, almost entirely. The only white actor of any consequence is a henchman.

Simu Liu is great. This is my introduction to him as an actor, as I'm sure is the case for most viewers, and he was a good choice. I can't say how good he was as an actor since I have nothing to compare the performance to, but he was engaging. Awkwafina was fun and a savvy choice by Marvel. She has such a distinctive voice and she gave resonance to another recent Disney movie she was in, Raya and the Last Dragon.

Michelle Yeoh was absolutely perfect. Have you ever left the salt out of a recipe? I think not having her in this movie would have been akin to forgetting the salt. It made me want to go back and watching Crouching Tiger, Hidden Dragon again. Which, you know, was probably an intentional consequence. Not watching it again, just bringing up the feelings, the magical realism, of that movie, because Shang-Chi has its own share of that, and Yeoh just brings it back to earth. I hope her introduction in this movie is just a precursor to future Marvel involvement.

Then there is Ben Kingsley. I'm not going to try and pretend that I was much in favor of what Marvel did with Kingsley and The Mandarin back in Iron Man 3. At the time, I was very much WTF Marvel. But I don't want to get off on Iron Man 3 at the moment. That will come later. Anyway... Kingsley is such a serious actor, pretty much all the time. His role as Trevor is just not like that, and, honestly, it's really refreshing to see him playing this character. It shows he does actually have range as an actor other than being super serious or being the super serious villain. I enjoyed him immensely.

Clearly, this post-Infinity War material from Marvel is dealing with a lot of new stuff. Marvel is redefining the MCU after the loss of three of its central characters. I have hypotheses, but I'm not going to throw them out in a this review. That would be going into the weeds in a different direction.

The take away is this: Shang-Chi is excellent. If you're into martial arts, there's almost no way you can't enjoy this movie. If you're into the mystical, you should love this movie. If you love Marvel, you will love this movie. And, perhaps most importantly about Shang-Chi: It's an excellent stepping on point for the Marvel movies. Being 25 movies in, I think it can be daunting for newcomers to the franchise. That's a lot of movies, and they're being augmented, now, by the various series on Disney+. You don't need any of that to watch Shang-Chi. The story itself is self-contained. There's just enough flavor from the rest of the MCU to make you curious but not enough to be confusing or make you feel like you're missing something.

My problem right now? I want to see it again, but I don't want to go back to the theater to do it.

Cocktail Sundays: Hondo Ohnaka's Space Punch

 

Before anyone says anything, yes, I have intended to do these cocktail things more frequently. The thing is is that I like to be able to do a whole photo thing of making the cocktail (like in the previous cocktail post), but it's winter so the lighting in my house is shit. No, wait, the lighting in my house is shit but, during the summer, enough light comes in through the skylight for me to be able to take pictures in my dim little cave. During the winter, though... well, it's dim in here all the time. Basically, I haven't been able to take photos, so I have been reluctant to do anymore cocktail posts.

But I have this new cocktail that I've come up with that I really like, so you're getting a picture of Hondo, since that's cocktail appropriate. I suppose you don't really need the pictures of me putting the drink together, anyway.

First, some background:

As I've mentioned, my wife got me this book, Smuggler's Cove, and we've been experimenting with the cocktails. It's been a lot of fun trying the different cocktails and inventing my own. Part one of this cocktail came from one called "Center of the Galaxy," which was inspired by the discovery that a primary chemical compound in the center of our galaxy has a raspberry flavor and the smell of rum. However, I didn't particularly care for the cocktail. Well, it's a fine cocktail; it's not like it was bad; it just didn't really do it for me.

Once we'd tried the "Center of the Galaxy," it just kind of sat around in the back of my head: you know, good concept, poor execution. Then I re-happened upon a cocktail called "Hondo Hattie's Jungle Punch," a cocktail appropriately created for Disney for some party or other related to their jungle ride. As a side note, Hattie's cocktail contains Velvet Falernum, an alcohol I don't really care for except in this particular drink.

I don't think I should need to go into any long explanation about what happened next. Let's just say it was clear to me that Ohnaka needed his own punch, being a space pirate and all -- and you know about pirates and rum -- and I set about to make it.

And I did, too!

I'm pretty sure my wife thought I was crazy through this whole process but, then, she doesn't understand Hondo Ohnaka, one of the best side characters in the Star Wars universe. The drink did take a lot of editing... um, wait... revisions...? Permutations!? I'm going to go with permutations. Here is what I settled on:

Hondo Ohnaka's Space Punch

1oz lemon juice

1oz cinnamon syrup

1/2oz curacao

1/4oz tawny port

1/2oz velvet falernum

1/4oz raspberry liqueur

1/2oz Licor 43

1/4oz allspice liqueur

2oz Eclipse (the rum)

2 dashes of angostura bitters

This is, actually, my favorite drink at the moment, not just some, "Yeah, this is okay," kind of thing. "Yeah, this is okay" drinks are fine and all of that. You have to have some of those just to mix it up some and to remind you why it is you like your favorite drinks. This one is well above that for me and is going to end up being something I keep the ingredients around for all the time.

Which is saying something because, as I stated, I don't care for Velvet Falernum, and I also don't like tawny port. Before I came up with this drink, I had planned to not buy those two things again. Further proof that sometimes things you don't like can work together to make something really good.

Now if my kids would just figure out that vinegar works the same way...

Clone Wars -- "Gone with a Trace" (Ep. 7.05)

-- If there is no path before you, create your own.

All right, a new episode!

Meaning there will be no referring back to anything.

Ahsoka pretty much dropped off the map after she left the Jedi. I think that was at the end of season five, but I could be mis-remembering. At any rate, she was pretty much never mentioned again after she left, which was more than a little disappointing. She was the heart of the show in many ways, and definitely the lens through which we viewed Anakin. She's back in this episode and it seems that it picks up not long after her departure.

Let's talk about something else for a moment.

The last game project under development from LucasArts before Disney pulled the plug on them was something called 1313. There was a lot of excitement over this game because it was going to take Star Wars gaming in a whole new direction. 1313 referred to a level of Coruscant, or something like that, which was a bad place to be. We were going to get to see the underworld, or underbelly, of the capitol of the Galaxy, and it was going to be a big deal.

Was.
Because, and I still really don't understand this, Disney shut LucasArts down when they bought the franchise. Not just that game, the whole company. But whatever, I guess; it's not like I'm really a video gamer at this point in my life. I mean, I'm about to be the only person in my family not playing Animal Crossing.

So Ahsoka leaves the Jedi Order and where does she end up? Down on 1313, of course.

And, really, that's all there is to say about the episode. Ahsoka meets a friend and hi-jinks ensue. Her friend, as all of the residents of 1313, don't think much of the Jedi. Mostly because the Jedi don't think much about them, as in the Jedi don't think of them at all. 1313ers consider themselves forgotten. Needless to say, Ahsoka doesn't let on about her ties to the Jedi.

"I don't have much in the way of credits."

"Don't worry. Down here, no one does."

"I don't know where you're from but, down here, everything has a price."

"I can only take so many punches to my head and still be considered a pilot."

Clone Wars Season Seven: Some Thoughts

The Clone Wars has been one of the finest animated TV shows ever created. Not because it's Star Wars but because it actually deals with some of the difficult questions in life, usually without flinching, and in a way that kids can usually understand. It's a very adult show made with the knowledge that kids would be watching it. It didn't "dumb down" for them, but they did make it to be accessible to them. It didn't restrict itself to being episodic, unlike Rebels, which held to that formula steadfastly.

Look, I'm not saying that Clone Wars is, like, Animaniacs or anything, but I do actually find myself wanting to go back to Clone Wars more often that I want to sit down and watch a bunch of Animaniacs episodes.

I've already talked before about what happened to Clone Wars and the final half season, season six. Also, I watched and reviewed the unfinished episodes provided on starwars.com back when they were released on there. Now that Disney+ is available, they've gone back and finished the animation on those episodes and added a few more to round out this "final" season of the show. I say "final" because I'm really hoping that if it does well enough, Disney will decide to continue the series.

Or maybe they don't need to? I haven't watched Resistance yet, so I don't know if it's a successor to Clone Wars or Rebels, though, looking at the animation, I'm going to guess Rebels.

What I'm saying here is that I want a Star Wars show that tackles difficult topics, tells meaningful stories, and remains fun to watch. So far, only Clone Wars has accomplished that. Maybe The Mandalorian will rise to it, but I'm kind of doubting it. It's going to be a fun romp, but I don't think it's going to be a show that embraces moral dilemmas beyond the basic conflict of the bounty hunter turned protector.

All of which is to say that I'm excited to get back into Clone Wars for this final season.
And, just to note, with the episodes that I've reviewed in their unfinished formats, I'll provide those reviews along with any new thoughts I have.

Rebels: "Ghosts of Geonosis: Part 1" (Ep. 3.12)

-- "There are times I hate being right, and I hope this isn't one of them."

I guess we're on a dead planet kick: Dathomir last episode, Geonosis this episode and next. Wow! The Clone Wars really left a lot of dead planets. Which makes me wonder about the "current" state of Mandalore. The original conception of Boba Fett was that he was the last of the Mandalorians, but so much of that got changed in the prequels and the subsequent Clone Wars episodes dealing with Mandalore that I'm sure what the current status actually is. I'm not even sure the Fetts were supposed to be Mandalorian at this point.

None of which has to do with this episode at all.

So getting back to Geonosis, a great place for a vacation home!
If, you know, you like absolute solitude. That is until the zombie bugs come for you.
None of which are in this episode.

But Saw Gerrera is in this episode! And he's looking more like how he looked in Rogue One than he did last time we saw him. Saw's an interesting character, one who could probably support his own series. [Hear that Disney? Give us a Saw Gerrera series!] He's gone missing on Geonosis investigating the disappearance of the entire population of the planet. And what do you do when your team investigating a disappearance also disappears? You send more people, of course!
And Jedi, if you have them.

Not that the rebels have actual Jedi, but they have the closest thing to it that's left in the galaxy.

I'm sure all of this is leading us toward the Death Star and Rogue One, but that's just a guess.

"They kind of look like battle droids to tell you the truth. Ugly battle droids that smell."

"Honestly, I was hoping I'd never have to come back to this dust bowl."

The Lego Movie 2: The Second Part (a movie review post)

I'm just going to get it out of the way that Phil Lord and Christopher Miller are not some of my favorite movie people, as I talked about in this post. That doesn't mean they're not good at what they're good at, though, and, evidently, what they're good at is writing comedies. [Come on, Disney, what made you think these guys were capable of helming a Star Wars movie? Maybe a Lego Star Wars movie (why aren't you doing that?), but not a franchise film.] All of which is to say that The Lego Movie 2: The Second Part is almost as good as the first one.
Almost.

There may be some spoilers in here. Okay, I lied. There will be some spoilers in here.
You've been warned.

The first issue with the movie is that it jumps ahead five years. On the surface, this isn't an issue; however, when you look at the movie in the context of the outside world it's set in -- and you have to, because this one breaks that barrier much more heavily than the first -- you have to reconcile the idea that the brother and sister have been having this conflict over Lego and sharing and playing together for the entire five years and the mother is only just now at her breaking point? Do Lord and Miller even have kids? [No, I don't care enough to look that up.] This idea is dumb.

So is the idea that Finn (the boy) has being playing at Apocalypseberg for five years. And maybe he hasn't been, but it's certainly implied.

And, again, do Lord and Miller even have kids? Because when Finn goes to Bianca's room and smashes her Lego construction [Her personal Lego in her room! Because let's get this straight, the Lego that Finn plays with are his dad's! It was his dad's stuff that he was allowed to play with but, evidently, despite the message that Bianca was going to get to share in that endeavor, she's been isolated to only playing with her personal stuff in her own room for the past five years AND NO ONE HAS DONE ANYTHING ABOUT THE FACT THAT FINN IS A DICK!], she is punished right along with Finn. As a parent, I'm appalled by this, the fact that Finn got off Scott-free for smashing her stuff.

The other story issue with the film is the increasing frequency that the Minifigures are able to see into the human world. I believe that happens once in the first movie? During the climax, Emmet sees into the real world briefly and sees the father/son conflict. Something like that. I haven't seen it again since it seeing it in the theater and don't quite remember. However, in this one, any time the story is at a sticking point, there's a glimpse into the real world to push it along. And not just from Emmet, which I find problematic since that was supposed to be his special ability. Now it's just a plot device.

All of that said, when they stick to what's going on in the Lego world, everything works fine. The humor is good, and it's an enjoyable film. Probably, these things that bother me aren't going to bother anyone else. Or even be noticed by most other people.

The voice acting was fine. I suppose Chris Pratt deserves a special shout out for doing two characters and having the non-Emmet character not sound totally like Chris Pratt. Of course, I don't actually know if that was due to voice acting or if it was due to sound engineering. But, if it was him, he did a good job.

And I didn't even realize that Unikitty had an actual voice actor but, then, I wasn't really aware of Alison Brie five years ago. Okay, that's not true, because we watched Mad Men, but she didn't impress me in that. Since then, though, I've been very impressed, and her Unikitty voice skillz are pretty mad.

So, yeah, if you want a fun movie that won't require a lot of thought and will deliver on the laughs, Lego Movie 2 is a good choice.
Damn you, Lord and Miller!

Mary Poppins Returns (a movie review post)

Where even to begin with this one? I mean, Mary Poppins Returns should have been... Man, I hate going to sports analogies, but it should have been a grand slam. At least a home run. It's the kind of movie that parents should have been swarming to with their kids, not so much because their kids wanted to see it but because they wanted to see it. Mary Poppins is one of the most beloved of Disney characters and has been for decades. But, yet, it's been drowned out by Aquaman. Aquaman!

Which is not unjustified, as it turns out. Not that I've seen Aquaman (and probably won't bother to, either, or at least not in the theater), but Poppins never managed to rise above mediocre. And mediocre is very difficult at more than two hours.

So let's deal with the most glaring problem first: the music. In a word, boring. In two? Unmemorable. And to add insult to that: They had Lin-Manuel Miranda right there! He's in the freaking movie, man; use him for what he's really great at: writing music, not singing it. Which is not to say that he's not a fine singer, he is, but it's not his gift. When you have one of the greatest living song writers on hand, why would you settle for lackluster crap? It's a musical, for crying out loud, the music is the most important element. Come on, Disney, you're better than this!
Now I have to go listen to the Moana soundtrack so that I can experience a bit of what Poppins should have been like.

Moving on to the story, we fare no better. Stories in musicals tend to be a bit simpler than your general movie plots because you have to spend time on musical numbers rather than telling story, and that's okay... when the music is good, because the music should be carrying the story. But, when the music isn't great, you better have a solid story to fall back on. In Poppins, not so much. The plot is simple and predictable, predictable almost to the point of unbelievability.

Unbelievable in what ways? Well, the villain is the villain because he's the villain. He just likes to win. Or he doesn't like to lose. On of the two. He seems to have no motivation other than that. Every time they hint at anything beyond that, they back off of it and leave it at, "I must take all the houses from all the people!" And Colin Firth just isn't adept enough as an actor to pull any of this off.

Michael Banks is also completely unbelievable as the asshole father, something which is constantly undermined by the script. He gets mad at his kids and yells or whatever but breaks down in tears over it moments later. He's lost his wife and is losing his house as a result of his grief, so we can't even see him as incompetent, just vaguely hapless. It really destroys the dynamic of the first Poppins where Michael's father is an asshole. It's like the writers wanted to retain that dynamic in the household but couldn't bring themselves to have Michael have grown up to become an asshole. Which, granted, would have been hard to swallow, but it would also have been a great reason for Poppins to return, "Michael! I'm ashamed of what you've become!" But, no, instead they just kind of wallow around in being wishy-washy.

It makes the movie a mess.

Then there's Emily Mortimer, and I like Emily Mortimer, but her role is a mess, too. I'm blaming it more on the directing than on her, but she's constantly spunky and upbeat through the whole movie which makes the threat of losing the house seem like a non-threat. And you know that that's true, anyway, because you know that there's no way they're going to lose the house, but the viewer needs to believe that the characters believe that the threat is real and Mortimer's character more than any other undermines that tension.

So not only is the music boring, but the movie is too.

However, the animation sequences were beautiful.

And, actually, Emily Blunt was fantastic as Mary Poppins. So good in fact that I wish there was going to be another Mary Poppins movie just to see her return to the role; however, I doubt the box office will be good enough on this for Disney to want to risk another one anytime soon. Which is a shame because, like I said, this should have been an easy win for Disney rather than the snoozefest it turned into.

Rebels: "The Holocrons of Fate" (Ep. 3.03)

-- "Once a secret is known, it cannot be unknown."

Tom Baker is back! And so is Darth Maul!

And... Caleb gets spaced. Caleb, you ask. Well, it appears that Kanan has been keeping a secret and that it's that Kanan is an assumed name.

Actually, this episode is all about secrets, secrets of the holocrons and the secrets they hold.

And, man, things keep getting interestinger and interestinger. We get a reference to "twin suns" and Maul muttering, "He's still alive," and, and, and... all sorts of things.

I don't know at what point Lucasfilm or Disney or whomever decided to start really connecting the animated series... What's the plural of series? I mean, I know it's both the singular and plural, but it seems inadequate here. There are multiple animated series being referred to! Anyway, I don't know at what point they made that decision, but you can really see that process beginning to happen at this point in Rebels. Not to mention the overlap of Rebels with Rogue One. And the return of Maul in Solo. Not that I think that will result in a satisfying conclusion considering the clusterfuck Disney is having with that.

Actually, Disney is just having a big clusterfuck with the whole Star Wars franchise, right now, and they don't necessarily look to be pulling themselves out of it. The animated series seem to be the only thing they have a grip on (maybe), and I think that's because they didn't really take them seriously and left them in the hands of the team that had originally been working on them. We'll see how that goes as they transition back to Clone Wars now that Rebels has ended.

But I digress...

At any rate, this seems to be a significant episode. Maybe. It does, at least, lay some clues for things to come. Maybe. It's intriguing, to say the least. I think it's safe to say at this point that if you really want to know what's going on in the Star Wars universe, you need to be watching the animated shows. The movies are... well, they are clearly lacking the kind of scope they need to have.

"I thought you said it was safe."

"It is safe; that may be the problem."

"The airlock is down there if you want to show yourself out."

"A dull and dour chamber. This is the chamber of a Jedi."

"We asked for a chance to defeat the Sith, and we failed."

Solo (a movie review post)

I'm going to be honest; I was more than a little dubious going into this movie. I read many of the Han Solo novels when I was a kid and had a pretty good grasp of his backstory in my mind. Or at least my impressions of that backstory; it has been a long time since I read any of those books. The movie trailers didn't lead me to believe that Disney was going to do more than pay token respect to that backstory, much in the same way they have only paid token respect to what Lucas had planned for the future of the series. But here's the thing: Disney was upfront when they bought the Star Wars franchise: They said, then, that the vast majority of pre-existing material other than the movies would be viewed as non-canon material and they would be free to paint over it however they wanted to, which, actually, was not any different than what Lucas had already said. At any rate, there was not a lot of canon material about Han's past for Disney to have to cling to, so I suppose I'm glad they worked in as much of the previous Han lore as they did.

That said, I really enjoyed the movie, much more than I expected to, as I kind of expected to outright not like it. Seriously, the trailers were some of the worst ever and not very representative of the movie. I really have only one complaint, a rather philosophical one that I'll get to in a moment. First, the good:

Alden Ehrenreich: He's great. I already liked him a lot from his role in Hail, Caesar! He's fantastic in that, and that one role really shows off his versatility. He does a great job of stepping into Harrison Ford's shoes, and I never didn't believe him as Han.

Donald Glover: The first thing I ever saw him in was The Martian and, for such a small part, he may have been my favorite thing about that movie. He's a good fit for Lando, though I think all the people saying that he was channeling Billy Dee Williams are only saying that because they're not very familiar with Glover as an actor. He seemed very Glover to me, but being Donald Glover is very Lando, evidently. I hope we get to see more of him in this role.

The introduction into the movies of so much material that has never previously been in the movies: It was awesome to have the introduction of the Teras Kasi into the Star Wars canon, see the Pikes onscreen for the first time, deal with the Crimson Dawn... So much stuff! The two animated series (and I'm not talking Droids and Ewoks) have suddenly become much more important.

In fact, I can't even say how important, because that would involve a major spoiler. Major. And it was so good and cool. I mean, I don't have a lot of OMG! moments in movies, but I had one over this. And maybe shouldn't have, knowing the backstory from Clone Wars the way I do, but, really, I just didn't expect them to draw it into the movies. And, now, I'm really excited for the next Han Solo movie. You did know there was going to be another one, right? Another two, actually. Anyway, this is kind of on the scale of, "Luke, I am your father."

There's other good stuff, but these are the highlights. At least until I've seen it again. Maybe other things will strike me at that point.

But here's my philosophical issue:
Why is that every hero has to have some kind of tragic backstory? Like Luke (or Harry Potter) growing up an orphan? Or Han growing up on the streets of Corellia, also an orphan? And, maybe, that wouldn't be an issue if his backstory had started him out that way.

See, here's how it was:
Han was pretty much a normal kid. Not a rich kid, but his parents were well-off enough to send him to the Imperial Academy where he became a hotshot pilot. He was pretty self-absorbed. Why not? It's a big deal to be the best pilot at the Academy. Which is all why it's an even bigger deal when, one day, Han sees an Imperial officer beating a wookie slave and steps in to save the wookie. this is a kid who has never thought about anyone other than himself whose eyes are suddenly opened to this cruelty that is happening right in front of him and, rather than walking away as everyone else is doing, he interposes himself in the situation, saves the wookie, but has to go on the run.

The lesson he learned? Don't get involved. It only has bad results. Han had everything going for him, and he lost it all in one moment of compassion. Sure, he got a wookie with a life-debt to him out of the bargain, but who's to say if he would do it that way again if he had the chance to do it over? He lost all of his fame and glory in that one act.

That's a story I find compelling.

Much more so than the way he and Chewbacca become companions in the movie, which was more about saving himself than about saving a wookie. And there's no mention of a life debt in the movie; why would there be? It's a mutual life-saving.

Which is not to deride the movie. The movie is good. But it also stays squarely within convention. I get that Disney knows what people like and play to that masterfully, but I think they missed out on opportunity to make Han a much more nuanced character than he now is. Which is to say that they made him less nuanced than he was because they fell back on making him merely a stereotype, the male version of the "whore with a heart of gold." As Qi'ra says to him, "I know who you really are. You're the good guy." Or something like that.

This Means (Infinity) War!

Discussion ahead. I'm not going to avoid spoilers.
You've been warned.

Other than Lord of the Rings (which is arguably one 10-hour+ movie rather than the three movies released in theaters), this is probably the "biggest" movie ever made. It, too, was too big to be one movie, not to mention that Marvel Studios spent a decade building up to this. That has never been done before (and is a good illustration of why, despite making decent money at the box office, DC movies continue to fail (you can't set up for an "epic" Justice League battle by having Batman say "something's coming" and allowing that to be your entire setup)).

Now, let's just get it out of the way that I thought the movie was Incredible, Amazing, Spectacular, Fantastic (even though they're not in it), Invincible, Mighty... um... there's probably more of those superlatives that I'm forgetting, but those are the one's off the top of my head. Oh, it's also Uncanny.

But I also understand why some people are freaking out, though I do find the number of people responding to it with, "The ending sucked! I'm never seeing another Marvel movie ever again!" more than a little amusing. To go with the most prevalent comparison, I don't remember anyone saying that about Star Wars after Empire came out.

Maybe this is one of those movies where it really does help if you've read the source material. One of the things that Marvel has excelled at is making their movies accessible to people who have never read comic books. They've taken these outlandish (sometimes literally (Thor/Guardians)) ideas and characters and made them believable in a modern world and taken away the need to have a comic book background to be able to understand and appreciate what's going on (again, as opposed to DC and Warner Brothers who continue to take shortcuts by assuming their audience knows the background for their characters and dispenses with giving anything any amount of credibility). And you don't need the comic books for this one, either, but maybe people wouldn't be freaking out so much if they'd read The Infinity Gauntlet. Not that I believe everything's going to be "okay" at then end of this. The MCU, after all, is not the same as the Marvel Universe in the comic books. In comic books, you can depend on characters not really ever dying and things mostly going back to the way they were. Consequences in the MCU tend to be a lot more permanent. That said, having read Infinity Gauntlet, I know how everything's supposed to shake out at the end, so I'm not freaking out about all the deaths. I expected it. Some of them still almost brought me to tears.

The only weakness of the movie, if you can call it that, is the motivation of Thanos. Maybe it's only a weakness because that is the one thing they really provided no background for. That and you can't really make a case that killing half of the souls in the universe brings any kind of balance. However, Thanos is called "the mad Titan" (in the comic books) for a reason. There doesn't have to be any kind of logic involved. Especially since he seems to think that people will come to love and worship him for his actions.

To be clear, bringing balance to the universe is not his motivation in the comic series. No, in the comics, he does it all for love, which, still, is a thought that amuses me. It amuses me because it's so true. See, in the comics, Thanos is in love with Death (not death, Death), she who embodies the ideal of death. He's in love with her, but she won't give him the time of day. He decides that if he can bring her an offering of half the souls in the universe that that ought to make her love him. heh
I'm not going to tell you how that works out.

Which brings us to Adam Warlock...
Except not, since he's not in the MCU, at least not at this point. It's Adam Warlock who puts things right again at the end of Gauntlet, not that someone else can't serve that function, and I was hoping he would show up. Maybe he can't though, since he may be a part of the Fantastic Four branch of the Marvel Universe (like the Silver Surfer) and currently under the control of Fox. Yes, I'm sure I could look that up; I'm just not going to. But I digress...

What I'm sure of, absolutely sure of, is that the next Avengers movie, the one that is the sequel to Infinity War, will be a permanent restructuring of the MCU. While some of what happened will be fixed, there will be some things that are permanent in a way they never are in comic books. Chris Evans is not renewing his contract as Captain America. Chris Hemsworth is almost certainly not renewing his contract as Thor. Robert Downey, Jr., though he's stated that he's willing to continue being Tony Stark, has also stated that he no longer wants to play Iron Man, and his contract is also about to be up. None of which is to mention that if the deal goes through with Disney buying Fox, whole new areas -- X-Men and the Fantastic Four -- will suddenly be open to the MCU. Will I be sad to see the permanent departure of some of these specific characters from the MCU? Sure. But I'm also looking forward to the idea that characters may die permanently. For good. Forever. It makes these kinds of stories much more... satisfying, if that's a word that can be used for this. It makes the stakes real, and, thus, it makes the victory, even if it's Pyrrhic, real, too.
Even if it is fiction.

Oh! And all of the performances are as awesome as can be expected.

The Last Jedi (a movie review?)

Yeah, the question mark up there is legit. I think this is going to be less a review about the movie and more about a review of Rian Johnson, who thinks he is way more clever than he actually is.
But there will still be spoilers.

But let's get the most obvious question out of the way: Did I enjoy the movie?
Well, yes, yes of course, I did. It was, after all, Star Wars, and it did, as Leia would say of Han, have its moments.

But it also had its moments.
Like why are all of the resistance ships running out of fuel at the exact same moment. That this is a question that I was having during my first viewing of the movie is wrong on so many levels. I mean, when did fuel become a thing? Luke hyperspaces all over the galaxy in his x-wing during The Empire Strikes Back, and there's never a mention or need for fuel, which is good since Dagobah would have been a lousy place to find a gas station. And Han flies the Falcon between star systems without a need for fuel. And I'm not even going to touch the idea that the fuel consumption rates on all of the Resistance ships would have had to have been basically the same no matter the size of the ship (WTF!) for them all to be needling empty at the same time.
Clearly this was a plot contrivance by Johnson, who seems to believe that stupid ideas are justified if they provide for "cool" moments. To be fair, this is also a problem Abrams has.

So was all the dumb of this "chase" scene worth the moment when Holdo hyperspaces the Resistance command ship into Snoke's star destroyer? I don't really know. That was a cool moment, but my thoughts leading up to it revolved around: This is so dumb. And it was kind of painful to watch all of that the second time. Not the hyperspace moment -- that was still cool -- but all of the chase leading up to it.

I also think it's a little weird how Poe is kind of constantly running up to people and greeting them with extreme enthusiasm, "Hey, Buddy!"

And I could go on, bit by bit, with the things that poke at me, but let's just not do that. I'll sum it up this way:
There are no moments like that whole fuel thing in the original trilogy. There's no point where I stop and think, "Wait a minute... That's kinda dumb." The thing most like that is the dianoga in the trash compactor, but there are legitimate explanations for that, so I have to shrug it off. You can't shrug off the fuel thing, not after eight other movies have failed to mention a need for fuel and, not just not mentioned it, demonstrated a distinct lack of that need.

That's just an example of the kind of thing Rian Johnson must feel is clever but really just isn't.

However, that's not the thing that bother me most. None of the logic problems that Johnson introduced are the things that bother me most. No, what bothers me most is Johnson's lack of respect for the story. Not the Star Wars story but story in general.
Here's the thing:

In the movie, Kylo "reveals" to Rey that she's a nobody. No one from nowhere. And that would be fine if... It would be fine if it was the truth. It would be fine if it was Kylo lying to Rey to get her to join him. It would be fine if Kylo was just wrong, that he read things the wrong way. It would be fine if there was a story reason for Kylo to tell Rey that. But... there's not.
And Rian Johnson doesn't have any say in the matter.

In a recent interview Johnson revealed that the only reason, the ONLY reason, he had Kylo say that is that he believed it was the thing that would most piss off the audience. He wanted to get a rise out of them. This puts him on par with George RR Martin in my book. "I want to piss off my audience because it's fun so I'm going to kill this character they all love." He further revealed that Abrams is the one who has final say in who Rey really is and nothing he wrote about it actually matters. Sure, maybe Abrams will decide to go with it, but Abrams isn't bound by anything that Johnson did. I suppose that includes the death of Snoke (another stupid moment, cool or not).

Which reveals the further problem of no one being in charge of these things. There's no controlling vision. You can say what you want about Lucas and the prequels or whatever, but, logically and plot-wise, all of his movies work together. He knew what he was doing and had a vision for getting there. The new movies, despite being completely entertaining, are beginning to feel piecemeal... because they are. This is something that Disney needs to get a grip on before the franchise begins to drift apart. They need to actually take a good look at what Marvel has done in keeping all of their movies moving forward within a unified vision.

I suppose I feel about the whole thing the way Mark Hamill put it when he said he didn't agree with any of the choices Johnson had Luke make but, after all, it's just a movie. That and, despite the enjoyment factor of Force Awakens and Last Jedi, I would much rather have seen what Lucas had intended to do with these than watch clashing egos slowly erode the franchise.

Clone Wars -- "Unfinished Business" (Ep. ?.8)

-- Learn from the past but live for the future.

Well, here we are... at the end. End of the arc. End of the season. End of the show.

>sigh<
End of line.

Oh, wait, wrong movie. That's some other Disney franchise.

All of this started with Admiral Trench -- not the show, just this arc -- and we return to Trench's attack on the Republic's shipyards to finish up this bit of unfinished business, not that Trench isn't another piece of unfinished business.

One of the greatest moments in the series happens in this episode. It's a bit understated, but it's pretty awesome. Let's just say it this way: Mace Windu gives a speech.
To battle droids.
In front of Obi-Wan.

This is a good solid arc. The Bad Batch is an interesting idea, though a bit like the X-Clones (if I didn't say that before). Their introduction was obviously not intended as the series-ending arc it turned out to be. There's a lot left to be explored here, not least of which is whether there are more clones like the Bad Batch.

And, then, there's Echo, because it's clear from "Unfinished Business" that his story line was just beginning. It makes me hope he shows up in Rebels. Yes, I know I could check, but I'd rather be surprised.

Anyway... It was not a bad arc to end the series on, though I rather wish they'd been able to craft a story that would have felt like a story that was bringing the series to a close. In most respects, with Ahsoka leaving the Jedi Order, season five has much more the feel of the series coming to an end. It certainly feels as if they were working up to... something, and I really wish Disney had allowed the series to continue. There's no real reason why Clone Wars and Rebels couldn't have run concurrently.

Oh, well...

"Creative Differences" or White Male Privilege at Work

If you follow any Star Wars news at all, which I do...
Okay, that's not exactly true, as such. I don't actually follow Star Wars news or do any searching out of Star Wars news or follow any Star Wars sites. This is much different from my younger years when I did all of that stuff but, mostly, these days, I don't want to know anything ahead of time about the movies or what's going on, so I don't keep up on that stuff. Or any of the Marvel stuff, either. However, when there's news that makes the mainstream media cut, I notice it and, depending on what it is, I might go read it. Never, though, if it's talking about plot stuff or leaked stuff or anything stuff that has to do with the content of any project still in development.

So...

If you notice Star Wars news at all, which I do, you might have noticed recently that a couple of projects that are in development have lost their directors. The first was Episode IX director Colin Trevorrow and the second was the directing duo Phil Lord and Christopher Miller who were set to direct the upcoming solo Han film. [no, I'm not apologizing] The reason given in both circumstances was "creative differences."

But what does that even mean?

Or, you know, what does it mean in this particular circumstance? Because, based on things said, especially by Lord and Miller, I can tell you. It means that the directors believed, based on the fact that they were hired at all, that they should be allowed to do whatever the fuck they wanted to do with the movies without any regard to what Disney hired them to do. It was white privilege at work (because the guys who do this kind of shit are always white dudes who start whining about how they're not being allowed their creative freedom).

Now, I'm not going to get into the minutia of how Disney catalyzed the problem by trying to hire hot, new directors and offering them some amount of creative control (like allowing them to take part in the writing process (something that has had two non-successes so far)), because this is about doing the job you're hired to do.

So let's start with Lord and Miller, the guys behind The Lego Movie, Cloudy with a Chance of Meatballs, 21 Jump Street, and a bunch of other comedic offerings. Yeah, in hindsight, maybe not the best fit for a Star Wars film, but Disney wanted the Han Solo film to be a bit heavier on the humor than previous Star Wars movies, so they hired some guys who had shown themselves capable. And Lord and Miller were riding a popularity wave after the Lego thing.

Here's your analogy:
Disney hired Lord and Miller to paint their Han Solo room. They told Lord and Miller they could paint the room however they wanted to do it as long as they stayed within the provided color palette and didn't include any clowns. And, so, Lord and Miller start painting neon green (not an acceptable color) clowns everywhere. When confronted about it, they do the classic, "Let us do what we want or we're gonna quit!" Disney showed them the door.

And Trevorrow? His claim to fame is that he wrote and directed one of last summer's biggest movies, Jurassic World. Of course, he "wrote" it by re-making Jurassic Park. Yes, they are basically the same movie. Who knows what he wanted to do with Episode IX, but it wasn't what Disney told him they wanted, but he figured he was a big enough hot shot to not have to listen to Disney, so they let him walk, too.

And I get that some of you might think I'm reaching when I say this is white privilege at work, but you don't get this kind of attitude from little nobody people unless they're white dudes. Seriously, Trevorrow? I'm still trying to figure out why they thought he was a good idea in the first place. The guy's a hack with almost no experience. And, while Lord and Miller have been around awhile and made some movies that have been noticed, they're not exactly household names. All of them were hired to do fucking Star Wars, and they couldn't get their heads out of their own asses long enough to realize what was going on.

Probably some of you are going, "But millennials...," right about now, but none of these guys are millennials. They're all gen-x white dudes. Really, it's not millennials who think they're all special; it's mostly just white dudes. Of all kinds of ages.

I mean, seriously, you have to think pretty fucking highly of yourself to try to hi-jack a Star Wars movie to make a name for yourself. Outside of the fact that if you're hired to do a job, a specific job, you DO THE FUCKING JOB you were hired to do. You don't get to do some other job that you'd rather be doing. And when it's Disney and Star Wars... Did someone hit these guys in the heads with a hammer?

But, then, that's the kind of culture we've put in place, a culture where white cops get to shoot people of color and walk away from it. A culture where a white man brags of sexually assaulting women and white men vote for him to be president.

White dudes are always going on about millennials and how they think they're all "special snowflakes," but the only ones I see out there acting as if they're special is white dudes, which just makes me sad to be a white dude. And when you're such a white dude that you can't manage to collaborate on a Star Wars project... Well, there really aren't any words for that kind of assholery.

Clone Wars -- "The Unknown" (Ep. 6.1)

-- The truth about yourself is always the hardest to accept.

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

[Well, actually, considering that we're into season five, now, probably no one new is going to sign up, BUT! Hop over to The Armchair Squid for his take on the current episode.]

Technically, we could be through with the whole Clone Wars thing since season six was never aired; however, they did release part of it on disc, so we, of course, own it. And season six has some important stuff in it; in fact, this first arc is easily in the top three arcs of importance in the series and arguments could be made for its being the most important.

So why didn't it air?

I may have mentioned this before, but let's touch on it again.

The Clone Wars was not "cancelled" in the way that TV shows generally get cancelled. This is why season six was so far along in production when the decision was made to end the series with season five. See, Clone Wars was a Cartoon Network show, licensed to them from Lucasfilm on a five year contract but, before the contract was up, Disney bought Lucasfilm. Not a big deal in a general sense except that Disney has its own TV station and didn't want to be licensing out their new Star Wars property to some other network so, when it came time to renegotiate the licensing agreement, Disney made the cost too high to make it worthwhile for CN to pay it and, thus, The Clone Wars abruptly ended at the end of season five with season six production in full swing.

Why didn't Disney just move Clone Wars over to the Disney Channel?
That was about branding.
And, so, Rebels was born as a Disney channel show and Clone Wars was allowed to drop away.
Fortunately, Disney allowed some of the episodes to be completed for a DVD release.

Which brings us to the first episode of season six, as I said, one of the most important arcs in the series as it has to do with Order 66. It also introduces us to the only set of Jedi siblings that I know of. Or, at least, can think of at this moment. Also, Tim Curry as Darth Sidious! And I'd say more, but you should just watch it.


"I am programmed to resist intimidation."

Clone Wars -- "Sabotage" (Ep. 5.17)

-- Sometimes even the smallest doubt can shake the greatest belief.

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

[Well, actually, considering that we're into season five, now, probably no one new is going to sign up, BUT! Hop over to The Armchair Squid for his take on the current episode.]

This episode, things get real.

No, I mean really real.

One thing we know, people (populations) don't like wars. It doesn't matter how "just" or "right" they are, over time, people want things to be back to normal and to not be involved in wars. Though Clone Wars has toyed a bit with how the common man has reacted to the war going on around them, "Sabotage" makes it real. It brings it home to Coruscant and how the citizens not actively engaged in the fighting are reacting to the war and the clones and the Jedi. It's not good.

There's a definite faction building that is actively protesting the war that's going on and the Jedi seem... Well, more than anything else, they seem baffled by it. They've spent so long never having their authority questioned that they don't really know how to react to the people who are turning against them.

So there's an incident, and the Council decides to call Anakin and Ahsoka back to Coruscant to deal with the investigation since they're obviously innocent of what happened. Because, see, the sentiment is that a Jedi may have done it, so none of the Jedi who were on Coruscant can be trusted.

Of course, then Mace Windu assigns a droid to work with them on the case and no one stops to think about whether the droid, the droid assigned by one of the Jedi who had been on planet when the incident happened, can be trusted. I found that kind of amusing.

At any rate, if I'm remembering correctly, this is a real turning point in the series, and you can tell that the tone of the show was really changing to something a little more dark and a little more serious and a little more great... just to have its plug pulled because Disney bought the Star Wars franchise and didn't want one of their shows on some other network. And, while I can understand that, still, screw you Disney!


"Fear makes even the most trusting individual... irrational."

"There are going to be Jedi who disappoint us..." -- Anakin Skywalker

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.

Clone Wars -- "Altar of Mortis" (Ep. 3.16)

-- He who surrenders hope surrenders life.

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

"Is the Dark Side stronger?"
"No! Quicker, easier, more seductive."

In the context of the original trilogy of Star Wars movies, we tend to just accept that Yoda is right. Yoda is always right. And, at one point, he probably was right. Well, definitely, at one point, he was right. The Force was in balance, kept that way through the will of the Father. However, by the time Yoda is stating this to Luke, that the Dark Side is not stronger, the Force is out of balance, and the Dark Side is most definitely in ascendance. The Son has shifted the balance.

There's also what is probably very important stuff with Ahsoka. Definitely foreshadowing. I know that Ahsoka comes back in Rebels, though I'm not that far into it, yet, but I don't know if this has to do with what is going to happen there or if it has to do with anything that's going to happen in the new trilogy [There has been a lot of speculation and rumors about Ahsoka appearing in the episode eight or nine.] or if it's just a plot line that got left blowing in the wind due to Disney dropping Clone Wars. Whether it comes back or not is immaterial, I suppose, considering it's good stuff in this episode.

All of this is also a direct repercussion of Anakin turning down his role as the Chosen One. In the typical story of this nature, the "chosen one" character ends up being compelled in some way to take up the role, but, as we saw last episode, Anakin refused to be the guy to maintain the balance in the Force. Which begs the question, "Is he still the Chosen One?" Does what happens later in both Revenge of the Sith and Return of the Jedi come out of his status as Chosen One or is it because of his refusing to be that person?

I hope in some way Star Wars addresses what happens in this trilogy arc.

Finding Dory (a movie review post)

I want to continue to believe in Pixar; I really do. I've met people who work there, was friends with one of the animators for a while (until we fell out of touch), and I've been to the studio. Their early movies are some of the best films ever made. However, it's undeniable at this point that their actual acquisition by Disney has had a detrimental effect. Since Disney took over, four of the seven films they have produced have been sequels, and three of their next four movies in production at this moment are also sequels. They've almost ceased to cover any new ground, the exceptions being Toy Story 3 and Inside Out.

So, yeah, Finding Dory does nothing new, covers no new ground, er, um, water. Sure, it's entertaining. It has some funny moments and introduces one new, great character, but it's virtually identical to Finding Nemo and strays out of the realm of believability far more frequently. And, yeah, I know it's a movie about talking, sentient fish, and I'll buy in for that, but I can't quite go all the way to octopus-driving-truck.

Speaking of the octopus, Hank, he's great. His character arc is also completely predictable, but he's a very fun character while onscreen. Really, he steals the whole thing. He would have been better, though, if he wasn't just the new incarnation of Gill, the escape-focused fish from Finding Nemo. No, it doesn't change the character sufficiently to have Hank wanting to escape in rather than escape out.

I guess what it really comes down to is this: If you've seen Finding Nemo, there's no real reason to see this movie unless you just really loved it and want to see the characters from a slightly different angle doing basically the same thing over again. If you have kids who are younger than Finding Nemo, they'll probably love Finding Dory and it won't matter whether they've seen Nemo or not. Kids notoriously love to watch the same thing over and over again (I still kind of have nightmares about Winnie the Pooh and the Blustery Day, a movie I never ever need to see again).

If you haven't seen Finding Nemo... I don't know. I'd probably say just go watch Finding Nemo because it's a better movie. All I know is that when I come out of a movie and am glad I didn't have to pay full price for it (because we had two free tickets), then I can't in good conscience give it a whole-hearted recommendation. If you have the time and don't mind spending the money, sure, it's not going to drive you from the theater in disgust. It's good. Or good enough. But it's not great. It's not even Pixar-good. It's Cars 2 and Monsters University, movies completely playing to the formulas of their predecessors to rake in a buck.

Star Wars: Clone Wars vs. Rebels

I've been a fan of The Clone Wars since it came out. We own the series on DVD. I was less than pleased when Disney announced, shortly after acquiring Lucasfilm, that they were cancelling production on it. Season six was in mid-production and season seven was in  the early stages of production and, while it wasn't a raging, everybody-must-watch-it-show success, it seemed to be doing fine. But, then, it was just over.

And, you know, I get it. From a business perspective, what they did made good sense. That doesn't mean I have to like it, though.

See, the thing is, The Clone Wars had a problem. It couldn't figure out its demographic. It wasn't a cartoon -- excuse me, animated television show -- made for kids. That is, they, the kids, were not the specific target audience. Clone Wars was launched for the Cartoon Network's prime time, adult viewing time slot. Clearly, it was an animated show that wanted an adult audience. It featured adult characters and dealt with a lot of mature themes. Sure, all of that was then presented in half hour blocks in such a way that kids could also digest the material and Ahsoka was included to allow the younger viewing audience a character they could identify with. But it wasn't a show for kids and, so, it also wasn't a show for adults. It just grabbed people like me who wanted to know more about the gap between Attack of the Clones and Revenge of the Sith and all the kids who just like the excellent Star Wars action.

Rebels, however, is a show solidly targeting kids.You can tell because the protagonist is a kid. And, well, from what I can tell so far (only having watched the first couple of episodes), the overall action is going to revolve around the Empire's search for the "children of the Force" in its quest to exterminate the Jedi. So, still, maybe, dealing with some mature themes but, I'm going to assume, handled in a child-appropriate way. After all, we are quite used to things like dinosaurs and killer robots and gangsters chasing kids with the intent to kill.

And, well, Disney wanted to bring Star Wars to the Disney Channel, not Cartoon Network, so allowing Clone Wars to slip away allowed Disney to launch Rebels on its own network.

I'm glad to see that some of the characters from Clone Wars will carry over.

So, yeah, I'll be reviewing Rebels as I watch it, but it won't be on a weekly basis like we're doing with The Clone Wars. It will be interesting to see how it compares.