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liskantope · 5 years ago

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Some brief (and sometimes not-so-brief) reactions to major Disney films 1937-1967

Around a month ago I made a temporary switch from Netflix to Disney+ with the goal of watching all major Disney movies in order, roughly paced so that one year of Disney film-making equals one day of real life. I should clarify here that by “major Disney movies” I mean mostly just all the animated ones plus a few hybrid live-action/animated ones, and a few of the most popular live-action ones (at least the ones I remember having a song considered good enough to feature on one of the Disney Sing-Along videos, a staple of my video-watching as a kid growing up in the 90′s). I would have been interested to see Song of the South, which I’ve never seen in its entirety, but it’s not included on Disney+ for fairly obvious reasons. As I get further into modern Disney, I’ll probably skip over most of the sequels and other features I strongly expect not to like (with the exception of Belle’s Magical World, which is said to be so legendarily bad that I just have to see what the fuss is about).

This time range of three decades happens to include more or less exactly those Disney productions that Walt Disney himself took a major role in (he died shortly before the final version of Jungle Book was finished). I’d like to do this again in another month, when I will have gotten up through the late 90′s, but honestly this post wound up way longer than I was imagining and took several more hours than I expected (or could really afford), so I’m not promising myself or anyone else that.

Looking at Wikipedia’s list of Disney productions, I’m a little taken aback at what a low percentage of these are animated features, which to me form the backbone of that company’s legacy; visually scanning the list makes the line of animated films look shorter than I had always imagined, but really what this is showing is that Disney produced far more live-action movies than I ever knew about, including (and perhaps especially!) in its early days. Right now I’m continuing on through the 70′s films, but this set of mini-reviews represents the first month of watching and three decades of Disney magic.

Snow White and the Seven Dwarfs, 1937

This is the full-length feature that began them all and which had the burden of defying contemporary skepticism that a full-length animated feature could be taken seriously at all. We are already far beyond the earliest days of animation and have progressed lightyears beyond the quality of “Steamboat Willie”; throughout the film I marveled at the sophistication of the animation with a newfound appreciation of how groundbreaking a lot of the sequences must have been.

I know I watched this at least a couple of times in childhood and I think once when I was a bit older, but even that was long ago.

Snow White is based on one of the simpler classic fairy tales, and the writers had to come up with ways to flesh out this very short story enough to occupy well over an hour. This was done not by exploring the character of Snow White or the Queen or even filling in extra plot details (the fate of the hunter is never addressed) but by spending a lot of time on the dwarfs. The detail spent on individuating them took a lot of work from the animators, but I think their efforts paid off. I can’t say the same about the attention paid to Snow White or the Queen (pretty much the only remaining characters). Snow White has an almost entirely flat personality, with no sense of curiosity or concern whatsoever about the Queen’s designs to have her killed, just having literally only one goal in mind: to marry this Prince who she’d only seen for about two minutes and run away from out of shyness. (This is of course a trend we’ll see with Disney princesses for a long time.) The Queen similarly only has the goal of being “the fairest in the land”. Something about the particular harshness of her voice strikes me as The Quintessential 1930′s Female Villain Voice (“I’ll crush their bones!”), whatever that means -- maybe I got my idea of what this should be from the movie Snow White in the first place.

I still think “Heigh Ho” (which I’ve known well since early childhood) is an excellent song in its utter simplicity, especially when complimented with the “Dig Dig Dig” song (which I did not remember at all until a few years ago when a Tumblr mutual posted the excerpt containing it!). I’m not enormously fond of “One Day My Prince Will Come”, although I did enjoy playing it on the violin at a couple of gigs with one of my musician friends back during grad school -- I was convinced then, and up until watching Snow White just now, that it belonged to Cinderella.

Pinocchio, 1940

This was a favorite movie of mine in earlier childhood; we owned the VHS and I watched it a lot. As a child, I had no sense of one Disney movie coming from a much earlier time than another one; it was only much more recently in life that I understood that Pinocchio really comes from all the way back eight decades ago. Pinocchio taught me the meaning of “conscience” (both in the dictionary sense and in a deeper sense), and it shaped my notion of what fairies may look like -- for instance, my mental picture of the Tooth Fairy, back when I believed in her, was inspired by the Blue Fairy in Pinocchio.

It’s amazing just how much the quality of Disney animated features improved from the first one to this one, the second. It helps that both the story and the characters are far more complex than those of Snow White. The plot from the original book (which I’ve read in Italian and English) was more complex still, of course. There is one gaping hole where it’s never explained how Gepetto somehow found himself in the belly of a whale (I don’t remember whether or how this is explained in the book), but I’ll forgive that.

It’s interesting to see the 1940′s caricature of “bad (early teenage?) boy” shown in the animation and voice of Lampwick. Phantom Strider talks about the turning-into-donkeys scene as a notoriously dark scene for adults who didn’t find it as terrifying when they were children -- count me in as one of those adults! It’s especially terrifying to see the whole mass of boys-turned-donkeys being treated as slaves in the hellhole known as Pleasure Island and realizing that this is never going to be resolved in the movie -- it’s rather unusual in Disney stories for some great evil to be left unresolved with no recompense even for the chief villain. In fact, Pinocchio is pretty much the only Disney story I can think of where the worst villain doesn’t meet some kind of dire fate. Really, the range of Pinocchio’s view is much narrower: it’s just the coming-of-age story of one puppet in his quest for Real Boyhood. (And yes, I still giggle at how intricutely Jordan Peterson analyzes particular scenes from the movie to support his beliefs about neo-Marxism or whatever.)

Disney+ heads many of the descriptions of the older movies with “This program is presented as originally created. It may contain outdated cultural depictions.” I’m a little surprised they don’t do this with Pinocchio, given what appears to me a rather derogatory depiction of Gypsies.

“When You Wish Upon a Star” has become a timeless hit, for good reason. And I still find “Hi Diddle Dee Dee” extremely catchy.

Fantasia, 1940

I saw this one multiple times growing up (for earlier viewings, I was not allowed to see the final number “Night on Bald Mountain”). My mom, for her part, saw this in theaters at the age of around 4 (even though it originally came out long before she was born) and thought for years afterwards that there was no such film in real life and her memory of seeing it had been just a pleasant dream.

I have nothing much more to say about this one except that, representing a very different approach from most animated films, Disney or otherwise, 1940′s or otherwise, it succeeded exquisitely. The “Sorcerer’s Apprentice” number was particularly perfection; it was as though the composer originally had every motion of the story in mind when writing the music. At the same time, having the main character appear in the form of Mickey Mouse in some way seems to cheapen the effect.

The Reluctant Dragon, 1941

I watched this for the first time, not having known it existed. There isn’t really much to say. All that stuck in my mind was one of the shorts, “Baby Weem” (amusing in a disturbing way), and the longer segment which gives the movie its title (also amusing, in a different kind of disturbing way). It was especially interesting to see a 1940′s cartoon portrayal of a very effeminate man, or should I say, male dragon.

Dumbo, 1941

I saw this maybe two or three times growing up, and not in very early childhood. It was never one of my favorites. Later on, I learned that it was done very low-budget to make up for major financial losses in the Disney franchise. This definitely shows in the animation. However, if there’s one thing I can say in praise of Dumbo, it’s that it’s incredibly daring in its simplicity, not only to have such elegantly simple animation but in having a mute title character (instead the main “talker” in the film is the title character’s best friend, who had much more of a New York accent than I’d remembered).

In some ways I find this film incredibly cold and dark by Disney standards, for reasons I can’t entirely explain, and I remember feeling this way even on earlier watchings when I was much younger. The stark cruelty of the humans running the circus, as well as the elephants other than Dumbo and his mother, just really gets to me. (I vividly mis-remembered one of the lines I found most memorable in childhood as “From now on, Dumbo is no longer one of us.” The actual line is, “From now on, [Dumbo] is no longer an elephant”, which in a way, is even more chilling.) In this regard, there was no need to make a modern, woker remake of Dumbo containing an explicit anti-animal-exploitation message -- the 1941 version conveys this message loud and clear. Now that I’m writing this, I suppose it could be argued that this is another instance of what I described under “Pinocchio” of leaving a major evil unresolved in a Disney film. And apart from that, while the ending for Dumbo is meant to be a very happy one, as an adult I find it incredibly naive: Dumbo is now super internationally famous for his extraordinary gift and is entering the life of a child celebrity, and it’s just going to be smooth sailing from now on? I hate to say it, Dumbo, but your troubles are only just beginning. (I was glad to see Dumbo reunited with his mother in the last scene, however, which I hadn’t remembered happening at all.)

“Look Out For Mr. Stork” is a skillfully-written song I’d completely forgotten about for two decades or so but remember knowing well when I was young. I still think “When I See an Elephant Fly” is a fantastic song, especially with all its reprises at the end -- I’d had some bits of it confused in my memory but had kept the main chorus with me over all the years. Now it’s widely decried as racist, or at least the characters who sing it are decried as racist caricatures. For whatever my opinion is worth, I’m inclined to disagree with this, in particular on the grounds that the crows seem to be the most intelligent, witty, and self-possessed characters in the movie. I’m also pretty sure I heard critical things about it over the years which are false. For one thing, not all of the crows are played by white actors -- only the lead crow is, while the rest of the voices are members of a black musical group called the Hall Johnson Choir. Also, I’m not clear that the lead crow was actually named Jim Crow by the time the movie came out (no name is given in the movie itself). Now an earlier, much more forgettable song featuring black men singing about how they like to work all day and they throw their pay away... yeah that seems awfully racist.

Bambi, 1942

I have surprisingly little to say about this one -- it’s just very distinct from other Disney films of the time, in its story’s lack of magical elements, its characters all being animals and animated in to realistically model animals’ movements, its lack of musical numbers, and its plot reaching the same level of simplicity as that of Snow White. Not to mention actually having a benevolent character die, which I don’t think had been done up to that point. I remember watching this a couple of times as a kid; I was never terribly eager to watch it again and I feel the same way now, despite having majestic beauty that I can really appreciate.

The Adventures of Ichabod and Mr. Toad, 1949

This is the first of Disney’s animated features that I never had seen before. What a strange movie, or should I say, two smaller, unrelated movies rolled into one. I liked Mr. Toad’s half better than Ichabod’s half, or at least I found it more entertaining. I was brought up with the book The Wind in the Willows and recall seeing a non-Disney animated rendition of it (which was better and somewhat more thorough than this half-movie-length rendition). I was kind of excited when the “The Merrily Song” started because it unlocked a song from my early-childhood memory that I’d forgotten about for more than twenty years but knew from one of the Disney Sing-Along videos. I still think it’s a not half bad song, especially with the harmony.

The Ichabod story was not at all what I expected, not being familiar with the original book version (I had always assumed that Ichabod must be the name of a villain). I found it completely boring until the final horror sequence. As a child I would have found the courtship part even more boring (at least now I can muse on how man-woman courtship dynamics were shown in the late 40′s), and I would have found the horror part at the end very scary (in fact, maybe this is the reason my parents never showed the movie to me). It is a little shocking in being the only Disney story I’ve seen so far with a decidedly unhappy ending.

Cinderella, 1950

This one I only ever saw once or twice as a child. This is not counting a very vivid memory I have from around age 6 or 7 when I was watching a part of it over at another family’s house and their child, who was almost my age and nonverbal autistic, rewound and repeated the same 2-minute sequence involving the mice for probably about an hour (I was impressed because I at the time didn’t know how to work the controls of a video player).

I suppose this could be considered the second in the main trifecta of the most conservative fairy tale princess stories that Disney did in the earlier part of its history. I think one can argue that Cinderella has the strongest and most fleshed-out character out of those three princesses. I like the spirited internal strength she reveals in her very first scene. That said, like the other earlier princesses, she seems to have one singular goal in life, and that is to find her true love, not, say, to escape her abusive stepmother and stepsisters.

My reaction to this movie is overall positive. The mice were fun (I also like how their voices seemed a lot more like how mice “should” talk than in most other Disney cartoons); the dynamic between Cinderella and her evil relatives, and the dynamic between the stepmother and stepsisters themselves, was shown in a rounded way; and the fairy godmother is a great character despite having only one scene. The character of the king is pretty odd (very selfish yet his main dream is of getting to play with his future grandchildren) while not especially memorable or well fleshed out. There are certainly some great classic songs in this one -- not the most stellar that Disney has ever produced, but solid.

Alice in Wonderland, 1951

I was curious about what I would think of this one, since we owned the video of this at my home growing up and I watched it many times during childhood but as I got older I fell in love with the original Lewis Carroll books which, together, I often consider my favorite work of written fiction ever. I had not seen the Disney film Alice in Wonderland for around two decades, although I made the mistake of catching parts of more modern, live-action adaptations of the story more recently. I wondered what I would make of the old animated Disney adaptation after getting to know the books so well.

There is simply no way that any movie can recreate the true flavor of the books, but Disney’s Alice in Wonderland does a fine job of creating the general nonsensical, sometimes bewildering dream atmosphere, and, perhaps more importantly, capturing the essence of Alice’s personality. I give a lot of credit to Katherine Beaumont for this -- she has the major girl’s role in the next movie on this list as well, but she especially shines as Alice. Two other very distinctive voices, Ed Wynn as the Mad Hatter and Sterling Holloway as the Cheshire Cat, also add a lot to the cast of characters.

While mixing around some of the scenes of the original book Alice in Wonderland, with some scenes of Alice Through the Looking Glass inserted, the progression of the plot is a long, dreamlike sequence of strange situations with only a few common threads, true to the original first book (Looking Glass had a little, but only a little, more structure). In the movie, everything breaks down at the end with many of the previous scenes and characters swirling together and Alice frantically trying to wake herself up. One could object that this is not how the dream ends in the book Alice in Wonderland, but there is a similar sort of breakdown at the end of the dream in Looking Glass and it feels very real somehow, as in my experience this is sometimes how vivid dreams disintegrate.

Oh, and did you know that Alice in Wonderland has a greater number of songs in it than any other Disney film? There are nearly 25 that made it into the film, even if lasting just for seconds, with a around 10 more written for the film that didn’t make it.

So, does the Disney film do a good job of conveying one of my favorite books of all time, within the confines of being a children’s animated film? I would say yes. For reasons I described above, and from the fact that it manages to avoid working in a moral lesson for Alice, or depicting Alice as a young adult, or manufacturing an affair between Alice and the Hatter (ugh), like some film adaptations, I would say that this classic Disney version is the best Alice in Wonderland adaptation that I know of.

Peter Pan, 1953

Although I never knew this one super well, this movie has a special place in my heart from the way the flying sequence enchanted me in early childhood. I have to differ with the YouTuber Phantom Strider when he dismisses the 40′s/50′s-style song “You Can Fly” as just not doing it for him, because that song along with the animation of the characters’ journey to Neverland had a major hand in shaping my early-childhood sense of magic and wonder and yearning. I distinctly remembering a time, around age 6, when I just didn’t see much point in watching other Disney movies, or movies at all, which didn’t have flying in them, because what could possibly top the sheer joy and freedom of feeling able to swim through the air? I’ve had hardly any exposure to Superman, and so the kind of bodily flight I imagined in fantasy or performed in dreams was almost entirely shaped by Peter Pan. (At the same time, the crocodile in Peter Pan influenced my nightmares at the same age.)

I only ever saw this one a few times, but I distinctly remember the most recent of them being when I was a teenager, perhaps even an older teenager, and I remember thinking at the time that it was a pretty darn solid Disney movie. I still think the same now, while granting that some aspects of the movie seem a little antiquated and certain sequences with the Native Americans are quite cringe-worthy from the point of view of modern sensibilities. Only a couple years ago, when visiting my parents’ house, I finally took down the book Peter Pan from the shelf and decided to give it a read and found it a beautiful although slightly strange and offbeat story. In particular, I was shocked at how nasty and vengeful Tinker Bell was (particularly in trying to get Wendy killed), when I had remembered her as sweet and naive in the movie. It turns out I was wrong about the movie -- Tinker Bell tries to get Wendy killed there also! -- but somehow the tone is moderated well enough that in this version I never really feel horrified at her behavior, nor do I feel disturbed at the situation of the Lost Boys in the way the book made me view them. The song of the lone pirate who sings about how a pirate’s life is short, right before Captain Hook fires his gun and we hear a dropping sound followed by a splash, is one of the more masterful executions of dark humor that I’ve seen in Disney animation for children.

While most of the songs in Peter Pan, considered as songs on their own, are pretty good, I think the best one is the one whose lyrics didn’t make it into the film: “Never Smile at a Crocodile”.

Lady and the Tramp, 1955

Despite being more obscure than most of the old Disney animated classics, I used to know this one quite well since we had it in our home. I’ve always considered The Great Mouse Detective as the most underrated Disney film of all time, but I think it has serious competition here. Lady and the Tramp is an absolute gem. While not quite as Disney-fantasy-ish with its lack of magic and other fairy tale elements, in my opinion Lady and the Tramp is, in most ways, superior to everything else on this list save Mary Poppins. Beautiful animation which shows Lady and most of the other animals moving realistically in a way we haven’t seen since Bambi*. Everything visually and conceptually framed from the dogs’ points of view. Great voice acting. Consistently solid dialog without a single line too much or missing. A story evoking the dynamic between humans and pets, class inequality, and deep questions about the place of each of us in society and choices between a stable existence among loved ones and striking out to seize life by the horns. Our first female lead who stands on her own two four feet and whose sole goal isn’t to get kissed by her true love (one could argue that Alice was the earlier exception, but she is a little girl whereas Lady is actually a romantic female lead). When Lady is approached by her two best (male) friends in a very awkward (perhaps especially from a modern sensibility) but sweet scene where they offer to be her partner, Lady makes it clear that she doesn’t want or need a husband just for the sake of having a husband to make babies with -- her standing up for her own wants in this way doesn’t in the least turn into a Moral Stand that dominates the movie. Excellent music all the way through.

Oh, and this movie was my very first introduction, in early childhood, to the Italian language (”Bella Notte”), which some 25 years later sort became my second language of sorts.

Criticisms? Well, the baby was animated rather stiffly and unnaturally, but that was like half a minute of the movie at most. And there’s the whole segment with the Siamese cats, which produced a great song purely music-wise (fun fact: Peggy Lee provided the voices of the cats) but nowadays comes across as rather racist. I’m not entirely sure how I feel about it, but I will say that I’m sure in the minds of the creators this was no different than having animals of all other nationalities (Scottish, Russian, Mexican) appearing in the film with voices reflecting the respective accents.

*There may be a few exceptions, like Peggy, who seems to be modeled after the musician Peggy Lee and moves like a sexy human woman. The way that human sex appeal is conveyed through the animals’ movements in this movie is quite impressive: my mom confesses to having somewhat of a crush on Tramp growing up and not quite understanding how that could be possible when, well, he’s a dog.

20,000 Leagues Under the Sea, 1954, and Old Yeller, 1957

I don’t want to say about these movies, as they don’t really fall under the category of animated classics. I just want to say that, while I saw each of them once growing up, on seeing them again I recognize each as a great movie in its own adult point of view way that is not necessarily very Disney-ish.

Sleeping Beauty, 1959

I think this was the movie I was watching at the time I decided it would be fun to write a bunch of mini-reviews for Tumblr, as my reactions were changing a lot as I was watching. I went into the movie very curious, because while I only remembered enough of the fairy tale story to know that it was another of the very simple ones, and I remembered the one song as a waltz by Tchaikovsky, and I knew I had seen the movie once (and probably only once) as a kid, I couldn’t remember anywhere near enough to possibly fill a full movie time. What was actually going to happen in this hour-and-a-quarter long film?

I wasn’t watching long before I came up with the description “spectacularly forgettable”, in part to justify why I’d managed to forget practically all of my one previous viewing. The story doesn’t have much substance and feels sillier than even the other fairy tale Disney plots, like even minor twinges of critical thought, even granting the magical rules of the universe, are liable to make the plot topple. There is some filler to flesh out the movie, but (unlike with Snow White’s dwarfs) none of it is as amusing as the creators seemed to think it was. The only characters with actual personality are rather boring -- the capers between the members of royalty and the jester are a bit on the annoying side in my opinion. Maleficent seems to have no motive whatsoever. She actually calls herself something like “the mistress of evil” later in the movie. This is pretty black-and-white even by Disney standards, where the bad guys usually at least want to think that they’re on the right side of things or justified in their aggressive behavior. Aurora (the title character) has the least personality of all the Disney princesses. Literally all I can say to describe her is that she has the Disney Princess Trifecta of characteristics: she has a good singing voice; she is friends with all the “nice” animals; and her only goal in life is to be reunited with her True Love who she met once for all of a few minutes. The reason why I couldn’t remember any songs other than the Tchaikovsky one is that there aren’t any.

The one thing I consciously really enjoyed while watching was the fact that the score throughout was Tchaikovsky; the idea of having one work of classical music as the entire score seems like a bold one for a Disney film. As I was digesting the movie afterwards (and watching the short documentaries supplied on Disney+ helped here!), I came to realize that this classical music backdrop was complimented in quite an interesting way by a fairly unique animation style. I had been disappointed by the animation early in my watching, disliking how a lot of the figures in the beginning castle scene (for instance, various people’s faces), looked very “flat” somehow. But I’ve come to see this as part of a style where everything looks almost like a series of cut-outs superimposed on each other, to incredibly beautiful effect in a lot of the outdoor scenes.

My conclusion? If you watch this the same way you watch most Disney animated movies -- focusing on plot, characterization, action, and meaning of the main story -- it will just be kind of forgettable at best. But if you watch it as more of a purely visual and musical piece of art without trying to make much “sense” out of it (so, more like I would watch a ballet), you may find it uniquely beautiful among Disney classics.

One Hundred and One Dalmations, 1961

Whew -- what a complete and utter contrast from its predecessor! I can hardly imagine a film that’s still distinctively Disney while being more different from Sleeping Beauty in every aspect.

I remember seeing One Hundred and One Dalmatians a handful of times in childhood (when I was around 5 and it had just come out on home video, my mom almost bought it for me but decided to go with Beauty and the Beast instead explaining that it had better music -- I grew up knowing the preview for Dalmatians that showed at the beginning of our Beauty and the Beast VHS than the dalmatians film itself). I remembered a number of scenes very distinctly, including a lot of the Horace and Jasper bickering and Cruella smashing one of their bottles of beer into the fire and knew Lucky’s line after getting stuck behind in the snow almost word for word, while I had entirely forgotten all of the country/farm characters and entire sequences involving them. I had forgotten, but soon remembered, the television scenes including the Kanine Krunchies jingle. (Some years later, I think as an older teenager, I read the original book with some interest.)

Although I wasn’t around in 1961, everything about this movie’s style strikes me as very contemporary -- the animation in particular seems like the current style for 60′s cartoons. Something about the dialog and humor feels that way as well, as though it closely represents a sort of 60′s young-people-in-London culture that I’ve never seen myself (I was struck for instance by Cruella being asked how she’s doing and cheerfully answering, “Miserable dahling as usual, perfectly wretched!”). It was a little strange and offputting to see television so prominently featured in Disney animation from so long ago, and to see such a decrepit bachelor pad (with the accompanying lifestyle and attitudes) as Horace and Jasper’s in a children’s movie. The crazy driving in snow at the end startled my adult sensibilities (as I now have some memorable experiences driving in snow) in a way that didn’t affect me as a child -- scenes like that just didn’t feel like Disney after having just watched all the previous films. All in all, these novel features made the whole movie a wild ride.

I’m bemused by the fact that, despite taking place in London (which I hadn’t remembered -- I thought it took place in America), the only accents which are fully British are those of the villains Cruella de Vil, Horace, and Jasper.

Main criticisms: I found all the stuff with Rolly being characterized by his body shape and only ever thinking about food to be in poor taste (although not surprising for the times). And while “Cruella de Vil” is a great jazz number, the movie has no other music to speak of -- my mom was quite right to choose Beauty and the Beast over it.

(I realized when finishing this review that this is the only one of all the movies in the list that I’d actually enjoy seeing again sometime soon. Not sure what to make of that. Something about it is more interesting than most of the others? Especially the human-centric parts?)

The Sword in the Stone, 1963

I never saw this movie until later childhood or maybe even early teenagerhood, when I quite liked it. On watching it again, I was overall pretty disappointed. This movie has some decent songs and some fun aspects to the story, but a lot of it is kind of weak and forgettable and it’s all just sloppily done.

The story has a clear moral message which is generally pro-education and about reaching one’s full potential, but in my eyes it comes out kind of muddled because the story shows Wart ending up as a legendary king only out of the arbitrary happenstance that that happens to be his divine destiny. Merlin’s motives seem kind of inconsistent as well, with him sometimes seeming to support Wart in his desire to become a squire, then flying off in a rage when Wart chooses squirehood over fulfilling a “greater” destiny, then joyfully returning after Wart pulls the sword from the stone and is now set on the fixed path to being king, even though this involved exactly zero change of attitude on Wart’s part. The message that actually comes across looks more like, “We have to just follow whatever fate has in store for us” than “We must strive to be the best we can be”. And, it arguably even comes across as subtly disrespectful to more mundane lifestyles and career paths.

The animation is not great by the high standard of full-length Disney features (I noted how I especially disliked how tears were shown). Wart’s voice seems to change a lot, sometimes broken and sometimes not yet broken. I found out after watching that this is because the character was played by three different actors, sometimes with more than one of those actors in the same scene! This was purportedly because the voice of the first actor cast for the role started to change, but then why does Wart sometimes sound like his voice has already changed anyway? Sloppiness all around.

Still, some parts of The Sword in the Stone are fun even if none of it is stellar, and it entertained me more when I was younger, so worth watching once, especially if you’re a kid, I guess?

Mary Poppins, 1964

I came into this one far more familiar with it than with most of the other Disney movies, including the ones I watched many times when I was young, so it feels a little strange to try to summarize a similar-length review of it. Mary Poppins is in my book without a doubt one of the top three Disney movies of all time, in some respects the very best, and certainly the masterpiece of Walt Disney himself, the culmination of literally decades of determination on his part to turn Pamela Travers’ children’s works into a movie. (I would feel sorrier for Travers about how strongly Disney twisted her arm to turn her books into a movie whose style was entirely antithetical to hers, if it weren’t for the fact that the Disney version of the story is just way better than her rather weak set of stories. I give Travers ample credit for having created an amazing character in the person of Mary Poppins, but for coming up with good stories, not so much.)

I didn’t see the full movie Mary Poppins until later childhood (although I knew many of the songs) and it quickly became a favorite of mine. I went a gap of a number of years without seeing it before I copied the soundtrack from someone when I was in college, which spurred me to go out and rent it (back when Blockbuster was a thing) and so I managed to reconnect with it at the age of 20. More recently I’ve become somewhat of a Mary Poppins enthusiast -- feeling pretty alone among my generation in this regard, with the possible exception of the theater subculture -- having seen probably most or all of the documentaries there are on its production and learned a ridiculous amount of trivia about it, not to mention knowing the whole soundtrack pretty much in my head.

Mary Poppins seems to be Disney’s longest children’s classic, at 2 hours and 19 minutes. All it lacks, really, is an animal-themed or classic fairy tale atmosphere and a proper villain. But what can you get out this movie? Stellar child acting (especially for that period) and excellent performances all around, apart from some awkward but endearing aspects of Dick Van Dyke’s acting (while his singing and physicality is superb). A complex and multi-layered story combining magic, comedy and a little tragedy, appreciable in equal measure from a child’s level and from an adult’s level. Revolutionary special effects which include the first extended hybrid live-action and animation sequence. Timeless words and phrases which have permanently entered the lexicon. One of my favorite extended musical sequence of all time in any movie (”Step In Time” takes up 8 minutes and change, and I’m glad they didn’t go with the “common sense” measure of cutting this “unnecessarily long” number). The Sherman brothers at their very best, in a musical soundtrack that easily scores in my top two out of all Disney movies (the other one being The Lion King). A beautiful message (among several big messages) about the little things being important (or at least, that’s a very crude summary), exquisitely encapsulated in the most beautiful song of the movie, “Feed the Birds” (this apparently became Walt Disney’s favorite song ever, and I’m pretty close to feeling the same way -- I’m determined that one day when I finally have a piano I’m going to learn to sing it along with the piano). I could go on and on here.

If I try really hard I can come up with the sole nitpick of feeling that maybe the parrot head on the umbrella’s handle shouldn’t only reveal itself as a talking parrot head in only one scene right at the very end -- this should have been shown at least once earlier. Even granting that, this film is still practically perfect in every way.

The Jungle Book, 1967

(Let’s get the Colonel Hath in the room out of the way first: “The Jungle Book” is a terrible title for a movie. You know, when you base a movie on a book you don’t have to give it the same title as the book...)

I saw The Jungle Book several times as a kid and, despite not considering it nearly as good as Mary Poppins, similarly reconnected with it in adulthood (particularly the soundtrack). Only several years ago I found myself thinking of getting hold of a double album of classic Disney songs that I thought I’d heard about but couldn’t seem to find online. It soon occurred to me that mostly what I really wanted was some of the songs of The Jungle Book, so I got that movie’s soundtrack instead. I soon learned for the first time that The Jungle Book’s songs were written by the Sherman Brothers*, precipitating an “Ah, that explains why I remember them as so good!” moment. (“I Wanna Be Like You” seems like the clear winner among the songs.) Of course hearing the soundtrack made me curious about the movie, which I did eventually get hold of several years ago; thus I had seen this film exactly once already since childhood.

It says a lot about the music and the overall technique behind this film that I still look back on it as one of the great classics, considering how weak the story is. In particular, I consider a story arc to be pretty flawed when characters that seem significant and/or memorable come in without really living up to their expected big role: the wolves who raised Mowgli play a crucial role in the beginning before more or less disappearing (and it doesn’t entirely make sense to me why Bagheera, rather than they, is guiding him to the man village), and King Louie (who is a well-formed character that I particularly enjoy watching) really ought to come back into the story later somehow (an alternate, and much more complex, ending had him make a reappearance). The villain Shere Khan is not especially well developed in terms of his character and motives, but I do enjoy his menacingly bass voice. Still, the voice acting, the action, the animation, and the overall setting are all very solid here.

I’ll end with some random observations about the song “That’s What Friends Are For”. I think the likeness of the vultures to the Beatles was mostly lost on me as a kid (along with the recognition that this movie came out in the Beatles’ heyday). More interestingly, even when I was old enough to understand how vultures eat, the fact that every single line of the song is a clever macabre double-entendre went completely over my head. I do think it was a very obvious mistake, by the Obvious Standards of Cinematography, to give Shere Khan the last line of the song and begin that line with the “camera” on him, rather than have his voice come in “off-camera” and Mowgli and the vultures looking thunderstruck before panning to him, but maybe I shouldn’t be pushing for overdone techniques here.

* An exception is “Bare Necessities”, which was written by Terry Gilkyson, the original songwriter Disney received submissions from, who wrote two hauntingly beautiful other numbers which were deemed not Disney-ish enough to be put in the film.

Some general stray observations:

These older Disney films love gags involving alcoholism and drunkenness, a bit of a questionable emphasis given that the audience is children. This trend continues into the 80′s at least, but I don’t think one sees it much in modern Disney movies.

Watching these animated films I often find myself flinching as characters’ heads smash into things or gigantic objects smash over their heads, feeling almost surprised when they come out of it pretty much fine. I guess this a staple element of cartoon action throughout the decades, but I can’t recall a more recent Disney animated film where we see this (guess I’ll soon find out!)

There is a certain style of vocal music, with unified rhythm and lyrics but complex harmony and a capella, which seems to have been immensely popular in the 40′s and 50′s and distinctively appears in practically every single one of the 40′s and 50′s films above (“You Can Fly” is a typical example). I recognize it also from some non-Disney-related old records my parents have that were passed down to them. I’m curious about whether this style has a name.

For years I thought the Sherman Brothers did only the soundtrack for Mary Poppins and Bedknobs and Broomsticks, only discovering they did The Jungle Book songs rather recently as I explained above. It turns out they were involved in most of the major Disney films around that period, including The Sword in the Stone and The Aristocats (although not its best-known number “Everybody Wants to Be a Cat”).

There is a particularly sad instrumental passage, played by the string section starting with a minor-key violin melody going downward and joined by lower string instruments, which I knew well from my Jungle Book soundtrack (partway through “Poor Bear”) but was surprised to hear in desperately sad moments of several of the other movies around that time (including One Hundred and One Dalmatians and Robin Hood, or at least a close variant of this passage with slightly different endings). I have no idea who wrote this or how it came to be reused so many times.

I knew the name Bruce Reitherman as the voice of Mowgli in The Jungle Book, but in watching all of these other features back to back I’ve noticed that there are some other Reithermans in the front credits of quite a few of them.

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sw-daydreamer · 5 years ago

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More fan reactions!

SOURCE: tvsourcemagazine.com/2019/12/the-rise-of-skywalker-roundtable/

First Impressions of the movie?

Cam: Honestly, the first thought that kept repeating in my head as I continued watching the movie was “Who greenlight this?”. Too many hours spent on pointless plot points, bad dialogue, character regression and a clear intent to take digs at the previous movie.

April: The first time I saw the film I found it largely enjoyable. It reminded me of “old school” Star Wars films, which fits with J.J.’s nerdy love for the original films. However, there were glaring issues, largely that, in an effort to make every fan group happy, J.J. created a film where every fan group instead found something to nitpick. He bent to the will of the racist fans from “The Last Jedi” and shrunk Kelly Marie Tran’s role to nothing, he created women out of thin air (Jannah and Zorrie) to stand as helpmates to the men around them, just to name a few things. But as an end to Luke Skywalker’s story, it’s acceptable.

Anika: Thanks to spoilers, which I actively sought, I already knew what to expect. While I didn’t hate the movie in it’s entirety, my dissatisfaction with it made it the only Star Wars movie that I am quite happy seeing just once. So much of it just felt cobbled together and didn’t make any sense. It felt like the writers were trying to please every Star Wars fan base with this film, but never quite managed that feat.

Logan: As the credits rolled I thought, “Well, I enjoyed a majority of that movie until the end.” Originally, I said I enjoyed about 80% of the movie but the 20% I didn’t like were huge plot points. After thinking about the movie for a week, I’d say my percentage of enjoyment has majorly decreased.

Maggie: Unfortunately, I was entirely spoiled by Reddit and Burger King by the time I sat down to watch The Rise of Skywalker opening night. I mostly felt dread throughout the entire film and struggled to even enjoy the enjoyable moments. I think “fever dream” is the best way to summarize my first impressions.

Jenna: Like most people, I was spoiled by Reddit leaks that none of us could have ever anticipated being true. Sadly, they were. Although I knew what was going to happen, I still tried to go in with an open mind. While I did enjoy some of the movie, those feelings were unfortunately overshadowed by my intense dislike of the major plot holes and the poor messages this movie conveyed.

Heather: My first impressions were from Reddit Spoilers months ago because I am a known Spoiler Whore (I don’t like surprises) so if we’re going from the leaks my first impression was, “There’s no way this is true. It’s so stupid. Most of this doesn’t even make sense. Nah. I’ll wait for the LA premiere and the real leaks.” Little did I know.

When did you become a fan of Star Wars?

Cam: I have first watched Star Wars when in 1999 (Phantom Menace), then I watched the rest of them in 2015. But I only became a fan on 2017 when I watched The Last Jedi.

April: I was introduced to Star Wars when I was 7 years old. My cousin, 10 years my senior, had been tasked with babysitting me for the night and, in her desire to keep me quiet and happy she did what most teens would and plopped me in front of a VHS tape playing ‘A New Hope’. Within moments of R2-D2 and C3PO showing up on the screen I was enthralled.

Anika: I was 11 years old when I first saw Star Wars. The story of Luke, Princess Leia, Han Solo and a galaxy far, far away was an immediate obsession for science-fiction/fantasy nerd girl me. A New Hope is my favorite childhood movie and the saga, along with Rogue One and Solo, continues to be my obsession. I cried when I saw the first trailer for TROS because the movies were a big part of my childhood and teen years and knowing this would be the last story ever told about the Skywalkers was an extremely emotional moment for me.

Logan: The better question is when wasn’t I a fan of Star Wars. I grew up with a brother who is 10 years older than me and he was small during the theatrical release of Empire and Return of the Jedi. I grew up watching them because he watched them and I immediately wanted to be a part of that world.

Maggie: My father took me to see The Phantom Menace opening weekend when I was six years old. Despite the devastation of losing Qui-Gon Jinn, Star Wars basically overtook my life from that moment forward. For twenty years I’ve collected Star Wars ephemera and read through nearly the entire library of the Extended Universe.

Jenna: When I was around 10 or 11, the first six episodes were playing on TV for about a week. I saw my step dad watching one of them and I was captivated by it as soon as I walked by. I asked him what order I should watch them in, and then I could be found that whole week in front of the TV watching them every time they came on. After that, I didn’t watch them for a long time, but my love for the franchise returned when The Last Jedi was in theaters.

Heather: Star Wars has been a part of my life in a mostly passing way since I was nine years old when I was brought to see one of the prequels in theaters. My aunt and uncle and I also watched the originals and prequels at various points when I was a teenager though admittedly my interest was fleeting at best. In January of 2016 that very same aunt and uncle were back in our hometown visiting from England and they wanted to go see The Force Awakens for their third time. I had absolutely no interest in going to go see it but I wanted the family time so I did and I’m glad I did because I walked out a huge fan. For all of the grief I now give JJ Abrams I will say that he set out to make TFA both for old fans and to create new fans and he succeeded in that.

What did you think of Rey’s journey in this movie?

Cam: A complete regression of whatever it was supposed to be. I can’t explain it in a different way. From the beginning Rey was alone, in a desert planet, begging to find her parents and a belonging. As the movies progressed she finally learned she had to continue her life, she couldn’t be stuck in that place forever, and that she could find other people who would love her, “the belonging you seek is ahead” and all. She realized she could be powerful and important just for being who she is on the Last Jedi. She didn’t need famous parents to matter.

On Rise of Skywalker they reverted all that, she did need famous parents indeed and she never should have had to learn how to move on from her pain and self doubt regarding them since they were always good people that had loved her. Despite her entire journey, the movie frames her ending as someone who was again alone and again on a desert planet (despite arguments that it didn’t mean she would be alone, when a movie ends in a certain note that’s what you want your audience to take from it). It’s just a terrible regression that didn’t care for all the things this character needed but that instead cared about online complaints regarding her surname.

April: Rey’s journey in this film felt, in many ways, unfinished. We’ve always known that the Star Wars Saga was ultimately Luke’s story, even as we had other protagonists in the prequel trilogy it was clear that we were watching the beginnings of Luke (Padme and Anakin wind up being his parents and we watch the birth of his ultimate foe, Darth Vader). Unfortunately, “The Rise of Skywalker” (and indeed the entire sequel trilogy) struggle with the idea of Rey being anything more than just the final piece of Luke Skywalker’s story. Perhaps this would have read better had Rey been a Skywalker (as was clearly J.J. Abram’s (director of “The Force Awakens” and “ The Rise of Skywalker) initial plan, but instead Rey doesn’t actually begin her journey until the moment she stares off into the sun on Tatooine as the music swells dramatically. While it’s not unusual for a story to end with the hero heading into a new adventure, for this to be the “end” of Rey’s story feels almost empty, because we never truly saw her beginning.

Anika: Where do I start with Rey’s journey in TROS? Quite honestly, except for Rey becoming the powerful Jedi we all knew she would be, I don’t think she had much of a journey. She wanted to know her place in all of this and she does learn it along with a few other truths, but her reaction to every thing she learns was virtually non-existent. Rey’s journey is the saddest part of this movie. She finds the belonging that she wanted, but she has lost a maternal and paternal figure, a mentor and her other half in the Force. Rey is at the end of it alone again. How is that a happy ending for her?

Logan: Trying to think through my opinion is making me realize she didn’t really have much of one in this film. She started a strong Jedi and ended a strong Jedi. She started out as part of The Resistance and ended as part of The Resistance. The only changes to her journey revolve around finding out her lineage, which didn’t change any part of who she is, and also loss. Loss of Leia. Loss of Ben. Isolating Rey’s journey leaves me sort of depressed. So, my thoughts are that I don’t like it.

Maggie: At the end of The Last Jedi Rey was posed to have an incredible final act, unfortunately The Rise of Skywalker ended up being a regressive ending to her story. Her journey is rushed, disjointed, and nonsensical in this film. We never get her reacting to the revelation that she’s Darth Sidious’ granddaughter, which is perhaps one of the worst mistakes this film commits. The main protagonist is presented with a life changing detail about her past and is denied the chance to react verbally to the revelation. Not only was the implementation lacking, but the reasoning behind her having to be related to someone felt unnecessary. If Palpatine had always been the endgame for the trilogy, he should’ve been alluded to in the previous two films.

Jenna: Not only did I think that Rey had no growth in this movie, but I would even go as far as to say she regressed. In The Force Awakens, Rey’s story began with her living in the desert alone and waiting for parents that would never come back to her. In The Rise of Skywalker, Rey’s story ended with her living in the desert alone and isolating herself from the friends and family she has come to know. At least, that’s how I interpreted it. The Last Jedi set this movie up to have Rey realize how special and loved she is regardless of who her parents were, but this idea was thrown aside in favor of making her special only because of her family name.

Heather: Hated. It. I loved the message of TLJ that you don’t have to come from a powerful bloodline to be special or important and it was completely re-written. You’re only special if you come from one of these two families. Sucks to suck for the rest of you.

What was your favorite part of the sequel trilogy?

Cam: Ben and Rey’s ever growing understanding and love for each other. And Kylo Ren/Ben Solo’s entire arc that showed his pull to the light and his pain regarding the darkness.

April: The chemistry between the new trio (Rey, Finn and Poe) is hands down my favorite aspect of the new trilogy. Oscar Issac, John Boyega and Daisy Ridley play excellently off of each other and their interactions are a joy to watch. One thing The Rise of Skywalker did tremendously well was highlight their relationship and it is my opinion that Rey is now happily touring the sky with her boyfriend (Finn) and his boyfriend (Poe).

Anika: It’s a tie between the Throne Room scene and the hand touch scene in the hut. In the scene where she touches Kylo’s hand, we get to see both their vulnerabilities. He’s admitting that what she is going through, her loneliness is how he feels, too, and she’s reassuring him that it’s never too late to change that. The Throne Room scene is the best one in the trilogy. It was perfection in it’s execution. They way moved in sync with each other, watched each other’s back and that heartbreaking end when he offers her his hand and she knows she cannot take it was beyond anything else I had seen.

Logan: Admiral Holdo lightspeeding through a Star Destroyer. Hands Down. For me, Holdo was one of the most memorable characters of the sequel trilogy and that moment was followed by an eerie silence in the theater that I will never forget. Aside from that is all the confirmation of Jedi Leia, the return of Han, Poe’s introduction in The Force Awakens, the glory of Rose Tico. There are many moments that I will remember for many Star Wars films to come.

Maggie: The Throne Room scene in The Last Jedi will remain my favorite part of this entire trilogy. The fight choreography is incredible and I felt like it was really a defining moment for both Rey and Ben. Watching them fight back-to-back was pretty amazing to see. Not to mention it’s some of Adam and Daisy’s best acting in the trilogy. So many emotions play out from the start to end of that scene. It’s flawless.

Jenna: The Throne Room scene in The Last Jedi, by far. Adam so clearly showcased the emotions passing through Ben’s mind when he decided to take down the man who had been abusing him his whole life. When Ben and Rey stood back-to-back to fight together after Ben ripped Anakin’s lightsaber through Snoke I could feel every cell in my body start to scream in excitement. It felt like such a pivotal moment in not only the movie, but the entire trilogy. Seeing a clip of Ben leaning forward so Rey could grab onto his thigh and balance herself on his back to kick one of the Praetorian Guard is actually what convinced me to watch the sequel trilogy.

Heather: Reylo. Kidding…mostly. I can’t deny that their chemistry and the thrill of a possible enemies to lovers/good girl & bad boy story was what made me originally interested in the first place but I think my favorite part was all of the fandom anticipation. Who would Rey be? Would Kylo turn back to the light? Would the Resistance survive? Would Leia keep her role as General? In between each movie fandom was always alive with theories and speculation and there’s a sort of magic and unity in that that I’ve always enjoyed.

What was your favorite part of TRoS?

Cam: Ben Solo being redeemed, as he should have. And all of the amazing scenes between him and Rey.

April: My favorite part of The Rise of Skywalker would have to be the reinforcement of the idea of “togetherness”. You see it, perhaps most clearly, in the moment when, wrapped up in his devastation about leading his forces once more into a hopeless battle, Poe hears Lando’s voice over the radio. When he pulls up and sees the crowd of ships full of “just people” to quote one First Order combatant, it’s such a powerful feeling. That same theme makes itself present again in Rey’s battle against Palpatines, when she is at her most defeated and we hear the voices of Obi-Wan, Anakin, Yoda, Luke, Ashoka and more, reminding her that she is not alone, because she is “all the Jedi”, it’s also repeated throughout the trio’s interactions, they even go so far as to use the word “together”. It’s a constant message in this film and it’s so necessary in our current time. It’s a reminder to each one and all of us that there are always “more of us” then those who would seek to keep us downtrodden and together, we can spark a true revolution.

Anika: Without a doubt, Han and Ben’s scene on the Death Star. Leia reached Ben, but it was his father’s love and forgiveness which truly made the difference. Ben was never the same after killing Han and he needed to make peace with what he did and to accept that forgiveness is possible. Change is possible, even if we veer so off course that we can’t possibly see the way back. My two favorite characters in Star Wars sharing a much needed cathartic moment literally made me tear up.

Logan: If I’m picking just one thing then I’m choosing General Leia Organa. My gasp at the flashback of her and Luke was loud and probably annoying to everyone around me. She has a lightsaber. She’s a Jedi Master. She’s fearless and selfless and as bad ass as she ever was. I got to say a beautiful goodbye to Carrie Fisher and that meant more than anything else. Honorable mentions, though, to Harrison Ford returning as Han for one brief shining moment and to Kylo/Ben’s redemption arc that I never for one second thought I would ever buy into and yet somehow did. (Also, D-O and Babu Frik because how can you not love them?)

Maggie: I wish I could say the Reylo kiss was my favorite part of the film, however the moment was so rushed and poorly orchestrated that I struggle with enjoying it. I can’t even think of dialogue in this film that I enjoyed. With The Last Jedi so many lines stood out — lines with substance. I suppose I enjoyed seeing the porgs one last time.

Jenna: My favorite part was when Ben showed up on Exegol to help Rey. The second you saw him running, you knew you were no longer looking at Kylo Ren. This was now Ben Solo. From his hair to his loose sweater to his quiet “Ow”, there was no question about who was on the screen. When Rey and Ben finally used their forcebond to help each other and she gave him Anakin’s lightsaber, I could physically feel my heart squeeze in joy. Oh yeah, the Reylo kiss was pretty amazing, too. Too bad he had to die right after.

Heather: The final force bond between Rey and Ben when she gives him the light saber and he pulls it out from behind his back. That was a moment. I also really liked when after the trio fell through the quicksand stuff Rey lit her saber to light the way and Poe turned on his little flashlight. It was a cheap way to make the audience laugh but it worked and I did.

What was your least favorite part of TRoS?

Cam: I could say literally anything else but i’m gonna go with Ben Solo’s death.

April: The sidelining of Kelly Marie Tran’s Rose along with the insertion of Jannah and Zorrie feels purposeful and wrong. It was recently announced that Rose had only about one and a half minutes of screen time in the entirety of “The Rise of Skywalker” which seems particularly egregious when one considers how prominently she was featured in “The Last Jedi”. Even worse, she is almost “replaced” by the insertion of Zorrie and Jannah, both of whom serve no true purpose to the overall plot of the film.

Zorrie is there to forcefully remind us that Oscar Issac’s Poe is straight and that’s it! You could argue that she put them in contact with the tiny alien (Babu Frik) who wound up highjacking C3PO’s memory drives, but, Poe was a spice runner in this same crew and thus already knew him. We never even see her entire face, but we do get to see her modeling a skin tight pink catsuit-to emphasis her femininity.

The same thing happens with Jannah, an ex-Stormtrooper who exists only to provide a point of similarity with Finn and also to be Lando’s daughter (something that’s not even clearly told in the film. She’s tough and strong and has grit and determination in spades. She doesn’t hesitate to run into battle and in fact supports Finn as he makes what could be a suicide play to take out the lead ship. Both Jannah and Zorrie serve almost as opposites of Rose, in Zorrie: the ultrafeminine and in Jannah, the toughness that Rose wasn’t allowed to have. They even manage to strip Rose of her leadership, refusing to allow her to wear the badge of her station (commander). It’s a disgrace and it should be discussed far and wide.

Anika: I have two that really ticked me off. I absolutely hated Rose Tico’s arc in TROS. New character Beaumont had more lines than she did. After playing a big part in The Last Jedi, I expected more interactions between her, Finn, Poe and Rey, but instead she played the part of an extra, more or less. TROS made it seem as if she was an afterthought for Finn. I never got a chance to see a Rey and Rose friendship or even Rose on a mission with the others. She lost her voice because whiny, entitled fans were upset for no other reason than she was a woman and a person of color. It is even more upsetting that their vitriol was rewarded. The second thing that really bugged me was the predictability and, therefore, unoriginal end of Ben’s death. For once, it would have been nice to see the redeemed hero live.

Logan: There are two least favorite things that are tied for how enraged they make me. One, the obvious sidelining and invalidation of Rose Tico. Which is thanks to Abrams and Company caving to racist and misogynistic nerd boys. Two, the death of Ben Solo. I am by no means a fan of Kylo Ren. Prior to this movie I did not believe for one second that he could be redeemed. (Check my tweets, seriously). But his death does not enrage me for Ben’s sake but for Han and Leia’s. They sacrificed their lives to reach Ben and hopefully save his life. Ben’s death makes their sacrifices pointless. My two favorite Star Wars characters of all time were killed for nothing. Great. Perfect. Thanks, JJ Abrams. That feels fan-freaking-tastic.

Maggie: Where do I even begin? There was about 131 minutes of content I didn’t care for. I will die bitter about how they reduced Rose Tico’s role in response to racist men from the worst parts of the internet. The lines that were given to J.J.’s buddy Dominic Mongaghan could’ve been given to Rose. The fact that the only real lines that Rose had in the film were lines were she rejected joining the main plot seemed far too intentional. Outside of the #WheresRose issue, what they did with Poe Dameron’s character was perhaps my number one complaint coming out of the film. The entire subplot with Zorri Bliss was unnecessary and only served to remind FinnPoe shippers that Poe had a girlfriend and change his backstory to incorporate an unfortunate Latinx stereotype that he was a drug smuggler. Outside of yelling Rey’s name, what was Finn’s role in this film? Coming out of The Last Jedi he had matured as a character, but throughout The Rise of Skywalker it seemed like J.J. had no plan for what to do with him. Wouldn’t it have been awesome if he’d actually been able to say he was Force Sensitive and we didn’t have to get that information from subsequent interviews and an Instagram post?

Jenna: I could probably write a whole book about what I didn’t like about this movie. Plot holes (how Palpatine is alive, Palpatine wanting Rey dead then all of a sudden wanting her alive, how a spaceship that’s been underwater for years and has been torn for scraps actually works), character stories (Rose being sidelined, Poe being a drug dealer, Ben’s redemption arc fading away with his body), and many many more aspects of this movie keep me up at night.

Heather: The sloppy editing, the incoherent storyline beats, how much this movie wanted to be an action movie with all of the “pew pew!” instead of focusing on character and emotional beats and attempting to distract the audience with bright flashing lights and loud sounds so that they wouldn’t notice how nothing was actually making sense with the plot.

If you could change one thing about this movie, what would it be and why?

Cam: I’d definitely make Ben Solo live. Perhaps this sounds simple for some but the fact is, for one if that happened I would have hope for the Skywalkers. All of their suffering, from Anakin Skywalker to Ben Solo wouldn’t have ended in such a bitter note. The Star Wars Saga have always been about the Skywalkers and while a lot is wrong in the last movie, you would think they at least would have respected the legacy and the theme of a 40 year old saga. But the way Rise ended the story Palpatine was able to manipulate and ultimately end their bloodline. It wasn’t a victory, it was a tragedy.

(I won’t even get into how watching the death of a character that felt lost and needed redemption is just a terrible message as well. The number of people that felt utterly defeated and left the movie crying speaks on its own)

April: The kiss between Kylo and Rey. I’ve seen the movie three times now, once alone, and two other times with people who are aware of the films but are not superfans. In every instance the kiss feels out of place, abrupt and unearned, not just to me but to those I attended with. I believe there were other ways to show the connection between Kylo and Rey (and in fact we’ve seen it highlighted in both “The Last Jedi” and “The Rise of Skywalker” via their force connection) without having them kiss. It is perhaps even more jarring to see them share a kiss in the moments before Ren’s death because we’ve never seen Rey or Ren acknowledge the injuries he’s dealt her, both physically and emotionally. It’s impossible to form an emotional investment in a relationship that is built on dishonesty, lack of trust and no genuine affection between either party. Perhaps if Kylo had actually been redeemed it’s a conversation worth having, but he wasn’t and thus, it isn’t.

Anika: Ben Solo’s death and, therefore, the end of the Skywalkers. When I say Ben deserved more, I am saying it from a place that wanted, needed and expected better for the last Skywalker and the child of Leia Organa and Han Solo. Ben Solo has never really known a moment’s peace. I wanted him to live so he could discover who he was without a Sith Lord in his head, to atone for the things he did and to finish the work his mother started. It was lazy and easy writing to kill Ben.

Logan: I’m gonna change two, because if you’re giving me this chance I’m pushing my limits. One: Ben lives. Two: Rose goes with our Main Trio. Ben lives so that Han and Leia’s deaths have meaning. Rose goes with the trio because the amount of times they needed a mechanic were numerous and Rose was wasted staying behind with Leia. (Obviously considering Merry from Lord of the Rings had all the dialogue Rose should have had.)

Maggie: That’s a loaded question. If I had to choose one singular change, I would’ve started the film with Leia having died in the time between The Last Jedi and The Rise of Skywalker. In that situation, J.J. wouldn’t have been limited to playing around unused The Force Awakens scenes. Poe would’ve been General Poe outright, rather than handing him the role in Act 3 without any follow through. The pacing of the film would’ve likely been better and the stakes would’ve shifted.

Jenna: There are many things I would change in this movie, but if I had to pick one, it would be that Ben would get to live in the end. I’ve heard arguments that he deserved to die because of everything that he’s done, but I would argue back that he deserves to live for those same reasons. Dying is easy, but living is hard. If he had lived, he wouldn’t have just been able to jump into the Resistance with open arms. He would’ve had to work for forgiveness. He deserved to live so that he could eventually earn that forgiveness. Not to mention that his dying also ripped away not only the first love that Rey ever had, but also her Force equivalent of a soulmate.

Heather: I’ll give you three because I do what I want:

Ben Solo should have lived and earned the right to his redemption. Being redeemed through death is cheap and manipulative and had already been done in the original trilogy. Tell a new story. Let the villain earn his redemption by actively righting their wrongs instead of just killing them off.

Rose going on the adventure with the trio. Her underutilization is disgustingly criminal.

Not making Poe a drug runner just for a laugh and a plot point. There wasn’t even a hint of shady behavior in the other two movies so pulling it out of left field was not only jarring but for fans who actually read the supplemental material, noticeably false.

What unanswered questions would you like to have been addressed?

Cam: How is Palpatine back? Why didn’t Rey’s dad show up to her all these years if he was Force Sensitive? If Palpatine created Snoke why didn’t he know about the Force Dyad until the end of the movie? Why didn’t Ben Solo’s force ghost show up? Why didn’t we see Rey mourn her canonical soulmate? What is happening between Finn and Rose? Why was Kelly Marie Tran so terribly sidelined?

April: What is the confession Finn is trying to make? Yes, it has been purported that it’s pertaining to his force sensitivity. But this is a fact already known since The Force Awakens and one that he would not seek to hide from Poe, especially not in his potential dying moments. In fact, he mentions to Jannah that what led him away from the First Order was the force. We have no reason to believe force sensitivity is truly the secret.

Why didn’t Lando search for his missing daughter? The Visual Dictionary advises us that Jannah is Lando’s daughter and yet we are to believe that Lando has not spent the past 20 years searching for his daughter but stuck on another desert planet doing exactly nothing. Even the ending scene is ambiguous about who Jannah really is.

How did Palpatine survive being thrown down a shaft by Darth Vader and blown up in the second Death Star? We’re given no hints about that, although we are shown Palpatine hooked up to a crane like device receiving constant transfusions to a zombified corpse.

When did Palpatine even have time to have a child? Given the time frame, the only possible time for Rey’s father to have been, well…fathered is between “Revenge of the Sith” and “A New Hope” and I don’t know a lot of people who would have slept with Palpatine the way he looked back then.

How did Luke and Leia discover Rey was a Palpatine? Did Luke discover it in the Force? Was it just a feeling he had? Why did neither of them think to mention it to to Rey? Why did they continue to train her after discovering it?

Anika: How is Palpatine still alive and, if he created Snoke, why didn’t he know Ben and Rey were bonded? If Palpatine could find Ben in Leia’s womb, why couldn’t he find his granddaughter who shared his blood? Why didn’t Leia become a Force Ghost until Ben’s death and why didn’t Ben become one at all? Most importantly, I need to know where the Sith death eaters came from?

Logan: Does Rey ever find out that Finn has been pining for her for three films? That seemed like something important they introduced in The Force Awakens that got dropped for no reason. (Bonus: How was Palpatine behind Snoke this whole time? That made no sense whatsoever.)

Maggie: Why wasn’t Ben a Force Ghost at the end? Why did Rey decided to bury the lightsabers on Tatooine — a planet Luke despised, Anakin hated, and Leia never visited. How is the galaxy going to react to the granddaughter of Darth Sidious? How does Rey feel about the revelation? Why didn’t Rey mourn the loss of Ben? Why was Maz smiling when Leia vanished, given that Ben had died? Why was there so much focus on Rey staring at children? What was the point of the Force Dyad? What was the point of the visions in The Force Awakens? Why did the Knights of Ren exist? Why didn’t they just say Jannah is Lando’s daughter?

Jenna: How did Palpatine survive? What happened to Finn and Rose’s relationship? What was the point of Rey’s vision in The Last Jedi signifying that she was a nobody if she was a Palpatine? How did Ben not die after being thrown off the cliff? Why did the Jedi not help Ben? Why did the Jedi not do something to help heal Rey when she died after killing Palpatine? Why was Ben not a Force Ghost in the end? Why did we see such little reaction from Rey when Ben died? Why did Rey bury the lightsabers on Tatooine? Why did Leia wait to become one with the Force until Ben died, as if that’s something she wanted? Why did Rey take the Skywalker name instead of embracing that she didn’t need a name to make her special?

Heather: So many questions. How is Palpatine back? How did Ben get to Exegol if Rey stole his Tie Fighter on the Death Star? Why did Palps not know Ben and Rey had a force bond if Snoke claimed to create it and he created Snoke? Why did both Snoke and Palpatine want Kylo to kill Rey if in the end he wanted Rey to kill him instead? How was Poe ever a drug runner when in his comic he was born and raised on the Rebel base? If killing Palpatine would bring all of the Sith in to Rey’s body and she did in fact kill him, do all of the Sith and all of the Jedi live in her now? Why did Anakin say, “Rise and bring balance to the force like I did.” when Palpatine wasn’t dead meaning he didn’t bring balance to the force (and really his whole arc is now obsolete since he was in fact, not the chosen one after all)? There are more but if I kept going I would have an entire essay.

Were you satisfied by the ending of the trilogy? Why or why not?

Cam: Not at all. This trilogy ended making an even bigger tragedy out of the Skywalkers, I can barely watch the other movies without thinking “this was all for nothing.” The one character that knew enough about the Skywalkers and survived the ordeal (Rey) is alone. What is there to be satisfied about?

April: As an ending to Luke’s story I am absolutely satisfied with the ending of the trilogy and as a fan of his, I’m happy with what we received for him, Leia and even Anakin. As a fan of the new trio, I find myself wanting more of their stories. Who are they besides a former scavenger, spice runner and stormtrooper? Yes, Rey is “all the Jedi” and the granddaughter of Palpatine but who is Rey? We’ve spent three films with her and her primary focus has always been saving a male of the Skywalker line, in “The Force Awakens” that’s Luke and in “The Last Jedi” and “The Rise of Skywalker” that’s Kylo.

Who is she when that’s not her primary focus? Now we’ll never know. Yes, Poe is a child of the resistance, a spice runner and, now, a general, but who is Poe? In both “The Force Awakens” and “The Rise of Skywalker we see the beginnings of his story, a child of the resistance who, perhaps due to his parent’s deaths winds up a spice runner (something I don’t find as objectionable as many do-historically People of Color often do things deemed objectionable to support themselves or their families in troubled times) before coming back into the resistance fold with the return of information about Luke Skywalker’s return. We are given hints of his time as a spice runner, a possible past romance with Zorrie and then nothing else.

Finn is perhaps the biggest mystery. Even his name is not his own, given to him by Poe upon their first meeting. We will never know who he came from, what specifically about “the force” drove him to leave the First Order and trust the Resistance. We’ll never learn more about his force sensitivity and what that means for his potential future as a Jedi, we’ll never learn about the other stormtroopers who are also potentially force sensitive. So much is left up to guesswork and it is the worst part of the ending to me.

Anika: I was not satisfied at all. As I said before, the redeemed hero dying is so predictable. The story of the Skywalkers ends as one of tragedy and not hope(I’m sorry saying you are a Skywalker does not make you one). Rey is back in the desert again. I really don’t see how some found this satisfying.

Logan: No, because now Han and Leia died for nothing. That is the worst ending I could have imagined for two heroes of their caliber.

Maggie: No. I genuinely do not know how anyone can be satisfied with that ending. Han, Leia, and Luke died for nothing. The Skywalker line is dead. A Palpatine is using their name. Rey is back on a desert planet, right where she began.

Jenna: No. I felt like I left the theater with more questions than when I walked in, and that’s never something you want from the conclusion of a trilogy. I walked out literally feeling used and abused.

Heather: No. I am not satisfied at all. As a whole this movie was a mess. I know that JJ Abrams and Chris Terrio want to place the blame of that on to literally everyone but themselves but the fact of the matter is Rian Johnson dismantled everything in The Last Jedi which gave them a fresh start to tell a different story. Instead, they pretended that TLJ didn’t happen at all, retconned everything that happened in it, and once again fell on to using what worked in the original trilogy, instead of doing what their paid to do and giving us a cohesive, good, imaginative story. Putting all of your faith in to a trilogy and thinking it’s going to lead somewhere that they assured you was hopeful and good and having the rug pulled from under you is not what I would call a good time.

Kylo Ren; Redeemed or not? Do actions speak louder than words?

Cam: Definitely yes. Adam Driver was given nearly 0 lines after the redemption, so it’s hard to speak about words here, but ultimately his character did everything in his power to fight Palpatine and save Rey, so, yes.

April: I do not believe that Kylo Ren was redeemed, nor do I believe it was ever in the cards for him to be redeemed. There is a common belief that Kylo turned due to abuse, but we are not canonically shown any evidence of this. Yes, a voice whispering in your head can be stressful, but Kylo was born to two of the biggest heroes in the resistance and nephew to another, even if he didn’t feel comfortable turning to Luke (and who can blame him) in the aftermath of Luke contemplating killing him, his parents were still there. In choosing to run to Snoke, Kylo made a choice that would forever taint his life. In each movie of the franchise, we continue to see Kylo choose darkness and power.

In “The Force Awakens” he slaughters a village to obtain information about his uncle. He kills Snoke to become the Supreme Leader, in “The Last Jedi”, and when Rey offers him her hand, the final opportunity to truly do good, he refuses because his desire for power is stronger. Even as “The Rise of Skywalker” begins he is once again slaughtering people (who, to be fair, were a cult loyal to both Vader and Lady Corvax-but again, this information is not shown it is told in the Visual Dictionary). When he is searching out Palpatine it is, once again, to kill the person standing between him and the potential for true power. Kylo is, for all intents and purposes his grandfather all over again and neither of them deserved redemption in the true sense of the word.

Kylo’s last few acts, to run to Exegol, to fight against Palpatine and to give his life force to Rey are-ultimately much the same as his grandfather’s. He realizes that he’ll never truly have the ability to atone for his actions and so he gives his life to Rey, allowing her to be the balance his grandfather was always meant to be. This sacrifice is the most noble thing Kylo is ever shown to have done and because it comes so late in the trilogy, literally the final act of the final act, it is largely worthless. It is possible to give characters like Kylo real redemption (see Zuko of “The Last Airbender” fame) and it would perhaps have been possible even for Kylo, if only they’d begin his journey to that redemption in the end of “The Force Awakens” or the beginning of “The Last Jedi.”.

Anika: Redeemed. It’s been something I have wanted for him since The Force Awakens. I expected more with his redemption, however. He never got to express himself through words and I hate that he was sidelined for the fight with Palpatine. I’m glad we got a redemption, but it felt a little anti-climatic.

Logan: Not a fan of Kylo Ren, but I would say yes. I think as Han said, Kylo Ren is dead. We were seeing Ben Solo by the end of that movie and I wish we hadn’t had to say goodbye so soon. Adam Driver made him the perfect combination of Han and Leia and that could have been a joy to watch for more than just a few minutes.

Maggie: I have been rooting for Bendemption since The Force Awakens. The execution of redemption was awful. I would love to know what J.J. has against Adam Driver, because from the moment Kylo Ren is “redeemed” he speaks a single line of dialogue — “ow”. While I love the moment where Ben fights the Knights of Ren, I would’ve preferred some sort of dialogue as a trade. Not to mention the film starts with Kylo Ren reduced to his The Force Awakens persona and seems to forget The Last Jedi even happened. I got redemption, but at what cost?

Jenna: Kylo Ren being redeemed was one of the things I was looking forward to most this movie, but I was severely let down with how I got it. The scene with Kylo and Han was cheaply ripped straight from The Force Awakens. I believe they could have done this in a good way, but sadly, the way they chose to do it wasn’t the best. However, I did enjoy his scene on Exegol when he fought against the Knights of Ren. Unfortunately, this was also downplayed by Ben’s lack of dialogue in the whole end of the movie. After his redemption, we never get to hear him talk again, and then he dies.

Heather: Absolutely redeemed. Not only did Han explicitly say (and it doesn’t matter that it was in Kylo’s head because it’s what the writing wanted the audience to take away from the conversation by explicitly stating it) that “Kylo Ren is dead, my son is alive.” But Kylo threw his saber in to the ocean, picked up a blaster, and became Ben Solo. His mannerisms, his wardrobe, everything screamed, “I’m a different person now!” So, yes. It’s funny that you ask if actions speak louder than words though since the only word he said after his redemption was “Ow.” Don’t get me started.

Would you like to see more of the Skywalker saga? Is it put to rest?

Cam: Before watching Rise of Skywalker I would say no, but right now I kinda need one last movie to actually give justice to the Skywallkers. Just saying.

April: As I stated earlier, I believe that “The Rise of Skywalker” puts paid to the Skywalker Saga. I believe that their story has reached it’s natural, hard fought conclusion. I am satisfied with where our original characters have been left, with perhaps the exception of General Leia Organa but we all know why her story ended the way it did. With that being said, I would be interested in following the story of our sequel trio for one more film, watching them truly discover themselves and their reason independent of the influence of the Skywalker family. I’d also love a story about Rose Tico and Paige Tico, if Kelly Marie Tran would be interested.

Anika: In the current state of affairs, no. If they explain that Ben isn’t really dead, but exists in the World between worlds and there is a quest to bring him back, I’m all for it. I don’t see how you continue the saga without a Skywalker. Again, I don’t count Rey as one because she says so.

Logan: Unless they can give me a do over of this entire movie then no. Leave it lying in it’s own mediocrity. It’s what Abrams, Kennedy, and crew deserve for allowing fear of a fandom to dictate their every decision. They were afraid of giving any one group something so, as a result, no one got anything. Let’s just put the Skywalkers out of their misery and move on to new characters and new sagas. (Once again, unless I can get a do over of the final film in the saga which will never happen.)

Maggie: Look, if it’s the actual Skywalkers and not Rey Palpatine using their name, then sure. I keep saying I would love to see them create something like The Clone Wars to improve upon this terribly rushed film.

Jenna: I would only like to see more of the Skywalker saga if they would bring back Ben. Put an actual Skywalker on my screen, or I don’t want it.

Heather: I’m not particularly thrilled that at the end of the “Skywalker Saga” all of the Skywalker’s are actually dead. In fact, I’m downright bitter about it and don’t find that satisfying in any way whatsoever. So, I think after a rest (perhaps 5-10 years) I would like to see more of the Skywalker Story. Maybe Ben is in the World Between Worlds paying penance, maybe Force Ghost Luke is getting up to some after life shenanigans. I don’t know but I do know that I’d love to see it.

Who is your favorite character of the sequel trilogy?

Cam: Ben Solo.

April: My favorite character in this last installment of the Skywalker Saga is Finn. Former stormtrooper turned resistance hero his story is what a lot of people wanted Kylo Ren’s to be. He’s bold and protective of his found family. He’s kind and generous and, even as he makes mistakes, he works consistently to correct them. He has never left a friend behind. He is loyal and fair. His choice to consistently do “the right thing” when every piece of his upbringing tells him otherwise is hero-worthy. I’m so grateful that he was created and so grateful that John Boyega was chosen to breathe life into him.

Anika: Kylo Ren, hands down. He was more of an emotional, adult child still seeking love and approval than a real villain to me. His struggle with the Light that’s still a part of him, his connection to Rey which is his first real connection to anyone in years, his vulnerability and his redemption made him more than a one dimensional villain. No one could have done this character any more justice than Adam Driver did.

Logan: If I discount one off characters then Poe Dameron. He’s a lot like Han Solo, who has been the love of my life for as far back as I can remember. Also, his introduction in The Force Awakens is one of my all time favorite sequel trilogy moments and I loved him butting heads with Holdo all through The Last Jedi. He was also was the sole character in our main trio to truly keep me invested in this last film.

Maggie: I’m torn between Kylo Ren and Poe Dameron. I think they’re both phenomenal characters and I only wish that the final film had done better with their storylines.

Jenna: Kylo Ren is my absolute favorite. Watching his internal conflict turn to redemption, hate for Rey turn to love, and everything in between was what captivated me to this trilogy. It also helps that Adam Driver is such an amazing actor. He could make watching a cactus interesting.

Heather: Despite being Reylo Trash (which I am and have the necklace that says so to prove it), after much thought I think I’m going to give my favorite character award to Rose. While she was disgustingly underutilized and truly only got one movie to show her stuff I find myself often thinking about “We win not by fighting what we hate but saving what we love.” I find Rose to be an inspirational character. She’s tough but loving. She seems less like a character and more like someone I would know in reality. I don’t know if my love for Rose is for the character herself or because of Kelly Marie Tran’s performance of her but that’s my final answer.

Do you agree? Disagree? Love it, hate it? Either way sound off below in the comments or find us on twitter @TVSource. Thank you to all of our wonderful participants for giving us your wonderful, well thought out answers!

#reylo #tros #fan reactions #from different sides of the fandom #roundtable #reviews #interesting

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kopykunoichi · 5 years ago

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The Legacy of Star Wars: An Open Letter to the Writers and Creators of A Galaxy Far, Far Away

“Suddenly the Rebellion is real for you. Some of us live it. I’ve been in this fight since I was six years old!” ~ Cassian Andor

I saw a great meme once that played off that quote, meant to depict an older fan describing to a newer fan how they had been invested in the story of Star Wars from childhood. I could relate. Though I am not old enough to have seen the original Star Wars movies in theater, they were a significant part of my childhood. I remember renting the original theatrical VHS from our local video store all the time when I was little. Then we bought the digitally remastered Special Edition VHS Box Set and I spent the next decade wearing them out! We would have popcorn and Star Wars marathons all the time. My friends and I would always pretend we were in the story. My swingset was the Millennium Falcon. I was that 11-year-old girl who would argue with my friends over who was hotter - Luke or Han. (The correct answer is Han, of course!) My mother would read the Expanded Universe novels to me in the afternoons and we would talk about the characters. All my spending money went to Jedi Apprentice books and 6 inch action figures. In short, I loved Star Wars.

I was 13 when The Phantom Menace hit theaters, and I couldn’t believe how lucky I was to get to see new stories from my favorite fictional universe play out on the big screen. Though I struggled a bit with some of the acting, the story was absolutely amazing to me. Star Wars felt all the more real to me with the amazing graphics and intense action sequences - not to mention the layers of politics and the complexity of the story. I watched Revenge of the Sith several times in theaters, and though it broke my heart to see Anakin’s fall, I never considered it to be a sad ending overall, when taken as a whole with the original trilogy.

When the Clone Wars aired in 2008, I was ecstatic. Here was an Anakin I could actually get into (sorry, Hayden). I loved him. I adored Ahsoka. I wanted to marry Rex. The character development and the plot deepened my attachment to that era, and made me question everything I had previously taken for granted as good and bad. The whole system was flawed - the Republic and the Jedi. It wasn’t just a matter of mistakes being made and the wool being pulled over their eyes, there was deep rooted corruption in the side that I once felt was “good”. The light side and the dark side were not as black and white as I thought. I found myself strongly disliking some of the “good guys” and deeply sympathizing with some downright detestable people (I don’t know how you got me to care for Maul, Filoni - but well done). While the series had not yet ended, we knew where it was going. But still, we had already lived through the pain of Order 66, and we knew that the story would eventually culminate in a victory at the end of Return of the Jedi.

I couldn’t believe our luck when the first installment of the sequel trilogy hit the theaters in 2015. It had some of the feelings of a reboot, but I was beyond thrilled to have a series of Star Wars movies that I could now share with my children, as my parents had shared them with me. Though it was hard to say goodbye to the first love of my life, Han Solo - I just knew that Ben would be redeemed and Han’s sacrifice would be worth it...

2016 brought us Rogue One. We knew how that one was going to end too, but we still ate it up. I fell in love with a whole new set of characters, only to see each and every one of them die in the end. Talk about tragedy. But Leia’s line about hope reminded us that five minutes later, a whiny little farm boy was about to have his whole life upended in the best sort of way...so it was okay. Sort of.

Four years of Rebels ended in 2018, and it was so, so lovely - but it hurt so, so much. My perfect, beautiful space family had been torn apart with Kanan’s death. Ezra was missing. Rex was a 29-year-old man who should have been in his prime, but was instead struggling with the wear and tear of a 60-year-old body. Ahsoka was separated from him - AGAIN - and then she left with Sabine to look for Ezra. The ending still held the promise of the fight to come with the Empire, but the majority of our characters were left in a place of grief and brokenness.

2019 brought an end to the sequel trilogy. Once again, we had characters who pulled at our heartstrings, and an interesting struggle between “light” and “dark” that reminded me of the complexities introduced in The Clone Wars. It became more apparent than ever that balance in the Force did not mean the light triumphing over the dark, but instead a harmony between the two. At least, that’s what I thought. Until I watched every person I loved from the original trilogy die, Palpatine come back (and die) again, and the same exact ending of Return of the Jedi played out before me - except not as happy. Why? Because Anakin’s legacy had been reduced to ashes - his rise, fall, redemption, and sacrifice rendered null and void. The last Skywalker was redeemed and promptly killed, just like his grandfather. But because Rey Palpatine decided that she identified as Rey Skywalker, it was supposed to be okay. She then went to go hang out (or live?) alone on Tatooine because that’s where it all started. I was dumbfounded. This was the satisfying, hopeful, ending we were promised? How?

Believe it or not, I’m not here to trash the sequels - I enjoyed them very much - right up until the last 20 minutes. But in that space of time, the entire legacy of the Skywalker family went up in smoke, and the legacy of Star Wars along with it. Since Return of the Jedi, there have been no happy endings to a Star Wars movie trilogy or TV show. And with the ending of The Rise of Skywalker, that one happy ending we did have was ripped from us as well. Star Wars is now a never ending series of tragic endings. The lessons we are left with: Don’t fall in love in Star Wars, it will end badly. Your actions ultimately result in failure. As soon as you turn good, you die. There is no balance in the Force, just a pendulum swinging back and forth for all time.

Then The Clone Wars finally got her last season. I didn’t think Order 66 could have hurt worse, but Filoni set out to prove us all wrong...and succeeded. I’m still not over it. And once more, the bitterness I felt over the ending to the sequels (which had begun to subside) flared up all over again. What was it all for? All that pain. All that sacrifice. No happy endings.

I still love Star Wars. Nothing can take that away from me. No amount of bad writing can change that. And there are still plenty of good writers and creators working on Star Wars content. But good writers spinning tales of tragedy and endless pain negates the power of good writing. The Star Wars of my childhood is not the Star Wars of today. We wore out those VHS tapes because we loved the stories and the people. But my kids are not going to wear out DVDs where everyone they love dies or ends up alone. They aren’t going to queue up those digital movies and series over and over - because who wants to subject themselves to that kind of torture?

Just about the only safe space for Star Wars fans right now is fanfiction archives where the people who love the characters are busy writing fix-it fics to squeeze some sort of satisfying ending out of the canon content. The Mandalorian is literally our last hope for a Star Wars story that has the potential to end well. I swear, if Din Djarin ends up dead or alone at the end of this series, I’m going to lose it. The overwhelming sentiment of the Star Wars fanbase - from original trilogy fanboys to Tumblr blogging Reylos, and everyone in between - is that of dissatisfaction with canon content (with the exception of The Mandalorian). So much so, that many fans are just saying “screw it” and churning out a myriad of fanfiction AUs because there is no way to salvage what has been written. Half of Tumblr is in therapy after The Rise of Skywalker ending and the last episode of Clone Wars - but they weren’t exactly stable to begin with. The other forums and social media platforms are not much better, though.

It’s not just about the quality of writing - because Filoni and co. have done exceptional work with The Clone Wars, Rebels, and The Mandalorian. It’s the tragedy, guys. We can’t take it anymore. Is this really what we want the Star Wars legacy to be? Sadness? Despair? It’s a story about war - people are going to die. I get that. Victory comes at a price, but the cost can’t be worse than the victory. I want to sit down with my kids and watch Star Wars over and over again. The Mandalorian has given us a taste of that - but I’m almost afraid of where it will go. We’ve been burned so many times, I’m beginning to know what Anakin felt like on Mustafar - writhing in agony and screaming “I hate you” to someone he once loved.

I remember happier days when Luke and Leia and Han were laughing and smiling with their friends while Yoda, Obi-Wan, and Anakin looked on. I want that back. Filoni. Favreau. Creators. Writers. Producers. Directors. You are our only hope for canon content. Use The Mandalorian wisely. Use Din’s story to bless other characters. Here’s some ideas:

Let Din have a happy ending! Preferably with someone he loves and respects at his side (like Cara).

Let Cara become a Mandalorian - and put Paz Vizsla in charge of her training (we need to see them spar).

Let what’s left of the Tribe establish a new Mandalorian colony - and let Sabine Wren lead it. And give her that Darksaber back - she earned it.

Let Ezra come back from regions unknown with a deeper understanding of the Force, and have him train the child in the new colony.

Forget the Jedi and Sith, let’s start a medical training center/hospital run by Force users who can help heal people when modern medicine fails!

Ahsoka can use her talents for that too.

Find the rest of the child’s race and bring any of their Force sensitives onboard.

Let Boba Fett and Din have their epic showdown, but then use a sample of Boba’s unaltered DNA and some mystical Force healing to restore Rex’s body to what a 43-year-old should be (and then he can marry Ahsoka so we can have the Clone/Jedi couple we always wanted...thanks to you, Filoni).

Let the Mandalorians partner with the New Republic in the Outer Rim as law enforcement instead of bounty hunters, so they can get their reputation back.

They can train new recruits and pilots, just like Fenn Rau trained clones.

Let them keep their autonomy and traditions, while helping keep the New Republic honest.

Let them be a force for good in the galaxy, for once.

The Mandalorian could serve as the vessel to give a lot of characters with unresolved or tragic storylines some closure and better endings. If not The Mandalorian, then other new shows. My 6-year-old daughter wants nothing more than to be Ahsoka Tano. My 3-year-old son asks me to watch The Mandalorian every day. My 18-month-old daughter walks around in her brother’s Mandalorian helmet babbling “Way”. Please let me share the Star Wars legacy that I grew up loving with them. Let me show them the happy endings I enjoyed. Let me show them that even in the midst of conflict, not every life has to be ruined. Let me show them a Star Wars story with a satisfying ending. Hope. Redemption. Love. That’s what Star Wars means to me.

May the Force be With You (and your pens),

Rebekah, A Star Wars Fan

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