This holiday season I am geeking out to film adaptations of Charles Dickens’s A Christmas Carol. Actually quite a cosmic tale, and I do recommend reading the original. I invite you to stop over to my other blog and read the stanzas I’m composing for each version I watch.
My rating: 3 of 5 stars
A long time ago, in a childhood far away, I swear I remember movie novelizations being a deeper, richer experience than this one. Star Wars: The Force Awakens, by accomplished novelist Alan Dean Foster feels almost as lean and hurried as the movie (which I quite liked). It’s not a bad read. It made me want to watch the film again. Most importantly, it heightened my anticipation for the upcoming release of Star Wars: The Last Jedi. (I intentionally held off reading this book until the month before the next installment comes out.)
Of those I read as a kid, novelizations were at their best providing silent reflections of characters, which film can only accomplish with heavy handed voiceover. I also enjoyed their inclusion of material left out of the film. On this score, Foster’s novelization includes a full scene with X-Wing pilot Poe Dameron. The dialogue pops as no-nonsense Poe negotiates with a suspicious alien. Very entertaining. If only the book had more of this material.
Still, most of what should be the novel’s meat amounts to explanatory paragraphs whose unmistakable purpose is to justify plot points in the movie. It’s almost as if we’re reading a script with the movie producers’ notes pasted in between the dialogue. Interesting in a special features sort of way, but not an especially deep or rich journey through the story.
This will be a day long remembered. It has seen the end of waiting for the Star Wars: The Last Jedi trailer, and will soon see (hopefully) the end of Supreme Leader Snoke inadvertently using internal rhyme:
“I saw raw [pause for eerie underscore] untamed power!”
Never thought of Chewbacca as a fuzzy-dice-on-the-rear-view-mirror kinda driver. So why is he suddenly tolerating fuzzy dice that yell? In any case, let the debate begin over repeating Ewok marketing history.
What’s with the enjambment-like interruption of otherwise complete sentences of dialogue by underscore and sound effects? See Snoke’s quote above for the first example. For a second example, here is Kylo Ren speaking:
“Kill it… [pause for orchestral vamp beneath TIE Fighter engine scream] …if you have to.”
Seriously folks, play the trailer with your eyes closed and just listen. It’s like the non-verbal elements of the soundtrack are mansplaining how we should feel about the dialogue, which spurts out in staggered fragments.
As with all previous Star Wars trailers, I will operate under the assumption that the clips in this one which seem the most spoiler-ish are the clips that will prove the most misleading when we see the finished movie.
Not a very fun trailer. Impressive. Most impressive. But certainly not delightful or enchanting like some of The Force Awakens teaser material. This trailer gives the impression of the characters having a very stressful Thursday.
Is Finn’s new sidekick, Rose Tico, anywhere in this trailer? I feel like all I know right now is she’s cute as a button. I’d like to know more than that.
What if the power which determines the fate of all Star Wars characters is not the Force, but the writers/directors opting for whichever plot twist the audience is least likely to anticipate?
No, Star Wars fan theorists. Nuh-no. This trailer does not reveal to whom Rey is related. But go ahead and claim that it does, and that you alone figured it out, thus scoring your blog lots of page views and maybe getting picked up by the Huffington Post. Besides, Rey is totally related to Snoke. Seriously, compare their eyes. [pause for slasher film violin screech] I’m kidding. I have no clue who Rey’s parents are.
If they ever make The Last Jedi into a Broadway musical, the Act 1 Finale will be a stirring ballad called “Something Truly Special” sung by Supreme Leader Snoke.
When you make one final flyby of Titan, before disintegrating in Saturn’s clouds, you experience a gravitational nudge which scientists call “the goodbye kiss.” If you experience this kiss, your name must be Cassini. And you must be nearing the morning of September 15, 2017–the last day of your life.
When the Curiosity Rover landed on Mars in 2012, I thought it might be the greatest space achievement to occur in my life. I supposed, this is my generation’s Apollo 11 moment. However, as the end of the Cassini mission approaches, I realize its finale may be the most meaningful, albeit bittersweet, moment of my space-enthusiast life.
Cassini’s two-decade mission has spanned my adulthood years. I plan to do some poetry blogging here in the coming days to process that fact. Hopefully the output will be enjoyable for any who stop by Lit for Space. Bottom line, I need to savor this finale. I’m even taking the day off work on September 15th and plan to be glued to NASA TV that morning.
I strongly urge readers to take special note of this grand mission’s passing. For the public, at an absolute minimum, Cassini has provided some of the most awe-inspiring imagery of our solar system. The scientific data collected has made and will continue to make entire careers for some of the world’s brightest scholars. Indeed, Cassini’s success makes us a little less ignorant of the universe in which we struggle to survive.
To explore Cassini’s mission, try this starting point: NASA’s Grand Finale Toolkit. Here is a brief yet epic video dramatization of what is about to happen.
Yesterday I saw not one, but a half-dozen total solar eclipses. Such was the odd privilege of being stuck inside an office cubicle for most of the day, relying on internet coverage. From Oregon to South Carolina, again and again, I watched the sun disappear, become a coronal ring around the moon, and then burst forth in an audience-delighting “diamond ring” glow.
More than just astronomy, this event became both ritual and communion. Below is a touching video put together by The Washington Post which provides a good balance of eclipse footage and human exultation.
Each time another crowd witnessed the eclipse, I found myself especially taken with the audible reactions. Animals can’t possibly sleep during a total eclipse. They must sit alert, waiting tensely for the light to return so the humans will stop squealing and shouting for joy.
And people? They struggle for words. The oral history of the 2017 Total Solar Eclipse, from seasoned reporters to little kids, begins and ends with the word “Wow!”
To sum it up, as I watched the reactions again and again yesterday, they seemed a marvelous mingling of two things: 1) feeling like an ecstatic kid; 2) feeling something deep and profound, mystical or spiritual even. Feeling like the sun and moon at once?
Below is a good 360 view. Press play. Then click and drag upward to see the sun as a pillar of light which recedes into a tight ring surrounded by temporary night. Thanks to The Salt Lake Tribune for putting this one together. Old-school newspapers are giving me the best highlight footage to share. Awesome!
Here’s a great piece from NPR this week. In the audio version, NPR Science Editor Geoff Brumfiel and Weekend Edition Sunday Host Lulu Garcia-Navarro banter about science journalism clichés and the news stories that utilize them:
My rating: 3 of 5 stars
To hear Mark Hamill and Johnny Carson banter about it on The Tonight Show in 1977, the magic ingredient of the original Star Wars movie was the utter black and white of its morality. Good versus evil. Light versus dark. A swashbuckling morality play with no gray area. In the late 70s, coming out of the Vietnam War, such clarity in the guise of sci-fi fantasy must have felt blissful.
Yet when Lando Calrissian attempts to play the Rebellion and the Empire off each other in The Empire Strikes Back, the morality of Star Wars heads into a murky area. Though Lando ultimately picks a side, a torch of moral uncertainty passes to and from Darth Vader and Luke Skywalker as they strive to convert each other to their respective sides—both claiming to have the galaxy’s best interests in mind. Most recently, Disney and Lucasfilm’s Rogue One revels in moral ambiguity.
Everything I’ve said above applies to Aftermath: Empire’s End, the final installment in Chuck Wendig’s trilogy of novels bridging the storylines of Return of the Jedi and The Force Awakens. Like the makers of Rogue One, Wendig dramatizes moral uncertainty with zeal. His characters grapple with the close resemblance of justice and revenge. The begged question is quite fair. Why do we forgive aggressive and violent political tactics used by the Republic that we condemn when used by the Empire?
The ensemble of Empire’s End features a bounty hunter, an ex-imperial loyalty officer, and an X-Wing pilot who finds herself fighting the remnants of the Empire off the books. In tow are her technologically precocious son and his likably lethal battle droid Mister Bones. Just as Han, Luke, Leia, and Chewbacca found themselves swept up in the political intrigue surrounding the first Death Star, this newer ensemble finds themselves inexorably drawn to the planet Jakku. There an epic battle plays out over the last roughly 100 pages of the book. The resulting wreckage serves as the backdrop for early scenes of The Force Awakens.
Wendig’s ensemble seems utterly beset with nuanced ethical quandaries. We know they’ll win the battle (not a spoiler; it’s in the title folks). But we don’t know if they’ll come out of it with their consciences intact. All the while the novel’s broad strokes paint a picture of a New Republic which could easily become a new Empire, albeit driven by good intentions.
One of the best moments for me comes as two minor characters converse about the nature of the Force. One lets slip a notion that, “…maybe there is no dark side.” This idea doesn’t become the thrust of Empire’s End, but it underscores the murky nature of the post-Lucas Star Wars universe.
Wendig also does a great job developing the character of Sinjir, who struggles to come to terms with his Imperial past. Notable as one of Star Wars’ first openly gay characters, Sinjir also scores the novel’s main romantic subplot. This may be a deal breaker for some fans. However, I felt Wendig entertainingly drew out the same universal sexual tension George Lucas relied on to fire up Han and Leia’s adventure in the original trilogy.
This may be the last Star Wars novel I read. I admire how Wendig avoids enslaving his cast of characters to the film canon. He lets Sinjir and the gang have their own adventures. Of arguably greater value, he strikes a tone that is both thoughtful and playful. Still, there are too many books I want to read for me to invest too much time watching the Star Wars machine feverishly spin new plot threads, only to tie them obsessively back into the original storyline for the cheap thrill of it. Folks, take it from an old-school fan, it’ll never be more amazing than the first time we heard Darth Vader say, “No, I am your father.” It just won’t. Does that make me a bad fan? A good fan just needing a break? Or a fair-weather fan somewhere in between?
I recommend Empire’s End to those who read and enjoyed the previous two Star Wars: Aftermath books. For everyone else, I recommend the first Aftermath novel.