Sith > Jedi

Through five of eight episodes, The Acolyte is a middling failure—and a failure because it is middling. Of everything Star Wars needed, the very last was one more showdown between the Jedi and a mysterious Sith shrouded in darkness, a long drawn-out unveiling and encounter shot without beauty or grandeur or style or grandness of scope. What a bore.

Oh well. Three more thoughts before we finish the series then immediately forget it ever existed.

First: In the lead-up to the show, the buzz was that it would be a story told from the Sith’s perspective, that is, from the vantage point of powerless partisans of the Dark Side at the tail end of a millennium-long unchallenged reign by the Jedi. That’s an interesting idea! Why wasn’t this exact story told in that way? Never in the hallways of Jedi power; never looking at the Sith or his acolyte through Jedi eyes; always, instead, looking at the Jedi aslant, from an angle, burning with furious resentment. In this way the aha-reveal wouldn’t be a Sith under a mask, but the epiphany of actual Jedi in all their boring beige glory—come to steal children, enforce galactic edicts, and kill with impunity. Why did no one think this the better route?

Second: If Disney wants to make quality Star Wars (on either the big or the small screen), they have to commit to top-tier casting. Cast a show the way HBO does. Don’t cast tweens and newbies. Don’t cast on the cheap. Get the best of the best. The only way this works is if the actors on screen have gravitas. Most of the actors on this show, like Kenobi and Boba Fett before it, look like third billing in a spin-off DC comics movie. Follow Andor’s lead and make every actor who has even a single line of dialogue someone who could win an Emmy—someone who could steal the show. (Make them human, too, by the way.) As it is, we get stilted dialogue performed by teens and twentysomethings who look like it’s their big break following a string of guest appearances on the CW. And it’s Disney, I remind you, that’s footing the bill. They’ve got the cash.

Third: Does this show prove once and for all that, canonically, the Dark Side is more powerful than the Light? Ignore Episode IX, since it never happened. Across eight movies, nearly every time a Jedi fights a Sith head-to-head (or a Force-wielding opponent in touch with the Dark Side, since neither Snoke nor Kylo Ren are Sith), the Jedi loses. Darth Maul defeats Qui-Gon Jinn and, at least in terms of lightsaber combat, Obi-Wan too. Dooku defeats Anakin and Obi-Wan both before fighting Yoda to a draw. Palpatine beats Yoda. Anakin may lose to Obi-Wan, but he “wins” in Episode IV and wins again in Episode V against Luke. Luke bests Anakin only by tapping into his anger (i.e., the Dark Side); Palpatine then defeats Luke; and Anakin in turn destroys Palpatine. In other words, this particular Sith loses not to a Jedi but to a fellow Sith—his own apprentice.

It turns out that, with the exception of Obi-Wan in his prime against an Anakin lacking any training in the Sith arts—having turned to the Dark Side mere hours earlier—the Jedi are no match for the Sith. The Sith are simply too powerful. The Dark Side appears to be the stronger side of the Force, and by a wide margin, whatever its moral content. (Note further that the Jedi themselves teach, as doctrine, that the Force as such is amoral; what it seeks, and what the universe wants, is balance, not for the extinction of the Dark by the Light.)

To its credit, The Acolyte confirms and extends this canonical pattern. In doing so, it raises questions it will surely avoid, such as why the viewer should root for the Jedi; why the Light is preferable to the Dark Side; why, post-Rey, anyone should have confidence that the Dark will not return and prevail; and how, pre-Palpatine, the Sith and the Dark Side alike were dormant, or even nonexistent, for a thousand years.

Star Wars has written its canon into a corner. Leslye Headland isn’t going to write it out. That falls to someone else. I have my doubts such a person exists. And even if they did, I wouldn’t hold my breath that Disney would hire or empower them to tell the only story that needs telling.

Update (5 minutes later): I realize, upon pressing “publish,” that this post is, unwittingly but unsurprisingly, one long apologia for Rian Johnson and The Last Jedi. IYKYK.

But seriously: I forgot to mention that Rey and Ren fight to a draw; that Rey is powerless before Snoke; and that only Ren can defeat Snoke. Which only furthers the point. Not to mention that Snoke converts Ren from the Light to the Dark and that Ren rebels against Luke—a Jedi Master!—thereby casting him away into exile and self-incurred defeat, even if also (at the end, through Rey) toward a sort of self-immolating victory. Had Kathleen Kennedy permitted Rian Johnson or some equally brilliant screenwriter to follow the lines he’d drawn where they were pointing (that is, in the climactic ninth film), all this would have already been resolved, since the question at the heart of the above post is the question at the heart of Episode VIII. Asked but, on principle, unanswered by Kennedy, Abrams, et al. Oh well. Maybe that was their signal that it never would be. So it goes.

Out of touch

Before they premiered, I assumed that both House of the Dragon and The Rings of Power would flop. The assumption was pure projection. I couldn’t gin up an ounce of interest in either. Why? Because they were both inessential prequels produced entirely for reasons having to do with the bottom line, i.e., competing corporations spending hundreds of millions of dollars in the service of diminishing returns from previously profitable IP. Did anyone ask for them? Are they answering some urgent question about the fantasy worlds or original stories told about them? No. HBO wanted more of that sweet sweet GRRM cash, and Bezos wanted his own GRRM, so he opted to buy the next best thing: the rights to JRRT.

Clearly I was wrong. Both shows were enormous “hits,” in the sense that millions of people watched them and, apparently, cared about what happened on them. I confess it felt a little like going through the motions, watching from the outside; the precaps and recaps, podcasts and explainers, reviews and “arguments.” Do people actually enjoy these shows, or are they playing the old hits, reliving the glory days of Peter Jackson’s films and the initial shock and awe of Benioff and Weiss’s show?

But I may be wrong, since I was wrong the first time. What the popularity of these series showed me is just how out of touch I am. It was a pleasant surprise. Once upon a time, the mere existence of these shows and their accompanying buzz would have made them irresistible to me. No more. And thank God.

*

My rule with TV, as I’ve written about before, is that it either needs to be weightless fun (Top Chef, Great British, Brooklyn 99) or an A/A+ (Better Call Saul, Succession, Mare of Easttown). My students have time for C+ and B– shows. I once did too—or I thought I did: the truth is, there’s always something better to do with your time—but no longer. An episode or two of TV per week works for me. I can certainly do with less. More, and I should reconsider my priorities.

So regarding the other big franchise premiere this fall, Andor, I stayed away. I’ll eventually consider checking out HOTD or TROP if people are saying either show is genuinely A-level headed into season 4. Until then, it’s just a waste of time. But friends have been telling me that Andor is worth the time, so I finally gave it a watch this week. Some habits never die, and this childhood Star Wars fan is a sucker for more time in the galaxy.

And it’s not bad! It’s actually quite good, and getting better with each episode. A far cry from the useless, boring redundancy that was Kenobi. Some thoughts on the first eight episodes:

• True to his word, Tony Gilroy has made what appear to be four mini-movies, each made up of three episodes. I wish this had led to greater formal experimentation. What if the season actually were four movies, and edited accordingly, rather than randomly sliced and diced episodes? The opening three in particular feel random in when and how they begin and end. One more example of a filmmaker not quite understanding the television medium.

• Having said that, “movement two” (i.e., the arc spanning episodes 4-6) is magnificent, and if episode 9 delivers, then the third movement will be too. You can feel the Gilroy-ness of it all (brother Dan is writing as well). They’re in their element with the plotting, characters, and intrigue. It may well be the first successful live-action depiction of these things. Even Rogue One was beset by the dual shadow, on one hand, of Vader and the Force, and on the other, of our knowledge of the Death Star, its plans, and its eventual destruction. The mini-dramas of “BBY 5” and these heretofore unknown characters (minus Mon Mothma and Andor, only one of whose fate we know—we’ll think of her as Kim and him as Jimmy for now) have no canonical future for viewers. Their simultaneously small and large stakes create wonderful narrative tension.

• By contrast to the other Star Wars shows so far, the acting has been uniformly excellent. No comedic guest stars, no amateurs doing their damndest to make gibberish sound profound. Gilroy hiring top-notch old British guys and letting them chew scenery is just what the doctor ordered. Even smaller parts like Fiona Shaw’s adoptive mother lend gravitas that, in their absence, would make the show feel small and forced.

• The show is at its best, surprisingly, on Coruscant and inside the walls of the infinitely byzantine corridors of the immaculately white Imperial Security Bureau. (Cue Melville on the whiteness of the whale.) Kyle Soller, Alex Ferns, Denise Gough, Anton Lesser, and Genevieve O'Reilly are brilliant in their roles, and Gilroy et al give them both the words and the direction to make it all feel far more than glorified galactic dress-up. Whereas whole stretches of Kenobi felt like low-rent TV—“where’s the money???”—most of Andor makes clear exactly where the money went. Who knew Star Wars minus wizards and laser swords could be fun?

• The weakest link so far is the titular lead. Diego Luna plays Andor as a twitchy, world-weary, unsmiling Han Solo. All exposed nerve and bitter anger. That’s fine. But it drains him of any charisma. He’s supposed to be a womanizer. But who would want to go near this guy? He seems brittle and sketchy, not alluring or mysterious. Clearly he’s playing the role “correctly”—in the seventh episode, we understand why the stormtrooper stops him (however unjustly): Cassian Andor always wears a guilty look on his face, as if he’s only one step ahead of the law (which he is). His tell is his nervous constant surveillance of his own person. In that sense, Luna is doing his job. But why should we, the audience, care? We’ve got to have a reason at some point. When he vanished for a full 15-20 minutes in a later episode, I didn’t miss him at all. I wanted to stay on Coruscant with Mothma and Luthen and the rest. Make him matter, Gilroys!

• Having said that, Luna was quite impressive in episode 8, in which, from memory, Andor basically lacks a single line of dialogue, except to repeat, over and over, his own false name to judges, stormtroopers, pilots, and prison guards. The dawning realization of his situation in prison is almost feral in its raw bodily expression. The addition of Andy Serkis was a grace note in an otherwise brutal episode. If what we’ve got waiting for us in episode 9 is one long masterfully executed prison break, I’m here for it.

• The real weakness of the series so far is its opening three episodes. I understand why something like the story they sketch was necessary, but again, I think something more formally interesting could have served the show’s purposes much better. What if, for example, the show began with season 4, in media res, with the viewer as clueless about who Andor is and why he’s there as any of the other rebels? Then you fill in the back story at the necessary moments, when other characters are also learning these things for the first time, surprised when they are surprised (as when he reveals he’s a mercenary, for example), all while stretching out the suspense of the planning and undertaking of the robbery and escape. You scrape away the fat of those first 105 minutes while filling in the gaps in a much more engaging way. You also do away with some of the pro forma “yes, this is the backstory for the guy whose backstory we’re telling in this prequel” paint-by-numbers feel of the opening episodes, which surely turned many viewers away from what quickly becomes a richly suspenseful story of empire, law, bureaucracy, sedition, criminality, justice, morality, politics, and spycraft.

• I do hope Gilroy is able to make season 2. It would be a bust if the low viewership of season 1 led to premature cancellation. If season 2 really does stretch from BBY 4 to, more or less, the opening scene of Rogue One, that could be an absolute blast in the right hands—and so far, these are the right hands. Here’s hoping Kathleen Kennedy agrees.

The issue with Kenobi

It’s not that it’s especially good or especially bad. It’s not that it’s revisiting a time period we’ve seen before. It’s not that it involves old characters and a fair bit of retconning.

It’s not that we’re back on Tatooine (for an episode). It’s not that we see kid Luke or kid Leia. It’s not that Hayden Christiansen is behind the mask (or in flashbacks). It’s not that the stakes are lower than usual. It’s not even that it’s serialized TV rather than a movie—though that’s close.

It’s that it feels like TV. It isn’t cinematic: in scope, in style, in ambition, in storytelling. Both its visual grammar (on the screen) and its literal grammar (on the page) are fit for the age of binging and streaming, not for a once-in-a-lifetime must-see cultural event.

There are no stunning landscapes. There is no moving music or even a memorable theme. The action is indistinguishable from other generic CGI-fests today, only somehow smaller. Even with the deep Disney pockets and the Star Wars brand, the show feels like it was made on the cheap: on soundstages, before green screens, with small crews, smaller casts (regular and extra), yet without the modest grandeur of The Mandalorian manufactured by StageCraft.

Compare with Top Gun Maverick, which for all its “legacy sequel” status is so big, so impressive, so jaw-on-the-floor awesome that it’s already the biggest hit in Tom Cruise’s 40-year career. It bends your will into submission by virtue of nothing so much as its self-confidence as pure spectacle.

By contrast, there is neither spectacle nor patience in Obi-Wan Kenobi, no pregnant pauses or non-filler geography. The editing is ho-hum. Viewers find themselves in the land of close-ups, the default setting of television cinematography. No one is winning any awards for this show.

That’s it. That’s the problem. Ewan McGregor is doing yeoman’s work, as ever. Kid Leia is cute. I didn’t mind the Anakin flashback. Nor do I mind looking to the animated series as a template here. But that template is for character, canon, and nuances of character. The visual, aural, and storytelling template is 1977—full stop.

Whether or not the finale lands the plane without eye-rolling, nostalgia bombs, or massive canon-revision—that is, even if the last episode doesn’t ruin anything in the OT and actually turns out to add a thing or two—it will still not have been worth the effort. Kennedy, Favreau, Filoni, et al have to start thinking bigger. They have to start unleashing their writers and directors while resisting, at all costs, the siren song of a Star Wars analogue to the Marvel in-house style, which is no style at all.

The worst eventuality here is not to make something bad, a la Episode II. The far greater sin is to make something boring, even forgettable. And I expect to have forgotten this series by year’s end.

MCU Phases 4 & 5: dream or nightmare?

I have a mixed relationship to the Marvel movies that have so dominated the last decade of Hollywood. On the one hand, I readily enjoy them. I think, for the most part, that they are well made blockbusters, occasionally quite good, directed competently, written with care, and acted superbly. Their achievement as TV-like serialization across 23 films (and three "phases") is, as Matt Zoller Seitz has written, without precedent and accordingly impressive.

On the other hand, I'm neither a comic books "fan" nor an apologist for the MCU. I've read all of two graphic novels in my life, and have nothing invested in "geek culture." I furthermore share the general sentiment that the Marvel-fication of cinema as such is an unhealthy trend. It isn't good that there's a new superhero movie out every three weeks, and that Hollywood wants any and all blockbuster filmmaking to be (a) built on preexisting IP and (b) part of a larger "cinematic universe."

At the same time, I think it's too easy to use Feige and the MCU as a scapegoat. Marvel's (and Disney's) success did not and does not necessitate a systemic change in Hollywood, or the monotonous assembly line of genre fare we've seen in its wake. Moreover, while critics like Scorsese are certainly right to be exhausted by the last decade, two factors militate against an overreaction. First, great films continue to be made and recognized. Second, "cinema" includes more than the art house: indeed, cinema intrinsically includes the spectacle of sheer, broadly appealing fun. Scorsese and his cohort of directors know that more than anyone.

Having said all that, with Feige and Marvel taking a victory lap right now, it is a fascinating and revealing thing to look into Disney's plans for the MCU going into the next 3-4 years. For denizens of the art house, it is indeed a nightmare of sorts. For geeks, doubtless it is a dream. But like all dreams, it's going to come to an end. Indeed, in looking at the lineup below, it's hard to believe it's real.

So far as I have been able to put together, what follows is the forthcoming schedule of theatrical films and television shows (exclusively on Disney+) on the slate for 2020 through 2023 or so. Beginning with 2022 I'm taking educated guesses on timing. Movies are bolded and shows have a (+) after them. Read it and (alternately) weep or rejoice.

2020

May – Black Widow

Fall – The Falcon and the Winter Soldier (+)

Nov – The Eternals

2021

Feb – Shang-Chi and the Legend of the Ten Rings

Spring – Loki (+)

Spring – WandaVision (+)

May – Doctor Strange in the Multiverse of Madness

Summer – What if...? (+ animated)

July – Spider-Man 3

Fall – Hawkeye (+)

Nov – Thor 4: Love and Thunder

2022

Feb –Deadpool 3

Spring – Moon Knight (+)
May – Black Panther 2 [update: confirmed]

July – Ant-Man 3 

Fall – Ms. Marvel (+)
Oct – Blade [February seems a better bet, but since they specified October, that suggests "scary"]

2023

Feb – Captain Marvel 2

Spring – She-Hulk (+)
May – Guardians of the Galaxy 3

July – Fantastic Four reboot

Nov – X-Men reboot [perhaps FF or X-Men are introduced back-door via a summer or fall Avengers 5, a la Black Panther or Spider-Man in Civil War—that seems wisest]
 
–It's worth noting that not included here are even further sequels: Shang-Chi 2, Doctor Stranger 3, Spider-Man 4, Black Panther 3, The Eternals 2, Captain Marvel 3, and so on. It also assumes some sort of big team-up. [Updated question: Will there be another "Avengers" movie, properly speaking? Or will team-ups just happen organically within other characters' movies?] And there are definitely even more properties and characters to be introduced not mentioned here.

–It seems clear that, although 2020 will revert to 2 films in the year—a sort of deep breath after Endgame and before the onset of Phase 4—beginning the following year, it's going to be four MCU films per year going forward. And that, as they say, will test the market's limits.