Solo: The Media's Stupid Spin And Remediation Advice (An Editorial)

We all know why "Solo: A Star Wars Story" flopped, with a box-office total that's catastrophically more abysmal than thought. The mainstream media may not wish to admit it, offering "Star Wars" fatigue as the reason (i.e., one film simply coming too soon on the heels of another to garner interest), but the truth is, "Solo" failed because many chose to sidestep it after "Last Jedi" soiled the intergalactic dream. 

Lucasfilm and nurturing Disney didn't help matters, either, by allowing Jonathan Kasdan; Kathleen Kennedy, Rian Johnson (remember when he called Mark Hamill a "mofo"?); and even once-could-do-no-wrong J.J. Abrams to scold fans, labeling them something they're not.

With that said, "Star Wars'" traditional base isn't adverse to diversity--never has been, never will be. Its members are, however, adverse to any form of prejudice, particularly reverse discrimination, whether regarding gender (males) or mystical notions. ("Last Jedi'"s dreadful destruction of a sacred temple by a respected puppet couldn't help but upset.) That the new handlers of George Lucas' creation have chosen this wayward, abrasive and unapologetic course is what baffles and offends so many. 

Diversity in storytelling can, in fact, be administered in a number of ways. Gene Roddenberry; George A. Romero; Ray Bradbury; Rod Serling; and Glen A. Larson have handled it via a variety of voices. The various producers of "The Walking Dead"; "Planet of the Apes"; "Alien Nation"; "X-Men" and the recent "Bright" offer such in a way that gains acceptance even from people of opposing, political views. But you know what? Lucas dealt the diversity card, too, and all through a throwback style that rode on pure fun and never once did he bash a soul. He did weave some embellishing philosophy into his fun, but fun was the primary goal and mission attained, provided I might add, by host of eclectic characters.

Male bashing, therefore, was never part of "Star Wars", any more than female bashing. Contrary to what SJWs claim, the "Star Wars" wheel wasn't broken prior to "Last Jedi" (or for that matter, "Force Awakens"), even in light of the prequel trilogy stumbling here and there. A radical purging of the saga's good-vs-evil themes needn't have occurred through this unsystematic process. "Star Wars'" purpose was pure, clear and effective--and embraced unconditionally from the start. 

In all fairness, "Solo" isn't way off base in its reflection of this. Even with the conspicuous recasting of Alden Ehrenreich and Donald Glover in iconic roles, "Solo" is superior (more open-minded) than "Last Jedi" in its presentation of the old ways. If not for the dreadful "Episode VIII", the smuggler's pre-story may have struck lightning at the box office. However, many fans feared that if they had supported it, there was a strong chance that Lucasfilm would continue its "Last Jedi" vibe, not only into "Episode IX", but the possible "Solo II". (For the record, "Solo" does have a SJW smattering about it, but it's nowhere near as bad as many feared. The film slips by avoiding a rough edge: something that its anthology companion, "Rogue One", at least keeps.)

Again, "Solo" dropped the ball because the peasants chose to chastise the ruling class, and truly, that's all. (Keep in mind, "Infinity War" hit theaters only a few weeks after "Black Panther", and "Deadpool 2" a few weeks after "Infinity War": each a blockbuster and with the same adventurous pledge as "Star Wars". People flock to this sort of stuff, unless they've been betrayed.) Anyway, most of the peasants will eventually see "Solo" (and probably find it bland, but on the whole, okay), but whether good or bad, the core fans had staunch reason to postpone their allegiance, though I suppose their boycotting was also an ironic (and shrewd) way of acknowledging the film (ha, ha). 

Because of the fans' stance, Lucasfilm and Disney must get their houses in order. That requires an acceptance of the truth and a change of command, perhaps even getting good, old George back into the chair, if only in a consultant capacity. Maybe having him team with the "Infinity War" group would be an ideal way to go. 

At the same time, it's understandable to keep the franchise fresh and growing with new characters and circumstances, but they must project the original "Star Wars" spin: that means sticking to the white hat/black hat, chapter-play format.

To help with this, why not cast Scott Eastwood as a protagonist? (Heck, he'd make a nifty Flash Gordon, come to think of it.) And before you snowflakes condemn the idea of casting another guy in a lead, one could just as well recruit a tough-as-nails lady to pull in the reins: an Ellen Ripley or Michonne type, if you please. She could be flawed, but strong, wise and easy to applaud, instead of some flavorless wannabe or hardheaded nag. 

New characters can also express diverse dispositions and tendencies, without fear of screwing with the saga's canon. They don't even have to be human. They only need to emote some degree of depth and get audiences to care about them, just like folks did with Lucas' ensemble in '77. But when it comes to villainy, keep it standard, vicious and long lasting: Enough of this hit-and-miss, guest-starring silliness.

Even if the bigwigs won't admit it, there's much riding on how Lucasfilm now proceeds and how Disney reacts to its satellite's plans. It'll be interesting to see what develops in the upcoming months and what manipulative or honorable scraps on "Episode IX" and the Boba Fett film are shared. Thanks to "Solo'"s misfortune, there's again hope that things might turn around. If not, the franchise is destined to enter a long and unceremonious hiatus by decade's end; and oh, what an unforgivable disgrace that would be the present producers. 

I saw Star Wars Awaken...

"Star Wars I-III" disappointed, not because it was a lousy saga. Au contraire, it's actually quite a sprawling epic (and a damn big moneymaker, at that). It's just that, well...somewhere in the hustle of things, it lost track of its roots. 

"Star Wars", as the adventure was presented in 1977 by George Lucas, surfaced as a shameless homage to adventure tales gone by and the heroes who led them, namely John Carter, Buck Rogers and Flash Gordon. (As we well know, Lucas would have returned Flash to the big screen if only he had procured the rights.) With this, a "New Hope" presented a basic tale of good vs evil, unconcerned with murky Trade Wars or the unnerving shades of gray that characterized a villain we all knew would be uncompromisingly dark in his heart. As such, Disney's assigned director, J.J. Abrams, has assured us a new movie-serial style "Star Wars" with its seventh chapter, "The Force Awakens". 

Has Abrams fulfilled the promise? The answer is yes and no, but his slight deviations on the basic elements doesn’t mar the splendor. It simply makes this chapter (written by Abrams; the legendary Lawrence Kasdan; and Michael "Toy Story 3" Arndt) its own cool thing, which simultaneously looks to the past and the future. In this regard, we again have good and evil at odds, three decades after the epic Battle of Endor and the destruction of Death Star II, with new heroes leading the charge and supporting characters taking their sides accordingly.

Of course, as we've anticipated, it's old favorites who set the cozy pace: Princess/General Leia Organa (Carrie Fisher); Han Solo (Harrison Ford); Chewbacca (Peter Mayhew); and even Admiral Ackbar (Tim Rose). Luke Skywalker (Mark Hamill) is also in there, but essentially in concealed form, his presence felt throughout "Force Awakens", just as Spock's was felt throughout "Star Trek III": a warm-up, in essence, for the saga's predestined shape of things to come. 

The acknowledgment of our past heroes helps keep this installment in check; for if there exists any remnant of the basic formula that distinguished the middle chapters, it's through these stellar stars, and its the new folks who redirect the saga into its spirited, sequelized stretch. 

The newbies include desert-dwelling Rey (Daisy Ridley); ace X-wing fighter Poe Dameron (Oscar "Ex Machina" Isaac); wise Lor San Tekka (Max Von Sydow); helpful Maz Katana (Lupita Nyong'o); and in-search-of-redemption Finn (John Boyega). They each figure into the plot, to some extent or another, the way the characters did in "New Hope", with a transported message prompting their actions. 

Finn, in my estimation, is this chapter's most identifiable protagonist, though some would argue that Rey is more so, if only for her Skywalker similarities. Still, Finn is the one through whom we experience the adventure: the misguided guy who gets thrust upon this gallant ride after befriending the dynamic Dameron, who in his own right becomes a significant Solo stand-in. (On a speculative note, the following chapters will probably do a better job of fleshing out Finn and Rey, thus strengthening their significance within this yet expanding universe and for better or worse, tease at a potential romance.)

So, what exactly does our dynamic duo face (or rather, should I say, fall into)? Well, again it's a division of sides, with the freedom-fighting Resistance vs the multiplying "Neo-Nazi" First Order/Empire loyalists. We also learn that matters weren't definitively resolved at "Return of the Jedi'"s end, with (and this is solely implied and never succinctly stated) ineffective leadership having allowed pockets of sovereign seekers to cause disarray (much as any typical terrorist group would when not kept under thumb). 

Finn is wise, having shed his Stormtrooper shackles in the name of galactic freedom and stumbles upon Rey, who immediately takes to him, and from there their alliance fortifies for a shared cause and against a common foe. 

There are a number of baddies in "Episode VII", including memorable supporting characters, like Supreme Leader Snoke (Andy Serkis); the staunch General Hux (Domhnall Gleeson); and the gleaming Captain Phasma (Gwendoline Christie), who make a strong visual (and sometimes dramatic) mark, but never dominate the plot.

The villainous beacon, therefore, is the heavily publicized Kylo Ren (Adam Driver): an often masked zealot with a most distinct light saber, who desires supreme, cosmic control. He's this segment's Ming the Merciless or Killer Kane; a counterpart to reality's hated Hitler and for the here-and-now, our would-be Darth Vader. He's hellbent on rekindling the Sith Lord's influence, and his impetuous temperament confirms this. Oh, and in case you're unaware, he's the son of...well, never mind; most of you've already caught wind of the startling revelation and outcome. Anyway, Ren's wayward presence is why Finn and Rey fight the good fight, though they require guidance along the way.

For such, they (along with the bad guys) seek the elusive Luke Skywalker, and with Solo, Chewy and the Millennium Falcon's help, "Force Awakens" starts to take shape, becoming at least on the surface, what Abrams projected: a thrilling quest story. 

Unfortunately, the film doesn’t always make the best use of its cast, opting (as the weaker chapters have) to emphasize organic window dressing instead of extended characterization. Tekka's presence, for example, could have been expanded, and Dameron, though engaging when given the chance, should have received much wider focus.

Though it may totter in its character balance, "Force Awakens" indubitably delivers the goods in visual glitz and not of the cartoonish CGI sort, either. This chapter is laden with old-school, heavy hardware and fast action, which earned it a PG-13: a warning to parents that such sleek intensity may be unsuitable for their coddled kids (sad, but true). Nevertheless, for those who savor movie-serial zest, "Force Awakens" should more than please and have most fans clamoring for more. 

Also to its benefit, this chapter downplays the cutsey stuff. Sure, the adorable, snowman-shaped BB-8 is there to pick up the torch from R2-D2 (Kenny Baker, who in this instance "consulted" on the droid's movements) and fidgety but amiable C3PO (Anthony Daniels), but it's all within the proper context. When given their various moments, the three give the film that Disney-esque charm: apt since the franchise is now officially Disney stationed. However, they are more of a cheerful additive than a mawkish, Jar Jar Binks distraction. 

At the end of the day, whether one labels it a hit or miss, "Force Awakens" is but another part in a progressing mythology. How this chapter will figure into the grand scheme is yet to be seen. (Remember, "Empire Strikes Back" wasn't necessarily praised as the best of the best upon release.) For the time being, and for the sake of launching a new start, the film now stands as the franchise's "new hope": a chance to avoid the disfavor paved by the prequel trilogy. It may also become, in the long run, another magnificent moment in space-opera history. For now, with the box-office numbers blasting through the roof and fan praise mounting, things look most promising.