A lot can happen in a fictional universe in two and half hours, and director Rian Johnson took the opportunity to subvert a lot of the established narrative rules of the Star Wars franchise. Monumental things happen in interpersonal relationships, while large-scale events are drawn out with explicit detail. Granted, this happened in previous Star Wars installments before—the three-way between Luke Skywalker, Darth Vader, and Emperor Palpatine, while the Endor shield generator and Death Star II space battles raged on in Return of the Jedi comes to mind—The Last Jedi turned the idea into a best practice. Scenes where solemnity is expected, Johnson hands you flippancy; where you expect easy answers to questions raised by The Force Awakens, Johnson generates another question while mostly dodging the original. Whether this is a desirable turn of events is in the eye of the viewer, but it’s clear that Johnson steered the franchise’s narrative style in a different direction.
Cinematically, Johnson’s style and design vocabulary is top notch and his camera shots were impeccable, and he really shined at expressing the impact of large-scale scenes (the hyperspace destruction of the pursuing First Order fleet was an awe-striking tableau). In congruence with the meta-theme of subversion, there’s lots of unorthodox angular shots and upside-down or reverse-lateral perspectives—techniques not found easily in standard issue sci-fi/fantasy films. I found it a smidge more preferable to J.J. Abrams’ lens flares and trucks-and-pans. The action moves too fast for some of these techniques to be admired, so while Johnson’s aesthetic could be on the level of Denis Villeneuve’s, we’re not allotted much time to breathe it in.
Much could be said, and probably is being said, about the shoehorning of women leaders into the franchise. Johnson’s view of the role of women in power is rather narrow, and though it’s not nearly on the scale of George Lucas’ blatant sexism against men in using millions and millions of male clones specifically as obedient cannon fodder for the Clone Wars story arc, it’s still just as egregious. The two Resistance female protagonists in power, Princess/General Leia and Vice Admiral Holdo, both come off as annoyed mothers-in-law than effective leaders. Leia slaps Poe Dameron for disobeying orders, in front of the entire crew, instead of something less humiliating like a one-on-one chastisement in private. Granted, Dameron was open and unapologetic in his rebellion, but the impetus is on Leia, as his superior, to handle the situation properly. Holdo is so terrible as a substitute captain, both professionally and in her personality, that she inspires a successful mutiny against her and her commanding officers—though she more than redeems herself later on. Rose Tico, though just a mechanic and not a commanding officer, henpecks and finger-wags Finn, and is at the helm of a goody two-shoes, baffling “rich people are mean and hurt animals” narrative subplot that consumes about 20 minutes of screen time. The message is implied but rather clear: women, especially women in power, are tactless bitches*.
J.J. Abrams was listed as a producer in The Last Jedi‘s credits, and is slated to direct the next Star Wars episode, number 9. It remains to be seen how Abrams will tie together Johnson’s unraveling threads of the Star Wars franchise.
* Perhaps ironically, the best woman leader in the most recent two Star Wars films is Captain Phasma. Though she had to uphold some pretty nasty First Order protocols, she never did anything reckless or inappropriate to her position. Her dealing with Finn’s disobedience was more in line with effective leadership that what was seen in the Resistance leaders.
Anna and the Dragon is Jill Domschot‘s debut speculative fiction novel, an impressive dive into the “soft” supernatural realm. The titular Anna is a computer engineer with mild character quirks who falls for an errant academic with a heart condition and a fixation on dragonry.
Though the title and book cover suggest something of a YA (young adult) story (what isn’t shoehorned into YA nowadays?), yet the subtle speculative manner of Domschot’s plot does away with that label. There’s no pressing need to expose all the anthropologies of the “our-world” legendarium that earmarks YA literature and TV series. Anna and Franklin battle with it in their respective contexts—yeah, there’s history lessons, but it’s well below exhaustive. There’s no need to find out more than what they need to know to avoid getting caught. The tiresome jetsetting around the world to unearth archaeologies and weapons for a final showdown is replaced with bike rides to beaches and phantasmagoric ladder appearances. In holding back, Domschot dodged one of the worst tendencies of modern Westernized storytelling*.
One possible criticism is Domschot’s portrayal of Anna as an inactive agent of change. I can see this as a valid point, though the drastic decision Anna makes within the first few chapters Anna pointedly rebukes this idea. A cardinal rule of fiction is the protagonist must act, not react, but this doesn’t have to be if the character’s flaw is literally (heh) indecision. This may very well be Anna’s destined path to tragedy, since in the partitioned second half of Anna, fate’s hand forces her into a situation of near-complete confusion where she can do nothing but act.
In all, Anna is an enjoyable read, though I may have lowered my expectations since I knew it was a debut. She avoids the simplistic narration of timid first-timers and the overcompensating verbosity of Duning-Kreuger amateurs, landing her safely in the middle. There were a few spots where a good edit could tighten or unloose for a better impact, but those episodes were far between. A more solid second book has potential to take her places.
* You reading this, George Lucas? You stop right there with that midi-chlorian material sciences silliness for Force-sensitive life forms. You should’ve left it as an intuitive power of uncertain boundary and whimsy. Suppressing the urge to over-explain origins will prevent the wondrous mystery from being further plunger-sucked out of the Star Wars EU.