Category Archives: Entertainment

If You See Yoda on the Road, Kill Him! A Defense of The Last Jedi

I am, of course, aware that Yoda is already dead, and has been for decades.  Bear with me on this….  Beginning in 2015, the long-dormant big-screen incarnation of the Star Wars franchise was revived.  All the original cast returned, playing their iconic characters, and fresh new faces playing new characters were also present.  It was the first time since Revenge of the Sith in 2005 that a big-screen Star Wars movie had been made at all, and the first time since Return of the Jedi in 1983–thirty-two years previously!–that the original cast was back in action.  As of this writing (July 2019), two of the movies of the third and final trilogy–The Force Awakens and The Last Jedi–have been released, with the third, The Rise of Skywalker, slated for release in five months.  Two standalone movies, Rogue One and Solo have also been released, and further movies with a new cast are projected; but the main attention has been focused on the three movies which conclude the Skywalker saga.  Fan and critical reaction has been sharply divided on the two released so far, with seeming storms of controversy regarding The Last Jedi in particular.

I don’t really have anything to add to the discussion in terms of a conventional movie review or rating.  It’s been forty-two years since the original Star Wars debuted, and I still don’t think The Empire Strikes Back has been topped.  I certainly don’t have any interest in further stirring the pot of accusations and counter-accusations of sexism, racism, political correctness, and so on and so forth.  More heat than light has been generated on this front, and I doubt there is much likelihood of dialogue in this area, anyway.

What I do want to look at is the metaphysics, or perhaps more precisely, the philosophical and spiritual themes that are present in The Last Jedi and which have been little remarked on in all the tempestuous arguments about other issues.  I think The Last Jedi has definite flaws (some of which, in fairness, were inherited from the plot of its predecessor, and some of the stupid and cockamamie decisions J. J. Abrams made in writing the script for said predecessor), drags somewhat in the middle, and arguably loses focus a bit by expanding the already expanded cast even further.  I definitely would not place it above The Empire Strikes Back.  All that said, I would argue that Last Jedi is actually the second-best movie of the seven Skywalker-centric sequels and prequels to the original Star Wars, right after Empire (and allowing for the fact that Episode IX has not yet been released).  This, I assert, is because of the themes I have already alluded to, and because The Last Jedi is the only movie in the entire Star Wars franchise to take those themes seriously since The Empire Strikes Back (Rogue One made a nod towards some of these themes, but not to the extent that Last Jedi does).  Some of these films have been around quite awhile, and some not; but just to play fair, SPOILERS ABOUND for all the movies in the franchise from this point onward–tread with caution!

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“This is Halloween”, from The Nightmare Before Christmas”

Some Groovie Ghoulies for Halloween

A blast from the past for Halloween!

“Shallow”

Yesterday was “Radio Gaga”; today is Lady Gaga!  Long-time readers know that Lady Gaga is pretty big around here, so no suprise!  This is her duet with Bradley Cooper from the new version of A Star is Born.  Enjoy!

Pat Benatar: Metropolis Mix

One could cogently argue that the 1980’s Giorgio Moroder cut of Fritz Lang’s seminal science fiction movie Metropolis is not the best or definitive version.  I would argue, though, that Moroder’s soundtrack for Metropolis is one of the best soundtracks of the 80’s, or, in fact, of that latter part of the last century.  The soundtrack album, though, has different versions of the songs, though, and is in my opinion substantially inferior.  This is most evident with Pat Benatar’s contribution.  She sings “Here’s My Heart”, which recurs throughout the film; and the version in the film is far superior to that on the soundtrack album.  The version above is a spliced-together mix of the movie version of the song.  Despite the inferior production values of the album version, Benatar does great on it; but in the movie version, she sings like an angel.  I dare you not to fall in love with her after listening to this!  😉

Fandom

Last time we looked at the rise of mass media and the resultant birth of pop culture as we know it.  Over time, as even cheaper forms of print came into being (penny dreadfuls, dime novels, and pulps) and new media were developed (movies, radio, and television), there came into being the phenomenon we know as fandom.

“Fan”, of course, is originally an abbreviation of “fanatic”.  A fan is fanatic about his favorite books, TV show, band, or whatever.  The term originated in America in the late 19th Century–not surprising, since America at that time was rapidly becoming the epicenter for all the various media that made fans and fandom possible.  “Fandom” appears around the same time, but is very rarely seen until the second half of the 20th Century, becoming more and more common from the 1970’s onward.  “Fandom” is the subculture of fans of a given franchise, property, or other media entity.  Such subculture includes, but is not limited to, networking among fans, fan clubs and societies of various sorts, fan-produced magazines (“‘zines”, often produced on the cheap with mimeograph machines in decades past), fan-written fiction (“fan fiction” or “fanfic”–with modern technology, fan films have become common, too), fan conventions (“cons”), cosplay, and various forums, discussion boards, and zones on the Internet.

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Too Much Meta!

“What is meta,” you may ask, “and how is there too much of it?”  Those are excellent questions.  In order to answer them, I’ll need to give a little background on just what it is I’m talking about.  “Meta” comes from the Greek preposition μετά, which simply means “after” or “beyond”, among other things.  It can also be a prefix in which the basic meaning is attached to the root word.  For example, “metamorphosis” pairs meta– with with a derivative of μορφή (morphē), “form” or “shape”, giving the meaning, “beyond the [original] form”.  Thus, in a metamorphosis, something (such as a caterpillar) goes beyond the form it has into another form (such as a butterfly).

A subtle shift in this straightforward meaning began with the works of Aristotle, and rather inadvertently, at that.  Aristotle’s books on various topics derived from what we would now call lecture notes for the talks he gave at the school he founded, the Lyceum. These were either written by Aristotle himself, or taken down by his students.  After his death, these notes were collated and arranged by topic.  The book dealing with the working of the natural world was called the Physics, from the Greek φυσικά (physika), which simply means “having to do with nature”.  The name stuck, and we still call the study of mass, energy, motion, and such “physics”.  The book that was placed next in the sequence after the Physics dealt with abstract topics on the nature of being, what we can know and how we can know it, causality, and so on.  Whoever it was who arranged the texts very pragmatically called this text τὰ μετὰ τὰ φυσικά (ta meta ta physika), literally, “the things coming after the Physics”).  In other words, it was the next book after the one on physics, so its title was essentially After Physics!

This was shortened by the Romans, who translated Aristotle into Latin, to Metaphysica, which we Anglicize as Metaphysics.  From early on, the tendency was to interpret “meta”–“beyond”–as meaning not “beyond” in the sense of “the next book in the sequence”, which was its original connotation, but “beyond” in the sense of “transcending”.  Thus “metaphysics” was understood to mean “that which goes beyond ordinary physics” or “that which transcends nature”.  This has been the standard connotation of “metaphysics” ever sense; and this connotation has determined the use of “meta” in other contexts, as well.

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Einstein and the Millennium Falcon–the Timeline of The Empire Strikes Back

After forty-one years and counting of the Star Wars franchise, which has brought us ten movies, seven television series, and God knows how many books, comics, works-in-progress, and various other media artifacts, I still maintain that the pinnacle of them all was the second movie (Episode V), The Empire Strikes Back.  I will take that statement as self-evident 🙂 and thus I don’t intend to make that argument here.  Rather, I recently wrote a post about space in which I mentioned time dilation in The Empire Strikes Back, and said that that would be material for another post.  This is that post.

I watched The Empire Strikes Back when it came out in 1980, the summer after my junior year in high school.  It was long-anticipated, and as I’ve mentioned before, some loud-mouthed acquaintances, having read the book before the movie came out, spoiled the big reveal about Darth Vader being Luke’s father.  Despite this, I found I enjoyed the movie enormously, more even than I had the first.  I think this is a good demonstration of an argument made by the Plaid Adder, a blogger I follow.  She says that if a reveal is properly done, then a spoiler–finding out about it ahead of time–doesn’t, in fact, spoil the show.  This was definitely the case with me and Empire.

Anyway, I don’t know when I got to thinking about the specific issue I want to discuss today, but it gradually presented itself to me over the course of a few years.  I don’t think I was aware of it at the time I watched the movie for the first time; but I think I had the matter articulated by the time I was in college.  To make it clear just what I’m talking about, let’s have a quick recap of the relevant events of the movie.

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Ennio Morricone’s Soundtracks Live in Concert

Star Trek or Star Wars?

Star Trek, of course–what kind of question is that?  Actually, if I’m going to write an essay, I should have more to say….

Star Trek, in its original incarnation (which I will henceforth refer to by the standard fan abbreviation TOS for “The Original Series”) began its prime-time network run on NBC in 1966, at which time I was three years old.  Its last season ended in 1969, at which time I was six, and about to begin the first grade.  I know Mom and Dad watched it, so I no doubt did, as well.  I’ve seen every episode multiple times since, and given that, it’s hard to sort out any genuine memories of the series’s original airing.

It doesn’t really matter, though.  Throughout my childhood and young adulthood, TOS was more or less constantly in syndication somewhere on one channel or another.  Every time it was available on any of the channels we got, I always watched it.  For reasons that are obscure, certain episodes (e.g. “The City on the Edge of Forever” and “A Piece of the Action”) were in very heavy rotation, whereas others (such as “Errand of Mercy” and the insanely elusive “The Mark of Gideon”) were rarely if ever aired.  I made it my goal to watch every one of the original seventy-nine episodes at least once.  I set this goal at the age of around twelve or thirteen, and it took into my mid-twenties to complete it, but complete it I did.  In the meantime, my involvement with Star Trek was expanding far beyond watching reruns.

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