#1 – What Rogue One attempts to do is almost certainly more interesting if you’re a Star Wars fan and there’s no denying that there is a huge amount of fan service going on in this movie.
Having said that…
#2 – I am a massive Star Wars fan so whatever.
#3 – There are a lot of people I’ve spoken to now who are marginal Star Wars fans who loved Rogue One.
#4- I wanted to keep this spoiler-free but I figure enough people have seen the movie now but, either way, here is your warning of SPOILERS.
Rogue One is both non-essential viewing and a necessary corrective to the Star Wars movie canon. How is that possible? Well, it speaks a little to what I discussed in an earlier blog about alternate narratives. The Star Wars story universe is so large that everyone’s understanding of what it is can be totally different. If you’re just here for the Skywalker & Co monomyth, which is after all what most people understand Star Wars to be, Rogue One won’t do anything for you and that’s A-OK.
But if you want to explore a little deeper, if you want to have a new lens to examine not just these films but the nature of history-making and heroic narratives, especially in times of war, look no further.
To begin, here’s a hot take for you:
The protagonist of Rogue One isn’t Felicity Jones’ Jyn Erso.
Jyn is the hydroscopic nuclei around which the misfits of Rogue One form and tumble down, down, down into the core of a nascent war, a mission trajectory that’s shared and unstoppable. It couldn’t happen without her. But the mission isn’t really about her.
The real protagonist is the most consistently underserved ‘character’ in the Star Wars universe.
The real protagonist is the Rebellion itself.
There are a few reviews and indeed comments from friends whose opinions I rate that suggest that the characterisation of the Rogue One team is thin. I agree with that.
It also didn’t bother me at all. Not only that, but I think it’s fine. Not only that but I think that this works in a positive way towards what this spin-off film is trying to achieve that the main movies often suggest but never quite land: Being a Rebel fucking sucks.
I realise this might read a lot like a rabid fan’s lengthy defense of undercooked characters but go with me on this because if nothing else I think Rogue One pulls off one hell of a trick in expanding the Star Wars universe in every direction whilst telling a very contained story.
On a practical level for Disney/Lucasarts, Rogue One had to work within a narrow, well defined channel: Tell a satisfying tale in the same story universe without overwhelming the narratives of the Saga movies (as I have learned the Episodes 1-7 are called). This film is built to be entirely subservient to the grander ones around it. Subsequently Rogue One, whizzbangs aside, exists on a smaller level than the main films. The heroes are minor characters in the world, they’re not Jedi and even the main villain – Director Krennick – saunters around with the fury/frustration mix of an insecure middle manager.
Even the emotional space of Rogue One is smaller. The Saga films operate under the sweeping emotional logic of a grand space opera. The music is more soaring, the language heightened, the jokes broader, the characters more vivid, the colours brighter, the contrast between sides sharper. Black. White. The Dark Side and the Light.
Rogue One, on the other hand, operates in the emotional logic of a war movie. It’s still got jokes, its characters are still occasionally fun and whilst some of the morals veer into the grey, the visuals do so less than you’d think – it’s beautiful film to watch. But there’s little romance to all this. There’s no time for it.
That’s because whilst our characters here are a lot less equipped to deal with them, the stakes are still huge, the enemy just as daunting as in the Saga movies. It’s this disparity that gives Rogue One its weight. It’s why a Death Star targeting a city here feels more daunting and terrifying than Starkiller Base wiping out the entire New Republic in The Force Awakens. This movie is all about the scale of the challenge that director Gareth Edwards twins well with his eye for the awesome (in the original sense of the word). In the Saga movies, the main characters observe people getting fucked by super weapons. In Rogue One, the main characters are the ones that get fucked by super weapons. The Death Star here is an absolute titan, in a way that it’s never felt before, and dealing with it feels like the most urgent thing in the whole damn universe, ahead of absolutely anything else. It’s this imperative that makes Rogue One move at the speed of plot, not the speed of character, something which is anti-thetical to wisdom on good writing. The film, without question, suffers a little for this.
Yet, for me, the aforementioned weight-through-scale is why I still found Rogue one satisfying and why I didn’t miss any greater characterisation. I suppose it’s not too dissimilar to my love of Apocalypse Now (a movie, trivia fans, in which Han Solo’s got a cameo and none other than George Lucas was once slated to direct.) Willard not having much about him as a protagonist didn’t bother me and still doesn’t bother me in the slightest. He was a man on a crazy mission with crazy events happening all around him that were out of his control, all in service of taking down a Big Bad. Now of course Apocalypse Now is a totally different style of movie and has a whole different take on warfare. But both movies are about the mission above all else (well, at least, the non-Redux version of Apocalypse Now is and if you’re not a monster that’s what we’re talking about). The relentless drive. It’s in opposition to, say, a Saving Private Ryan, which desperately wants you to care about its characters. The movie isn’t about Private Ryan at all really, it’s an excuse to showcase the valour and humanity of these incredible people. You can tell how important it is to Spielberg. Apocalypse Now and Rogue One have a completely different approach and rarely reach that same level of characterisation.
Having said that, Rogue One’s characters were still clear enough to me to get me through the story. I was never at a loss as to what everyone’s ‘deal’ was. Yes, none of them were particularly special, none of them got a huge amount of space to get to know the others. But each of them had an anchoring point, each of them had a part to play. Rogue One needs more characters to create similar potency to a few in the Saga films. Its wholeness comes from greater numbers, wider skills and greater diversity in a world you already know at least a little about.
This last point matters.
Some have commentated that Rogue One wouldn’t work anywhere near as well if you removed it from its Star Wars context. I believe that’s likely true, but this is to miss the point. The whole raison d’etre of this movie is to reframe that context, and this moves me on to how Rogue One isn’t just fan service but genuinely makes the Star Wars universe richer both in tone and in complexity in a way that the Saga movies cannot without derailing themselves.
There are certainly nods to those in the know. Some made to amuse (too many of these), some made to be a nostalgia nurse, but most fill in tiny gaps of story and lore in a way that is immensely rewarding. There’s the Death Star’s weakness now being a deliberate choice, not a simple flaw. There’s the Jedi being seen in the context of being part of a larger religion. There’s young Jyn having a Stormtrooper doll. I loved this! It’s a little of what I’d hoped for from The Force Awakens. There’s a moment in that movie when Rey talks about Luke Skywalker and the Jedi as a myth. No longer there, but indelible in cultural memory. Yet there’s nothing really in that film that hints at this powerful myth’s place in that world. I remarked at the time “wouldn’t it have been great to have seen something like kids playing as Jedi and getting told off or something so we know what the deal with the wider world is?”. With that one half a second shot of a Stormtrooper doll, you get how deeply rooted the Empire is. It’s not some vague menacing military presence. You feel the Empire’s supposed pervasiveness through this better than almost anything else I’ve seen in the Star Wars movies. It’s beyond great ol’ fleets of Star Destroyers, it’s down to the very toys children play with in that world. As someone who was more delighted than one should be to see a brown human Star Wars figure in a shop (thanks, Riz) there was something in that which seemed to highlight the grip of a dominant force, not just militarily but culturally too.
My favourite nod was a very subtle one, subtle enough to have passed by my co-watcher who is also big on Star Wars. In a section of the fight above Scarif, a hapless Red Squadron X-wing pilot gets it in the neck. They spent a little longer focusing on his demise than others. Why? Because he’s Red Five, the callsign Luke gets given during the Death Star assault in A New Hope.
That’s a funny moment to look back on after watching Rogue One. When Luke Skywalker blows up the Death Star, the beat is ultimately less about saving the Rebels (with whom he really doesn’t have any real investment), and more about him trusting in the Force and thus preparing him for his journey to become a Jedi in the films to follow. His sigh of relief when the torpedo enters the exhaust port feels like it’s saying “oh thank fuck the Force worked after all and I don’t look like a total dickhead for turning off my targetting computer.” He even gets a medal for this demonstration of Boy-Wonder-greatness.
In contrast, you suspect that the history within the Star Wars universe may not remember Jyn and co so well – indeed, it’s impossible for the future films to do so without some sort of unwelcome Late-Stage Lucas Special Edition kind of insertion. To paraphrase the Hamilton mixtape, the Rogue One crew are Luke Skywalker’s ghost writers. Which is a necessary and sobering thing to see, really. Nearly everyone who dies on Scarif won’t get remembered individually. Such is the fate of most people who do important things for the sake of any war, cause or movement. And you don’t actually have to be that interesting a person to do your part, either, even if movies demand it, entertainment demands it, dramatic writing demands it. Reality doesn’t. Not one bit.
Do I think that’s all by design? No, I’m not quite that generous, and there are plenty of bumpy moments and choices in Rogue One, but perhaps it’s because of the moment we’re living in that I feel more able to give a pass to a film that flags how our mythologies, societies and ideology are ultimately collective even if Great Individuals seem to dominate our narratives. There’s such hope in that if you’re in deep despair at what feels like a lack of agency.
I’m finishing this post not long after hearing of Carrie Fisher’s death at sixty, which is no age. It’s a stark reminder that all our heroes must die, most of them earlier than we or they would wish. That’s the message of Rogue One – life is routinely devastating, our ends will likely be unsatisfying to us and unresolved to others but on we plough in the hope that through our actions it will be a little less so for those who come after that. The movie literally continues after you’ve gone because you yourself don’t matter in the grand scheme of things.
Rogue One’s final dream-haunting Vader sequence demonstrates this. Having slammed Luke a little earlier, let me give him his due – it’s this horrifying sequence that drills home the need for young Skywalker to appear into this universe. Vader is unstoppable, a merciless, murderous machine gun in an a field of quivering, tightly-gripped bayonets. Yet, perhaps because of what we’ve seen up to this point, those soldiers who get ripped apart by Vader don’t feel like grunts anymore like they do at the start of A New Hope. Their deaths sting. They feel like the most important aspect of the resistance, ones who will die without people knowing much about them but knowing themselves that someone else will carry on the fight once they go. There’s no doubt the comrade behind the blast door will take the crucial message on and on and on. There’s no doubt another fighter will take up a downed pilot’s callsign. There’s no doubt the narrative of the cause is greater than the narrative of the individual.
Of course it is. That’s how it should be.
They’re all Rebels aren’t they?
“You’ve Taken Your First Step Into A Larger World” – The Extended Star Wars Universe, Alternate Narratives & Me
Tonight I’m going to slip on my Emperor Grandma t-shirt, get along to the IMAX, sit my increasingly large arse in a chair and watch Rogue One, the new Star Wars movie. I’m finally going to learn how the plucky Rebels got their hands on the Death Star plans. What a story that must be!
I’m excited. How excited? This excited. A year and a half in advance excited.
Within the world of Star Wars fandom, this is perhaps heretical – how could the grand saga of Skywalker and Co be less of a draw to me than some chumps humping through undergrowth with some admittedly quite important paperwork?
Especially since – hang on.
I already know how the Rebels get the Death Star Plans.
An outpost in an asteroid field intercepted signals from captured Imperial communication satellites. I know this, because the 1993 PC game X-Wing told me so. A game that fulfilled the dreams of kids (and, who are we kidding, adults) the world over by letting you take control of the eponymous Coolest Space Craft Every Made TM and throw it around some often infuriatingly difficult missions. You get to fly as Luke in the final mission and, yes, do that famous trench run that makes use of those stolen plans in order to commit what is probably a genocide in order to prevent another genocide.
No wait wait – that’s not it at all.
Fuck that noise. I think you’ll find it’s Kyle Katarn, Imperial officer turned mercenary, who actually stole the plans during a daring raid, a raid I got to participate in as part of 1995’s Doom-inspired first person shooter game Dark Forces. I loved Kyle. Kyle was a badass. Kyle was my boy. And when he – of course- turned out to be a bit of a Jedi all along I was dead pleased for him. Now though, he’s just dead.
Disney’s buy out of Lucasfilm as a way of paving the way to making new films meant that there would have to be a re-organsing of the plethora of material in what is known as the Star Wars Expanded Universe. The EU (ho ho) takes in books, comics, computer games, heck – card games, bedsheets, anything that continued the Star Wars stories beyond Return of the Jedi, or filled in blanks between or before the other movies. In the main, this re-organisation meant “none of this is real anymore” (I mean none of it was real in the first place, but you get me.)
Bye bye, Kyle. Bye bye anonymous satellite listening in-ers.
Disney aren’t total morons and have astutely realised that wiping this all from the (Galactic?) map and starting again is unwise and have generously allowed the previous stories to exist as “legends” whilst firmly asserting their own cannon. And why not? It’s an arrangement that allows to pick the ripest elements within them for incorporation into the official timeline. See how Grand Admiral Thrawn, everyone’s favourite art-appreciating evil genius finds his way into the Star Wars: Rebels animation. There are some even fainter echoes – before there was Ben Solo (aka Kylo Ren), son of Han & Leia, there was Ben Skywalker, son of Luke.
As much as I see the need to give a consistency to the story universe, to bend them to the gravity of the new Episode films, it makes me sad because it feels like the narrative gorilla throwing its weight around, when it was never actually the main stories in the films themselves that kept my love of Star Wars burning. It was the smaller stuff, the the visceral parts I delighted at. The design aesthetic was intoxicating, the way those little words “a long time ago” freed it from contemporary chains.
The whine of an X-Wing accelerating. The S-foils opening. The spat spat of its blaster.
The Death Star alarm.
Tatooine’s twin suns.
Leia’s twin buns.
The Stormtrooper who smacks his head on the door frame.
Lightsabers. Fucking hell. Lightsabers.
It was the detail of the world and the broader one it intimated to exist that my fandom was built on. I devoured histories of the companies that designed the starfighters. I saved my pocket money to buy a model of the shuttle Tydirium from Toys ‘R’ Us, which led me to joining the US Star Wars fan club at a time when The Phantom Menace was but a twinkle in Georgie’s eye. I still have the little membership card somewhere in my bedroom.
Looking at the books in said bedroom, I desperately hope against my own memory to find some well-thumbed copy of a literary classic to smile at, to validate the idea that I was some precious storysmith. Not at all. The most dog-eared book of the lot is Michael A. Stackpole’s X-Wing (are you sensing a theme here?): Rogue Squadron.
The continuing exploits of a crack fighter squadron, tasked with dealing with a post-happy-ever-after world? Yes, please. (Now that I think of it, that feels very 90s, good guys have won, end of history, doesn’t it?)
Because of the Rogue Squadron books, Wedge Antilles, a minor character in the original trilogy occupies as much space in my affection as any of the Skywalker mafia. The best Expanded Universe books were not the ones that dealt with what Luke, Leia and Han et al were up to. They were often too weighed down by the film’s characterisations. You can’t let those guys drift too far from who they were, partly because the fans are coming for those characters and partly because with so many different writers and explorations of the stories, there wasn’t necessarily consistency of continuation and you couldn’t bank on casual fans having that knowledge. Yes they would have kids and what not, but essentially they were now sitcom characters who change superficially with each story but cannot progress.
So the film lot could jog on. Their lives are more or less set*. It’s the scumbags, the mercenaries, the wannabes, the not-so-powerful, the defectors, the former slaves, the ones still with something to prove all playing in that rich world whose stories sucked me in and that i could relate to. In fact, remember how I said that X-Wing had infuriatingly difficult missions? One of the novels actually turned one particularly notorious mission into an actual rite of passage for pilots, not unlike Star Trek’s Kobayashi Maru. I yelped with joy when I read that link between the worlds. It made it feel cohesive and truthful in a way that didn’t rely on the films to hold it together.
This isn’t to say that the films aren’t dear to me – one of my earliest memories is sitting with my grandma at Christmas, watching the telly, seeing a robot upside down in some sand. It’s not any robot, it’s C-3PO, and it’s Return of the Jedi (the third act of which is a story masterclass, yes, Ewoks included. Fight me). But it’s telling that once we got it on video, I would fast forward through the people bits in Jedi to watch the space fights. Who are the men and women who got to be daring but never get the kudos, except for maybe a cool line or two, or a fiery death? They could be anyone. They could be me.
That’s why Rogue One, a franchise’s stand-alone tale where they could well kill off every new character, feels exciting. These are the people whose stories I want to see. It fulfils Star Wars’s original promise of the heroic anyone, which is slightly betrayed through the Episode movies’ gradual cementing of the Skywalker lineage as the story of Star Wars.
And, I won’t lie, I’m looking forward to the X-Wings. None of those The Force Awakens Muller Light X-Wings, it’s full-fat, four engine bastards for me.
Perhaps in a world where it feels like centrist, tent-pole narratives are collapsing around our ears, we can but look to the edges for our hope, for new stories to speak to us, to make sense of the world. Too grand a statement by half for what is still a Hollywood monster?
I’ll probably hate Rogue One anyway, won’t I. You might too.
If so, don’t worry – I’ve got two great little PC games for you to play if you want an alternate take on how dem fine Death Star plans end up in the hands of a certain space princess.
*I have to tell you though that Chewbacca meets his end by being crushed by a moon.
An actual moon.
Lovers, do you want to know if your loving works?
Are you turtle doves or just a pair of –
Well-intentioned dopes with no long-term hopes
Then check how you do with the single folks.
See, commitments’s not selfish, that’s rotten, that’s rancid,
the love from a couple yes, is romantic but it’s also
effusive, seductive, substantive and when at its best
that seduction’s expansive.
Are you a steady source of fun
for those sans plus ones?
Do you find a third wheel stable
Or tap teetering toes beneath the table?
When you feast with lonely friends
Do they laugh and laugh again?
But when they’re in the loo,
They pray the world to end?
If that last feels familiar, you fear it might be the case?
Well, here’s some advice that’ll help you save face:
We “Unwanteds” prefer pairs that can handle their liquor,
Who don’t snicker or bicker or titter or
or lick each others
In front of us.
Don’t do that.
It’s gross, honestly.
Enough to kill off a rhyme.
Please, if you’ve done it.
Don’t do it next time.
When your solo buddies stick, it means you’re not a –
alone together and, sure you are two but when
it works it’s a singular view for jaded old hacks to
stare at your backs as you walk down the aisle and feel
warmth not denial ‘cause as a two you’re no trial or vulgar nor vile
merely twin beacons that mark the edge of a smile.
And some day should you find our presence unbuoying
Perhaps our poems too cloying?
Or that we’re just plain annoying
Don’t blow your lids.
It’s all just good practice
For when you deal with your kids.
Written for Lauren & Mark, The Mighty Mighty Foxcrofts.
When my friend Tutku asked me to write a short for a night of plays responding to Brexit I, again, remembered that I wasn’t meant to be writing any shorts this year and now I sort of have to accept I definitely am and have, between this, Come To Where I’m From (literally the post before this) and The Path for HighTide (who, as a quick aside, I’m super pleased to have joined the board of). I am lousy at saying no, which often makes my agent very sad.
In this case however, there was an idea knocking around my head that I wanted to give a go. How does an individual create resilience, in particular to words, if you can’t rely on others not to use them? It’s an idea that my grandparents – who get fazed by very few words – would be on board with, I’m sure.
Following the reported post-Brexit hate speech spate (one incident of which I witnessed, and one that affected by grandfather in hospital), I thought about it again so I tried to get some conception of the idea down, which Tutku took on with grace, even if I was delivering a draft just hours (an hour?!) before her first rehearsal.
Shorts are tricky things to pull off in that I think people assume you can just bang them out and certainly some folks I know can do that, but for me to write a half-way decent one, it takes almost as much thinking as a full-length play. If that sounds nuts, consider that everything you write is the act of taking a topic and trying to conceive it in an imaginative way (in this case through the lens of theatre also). There’s usually one big idea at the heart of it. Both shorts and full-length pieces needed the time for that big idea to come through.
This is my roundabout way of saying I taking fucking forever to write these things and they take up huge parts of my thinking which is why I’ve tried to dodge them, since I’ve got plenty to be getting on with at the moment. This might be a piece I come back to in future.
Sadly, I didn’t get to see this performed since I was up at the Roundhouse for an event showcasing The Good Immigrant (plus raising money for The Good Causes). I hate missing stuff other people have made the effort to put together, and doubly this one because sitting in that audience would’ve been a real part of the, for lack of a better word, fun. Heard it went well though!
I know I’ve been neglecting this blog and its purpose – to make the writing and the challenges it causes to the life behind it clear to anyone who wants to do it – but will shortly put up a proper longish update about what I’ve been up to and how life has changed in ways large and small (honest). Just realised that I’ve been writing it, on and off, for a little over six years now. I’d just got going with my writing back then. I wonder what I’ll be writing about in six years from now? Complaining about short plays, probably.
Exit Strategy, performed at the National Theatre, 1st August 2016, as part of Artist Directors of the Future Talks Brexit night.
Director: Tutku Barbaros
Cast: Ashraf Ejjbair & Tamsin Newlands
The blurb is: “Sticks and stones may break my bones but words will always haunt me. B wanted to leave. A is finding it harder to stay. If you can’t rely on society to change, the only option left is to change yourself.“
Exit Strategy script is here. (Very strong language warning)
Catching up a with a couple of shorts I’ve done of late (after saying I’d not do any across this year…).
The first was a Come To Where I’m From for Paines Plough, in collaboration with Tamasha. I’d heard about this before and I’d always wanted to do one so was chuffed to be asked. The deal with these plays is that not only does a writer write about where they’re from (in whatever way they interpret that) but they also perform the piece themselves. Writing and life wise I was still going through a tough time so I wanted to set myself a task to do something I’d never done before. In this case, it was drop my trousers in front of a crowd of people and try and make that meaningful. I definitely managed one of the two. I was terrified I was going to catch my boxers on the way down and whip out my balls in public (which I’ve done as an 18 year old in front of several members of the Evangelical Christian Union – a story for another time) but thankfully any shocks were limited to the words themselves.
The other writers performing that night were Miran Hadzic, Adam Brace, Roy Williams, Morgan Lloyd Malcolm and Sandra Townsend – all pictured below. Their pieces were a proper lovely mix, which you don’t always get at a shorts night. Japes, wine and fun times. Gave me the nudge I needed. Glad I did it.
Come To Where I’m From, performed at the Oval House Theatre, 4th July 2016, as part of Paines Plough’s Come To Where I’m From
The blurb: “As a biographer posthumously sets out the key moments of the long-dead Vinay’s life, fifteen year Vinay takes to the stage, keen to make some corrections.”
Come To Where I’m From script is here.
Also available later this year as a recording (!) along with many others across the country on the Come To Where I’m From app.
I’m currently writing what is, I think, my first explicitly genre piece, a play called Known Unknowns, that I’m billing as a “radicalisation rom-com”. I really, really enjoy seeing those words put together because I think the story premise and the experience it suggests you will have is quite clear.
I’m an unashamed lover of genre stories and particularly rom-coms and I’ve always wanted to write one. Now that I am, I’ve spent a little time thinking about why I love it and how I hope to use genre as part of my broader aim of creating more inclusive stories.
What is so compelling about genre as a tool of inclusion is that, in the mix of elements that will satisfy an audience, the narrative and thematic expectations of a genre tend to overwhelm the need for strong character identification. So if you have a character whose experiences/background you think a broad audience will find more difficult than usual to get on board with, by placing them in a well-wrought genre story you can give them those characters, be truthful to their experiences *and* satisfy reluctant viewers.
The hope then is for a legacy of identification via familiarity. The next time that viewer encounters a similar character, perhaps in something more challenging, (and, being a bit grand, perhaps in real life) they’ll more likely stick with it because of them having a greater pool of empathy, drawing as it will from the previous experience. One they potentially didn’t even realise they were getting.
Genre is just a widely-understood set of story tropes and our innate knowledge of those tropes bridges what ever boundaries exist between us.
Hooray For Hollywood.