Here’s a thought.
What if the Yoda species regenerates?
Here’s a thought.
What if the Yoda species regenerates?
I really did.
I admit to being old and cranky. I confess to LOATHING the new Star Wars films (Except Rogue Squadron and Solo. They were enjoyable. Good even.) I rewrote the script to The Force Awakens in less than an hour, and was told that was far better than the film. I did all I could not to scream through The Last Jedi, for the peace of mind of my kids.
They hate my dramatic outbursts.
So, I held my breath through episode 1 of The Mandalorian. Bit my lip through episode 2. Got ready to abandon hope on everything if episode 3 did not come through, shout verbal emesis at the world, throw up my fists to the gods, and give up completely.
And, for the record, it takes a lot to make me not like something. Like, a LOT. Mostly because I really, REALLY, want to love all the things.
But sometimes, it’s just crap. And one can not polish a turd.
But I waited. Mostly because of my huge crush on Gina Carano, and my hopes that she’ll become the huge star she deserves to be.
(Spoiler warning. Back in my day, we called that “talking”, but whatevs).
I was a kid when the original films came out in theatres. We actually had to wait for YEARS to see A New Hope and it’s sequels on TELEVISION (that’s how it was; yes, I predate VCR’s.) The only way to hear about a movie was to talk to someone who had seen it.
So, the franchise, its worlds, and all things Star Wars is very, very important to me.
So it was very difficult to witness it’s demise.
But, I am happy to say that it seems that The Mandalorian has brought redemption to at least this embittered old fart.
Jon Favreau’s Episode 3 finally brought the right elements: tough, existential choices, difficult circumstances, actual peril, and a character decision that unravels future storytelling. To me, things had been somewhat…inert…up until now.
(Baby Yoda? Force powers? WHAAAAAAT?!?) #NOTatwist.
So, Old Man Laybolt is all in. You got me, Favreau et al. I’m down.
Thank GAWD. Because I was really ready to punch the eject button there, and give up on all things Star Wars. A bitter thing, that.
So, there it is. More than happy to embark on this bold new journey with optimism, eagerness, and wide open fanboy eyes.
Go watch it. It really might be worth it.
(DISCLAIMER: Totally unlike me. Typical attitude being completely expecting my hopes to be shattered as per most other creative bankruptcy-plagued current franchise content, as evidenced by a THIRD Charlie’s Angels reboot. WHO SIGNS OFF ON A THIRD REBOOT OF ANYTHING?!?)
So here’s to The Mandalorian. This is the way.
If you haven’t heard of Warhammer, I’m sorry. Not for me, but for you.
But don’t worry. You’ll soon be assimilated into The Emperor’s Will. We all will be.
Warhammer Fantasy, and it’s bigger brother Warhammer 40,000, is a cold, terrifying, gothic, brutal, and absolutely addictive set of tabletop games and stories that is available in almost every language in every city of every country in the known world.
Warhammer 40,000 is an immersive saga in the military sci-fi genre that has been turning into a global powerhouse since 1987. I truly believe it is the only remaining modern myth, after Star Wars.
Warhammer is dense with lore. No, that’s not quite right. it’s monstrous.
While we wait to see if any original stories remain to be told within the context of our current creative, sci-fi-fantasy choices (*CoughCoughTheMandalorianCough*), Warhammer’s people have been holding back from going mainstream for decades. But that may all change with what they announced in July, which I missed, because life, but I grieve for my lapse in vigilance.
(Lapses in vigilance are VERY BAD in Warhammer. VERY. BAD.)
To the cardiac risk of a world full of fans, Games Workshop has announced it is going forward with a live TV series.
That series will be based on Eisenhorn, the creation of one of my favourite authors of all time, Mr. Dan Abnett.
This is enormous news. The Eisenhorn series is three books deep, and THEN there’s the Ravenor series, and THEN the Bequin Trilogy, where Eisenhorn and Ravenor meet…(see how crazy deep this is?)
NEVERMIND how it could possibly, if it is executed properly, tee up the whole Warhammer 40K universe, which already has millions of hungry fans waiting to consume anything this IP produces. If strategized, written, and marketed properly (an admittedly huge ask in 2019), prepare yourselves for the most immersive sci-fi world you have ever seen. And yes, I mean you, Star Wars (not knocking Star wars at all; I watched the originals on a VCR. And still have them. So there).
But the time is ripe for a whole new world in fantasy and sci-fi. And Warhammer offers that in spades.
In the current glut of reboots, revamps, abandoned series left to flail, and draining every single last drop of revenue out of dead franchises leaving them in bleached, cadaverous ruin, I mentioned in my last post how our culture is starving for new stories.
Part of the reason behind the massive momentum of a series like Game of Thrones, up until it suffered its horrendous creative demise, was its originality. Folks who weren’t fans of fantasy embraced the new world of Westeros, probably out of sheer imaginative cachectia.
In light of such sparse content of new stories, settings, creatures, and characters, I’m a bit stunned by the lack of buzz about Carnival Row, the new series by René Echevarria and Travis Beacham and starring Orlando Bloom and Cara Delevigne.
From its dark setting, Lovecraftian environment, multi-nation worldbuild, very cool races, and sharp writing, Carnival Row is a breath of fresh storytelling I’ve been craving.
And without spoiling anything…Cthulhu.
For many years now (especially since watching that dreaded last season of GoT), I’ve been pleading for any new worlds and original stories set in them. Carnival Row pulls that off in spades.
Bloom’s character is dour and brooding, and actually has good reason. His conflict unfolds over the span of the entire season, carefully unfolding and intertwining into the Burgue, his city and its politics. Delevingne’s character of the embittered war refugee is both gripping and justified.
It ‘s not a perfect show; there are a few glaring plot pits (EVERY time a Pix takes flight, they lift one leg in a Peter Pan manner that drove me bananas. By episode four I was screaming at the screen for them to “stop DOING that!” And the big villain reveal plays out a bit…ridiculous. Not to brag, but I rewrote that scene into an epic reveal/battle that would have worked perfectly in the time it took me to make a pot of coffee).
But, Carnival Row overcomes these forgiveables with sheer will and dense metaphor for our modern, troubling times. It actually gets darker over the last four episodes, a refreshing change from shows that fail to cross the finish line as they gag and sputter, deprived of any heart or blood from their writers these days.
I’m not sure if I live in a cave, or if it’s because it’s an Amazon production, but for whatever reason, ignore your hesitation and go find this show. It’s certainly a relief from the average rehashed, reheated, leftover fare we have all gotten used to choking on.
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