Sunday, February 5

So in Star Wars as in life

Star Wars is a great generator of social analogies, political metaphors or reinterpretations that play with what is proposed by its fictional universe to explain what we are as a society. From Buddhist or Taoist readings of Yoda warning Luke Skywalker about the Dark Side (“Fear leads to anger, anger leads to hate, hate leads to suffering”) to Senator Padmé Amidala attending a plenary session of the Republic to how Chancellor Palpatine imposed an Empire for security reasons, while she resignedly declared from her seat: “This is how freedom is ended, with thunderous applause”, being able to read a reference to authoritarian leaders who came to power by the democratic way.

Pedro Vallín: if Spain were Star Wars

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Edward Snowden ironized on Twitter a few days ago about film censorship Fight club in Chinasharing a version of the ending of Star Wars episode IV where, just after Luke Skywalker hit the shot of his X-wing in the weak point of the Death Star and it exploded, suddenly and unlike the tape In the original, the opening credits to the imperial march song announcing: “The police quickly realized the whole plan and arrested the criminals. The rebels were captured and sent for psychological treatment. Please set your alarm for get up for work early tomorrow.

The interesting thing about fictional universes, especially contemporary ones, is that their complexity lies in the fact that they are not only generators of analogies or metaphors that are used in contexts totally unrelated to fiction. Also reality itself and the different cultural struggles that take place in other contexts end up permeating their stories.

Thus, the considered as “worst star wars movie of all time” by the most die-hard fans (the last jedi, episode VII, directed by Rian Johnson), incorporated elements into the story that made the narrative of the original saga more complex. To give an example, showing that in the vast galaxy represented in the saga there are social classes and that the rich are the maximum beneficiaries of the war. Thus nullifying the simple rivalry between the dark and evil side (represented by Darth Vader, the Emperor and the rest of the imperialists) or the light and kind side, represented by jumping and chaste monks with powers (the Jedi), in addition to the defenders of democratic systems.

Despite its usual informative tacticism, Disney has hinted that it expects to release numerous series and movies this year. With The Boba Fett Book in broadcast, these are the social, political or cultural themes that may emerge through some of the next releases of the franchise.

The disputed masculinity of the Mandalorian

Grogu is the character known worldwide as Baby Yoda and whose recent impact on the saga and beyond it is undeniable to have become an icon of popular culture. Whether it was a premeditated act or not, the franchise found itself with a character that generates sales and attracts attention even outside the story itself narrated in The Mandalorian. Baby Yoda has fans who they’re not even star wars.

However, beyond the sympathy towards the green baby with long and pointed ears, The Mandalorian This year, its third season premieres with the following great unknown: the first two seasons could be read as the hard story of a man, who is a survivor and who has ended up earning a living as a murderer and professional bounty hunter, but one of his missions turns him into in adoptive father. The character played by Pedro Pascal is forced to learn to take care of a vulnerable being and ends up loving him. He ends up loving and showing the conflict of a character who perhaps wants to leave the war to dedicate himself to caring. How will they represent that dispute over the Mandalorian’s masculinity if the character of Baby Yoda is not a central part of the story?

The violence of women seen through Ashoka Tano

starwars introduced a female character who was part of the action scenes in his original trilogy. Footage of Leia in the opening minutes of the Episode IV footage (A new hope, released in 1977) brandishing a weapon before being captured by Darth Vader and later, and during that same film, taking Luke’s weapon to lead the escape from the Death Star, show a woman who not only intervenes diplomatically, but through “aggressive negotiations”.

However, in the two trilogies at the end of the 20th century (episodes I to VI) most of the leading role in the action scenes (with a few exceptions such as Padmé escaping execution on the planet Geonosis) is male. In addition, there is an overwhelming majority of men or male creatures who are the ones who hurt or are hurt and duel with other characters. The way to mitigate this by Disney (and previously by LucasFilm) and aside from the always prolific unofficial fiction scene produced by fans, have been the expansions of the fictional universe through comics, video games or television series. animation that have allowed to introduce other characters. One of those characters is Ashoka Tano.

Tano represents an alien Jedi and woman who has a leading role in the timeline of the clone wars (the animated series released in 2008 and ending in 2020) as the pupil of the future Darth Vader, before he embraced the Dark Side. The character appears played by Raquel Dawson in The Mandalorian. It is the social and political push for strong female characters that has probably led Disney to give her her own series.

It will never be possible to know what would have become of contemporary fiction without movements like #MeToo or the fourth wave of feminism. What is clear is that in recent years female characters are no longer just rebellious, autonomous or independent, but they can also be implacable, ruthless and violent. Since this does not seem like it will continue to be an exclusively male attribute, even for those who play good in the stories.

The rebellion within the rebellion: ‘Star Wars Andor’

rogue one was a film released in 2016 that tells the story of how a group of rebels decides to embark on a dangerous mission: to steal the plans for the most powerful weapon being created by the Empire: the Death Star. The story is set between episodes III and IV of starwars and starred Felicity Jones (who played Jyn Erso) and Diego Luna (the Mexican who plays Cassian Andor).

Star Wars: Andor It will be a series that will tell what happened in the timeline prior to the events narrated in Rogue One. Therefore, he will have to deal with two of the ideas that are represented in the film. On the one hand, the idea that sometimes even disobedient movements need disobedience within them. And on the other hand, the proposal that a rebellion within the rebellion can cause significant changes and awaken hope in those who do not believe that it is possible to carry out a change.