Tales From The Mos Eisley Cantina

Tales From The Mos Eisley Cantina

“You'll never find a more despicable hive of scum and villainy.” These words describe the Mos Eisley Cantina, the deadliest watering hole in the galaxy,

where the worst of the worst go to get a drink. Rick’s Cafe of the Star Wars universe. It's an iconic place and holds a special place in Star Wars lore and the eyes of fans who watched the background characters in the scene for years, and speculated on their back stories. These back stories and more were answered when Tales From The Mos Eisley Cantina was published in 1995. A period of relative calm in the fandom, when Han shot first, before the dark times, before the toxic fandom.

The book is a collection of vignettes about the background characters in the Cantina, as if The Canterbury Tales were set in a galaxy far, far away. One story, Be Still My Heart: The Bartender's Tale is about the Cantina’s bartender, Wuher, and his lifelong goal: to create the perfect drink for Jabba. It’s essentially Flaming Moe’s set in the Star Wars universe. The Desert Wind Turns: The Stormtrooper's Tale is about a stormtrooper driving an AT-TT. The protagonist sees the empire as a force for good and dreams about crushing the rebels. It provides a new perspective on the rebellion from the villain’s point of view. A Hunter’s Fate: Greedo’s Tale adds humanity to a character known for getting fried by Han Solo. It avoids the pitfalls of many prequels and delivers a meaningful and engaging story. Classic Star Wars characters make limited appearances in the stories. Each author uses them in a limited capacity effectively.

Each story is written by a different author, who were all up and coming names at the time of the book’s publication and went on to become established names in science fiction. The book’s editor, Kevin Anderson, went on to write the Dune series after the passing of the original author, Frank Herbert. Another notable contributor is Timothy Zhan who wrote one of the most influential books in the extended universe: Heir To The Empire, a New York Times bestseller that introduced Grand Admiral Thrawn. Thrawn was a character who appeared in Star Wars: Rebels and was recently referenced on The Mandalorian.

Tales the Mos Eisley Cantina is an important piece of Star Wars history and lore. Before its publication, most stories were centered around the main trio: Han, Luke, and Leia. This book broke new ground by featuring unknown characters as the protagonists. It showed that there could be meaningful and compelling stories told about minor characters. This laid the foundation for the expanded universe, which was a collection of comics, books, and video games that told Star Wars Stories outside of the films. It helped deliver on the promise of a galaxy far, far away and should the universe be something more. Without Tales From The Mos Eisley Cantina, we may not have The Mandalorian.

Sadly it's been lost to time and faded into obscurity. Disney relegated all the stories in the extended universe to legends (non-canon). While certain parts of Legends have been recanonized (like Thrawn), it’s unlikely to happen anytime soon.

If Disney were to make it canon again there are some options. The book would make a great limited series on Disney+, which could be weekly installments featuring the individual stories. We are living in the age of anthology tv series. Shows like True Detective and Fargo have broken new ground in this medium. This collection of stories is tailor-made for this genre. It would allow Star Wars to explore new genres and be the cure for franchise fatigue. The future of Star Wars is on tv, as shown by The Clone Wars, Star Wars: Rebels, and The Mandalorian. A show set in the galaxy’s deadliest watering hole would be enticing and get people watching.

Regardless of the book’s future, it's a great read and a nice piece of escapism during the quarantine.

'Joker' Review

Review: 'Joker'

Send in the Clowns plays during the film’s credits, selections from a different Sondheim musical, Sweeny Todd is more appropriate for the film’s tone.  Joaquin Phoenix stars as Arthur fleck, struggling comedian. Phoenix steps into a role defined past performances from Ceaser Romero to the late Heath Ledger. Which comes with the weight of audience expectations, enough to define a film before it's release. Meeting and exceeding thirds preconceptions is a daunting task for most performers and filmmakers.

Phoenix is more than up to the task. Delivering a performance that provides a new depth of a character one assumes has no surprises left. His character study is one of the decade’s best and is destined to be iconic. Each quirk, physicality, and nuance progress Arthur’s tragic story. Including a terrifying laugh, evoking memories of Tom Hulce in Amadeus. While painting a portrait of a man at odds with society. Who serves as the film’s antagonist. His fate may be predetermined but it’s no less compelling.  Phoenix captivates our attention every moment he is on screen. He speaks volumes even when accompanied by silence. Those scenes offer some of the film’s most compelling moments. It’s time for another Joker to win an Academy Award.

The other metamorphosis is the film’s director Todd Phillips.  A transformation that began with 2016’s phenomenal and underrated War Dogs. Unlike Kafka’s protagonist, he emerges something greater: an acclaimed filmmaker and storyteller. He deserves to be recognized with a nomination for Best Director although he may fall victim to strong competition. Which would be a tragedy in of itself.

Phillips brings Gotham to life in a way that feels gritty and modern. Joker feels relevant despite its fictional settings. A difficult balance/ cha; the challenge for most films but one Joker achieve seamlessly. The film draws inspiration from pictures like Goodfellas and Mean Streets, honoring their spirit without being a direct remake. Another Scorsese tribute is the casting of Robert De Niro as Murray Franklin, a Gotham talk show host, an homage to his role in King of Comedy.  The film masters the art of suspense as it slowly builds the hype for Arthur and Murray’s inevitable confrontation.  There were countless moments I found my jaw on the floor, oblivious to how it ended up there.  The film keeps the audience on the edge until the concluding scene. The ending delivers an emotional impact akin to a gut punch.

Iconic DC characters appear throughout the film.  They are used in a limited measure, making them memorable despite limited screen time. They feel original despite appearing in past adaptations and interactions. Which can be attributed to them being presented in a new light. The film master’s the art of the origin story, a hurdle for most reboots.  The audience's appreciation of the film isn't determined by their familiarity with the source material.  It managed to be a solid standalone picture and shows all a film needs is a compelling story. It’s a breath of fresh air in an era of big-budget blockbusters.

The film’s R rating allows it greater flexibility in the content portrayed onscreen. The film is unflinching in its depiction of violence and has no pretenses, pushing the envelope for r rated films. This does not come at the expense of the film’s quality. 

The film is a masterpiece and is destined to be iconic. Joker shows it's possible to deliver a layered story with an emotional depth that resonates with audiences. It beaks bold new ground for storytelling in rated films. While giving a glimpse of the genre’s future. It should serve as a blueprint for filmmakers for delivering standalone stories and films. It’s a bold ambitious film that is haunting and memorable. It resonates long after you leave the theatre. We may not be laughing at Arthur but can't look away.

The most influential films of 2010-2019

Introduction 
As the decade comes to a close, we invite introspection in the past 10 years. This includes politics (domestic and global), advances in science, and the arts. The latter of which is a reflection of our society and current events. There have been several dramatic shifts in movies over the last decade: streaming services on par with movies in providing quality content and mainstream hits and $1B hits and reboots are now the majority of most movies released in theatres. I researched and organized a list of the 8 most influential films of the past decade. I reviewed movies released between 2010 and 2019, while analyzing their impact on the industry and the films that followed. I reviewed criteria that included the following: Rotten Tomatoes Score, IMDB Score and ranking, and their box office totals. A film's legacy is not always easy to pinpoint. Films with a poor audience and critical reception still influence studios. For example, the Transformers series has made billions worldwide and set new standards (or perhaps lowered the bar) for future franchises. Although, the less that's said about that the better.

 Here are the most influential films of the past decade:

The Social Network (2010)
The Social Network is one of the defining films of the past ten years. It is impeccably shot from start to finish and is helmed by David Fincher, one of the best working directors in the film industry today. The film centers around the creation of Facebook and touches on themes of power. In recent years we have seen increased scrutiny of social media and it's influence on our lives. The Social Network was ahead of its time and had become more relevant with age. In many ways, it is a cautionary tale. Fincher should have won Best Director in 2010. It laid the foundation for the modern biopic.

Bridesmaids (2011)
All film's debut in theatres, but few become a phenomenon. Bridesmaids took the world by storm in 2011 with its quotes and iconic poster leaving its mark on pop culture and mainstream movies. It broke new ground in comedy and paved the way for films like Wonder Woman and Pitch Perfect. Audiences were not the only people who appreciated the film. It nominated for Best Original Screenplay and Best Supporting Actress for Melissa Mccarthy. Comedies seldom get recognized by the Academy Awards, which makes the film exceptional.

Get Out (2017)
Get Out showed horror could be a vessel for mature storytelling. More importantly, it showed us how film can highlight the uncomfortable truths in society that we are unwilling to acknowledge or address. It remains one of the few horror movies recognized by the Academy Awards for Best Picture and Best Director. It raised the bar for the genre and all films that followed. It will also be remembered as one of the best film debuts of all time. Jordan Peele has defined himself as a master storyteller, leaving everyone in anticipation for what he does next.

Star Wars: The Force Awakens  (2015)
Disney's purchase of the Star Wars franchise is one of the defining moments of the decade. Immediately following the announcement was the other announcement of a new Star Wars trilogy. Kathleen Kennedy was entrusted with reviving an iconic film series, a task on par with blowing up the first death star. Like the rebel attack, it was successful in execution. JJ Abram's film was a hit with longtime fans and introduced Star Wars to a new generation. The film was a hit at the box office and has launched 2 sequels, 2 spinoffs, and an entire universe of content. Countless studios have tried the same blueprint for reviving film franchises with varying degrees of success. From Jurassic World to Blade Runner 2049 to Terminator Genesis. Although the latter is better left unsaid.

Bright (2017)
Bright is a Netflix Original movie starring Will Smith and Joel Edgerton as a human cop and orc hunting down crime in Los Angeles. Critics derided the film but audiences responded more positively. Over 11 million people watched the film on its debut weekend, which would have given the film an opening weekend on par with several blockbusters if it had been released in theatres. The film’s success was groundbreaking in several ways. The film showed streaming services like Netflix could compete with movie studios.  The Irishman and Marriage Story would not have been possible without Bright.

Mad Max Fury Road (2015) Alfred Hitchcock once said films should be “understood in Japan without subtitles”. George Miller archives that vision with Mad Max Fury Road. The director relies on the character's actions and visuals to tell the story. Its scenes are powerful and resonate with the audience despite the absence of dialogue. The action scenes are all achieved through the use of sets instead of CGI. Which are at the heart of the film’s raw authenticity. It is one of the smartest and developed blockbusters of the decade. In a decade that brought us three Transformers movies, Mad Max Fury Road is a breath of fresh air. The film resurrects the action movie genre from mediocrity by showing the heights that can be achieved. The world may belong to the mad but quality film making belongs to George Miller.

The Avengers (2012)
The Avengers was not a guaranteed success. The two previous Marvel movies Thor and Captain America were modest successes at best. Studio execs were unsure if audiences would watch a film headlined by non-mainstream superheroes. The film passed the billion-dollar threshold, a rare feat at the time. The film balances its large cast and delivers a meaningful story. Its success helped usher in a resurgence of comic book adaptations/ superheroes on the silver and small screen. While showing it's viability and appeal to audiences. Several studies have attempted to recreate The Avengers formula with varying levels of success. They say that imitation is the best form of flattery. Hollywood is one of the best examples of this rule in practice.

Blackfish (2013)
In summer 2013 a film took the world by storm. This happened to be a documentary that debuted on CNN, called Blackfish which shed light on Sea World's treatment of its captive marine mammals. Overnight the park's attendance tanked as people called for boycotts of the park. The company found itself in several lawsuits by former trainers. Documentary films show the world as it is without any hint of fiction. Blackfish showed a documentary’s impact on the world. While speaking to the power of the medium. In recent years we have seen a resurgence in documentaries from Won’t You Be My Neighbor to RBG. Which are a result of Blackfish’s legacy of highlighting real stories and inspiring action among people in the audience.

Are we at peak comic book tv?

Are we at peak comic book TV? 

By Luke Tesluk 

 In 2015, Steven Speilberg made a bold prediction about superhero movies by stating that they would face a decline in mirroring that of the Western genre. He remarked, “We were around when the Western died and there will be a time when the superhero movie goes the way of the Western.” The director, however, went on to advise that such an occurrence “doesn't mean there won't be another occasion where the Western comes back and the superhero movie someday returns."

 While Spielberg may have been correct about the genre, he is mistaken about the medium. Superhero movies are thriving despite being popped out at assembly-line speed – a dime a dozen. Aquaman went from being a punchline on Entourage to earning $1 billion last December. Spiderman: Far from Home earned the same amount this summer despite being the eighth movie featuring the web-slinger. As a consequence, these films show no signs of dropping either revenue or attendance despite the occasional misfire (I’m looking at you Justice League!).

Superhero and comic book adaptations for television have had a polar opposite outlook. While shows on networks like the CW have been successful, others have not been as fortunate. As a result, comic book-based programming has been axed on Netflix, the Sci-Fi Channel, and other outlets. Warner Brother’s Swamp Thing, which was supposed to kick start DC Universe (DC Comic’s streaming platform), was canceled after airing it's first episode (leaving them the same shade of green as the titular character). The following shows were cancelled *blipped* out of existence by network execs: Legion (FX), Krypton (Sci-Fi), Jessica Jones(Netflix), The Punisher(Netflix), Daredevil(Netflix), Iron Fist(Netflix), Luke Cage(Netflix), Swamp Thing(DC Universe), Deadly Class(Scy Fy), The Tick(Amazon), The Gifted(Fox), Outcast(Cinemax) , Happy! (SyFy), and Marvel’s New Warriors(Freeform). Networks also skipped several high profile projects, which included a Lobo spinoff (from Krypton), The Secret Six, and Ghost Rider. Therefore, such concrete evidence displays an unwillingness to commit to superhero/comic book content. This skepticism, however, would have been considered unthinkable five years ago.

Even reliable hits like the Walking Dead have seen a significant decline in ratings and viewership, becoming as lifeless as the walkers themselves. Several comic book series is ending, including Arrow, Agents of Shield, and Preacher after running for several seasons. Who is killing off all these superheroes? Not Ozymandias or Thanos. I believe there are multiple culprits behind these cancellations.

The first is the fact that there are more tv shows adapted from comic books in syndication than ever before. While this would have been a novelty a decade ago, such a trend has now become commonplace. Therefore, the market for such shows has become highly saturated.

The Golden Age of Television is another party responsible for these cancellations. As we’re living in an era where shows are on par with the quality of the films, there is a lot more competition for viewers than ever before. Combined with the rise of social media and streaming (which has likely reduced the attention span of the average viewer), such circumstances have made shows with moderate ratings less successful.

These cancellations will impact decisions by networks in the foreseeable future. Networks may be less likely to commit to greenlighting comic book superhero shows in the future. Some providers may attribute these show’s low viewership and ratings due to a lack of awareness of the source material among their audiences. They equate lesser-known programming with a lower chance of green lighting. The danger here is that this mindset could also prevent future big comic shows from seeing the light of day. While most individuals were initially unaware of Supergirl, Green Arrow, and the Flash prior to their adaptations, they have become mainstream superheroes.

The good news is that there is still hope for comic book shows. The Boys and The Umbrella Academy are two of the most popular shows on television to date. The show’s successes are due in part because they provided a fresh and unique take on the genre. At the moment, there are several new comic book shows in the works such as Ms. Marvel, Falcon, and The Winter Soldier, She-Hulk, Invincible, WandaVision, and America Flagg. The HBO adaptation of Watchmen, however, may have trouble finding an attentive audience amid the recent trends mentioned above, which bodes the question: will anyone watch Watchmen?