Review: Netflix Series “The Toys That Made Us” Is Worth Checking Out

Something in life I find fascinating is the deep-seated nostalgia people have for things from their youth. That love can encompass pop-culture items like movies, TV shows, books, and clothes. 

But there is a relic of youthful fun that seems to shine above all others when it comes to passionate memories, and that is the toys that we played with as children. 

It is in that spirit that producer Brian Volk-Weiss brings to Netflix the new docuseries called The Toys That Made Us — the stories behind iconic toy brands.

The first four episodes of the series dropped on Netflix on Dec. 22. The first slate of episodes (each roughly an hour in length) sheds light on the history and development of the toys, as well as their legacy in the toy lexicon. 

Episode 1: Star Wars

Gives viewers a look into the rise of the Kenner’s popular toy lineup in the 1970s and 1980s. Interesting nuggets include an interview with the Kenner attorney who negotiated the toy deal with George Lucas prior to the Star Wars release in 1977 (Kenner received 95 cents for every dollar earned, and Lucasfilm and 20th Century Fox split a nickel), and a look at the toy brand’s temporary demise in the mid-1980s. 

Episode 2: Barbie

Offers insights into the inspiration for Barbie dolls (not the most savory source material), the politics behind Barbie, and the perpetual retooling and marketing for the seemingly eternal brand. 

Episode 3: He-Man

I never owned any of the He-Man and the Masters of the Universe line, but watching the episode made me wish I had. Mattel’s launch of He-Man was in response to Kenner’s Star Wars line and Hasbro’s re-invention of G.I. Joe into smaller figures. You learn the origins of the toy (sold to execs on a wink and a promise), and get to meet the salty creators who utilized a shotgun approach in creating the odd assortment of characters produced. The episode also talks about the ill-fated 1987 Masters of the Universe movie starring Dolph Lundgren.

Episode 4: G.I. Joe

I owned a lot of the G.I. Joe action figures back in the early 1980s, and also owned a number of the vehicles (the W.H.A.L.E. Hovercraft was one of my favorites). The episode focuses on the origin of the Hasbro toy line — from the early “doll” years of G.I. Joe, through the retooling of the line during the Vietnam War, to the re-invention of G.I. Joe into an elite fighting force “small” figure line in the 1980s. 

What’s fascinating about the first season of The Toys That Made Us is how many talented individuals came to the toy industry from other careers — such as the aerospace engineering field. 

Producer Brian Volk-Weiss considers The Toys That Made Us something of a passion project. His producing career has focused primarily on comedy specials for outfits like Netflix. 

In the following interview, Volk-Weiss discusses his toy-centric project, the difficulty selling the concept to programmers, and he mentions that the next four episodes (set to debut sometime in 2018) will focus on Transformers, Hello Kitty, Star Trek, and Lego toy brands:

Even if you didn’t play with the particular toys featured in The Toys That Made Us, it is a fun and fascinating watch, and sheds insight on an industry that doesn’t feature a lot of written or filmed history. 

Check it out!

Previous post: Full Review: "The Last Jedi" Might Be The Greatest "Star Wars" Film (SPOILERS)

Full Review - “The Last Jedi” Might Be The Greatest “Star Wars” Film (SPOILERS)

I’ve been amused by the reaction the past two weeks toward Star Wars: The Last Jedi. Some people love the film, while others seem to have a visceral hatred for Rian Johnson’s creation.  

SPOILERS AHEAD... 

The Last Jedi improves with multiple viewings — at least, that is the prevailing sentiment of many fans online. I agree.

The film is gorgeous. It is crafted with care and is saturated eye candy. John Williams serves up one of his best scores in the franchise (read my review of the soundtrack). 

Two weeks (and two viewings) later, I am of the mindset that Star Wars: The Last Jedi might be the greatest film in the Star Wars saga. I realize this revelation might be as shocking to some as the content is in writer/director Rian Johnson’s narrative for the film. 

For some reason, Star Wars: The Last Jedi reminds me of Kevin J. Anderson’s “Jedi Academy Trilogy” books released back in 1994. In that trilogy, we find an older Luke Skywalker starting a training temple for new Jedi (which will include Han and Leia’s twin children). One of his pupils (Kyp Durron) succumbs to the dark side.

It’s been many years since I have read that trilogy, but what I liked about Anderson’s stylings is that the stories had an energy and a spark — and were wildly creative. 

Star Wars: The Last Jedi should be taken as the story it is — rather than the story you want it to be. All too often these days, movies (in particular, big-budget, tentpole extravaganzas) are fairly rote, and fairly predictable. 

As Luke says to Rey in the movie, “This is not going to go the way you think.”

From the very first scenes of the Resisitance being discovered by the First Order, to the climactic battle on Crait, The Last Jedi is an original masterpiece. Rian Johnson is a skilled writer/director, and I’m happy Disney/Lucasfilm had the stones to give him this much freedom. 

When I viewed the film a second time, I found new things to like about it, and all of the “hang ups” I had from the first viewing slipped away. This shift comes from the fact that I was no longer waiting for “hypotheticals” to come to fruition — such as fan theories suggesting Rey (Daisy Ridley) is Luke’s daughter, or Obi-Wan Kenobi’s daughter, or Kylo Ren’s sister.

It doesn’t matter anymore. 

I simply enjoyed Rey’s time on Ahch-To Island with Luke Skywalker (Mark Hamill) as she learns about the Force, learns about herself, and communicates with Kylo Ren using a previously unknown ability to appear (as some sort of living “Force Ghost”) from faraway distances. 

Even the moments involving Rose (Kelly Marie Tran) and Finn (John Boyega) on casino-planet Canto Bight — where they are looking for a master codebreaker to help them worm their way onto a First Order ship — worked better. 

Rose and Finn’s exploits — which were the result of Poe Dameron’s hatched plan for the struggling Resistance ships to escape an unwinnable space chase with the First Order — didn’t seem a problem with a repeat screening. For that matter, neither did Poe Dameron’s actions throughout that entire thread — which included a mutiny aboard his Resistance ship that wrestled the reins of command from Vice Admiral Holdo (Laura Dern). 

The question in all of this is why fan ire was enflamed in a such an over-the-top manner. I still believe it has to do with expectations about how a Star Wars movie is supposed to unfold. 

A number of fans I know (die-hard and casual alike) believe that 2016’s Rogue One: A Star Wars Story is the best entry in the saga since Star Wars: The Empire Strikes Back.  

I never really agreed with that sentiment. I continue to be fond of 2015’s Star Wars: The Force Awakens, and it ranks as one of my favorite entries in the franchise. 

For me, Rogue One was a nice diversion, but ultimately unfulfilling. I believe fans like it because it doesn’t tread on any sacred cows in the franchise, and “feels” like a Star Wars movie of old. 

Mark Hamill (who has spent the latter years of his career doing a lot of voice-over work) turns in a terrific performance in Star Wars: The Last Jedi. Many fans were ticked off when Luke glibly tossed away his blue lightsaber (which Rey presents to him earnestly at the end of The Force Awakens). The internet is buzzing with people who seem to view that act as a metaphor for Disney tossing away the entire Star Wars franchise. 

This movie goes beyond our preconceived notions of what the Star Wars saga is all about. As Yoda says to Luke in the movie, “We are what they grow beyond.” 

Twice in Star Wars: The Last Jedi, Luke corrects the movie’s two youngest “Force wielders” and tells them they are “wrong” about the Force.

In an early exchange during Rey’s training on Ahch-To, Luke asks Rey, “What do you know about the Force?”

Rey answers, “It’s a power that Jedi have that lets them control people and... make things float.”

Luke replies, “Impressive. Every word in that sentence was wrong.” 

Later on in the movie, when Luke has his showdown with Kylo Ren, Ren taunts Luke by saying, “The Resistance is dead, the war is over, and when I kill you, I will have killed the last Jedi!”

Luke calmly responds, “Amazing. Every word of what you just said is wrong. The rebellion is reborn today. The war is just beginning. And I will not be the last Jedi.”

Those exchanges in the movie might as well be a message to fans and viewers of the Star Wars saga. In essence, Skywalker is saying there is more to the story than we ever dreamed. 

Star Wars: The Last Jedi features one of the best lightsaber battles in the entire saga. The showdown in Supreme Leader Snoke’s throne room is beautiful. It really isn’t a lightsaber battle in and of itself, but a battle with the Praetorian Guards — who are basically anonymous, red shogun warriors. 

Any kid who grew up in the 1980s wondering what the Emperor’s Royal Guards were capable of in Return of the Jedi finally get a glimpse in this movie, since the Praetorian Guards are an obvious homage. 

The entire sequence in the throne room (which is drenched in a glorious red tint) is both fun to watch and full of surprises. 

When Rey uses the Force to snatch up Kylo Ren’s unique red lightsaber to take on the guards, it illustrates once again that this isn’t yesterday’s Star Wars movie. Later on in the sequence, when Rey and Ren manage to “break apart” Luke’s original blue saber, it gives us another unique moment in Star Wars lore. 

For a moment, I really thought Kylo Ren was going to heed Rey’s call, and turn away from the dark side of the Force. Rian Johnson had me believing, and the sequence was crafted with a mercurial sleight of hand.  

Another part of the movie I thought was terrific involved Luke looking around the Millennium Falcon on Ahch-To Island. When he discovers R2-D2 on the ship — and the droid projects the old hologram of Leia saying "Help me Obi-Wan Kenobi... you're my only hope" — it took me back. It was a cool nod to A New Hope, and a special moment I wasn't anticipating. 

All of the internet proclamations suggesting that Disney has destroyed the saga seem completely unfounded. This is the first Star Wars movie in a while that fans can’t stop talking about. 

Disney hasn't destroyed anyone's childhood. 

I’m not suggesting that The Last Jedi is perfect. Rather, I’m suggesting that viewing the movie for what it is makes you realize how good it is. 

After I watched Star Wars: The Last Jedi for a second time, it dawned on me that it might have been the most fun I’ve had watching a Star Wars movie.

The movie perfectly captures the experience of being a kid... creating adventures with Star Wars action figures many moons ago... 

Forty years later, you realize movies are different than they were back in the day... and that isn’t necessarily a bad thing. 

Previous post: Book Review: Ernest Cline's "Armada" 

Book Review: Ernest Cline’s “Armada”

A few months ago I reviewed Ernest Cline’s first novel “Ready Player One” (read my review) — a wonderful sci-fi tale featuring a large dose of 1980s pop culture. It felt fresh, new, and vibrant, even though the story took place in a virtual reality video game. 

Cline’s second novel, “Armada,” is its own standalone story, separate from “Ready Player One.” 

“Armada” follows a teenager named Zack Lightman. Zack lives with his mom in Oregon. He goes to high school, loves videogames, and works part-time at a gaming store called Starbase Ace. He longs to know his father Xavier — who was killed in a wastewater treatment plant explosion many years prior, when Zack was a baby.

Zack is at school one day when he spots an alien craft outside his classroom window — it is a Sobrukai Glaive, which is a fighter featured in his favorite videogame Armada. He can’t tell if what he saw is real, or if he’s losing touch with reality. 

But Zack doesn’t shrug it off. 

He begins rooting through his dad’s old things, stored in boxes in the attic. He spots a letter jacket his father wore that featured a bunch of gaming patches. He also stumbles upon a series of notes his father took, outlining his theory positing that the government has been secretly training society for an alien invasion. 

What the reader learns is that movies like Star Wars, The Last Starfighter, Aliens, and Independence Day — along with a slew of videogames released throughout the years — are a surreptitious way to prepare society to defend Earth against attack. The popular multi-player games in the novel — Armada and Terra Firma — seem to be built with this goal in mind.  

Interesting premise... right?

It definitely is, but Cline’s "Armada" feels like it has trouble figuring out where to take the story from there. 

For a while, the narrative treads on fairly predictable ground. Unfortunately, reading about teens piloting drones in "Armada" via consoles (in an attempt to save the world) isn’t as compelling as the virtual treasure hunt Cline concocted in "Ready Player One." In a way, the main protagonist feels rather detached from things — despite Cline’s attempts to ratchet up the tension.

It could be that the narrative would have benefited from a different structure. Cline’s first-person story from Zack’s point of view is affable, but a limited third-person narrative might have given the story more heft, and allowed the author to “peek around the corner” in certain parts of the novel.

Furthermore, the story takes place in a single day, and parts of the narrative feel underdeveloped. 

Add in the fact that the ending of "Armada" felt rushed — an ending that seemed to step straight out of an episode of Star Trek — and you can see why I didn’t feel the whole was greater than the sum of its parts. 

The movie rights have apparently been optioned by Universal. I have a feeling that Armada — with a few tweaks — could achieve box office gold. 

There’s little doubt that Cline is a talented writer. 

Unfortunately, Armada doesn’t live up to "Ready Player One." It’s often difficult for “lightning to strike twice” with high-concept stories in the sci-fi/fantasy realm. 

Be that as it may, the book features a number of pop culture references, and the beautiful jacket design features blueprints of ships in the novel.

If you enjoyed "Ready Player One," you’ll likely find "Armada" to be an amusing diversion. However, in comparison, it felt a little "thin," was hurried at times, and lacks the spark that made "Ready Player One" a pop-culture masterpiece. 

Previous post: Quentin Taratino's Upcoming "Star Trek" Movie 

Quentin Tarantino's Upcoming "Star Trek" Movie

News has been circulating on the internet this month about much ballyhooed director Quentin Tarantino pitching a Star Trek movie to J.J. Abrams (who rebooted the franchise in 2009) — an R-rated tome in a franchise that hasn’t exactly been known for its “edginess” in recent years. 

But this is 2017. Welcome to the brave, new era where we get R-rated X-Men movies (Logan and Deadpool) and R-rated Star Trek movies. Let’s hope Pixar doesn’t join the trend. 

The Tarantino news isn’t that surprising. He has admitted in interviews that he is a long-time fan of 1960s Trek. And I had read in the past that Tarantino owns an original print of 1982’s Star Trek II: The Wrath of Khan that he screens periodically.

(Read my review of the "Star Trek II: The Wrath of Khan" Director's Cut). 

Tarantino also named J.J Abrams’s Star Trek reboot as one of his top films of 2009. 

Deadline reports that “The Revenant” scribe Mark L. Smith is going to write the screenplay for Tarantino’s Star Trek movie. One can only imagine what sort of bear-like creatures Captain Kirk will find himself wrestling in the wilderness. 

If you want some insight into the direction Tarantino’s movie will take, he talks about his vision for a Star Trek movie in this interview from earlier in the year:

In the interview he mentions his fondness for the Star Trek: The Next Generation episode “Yesterday’s Enterprise” (with its time-travel changing narrative), but I’m guessing he’ll be tackling the current Chris Pine-era crew.

Be that as it may, Patrick Stewart (who played Captain Picard on TNG) has expressed interest in the project. 

You might be asking yourself why this is all happening. At last check, Paramount was focused on developing a Star Trek prequel movie that would focus on Chris Hemsworth’s George Kirk character (seen briefly in the prologue of 2009’s Star Trek). 

But the Star Trek franchise — in an era where big-budget science fiction spectacles are ubiquitous — has been a somewhat tougher sell to audiences. 

Yet the recent success of Star Trek: Discovery (read my review) on CBS’s streaming platform has shown that the fan base is willing to dive into something a bit more edgy. 

Back in the 1990s, I remember hearing that Sean Connery suggested Quentin Tarantino reboot the James Bond franchise. That was during the heyday of Pulp Fiction. 

Others have suggested that Quentin Tarantino should move beyond the esoteric “art house” fare he is fond of producing, and use his talents in more mainstream franchises. 

You can’t get much more mainstream than Star Trek.  

It’s very possible that Tarantino’s non-linear storytelling would suit Star Trek well, and create something bold and compelling. 

On the other hand, we’ve recently seen the uproar caused when a director/screenwriter takes a popular franchise in a different direction — as is the case with Rian Johnnson’s Star Wars: The Last Jedi. 

Regardless of the outcome of Tarantino’s Star Trek project, the mere mention of the unlikely cinematic marriage has breathed new life into the franchise. 

With Tarantino at the helm, the franchise will definitely "go where no man has gone before..." 

Previous post: Is "Die Hard" The Best Christmas Movie?

Is "Die Hard" The Best Christmas Movie?

A number of my friends on social media have been getting in the holiday spirit the past few days... shopping for gifts, spending time with family, and watching... “Die Hard”...?

It appears that the 1988 action masterpiece — directed by John McTiernan — has aged like a fine wine. Not only does the movie harken back to a time when action movies featured practical effects, sweat, testosterone, and numerous f-bombs, it has also become a Christmas tradition for a number of my friends. 

As far as I am concerned, it is FANTASTIC. I remember when I first saw the movie at AMC Westroads 8 back in 1988. 

“Die Hard” represents an era of action movie that will likely never be matched. Sure, the superhero movies we see today have action, and often have brawny men in dire situations. But they aren’t the same. They just aren’t.

Some question whether or not “Die Hard” qualifies as a Christmas movie. Let’s take a look:

“Die Hard” takes place at Christmas. That is a key for any Christmas movie. The attempted robbery of the Nakatomi Plaza in Los Angeles happens on Christmas Eve. NYPD cop John McClane (Bruce Willis) flies out to spend Christmas with his wife Holly (Bonnie Bedelia) and their two kids. A limo picks McClane up at the airport, and delivers him to the Nakatomi holiday party. 

Like any good Christmas movie, “Die Hard” focuses on working-class people. Whether we are talking about George Bailey in “It’s a Wonderful Life” or Bob Cratchit in “A Christmas Carol,” the best Christmas stories focus on working-class stiffs trying to beat the odds and make a better life for their families. 

John McClane epitomizes that archetype. Not only is he trying to make amends with his wife (they’re separated because she took the job with the Nakatomi Corporation), he’ll do anything to keep his family in one piece — even if it means brandishing a H&K MP5 to take out a bunch of euro-trash terrorists on Christmas Eve. 

Let’s face it, “Die Hard” is basically the same movie as “Home Alone” — a movie that became the biggest movie in the world when it was released in 1990.

Yet some people consider “Home Alone” a holiday classic, while poo-pooing “Die Hard” in the same breath. 

There is very little difference between Kevin McCallister (Macaulay Culkin) and John McClane.  

First of all, both have last names of Irish descent. Both are unappreciated by their families. And both have to kick the crap out of robbers on Christmas Eve. 

McClane toys with baddie Hans Gruber (Alan Rickman) in the same manner that Kevin toys with crooks Harry (Joe Pesci) and Marv (Daniel Stern) — causing their nemeses fits throughout the movie. 

“Home Alone” gets a pass because Kevin has that poignant Christmas Eve moment in church, and decorates his house for Christmas.

McClane doesn’t have that luxury. The guy can’t even find a pair of shoes that fit, and has to root around the Nakatomi building barefoot throughout the movie (even though he kills a number of terrorists along the way who were bound to have shoes bigger than the “one with feet smaller than [his] sister”). 

“Die Hard” also features ample Christmas music — a staple of any good holiday movie. We hear “Jingle Bells,”Christmas in Hollis,” “Let It Snow!,” and “Winter Wonderland.” 

McClane also sends messages of holiday spirit... like this one where he wrote: “NOW I HAVE A MACHINE GUN HO-HO-HO.”

While some might shrug off the tradition of “Die Hard” as being a social media-induced way for guys to be all contrary and ironic with their Christmas movie traditions, there is something to the notion that the exploits of John McClane are true to the spirit of Christmas in the same way that egg nog and mistletoe is to holiday cheer. 

Let’s face it, what most of us want for Christmas is to imbibe in holiday beverages, kiss the one we love, and beat the snot out of a bunch of bad guys who try to ruin the day.

If you aren’t one of the denizens who follow the “Die Hard on Christmas” tradition, maybe you need to start. If you do, all I can say is, “Welcome to the party, pal!!”

Previous post: My Friend Jay's Cool Christmas Light Display 

My Friend Jay's Cool Christmas Light Display

If you like holiday light displays (I mean, who doesn’t?), and if you live in the Omaha-metro area, then you should definitely check out my friend Jay’s display at his home in Council Bluffs, IA. 

Jay and I go way back. We became friends back in the mid-1980s when my family moved to a neighborhood north of Crossroads Mall, and I started attending Westbrook Middle School (which had been renamed “middle school” from “junior high” when they added 6th grade to the mix in 1984). 

There is a unique bond between Westbrook alums. It’s sort of hard to describe if you aren’t familiar with the history of Westside Community Schools in Omaha, but there was something special about that experience, and it seems to stick with those who attended the school back during that era. 

The nice thing about social media is that it gives you the opportunity to catch up with old friends. 

Each year, Jay dutifully posts about his musical light display. Last year, my wife, nieces, and I decided to check it out. 

We visited twice in 2016, and we’ve visited twice (so far) in 2017. It’s a fun new Christmas tradition for my family — and the cool thing is that the creator is someone Bridget and I know.

Jay was kind enough to come outside and see us on our most recent visit. He was sporting a blinking-light necklace, and served candy canes to our crew. 

He and I talked about the technology behind his display, and some of his plans for next year’s show. 

We also talked about how he does “Letters to Santa” during a portion of the display’s run each season, and has a drop box ensconced by the display.

I love creative efforts by hobbyists, and the days and weeks that go into the setup of these sorts of light displays is mind boggling. 

I’m happy there are people like Jay willing to invest that time to spread a little holiday cheer each season. It’s definitely the thing I look most forward to each Christmas. Be sure to check out his display if you’re touring lights this week:

Abbott Family Christmas

3425 6th Avenue

Council Bluffs, IA

Here is a video I took of the “Amazing Grace” portion of Jay’s display. My sincerest apologies for the “low volume level” — I was standing outside of the car when I recorded it, so the music from Jay’s low-power radio signal wasn’t as loud as if I’d been in the vehicle. The total show runs 15 to 20 minutes. 

(Also... you can hear my nieces Julia and Lauren giggling in the background):

Previous post: Movie Review: Lady Bird

Movie Review: "Lady Bird"

What do you do when you were planning to attend a $5 Tuesday showing of Star Wars: The Last Jedi at Aksarben Cinema and it is sold out?

You go see Lady Bird.

Lady Bird is a quirky, coming-of-age story about a teenage girl named Christine “Lady Bird” McPherson (Saoirse Ronan). We learn early on that she has given herself the name “Lady Bird” — because that’s apparently what quirky girls do when they come from the “wrong side of the tracks” in Sacramento circa 2002. 

The film follows Lady Bird during her senior year. She attends a Catholic high school (although she isn’t Catholic) because her older brother witnessed a stabbing at the public option. She dreams of attending a college on the East coast, suggesting to her parents that New York has culture that Sacramento lacks.

As we watch Lady Bird try to navigate her life, and search for meaning in her existence, she and her mother Marion (Laurie Metcalf) struggle with their mother/daughter relationship — as Lady Bird struggles to move on, and Marion comes to terms with letting go. 

Lady Bird is the directorial debut of actress Greta Gerwig (who also wrote the screenplay). I wasn’t familiar with Greta Gerwig prior to seeing Lady Bird, but she was apparently set to star in the How I Met Your Mother spinoff How I Met Your Dad (which failed to get a series pickup from CBS).

While this is often the type of movie you see aspiring directors cut their teeth on, Gerwig seems skilled with the material. The titular character she has created is odd, misunderstood, but likable — something that can be hit-or-miss in the territory Gerwig explores.

This “anatomy of a scene” illustrates Gerwig’s process: 

Believe me, I’ve seen a number of movies like this that drip with pretentiousness...and Lady Bird does a fairly good job not going overboard employing this sub-genre’s tropes.

Lady Bird features a number of funny moments, and the movie had the audience in stitches during a number of scenes.  

That’s a testament to the Gerwig’s screenplay and directing acumen. But it’s also a testament to Saoirse Ronan. 

The first movie I recall seeing Ronan in was 2015’s Brooklyn, another coming-of-age story about an Irish girl who comes to the United States in the 1950s. 

Ronan has range as an actor, and her talents are on full display in Lady Bird. I don’t think it is too much of a stretch to say this performance is straight up Oscar bait, and I’d be stunned if she doesn’t receive a slew of accolades during awards season. 

Lady Bird is also about the quiet struggle of the middle class in the 21st century. But the narrative avoids heavy-handedness as her laid-off father struggles to find a job (despite having an MBA from UC Davis) and her mother quietly longs for something more. 

This is beautifully illustrated in an understated sequence where Marion consoles her distraught daughter by taking Lady Bird on the pair’s favorite Sunday activity — pretending to be serious home buyers shopping for upscale homes beyond their means. 

This sequence illustrates the gentler side of Marion McPherson, something that is often overshadowed by her snarky bite. Or, as one friend describes Lady Bird’s mom: “She’s warm, but she’s also kind of scary.”

One other nice aspect of the film is Lady Bird’s relationship with her father Larry (Tracy Letts) — a character who is perpetually patient with Lady Bird, and serves as a bridge between daughter and mother. 

While Lady Bird might not be for everyone, it is a funny and thoughtful little film among a slew of bombastic holiday movies, and definitely worth checking out. 

Rated R, Runtime 94 min.

Previous post: Two-Paragraph Tuesday: Anyone Remember "JASON OF STAR COMMAND"...? 

Two-Paragraph Tuesday: Anyone Remember “JASON OF STAR COMMAND”...?

Back in the late 1970s, there existed a healthy dose of efforts to capitalize on the success of 1977’s Star Wars. Some, like Battlestar Galactica, have been able to withstand the test of time. Others, like Disney’s The Black Hole, have not. And then there was Jason of Star Command — a serialized live-action series that appeared on CBS during Saturday morning cartoons (a weekly event that more recent generations will never fully understand).

Jason of Star Command featured a low-rent Han Solo named Jason — a soldier of fortune who battled space bad guys for Star Command. He had a little robot named W.I.K.I., which looked like a windup Polaroid camera. The commander of Star Command was played by James Doohan (Star Trek’s Mr. Scott) during the show's first season, and there was a villain named Dragos (who looked like he stepped off the set of Flash Gordon).

It was produced by Filmation and ran from 1978 to 1981 — totally cheesy, corny, and completely AWESOME (as far as I was concerned). Thankfully, you too can enjoy the series in all its low-budget glory on YouTube. 

Here is the first episode of Jason of Star Command... “Attack of the Dragon Ship”: 

Previous post: Review: "Star Wars: The Last Jedi" Soundtrack (Target Exclusive)  

Review: “Star Wars: The Last Jedi” Soundtrack (Target Exclusive)

First things first. I love owning “physical media” when it comes to movies, music, and books. 

Believe me, I tried to totally convert to the world of digital-only copies of my favorite media items. It just wasn’t for me. I like having a Blu-ray, CD, or hardcover book when possible. 

The closest I ever came to making a full-digital transition was in the area of music. Like many of you, I became enamored with Apple’s iPod back in the early 2000s. I still have an iPod Nano around that I use when I'm out exercising. 

Despite the convenience of purchasing music a song at a time from iTunes, I began to miss having a physical CD. Something about it felt transitory. 

I was less inclined to purchase albums in full — which meant I wasn't discovering those odd tracks often found near the end of an album, and my music library had become a hodgepodge of “greatest hits."

Movie soundtracks are among my favorite recordings to own. I remember listening to the Star Wars and Raiders of the Lost Ark soundtracks over and over again as a kid. The musical stylings of John Williams helped fans relive the movie — in an era when home video wasn't readily affordable for consumers.

I just picked up the new soundtrack for Star Wars: The Last Jedi at Target. The soundtrack was released on Dec. 15. 

Walt Disney Records has done a nice job with the soundtracks for the new “Star Wars” trilogy. (I also own the Star Wars: The Force Awakens soundtrack that was released in 2015.) The sets come to us in handsome cardboard foldout cases — the design and cover art are reminiscent of the original Star Wars vinyl album released many moons ago. 

Included inside is a booklet that has a track listing, photographs, concept art, and the album’s credits. This particular version of The Last Jedi soundtrack is a Target exclusive, and includes two linen cards with watercolor artwork. One of the images is of the Millennium Falcon on Ahch-To Island, and the other features AT-M6 walkers on Crait.

The Star Wars: The Last Jedi soundtrack brings back a number of themes heard in previous Star Wars movies. But that isn't cause for concern -- the score Williams composed for The Last Jedi feels less “incidental” than his compositions on The Force Awakens.   

Highlights include “Ahch-To Island” (track 2), “Canto Bight” (track 9) and “The Battle of Crait” (track 16).

The theme heard in “Ahch-To Island” was first heard at the very end of Star Wars: The Force Awakens (the “Jedi Steps” track on The Force Awakens soundtrack). The sweeping score has a nautical tone and feels epic in scope. 

“Canto Bight” features the music heard in the casino scenes during The Last Jedi. While that sequence in the movie might not be everyone’s cup of tea, the electronic calypso beat harkens back to the “Cantina Band” track in Star Wars: A New Hope. 

“The Battle of Crait” is a rousing score that brings full force to the battle scenes in the climactic showdown of The Last Jedi. The orchestral score echoes combat sequences in previous Star Wars films. 

Williams doesn’t bring us any new melodies with the gravitas of “The Imperial March,” “Duel of the Fates,” or “Rey’s Theme” (found in previous soundtracks). But it wasn’t necessary in this instance, since much of the soundtrack features cues from previous entries. 

What I find inspiring is that John Williams keeps plugging away at 85 — that's rather amazing considering the saga has spanned 40-plus years. 

I’ve only listened to the Star Wars: The Last Jedi soundtrack once so far, but look forward to revisiting it in the days ahead. 

Previous post: More Thoughts On The Last Jedi (SPOILERS)  

More Thoughts On "The Last Jedi" (SPOILERS)

Warning: This post contains spoilers for Star Wars: The Last Jedi

“I felt a great disturbance in the Force... as if millions of voices suddenly cried out in terror.” — Obi-Wan Kenobi

The Internet is buzzing about director Rian Johnson’s new Star Wars: The Last Jedi movie. Unlike the two most recent entries in our Disney-era Star Wars universe, audience reaction is all over the place, and seems to be on a divergent path with media critics (who have near-universal praise for the film).

Why is this? 

Why is Rian Johnson’s stylized, gripping and compelling Star Wars tale being met with such ire?

What is causing the bipolar reaction on review aggregator website Rotten Tomatoes, for example? Critics have it at 93%, and viewers have it at 57% (as of this post).

It is an odd thing, and I’ve been trying to put my finger on what might be happening to cause such a visceral reaction to Star Wars: The Last Jedi. 

I was alive when the original Star Wars trilogy films were released in 1977, 1980, and 1983. I saw all three films during their initial runs in theaters. 

I was there to experience the surprise and shock when Han Solo was imprisoned in a block of carbonite, and Darth Vader declared that Luke Skywalker was his son. 

I can tell you — as a Star Wars superfan back then — that Star Wars: The Empire Strikes Back was a jarring experience. At the time, I didn’t appreciate Empire’s dark, introspective tone. I spent three long years wondering about the fate of our heroes. Empire challenged our perception of the Force, and it didn’t have a triumphant finale like the first Star Wars movie. 

Is the reaction we’re seeing for Star Wars: The Last Jedi similar to fan feelings back in 1980 when Empire was released? Will the film age well, and become one of the beloved entries in the saga? 

We didn’t have social media in 1980. The only way people could express their feelings was face-to-face, or in “letter to the editor” type forums. It would be fascinating to see how public opinion back then would have changed with current technology.

I understand that Star Wars: The Last Jedi had some suprises — some shocking. 

It was surprising when Luke nonchalantly tossed away his lightsaber, after a sincere Rey hands it to him on Ahch-To. 

The final moment of Star Wars: The Force Awakens led us to believe Luke would say something profound to her like, “Rey... where did you find this? It’s been missing for years. By the way, Internet theorists are correct, I am your father.” 

Instead of a more profound moment, Luke tosses the weapon over his shoulder, and spends the first act of The Last Jedi verbally wondering who Rey is.

Was it all a gimmick by Rian Johnson to elicit a cheap laugh, or was it exactly what a disillusioned old Jedi would do after being in a self-imposed exile?

Was he being unnecessarily coy with her about her parents — like Obi-Wan was with Luke in the original trilogy?

Or, was Kylo Ren correct — that Rey is merely the child of junk traders? 

It’s hard to tell at this point. The peculiar closing scene of The Last Jedi might provide some insight into Rey’s origin — where we see a young stable boy on Canto Bight use the Force to snatch up a broom. 

Not only was it an unusual way to end a Star Wars film, it could mean that Rey is merely one of many who is strong with the Force. (Personally speaking, I still think she’s Kylo Ren’s sister). 

Rian Johnson has been tasked with developing a new trilogy for Lucasfilm — a set of films unrelated to the Skywalker family saga. 

Some have speculated that The Last Jedi was being used as a gateway to set up those films. 

The way Johnson “shakes up” what we know about the Force in The Last Jedi has left some observers scratching their heads. 

As Yoda said to Luke in Star Wars: The Empire Strikes Back, “You must unlearn what you have learned.”

The question among fandom is whether it is correct to change course in the eigth episode of a nine-part saga. 

The idea that the Jedi can mentally “transmit” a version of themselves from place-to-place — while they are alive — is something new. When you are looking at the saga’s narrative structure, it makes you wonder why this was something we didn’t see before. 

That is likely the biggest surprise of Star Wars: The Last Jedi. 

The more I’ve analyzed the film (yes, I know I spend way too much time thinking about this stuff), the more I think Rian Johnson’s vision might be what Star Wars needed. 

At issue is whether the Star Wars franchise could have gone on using the same old tropes (we’ve had one release per year since The Force Awakens was released in 2015).

Think about it. How many more stories could have been told using a 40-year-old structure?

This is where many of you will point to efforts like the Star Wars: Rebels series and suggest things could have gone on in similar fashion forever. 

Perhaps, but this allows the Lucasfilm Story Group (the entity responsible for Star Wars canon) to add new elements to efforts moving forward. We need to remember that the story group ultimately approved Rian Johnson’s visions for The Last Jedi.

The reality — in the near term — is that these changes are jarring. Regardless, that doesn’t mean that the saga is dying under Disney’s watch, nor does it mean Rian Johnson was off the mark. 

And while I agree that it was odd seeing a wounded Leia use the Force to fly in space after a battle, it opens up new possibilities for the future. 

It is surprising the amount of free rein Lucasfilm honcho Kathleen Kennedy gave Rian Johnson in Star Wars: The Last Jedi. She’s known for being a stickler (the reshoots for Rogue One and the upcoming Solo are examples of this). 

The fact remains that Rian Johnson created a big, sweeping space fantasy that is fun and compelling. 

It might not be perfect, but I think fans are being too harsh. 

I’ve always said that Star Wars — unlike any other pop culture franchise in our lifetime — has evolved beyond the realm of mere “entertainment.” 

It has become a sort of pop culture religion. As a result, the fans of Star Wars have a cult-like devotion and reaction to the entire property. 

Any of you who are members of an organized religion know that change can be hard. 

Rian Johnson making changes to the mythos behind the Force can be just as unnerving to fans as it was to Catholic parishioners when The Vatican changed the wording of the liturgy several years ago. 

Let’s face it, for Star Wars to become a living, breathing saga that lasts, it needs to change. If it wants to stay influential in the manner that Marvel Studios has over the past decade, it has to grow. 

I’ve heard that Star Wars: The Last Jedi is a superior experience on repeat viewings. I’ve only seen it once so far, but I plan several more trips to the theater. 

Let’s face it, a lot of fans went into the movie with preconceived notions about how things were going to unfold in the film. The reality is that fans were treated to a wholly original story that spit in the face of internet theories. 

What Star Wars: The Last Jedi illlustrates is that a 40-year-old franchise still has the ability to surprise. 

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