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New Escapist Column! The Flawed Redemption at the Heart of “Return of the Jedi”…

I published a new In the Frame piece at Escapist Magazine on Monday. This one has been kicking around inside my head for a little while, but came to the fore with the recent trailer for Star Wars: Episode IX – The Rise of Skywalker. Primarily, the flawed redemption at the heart of Star Wars: Episode VI – The Return of the Jedi.

Look, everybody knows the basic arc of the Star Wars saga. Luke discovers that Darth Vader is his father, sets out to redeem him, manages to turn Vader away from the dark side before Vader dies. However, that’s never been quite how it works. The actual arc is a lot messier and more complicated, and a lot less conventionally heroic than it is remembered. Return of the Jedi never actually bothers to redeem Vader, instead focusing on redeeming Luke’s idea of Vader. At its core, Return of the Jedi is a story about how hard Luke wants to believe his father was a good man, in spite of all evidence to the contrary.

Along the way, Luke gambles the entire future of the Rebel Alliance and his sister’s fate on the assumption that there is goodness in Vader, while the film never actually bothers to demonstrate that there is any. It’s a fascinating incomplete arc, and one that hints at a gaping moral void at the heart of the larger Star Wars saga. It’s a story about how an individual’s redemption doesn’t matter, only other people’s idea of that redemption. In its own way, it marks Return of the Jedi as a quintessentially eighties movie; it is a story about how the most important thing to Luke is not the fate of the galaxy, but his own self-image.

You can read the piece here, or click the picture below.

Star Trek: Voyager – Life Line (Review)

Life Line brings Star Trek: Voyager‘s daddy issues to the fore.

Voyager always existed in the shadow of Star Trek: The Next Generation, never quite breaking free in the way that Star Trek: Deep Space Nine managed to do. Voyager always felt shaped by and indebted to The Next Generation, always longing to affirm its heritage. Barclay appeared in Projections. Riker made a cameo in Death Wish. Geordi popped up in Timeless. Deanna Troi paid a visit in Pathfinder. The Ferengi from The Price popped up in False Profits. Q was a recurring character. The Borg were a recurring threat.

All my holo-children.

Voyager always saw itself as the spiritual successor to The Next Generation, the rightful heir to what was at the time the crown jewel in this iconic science-fiction franchise. However, this aspiration was not borne out in any quantifiable sense. The reviews for Voyager were decidedly more guarded than they had been for The Next Generation. The ratings were appreciably lower. The cultural impact was greatly diminished. If Voyager had positioned itself as the next in line to the throne, it was a disappointment by any measure.

The sixth season of Voyager is keenly focused on the idea of memory and legacy. It often feels like the series is reflecting on its legacy, cognisant of the fact that the end is rapidly approaching. Indeed, this preoccupation with mortality plays out even within Life Line, which is an episodes that finds the EMH journeying back to the Alpha Quadrant in order to save the life of his dying creator. Doctor Lewis Zimmerman was a pioneer when Voyager launched almost six years earlier; now, he is a bitter and disillusioned old man wasting away in seclusion.

Father yet to go.

There is something very pointed in this, in the idea of a son returning home to a dying father, to be met with disappointment and disdain. There is a funereal tone running through sixth season episodes like Barge of the Dead, Dragon’s Teeth, One Small Step, Blink of an Eye, Muse and Fury. It feels like Voyager is confronting the fact that it has declined over the slow withering death of the larger Star Trek franchise. The end is near, and Voyager has presided over it. Fury went so far as to request a do-over on the entire run of the series, resetting six years of continuity.

Life Line touches on these ideas, allowing one member of the regular cast to journey home and to try to make peace with a deeply disappointed father figure.

Creator hate.

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