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Of Death Stars, Sarlaccs and Sexting: The Curious Sexual Energy of “Star Wars”…

At its core, Star Wars is a Jungian, Campbellian and Freudian story about what it’s like to grow up.

This is perhaps most obvious within the original trilogy. Star Wars: Episode V – The Empire Strikes Back is ultimately about the realisation that your parents will eventually and inevitably fail you. Star Wars: Episode VI – The Return of the Jedi is about growing up and learning to make peace with them anyway. Of course, the individual films frame these core themes through their own lenses. Star Wars: Episode VII – The Force Awakens reframes that adventure so it centres on people who have rarely had the opportunity to anchor such a story. Star Wars: Episode VIII – The Last Jedi asked what that meant in 2017.

Naturally, this coming of age story is framed in terms of adventure – young characters discovering that they are part of an epic mythology that guides them towards confrontations with ancient and incredible evils, often learning hidden truths about themselves and their destiny. There’s a reason that the Star Wars franchise has come to be associated with the “monomyth”, distilling the hero’s journey into something with a story with universal resonance. It is a story about what it feels like to grow up.

It is also, inevitably, very much about sex. And in some very interesting (and quite eccentric) ways.

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Star Trek: Voyager – Fair Haven (Review)

Well, at least it’s better than Up the Long Ladder.

We’ll take what we can get.

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The X-Files – 2Shy (Review)

This November (and a little of December), we’re taking a trip back in time to review the third season of The X-Files and the first (and only) season of Space: Above and Beyond.

A lot of the success of the third season of The X-Files came for learning what had worked earlier, and trying to hone that.

So, for example, the epic mythology of Colony and End Game enabled episodes like Nisei and 731 along with Piper Maru and Apocrypha. Shows like Die Hand Die Verletzt and Humbug had proven that the show could do comedy, so it wasn’t as big a risk to commit to stories like Clyde Bruckman’s Final Repose or Jose Chung’s “From Outer Space.” Even episodes like Fresh Bones had helped to define what a standard “monster of the week” should look like.

Freak like me...

Freak like me…

This approach to the third season had its drawbacks. It seemed like the first chunk of the first season was stuffed with supernatural revenge stories, to the point where it is surprisingly easy to confuse The List and The Walk on the basis of title and theme alone. However, it was a very effective way of producing television. It is very hard to fault any approach towards television production that could turn “fat-sucking vampire” into a premise that works.

The genealogy of 2Shy is quite easy to trace. It is the obvious synthesis of Tooms and Irresistible, two of the more memorable and effective monster stories of the first two seasons. 2Shy may have some very serious problems, but it does what it says on the tin.

Fresh bones...

Fresh bones…

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