I Had Another Nightmare

I woke up screaming this morning. Naturally I wrote a poem.

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(“Eldritch”)

I’ve been having nightmares
Worms beneath the ocean
Ancient and forgotten things
In a submarine inside the belly of the beast
A mouth with many teeth that clamp and strangle

I saw so many faces
Turning into masks
Their loved ones changing right before their eyes
I saw a beast that stood beside my bed
No eyes and scales across it’s awful head
I screamed like a siren
Calling for you to save me

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My Thoughts On The Last Jedi (Part 2/2)

I have just returned from seeing Star Wars Episode VIII: The Last Jedi.

In part one of this lengthy expose, I talked about my feelings on Star Wars as a whole, and about the first six movies. I didn’t get into Episode VII very much and I probably won’t dive too deep into it here, because now I’m going to talk about what I really came here to talk about: The Last Jedi.

In short, I loved it.

I loved it so much that there were moments when I felt utterly captivated and I could understand, for a moment, why so many people have loved Star Wars for so long. I felt like maybe I just never quite found MY Star Wars film, the one that suited me and my generation and what I wanted to see. I suppose that since I’m a child of the nineties, the prequels would be considered my trilogy, but as I watched The Last Jedi I just couldn’t help but be impressed by every aspect of it.

It’s hard to know where to begin. First of all, this is certainly not an unbiased review, but I was biased AGAINST Star Wars going in, and expected absolutely nothing of it, not the least among the reasons being that it seems like most fans hate it (but then, as we discussed earlier, STAR WARS FANS ARE IMPOSSIBLE TO PLEASE and will never be satisfied with anything), and Mark Hammill has made some… interesting comments about what he feels the writers did to Luke’s character.

I’m here to tell you, as a person who generally dislikes Star Wars, that I was well and truly impressed by this movie in every way. It felt like the movie allowed itself the space to tell a full story and utilized every moment they had perfectly, nothing was wasted. I’m not really going to do much of a plot synopsis here, but I’ll talk about the things that I find relevant. Also I guess it goes without saying but I may as well say that there will be SPOILERS for the film, and honestly if you haven’t seen it, I really think you should. And by the way, I went into the movie having had the whole thing pretty much spoiled for me on purpose. I specifically looked for The Last Jedi spoilers because I was vaguely interested in how the plot points and potential from Episode VII would be expounded upon in this movie. On paper, it would appear that the movie took all the potential from Episode VII, ripped it up, shit all over it and threw it out a window into space. None of the fan theories turned out to be right: Rey’s parents are (probably) not Skywalkers or Kenobis, Ben Solo didn’t turn good (well, not entirely anyway), Snoke is not revealed to be the long-lost Darth Plagueis (although I’m still kind of holding out hope that he might be), Poe and Finn are probably going to have a gay romance, and Luke… well, we’ll get to Luke.

It seemed to me like the change of director had been bad for the franchise.

I was wrong. As a matter of fact I think I’m really glad that J.J. Abrams left, because honestly I think his movies have the same run-of-the-mill, seen-it-all-before feel to them that I get from every goddamn superhero movie these days. But it does mean that the development of the film was tumultuous, going through several directors, and then of course there’s the very untimely death of Carrie Fisher, whose role as Leia is front-and-center in this film, and boy am I happy about that.

I’ve always felt Leia never really got the screen time she deserved, and was always a supporting character. In truth she still is a supporting character, but in a really appropriate way that I don’t think undermines her as a character at all. Carrie Fisher’s performance is wonderful, even though there are a few moments where her voice cracks pretty badly, but hey, Carrie Fisher has aged and so has Leia. The resistance members spend just about the entire movie locked in a space battle with the First Order’s flagship, maintaining a distance so that the First Order’s weapons can just reach their shields but not quite penetrate them yet, as the First Order slowly picks off all of their smaller ships and fighters. There is a moment when the bridge is blasted head on and every leader of the Resistance is sucked into space and killed at once, including Leia… but wait a minute!

Leia finally gets to have her Jedi moment and I think it’s executed absolutely perfectly. I call it her Jedi moment but really it’s her Force Power moment. We’ve always known that Leia is force-sensitive, but in the films she’s never really used the Force, apart from sensing the presence of loved ones. It might have felt silly and hammy to have Leia go on a badass rampage and start Force-pushing stormtroopers, or to whip out a lightsaber, so the way her Force ability is used feels completely organic and true to the character. When she’s sucked out into space, she’s seemingly knocked unconscious, but she begins to manipulate the particles around her and telekenetically pushes herself back toward the ship so she can be brought inside and rescued. It’s left vague whether she was consciously doing any of this or whether it was an instinctual act of self-preservation (I tend to think it’s the ladder), although her eyes do open if that counts for anything. Leia being bedridden, along with the loss of all the rebel leaders (including everyone’s favorite “It’s a trap!” trope namer, Admiral Ackbar) means that a hitherto unforseen character, vice-admiral Holdo, becomes the new de facto leader.

People seem to have a lot of opinions about Holdo, with some people feeling she’s the feminist icon Star Wars desperately needs, and others saying she is some kind of strange diversity-hire just put in to please the politically correct crowd. As always, people who think the latter are fucking stupid, because it couldn’t be father from the truth. Insert ANY character who happens to be a minority into a series, and it’s a guarantee that some fans will riot, saying that the producers just did it to appeal to “the PC crowd.” And by the way, what IS the PC crowd? Because it seems to me that if you insert a black character, the most you could be appealing to are black people, or people who don’t mind seeing a black person. So then, the only reason you’d be against seeing a black character is because… it’s because you’re racist, right? I don’t see any other alternative.

And it’s the same thing with Holdo. SOME PEOPLE (probably of the male variety, wearing fedoras and stroking their neckbeards while burping up some Mountain Dew) seem to think that she was shoehorned in so that the movie could say “Look at us, we have a female character in a position of power, HAND OVER YOUR MONEY, FEMINIST DROVES!” And also apparently some people are bothered by the fact that she has purple hair, a complaint so incredibly laughable in the context of fucking STAR WARS that I don’t even know how to go about adressing it. I mean, Yoda is a tiny wrinkly green muppet, there are green-skinned women with wet, mucus-covered tentacles poking out of their heads, one of the central characters is an eight foot tall Bigfoot that moans in a gargling whinny for speech, but yeah, it’s really the ONE LADY WITH PURPLE HAIR that strains credibility too far here.

At any rate, Holdo is the new commander of the fleet. Well, this trilogy’s Han Solo archetype, Poe, does not like that at all, and does like her methods. She wants to retreat and live to fight another day, ensuring the survival of the rebel alliance and sending a spark of hope to light a fire under the ass of the First Order. Poe would much rather be a swashbuckling hero, ride on in there and blow the shit out of their flagship (cause that worked so well when the previous heroes did that to the Death Star), and win the day for the Rebellion. They both have noble goals, and this is where we start to see what I feel is the central theme of this movie, the conflict between difficult decisions and choosing a path. Poe and Holdo both want what’s best for the rebellion, and while Leia agrees with Holdo’s philosophy, she does understand and secretly ALSO agree with Poe’s. But Leia is older now, and she’s not as willing to throw away innocent lives just to win a space battle, if that kind of thing can be avoided.

Meanwhile, back to the real meat of the story, we have Rey, who traveled across the galaxy to the homeworld of the Jedi to find Luke, who has secluded himself in shame after losing his apprentice to the dark side. We pick up right where the last movie left off, with Rey holding out Luke’s lightsaber to him. He takes it from her, and in a move that we probably all see coming, casually tosses it backwards over his shoulder. Don’t worry though, some Porgs find it, and in that moment they are ALMOST useful to the story and not clearly Disney’s attempt to merchandise a new adorable toy. Honestly I get why people hate the Porgs, they’re kind of cute in context but they do feel somewhat out of place and is it me or is their CGI kind of shabby? Oh well. That’s all I have to say about Porgs, really.

So, Luke. Mark Hammill has done several interviews now where he talks about he vehemently disagreed with the filmmakers’ writing of Luke Skywalker. Luke has become an island unto himself by sulking on a literal island in the middle of the ocean, ashamed and without hope at the loss of Ben to the Dark Side. He hates the Jedi, he hates what they became, he understands the turmoil they brought about during the time of the Old Republic, and he understands how meaningless legends can be. He knows that he’s a legend across the galaxy, but he also knows that a legend is not the real story. He’s done a lot of introspection, and in his despair he’s cut himself off from the Force. He’s isolated, scared, and ashamed. He’s in a dark and desperate place. Mark Hammill has said that this is completely out of character for Luke, it’s not something he would do. If Luke Skywalker saw that the galaxy was in trouble, he’d get off his ass and go out there and save it.

But you know, I have to disagree with Mark Hammill, and part of my disagreement is based on what a damn fantastic job he does portraying an angry and bitter Luke. The Luke we know was young, naive, and passionate. He didn’t have time to grow and learn, to be jaded by reality. Young Luke believed there was good in Darth Vader and was brave enough to go and face him to try and turn him to the Light. But old Luke is a veteran of the deadliest war in the galaxy, he’s seen so much despair and turmoil, and he had dreams of rebuilding the Jedi Order into something grand and beautiful. His hopes and dreams were dashed by Ben Solo. He’s lost everything he loves, and the galaxy that he fought so hard to protect is teetering on the brink of totalitarianism again, despite everything he did to try and save it, and he feels that it’s ALL HIS FAULT. He feels that he failed Ben, just as Obi-Wan failed Anakin.

And really, a LOT of what happens in this movie is a direct parallel to what happened in the original films. Obi-Wan and Yoda both went into hiding after losing Anakin to the Dark Side, and they both had to be approached by someone else asking for help (in Obi-Wan’s case, Leia) before they agreed to rejoin the fight. Obi-Wan wasn’t quite so depressed as Luke, but essentially they are in the same position. When Luke finally agrees to teach Rey about the Force, it’s a mirror of his time with Yoda, with him taking on the role of the grizzled old Jedi whose seen what happens when he fails to protect the galaxy from the Dark Side, and even though he has a lot of wisdom to pass on to Rey, they disagree on what should be done next, the same way Yoda and Luke disagreed on Dagobah.

I think that Mark Hammill missed the point of Luke’s sadness and isolation. The REASON that he’s acting so unlike himself is BECAUSE he’s in a rut, and he has to redeem himself. He’s only human, he’s allowed to fail, to make mistakes, to forget who he is, and then be forced to remember by a young idealist like Rey. It’s during Rey’s training with Luke that we also learn that Ben Solo actually had a legitimate reason for betraying Luke. It wasn’t because Snoke found him and seduced him into leaving the Light side, although that is a factor, it’s because Luke tried to murder him. Luke sneaked into Ben’s tent while he was sleeping, ignited his lightsaber, and stood over him, ready to murder him in his sleep. Luke later admits that this was true, although he had already changed his mind as soon as he’d ignited the lightsaber, but by then the damage was done, and Ben turned on him fully.

There’s also the interesting new development of Rey and Ben having a telepathic link that connects them at unforeseen moments and allows them to see and speak with one another. Rey begins to see Ben’s side of things, and Ben’s veneer of purpose and stoicism is breaking fast. He throws one of his usual tantrums in a lift when he breaks his helmet against the side of the wall, and spends a lot of time crying, but it’s clear that he’s on a path he doesn’t want to be on, but he’s confused and hurt, and doesn’t know where to go. He doesn’t WANT to follow Snoke’s path, but he also doesn’t want to return to Luke, who he rightfully feels had betrayed him. To her credit, Rey becomes infuriated when she learns that Luke tried to murder Ben, and the two of them have an impressing fight sequence, which Rey wins by calling Luke’s lightsaber to herself and igniting it.

The thing about Rey and Ben is that they represent balance and chaos. Rey has been our hero up to this point, but as Luke notices she has tendencies that could lead her to the Dark side. She continues to feel alone and abandoned because of her literal abandonment by her parents as a child, and she is particularly drawn to a cavern beneath the island which seems to contain some kind of deep, dark energy, although it’s never specified exactly what it is. It is somewhat reminiscent of Luke’s journey into the cavern on Dagobah when he had to face Darth Vader and found his own face inside Vader’s mask. In Rey’s cavern, she sees several versions of herself in a straight line, with her in the center, one side representing the past and the other being the future, each one moving right after the next. She attempts to learn the identities of her parents but she doesn’t.

And now both Rey and Ben have the potential to turn to the Light side or the Dark. I doubt that Rey will become the villain, but the important thing is that this whole movie emphasizes moral grey areas and the space between two extremes. The prequels were about the Dark Side, the originals were about the Light Side, and this trilogy is about the space between. When Rey and Ben finally meet in person again, each one thinks they can turn the other to their side. The confrontation with Snoke is fantastic, with him showing off his mastery of the Force and easily overpowering Rey, who begins fighting using Ben’s lightsaber when she can’t get to her own, which was formerly Luke’s. Snoke finally Force pushes her in front of Ben and gives him the opportunity to redeem himself in Snoke’s eyes and complete his journey to the Dark Side by snuffing out the only hope of the Light, but Ben finally stands up to Snoke and impales him by telekenitcally igniting Rey’s lightsaber and cutting him in half. There is this fantastic sequence rather afterward where Ben and Rey stand back to back, fighting off Snoke’s guards, finally on the same side. At the end of it, though, Ben does the same thing that Vader did with Luke, and holds out his hand in an offer for Rey to rule the galaxy alongside him. We see that Ben has the potential to overcome the Dark side, but he’s still unsure, still wavering.

It’s also around this point that Ben confronts Rey about her parents, saying that she’s known all along that they were never anyone important, just nobodies who sold their daughter for money and abandoned her, before leaving to go die a meaningless death and be buried in the desert. It’s unclear whether this is actually true, although Rey seems to agree, but there is a possibility it’s Ben attempting to turn her by extinguishing any hope that her parents might have been important or had a good reason for abandoning her.

I want to mention that I think Adam Driver does an amazing job of playing Ben, who’s such an emotionally volatile character. I also really like his fighting stance and movement, whereas previous Jedi’s have fought somewhat like samurai wielding katanas at one another, Ben is a berserker who stands with his feet apart, planeted on the ground, and moves slowly like a tank made of stone, barreling through enemies in his path. Rey is the opposite, swift and graceful, emphasizing once again how these two characters represent opposite extremes, and the grey areas between. There are several visual motifs that show this, and my favorite is when Rey and Ben are both attempting to pull a single lightsaber caught in the air between them, and their power is so evenly matched that the lightsaber breaks in half. Interestingly, this is also Luke’s lightsaber, and it’s one of the many times visual motifs represent the old guard of Star Wars passing the torch to the new characters. A lot of this movie is about Luke, Leia and the others handing over the galaxy and the Force to the newcomers, because it’s their time.

One final note about Adam Driver, I am really impressed and a little disturbed by how deep his voice is. I honestly can’t tell if it’s a vocal effect they used on him, but his incredibly low voice is unsettling. I couldn’t help imagining him saying “Would you fuck me? I’d fuck me.”

HEY HOW DID THIS PICTURE GET HERE THIS ISN’T KYLO REN OH WELL LET’S JUST KEEP IT

But I digress.

The movie has a pretty long run time, which is fine with me, because everything seems to happen exactly as it should. And unlike other Star Wars movies, this one doesn’t have abrupt scene changes where the screen just wipes from one planet to the next, the characters hopping from place to place all over the galaxy, most of the action takes place within a few specific areas. There is a subplot involving Finn and a newcomer called Rose finding a master hacker who can get them into the First Order’s ship to disable their tracking mechanisms. It’s a perfectly good section of the film and the two of them do manage to liberate a herd of domesticated racehorses (or the Star Wars equivalent thereof), although there is a minor antagonist who I don’t think adds much to the story, but I guess we had to do something with Finn. Personally I don’t think this section of the movie is BAD, just that it’s a bit of a detour from the central action.

When Finn and Rose finally get on board the First Order flagship, it turns out that the sketchy rogue they hired turns on them at the last minute and hands them over to the First Order. It’s here that Captain Phasma makes her return, and I’d heard a lot of criticism saying that her fifteen minutes weren’t used very well. While it’s certainly true that she wasn’t on screen for a terribly long time, I thought she was perfectly effective and served as a good antagonist for Finn, who honestly didn’t exactly have the largest role in this movie.

Meanwhile, Holdo decides to evacuate the remnants of the Rebellion to a nearby planet with an old abandoned rebel base, and Poe stages a mutiny, taking over the bridge of the ship. He is stopped before too long by Leia herself, who walks in and blasts him with a stun bolt. Holdo elects to stay behind and pilot the ship while everyone else escapes, and while Leia knows this will involve Holdo sacrificing herself, she accepts her choice and wishes her luck. The two of them have a somewhat tearful parting in which they hold hands, implying that they’ve become very close friends during the time they’ve served together. Leia does seem heartbroken to lose someone else she cares about so soon after Han’s death.

Holdo does what I immediately suspected she would do, but admittedly I only saw it coming because Katherine Janeway did the exact same thing in an episode of Star Trek: Voyager. She charges the ship up to lightspeed and then barrels right through the First Order flagship, cutting it in half. This results in Finn and crew being saved just in time by the destruction of the ship, and Finn having a final, but brief, confrontation with Phasma. Also they are at one point rescued by BB8 piloting a walker ship, which felt like a strain on credibility not QUITE equivalent to fish driving a truck in Finding Dory, but not ENTIRELY unlike it either. We do get to see Phasma’s eye through her helmet before she goes, so it was good to get to see her face.

As the ship falls apart, the half that’s still remaining operational fires on the escape pods, dwindling the entire Rebellion down to a handful of people, maybe a couple dozen, as they land on the planet’s surface beneath. This is where we enter the final act, and I have to say that there’s a visual element here that’s so brilliant that it saved the finale of this movie from possibly becoming a bit tedious. There’s a moment when the Rebels are in a trench and one of the captains walks out onto what appears to be a snowy landscape, only to leave what I genuinely thought was a trail of blood. I thought it was weird that this completely unnamed character would be bleeding, but one character puts his finger in it and then licks it and announces “it’s salt,” revealing that this planet is covered in salt that turns red when it’s touched – either that or it’s a red landscape covered in white salt, but either way the effect of this is startling good. During the ensuing battle between the last of the Rebels and the First Order, the Rebel ships skirt across the salt lands leaving a trail of red dust in their wake, making intricate patterns of red on a landscape of white, and blaster shots that hit the ground blow up puffs of red smoke, which gives this whole battle an excellent visual appeal, the kind of thing that was sorely missing from things like the original films’ battle on Hoth, which I find boring because it takes place on a bland snowy landscape.

There is a final moment on the Jedi homeworld where Luke is left alone, and he carries a flame to the tree holding the ancient Jedi texts, ready to burn the whole thing down. It’s now that Yoda appears to him as a Force ghost, looking and speaking like his older version from the originals (good choice on the part of the filmmakers), and when Luke hesitates to set the tree on fire, Yoda does it himself by calling down a bolt of lightning. Luke is flabbergasted at this, and Yoda cleverly quips “The ancient texts, page-turners they were not.” And he agrees with Luke that it’s time for the old Jedi order to die. It’s up to Rey and Ben to decide what happens to the Jedi now, and it’s time for the old masters to move on. Yoda gives Luke his usual dose of wisdom, pointing out that the burden of a master is to watch his pupil replace him and move forward into a new and different world.

Back on the salt-planet, the Rebels try their best but they can’t hold off the First Order who are fast approaching and blow a huge hole in the wall protecting them. Leia and the others wait for the end as the First Order begins approaching, and as the distress call to the remnants of the rebellion scattered across the galaxy goes out, they receive no response. Leia mourns that there is no hope left, and it’s at this moment that Luke appears in the doorway, wearing a black cloak. He kneels in front of Leia and they finally have a moment to reconcile, and he apologizes for failing Ben. Leia admits that she knows now that her son is lost, and there’s a beautiful moment where Luke kisses Leia on the head.

During most of the movie I was so interested in what was happening that I had almost forgotten Carrie Fisher died after filming in this movie and that this was her final film, coming full circle and ending her career playing Leia again. There are some really striking visual setpieces in this movie, one of them being Leia standing and looking out on the white saltlands with a veil covering the lower portion of her face, and another being Luke’s final goodbye to Leia as he kisses her on the head. I couldn’t help but notice that the love theme that played during Han and Leia’s scenes in the original movies makes a return for this moment and a couple of times in the movie during scenes concerning Leia, and it was an excellent touch. It really feels like this moment of Luke saying goodbye to Leia was also a moment of Mark Hammill, and all of us, saying goodbye to Carrie Fisher. She appears after this scene, but it’s a beautiful moment and I’m sure the filmmakers knew the kind of impact it would have on viewers after Carrie’s death.

Luke walks out alone against a fleet of First Order ships, and Ben has them unload all of their firepower into him, trying to ensure that he can’t survive. When Luke emerges completely unscathed, there is a moment where the viewer probably thinks “Oh COME ON, are we really overpowering the hero TO THIS DEGREE?” but it will make sense in a bit. Even I already knew the twist that was coming with Luke and was still startled by his appearing to survive being shot at by tons and tons of ammunition.

Ben emerges alone into the field to battle Luke. As I’ve mentioned before, the white-on-red terrain effect for this planet is brilliant, and provides a gorgeous set piece for the final act, and it really gives the impression of the land bleeding every time it’s touched. The blaster shots into the ground blowing up puffs of red smoke are like geysers of blood from the land itself, and Luke faces Ben in the bloody scar where the First Order just unloaded all their firepower. Within the rebel base, Leia and the others realize that Luke is drawing their attention to stall for time, and they notice that the local ice-foxes (a much better and more interesting creature than the Porgs, and actually relevant to the plot) have disappeared and have found a way out of the maze of tunnels. They follow them only to be blocked by a wall of rocks, and it’s now that Rey appears, obviously about to show off her force powers by lifting them out of the way. It’s a very good final deed for her character in this movie, because it’s something simple yet important, and also references Luke lifting rocks while training with Yoda, something he himself mentions earlier in the film when he says the Force is more than “just lifting rocks.”

Luke and Ben have a dramatic final battle, which ends with Ben dealing a killing blow to Luke, only to find that once again, he’s completely unphased. He presses his lightsaber against Luke’s chest only to find it goes straight through him, and Luke reveals he’s non-corporeal, as he’s been astral projecting himself this entire time. Interestingly, his astral projected form had a haircut and cool black battle robes. Presumably the lightsaber was real, though. A lot of people have been complaining about Luke astral projecting as it’s an ability that’s never before been shown in Star Wars. Well yeah, what’s that got to do with it? I mean, he’s the most powerful Jedi in the galaxy and he’s been living on the Jedi homeworld and reading their secret ancient texts, so it’s not surprising he would show off some new powers.

There is a beautiful moment where Luke shows that his hope is renewed, and that Ben is wrong to think that he’s finished the Jedi, as when Ben tells him that after he kills Luke the last Jedi will be dead, he tells Ben that he’s wrong, and he isn’t the last Jedi. I actually really like this because it implies that there is a last Jedi, but it’s not specificed who it is. We’ve seen the capacity for both Rey and Ben to be led to different sides of the Force, and that there aren’t really heroes and villains. This whole movie has the feel of reality, of bittersweet endings, of grey morality, of things not being so simple as there being a chosen one who fights off the forces of evil. It’s growth, and that’s something that Star Wars desperately needs. There’s also a nice reference to the battle between Obi-Wan and Vader (again, everything in this movie mirrors the previous films, with this fight being the equivalent of the battle between Vader and his older master, grown older and wiser over the years) where Luke tells Ben that “if you strike me down in anger, I’ll be with you forever, like your father,” as a callback to Obi-Wan’s line “strike me down now and I’ll become more powerful than you can ever imagine.”

Luke finally breaks off his astral projection and we see him flushed, exhausted, and completely spent. I don’t know if Mark Hammill really worked himself into exhaustion or if it’s just excellent makeup but he’s beat red and looks awful, it’s a very effective moment. Luke’s finale is a beautiful callback to his iconic sunset scene on Tatooine, with the same main theme playing as he looks out over the two setting suns of the Jedi homeworld, and meditates, floating into the air again, and leaving his physical body behind and dying to become one with the Force, in the same way Obi-Wan did when he died. At the same time, the remnants of the rebel alliance climb inside the Millenium Falcon and escape to safety, with Rey wondering how there can ever be hope for the Rebellion now.

The final scene is of a few slave kids seen earlier in the film, playing with dolls and talking about the adventures of Luke Skywalker. After being admonished by their owner, one of the boys walks outside and picks up a broom (is it me or did he Force-pull that broom to himself, just slightly), and looks up at the stars to see the Millenium Falcon jumping to hyperspace, giving the impression of a shooting star, and it’s revealed that earlier in the film, Rose gave her rebel alliance ring to him, and he stares at the sky with hope in his eyes. It’s a callback to Anakin’s time as a child slave, as well as a reminder about younger generations taking over as the older generation passes on, which is really what this whole film has been about.

So, I ended up expounding on the plot here a LOT more than I thought I would, but I’m glad I did. I was totally blown away by this movie, I daresay it may even have made a Star Wars fan out of me, for now at least. I was even tempted to go back and finish reading some of the earlier Star Wars expanded universe novels. But we’ll see how it all goes, I guess. Honestly I can’t recommend this movie enough, and if you’ve been brave enough to stick with me through both parts of this extremely lengthy essay, I thank you for it! I hope that if you’ve seen the movie you enjoyed it as much as I do.

On a personal note, part of my intentions in this new year are to do a lot more writing and posting to this blog as well as my Patreon where everything is cross-posted and earn my keep over there. If you like what I have to say and would like to hear more of it, feel free to come visit my Patreon page and lend your support.

May the Force be with us all in 2018.

The Changeling – Part One

So I accidentally started writing a horror story.

I was listening to a podcast called Lore which was creeping me out a bit, and which is narrated atop the sounds of soft piano music, and I heard something mentioned about an old legend involving fairies, and I just got a sudden surge of inspiration. I didn’t fight it, I just went with it.

So I sat down, put Moonlight Sonata on repeat, and started writing. Fair warning, this is a creepy story, and it isn’t finished yet, so be prepared for weird stuff going in. We’ll see what happens with this.

 


 

The fairy’s footsteps did not stir the twigs beneath her bare feet. The soft beating of her translucent wings did not make any sound in the dense night music of frogs and mosquitoes.

“Careful,” she whispered in a voice so smooth and soft that it was indistinguishable from the sigh of the night breeze, “We mustn’t wake anyone, or they’ll be onto us.” Next to her another fairy nodded, her eyes full of devotion. In the arms of the second fairy were a tiny bundle wrapped in fine silken cloth. Something moved inside it, but she took no notice.

The fairies crept closer to the small wooden house that stood amongst the trees. There were no lights on inside, and the moon shone brightly down, a spotlight illuminating that tiny house made of logs chopped from the trees of that very forest. A small wooden drawbridge passed over the stream next to which the house was built, and the fairies’ feet felt the warm texture of the wood as they passed over, with footsteps so light they may as well have been gliding.

They checked the window by the front door, but found it closed and locked. They crept quickly around to another side of the house and found it windowless, on the third side they found two windows. Behind the first one they saw a figure, a man with his back turned to the window. He was naked and the moon shone brightly upon him, illuminating his deep tan skin, his leg was thrown over something they could not see, and the curve of his buttocks reflected the light. The fairy holding the bundle suppressed a giggle. Her companion gave her a chiding look, and she nodded silently, her face falling back to an expression of utter seriousness.

They passed to the second window. Behind the glass they saw what they had come for, a wooden cradle, and in it a bundled child laying on its back. The fairies’ heartbeats both quickened at once when they saw the moonlight streaming in, illuminating the little infant’s face. Her eyes were closed, a wisp of blonde hair protruded from underneath the woolen cap about her head.

“Be ready,” whispered the fairy to her companion who held the bundle, “We must be quick.” The fairy who had spoken pressed her fingers against the cold glass of the window to find it locked. She narrowed her eyes, then turned to her companion, “Wait here,” she whispered. Her companion gave another wordless nod.

With the slightest flutter of her wings and the slightest push of her feet against the ground, the fairy flew up to the thatched rooftop, and glided swiftly to the chimney, which she leapt into with the grace of an otter into a stream, and her light body floated silently down the chimney. She scrunched her nose at the smell of the ashes, and as her feet touched the floor of the chimney she uttered the slightest cough, which would have sounded to anyone near like the sweet singing of a breeze through a crack. A large dog lay on a blanket by the front door, and for a moment it’s nose twitched, and the fairy clutched her own chest in fear, but then it exhaled and resumed the rhythmic breathing of sleep.

In a flash the fairy had glided across the room and through the open door to the nursery, and through the window she saw her companion, gazing steely-eyed at the child. She fluttered up to the window and, with more than a little difficulty, undid the latch, trying as hard as she could to be quiet, but the size and the weight of the thing were surprisingly hefty. Finally she had the latch undone, and she pressed her feet against the base of the window, pressed her hands against the sill, and with all the might in her body she pushed and pushed, until a last there was a loud creak and the window slid open, no more than a centimeter. She paused and took a breath, and then she tried again, opening the window a full inch. That was enough.

The fairy turned in fear and fluttered over to the doorway, peering out to see if the sound had roused the dog or the sleepers, but no, there was the creature still sleeping by the front door, and there was the even sound of two adults breathing in their sleep from the next room. The fairy fluttered back to the cradle, and saw that her companion had already slipped in through the open window, the bundle in her arms.

The fairies placed the bundle next to the sleeping baby, and then, they gathered the sleeping child up into their arms, one fairy holding it’s head while the other supported it’s lower body. The fairies were each roughly the same height as the infant, though far slimmer, and unlike the inanimate window, a living creature was infinitely easier to carry for a fairy. They nodded to one another and together they flew up into the air, and, unable to leave through the window, flew directly into the living room. They kept their eyes on the dog, which uttered a slight snore.

It was when they turned to look at the chimney that they started so hard they nearly dropped the baby.

The naked man stood in front of the chimney, facing the fairies, his face hidden in shadow. The fairies’ hearts beat frantically and, had they been less petrified they may have exchanged a look, but were presently too frozen with fear to do so.

The moonlight streaming in from the bedrooms cast a single beam across the man, and illuminated his broad chest, the thick hair on his stomach, and the tangles of hair around his groin, before he took a step forward and his face became clearer.

The man was looking directly at the baby, but the expression on his face was vacant. He took another step forward and then stopped. He kept staring at the baby, who did not move or make a sound.

Everything was silent.

Three seconds passed, then five, then ten. The man did not move, just stared, blank and unfeeling, toward the baby.

The first fairy glanced at her companion and something passed silently between them, until they both nodded and began to rise high into the air, the baby still held between them.

The man’s gaze did not follow. He kept staring at the place the baby had been.

The naked man took a step forward, then another, and passed directly under the fairies, moving toward the doorway of the nursery. The fairies shot to the fireplace as quickly as they could with their load, and then up the chimney. They passed up the dark, mucky place, each holding their breath so as not to cough up the stale air and drop the child, and as they broke free into the moonlight they each gasped the fresh night air.

The two fairies dropped down to the thatched rooftop and set the baby down on it’s flat surface, each taking a moment to breathe a sigh of relief. The first fairy spoke again, “Let’s be quick, now, the moon will fade soon, and we must bring the child as quickly as we can.” The companion simply nodded silently, as she had before.

The sleeping bundle between them, the two fairies ascended and fluttered on through the trees. The infant breathed silently and did not wake.

*

Emma jolted awake at the sound of the dog’s bark. She shot up in bed, her golden hair falling around her shoulders, and instinctively held the blanket up to cover her bare breasts. Her foggy gaze tried to find the doorway, and the shape of the large brown retriever standing in the doorway materialized, it’s tail wagging in agitation, it’s tongue hanging from it’s mouth. Emma looked to her left and reached out a hand for husband, but found his place empty. Her chest, hot with the fast beat or her heart, swam with relief as she realized what had happened.

“It’s alright,” she whispered comfortingly to the dog, “Daddy’s been sleepwalking again, hasn’t he?” She stood from the bed, and brought the blanket with her, drawing it close around her naked body for warmth and comfort, as she bent down to pat the dog on the head, “That’s a good boy. Now where is daddy?” she asked, and the dog immediately padded toward the nursery next door. Emma followed, and was momentarily disturbed by the sight of her husband, standing before the cradle and staring forward, blankly, out the window. Emma crept up quietly behind her husband.

“It’s alright,” she crooned silently, “The baby’s alright, Armand, I know,” and she slipped her arms around the warm flesh of her husband, the blanket coming with her and enveloping them both. She felt a little shudder of recognition from Armand. “It’s alright,” she said comfortingly, “You’re just walking in your sleep. You’ll wake up soon.”

Armand’s warm hand touched Emma’s. His eyes fluttered, and suddenly there was recognition in them. He lost his balance for a moment, but Emma steadied him. “It’s alright,” she whispered, “I’m here.”

Armand’s voice came to him. “Emma?” he asked tentatively.

“Yes, darling, it’s me,” said Emma, “You were sleepwalking again, it’s alright. Looks like you came to check on the baby.”

“Emma…” whispered Armand, “Emma…”

“What is it?” asked Emma worriedly, turning Armand to see a look of shock on his face, “What’s wrong, darling?”

Armand looked down at the cradle.

The blanket fell to the floor as Emma’s hands shot up to her mouth.

Something was inside the cradle, but it was not her baby. It was much smaller, it was the same as the size of the little doll that lay next to where her daughter should have been. It was wrapped in a white silk cloth, and it was moving.

Her head swimming with uncertainty, confusion, and fear, Emma reached down to the little thing which was now wriggling, and pinched the cloth in her fingers, pulling it back.

A little wooden figure, with two stumps for arms and two for legs, and a face with hollowed out carved eyes and a hollowed out mouth, smiled up at them, wriggling.

It’s little carved mouth moved, and a voice came from it.

“Mommy,” it crooned sweetly.

Emma’s heart stopped in her chest, her knees trembled, and then the world became red and pink and green around her, a swirl of colors until it all became an inky black, and she was lost to an abyss.