In 1969 and 1970, friends Gary Gygax and Dave Arneson regularly played a miniature based Napoleonic tabletop wargaming system at the Lake Geneva Wargaming Conference (GenCon). However, their games in those years became smaller and soon revolved around special individual soldiers and their stories. In 1970, they transferred the concept to a medieval setting because Gygax, a Dark Age enthusiast, found the appropriate miniatures. They used the rules from the game “Chainmail”, which Gygax had written with a friend, to resolve individual actions. Together, they developed a generic fantasy wargaming system that focused solely on individuals and their stories instead of armies and groups of soldiers.
In 1971, Arneson added a storytelling role to the referee, a fixture in the contentious world of tabletop wargaming, who was usually a neutral observer and adjudicated disputes. The “Game Master” guided the players on quests and played the monsters. At Gencon that year, Arneson and a few of his friends ran Gygax and a few of his friends through a “six level dungeon” where the big bad at the end was a “troll in magic armor”. Gygax was enamored with the “funhouse” aspect of the game and immediately saw the creative and commercial possibilities. Over the next year Arneson and Gygax developed the rules for their game, which then went by the working title “Blackmoor”, and created a fictional and vaguely Tolkein-esque setting centered on “The Great Kingdom” for use with the system.
In December 1973, they formed Tactical Studies Rules with two other friends to self-publish their new tabletop gaming system because no established gaming company was interested. The first run of the newly named “Dungeons and Dragons” was only 1000 copies that were assembled in Gygax’s garage. On 26 January 1974, Gary Gygax invited everyone over to his house for the first session of Dungeons and Dragons which only became available to the public that day.
“…Yet as the historical discipline (like much of the American academy) became more professionalized, especially after World War II, it also became more specialized and inward-looking. Historical scholarship focused on increasingly arcane subjects; a fascination with innovative methodologies overtook an emphasis on clear, intelligible prose. Academic historians began writing largely for themselves. “Popularizer” — someone who writes for the wider world — became a term of derision within the profession…”
“…The result of these changes is a discipline that feels remarkably parochial to students or anyone outside the ivory tower. As Harvard’s Jill Lepore, the profession’s leading exception to these trends, recently pointed out, “The academy is largely itself responsible for its own peril. The retreat of humanists from public life has had enormous consequences for the prestige of humanistic ways of knowing and understanding the world.”
The second issue, closely related to the first, is the hostility toward certain kinds of historical inquiry. Decades ago, the subfields of political history, diplomatic history, and military history dominated the discipline. That focus had its costs: Issues of race, gender, and class were often deemphasized, and the perspectives of the powerless were frequently ignored in favor of the perspectives of the powerful. During the 1960s and after, the discipline was therefore swept by new approaches that emphasized cultural, social, and gender history, and that paid greater attention to the experiences of underrepresented and oppressed groups. This was initially a very healthy impulse, meant to broaden the field. Yet what was initially a very healthy impulse to broaden the field ultimately became decidedly unhealthy, because it went so far as to push the more traditional subfields to the margins.
Two historians, Fredrik Logevall and Kenneth Osgood, have noted that “American political history as a field of study has cratered … What was once a central part of the historical profession, a vital part of this country’s continuing democratic discussion, is disappearing.” Political history, however, is a growth industry compared to diplomatic history and military history. Scholars who study strategy and statecraft, diplomacy and policymaking, and the causes and consequences of war are often labeled as old-fashioned, methodologically unimaginative, and ideologically conservative. As a recent chair of a prominent history department recently explained to us, the discipline of history does not consider exploring and understanding the decisions of state leaders or military officials to be interesting, important, or innovative. Not surprisingly, those who study these subjects are a dying breed within major American history departments…”
The Battle of San Pietro. In 1941, Director John Huston was basking in the limelight of his Hollywood blockbuster, “The Maltese Falcon”, a ground breaking masterpiece that starred Humphrey Bogart, Mary Astor and Peter Lorre and brought film noir into the main stream. 27 months later, in December of 1943, US Army Captain John Huston and his film crew were attached to the 143rd Infantry Regiment of the 36th Infantry Division. The division was trying to force its way through the Bernhardt Line via the Mignano Gap into the Liri Valley. The last obstacles were in front of them: the village of San Pietro Infine and the flanking mountains of Monte Sammucro and Monte Lungo. The battle raged from 8 to 18 December, 1943.
CPT Huston was there to make documentary films for the US War Department. And in December and January 1943 he would shoot the controversial “The Battle of San Pietro”. If you have an extra half an hour, it’s worth watching.
The film does an excellent job explaining the battle to civilians. The film was originally 55 minutes long but was ruthlessly edited by Gen George Marshall down to 36 minutes so it could be shown in theatres prior to the actual movies. He wanted to make it mandatory viewing so American civilians at home would understand what their Army was doing. However, it was never released to the general population during the war. The War Department suppressed it because of its gritty realism (for the time), the dead bodies, and its “anti-war” tone. Huston replied that if he ever made a pro-war film, he should be shot. It was quietly released to the public in 1946.
-Gen Mark Clark’s intro was filmed while the battles for Anzio and Cassino were fought in January 1944. Was he trying to justify something?
-The failed Italian attack on Monte Lungo was highly publicized because it was the first use of Allied Italian troops fighting alongside Americans. The Italians were rushed into the fight so they could be part of the overly optimistic expected breakout and capture of Rome. They weren’t ready and paid for it.
-About 30% of the film was shot after the fact using “dramatic reenactments” by 36th Division soldiers and Italian civilians in San Pietro Infine. Most of the recreated shots are of soldiers walking around, the shots in the town, and of the civilians. The difference between the actual footage and the recreated footage is obvious.
-All the dead bodies are real.
-The civilians were actual citizens of San Pietro Infine, but they had to be cleaned up first. It took several weeks for them to recover from their hellish ordeal living in the caves outside of town before they were ready to film.
-The only factual inconsistency was the name of the church. In the film it is said to be “St Peter’s”, but the church is actually St Michael’s. John Huston didn’t want to break up the flow of the film with the difference.
-Almost all of the American soldiers in the film would be killed, captured, or seriously wounded during the 36th Division’s failed assault across the Rapido River a month later in January 1944.
In 1668, French King Louis XIV overran Spanish Netherlands (today’s Belgium) and Franche-Comté (Burgundy) in the War of Devolution but was shamefully forced to cede his conquests when the Triple Alliance of England, the Dutch Republic, and Sweden came to Spain’s aid. Louis XIV never forgave them and in 1672 invaded the Dutch Republic to chastise the merchant republic for interfering in the business of their betters. The Royal French Army, personally led by the king, reinvaded the Spanish Netherlands and on 13 June 1673, invested the fortress city of Maastricht. Maastricht was on the road from Liege to Cologne and critical to prevent disruption of his supply lines stretching back to France. Though Louis held overall command the architect of the siege was the 40 year old 17th century engineering genius, Sebastian Vauban.
By 40, Vauban had already had a long and glorious military career. The orphaned son of penniless minor nobility, Vauban was raised by his own peasants and fought with distinction against the king during the Fronde. Eventually captured, Vauban’s competence in military matters won him a commission and the eye of Cardinal Mazarin, Louis XIV chief advisor. Due to Mazarin’s benevolence, Vauban became a devoted soldier of the king. He rose through the ranks and his solid early childhood education in mathematics and geometry propelled him into the world of the royal engineers. Vauban had an uncanny knack for building fortifications, and even more so for bringing them down. Maastricht was his first command of a siege of a major city. It would not be his last.
Vauban’s mathematically precise and rational approach to sieges revolutionized siege warfare and its implementation for the next 200 years. “More gunpowder, less blood”, and dare I say, “more digging”, was his mantra. Once Vauban began, the reduction of the fortress was inevitable, unless of course they based on Vauban’s own designs. Maastricht was not so. Vauban ordered a series of parallel trenches dug connected by zig zagging communications trenches that prevented defenders from having a clear shot at the attackers. Once the trenches were close enough, mines could be dug and heavy mortars brought forward to reduce the city. In Maastricht’s case, this happened on 25 June 1673, and the assault on the Maastricht’s Tongere Gate was set for the next day.
The French assault was led by another of Mazarin’s protégés, Charles de Batz de Castelmore, the comte d’Artagnan. D’Artagnan was also a penniless minor noble. He arrived in Paris in 1630 to make a name for himself. Mazarin, who had a gift for talent management, took the young Gascon under his wing. D’Artagnan received a commission in the French Guards regiment, following quickly by a command in the king’s personal bodyguard, the King’s Musketeers. During and after the Fronde, d’Artagnan undertook many daring and successful covert and clandestine missions for the teenage Louis XIV, and the king never forgot. D’Artagnan was Louis’ most dedicated and loyal soldier. He rose to command the Musketeers and was easily identified across Paris by his burgundy, white and black livery, distinct from the blue and black of his men. D’Artagnan became one of Louis most trusted tactical commanders and assigned the most difficult missions. He rose to the rank of brigadier in command of several of the king’s most prestigious regiments. As the military governor of Lille, d’Artagnan longed to return to his men. The night Vauban announced that his trenches were complete, the 63ish year old veteran d’Artagnan volunteered to lead the assault.
The offer wasn’t vainglorious. Louis’ own Musketeers were to vanguard the assault. He trained those men and every one was like a brother or son. D’Artagnan wanted the assault to be the final crowning achievement of his career in the service of Louis XIV. It was.
On 25 June 1673, Charles de Batz de Castelmore, the comte d’Artagnan was shot through the throat leading the assault on Maastricht’s fortifications. He died later in the day. Louis XIV, deeply affected by the loss, arranged for a funeral mass to be held in his private chapel. The renowned French poet Saint-Blaize wrote a poem in honor of the old musketeer, the last lines of which were “d’Artagnan and glory share the same coffin.”
In less than a week, Maastricht surrendered to Louis XIV. On the battle he commented, “I lost d’Artagnan whom I trusted most completely and who was good to everyone.”
A few years later d’Artagnan’s life was fictionalized in Gatien de Courtilz de Sandras’ novel “Les mémoires de M. d’Artagnan”. 150 years later in the 19th century, that novel was read by a young French author, Alexandre Dumas. Dumas would further fictionalize d’Artagnan’s life in a newspaper serial. That serial was compiled and eventually became the novel, “The Three Musketeers”.
The passage of the Civil Rights Act of 1964 and the beginning of serious American involvement in Vietnam in 1965 began a new and more volatile phase in America’s Civil Rights Movement. The booming post war economy of the 50s and early 60s couldn’t keep up with the competing fiscal requirements of enforcement of the CRA, Johnson’s Great Society Programs, and the Cold War. A combination of Southern Democrats (for mostly racial reasons) and Northeastern Republicans (for mostly economic and political reasons) consistently steered money away from urban programs creating a widening economic gulf in America. In response to this, Dr. Martin Luther King Jr, at the forefront of America’s Civil Rights Movement, organized the Poor People’s Campaign in late 1967 and early 1968, focusing on jobs and income for America’s urban poor.
As part of this campaign, Dr. King traveled to Memphis Tennessee in March 1968 to give support to the plight of black sanitation workers who received unequal pay and benefits compared to their white counterparts. Memphis was no stranger to Dr. King: he was there often and routinely stayed in the same hotel, even the same room. At 6pm on 4 April 1968, a gunman, James Earl Ray, took advantage of this situation. Ray shot and killed Dr. King as he stood on the 2nd floor balcony of his usual room in the Lorraine Hotel. Ray would escape, but would be captured in London two months later.
Later that evening, at a campaign stop in Indianapolis, Senator Robert Kennedy learned of Dr. King’s assassination. He had one last campaign speech to make that day but he tore up his remarks. During this impromptu address he gave one of the most memorable speeches in American history. He focused on Dr. King’s belief of non-violence and abhorrence of racial divisiveness. He concluded by saying,
“What we need in the United States is not division; what we need in the United States is not hatred; what we need in the United States is not violence or lawlessness, but love and wisdom, and compassion toward one another, and a feeling of justice towards those who still suffer within our country, whether they be white or whether they be black.”
On 4 September 1950, the comic strip Beetle Bailey debuted in the United States. Beetle Bailey is the longest running comic strip still scripted and drawn by the original artist, Mort Walker, whom just turned 92. Everyone’s favorite Joe didn’t start out in the Army though: he was originally a college student at the University of Missouri. But with the Korean War on the front pages in the summer of 1950 no one wanted to hear about college shenanigans, and only 12 papers picked up the strip. Beetle struggled through college until the spring of 1951 when he suddenly dropped out of school and joined the Army.
The new Beetle Bailey strip was an instant hit, and in weeks every major paper in the country was following the hijinks and tomfoolery of Sham Master Beetle, his friends, and his superiors on Camp Swampy. The strip revolved around the ineptness of those in positions of authority but was at its best and funniest when it explored the ironic or unintentionally humorous relationships between its characters: Beetle’s squadmates Pvts Rocky, Diller, Plato and Zero; the bumbling but loveable SuperLifer Sarge, Sarge’s competent fixer dog sidekick, Otto and his girlfriend Louise; the enterprising but off-putting Cookie, the stereotypical 2LT LT Fuzz and stereotypical 1LT LT Flap, the commander General Halftrack and his wife Martha, and every Joe’s dreamgirl: the lovely Miss Buxley, among many others.
I think I’m just going to go behind the building now, put my hands behind my head, cross my legs, and go to sleep: FTA
RIP Mort Walker.
Johnny Cash’s first big hit was “Folsom Prison Blues” in 1955 and he went on to be one of the biggest names in Country music, and Rock and Roll, for the next ten years. But by the late 60s Cash’s career was on the slippery down slope. He was having an open affair with fellow performer June Carter. He was addicted to pain killers and had been arrested for trespassing and drug trafficking. He was the worst sort of live performer who routinely missed concert dates, and because of his addiction was usually too bombed out of his mind to perform when he didn’t miss. His outlaw persona was catching up with him. By the end of 1967, he was one failed album away from just becoming another casualty to the Rock and Roll lifestyle.
He earlier decided to record a live album at the prison whose name launched his career, Folsom County Prison just outside Sacramento, California. Cash had played prisons before, and had even played Folsom before, but this would be the first time he’d record a live album while doing so. This would also be the first time he would be sober for the performance. On New Year’s 1968, Cash vowed to turn his life around, if only for June and his children’s sakes. And “At Folsom Prison” would be his comeback, both professionally and personally.
“Hello, I’m Johnny Cash”. With these words, two thousand hardened inmates of Folsom County Prison jumped up to wild applause as if they were high school kids at the year’s big concert event. Cash’s clean and sober performance was his best in years. Cash ended the performance by unexpectedly playing a song “Greystone Chapel”, written by one of the inmates.
Only two reporters accompanied Cash inside the prison to cover the event because most of the media had already dismissed Cash as a has-been, and one of whom was hired by Cash to document the event for the album sleeve. They witnessed the rebirth of a star and they’re still receiving royalties for their photographs to this day. At Folsom Prison is easily Cash’s best live performance and arguably one of the best live albums ever.
At Folsom Prison was released just four months later and resurrected Johnny Cash’s career. The clean and sober Johnny Cash learned to cultivate his outlaw status without it killing him. He would eventually divorce his wife and marry June Carter. Cash would become a leading advocate for prison reform in the United States and eventually testify to Congress in 1978.
*SPOILERS* Don’t read any further if you haven’t seen the movie. I mean it – Go see the movie first.
If you are reading this sentence then I am assuming that you know that Luke died, Leia sort of died, Snoke died, Phasma died (WTF!), Ackbar died (Seriously WTF!) the galaxy is ruled by a whiny, petulant, and incompetent child (actually, that *is* pretty scary), The Finn is now a character straight out of the Diary of a Wimpy Kid, the fate of the Rebelistance is on the shoulders of a Mary Sue who was sand-sledding a few weeks before (and she probably needs to wash), and in that time the Jedi have developed unbelievably new force powers that even the Jedi at the height of their training and scholarship didn’t have.
But at least we still have Poe, Rose, DJ, BB-8, and hopefully a few more from the Rebelistance survivors to carry the series forward (I kinda liked that A-Wing pilot too. I can’t remember her name though). But no decent Imperial characters are left alive except Ren, and he’s problematic.
But for some reason, the movie worked for me, even the second time when I knew what was going to happen. It was a fun movie even if it had issues. Like I said before, it’s no Rogue One. Rogue One with a John Williams score would be in my top five favorite movies of all time. But alas, we got John Williams-lite. There are three types of Star Wars Fans: Lightsaber fans, Blaster fans, and Turbo Laser fans. I am the latter. I love Star Wars’ space battles, and it’s going to take a long time for me to forgive Disney for what they did to Ackbar. And I love a good blaster fight as long as they get in their ships at the end. The Force is just a Deus Ex Machina for lazy writers and ruined The Extended Universe for me in the mid-2000s. And well, that’s what’s looking to happen with Star Wars after seeing The Last Jedi.
So let’s get what I didn’t like out of the way. The biggest problem with the The Last Jedi is the Force. I don’t care what the Force can do, but it has to be consistent. Consistency is key. Consistency leads directly to integrity, and without integrity there might as well be nothing. The Force has to follow the in-universe rules of its existence, and anything new has to retroactively fit. If it doesn’t the franchise dies. The Terminator franchise died because the time travel didn’t follow the in-universe rules established in the first and second films. If a plot device has no integrity, then there is no tension, because the audience will subconsciously say, “The writers will just add a new Force power. They’ve done it before”. The Last Jedi made this mistake twice. Once with Dead Yoda affecting the real world (which has never happened before even in the wildest fever dreams of the EU writers). And the next was with the Jedi telepathic/telekinesis/Force holes (which has also never happened before).
First, Dead Yoda lit the tree on fire. No Dead Jedi has ever affected the “real world” with anything except words before. We know the Dead Jedi are always watching. So if they can affect the real world (“world” as in universe created by George Lucas), why didn’t Dead Obi lightning the Death Star’s exhaust port in the original Star Wars? Or Dead Qui Gon come back and lightning Jar Jar before he fucked the galaxy? There’s a thousand examples over the previous seven movies when the Dead Jedi could have affected the world as Yoda did with that tree. Why didn’t they? At least it can possibly be explained away by saying Yoda forced (Ha!) Luke to channel the lightning without his consent. But again, no dead Jedi, or even a live one, has ever forced another Jedi to use the Force against his or her will before. That’d be “Force Rape”, wouldn’t it?
The bigger Force inconsistency in The Last Jedi were the telepathic/telekinesis/force induced worm holes. That’s never happened before. It was hinted at between Leia and Luke, and Luke and Vader in Empire, but until the big reveal that Leia was force sensitive, it was a liability and required proximity. In TLJ it’s plot centric and they have entire conversations. So why didn’t the Jedi use it before this? Was the power only learned from the ancient texts in the tree, that Rey never read? Surely Yoda and Sam Jackson knew about it when the Jedi for all intents and purposes ruled the galaxy? So why wasn’t it used when Order 66 was executed, when a simple “Beware” to the Jedi would have saved them? Or during the Clone War? The communication aspects alone would have made it a game changer: A person to person instantaneous communication system that doesn’t rely on connecting infrastructure or line of sight? And we know from the water on Ren’s hand that physical objects can be transported. That’s a whole other dimension to warfare. The Jedi could have formed an agile command, control, communications, computers, intelligence, information, surveillance, reconnaissance, targeting, and force (C4I2SRTF…) architecture and infrastructure that would be exponentially more powerful than a bunch of warriors wielding laser swords. The Separatists could never have competed. That’s the very definition of a Revolution in Military Affairs. Robert Jordan’s Wheel of Time did it with Tel’aran’rhiod but it had to at least follow its own logic. If Fake Luke could touch Real Leia, and Real Rey could touch Real Ren, why can’t Real Ren touch Fake Luke or Real Luke? The best Fantasy and Science Fiction follow their own internal logic, as whacked as it may be. The Last Jedi did not.
OK, enough about Hokey Religions, let’s talk about what Star Wars was always about, characters and relationships. As I alluded to in the beginning, most of the main characters at worst suck, or are irritating at best.
Rey is the very definition of a “Mary Sue”. If you don’t know, a “Mary Sue” is an annoying literary trope where a lead female character is perfect in every way, surpasses the other main characters in every way, is beloved by all who see her, and has no flaws that are not endearing. Rey is a better pilot than Poe, a better Jedi than Luke, a better shot than Han, a better gunner than Finn, a better swordsman than Vader, etc etc. And she learned this all in a week or so. She hasn’t even had time to change from what she was wearing as a slave, scavenging wrecked star destroyers on Jakku. Luke might have been a whiny bitch that almost put a lightsaber blade through his eye the first time he was given one, but he was just a moisture farmer and bush pilot. He was relatable. How could Rey learn to fly when she scavenged all day for a cinnabun? Take a shower, Wish Fulfillment.
The rest of the characters aren’t nearly as bad, though some were wasted. Phasma most of all. She could have been The New Boba Fett. But she’s like the last remaining stormtrooper from the original trilogy who were always getting knocked out, beaten up by teddy bears, or not hitting anything. I’d be pissed if I was Brienne. She was to the First Order what Finn was to the Rebelistance. I do not like the direction Finn is headed. He fucks up everything he touches. He’s like a TV dad with few redeeming characteristics. In Force Awakens, he was a great gunner, had intimate knowledge of the First Order, and tried to take care of Rey, even if she didn’t need it (I still consider that a positive, it’s the Romantic in me). In The Last Jedi he was a bumbling fool just along for the ride, literally. He contributed nothing after the first few minutes after waking up. He has been demoted to sidekick.
At least he was a sidekick to Rose, one of the better newly introduced main characters. Like I said before, I have a soft spot for supporters rising to the occasion. Too bad the occasion she rose to (Ha!) meant absolutely nothing. I mean, the trip to Monaco allowed Hollywood to get some preaching in. It’s 2017, I get it. When Hollywood isn’t raping itself, it’s virtue signaling, and you aren’t going to get a good rating on entertainment’s worst monopoly, the Tomato Meter, without some virtue signaling. But Finn and Rose’s mission was absolutely meaningless. Unless of course, it was meant to introduce some new tension in the form of a Twilight-Style love triangle. If it did then consider me on TeamRose (You heard it here first). TeamMarySue can suck it.
But again, their mission, though exciting, was a waste. In fact if it wasn’t for BB-8, who did all the actual work, and DJ’s magically convenient appearance, they’d still be rotting in jail waiting to be rescued, or frozen in carbonite hung up as a decoration to cover a hole in a casino wall. Actually, that would be awesome and make a great transition to the next movie, just like Empire and Jedi. And they would have accomplished more in the plot.
So I might be on TeamRose, but I also have a soft spot for magenta based short haired women, especially when they know how to handle a squadron of star cruisers. I was furious when my main Mon Calamari, Admiral Ackbar, died in the same explosion that caused Leia to go Michaelangelo. (Seriously, Disney, you did Ackbar wrong) But he was quickly replaced with Amiliyn Haldo. For a fleeting moment Vice Admiral Amilyn Haldo replaced Princess Leia as my favorite female character in the Star Wars franchise. I’ll be in ma bunk. Then she immediately went toxic and incompetent, even if she did have the baddest-ass scene in the movie (I wonder why no one thought of that for the Death Stars?). What a waste.
Poe said, “So what’s the plan”? And she didn’t tell him. “Do what you’re told and like it, peasant”. (That’s my exact quote that I said out loud at that moment). This isn’t the Empire, this isn’t the First Order. This isn’t a division headquarters or the State Department. This is the Rebelistance. This is the Republic. We have Flat Organizations. There was absolutely no reason Haldo shouldn’t have told Poe the plan. He deserved to know. Hell, the whole crew deserved to know. A simple, “Thanks for asking Poe, but I was just about to brief the crew. Please take a seat. Attention everyone. This is Vice Admiral Yummy Hot. We are going to fuel up these small transports that are magically equipped with super rare cloaking devices, and escape to a secret hideout on a nearby planet that doesn’t show up on anyone’s scanner. (*eyeroll*) When we are safely away, the First Order will destroy this ship and assume we are dead. Then we will rebuild.” And Poe will say, “Thanks, ma’am. Great plan; I’m proud to be a part of it. I was wondering when we were going to use these cloaking devices. Need me to do anything? No? Mind if I buy you a drink while we wait?” *They adjourn to the bar* Now, admittedly Rose would then just be the foil to prevent Finn’s plan to escape. But we would still have our Twillight-style love triangle when Poe and Finn try to out complement each other in front of Haldo at the bar. In that case, consider me TeamPoe.
But all we got were four of the five most interesting new characters in the franchise acting like morons with no effect on the plot at all. Their shenanigans did introduce us to Benicio Del Toro’s DJ. Can’t wait to see him in the next one. Is he a Lando or a Boba Fett? Only time can tell. Speaking of time, how about Snoke? Ha! That was a quick reign… what a waste. I’m still saying he was the whiny kid from Star Wars Rebels all growed up. At least Kylo Ren had a semblance of a character arc.
Thank God Ren ditched the helmet. (Oh, did you catch the references to Baby Jesus in this movie? That’s never happened before either) I hated his helmet. And getting rid of it alone saved him in my eyes. I might have bitched before about the fact that the new Jedi telepathy exists, but the actual content of the conversations was great acting and writing. And Rey and Ren had the best lightsaber battle in the franchise. I honestly wanted more Crimson Guard to burst into the room just so the fight wouldn’t end. And now he’s the supreme leader of the First Order. Kylo Ren is a suitable villain for this generation: An evil spoiled child with delusions of grandeur and wielder of a nearly unlimited power who has no leadership or teambuilding experience and has to rule through brute force, coercion, and intimidation. I think I might dig up the cache of blasters in my back yard and join the Rebelistance myself.
Just about everything else I really liked. BB-8 is a great character and a Hero of the Republic. Chewie stole every scene he was in but I still think he should have eaten the Cornish hen. Chewie rips people’s arms off! Screw your plush doll. Rawwwwrrrr! Leia were awesome and Carrie swirled the dust in the room. Mark Hamill did the best he could with the stupid direction Luke was headed, but that’s more a criticism for Force Awakens. They’re going to be missed. Great space battle in the beginning, Hollywood is obviously setting us up for the Eighth Air Force miniseries. I loved that the Cruiser was named after the admiral in Rogue One. I loved Maz’ extended cameo. I really thought she was talking about Chewie though. That would have been awesome. All of the other supporting characters were great and I really hope some of them get bigger parts in the next movie.
Now it may seem like I didn’t like the movie, but I am a bitter and cynical old man hardened and numbed by decades of After Action Reviews where my every action was a disaster mitigated only by the cross talk of my junior leaders and NCOs. Pointing out the negative is all I know how to do. If you got a “good job” from me you probably more than deserved it. I am not going to tell you why you did a good job because I’ve learned I probably don’t understand why anyway, and to be honest I don’t really care. I’m just glad you did a good job. So, that being said.
Good job, Disney. I’ll probably see it again tomorrow
In 1636 while Germany was ravaged by the Thirty Years War, the Dutch Netherlands were relatively untouched as they continued their on and off fight for complete independence from the Spanish Empire. In 1636 the Dutch were beginning their Golden Age. The Merchant Republic of the United Provinces of the Netherlands had a far flung trading empire with colonies and trading posts in the Americas, Africa, Ceylon, India, the South Pacific, and Japan. The Netherlands was easily as powerful as its much larger neighbors, Great Britain and France. As the Dutch slowly asserted their own foreign policy, they sent ambassadors around the world; one of them returned from the Ottoman Empire with bulbs from a plant hitherto unseen in the Provinces – the tulip.
The bright flowers took to the Dutch soil like peanut butter to jelly, or corruption to politics. With war with Spain winding down, economic resources poured into commerce, and Dutch cities became unimaginably wealthy. Grand city houses were used by the newly rich merchants to display their wealth, and the tulips gracing the small yards and windowsills became the centerpieces of their new status. The more exotic and multicolored the tulip, the higher the price, and thus the greater status accorded to its owners, the only exception being any dark violet bulb close enough to the elusive and coveted Holy Grail of the Netherlands – The Black Tulip. The trade in tulip bulbs had occurred for decades, but only during the months from April (when they bloomed) to October (when they had to be replanted). On 12 November 1636, the Dutch created the first formal futures market for the soon-to-be symbol of the country. Buying and selling of the next season’s tulip bulbs began five months earlier than normal, and without the bulbs actually trading hands.
The Dutch merchants went insane for the new bulb contracts. In taverns and salons across the Provinces, tulip contracts changed hands at a frenzied pace. Speculative buying pushed the prices higher and higher. The entire population dabbled in the tulip market as a quick way to get rich. Within a month, tulip bulb “exports” became the fourth most profitable product in the country without a single bulb actually leaving the ground. Some bulbs went for as much as 3000 guilders, at a time when a skilled craftsman made 300 guilders a year.
Just three months later on 3 February 1637, one of only two Semper Augustus bulbs in existence was used to purchase 12 acres of land. With a fixed supply, the bulbs had gotten extraordinarily expensive. Very soon, the prices for the bulbs had gotten so high that buyers became scarce, then nonexistent. The Tulip Market crashed and the speculative bubble burst. Fortunes were made, but debts more so. France threatened to invade to collect.
By the April tulip bloom in 1637, the prices were back to what they were on 12 November. Tulipmania had run its course, and nearly destroyed the new country.