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movies

Convenient coincidences in ‘The Force Awakens’

J.J. Abrams’ 2009 Star Trek reboot leaned too heavily on unlikely coincidences. Kirk just happens to get marooned on the same moon as elder Spock. Monsters just happen to chase him straight into Spock’s cave hideout. Scotty just happens to be stationed a few miles away.[4]

Abrams’ latest sci-fi epic, The Force Awakens, features several similar plot holes:

WARNING: spoilers below!

  • BB–8 somehow rolls its way to Rey. What are the chances that the droid who knows Luke Skywalker’s location runs into the Force-sensitive girl with apparent ties to the Skywalker clan?[1]
  • Finn stumbles onto Rey and BB–8. Improbably, the fugitive stormtrooper happens upon the fugitive droid and its new master. Jakku must be a very small planet.
  • The Millennium Falcon is rusting away on Jakku—of all the planets in the galaxy. I actually liked the Falcon’s reveal, but doesn’t it seem improbable that the same ship that ferried Luke from Tatooine has been waiting around to carry Rey away from Jakku?
  • Maz Kanata, this film’s Force-sensitive guru character, possesses Luke Skywalker’s old lightsaber. That’s very convenient, since it triggers Rey’s Force awakening. Kanata brushes aside Han Solo’s question about how she acquired it. But… seriously, Maz, why’s this thing in your basement?
  • Finn knows too much about Starkiller Base—more than his low-level First Order position would explain. A stormtrooper peon knows the superweapon’s key weakness?[2]
  • R2-D2 reactivates at just the right time. Why did the trash-can droid pick that opportune moment to wake up? Talk about Deus ex Machina.[3]
  • In general, what are the chances that the events depicted in The Force Awakens would mirror the original trilogy so slavishly? A twenty-year-old orphan on a desert planet finds a droid sought by both the evil imperials and a noble resistance. The droid carries information that could sway the balance of power in the galaxy. Our hero teams up with a roguish outlaw and an older mentor aboard the Millenium Falcon. The mentor character tells stories about the Force and legendary Jedi. A short alien guru guides our hero toward the Light side of the Force. The insurgency destroys a gigantic space weapon just before it blasts them out of existence. Welcome to Deja Vu: the Movie.

    “It’s like poetry. It rhymes.”


Don’t get me wrong; I enjoyed The Force Awakens. But these plot seams show where the filmmakers valued nostalgia over storytelling. The writers wanted Han Solo to find our young heroes, so they placed the Falcon (which Solo could track) on Jakku. They needed Luke Skywalker for the cliffhanger, so R2-D2 waits until the denouement to power up.

These twists may cater to aging fans’ sentimentality, but they make little sense in context.


  1. The movie doesn’t actually make Rey’s identify clear. It’s still theoretically possible that she’s just a random orphan, who’s not connected with the Skywalkers at all. But then why even mention the “family” she’s waiting for on Jakku? And why does Anakin’s old lightsaber trigger her Force vision?  ↩
  2. Or was Finn bluffing so that he could rescue Rey?  ↩
  3. One potential explanation: R2-D2 can use the Force. That’s an intriguing theory, but it’s never actually been confirmed by the movies.  ↩
  4. I’ve heard these happy accidents explained away as “fate”—i.e. the universe “course-corrects” and finds a way to bind these characters’ destinies together. Bullshit; that’s screenwriter-speak for “We couldn’t think of a good story reason.”
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movies TV

Sell-out

If American pop culture has a High Holy Day, it must be Superbowl Sunday. Not only does the big game venerate our favorite sport’s glorious brutality, but it also showcases our highest art form: the television advertisement.

This year’s commercial cavalcade features this Kia spot:

Here, Laurence Fishburne reprises his most familiar role: Morpheus from The Matrix. The ad parodies the film’s most iconic imagery: the ‘red pill / blue pill’ choice, black-tied Agents, and Morpheus’ improbably reflective sunglasses. The ad concludes oddly; Fishburne bombastically belts out Nessun Dorma, completely subverting the original character’s too-serious aura.

Fishburne joins a long list of actors who have leveraged cult-classic roles into a cheap commercial payday. One example: William Shatner donned the Starfleet uniform to hawk DirecTV? Christopher Lloyd reprised Back to the Future‘s Doc Brown to shill for the same company. Pitching Honda SUVs in 2012, Matthew Broderick reenacted the most famous scenes from Ferris Bueller’s Day Off—-only this time, Ferris was middle-aged, all alone, and kind of sad.

And “kind of sad” pretty well sums up this trend—-this undead resurrection of beloved characters. The audience chuckles, but they also notice Kirk’s peculiar paunch, Doc’s now-gaunt frame, and Ferris’ pot belly. Actors line their pockets, but they can’t feel good about cheapening their legacy or about banking on fans’ goodwill.


  1. Both Shatner and Lloyd are perennial offenders here. There was the British power company commercial that combined Star Trek, a Shatner/woman body swap, and German hip-hop group Snap. And it doesn’t take much to get Christopher Lloyd to don the Einstein wig and hop into a Delorean. Check out the shameless intro video for Microsoft’s 2007 Tech-Ed meeting.  
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movies TV

Trek envy

J.J. Abrams’s Star Trek reboot focused on the franchise’s original characters: Kirk. Spock. McCoy. Scotty.

It must feel unfair to the cast of Star Trek: The Next Generation. After all, in terms of sheer screen time, they’ve got the original cast beat. We have many more hours of Trek with Picard at the helm than with Kirk. Yet no one’s seriously considering a TNG reboot. And even hard-core fans would squirm if Abrams tried to shoehorn Troi or Geordi into the alternative timeline established by the new movies.

That hasn’t stopped the actors from trying. Every so often, Brent Spiner or Jonathan Frakes shameless pitch themselves for the next Abrams flick. “Of course they could bring me back!” they protest, “It’s Star Trek, for God’s sake! A malfunctioning transporter! A clone experiment gone wrong! Time travel! You fans should write letters demanding my character’s return!”

This sort of self-promotion irks me, for several reasons. First, it reeks of desperation. Open groveling breaks my heart. Second, it proves how little these actors understand storytelling. Fan service does not a good plot make. Finally, such role-grubbing seems ungrateful. Where’s the respect for the fictional universe that brought them international fame and commercial success?

Then again, maybe they shouldn’t be grateful. Trek has a way of hijacking actors’ careers. Once you’re typecast as the childlike android or the chair-challenged commander, it’s tough to earn a non-Trek gig.[1] You’re doomed to attend an endless series of nerdy conventions, answering the same questions again and again. There’s only so many times you can wax eloquent about Wesley’s sweaters or Riker’s beard before you go mad.

It’s no wonder that the TNGers hunger for a more mainstream spotlight.


  1. The only notable exception is Patrick Stewart, whose British theater connections (and sheer awesomeness) kept his career from going Picard-centric.  ↩