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The End of an Era
  • Chapter 20: Farewell to the Magic Kingdom
    Excerpt from Jim Henson: Storyteller, an authorized biography by Jay O’Brian


    April brought the slightest hint of warming temperatures to the LA basin. Everywhere else it would have been the end of the winter chill, but here it was simply “less God-forsakenly hot than it was about to become”. In truth, though, Jim had adapted well to the heat, particularly as he got older and his metabolism slowed down, and the very thought of shoveling and driving in snow became appalling. In all, he figured it would be great preparation for his new life in New Mexico[1].

    He walked down Dopey Drive for the last time as the Chairman of the Board for the Walt Disney Entertainment Company. He tried to recall that first day walking the grounds over two decades ago with Bernie and Roy. He tried to imagine the baseball fields and the old, rotting Zorro set. The quiet, empty streets. The hazy, still smog-choked air that made your nostrils burn slightly, which he most definitely did not miss in any way. He recalled the old, slightly moldering buildings before the refit with their shag carpeting and the omnipresent smell of old smoke, paint, and celluloid. He recalled the cramped spaces and distracted, suspicious atmosphere. He remembered the hated punch card clock and the cheers that went up as he announced its “firing”.

    His reminiscence was interrupted by a passing tour tram. The guide, a young woman named “Carly”, if he recalled correctly, stopped the tram and announced him as “our beloved outgoing chairman, Jim Henson!” leading to a cheer from the guests onboard. He smiled and waved, somewhat self-conscious. Someone yelled “We love you, Kermit!”

    Almost by instinct he raised is right arm and said through his hand, in Kermit’s voice, “I, um, love you all too! Forgive my, um, nakedness, I just got out of the shower!” causing a cheering laugh.

    “Where’s Kermit?” asked a very young girl, “I just see some old guy!” causing a second laugh, loudest of all from Jim.

    The tram drove on and he looked again at the campus, recalling how much had changed, how much he had changed things, although he knew that he didn’t do it alone. The trade mags were calling him “the humble billionaire”, though he really never set out to become a billionaire, it had just kind of happened as he pursued his creative passions with Disney. The Disney campus had grown considerably over that time, gotten significantly busier, and seen productivity soar under his “watch”, to quote those trade mags. Soon he’d be handing off the Chair to his daughter Lisa and the creative reigns to Joe Ranft.

    He visited each department one last time. He visited each set and production one last time. Everywhere that he went, the crew welcomed him and gave him handshakes and hugs. He held one last meeting as Chairman, formally handing off the gavel-he-rarely-used to his daughter Lisa, the only event from the busy day to be recorded in his latest Red Book, which was ironically green. His last formal vote-call was to approve construction on the long-shelved WestCOT, which passed unanimously. He received an ongoing standing ovation that nearly drove him to tears. He was named Chairman Emeritus and new CCO Joe Ranft declared him the Creative Chief Emeritus[2] and “Keeper of the Creative Flame”. And suddenly, the weight that he’d been silently bearing since his formal ascension to the Disney board slid off of his stooped, increasingly arthritic shoulders.

    Nothing to do for Disney. No major world events driving things beyond the usual low-level terrorism worries and crime and wars and famines and disasters around the world. Things seemed to be going in the right direction with respect to climate change. Nobody had sent him a death threat in months.

    He laughed out loud when he got back to his old green Porsche “KRMIT”, seeing that the artists had snuck in and covered it in paint. It was all water-soluble tempera paint and would all wash away in the next rainstorm, but he delighted in the crazy mix of Muppet and Disney characters, wacky “goodbyes”, heartfelt sayings, friendly mini-roasts (such as an image of Enby), and the like. He enjoyed the looks as he drove home to Hotel California, which he would hand off to his kids when his New Mexico project was completed.

    He was picked up that evening by Sonny for a formal retirement dinner at a private club with the rest of the board and his family and a few of the original Muppets crew, where he received the usual “boring and stuffy” formal goodbyes from the various board members past and current. Still, the kind words hit him in ways that he didn’t expect. They hadn’t all always seen eye to eye, but even Stanley Gold was toasting him as a “mensch”.

    He’d be back on the Disney campus the very next evening for the open retirement party, with Sonny driving him so that he wouldn’t have to worry about overdoing things. The party, a masked ball, which Cheryl designed, naturally, was more his style than the formal affair. Kermit (Steve Whitmire) hosted the event along with a shockingly risqué Elmo (Kevin Clash) where the Muppets acted out Jim’s life and career in the most insane Muppets way possible.

    Waking up, somewhat hungover, the next day, he made a decision to try something completely new: he did nothing, nothing whatsoever, for the next three days. After that, he and Sonny drove up the coast and they went hiking in Yosemite.

    That Sunday he guest-hosted The Wonderful World of Disney with Walt Disney Miller in a big retrospective of The Muppets at Disney through the last 20 years, though it was of course taped and would air weeks later.

    But simply staying still and unproductive lost its luster quickly, and Jim called up John. Driving as father-and-son out to his new hilltop location in New Mexico, they scoped out the site. John found a hilltop full of natural crystals that would be “perfect”. A survey indicated that water would require a fairly deep well and that supplies might still be limited, but Jim’s plans weren’t that extravagant. Even so, John and Brian looked up ways to devise cisterns and grey water reuse strategies to limit demand even at “peak occupancy”, and Brian calculated the total amount of photovoltaic panels and battery backup that they’d need for the projected power use and even sited a hilltop where prevailing winds would support a patch of wind turbines.

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    Something like this (Image source Sharing Santa Fe)

    John and Heather worked together to design the layout and the look of the buildings, all inspired by native Pueblo architecture and built mostly from local, sustainable building materials like adobe and stone and brick. Larger buildings like the studio and Great Hall would require additional design efforts, but everything was fully realizable.

    With all of this set in-motion, he had one more mission. He flew to New York (first class on a public airline rather than a private Gulfstream) and met with his estranged wife Jane. Neither had ever formally filed for divorce, remaining separated so long as to be effectively divorced anyway in spirit. They had a long and often difficult talk of the kind that he’d studiously avoided for years while they were together. It was “a hard talk, and I had to address some hard truths,” but eventually, they made their peace, particularly as he laid out the full spectrum of his decisions and actions over the years, good and bad, proud moments and regrets, making clear that the biggest and truest regret of all was in letting her slip out of his life. She confessed that she always had and always would have feelings for him, and told him of her sincere relief that he was “done chasing the Hollywood dragon”.

    With amends made as best as possible, he showed her the plans for New Mexico and asked her if she’d join him once she was done with her current job as the head of the Children’s Television Workshop, from which she’d made plans to retire late the next year. She said she’d think about it.

    A few weeks later, Jim got a call. It was Jane. After the end of her tenure at CTW, she agreed to join him…on a trial basis, at least.

    “I’ll try to make it worth your time,” he told her, with a self-conscious laugh.

    Flying back to Santa Fe, Jim moved into what would be his new place for the next few weeks: a tent in the New Mexico desert, working with John and the crew to build the first building of his new and as yet unnamed Puppetry Arts Center, which would be the student dorms, built even before his own new house (“nobody sleeps in a bed until we all do,” he told John).

    Jim looked at this small, rambling tent city. He looked as his tiny little pup tent. Compared to Hotel California or even his old bungalow in Laguna or condo in Manhattan, it was a serious downsize.

    But to Jim, it was the biggest place that he’d ever lived. The ceiling went all the way to the stars.

    DarkSkies5-726x363.jpg

    (Image source NM State Employees Credit Union)



    - ∞ -





    [1] He’ll be unpleasantly surprised at just how cold it gets in New Mexico, particularly at night, but will adapt well enough.

    [2] Hat tip to @nick_crenshaw82
     
    Epilogue: A Great, Big Beautiful Tomorrow
  • Epilogue: A Great, Big Beautiful Tomorrow




    “When I was young, my ambition was to be one of the people who made a difference in this world. My hope is to leave the world a little better for having been there.” – Jim Henson



    * * *​

    Ext – Walt Disney Auditorium – Red Carpet
    GONZO the Great and CAMILLA the chicken, the former in a tacky suit and the latter in a stately sequined gown and (somehow) fancy earrings, are standing at the Red Carpet outside of the Anaheim Walt Disney Auditorium, which is hosting the 73rd Academy Awards ceremony. He has a mike and is interviewing Stars as they arrive.

    images

    (Image source Facebook)

    Gonzo
    We’re back at the seventy-third Academy of Motion Picture Arts and Sciences Awards Ceremony. You know: the Oscars!!! LIVE on NBC, where more fabulous guests are arriving! And with me as always is the lovely and talented Camilla! Say hi, Camilla my dear!

    Camilla
    Bwock bwaawk bwock!

    Gonzo
    You said it, my darling, and…Oh! Here comes Susan Sarandon! Susan, you look ravishing! Anything to say to the audience​

    974d6aa72c08fc36af1bc179bf46384e.jpg

    (Image source Pinterest)

    Susan
    Why yes, Gonzo. It’s always a pleasure to be here.

    Gonzo
    And what projects are you working on?

    Susan
    Well, my role in Breakneck Pace is nominated, of course, though I’m holding out for my good friend Jessica Lange.

    Camilla
    Bwock Bwaaa Bwo-Bwo Bwa-Bwaaak-Bwak, Bwock?

    Gonzo
    She says, “for Tears over Miami, yes?” (turns to Camilla) She was in that?

    Camilla
    Bwa-bwaawk!​

    SUSAN SARANDIN laughs briefly.

    Gonzo
    Good luck, Susan!​

    SUSAN SARANDON smiles and walks off camera.

    Gonzo
    Oh, and here comes Mel Gibson! Hi Mel! Any thoughts on…​

    MEL GIBSON waves and walks right past.

    Gonzo
    Oh. Is it something I said?

    Camilla
    Bwaa-Bwaak. (looks up, excited) BWOK! Bwaack bwock bwock-bok!!​

    JIM and JANE HENSON walk up, waving.

    Gonzo
    Who the heck is that guy?

    Jim
    Hey, Gonzo, how’s it go…

    Gonzo
    (cuts JIM off) Sir, I’m going to have to ask you to move along. I’m here to interview actual Stars!​

    JIM laughs. JANE cackles. They wave and walk off.

    Gonzo
    Ok, drat, and to believe that we missed Adam Sandler.

    Camilla
    (pets GONZO’S arm) Bwock bwaaaak…

    Gonzo
    Thanks, I…​

    BJÖRK walks up wearing her infamous Swan Dress.

    2001-oscars-bjork-39ad1c26c09e482b9b7e0d820b17e5db.jpg

    (Image source People)

    Gonzo
    (stunned, eyes going wide) Oh. Wow. Who are you wearing?!?!?

    Björk
    Why, it is from designer Marjan Pejo…

    Gonzo
    (interrupts; looking gown up and down) Hubba-hubba! Where have you been all my life?

    Björk
    Gonzo, we have known each other for years!

    Gonzo
    (holds up hand) Not you, Lady. (gestures to the dress) This…beautiful creature…​

    BJÖRK starks giggling, hand over mouth. CAMILLA is getting visibly upset.

    Gonzo
    (staring at the dress) Hey, perhaps after the ceremony we can…

    Camilla
    BWOK BWOK BWOK BWOOOOOOOCCKKKK!!!!​

    A flustered CAMILLA starts getting in GONZO’S face.

    Gonzo
    (to CAMILLA) Hey! Camilla! Of course I love…​

    Feathers fly. BJÖRK continues to giggle, and waves and walks off.

    Gonzo
    (to Björk’s dress) Wait! I never got your name!! I… (turns to CAMILLA) It’s just a professional interest, I swear!! (turns to CAMERA) Um, cut to commercial! Quickly!​

    GEORGE CLOONEY walks by, laughing. The Music plays and it CUTS TO COMMERCIAL.[1]



    * * *​

    Meta-Discussion: The Fiction Zone

    You are traveling through another dimension, a dimension not only of sight and sound but of mind. A journey into a wondrous land whose boundaries are that of imagination.

    There’s the signpost up ahead. Your next stop, the Fiction Zone!


    201d2e69ba176846a768f9f2178e07bb.gif

    Nee-nee-naa-naa-nee-nee-naa-naa… (Image source Pinterest)

    So as the last of the Plausible Butterflies flap away (you’ll see a few stragglers), we enter into a world of pure, uncut Bolivian Imagination (take it easy there, kid). This is a realm where we can no longer rely on plausible changes to what was from our world, but have to extrapolate from the surrounding circumstances of a changed world and imagine what the creative artists, real or even imagined, would do instead of what they did in our timeline.

    Some things will be similar and some trends will carry over, with the larger structures of human culture and sociopolitical realities driving a degree of parallelism. But much will be unlike anything that we saw in our lives. The 2000s will follow some of the broader trends that we saw on the grand scale in our timeline, but the 2010s will be, I hope, completely or at least mostly unique and different. I will not detail anything beyond a handful of films and major events, such as major elections. I will not state what the musical or fashion trends are. I will leave the 2010s almost entirely to you all.

    In the coming final chapter, I will use very broad strokes. I’ll define trends and post major events and headlines. I will create some movies and movie reviews. I will close off some hanging plot lines and POV character arcs. I will note some musical trends and fashions and fads. I will do this just to add some boundaries and guideposts to keep things from completely spinning off the rails. But the details I will leave out…and leave to you.

    In other words, The Fiction Zone, other than my broad strokes and handful of additions, I leave to you, the readers, to use as a creative canvas. The Guest Thread will remain open indefinitely. I’ve drawn some outlines and thrown a few splashes of paint here and there, but I leave it to you to fill in the prodigious blank spaces with whatever you will.


    It’s your world now. Go forth and make it your own.



    [1] Mrs. Khan denies that she came up with this idea.
     
    A New Era Dawns
  • Chapter 17, The Last Hurrah (Cont’d)
    Excerpt from Where Did I Go Right? (or: You’re No One in Hollywood Unless Someone Wants You Dead), by Bernie Brillstein (with Cheryl Henson)


    So in the spring of 2001 Jim retired from Disney. It was hard to believe it was actually happening, even as we watched the Muppets play out his life and career, or at least a highly made-up version of it, laughing ourselves silly. Even as he gleefully received his roasts and accolades and gave his farewell speech. Even as he disappeared into the costume ball. Even on his last day in the office as he formally handed Lisa his gavel and walked out of the Walt Disney Building to his Kermit-Green Porsche. Even as he drove off down Dopey Drive.

    I’d been the first person outside of the family that he’d told about his retirement plans. I’d known it was coming for over a year. It still seemed impossible.

    Twenty-one years. From a passing thought on Jim having his own studio when Eisner rejected The Dark Crystal, through a crazy, do-or-die run on Disney that gave Jim that first bite of the Mouse, to Jim joining the company, to merging with the company, to heading the company, to gaining a majority stake in the company, I’d been there, Sancho to his Quixote, with each crazy tilt of the lance.

    A kid born the day we hatched that scheme would be old enough to drink at the bar where we hatched it. And yes, it’s still open, I checked.

    And now Jim was riding off into the sunset, Chairman Emeritus, “Disney Legend”, Window on Main Street, off to build a Puppetry Academy in the hills of rural New Mexico. Another insane, idiotic, sure-to-fail venture from a “Ridiculous Optimist”.

    It’s guaranteed to succeed. Mark my words.

    Jim was heading off on a new adventure, and for the first time in decades, I would not be at his side.

    I’d been the Skeksi [SIC] to his uuRu, the Yin to his Yang, the Bastard to his Beatitude.

    I still have that Skeksi bust I had made when we made our run on Disney in 1980, a celebration of our “Skeksis Holdings” shell company that I set up to cover our moves. I’m looking at it as I type these words.

    God, what an ugly bastard. I love him.

    In the prequel series, Cheryl based one off of me. An awful bastard that recruited Gelfling sacrifices with the promise of fame and fortune. I couldn’t be prouder.

    thegourmand.jpeg

    “Hey kid, wan’na be famous? The fans will devour you!” (Image source TV Tropes)

    I was incredibly tempted to quit myself and run off to New Mexico with Jim. I mean, the clear dry air would probably be better for my smoke-ravaged lungs, but I know me too well. I’d be bored out of my fucking mind. Jim can live in an adobe hut on a dusty hilltop where silence reigns. Not me. I need the noise, the lights, the motion, and the stench of LA.

    No, I’d still be at Disney for another couple of years, training up Garth Ancier to be my replacement at NBC while Jamie Kellner backfilled his position and getting Mike Lynton spun up at MGM. It was job enough, not because they were difficult to spin up, but because there was so much to the job.

    michael_lynton_0.jpg

    Michael Lynton, Chairman/CEO of Disney-MGM Studios (Image ©AP, source Fierce Video)

    Garth and Jamie I’ve talked about, but Mike was new, having come in to replace Tom when Tom took over for Dick when Dick retired in ‘99. Mike’s a very interesting bloke with a wry and dry sense of humor. London born, Harvard Grad, former investment banker who quit because he got bored, worked at Hollywood Pictures before leaving that when it got “noxious and bureaucratic”, becoming the first President of Penguin Pictures. His resume speaks for itself in some ways.

    But under it all he’s a real free-wheeling guy, always looking for a job that keeps surprising him. “I didn’t leave jobs,” he told me, “I went to more interesting ones.”

    Well, brother, you don’t get any more “interesting” than Jim’s Disney.

    Mike’s also happy to do the less glamorous, but important jobs and let others get on with their jobs, but he will step in and make a big decision when he has to, “a bias to action”, as he puts it (he’d rather do something and be dragged to hell kicking all the way than do nothing and watch as things go to hell around him)[1].

    Already they’re calling him the “Jolly Giant”, more for his facial features than his height, I think.

    All in all, a great new Head Lunatic for this Asylum. MGM is in good hands.

    But my biggest job before I retired would be spinning up Jim’s daughter Lisa as Chairwoman. I’d known Lisa since she was a child and was practically her obnoxious uncle from New York. I’m pretty sure I inadvertently taught her the F-word at some point. If not me, then Frank Oz.

    LisaHenson.jpg

    Lisa c.2010 (Image source Ms. Magazine)

    Some folks in the press were hard on the decision to hire Lisa. Some asshole from Forbes even dismissively called her “Disney’s Princess”. But Wall Street had no issues. Stocks actually went up following the announcement. Cry “nepotism” all you want: she turned Fox Studios from the “kid’s department” at Triad, 20th Century’s cast-off, into a major player. It was a no-brainer.

    So I took particular joy in showing her the Disney Campus, much as Roy had showed it to Jim and me back in 1980. And boy had things changed since then! No more “sleepy little lot” where the offices were empty and the ball fields full. It was like Universal and Warner back in the day: constant action, people everywhere, crew moving sets, caterers, actors in costume, endless noise, tour trams full of visitors.

    I showed her it all, and gave her the full history. “That’s the new Roy Disney building. The old one was hideous. See that one? Restored inside and out. See that? That was a moldering old Zorro set when we got here. We made it Sound Stage Four.”

    But I made sure to swing her by one old side building by the employee’s entrance, just so that I could show her one of her father’s proudest, most beloved early business decisions. “See that blank spot on the wall? That’s where the hated Punch Clock was.”

    “Yes,” she said with a nod and a smile, arms crossed. “I remember him bragging about that one. The ‘hated employee’ who was ‘hurting morale’. Pure dad.”

    “You lead like that, and you’ll rule this castle.”

    “I’ll lead in my own way, Bernie, but dad’s spirit will be with me.”

    “Hail to the Queen!” I told her, patting her on the back.

    But once the tour was over, and I delivered her to the Round Table, she thanked me and began to have a long talk with Mike and Garth and new CCO Joe Ranft about how Marvel TV and Movies would crossover. I was there, and they’d ask my opinions, but I was not central to the conversation. I was on the side. And at that moment I knew that I was no longer at the center of the action. I was still officially Chairman of Disney-NBC, but already Garth was the Future and I was the Past.

    I felt like a dinosaur watching the mammals make plans while the comet came streaking across the sky.



    [1] Hat-tip to @El Pip for the insights on Lynton. Stole some of his text fair and square too.
     
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    Live on the Net
  • Chapter 22: Going Live
    From the Riding with the Mouse Net-log by Terrell Little


    In 2001 Aida, which I’d directed and co-produced and co-wrote with Elton John, managed to win numerous awards on screen and stage, in particular the songs, which I’d received a co-writing credit for since I’d helped Elton with some of the lyrics, which now-Sir Elton had been kind enough to share. Those particular songs managed to win Oscar, Tony, and Grammy, and suddenly, when added to my existing Emmys and Annies, made me an EGOAT, which my daughter Mo says makes me “the Extra-G.O.A.T.”, which she had to explain to me.[1]

    1680172863686.png

    (Image source Disney Fanon Wiki)

    Aida did something more that would send my career into orbit: it caught Tom Wilhite’s attention, and Tom moved me into a production billet in MGM to “learn the live action side”, which everyone assured me meant that I was being set up for Bigger Things. I’d be working closely with new VP of Intersectional Productions Tom Schumacher, whom I’d worked closely with on Aida. Our task: support productions that cross between several different media, such as stage, screen, internet, and television, not to mention the Parks, sorry, “Resorts”. Step one would be taking ideas from Imaginarium and translating them into possible TV and film spots. The first idea that I greenlit was a live action/animation hybrid kids TV series featuring Barnacle Bob the Space Sailor starring Randy Quaid, of all people, before we had to replace him with Kevin R. McNally over issues that I can’t go into.

    1680172793346.png

    (Image source Cancelled Movies wiki)

    Live action production is a different world to say the least. There is certainly some similarity to animation production, and I had some live-action crossover experience thanks to Lost in La Mancha, but acting as executive producer for the surprise hit Red Sails, which in my ignorance I (thankfully, it turned out) allowed Verbinski to go wildly overbudget on, proved that I still had a lot to learn. Still, Spielberg proved to be a great mentor, as did the outgoing Bernie Brillstein. And I even learned those most valuable of lessons if you chose to work with Disney: 1) be ready to get thrown well out of your comfort zone at any time, and 2) be ready to drink from the firehose when that happens.

    So, if you’re all wondering why you haven’t heard much from me beyond an occasional post on Lilypad or a Hiss on Kamelion, and why this Netlog has dropped off, well, that’s the reason. And even there, you’ve probably mostly seen my posts and Hisses on the official Disney-MGM accounts and not known that it was me.

    Yes, that was (mostly) me, even the controversial joke about Snow White living with seven men (Roy read me the riot act on that one!). Thankfully most have hit better than that one. In fact, one of my biggest contributions since taking this job has been recognizing the potential of Social Media, or, I should say, letting Mo and Antoine explain the potential to Old, Uncool Daddy.

    But I have another great honor to recite: before he retired, Jim Henson made me an official Creative Associate, his last such appointment before handing things creative off to Joe Ranft. Losing Jim to retirement was hard, and it’s strange to imagine Disney without him. I mean, it’s still weird to me when I think back to Disney before him, that long-ago time where the leadership and workers were inevitably at odds, where the work stopped at noon, where the dreaded punch clock ruled all, and where being a Disney Animator felt much like being the last dinosaurs watching the meteor come streaking through the sky, not the first mammals looking forward to an explosion of growth and opportunity.

    0f3b41557e8f9a0b88f7c4cc1837bb21e10ad0b6_00.jpg

    Promotional still from Red Sails (Image source Amino Apps)

    So, while I don’t have much time to go into depth about what’s next, I will say that a) more Red Sails is (obviously) on the way[2], along with a related franchise I can’t yet reveal, b) expect more Muppets and Marvel soon, c) I haven’t completely left animation, and d) I’ll fill you in on all the details and some other exciting new things when I present at this year’s D23!

    So, this may (and in fact probably will) be my last Netlog post, but fear not, folks, you’ll be seeing and hearing more from me.

    Keep dreaming, keep daring, keep doing,

    Terrell Antonius Little, Creative Associate and Production Manager, Disney-MGM Studios



    [1] Aida and all other Disney Animated Canon films are available for a guest post if anyone wants. PM me.

    [2] Guest Post inbound.
     
    The Disney Maritime Empire
  • Chapter 23: The Great Big Beautiful Tomorrow
    Excerpt from The King is Dead: The Walt Disney Company After Walt Disney, an Unauthorized History by Sue Donym and Arman N. Said


    International expansion took on a life of its own in the 2000s as Disney looked to expand to new markets. The low-cost, low-risk Disneytown attractions in particular could sink or swim without too much risk of lost resources or lost face if one failed. Local municipalities eagerly vied for a local Disneytown, many openly hoping to see the park expand into something larger, or at the very least spur economic growth in the surrounding area. Europe, Australia, and East Asia were covered, so they looked at places like the Middle East, South Africa, and Central or South America, but financial, political, and stability reasons limited their options. Of these locations, locations in Buenos Ares, Rio de Janeiro, or São Paulo were investigated, but hostile governments ended that. Other Latin American locations proved equally challenging due to crime, corruption, or other factors, though Panama, which had stabilized in the post-Noriega era, buttressed by canal revenues, began to look promising, as did Costa Rica and Belize.

    Instead, the Middle East would see the next expansion. New Disney Director George W. Bush arranged a meeting with the Saudi royal family, who agreed that the Saudi government would pay for it entirely and manage security, defraying the risks associated with terrorism. A proposed Disneytown location at Half Moon Bay near Dhahran, Saudi Arabia, was chosen, and went quite far into design when the Aye-Ayes reported that a foreign national had been subjected to lashes and a construction worker executed for sorcery while they were there. The public relations risk, exacerbated by the treatment of women, put an end to a Saudi Disneytown. Instead, the United Arab Emirates, which had begun a massive expansion into the tourist industry in anticipation of an end to oil, would capture the first Middle Eastern Disneytown, building it in Dubai in 2014 and reusing many of the original Half Moon Bay plans. While Dubai had its own issues (a scandal erupted when some of the Disneytown construction workers were alleged to be victims of human trafficking) its major public relations push had helped defray some of the challenges.

    Other than the Middle East and South America, Disney would also look eastward from already built Disney locations for possible new Disneytowns. This mindset would lead to a Seoul, South Korea, Disneytown being built in the 2010s in a joint-opening with Disneyland Beijing, which and proved highly successful. And meanwhile, Crimea, Italy, and an Aegean Sea location in either Turkey or Greece (though the latter was having ongoing economic issues following the 2000 Olympics) would find themselves being actively investigated for potential new Disneytowns. A potential site in Marseilles, France, went far into production before local opposition and fear of competition from Warner World Paris ended the plan.

    Along with the growing number of Disneytowns were an increasing number of Port Disney/DisneySea locations, which often complimented and sometimes replaced Disneytowns located on waterfront areas. While typically far smaller than the original expansive (and expensive) Long Beach location, these seaside parks, inevitably tied to port facilities, varied greatly in size and scope. Sites like Pego or the DisneySpace location at the Disney port at Cape Canaveral were relatively small and were constructed for a few hundred million, Dénia in 2011 and DisneySpace in 2019. They also had existing land and port facilities to rely on rather than requiring new construction, though the latter required some dredging of the channel. By comparison, the original DisneySea at Long Beach cost a reported $5.5 billion and required the massive dredging of land and construction of extensive port facilities. Public grants and private partnerships, particularly hotel partnerships with Marriott and development partnerships with Bass Brothers’ Arvida subsidiary, helped to defray some of the costs, but still, the larger parks represented serious capital investments and many were built incrementally over years in order to defray costs.

    To help defray and distribute costs and risk, in some locations Disneytowns would evolve into Port Disney or even DisneySea locations over time, following a phased, “spiral development” formula. Once a suitable coastal spot was identified and initial discussions with local governments started, they would begin with a Disney Store and perhaps a couple of other shops and partnering restaurants, then expand into a full Disneytown, and then, once port facilities were completed, expand it into a full Port Disney location. Local government grants and tax incentives along with local business partnerships would help defray the costs. In theory, if the earlier projects underperformed then the site could be scaled back or abandoned before major capital investment was committed, as famously happened in Hong Kong. Furthermore, contracts with governments, landholders, and developers could be written in terms of options to be executed or not as the development progressed, defraying long term cost risk.

    In the case of Tokyo Japan, where the Oriental Land Company actually owned and operated Tokyo Disneyland under license, the Japanese absorbed the cost themselves. Like the DisneySea location in Long Beach, the port location identified by the Oriental Land Company offered a portal to the nearby Tokyo Disneyland for cruise lines. They started with the port facilities and a good-sized Disneytown in the late 1990s and then expanded it into a full DisneySea by 2001. Thanks to the diligent investment of the OLC and the bleeding edge technology provided by Imagineering, the DisneySea resort they built would prove one of the most beloved and profitable Disney resorts[1] and, along with the success of the original Long Beach location, would demonstrate the potential of the Port Disney/DisneySea concept.

    800px-Tokyo_DisneySea_200610.jpg

    Tokyo DisneySea (though it will look different in this timeline)

    Several other places were identified for such spiral development over the years. Hong Kong offered a large and cosmopolitan city with lots of disposable income, but land was scarce and expensive. A Disneytown was opened in the early 2000s, but to progress to a full Disney Sea resort would require the dredging up of new land at extreme cost in both initial construction and in ongoing property taxes, an endeavor that the smaller-than-anticipated returns of the Disneytown showed to be hardly worth the investment time and resources[2]. China wouldn’t see a Disney park until Disneyland Beijing opened in the 2010s[3].

    The Port at Dénia, Spain, offered another obvious expansion point and a feed point for the new Disneyland there, though it remains the smallest Port Disney due to limited land availability, largely consisting of some shops and attractions (essentially a small Disneytown!) to take advantage of visiting cruise ships and to remind the visitors that the nearby Disneyland is “just a short bus ride away”. Similarly, the old Premier Cruises docks at Cape Canaveral, Florida, were developed into a small space-themed Disneytown-type resort called DisneySpace featuring astronomy and astronaut themed rides[4] and intended to feed into Walt Disney World, even as the long shuttle ride needed to reach Orlando (an hour on average) made this a less appealing option for visitors compared to the short 15-minute trips in Anaheim, Tokyo, and Pego.

    But not all Port Disney facilities served a larger park. The development of the Port Disney resort in Sydney, Australia[5], was a self-contained project that also offers a good case study for the Disneytown-to-Larger Resort expansion model used by Disney. Disney Recreation’s investigatory committee identified Sydney along with four other Australian cities as potential places for expansion. Sydney in particular offered a promising location for a smaller park (the cost-benefit analysis showed little advantage to opening a full-sized Disneyland yet) and offered a potential feed point in reverse for a Disney Cruise Lines terminal! The government of Sydney was supportive of the effort at the time, particularly the Sydney Harbour Foreshore Authority (SHFA), which was in the process of converting old industrial sites into tourist attractions and commercial development hubs. Working with Disney, the SFHA identified the Glebe Island industrial site as a promising location for a Disneytown resort. The grain facilities at Glebe Island were in the process of shutting down, but with their memorable vintage Art Deco artwork they had become a bit of a local landmark along with the adjacent White Bay Power Plant, which had been abandoned in 1983.

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    440px-Glebe_Island_Silos_Detail_2011.JPG

    Glebe Island Silos and artwork details (Image sources “mumbrella.com.au” and “Wikimedia.com”)

    Disney found the site perfect. The vintage Art Deco artwork and architecture lent itself well to the “Hyperion style” look that Disney had been invoking at all of its Disneytowns and Sea resorts. Working closely with local authorities, Dick Nunis and Stan Kinsey worked out a spiral development deal that saw a small Disneytown open on Glebe Island in late 1994, with the old industrial buildings incrementally converted into shops and attractions over the next four years and the old grain silos carefully merged into a large hotel and multi-use internal space in 1997, save for three silos, which were left whole and converted into indoor skydiving chambers, of all things. In 1998 the old cargo docks were refitted for cruise lines and the old harbormaster’s offices were expanded into a cruise ship passenger and service facility. Blank spaces on the island were converted into gardens, rides, stages, and other attractions as a small Port Disney resort opened in 2001. A small PeopleMover was added at this point.

    640px-White_Bay_Power_Station_22.JPG
    640px-White_Bay_Power_Station_1.jpg

    White Bay Power Station (image source “wikimedia.com”)

    In 2004, after extensive asbestos mitigation and restoration efforts, the park expanded into the old White Bay power station, which became a combination of stores, museums, stages, attractions, and dark ride facilities reminiscent of an EPCOT Pavilion and indeed sponsored in part by local Australian corporations and businesses. Water taxi services to other docks around Sydney were established early on, and they even added a spur to the Sydney Monorail to serve the facility in 2004, with special Disney-designed trains. In all, the final costs to complete the Sydney Port Disney came in at just over $3 billion Australian ($2.4 billion US)[6] expended incrementally over a seven-year period, which was split roughly 55% by Disney, 45% by Australian business sponsors and government development grants.

    By the year 2002, Port Disney, Sydney, was a steady source of revenue for Disney and helped drive the development of a new arts, tourism, culture, and commercial district in the once-industrial neighborhood. This, in turn, led to increased tax revenues for the city of Sydney, State of New South Wales, and nation of Australia. The success of this joint venture even led to the opening of a shared Australia and New Zealand Pavilion at EPCOT’s World Showcase in 2003 and the development of a smaller Port Disney resort in Perth and a Disneytown in Auckland, New Zealand, both in the 2010s.

    The success of the White Bay plan led in turn to interest in a UK Port Disney in Battersea, London, to take over the iconic Battersea Power Station, which had in fact once been considered by the company for the London Disneytown before the partnership with Pearson led to the ultimate choice of Chessington. Interestingly, the Battersea Port Disney proposal did not originate from within the company, but rather from the UK government, which in the 2000’s surprised the Disney company by offering the Battersea Power Plant and the area surrounding it as a potential location for a second Disneytown[7].

    Though Disney did reportedly consider the offer, the company would ultimately politely turn it down, citing the location as being too close to their Chessington Disneytown and the conclusion that the Battersea Power Plant location was too much of an iconic part of London’s skyline to risk a potential public backlash. Despite this rejection, however, the offer would spark Disney to consider the possibility of opening a second Disneytown in the United Kingdom at a location farther from London. While a second UK Disneytown has yet to materialize, potential locations in Yorkshire, Glasgow, Edinburgh, Manchester, and Liverpool are all currently reported as under consideration by the company.

    By the 2000s, Disney Cruises would have an expanding fleet in the Atlantic, Pacific, and Mediterranean. The Disney Magic would serve the Atlantic and Caribbean, operating out of the new Port Disney facility at Cape Canaveral, the Disney Wonder and Spirit would serve the American Pacific coast, operating out of the original DisneySea at Long Beach towards places like Alaska, Mexico, and Hawaii, the Disney Imagination would serve the Mediterranean out of the Dénia, Spain, Port Disney, and the Disney Celebration would serve the Asian Pacific, operating between the Sydney Port Disney and Tokyo DisneySea resorts[8]. The partnership with the Pirate Cay private resort on Guana Cay in the Bahamas[9], considered by guests to be one of the best Disney experiences, was renewed and the channel expanded for the larger ships, but still left largely undeveloped in order to maintain the sense of remoteness and wilderness (much of the island is a restricted wildlife refuge). Additional private island locations would be developed, like Castaway Beach on Baja California, Little Atlantis in the Greek Dodecanese islands, and Spice Island in Micronesia.

    Disney%20Wonder%20at%20Castaway%20Cay.jpg

    Sort of like this, but still heavily red and even more “Hyperion” in design (Image source “travelagentcentral.com”)

    The Port Disney resorts and Disney Cruise Lines worked together in a synergistic way not just with each other, but with the existing “big” parks, leading to mutual growth in all three, even during the significant decline in park and cruise line revenues during periods of recession. Packages would allow people to take a cruise to or out from a Port Disney location, stay at a hotel or docked cruise ship at Port Disney, and take day trips on the complimentary shuttle to the nearby Disneyland or Walt Disney World resort, or proceed directly to the larger resort and stay at one of the hotels there. Conversely, visitors at the larger parks could take the shuttle to the Port Disney resort and set sail from there on a Disney Cruise or one of the smaller charter or day trip boats. While the arrangement didn’t always work optimally – for example, the hour-long shuttle ride between Port Disney in Cape Canaveral, Florida, and Walt Disney World in Kissimmee limited the potential for day-excursions out of the port – this didn’t prevent the “big parks”, Port Disney locations, and Cruise Lines from growing together into a mutually-sustaining and supporting triad that some have dubbed the “Disney Maritime Empire”.

    The Disneytowns, Ports Disney, DisneySea resorts, Disneyland Valencia, Disney-MGM Studios, Disney’s Animal Kingdom, EPCOT New Millennium, Imaginarium, and WestCOT marked a major fifteen-year expansion of Disney around the world, helping to increase interest in and profits from Disney resorts even as increased competition from Universal, Warner Brothers, and Columbia threatened to draw away guests. Despite the dip seen in the early nineties following the recession-driven Disneyland Valencia underperformance, the aggressive expansion and ultimate good performance of the parks played well with fans and investors alike. The new executive leadership of the twenty first century under Chairwoman Lisa Henson would thus be well placed to continue the expansion into the new millennium.



    [1] Mirrors development of our timeline’s DisneySea in Japan, but starts with a Disneytown a few years sooner and evolves into a full DisneySea. And again, Hat tips to @Denliner, @El Pip, @Nerdman3000, and @Plateosaurus for the parks help.

    [2] Hong Kong Disneyland, driven primarily by prestige concerns rather than business realities, was built for a reported $14 billion HKD in our timeline in the early 2000s, with $1.74 billion HKD spent just in reclaiming the land for it to go on. Due to the lack of attractions (as Disney was severely undercutting the already small park), locals and visitors generally walked through the different lands, took pictures, maybe bought a couple of souvenirs, and then left after a couple of hours without partaking in rides, attractions, or meals. It started out losing money and ultimately didn’t turn a profit until 2012 after major (and expensive) reinvestment.

    [3] Disney was already deliberating a location in Beijing but heavy pushback from the local Hong Kong government, who were justified in their fear of a Beijing location causing Hong Kong Disneyland to lose even more money (which was already in debt at that point), led them to pull back from that decision and instead build a location in Shanghai in 2016. With a vastly smaller Disneytown with no desire for expansion and a lack of political pressure from the Hong Kong Government, Disney Recreation can easily strike a deal for a Disneyland Beijing location.

    [4] Sort of like Mission: Space.

    [5] Captain’s Cap tip to @Ogrebear and @nick_crenshaw for suggesting Australia. While the population doesn’t quite justify a full-sized Disneyland (yet), a Port Disney is just about right.

    [6] For reference, Tokyo DisneySea, cost ¥335 billion ($2.76 billion) to build in 2001.

    [7] Not surprising when you consider the history of Battersea, or to be more specific, the Battersea Power Station. Though an iconic London landmark, the former power plant is something both the UK and local government have frustratedly tried to get off their hands for decades following the closing of the power plant in the 70’s. Disney here is just the latest in the long line of offers and short-term owners for the former power plant and the surrounding area, until something can finally be done with it. In our timeline it eventually became a mall that opened in 2022, which will likely be its fate in here as well.

    [8] The inherent synergy of the Disney Cruise Lines with the Port Disney and DisneySea resorts has spurred a faster growth for both.

    [9] The forgotten “Original” Castaway Cay used in the Premier days!
     
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    Whoopass to Go
  • Tech Grrls Take Over
    Excerpt from Tech Grrls: The Rise of the Female Technologists 1990-2015 by Dr. Marina Sparks, PE


    Meanwhile, at Whoopass Studios, one of the first big contributions to the studio by new Partner Dr. Abagail “Dr. Diz” Disney, the ironically-styled “Princess Morbucks” of the team, was to expand, not just into new areas or new places in Van Nuys, but into new cities.

    “The Cooperative Model allowed for expansion via a Franchise approach,” Dr. Diz told me. “We could spin up a new partnering studio in another city with a new set of creative folks, giving them a good bit of autonomy for as long as they met certain criteria for honesty, integrity, customer service, inclusivity, and the fair treatment of their members. Since we are a non-profit, we’re less concerned with extracting major franchise fees or pushing corporate conformity than, say, a Starbucks or McDonalds and more concerned with ensuring that they meet the ‘mission’ and ‘vision’ of Whoopass and don’t ‘harm the brand’, so to say.”

    Craig McCracken dubbed it “Whoopass to Go”.

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    Grab yourself a can (Image source YouTube)

    The first place to receive a franchise was Oakland, California, which found an old 19th century warehouse building in a reasonably safe and stable part of the commercial blocks of Oakland near downtown. There they found a diverse group of enthusiastic film and movie producers more than happy to take up the Whoopass name and cause. Whoopass Oakland became a premier place for developing shows and graphics for local television and the tech industry in nearby Silicon Valley. It eventually made inroads with Silicon Valley and Lucasfilm, becoming an incubator for “overlooked talent”. Today, Whoopass Studios Oakland, or The Whoop-Oak as they call it, has become known for its forays into App development and early experimentation in Additive Manufacturing as well as clothing and local music.

    The next franchise was in Seattle, where it became a hub for music and visual arts as well as technology. It would feature a Phantomia and an “Art Explosion” immersive art space. It even roasts and distributes its own “Kickass Koffee”. Another soon spun up in Santa Fe, New Mexico, where it gained renown as a center for art, pottery, jewelry, and performance art. Other franchises would follow.

    Dr. Diz and Les also both dove deep into the Documentary world, scoring distribution deals and showings at Sundance and Cannes and other Film Festivals. In addition to documentaries about Disney animators and a Heather Henson produced documentary about her mother Jane Henson and her place in The Muppets, Jeri produced a documentary on the birth and growth of the US video game industry, another on the history of Roller Derby, and also (full disclosure) is working with me on a Tech Grrls documentary.

    Genndy, Rob, and Craig began directing feature length animated movies, in particular 2007’s Turok and 2012’s Fuzzy Wuzzy to be followed by several animated Marvel films following lesser-known figures like Blade, Guardians of the Galaxy, and Ghost Rider. Their minimalist yet breathtaking animation would allow for very cheap films that could prove inherently profitable. They also produced original animated series like SuperPals, Cosmic Squad and new versions of My Little Pony and Benny Bunny, the latter two led by Lauren Faust and which shocked the world by attracting a sizeable adult male fandom, the friendly rival “Broney” and “Brunny” fandoms.

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    Broneys Rejoice: goodbye Butterfly, hello Fluttershy (Image source Plugged In)

    Genndy Tartakovsky even made his live action debut directing episodes of the 2006-2012 Fantasia-then-NBC comedy series Dungeon Dorks, produced by Genndy and Jeri in partnership with Marvel Productions and Tapert and Raimi’s Renaissance Productions, and based on an idea by comedian Felicia Day. Starring an evolving cast including (depending on the season and episode) Jim Parsons, Felicia Day, Mayim Bialik, Jaleel White, Derek Waters, Simon Helberg, Sandeep Parikh, Amy Okuda, Jeff Lewis, and Jeri Ellsworth, Dungeon Dorks followed a group of nerdy and geeky young people living their mundane lives in a small Midwestern city and playing Dungeons & Dragons in the evenings (Parsons playing the Dungeon Master). This in turn led into “Game World” segments following their characters, played by Laura Bertram (Day; elven ranger), Jason Momoa (Bialik; barbarian), Gina Torres (White; fighter), Jonathan Rhys Meyers (Waters; thief), Nikolaj Coster-Waldau (Helberg; wizard), Tony Cox (Parikh; dwarf fighter), Maggie Q (Okuda; cleric), Bret McKenzie (Lewis; bard), and Katee Sackhoff (Ellsworth; fighter/thief). The characters explored dungeons and battled the evil Baron Morkus (Parsons as DM; Joseph Mawle) and various monsters, with the fantasy and real world constantly blurring into each other in overt, ironic, and thematic ways[1]. Dungeon Dorks wallowed in and celebrated nerd and geek culture while also providing for some surprisingly good fantasy action and comedy. It proved so successful on Fantasia that they moved it to NBC for season two and beyond, becoming one of the iconic sitcoms of the 2000s and 2010s.

    And Genndy’s success as a TV director, partnered with his big screen animated success, lead directly to his 2014 direction of Transformers: The Rise of Unicron, and other live action films to follow, in particular his upcoming original 2019 postapocalyptic film Savage.

    transformers-thumbnail-1654818516621.jpg

    Now with less “Bayhem” and more Actual Story and Cool Action (Image source IGN)

    And Heather Henson and Jeri Ellsworth, the Tech Grrls who set it all into action, and their diverse team of programmers and engineers, would win a 2015 Edison Award and become renowned for their continued forays into Virtual Reality, Augmented Reality, and Immersive Reality, winning numerous other design and engineering awards for their Jade™ series of VR and AR glasses and goggles and headphones in partnership with Imagine, Inc., and Commodore. Rob Renzetti would produce and direct the first Immersive Movies using these technologies, and Heather and Jeri would even work with Nintendo to develop the smash hit Mario Live AR game, where players could encounter various Mario characters and challenges in the real world with JadeEye™, JadeGlass™, or your Intelephone.

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    (Image source Champlain College Saint Lambert)

    All of this fed new projects and new Franchises, and between the years 2010 and 2020 Whoopass Studios expanded fast thanks to Abagail Disney, still following a 501(C)(16) Cooperative model. Whoopass franchises were soon spinning up in Portland Oregon, Santa Fe New Mexico, Austin Texas, New Orleans Louisiana, Saint Petersburg Florida, Atlanta Georgia, Richmond Virginia, Union New Jersey, Cambridge Massachusetts, Detroit Michigan, Aurora Illinois, Madison Wisconsin, Jackson Hole Wyoming, Denver Colorado, and Nashville Tennessee. International franchises eventually spun up in Sydney, Auckland, Tokyo, Seoul, Berlin, Turin, Barcelona, London, Toronto, and Mexico City.

    Not all of these would survive to the present day, but as a whole the Whoopass brand and franchise has demonstrated its ability to expand and survive.

    “Whoopass to Go” indeed.



    [1] Mitalia the Mad (Gina Torres; played by Jaleel White): (adjusts breasts) Yeah, girls, you wish you had these! I am one hot chick!

    Gorbak the Barbarian (Jason Momoa; played by Mayim Bialik): Seriously? No woman talks like that!

    Mitalia: Well (shifts hips), this woman does! Look out, boys! (snaps fingers)

    Gorbak: (crosses arms) Is this some weird fetish to you?!?!

    Mitalia: (hand on hip) I can’t help it that I have a Charisma of 17! Eat your heart out, girl!

    Gorbak: (beat) You’ve never actually been with a woman, have you?

    Mitalia: (looks around, nervously) Um…yes I have!!! Lots of them! (false confidence) I’m a playa, girl! (snaps fingers again)

    Gorbak: (stares, hands on hips; shakes head) Yep. A reeeeeaaal “playa.”

    DM (Jim Parsons): (V.O., exasperated) OK, so all of your stupid, annoying talking and time-wasting has angered the Gods, and they send (beat; sound of rolling dice) six Bugbears to punish you.

    Six Bugbears appear out of nowhere, looking quite confused.

    Gorbak: (looks at Mitalia, pointing at Bugbears) This is all your fault, Jaquan.

    Mitalia: (right hand on hip) I can’t help it that I’m sexy, Malka.
     
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    In the News...
  • U.S. Soldiers Killed in Ambush
    The New York Times, March 15th, 2001


    Kigali – Seven U.S. Soldiers were killed and fifteen wounded yesterday in intense combat in the Democratic Republic of the Congo, or DRC. The Soldiers, in turn, claim to have killed dozens of the attackers. The soldiers, who are with the 101st Airborne Division, are serving as a part of the MONUSCO UN peacekeeping mission in the region, there to protect civilians from the ongoing violence of a brutal civil war. It is not yet known which of the many ethnic-based factions were behind the attack.

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    (Image source Army.mil)

    The 101st deployed recently to relieve elements of the 1st Marine Expeditionary Force, who in turn deployed last year to help stabilize the regions of North and South Kivu, which have been embroiled in an attempted breakaway from the DRC government in Kinsasha. The Kivu rebels and other allied regional cultural-ethnic militias, who are backed by the government in Rwanda, a nominal U.S. regional partner that saw a U.S.-led intervention in 1994 to stop a genocide, have declared their intent to secede from the DRC. They are backed by Rwandan Army units primarily of ethnic Tutsi background, and thus ethnically related to the Kivu forces, and opposed by primarily ethnic Hutu forces allied to the Kinsasha government and derived in part from Rwandan Hutu militias driven from the country in the 1990s. Numerous non-Tutsi or -Hutu ethnic groups also live in the region.

    “The situation is extremely complex,” said U.S. General Robert B. Johnson, Chairman of the Joint Chiefs of Staff. “There is a mélange of different cultures and ethnic groups all living in close proximity. The terrain is challenging, and infrastructure poor, making logistics a challenge. Still, The President has full confidence that we can retain the peace long enough for the ongoing peace talks to work.”

    Polls show that a majority of Americans are unaware of why the U.S. has soldiers in the DRC, and a sizeable minority unaware that the U.S. even has soldiers in the DRC. For the families of the soldiers, however, the situation hits home. “I worry for my husband every day,” said… Cont’d on A3.



    Red Army Raids Russian Intelligence Agencies
    The Times of London, May 1st, 2001


    Moscow – Units of the Army of the Union of Sovereign Republics, or USR, conducted multiple raids in Moscow and other regional capitals and cities this morning in what was at first assumed to be a coup, but is increasingly looking like a purge. While reports remain muddled, rumors persist that numerous top USR officials, including, it is said, Federal Security Service (FSB) Chief Vladimir Putin, have been arrested. Also, there are reports of raids conducted against the homes and offices of opposition politicians, in particular the Russian Nationalist Russian People’s Party, alleged to have been conspiring with FSB officials.

    nagorno-Karabakh-russian-peacekeeper-Jack-Losh-1a.jpg

    (Image source ForeignPolicy.com)

    The move, unprecedented since the fall of the Soviet Union and rise of the USR, is shaking the democratic foundations of the new federal nation and sparking fears of a military takeover. Already it is being called another “May Day Purge”. And already comparisons are being made to the 1990 purge of hardline Soviets by last Soviet Premier and first USR President Mikhail Gorbachev.

    USR President Boris Nemtsov has appeared publicly, flanked by Red Army generals, and called for calm, calling the raids a “police action” intent on “dismantling a coup in the making”.[1]

    Details remain muddled, but The Times will continue to report on evens as they happen.



    Blast, Radiation Cloud in Bismarck Linked to Al Qaida
    The New York Times, May 9th, 2002


    Bismarck – A recent blast and subsequent radiation cloud that killed twelve, injured twenty-seven, and may have sickened hundreds in Bismarck, North Dakota, demonstrates the same radiation signature as the dirty bomb blast that sank the USCGC Chincoteague in 2000, the FBI concluded, indicating the Afghanistan-based Al Qaida terrorist organization[2] to be behind the attacks. “The radiation matches the signature seen in the Chincoteague attack, and like that attack was most likely made from spent nuclear fuel from USR reactors,” said Colonel…



    US Navy Strikes Targets in Afghanistan, Targeting Al Qaida, Taliban Allies

    Numerous Strikes in South of Divided Country

    President Gephardt Pledges more Military Aid to Northern Alliance

    The New York Times, May 11th, 2002


    Karachi – US Navy aircraft and missiles struck numerous targets in southern Afghanistan overnight…



    President Gephardt Signs Border Security Bill
    The Washington Post, June 5th, 2002


    President Gephardt signed a tripartisan bill that further strengthens border security and monitoring following last week’s Dirty Bomb attack on Bismarck, North Dakota, by Al Qaida…



    [1] Nemtsov will continue to go on as if nothing had happened, even as Russian Gendarmes conduct actions to put down angry protests by Russian Nationalists. Russian society and the world at large will be divided between those who see it as an anti-democratic coup and those who see it as a “necessary step” in preserving USR democracy.

    [2] After careful consideration, yes, 9/11 is butterflied with the death of its primary architect in The Philippines, replaced in this timeline with the Dirty Bomb attacks as their principal strategy against the US, a tactic greatly feared in our timeline, but which never manifested. Here the nature of the loose border between Afghanistan and the USR and rampant corruption and gunrunning (not Yuri this time, he has something vaguely approaching “morals”) have allowed radioactive materials (spent fuel from the USR’s growing nuclear power industry) to be smuggled to Bin Laden.
     
    Everybody Hates Gore
  • Reconsidering the Gore Legacy 10 Years Later
    From Atlantic Magazine, January 2010


    A decade ago, Dick Gephardt was sworn in as the 43rd President of the United States, taking over from his former running mate Al Gore. It would be a tumultuous presidency that made the prior eight years seem downright dull by comparison. And yet while Gephardt’s presidency is widely discussed today, overshadowing his predecessor in that regard, the Gore presidency remains controversial in its own right.

    220px-Al_Gore%2C_Vice_President_of_the_United_States%2C_official_portrait_1994.jpg

    “Haters Gonna Hate”

    “Everybody hates Gore,” one pundit told me. “But nobody hates him all that much.”

    Hyperbole for sure, but the statement does reflect the strange blend of the controversial and the underwhelming that have largely come to define the Gore Presidency in the public discourse. On one hand he signed in to law several controversial and divisive bills like the Green Growth Act (GGA) and Health Security Act (HSA) that were attacked from left and right alike. On the other, he gained a reputation as a dull technocrat, lacking in imagination, who inexorably steered towards the center, watering down promising bills in the name of compromise.

    Conservatives maintain that he went too far:

    “Al Gore marked the return of Socialism and Big Government Waste to the US political landscape,” said Newt Gingrich. “Between Gorecare and the Green Giveaway Act we saw the largest increase in public spending and big government overreach since the Johnson administration.”

    Progressives maintain that he didn’t go nearly far enough[1]:

    “Al Gore squandered a democratic supermajority,” said progressive political commentator Robert Reich. “He had both houses of congress wrapped up and yet delivered only diluted compromise bills on health care, entitlements, and the environment.”

    His public perception has struggled since his days on the campaign trail. Despite an ongoing attempt to escape a reputation as “boring” by presenting himself as a “hardworking everyman”, which at best made him “an adorably dorky dad,” to quote actor and writer Amy Poehler, Gore “The Bore” continues to be seen as an uninspiring bureaucrat. He was lambasted by TV comedians, particularly Saturday Night Live, who portrayed him as a clumsy robot who runs on the Golden Mean Fallacy, with him nearly shorting out trying to find impossible “midway” compromises between unbreachable divides, such as coming to the conclusion in one controversial skit that they could “abort half of fetuses”.

    Others have leapt to his defense. “Al walked a fine line,” said former Arkansas Governor Bill Clinton. “I mean, he got a lot done. Folks don’t appreciate that much, but he did. Most folks in 1993 would have told you that the GGA and the HSA were DOA, but he got them both through. Folks that say that he ‘squandered’ a Democratic supermajority forget that many of our fellow Democrats at the time would likely be Reform or even Republican today. Some of them did become Reform or Republican! There was a lot of post-Reagan neoliberalism back then, and folks pushed back hard against any spending on infrastructure or health care. While I’d like to think that I could have gotten a public option tacked on to the HSA, in truth, it’s hard to say. I don’t think that I even would have tried anything like the GGA.”

    So, are any of these characterizations fair? Let’s look at his record:

    The GGA was his first “big” accomplishment as president, a $50 billion infrastructure bill that funded the research, development, and installation of renewable energy sources and energy efficient systems, mostly via Public Private Partnerships. Conservatives, like Gingrich, see this as a classic case of Big Government Spending and attacked the corresponding “carbon tax” intended to help pay for it. Conversely, progressives, in particular Vermont Representative-turned-Senator Bernie Sanders, attacked it as anything but progressive. Sanders attacked the PPPs in the “Pluto Power Plan” as he dubbed it as a “corporate giveaway”. Defenders note that following a market-based strategy was likely the only viable path forward in a congress that, despite having a Democratic supermajority, remained staunchly conservative in many crucial areas, with coal and petroleum state Representatives and Senators staunchly opposed to the GGA, regardless of party.

    Gore’s stances on homosexual rights were a mixed bag of achievements and compromises. His phased-approach on ending the ban on LGBTQ people serving openly in the military was, like so many other policies, attacked as “too little” by the LGBTQ rights community, who expected him to end the ban through a legislative action, and as “too far” from conservatives. Defenders point to the general apprehension for homosexuality in America at the time and the unwillingness of many conservative democrats to support him on the bill. Still, the “don’t ask” approach remains very controversial.[2]

    The HSA was his second accomplishment. Based upon a plan by Republican Senator John Chaffee of Rhode Island, it created a program for the federal funding of private health care whereby federal “exchanges” would allow for the citizen to choose a private plan backed by federal dollars, with federal supplements tied to the income and needs of the individual. It included consumer protections such as a ban on refusing applicants due to preexisting conditions. Other clauses such as the controversial individual mandate and the phased-in employer mandate were intended to guarantee solvency and avoid the system collapsing under the weight of only sick people getting insurance. As with the GGA, the combination of vast federal spending and public-private ventures infuriated left and right alike. Defenders again call it “the best that could have been achieved at the time.”

    Most controversial of all was the Crime Bill of 1994, which instituted mandatory minimum sentencing, “three strikes” laws, and other “tough on crime” measures. The bill received broad bipartisan support in at the time, where inner-city gang crime was at its peak, driven by the crack cocaine epidemic. Gore received praise from all sides at the time for passing the measure. But posterity has been less kind, as the bill led directly to the current epidemic of prison overcrowding and the controversy over privatized for-profit prisons and the alleged abuses therein. The disproportionate effect of the legislation on communities of color has led to the bill being seen in posterity as one of the most egregious mistakes in American civil rights history by activists and civil defenders. Yet a silver lining exists by way of reducing incarceration for nonviolent drug offenses, at first only for minor possession, which has helped in the more recent quest to destigmatize and decriminalize addiction. This latter aspect came directly from Gore, whose own son suffered from drug addiction. Other follow-on effects, such as the rise of evidence-based policing methods, have arguably reduced crime and improved public safety. And yet as police profiling and police violence remain controversial issues, it becomes hard to avoid the controversy of the law.

    Also controversial was the Immigration and Border Security Act of 1998, a tri-partisan bill and “grand compromise” that saw border security strengthened and immigration enforcement increased and legal immigration corridors conversely expanded. Follow-on legislation in 2002 following the dirty bomb attack on Bismarck, North Dakota, further strengthened the Border Controls. Gore at the time applauded it as “a pathway for legal opportunity” and hyped up the reforms made to an archaic immigration system and the added security against “foreign arms and agents”. Once again, the legacy is mixed. Added border security measures have increased transit times, added fencing and surveillance methods have cost hundreds of millions to maintain, and increases in enforcement actions against undocumented immigrants led to occasional accusations of police brutality and overreach. Certainly, images of underage border crossers in handcuffs didn’t play well in many parts of the country.

    Other classified provisions, later leaked, revealed increased domestic surveillance programs, further spawning outrage. On the other hand, the overall number of undocumented residents have by many metrics dropped as temporary worker permits for seasonal employment proved popular with agriculture in particular[3]. However, this cost Gore and subsequently Gephardt with unions and many blue-collar Americans, who lamented the loss of jobs for American citizens, sometimes accurately, but often exaggerated as temporary workers filled non-skilled positions that few US citizens were willing to take. Other “living wage” advocates lambasted the rules as a way around the minimum wage law and a “roadmap to abuse” given reports of poor working conditions in many cases.

    Other controversial bills, made in compromise with the Reform Party and slash-Reform “Stripebacks”, saw limited reform to Medicare and Social Security and saw the implementation of the McCain-Ferraro reforms. Again, Gore was attacked from left and right for bills that one side saw as “too far” and the other “not far enough”.

    Domestic and World events also left their mark, most notably the rise in both domestic and international terrorism. The DC Bombing led to a crackdown on Militant White Nationalist Organizations that saw numerous accused terrorists and their enablers imprisoned, saw the ugly stand-offs and deadly raids at Waco and Arizona, and saw Gore accused of “tyranny”. The Gore Administration’s involvements in Rwanda and the Congo saved many lives, but the latter quickly devolved into a quagmire of inter-ethnic warfare that ultimately cost many American lives and did little to stabilize the region or end the crimes against humanity. The Al Qaida dirty bomb attacks, both the interrupted one that none the less sank the USCGC Chincoteague and the successful one on Bismarck, ND, cost many American lives both from the bombs themselves and from subsequent radiation-related illnesses.

    Probably the most controversial policy enacted by the Gore administration was one that would not surface until very recently: the Kiev-Kabul Affair. Often compared unfavorably to Regan’s Iran-Contra Affair, this deal saw the CIA, apparently with full White House support, funneling money through intermediaries to purchase Ukrainian-made weapons that were then delivered to the Northern Alliance and Paramount Warlord Ahmad Shah Massoud to battle the rival Taliban-led Pashtun forces to the south. Partnered with the US air strikes in 2000 and 2002 following the Al Qaida dirty bomb attacks and direct CIA and US Special Forces training of allies and clandestine raids on enemies, this effort helped stabilize the Afghan front north of the city of Kandahar, which the Taliban retains as a de facto capital. It remains unknown whether Osama bin Laden, the Al Qaida leader who hasn’t been seen in over three years, has been killed or just remains in hiding. However, while largely seen as “successful” in increasing US homeland security, it involved a partnership with “criminal elements” within the USR Black Market and organized crime in order to facilitate the quasi-legal shipment of arms into a war zone, and allegedly involved opium smuggling operations conducted by the CIA (it is unknown whether this was sanctioned by CIA leadership or, as they maintain, the actions of “rogue agents”). Furthermore, flagrant corruption and some alleged atrocities by the Northern Alliance have fed into the dark narrative that has grown up around the deal.

    Gore also had a noteworthy effect on the Judiciary, ultimately surpassing Ronald Reagan’s 383 appointments and appointing over 430 judges[4]. This included two Supreme Court Justices, Stephen Breyer in 1993 to replace the outgoing Byron White and Ruth Bader Ginsburg to replace Harry Blackmun in 1994[5] and numerous Appellate and District judges. Gore judges have largely been rated as moderate-to-progressive in their rulings and shifted the US courts leftward, to the joy of progressives and the ire of conservatives. Even so, some progressives decry the Gore administration as a missed opportunity for appointing more radical progressives than the ones he did.

    Some have even suggested that Gore, with a Democratic Supermajority from 1992-1994, could have revived the former precedent that when new Appellate Courts were created, a new Supreme Court Justice seat would be created to supervise it. Probably because of the conservative lock on the Court, President Hoover and the Republican Congress didn't bother adding a Supreme Court seat in 1929 when they created the 10th Circuit, and left the Court at nine justices. As a Supreme Court Justice has to oversee every district, there are thus some Justices that oversee two districts. By 1994 there were 11 appellate courts to 9 Justices, not counting DC, and some progressive activists, lawyers, and politicians argued there should thus be two more Supreme Court Justices, and pushed for Gore and Congress to add two Justices to the court. Gore was hesitant to do this, with the GOP and later Reform accusing them of a “court packing” scheme, and ultimately the idea got shelved after the special election in Texas. However, this started a conversation that lingers to this day and remains an “if only” moment for some progressives as it would have likely cemented a progressive majority in the Supreme Court for a generation.

    So in the end, Gore’s legacy is one of Centrism marked by controversial bills that leaned left or right. In all, Gore’s tenure remains a time of “corporate giveaways” to the Far left, “missed opportunity” for progressives, a “mixed bag” for the center-left, a “dodged bullet” for the center-right, a “liberal nightmare” to conservatives, and a “dark day of socialist oppression” to the far right. Gore accomplished some major progressive gains, albeit “watered down” through compromise. He managed to work effectively with an ever-shifting congress with an insurgent third-party movement, though alienated elements in his own party’s base by doing so. This “dull technocracy” managed to deliver compromises that in the end deeply offended few, but fully pleased almost nobody.

    But defenders, such as Governor Clinton, remain enthusiastic, and compare Gore to another Democrat hated in his time, Harry Truman, for whom posterity has been much kinder[6]. “Al did great,” said Clinton. “He passed a lot of meaningful legislation, saved a bunch of lives in Africa, took the fight to Al Qaida, and delt well with new threats to our nation. In time, folks will come around. Gore was great. Folks just don’t see it yet, but give ‘em time.”

    Indeed, Gore’s public perceptions as an Ex-President have, like Jimmy Carter’s, been positive over all, lending his name and face to many charitable efforts. His continued presence alongside Margaret Thatcher in the global battle against Anthropogenic Climate Change, recently replacing her as the UN Special Envoy on Climate Change, have kept him busy and in the public eye. His award-winning documentary alongside Thatcher, Inconvenient Truths, has become a rallying cry for Millennium Generation climate activists as they come of age. The GGA is seen in hindsight as a successful implementation of national climate policy, despite its mixed bag of results. And his belated “change of heart” on crime legislation have started to win over some who’d previously lambasted him for the 1994 Crime Act while his open defense of LGBTQ rights has quieted some of the lingering dislike for the “don’t ask” policy.

    Gore remains controversial on the right, particularly the far right, which still sees him as a “Modern Day Stalin”, though the center-right and many conservatives have softened on him, particularly when compared to the rise of neo-progressivism. “It could have been worse,” said Gingrich, in what seems high praise given the source.

    So where will Gore stand ten years from now? Only time will tell, obviously. It is possible that he could have a Truman-esque reevaluation or simply remain the modestly controversial figure that he has been. It’s possible the long-term ramifications of some of his accomplishments will lead to realizations that shift things one way or another. Either way, President Al Gore brought a level of stability to an instable time in world history, helping to steer the events of the modern world in ways that we can see, and which we will see only in hindsight.

    Love him or hate him…or simply shrug your shoulders…Al Gore’s administration undeniably helped shape our modern world.



    [1] The great allo-historical irony of the Gore Administration in this timeline will be that on one hand he achieved more “progressive” priorities than Clinton in our timeline, but did so with some notable compromises such that progressives in this timeline will see his presidency as a “missed opportunity” and lament what a more progressive president could have accomplished.

    [2] Note that with Democratic control of Congress from 1993-1999 the Defense of Marriage Act (DOMA) never saw a floor vote and was quietly just left in the appropriate committee to die. Speaker Dick Armey pushed it to a floor vote in 1999, but the Lame Duck Gore just vetoed it.

    [3] In a strange irony in our timeline, the addition of border fencing during the Reagan, Bush, and Clinton years actually led to a net increase in the number of full-time undocumented residents in the US as people who once would have returned home after a season’s work ended up trapped inside the country and instead found a permanent home. Here a majority of those would-be seasonal workers (overwhelmingly agricultural) will have streamlined access to temporary seasonal worker visas sponsored by employers.

    [4] Includes many of the over 300 judges that Clinton appointed, but with a friendlier, less obstructionist Congress Gore is able to get through many of the judges that Clinton couldn’t and sooner. Some noteworthy changes from our timeline include:
    1994 - Gilbert Merritt, runner up behind Ginsburg and family friend, appointed to Ginsburg's seat on the DC Court.
    1997 - Sotomayor sent to the DC Court to fill vacancy from James Buckley reaching senior status. This was filibustered and John Roberts held this post in our timeline.
    1998 - Robert Raymar sent to 3rd Circuit, Maryanne Trump Barry got this seat in our timeline.
    1999 - Elana Kagan sent to DC Court to fill vacancy from Patricia Wald. This was filibustered and Thomas Griffith held this in our timeline.

    [5] In reverse from Clinton in our timeline.

    [6] This comparison will lead to a resurgence of public interest in Truman, leading to revivals of Give ‘em Hell, Harry! and the 2015 film Give ‘em Hell starring Bryan Cranston as Truman.
     
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    Sith Happens
  • The Original Star Wars, Episode III Film Treatment
    From ScriptLeaks.net by poster Jedi-Mauk101, May 4th, 2002


    THREE TIMES, NERFHERDERS!! Episode III! The one you’ve been waiting for! Finally, the Rise of Vader and the Empire! (Cue “The Imperial March”, fuckers!).

    The film begins with the traditional opening crawl:


    EPISODE III

    Revenge of the Sith!


    War rages
    across the galaxy.
    Backed by a powerful
    CLONE ARMY, the noble
    Jedi Knights continue their battle
    against the armies of the SEPARATIST CONFEDERACY.

    Hoping to crush this insurrection once and for all, SUPREME CHANCELLOR
    PALPATINE has ordered a seven-pronged offensive against the Separatist armies. And while eventual
    victory seems assured, a growing faction of Senators has become alarmed at the Supreme Chancellor’s ever-increasing power.

    But behind everything looms a far greater menace: the machinations of a foul SITH MASTER who quietly plots his ultimate revenge against the Jedi......​

    tl;dr Synopsis

    A series of Seven Battles plays out, wiping between one another:

    1. Jedi Vrema Melovius and her Padawan on the red planet Hakorat battling Battle Droids alongside Clone Troopers…

    2. Dantoine, where Jedi Bav Myorta leads a fleet of Jedi Starfighters against a swarm of Droid Fighters…

    3. Kessel, where Mace Windu leads Clone Star Destroyers against a Separatist fleet. Battle Droids cross space and blast their way into the Star Destroyer cockpit, where Windu engages them, holding his breath in the vacuum, and propelling himself over to the other ship through space…

    4. Hoth, where Jedi Knight Ket Falacha leads the battle against Battle Droids…

    5. Malastare, where Jedi Nuara D’Naal and a team of Clone Troopers breach and assault a Droid Factory Ship…

    6. Kashyyyk, where Yoda leads Clone Troopers and Wookies against the Separatist Battle Droids…

    7. Helborum, Where Obi-Wan, Anniken, Padmé, and the Nima and Roona forces lead a battle against Admiral Kreeg’s fortress. They are joined by Anniken’s new Padawan, Prana Ashla.

    One by one all of the Jedi encounter cybernetic X-9 Super Drones with four arms and shock staves, which prove near matches for the Jedi, killing many.

    Yoda, who defeats many of these Drones, reveals them to be cybernetic organisms with a small reptilian creature at its core.

    Obi-Wan, Anniken, Anniken’s Padawan Prana Ashla (Raven Symone), and Padmé manage to overcome their Drones and fight their way into Admiral Kreeg’s droid factory headquarters. Obi-Wan eventually challenged Kreeg, who has four laser swords from the Jedi he’s defeated. They clash, Kreeg using a grappling line to disarm Obi-Wan. The Jedi uses the Force to pull Kreeg’s pistol to himself, killing Kreeg with the weapon, much to his embarrassment in front of Anniken and Prana.

    As they celebrate their victory, Anniken and Padmé share a kiss, only for Padmé to run off, scared. Obi-Wan tries to intervene and teach Anniken the lessons that he learned from Yoda and Quigon about emotional entanglements, but Anniken misunderstands and assumes that Obi-Wan has a romantic love for Padmé and runs off with jealousy. The Force Ghost of Quigon comforts Obi-Wan, who asks his old Sen-nai to speak to Anniken, but Quigon admits that in his current state, Anniken would not be able to see nor hear him.

    Wiping back to Had Abbadon, the Jedi are greeted with a ceremony and rumors of new Jedi Masters to be named. Anniken believes that he will be named a Master, but of the three named, he is not among them, but Obi-Wan is, who accepts the honor with humility.

    Padmé, meanwhile, meets with Senator Organa and others, finding out that, thanks to a motion by Senator Mothma, Chancellor Palpatine has seized even more power!

    The Jedi Council decide to have the Masters’ Induction Ceremonies open to the public, trying to counteract growing public distrust in the Jedi fed by rumors. The ceremonies are at the Opera House, where Anniken wants to be Padmé’s Jedi Escort, but she chooses Prana. Instead, Chancellor Palpatine selects Anniken, noting how his sources tell him that Anniken is the most powerful Jedi and should have been a Master.

    After the ceremony, as Queen Amidala and her retinue walk back to the Hover Limos, a Mandalorian flies up and assassinates the Queen! Obi-Wan pursues, but the Mandalorian escapes. Anniken rushes to Amidala, but she is a body double. Padmé is alive in a Handmaiden outfit.

    In the aftermath, as protection, Supreme Chancellor invokes Article 4 of the Jedi Charter, giving every Senator a Jedi Escort.

    Back at the Jedi Temple, Mace Windu assigns each Jedi to a Senator. Obi-Wan is assigned to Senator Bail Organa of Alderaan. Anniken, by special request of the Chancellor himself, is assigned to Senator Amidala of Nima-Roona (“It looks like you have friends in high places, Sir Anniken”).

    Anniken and Prana fly off to Nima-Roona, but Obi-Wan is approached by WIndu. He will not go to Alderaan, but is assigned a special task: find the Sith Master that they all suspect is behind everything.

    Obi-Wan’s first stop is Murchalar Prison, where he confronts the imprisoned Mauk Shivtor (Benicio del Toro), eventually tricking Mauk into revealing that Kaliss Fett is the Mandalorian assassin and is working for Sidious.

    WIPE TO a space station where Kaliss Fett (Cliff Curtis) as Laszlo Station accepts a hovering, shroud-covered package 7’ long from a rat-like alien named Lorray.

    On Nima-Roona, Padmé, Anniken in attendance, is receiving a betrothal offer from Prince Balandarr. He offers great trade and economic opportunities between their two planets. Sio Bibble fully supports this as it would give them leverage against the Trade Guild, but Padmé plays coy.

    Later, Anniken proposes to Padmé, a forbidden arrangement. Despite her worries, she falls into his arms.

    Obi-Wan and a Clone Colonel named Max (Curtis), acting on a tip, travel to Laszlo Station seeking Kaliss and confront Lorray. Lorray shoots out an airlock and is sucked out to his death to avoid Obi-Wan using the force to pry the information from him.

    Back on Nima-Roona, Anniken and Padmé marry in secret. Someone sends a secret recording to Sidious Morg. Sidious finds this “interesting” and calls up Kaliss via hologram. He inquires on “Project Phoenix” and then orders Kaliss to end his vendetta against Skywalker and the Queen, to Kaliss’ anger.

    Kaliss now flies to Geonosis, and a castle amid Transylvania-like forested mountains. A hunchbacked cyborg Dwarf (Warwick Davis) leads him inside, past where a series of reptiles are being cybernetically bonded with X-9 Super Drones in a Frankenstein-like manner, and led to a room where Vurqlar-9-B of the Technology Union awaits. Workers push the shrouded package from Laszlo Station in with them.

    Back on Had Abbadon, Chancellor Palpatine is walking to a hover limo with a Senator. Secretary Tarkin stops Palpatine while the Senator continues into the Limo. The Limo EXPLODES while Palpatine looks on in shock.

    WIPE TO Nima-Roona, where Anniken and Padmé are having the perfect morning together as newlyweds. Their joy is interrupted by a hologram from Mace Windu. Palpatine has survived an assassination attempt and requested that Anniken be his guardian.

    Padmé, who suddenly has a feeling that it will be disastrous if Annikn leaves, tries to stop him. He makes snide comments about her being “a Jedi now” who can “see the future”. She pleads with him, just noting that she has recently started to have “a strange feeling of connection.” He loses his patience with her, telling her that he will decide where he goes, noting this to be a great opportunity for him, and leaves her, tears in her eyes, to join Palpatine on Had Abbadon.

    Back on Geonosis the shrouded package is revealed to be a man frozen in carbonite, face hidden, who Vurqlar-9-B begins to thaw. The Dwarf leaves and starts to send a secret signal. He’s caught in the act and tries to escape, eventually getting surrounded by Super Drones and cybernetic Worflak wolf-rat beasts, who attack.

    In Space, Obi-Wan and Max get a message from Mace Windu. First, he relays that they received a partial message from an agent that Kaliss is on Geonosis and second that Palpatine is requesting that Anniken be granted Jedi Master status. Windu asks Obi-Wan’s opinion on Anniken becoming a Master, which Obi-Wan regretfully advises against since Anniken still has a dangerous “attachment”. They turn around and fly to Geonosis.

    Anniken, meanwhile, arrives on Had Abbadon, where Yoda and Mace Windu formally assign him to Palpatine, but also ask him to monitor the Chancellor’s activities and report them to the Council. They are growing suspicious that Palpatine might somehow have ties to the Sith, or at least be unknowingly manipulated by them. This shocks Anniken, but he relents.

    Anniken flies to Palpatine, who shocks him by being fully aware that the Council will have asked Anniken to spy on him, maintaining that he “has nothing to hide.”

    Back on Geonosis Murqlar-9-B has the badly burnt Man, face hidden by an oxygen mask, taken to a room where robot arms start stabbing at him. He screams.

    Meanwhile, Obi-Wan and Max land on Geonosis and hitch a ride on a Klorg-drawn wagon to the castle. They are attacked by cybernetic Worflaks and manage to fight them off and escape into an ancient secret tunnel leading into the castle.

    On Nima-Roona, on a stormy night, Padmé tosses and thrashes in her sleep. This scene is inter-spliced with flashes from other images, so fast as to be almost subliminal: Anniken’s face wracked with anger, a bridge over molten lava, a knife in a feminine hand, a flash of Darth Vader’s mask......Padmé bolts awake, gasping.

    “Annniken!!” Padmé looks around, sighs. Suddenly she puts her hand over her mouth and bolts out of bed, running to a trash can where she throws up. “By the Force what is happening to me? Anakin. Anakin, where are you?”

    Meanwhile in the Opera House on Had Abbadon, Palpatine shows Anniken an opera. “This, for example, is the ‘Tragedy of Emperor Ganthicass’. It tells of the wise and powerful ruler who first united Coruscant. Alas his warriors, jealous of his power, betrayed and murdered him, plunging the planet into three hundred years of war.” He puts a paternal hand on Anniken’s shoulder and leans towards the stage, pointing. “Watch, my son. Watch and learn...”

    On Geonosis, on the platform of the Castle, the storm still raging in the distance, Workers, watched by Vurqlar-9-B and Kaliss Fett, help a hunched, stumbling Dark Figure in a black hooded cloak try to walk. Occasional flashes of the skeletal robotic hands and feet of the Figure are seen as he stumbles towards a waiting transport. The hatch of the transport closes behind him and the ship lifts off and flies into the clouds. ZOOM IN on Kaliss, who speaks into a comm. “The ‘package is on its way’.”

    Below, Obi-Wan and Max reach the castle, and a long system of secret passageways. They grab a Worker and Obi-Wan uses the Force to get him to reveal Kaliss’ room. Obi-Wan goes to a secret room outside of Vurqlar’s office. Obi-Wan watches Vurqlar through a small two-way mirror on the wall. The cyborg taps at a computer. The Comm. buzzes. He hits a button and a small hologram of Chane appears, telling him that “the package has cleared atmosphere and is en route.”

    Meanwhile, Colonel Max looks into the rather nondescript room. Kaliss’ armor hangs from a wooden frame. A desk sits in the corner. Across from it is a coffin-like Mandalorian Meditation Pod. The room appears empty, so Max opens the secret door and steps into the room. He walks up to the desk and removes a device and plugs it into the computer. Numbers start to flash on its screen. Behind him the Meditation Pod starts to silently open, a rolling cloud of steam billowing out from it. Slowly, Kaliss Fett sits up in the Pod. Slowly, silently, he stands and steps out. He wears only some loose pants. The tribal tattoos on the left side of his face and neck extend down the whole left side of a body hatched with battle-scars.

    Kaliss approaches Max, who finally realizes something is amiss. He turns around slowly to see Kaliss.

    “Hello, father...”

    Max reaches for his pistol, but Kaliss bolts and quickly chops Max in the side of the neck. Max falls to the floor.

    “I am NOT your father, you second-rate copy!” says Kaliss.

    Suddenly Max’s Comm. beeps quietly. Kaliss picks it up. Pretending to be Max, Kaliss plays along with Obi-Wan saying that “the Mandalorian’s information is ours.” They agree to meet at the tower in ten minutes. Kaliss crushes the Comm. with his bare hands.

    On Had Abbadon we see the Freighter carrying the Dark Figure flying towards the planet below. CUT TO the Senate building and Palpatine’s office, where he is informing Anniken on all of his scheduled meetings. He refers to Anniken as “Master Skywalker” to which Anniken relates that, no, he is not a Master yet. Palpatine replies in shock, noting that he’d specifically requested Anniken’s promotion to the Jedi Council. “I guess I should expect such duplicity from them,” says Palpatine.

    Anniken confronts Palpatine about this statement, to which Palpatine reveals that he was once a Jedi, under a different name. He loved a woman named ‘Shmi’ from a small desert planet. “She was enslaved by the Hutt and taken away. I never found her. For that forbidden love they punished me, stole my powers from me!!”

    “I....I can’t believe it! It’s impossible!!”

    “It is all too true! Look at me again, Anakin...search your feelings.”

    Anniken looks again. “There is...something. The Force doesn’t just pass you, it is repelled by you!!”

    “Yeeesss!!! That is the subtle nature of their deceit!” Palpatine removes a small object from a pocket. “Take this and place it into the main computer of the Jedi Temple. Bring it to me, and all will be made clear to you.”

    On Geonosis Obi-Wan is at the tower and Kaliss, Chane, and some Super Drones are there to confront him. They pursue him up the crumbling medieval tower. Obi-Wan uses the Force to pull a thermal detonator from Kaliss’ belt, and arms and drops it, obliterating the Drones and the tower. As Obi-Wan falls a rock hits Kaliss, causing him too to fall.

    On Had Abbadon at the Jedi Temple a Hooded Figure seems to ooze from the shadow, quickly assassinating two Jedi.

    CUT TO the Jedi computer room where a Hooded Figure enters, and is revealed to be Anniken. He pulls out the Object Palpatine gave him and plugs him into the computer. He’s discovered by his friend Ket Falacha, panics, and slays his friend. Running out into the dark with his object, he trips over the bodies of the two slain Jedi, and is surprised and shocked to see them, but leaps out into the night to escape as alarms sound.

    Back on Geonosis, a falling Obi-Wan manages to leap from rock to rock and make it to the top of the Castle. He calls an R2 unit in his Corellian Freighter, which starts up the ship and takes off. Kaliss, his helmet dented, confronts him, but Obi-Wan leaps into the passing Freighter and escapes, Kaliss rocketing off to his ship.

    Back on Had Abbadon, Palpatine is comforting Anniken, who feels regret for killing his friend. They show him a highly-edited version of the conversation between Obi-Wan and Mace Windu that shows Obi-Wan telling Windu that Anniken is not ready to be a Jedi Master, which Palpatine describes as a betrayal. Anniken seethes in anger.

    CUT TO a walkway, where a Hooded Figure emerges from the shadows and assassinates a Jedi and a Senator with a short red laser sword.

    Padmé, meanwhile, lands on Alderaan. A Medical Droid burbles to her in the sick bay, R2 standing by. “Are you sure?” she asks.

    They are greeted by Bail Organa and other Senators. More opposition Senators have been assassinated by Jedi weapons. Padmé notes that they’ll need more allies, and brings in Senator Mon Mothma. Organa objects, noting her support for Palpatine, but Mothma apologizes, noting that she was misled. “I am a centrist, not an authoritarian.” When Organa asks Padmé how she knowns Mothma can be trusted, she replies “I just…know.”

    In Space, Kaliss’ ship attacks, damages, and boards Obi-Wan’s Corellian Freighter. They fight, but the narrow confines negate many of Kaliss’ tricks, and Obi-Wan impales him. The dying Kaliss laughs, noting that his nephew will still complete his revenge. “Padmé!” yells Obi-Wan, who takes over Kaliss’ ship.

    Meanwhile, on Duprali, there is a beeping at the control of Slave 1. Boba Fett hits a button. A hologram of Kaliss Fett appears.

    “Boba Fett, this is your uncle Kaliss. If you are receiving this message then I am dead. I am passing my mission to Lord Dias on to you. I also formally request you avenge my debts of honor. Details are included.”

    Boba Fett turns off the hologram and banks off.

    On Had Abbadon, at Palpatine’s office, Anniken sits on the floor in meditation. Palpatine walks around him, guiding his meditation. Storms rage in the background through a window.

    Anniken sees many images flash by, including Padmé’s face, on a white bed, screaming in pain....crying ‘Noooooo!!’ and reaching towards a Blurry Figure.

    “See what has been hidden from you!!!” says Palpatine.

    The Blurry Figure focuses into....Obi-Wan Kenobi!! Anniken bolts alert.

    “Obi-Wan!! He was hurting Padmé!!!”

    “Now you can see...the TRUTH,” says Palpatine. “Now, it is time for you to confront your greatest fears and angers. Search your emotions...they will tell you where to go.”

    Anniken travels to the dark, brutalist form of the giant Murchalar Prison Complex and confronts Mauk Shivtor, who looks up and smiles evilly.

    “Jedi!! Such a pleasure to see you!”

    “A friend tells me I must face my fear and anger. At one time you were the principal focus of both.”

    Mauk slams into the Force Field barrier, snarling. “And fear me you should, whelk!! Lower this field and I will carve out your heart as I did to the old Jedi and your tired old mother!!!”

    Mauk grabs his neck, choking, as Anniken raises a grasping hand.

    “I can take your pathetic life whenever I so choose.” With a last, mocking glance Anniken leaves.

    Meanwhile, a Hooded Figure materializes at the Jedi Temple and attacks Mace Windu, who manages to fight off the attacker, a Sith Assassin with a Vader-like mask who, with a raspy, robotic voice, mockingly calls him “Old friend.”

    On Aldreaan, Slave 1 and another Mandalorian Landing Ship fly low near the Organa Estate. Several Mandalroians attack and engage the Jedi while the Ships land at the Organa Estate, the Mandalorian warriors easily overcoming the small squad of guards, and capturing the Senators. “Gather all but the Queen and take them to the ships,” says Boba Fett. “My uncle has a debt of honor with her.” He turns his blaster towards Padmé.

    Suddenly R2-D2 rolls, beeping, in front of her. C-3PO runs to join him.

    “Wait! Wait! Stop!!” says C-3PO The Astromech says that the Queen is with child!!” he turns to R2. “Is this true?”

    R2-D2 beeps.

    “My uncle’s honor debt is with the Queen, not with the child. Take her to the ships!”

    On Had Abbadon, Palpatine tells Anniken that he has planned a final offensive. Afterwards the Jedi as known will be disbanded, and Anniken will lead a new force in their place.

    Yoda and Mace Windu, following orders, dispatch the full force of the Jedi to Mustafar for the final offensive against the Separatists. Yoda and Mace are concerned about what will happen, but must follow the orders.

    On Alderaan, Obi-Wan lands in the Mandalorian ship. A group of Guards rushes out and surrounds it, guns drawn. The hatch lowers and Obi-Wan emerges. A nervous Guard shoots. Obi-Wan casually draws his laser sword and harmlessly deflects the blast, then puts the sword away. He discovers that Padmé and the other Senators have been captured. He leaves R2F5 with them to repair their destroyed communications array and flies off to Had Abbadon.

    At a Starbase on Had Abbadon, Anniken and Palpatine look out over a fleet of Clone Landing Craft. Armies of Jedi Knights and Clone Troopers load into the many ships, which take off into the blood red sky.

    “It is a thing of beauty, Chancellor!” says Anniken.

    “Yes. Soon this rebellion will be crushed and a new order brought to the Galaxy! And you, Master Skywalker, will be my right-hand!”

    Yoda assigns Mace Windu to protect the temple from the Sith Assassin and sends the newly-arrived Prana to return to her Sen-nai Anniken. He and the rest of the Jedi board the Landing Craft bound for the battle at Mustafar.

    On Mustafar, Boba Fett delivers Padmé and the other prisoners to the Separatists, specifically to Gunray Pabucan of the Sha’anar Trade Guild. Boba proclaims his uncle’s mission to Lord Dias “complete” and his services “ended.” Pabucan offers Boba a lot of money to stay and fight, but Boba notes that he doesn’t do “suicide missions.”

    At the Jedi Temple. Mace Windu, Chancellor Palpatine, Anniken, and Prana stand on a balcony. A squad of Chancellor’s Guards stand on a balcony overlooking the streets beyond the Temple grounds, which are lined by a small army of Clone Troopers. Anniken seems preoccupied. Prana seems nervous next to him. Palpatine smiles and waves to a host of Camera Drones that hover just off the balcony. Mace scowls. Anniken admonishes a repentant Prana, still angry that she didn’t protect Padmé, and send her to guard the Younglings.

    Mace is suspicious. Palpatine reassures him that, with the perimeter of Troopers, nobody can get in. “Or out…” notes Mace.

    “Such a suspicious mind you have for a Jedi,” Palpatine notes.

    At Murchalar Prison, the Sith Assassin breaks Mauk out of his cell and hands him his laser sword. “At long last!” says Mauk. “Our revenge!!!”

    On Mustafar, the Republic forces of Jedi and Clones face off against the Separatist forces of Battle Droids and Super Drones. A reluctant Yoda orders the attack.

    Back at the Jedi Temple, Mace Windu notes to Palpatine how the Force doesn’t touch Palpatine, even when it touches all. In voiceover during a montage of various Jedi killed on Mustafar he notes how he should be able to sense a Sith Master across the galaxy…unless the Sith have found a way to hide from the Force.

    Mauk Shivtor and the Sith Assassin attack the Temple. They slay the Jedi one by one. Mace winces with pain as Mauk slaughters the Younglings.

    “The Younglings!!!” he cries.

    “Every...single...one!” says Palpatine, smiling evilly. “You were wise to trust your suspicions, Jedi. Now, feel the true power of the Dark Side!!”

    Something unseen changes the atmosphere. Across the Galaxy Yoda, Obi-Wan, Anniken, Prana, and Mace all wince as if in pain. Mace draws his laser sword and confronts Palpatine, who is in fact Sidious Morg, Sith Master.

    “Go ahead, Jedi, strike me down. An unarmed old man. The freely elected Chancellor of the Galactic Republic! Reveal the treachery of the Jedi!” says Sidious as he motions to the Camera Drones. “...The Galaxy watches.”

    Inside the Temple Prana finds the slaughtered Younglings. She is then confronted by Mauk. They draw laser swords and fight.

    Elsewhere in the Temple, the Sith Assassin confronts and battles Anniken, acting as though he knows Anniken. The Sith reveals himself to Anniken to be a badly burn-scarred Baron Cetu Thorpe.

    On the Balcony Mace goes to strike Sidious, but the Chancellor’s Guards block the cut. Mace fights the Guards while Sidious, as Palpatine, tells the Camera Drones that the Jedi have “betrayed” the republic and retreats inside the Temple. Once inside, he grabs a Comm. And tells Tarkin to initiate “Order 3-6.”

    Back on Mustafar, the battle continues. More Jedi, Clone Troopers, Droids, and Drones fall.

    The Clone Troopers stop and touch the sides of their helmets, receiving a message. They suddenly fall back, allowing the Battle Droids to surround the Jedi on three sides. The Clones then take aim at the Jedi from the fourth side and start to fire. Caught in the crossfire, numerous Jedi start to fall.

    “No....” says Yoda.

    The Clone Generals around Yoda turn their guns on him. They fire, but Yoda has flipped away.

    Several important Jedi: Bav Myorta, Vrema Melovrius, and finally Kiai Mudi are cut down.

    On the Temple Balcony, Mace Windu battles the Guards, killing the last of them as the Camera Drones watch. He storms into the doorway.

    Inside the Council Chambers, laser sword drawn, Mace enters, where Sidious awaits, seated casually in Master Yoda’s high seat, a hood over his head, shadowing his eyes.

    Mace points his laser sword. “Sidious Morg, you are under arrest in the name of the Jedi Council and the Galactic Republic.”

    Sidious laugh. “Fool, I AM the Republic!!”

    “Stand down, or be put down.”

    Sidious floats specter-like down from chair. “I prefer to do this...the hard way...”

    Suddenly LIGHTNING shoots from Sidious’ fingers and engulfs Mace Windu.

    Inside the temple, Prana assaults Mauk with her now-telescoped laser naginata. Prana seems to have gained the upper hand. Suddenly Mauk does a spinning move that deflects the thrust past him, grabs the pole of the laser naginata, and pulls. Prana screams as she’s pulled into his grasp. He lifts her by the neck with his right hand, the blade of his laser sword holding her weapon down.

    “And now, my little Padawan, I drink of your blood!!!” He pulls her towards him, mouth open......

    “No, my apprentice, not yet!” says the disembodied voice of Sidious. “I foresee a use for her!”

    He reluctantly throws her aside and leaves, and she recovers and follows.

    Anniken talks with Thorpe, who tries to convince Anniken to join him against Sidious. But he warns Anniken that Mauk is approaching and encourages him to strike down Mauk. When someone enters, Anniken, full of rage, thrusts, impaling Prana, his own Padawan! “It felt good, did it not? The rage? The hate? Remember that feeling,” says Thorpe, putting his mask back on and melding into the shadows.

    Back in the Council Chambers, Sidious continues to assault Mace with his lightning. Mace slowly fights back, using his laser sword to redirect the lightning back at Sidious. Just when his victory over the Sith Master seems imminent, Anniken arrives, and is torn. Sidious please with him.

    “Help me, my son!”

    Agonizing, Anniken yells “FATHER!!” and cuts off Windu’s hands. Sidious uses the lightning to push Windu off the edge of the balcony.

    The recovering Sidious now admits that he’s not Anniken’s father. “A small lie, to reveal the bigger truth!” Mauk and Thorpe join them, and urge Anniken to join them. “Always the Jedi have lied to you!”

    Then Mauk discovers a hidden Padawan. He’s about to kill the Young Padawan but Sidious tells Anniken to do so. With the three Sith urging him on, he relents and strikes down the young Padawan.

    “Welcome to the family!” says Baron Thorpe.

    Obi-Wan lands at the Temple and surveys the damage in horror, including the dead younglings. He sees where Prana fell, but her body is not there. Suddenly Mauk appears. They exchange taunts and battle, with Obi-Wan remaining calm, centered, and focused, eventually cutting the reckless Mauk in half without emotion, a distasteful but necessary task.

    Anniken and Thorpe arrive on Mustafar, where Anniken is assigned to lead the armies to finish the Separatists while Thorpe performs a “special mission.” Anniken assumes command of the Clone Army, telling them he will give them a way into the fortress.

    Yoda and two surviving Jedi watch, sadly, from a hill above.

    Padmé, the Roona, the Senators, and R2 and Threepio are imprisoned, the people behind bars, the droids via restraining bolts. Ba Ba uses his long tongue to pull off R2’s restraining bolt and R2 shocks the guard and hacks the computer, freeing them.

    In the Separatist Council, Anniken arrives, they believe to save them. Instead, he murders them all in cold blood, his laser sword flickering red for a second after killing Gunray Pabucan.

    Obi-Wan arrives on Mustafar, Yoda witnessing. Kenobi discovers a cave with an endless lake of lava, a bridge over it, and a train on a track that leads away. He runs up the bridge.

    Anniken leads the Clone Troopers in the systematic killing of the Separatists.

    Padmé and the rest discover a Sha’anar Nursery, witnessing how the Grubs must compete to survive, Padmé gaining sympathy for her old enemies by better understanding their species’ physiology and how it shapes their actions.

    On the surface, Baron Thorpe assaults Yoda and kills the two Jedi. Yoda, though unarmed, remains an impossible target to hit.

    In the headquarters, Anniken leads the ongoing slaughter. In the Hatchery, the Nanny shows Padmé and the rest a secret door. As they are escaping one by one, Clone Troopers led by Anniken break in and slaughter the Sha’anar. “The Chancellor says no witnesses,” says Anniken. When asked about the Grubs and Eggs, he says to burn them all, since they are just “insects”. A shocked Padmé witnesses. Ba Ba leads her through the secret door, which Anniken notices closing.

    On the hill, the battle between Thorpe and Yoda continues, Thorpe unable to touch the ever-moving Jedi Master. Finally, he blasts Yoda with lightning from his fingers, but Yoda simply holds up his hand and the lightning passes harmlessly around him. Left with no other choice, Yoda raises his hand and Thorpe flies off, over the edge of a cliff.

    Obi-Wan runs up the lava bridge, passing the Senators.

    Moog and Ba Ba are trying to shake Padmé from her shocked trance when Anniken steps out through the hidden door. Excited, he calls to Padmé and embraces her, telling her that the war is almost over and that they can be together again soon. She palms a dagger, trying to will herself to kill her husband, but drops the dagger, unable to do it.

    Obi-Wan appears and Anniken, blinded by fury, assumes the worst, using the Force to choke Padmé, who he assumes is betraying him with Obi-Wan. Obi-Wan forces him to release Padmé by drawing his laser sword. Ba Ba says “You killed her!” Anniken now chokes Obi-Wan, who flings Anniken back. Moog and Ba Ba carry away the seemingly lifeless Padmé.

    At the Train Padmé is discovered to be alive, but unconscious.

    Back further on the bridge, Anniken attacks Obi-Wan, and the two Jedi clash amidst the lava flows. In a long, running fight amid the crumbling, fiery landscape, they fight, Anniken’s laser sword occasionally flickering red, then out, as the kyber crystal within resists the Dark Side. Eventually, Anniken leaps recklessly, and Obi-Wan, centering himself with the force, cuts off his right arm and both legs.

    Anniken slides towards the lava. Obi-Wan tries to help, but Anniken first tries to pull his laser sword to him to keep fighting (with Obi-Wan taking it instead) or physically pull Obi-Wan into the lava with him. “I WILL DRAG YOU TO HELL WITH ME!!”

    Knowing that Anniken is lost, Obi-Wan regretfully leaves him to his fate.

    Obi-Wan walks up the hill where Yoda is waiting. They talk, realizing that the Jedi are gone and that the Sith cannot be stopped now. Yoda notes that Padmé carries Anniken’s child, and that Obi-Wan must hide the child. Obi-Wan knows exactly where to take him. Yoda too will hide, noting that when it is time for Yoda to be found, Obi-Wan will know where to find him. They part ways.

    Below them Anniken is suffering when Baron Thorpe appears, still behind the Vader-like mask. He puts his hand to Anniken’s throat, laser sword drawn.

    “Hello, my grandchild.....or should I say.....my son!”

    In a shuttle, Padmé, the Senators, and the Roona and Droids are escaping. Padmé is delirious, but suddenly clear and awake, knowing that Obi-Wan needs them.

    As a large force of Clone Troopers advances towards Obi-Wan, the shuttle flies by and rescues him, and they fly off into hyperspace.

    CIRCLE WIPE TO...

    An “Imperial Montage”. “The Imperial March” plays as we step through a silent montage:

    A fleet of Star Destroyers fly up through space at a rising angle, like stabbing spearheads.

    The Roona being silently strafed from above by Clone Gunships.

    Clone Troopers silently devastating a force of White Legionnaires.

    Protestors in Had Abbadon getting silently gunned down by Clone Troopers.

    A giant screen on a building clicks off from a news show to display an idealized image of Emperor Palpatine. Two scarlet banners with the Imperial Logo cascade to either side of it.

    Finally, a dark Surgical Room. As the Imperial March crescendos, we see a badly burnt Man (face obscured) on a dark, grey table. Robot Arms silently stab at the flailing figure. Black leg plates are clamped over burnt leg stumps. Strange equipment is sewn into a chest cavity.

    CUT TO POV shot, where a black mask descends TOWARDS CAMERA, eclipsing the view.

    As the mask eclipses the view and the last bar of the March starts, the iconic breathing of Darth Vader begins to be heard over the music. The surgical table rises slowly and silently with a black armored Figure on it as the breathing and music continues.

    Finally, we ZOOM IN on the iconic mask of Darth Vader as he rises and the music comes to an end.

    FADE TO BLACK as the breathing continues for four more cycles, the only sound filling the empty blackness.

    Then....SILENCE.

    FADE TO WHITE. A “Hope Montage” starts. “The Force Theme” plays as we enter a second silent montage:

    A clean, white Delivery Room. Padmé silently screams in pain on a delivery table, attended to by a nursing droid. Obi-Wan looks on stoically. As the droid extends a Newborn over towards the waiting hands of Padmé, Obi-Wan steps in and takes the Newborn. Padmé silently screams in emotional pain at Obi-Wan as he walks out with the baby (observant viewers will recognize this scene from Anniken’s vision in Palpatine’s office).

    A Hooded Figure slips silently through a rowdy Bar Crowd into a back room. The Figure removes his hood to reveal Bail Organa. Mon Mothma and Naiyadah wait for him. Mothma holds up a device that projects a hologram of an X-Wing Fighter.

    Master Yoda stands silently amid the swamps of Dagobah. A Spaceship lifts off in the background.

    C-3PO pushes a hover chair down a hallway. In the chair sits a sad looking Padmé. R2-D2 trundles alongside.

    As The Force Theme crescendos, full orchestra, we see a familiar Moisture Farm on Tatooine. A young man (Owen Lars) opens a door, a woman (Beru) behind him. A Hooded Figure hands the surprised man a bundled Baby.

    CUT TO Owen, holding the Baby, now looking out upon the iconic twin suns of Tatooine.

    PAN BACK as the music finishes its last bars to reveal Obi-Wan Kenobi watching from afar. The orchestra fades to a single flute playing the last notes of the Force Theme. Obi-Wan puts up the hood of a Moisture Farmer’s Robe and walks silently away as the music ends.

    Full Synopsis

    PAN UP to a Red Planet where two large space fleets clash in a fury of laser blasts and explosions. Starfighters jink and blast in running dogfights. INVERT and continue to PAN DOWN through the atmosphere to the rocky ground of Planet Hakorat, where two Jedi fight a group of Battle Droids. The Jedi are making short work of the Droids, effortlessly cutting them down left and right. HELICOPTER PAN BACK to reveal a long train of dozens of destroyed droids behind the Jedi, but also revealing a huge swarm of hundreds of Droids. The droid swarm slowly surrounds and envelops the two Jedi, but soon a force of Clone Troopers join them, mowing down the Droids with a barrage of laser fire. Destroyer Droids appear and start to cut down some Troopers, threatening to stall the advance, but a Republic Walker uses its cannons to destroy them. A grand land battle spreads across the horizon.

    AT-TEWalker_Pic01.jpg

    (Image source IGN)

    WIPE TO...

    Dantoine, where Jedi Bav Myorta leads a fleet of Jedi Starfighters against a swarm of Droid Fighters. He jinks and spins, dodging every blast, and destroying dozens of Droid Fighters in seeming effortlessness. Past the fighter screen, he and his wingmen dive down upon a Sha’anar Battleship, strafing the surface and destroying its defensive cannons.

    WIPE TO...

    d54pam9-c8003b58-3308-4542-af21-b5e07ddcb12a.png

    (Image source Deviant Art)

    Kessel, where several large Battleships engage at close quarters. A Republic Star Destroyer and a Ghurran Man-O-War slide past each other, side cannons tearing into each other in huge rippling explosions.

    CUT TO inside the Star Destroyer bridge where Jedi Master Mace Windu looks on stoically as the two ships blast into each other. The ship SHAKES with explosions. A Clone Trooper warns Windu that a swarm of Battle Droids is crossing the vacuum gap between them and the Man-O-War. Suddenly an EXPLOSION rips open the side of the bridge, sucking out the air and some crew as Droids rush in. Windu takes a deep breath, draws his laser sword, and battles the Droids.

    WIPE TO Hoth, where a red-orange glow of a setting sun lights the ice and snow as Clone Snow Troopers and Walkers engage a battalion of Droids and their Hover-Tanks. Troopers manning a tripod-mounted cannon engage and destroy Destroyer Droids. Jedi Knight Ket Falacha leaps acrobatically over them and, in a wheeling, spinning martial display, cuts through swaths of Droids. He leaps up to cut a flying Droid in half and lands atop a Tank where he beheads the Droid Pilot and drives his laser sword into the tank, causing it to heat and start to break apart. He scissor-leaps off just ahead of the EXPLOSION, landing and engaging with more Droids.

    WIPE TO Malastare, where several Republic Assault Ships stream through laser fire and sparking space debris from destroyed Separatist Ships towards the bulk of a Droid Factory Ship. Some are hit and destroyed, but others stream on.

    Inside one is Jedi Nuara D’Naal and a team of Clone Troopers. They land on the Factory Ship and blast their way in, fighting their way through the Battle Droids within.

    WIPE TO Kashyyyk, where a squad of Clone Troopers, Gunships noisily hovering by above the tree line, engage at close quarters with Battle Droids among the tangled jungle underbrush. Soon a group of shrieking Wookies drop down on the Droids from the trees and start tearing the Droids limb from limb.

    1680956830827.png

    (Image source Wookiepedia)

    CUT TO just behind Jedi Master Yoda and PAN WITH HIM as he walks patiently among the chaos. Three Destroyer Droids roll out in front of him. He raises his hand and the Droids LIFT UP. He quickly lowers his hand and they come CRASHING DOWN, destroyed. He uses the Force to FLING more Droids away as he advances around a curve in the jungle path, where a Hover Tank waits for him and starts to lower its gun at him. PAN TO his face, which shows only sadness as the shadow falls over him.

    WIPE TO Helborum, where Obi-Wan Kenobi leads a force of White Legionnaires (a volunteer force, as he refuses to use Clone Troopers given the question of their consent to fight) against the Droid Army. They rush from rock to rock on this scrub-covered semiarid planet making methodical progress against the entrenched Droids. Fighters dogfight in the air above them, vying for superiority. Obi-Wan deflects sniper fire from an outcropping with his laser sword, sending the blasts back up towards its source, destroying the sniper. The Legionnaires advance under a withering barrage of fire. Lasers blasting, a figure runs up and lands beside Obi-Wan. It is Queen Amidala in her Handmaiden Padmé disguise.

    Obi-Wan describes his plans to carefully advance to the next ridgeline to link up with Anniken. Suddenly an EXPLOSION on the near ridgeline, flinging Droids like rag dolls. A force of Clone Troopers runs up along the ridge, clearing out the shocked Droids. With a huge flip and an excited yell, Anniken Skywalker lands among the entrenched Droids and starts to cut them apart. Padmé smiles. “...or perhaps immediately at this ridgeline,” Obi-Wan sighs.

    “I swear I’ve aged three years for every one I’ve known Anakin,” sighs Obi-Wan.

    “He is brave, you have to give him that!” says Padmé, smiling.

    WIPE BACK TO Hakorat, where the battle continues. The two Jedi, Vrema Melovius and her Padawan Mort Ghanmaan, continue to lead the assault against the Droid swarm. They slice a path that the Clone Troopers move in to fill, threatening to break the Droid Army in two. On the verge of breaking the droid lines, three X-9 Super Drones appear from the crowd of Battle Droids. They each have four arms and carry shield-protected double-ended Shock Staves. With a scream Mort rushes them, laser sword swinging. “Padawan, no...!” screams Vrema.

    Mort engages the three Drones bravely, deflecting many blows and cutting down one of the three. But their strikes are like lightning and eventually one staff strikes home, followed by another and another. Mort falls dead just as Vrema arrives. She uses the force to pull Mort’s laser sword to her, and engages the remaining two, which start to push her back.

    WIPE BACK TO Dantoine, where Bav Myorta and his ships continue to tear apart the Separatist Fleet. With the defensive cannons destroyed and fighter screen eliminated, the Battleship is defenseless as Torpedo Bombers fly in and start to tear it apart with their rocket torpedoes. They are soon engaged by evil-looking Destroyer Fighters piloted by the X-9 Super Drones, who prove deadly, killing one of Myorta’s wingmen.

    WIPE BACK TO Kessel and the Star Destroyer Bridge where Windu, breath still held, flying through the freefall, battles off the Droids amid the vacuum. A Clone Trooper warns, “Master Windu, the ship is falling to the boarders! We must do something!” Windu nods and, with a kick, flings himself out of the breach in the hull and into the vacuum of space!! Ice crystals form on him as he flies through the void towards the Man-O-War, trusting in the Force to protect him from the vacuum. He lands at an airlock, stabs a panel, and the door opens. He slips inside, hits a button, and air floods in. He relaxes and breaths for a second, then hits another button and the inner door slides open to where several Battle Droids await. Cutting a path through them with his laser sword and throwing several against the wall or into each other, he soon fights his way to the bridge where he stabs the panel to open the door to the bridge...where five Super Drones await him. He scowls and rushes them.

    WIPE BACK TO Hoth, where the Ket Falacha continues to lead the charge against the Droid Army. Still spinning, he is making short work of the Droids, flipping through the air and beheading a Destroyer Droid before it can get its shield up. He pauses dramatically as we PAN OVER to where three Super Drones await, Shock Staves spinning. Ket snarls and exhales twin clouds of condensed breath from his nostrils.

    WIPE BACK TO the Droid Factory Ship at Malastare, where Nuara D’Naal and her Clone Troopers climb and leap among the moving arms and sparks of the Factory Floor Assembly Line. Half-built Battle Droids move along the assembly line conveyors in neat rows, assembly arms putting them together piece by piece. At the far end of the line a cable shocks the completed Droids to life and they form up, firing at Nuara and the Troopers in never-ending waves. The Troopers do their best to keep up with Nuara; some get crushed, knocked down, or shot by the active Battle Droids. Nuara flips to the end of the assembly line and cuts the cable that is sparking the finished Battle Droids to life. The completed Droids, no longer sparked to life, begin to PILE UP. Now among the Droids, Nuara is cutting them down in droves. Suddenly a door opens and four X-9 Super Drones emerge. Nuara strikes a defensive pose with her laser sword.

    WIPE BACK TO...Kashyyyk, where Yoda stares down a Hover Tank. Closing his eyes and lifting his hand with great concentration, Yoda starts to slowly tip over the tank until it falls on its side with a crash. Whooping Wookies descend upon the crashed vehicle and start to pull the Droids from it.

    “Excellent work, Field Marshal!” says a Clone Trooper. “It is a glorious day for the Republic.”

    “Indeed....Glory,” says Yoda, sadly, eyes downcast. He walks on, casually, almost absentmindedly tossing aside Droids or pulling hover ships from the sky and into trees. He emerges at a burning Wookie village where more Droids burst from the burning side of a hut. Some Wookies and Troopers are cut down before Yoda can toss the Droids aside. Soon Yoda stops, scowls, and turns around as six Super Drones burst up out of the ground behind him.

    WIPE BACK TO...Helborum, where, side-by-side, Anniken and Obi-Wan advance up the hillside, leading the assault. Working together like a well-oiled machine the two use their laser swords and force powers to clear a path of advancement for the Troopers and Legionnaires.

    They are joined by a force of Roona Warriors, who slam into the flank of the Droid Army. It is led by Prana Ashla (Raven Symone), the N’ehma[1] Padawan of Anniken. She wields a laser sword-spear with a four-foot pole and a one-foot laser blade. The blade switches from one end of the pole to the other as she wills. A force field protects the shaft. She wields it like a Japanese Jo staff. The various Legionnaires, Clone Troopers, and Roona advance on three fronts towards the factory, the three Jedi leading the charge. The Droid Army disintegrates before them. Clone Fighters fly up, clearing the skies.

    Suddenly the ground trembles and, with a fount of dirt and rocks and a loud bellow, a six-limbed reptilian cyborg Burrugath Giant bursts from the ground with a titanic roar and incinerates a line of Troopers with laser beams from implants on its head. “That could be a challenge,” says Anniken

    “Move aside,” says Prana, who runs off towards the Burrugath.

    “Padawan, wait...!” says Anniken. Obi-Wan looks at him and raises an eyebrow. Anniken shrugs and runs off after Prana.

    Prana runs, dodging the twin laser beams. She leaps over a swung claw, lands atop it, and runs up the leg onto to the beast’s back. It starts to buck. She holds on, climbing hand-over-hand up towards its neck. Grabbing on with her legs she ignites the laser sword-staff and plunges the blade deep into the creature’s neck. With a screech it falls on its face and dies. Prana flips over and lands next to Anniken, who watches, half in shock, half in pride.

    “Is that the best they can throw at us?” asks Prana.

    Meanwhile, inside the Droid Factory, a dark, grey metal room full of hanging chains, sparking conduits, and moving transoms, someone watches. Scores of Droids, Cyborgs, and insect-like Ghurrans scurry about. In the center, his spider-like legs perched around a custom seat, Admiral Kreeg (voice of Christopher Lee) watches a small hologram of Padmé speaking. A Flich, a Sha’anar, stands by. “Gather your ranks and prepare for siege!!” says the hologram of Padmé. “And be prepared, for I am certain Kreeg has a few more tricks up his sleeve!”

    “Oh, yes, young one. I have plenty of ‘tricks’ indeed!” he says.

    Suddenly the doors to the factory open to reveal a dozen Super Drones, shock staves buzzing.

    “I have a bad feeling about this,” says Prana, the cocky glint suddenly gone from her eye.

    In a series of CIRCLE WIPES the scenes shift between the seven different battles every few seconds in a running montage of battle clashes between Jedi and Super Drones.

    Vrema Melovius, a laser sword in each hand, strains against the two advancing Super Drones.

    Bav Myorta and his remaining wingman jink and dodge as best as they can against the superhuman agility of the Destroyer Fighters.

    Mace Windu faces off against five Super Drones. Almost immediately he seizes the initiative and with a lightning-fast stab takes one out. The others start to swarm out around him, Shock Staves twirling, forcing him to retreat.

    Ket Falacha engages the three Super Drones in a spinning, leaping, “Wire-Fu” type battle, just barely averting the six stabbing staves.

    Nuara D’Naal battles four Super Drones, gymnastically flipping backwards as she bats away the striking Shock Staves. She gets shocked once and Force-leaps up into the catwalks. The Drones start to climb up pillars after her, scuttling like insects.

    Six Super Drones rush Yoda, who slips and ducks and dodges under each swing and trust of the deadly Shock Staves, deftly avoiding each strike, flinging and throwing the attacking Drones in a sort of “Force Aikido”. The Drones start to get tangled up in each other’s way, unable to touch the ever-moving Jedi Master.

    Twelve Super Drones spread out from the factory Door and engage Obi-Wan, Anniken, Padmé, and Prana. The three Jedi fall back in a defensive triangle as the Drones attack.

    It cycles through each of the battles once more before...

    WIPE BACK TO Hakorat, where Vrema continues her fight against the two advancing Super Drones. Using the Force, she flings one back, but it uses claw-like spikes on its arms and legs to dig into the ground and stop itself. She cuts off the arm of one, but receives a nasty shock from the other and falls back with a yell. The second Drone scuttles around behind her, trapping her. Growing exhausted at the sudden onslaught, she uses the Force to leap up out from between them, landing a few yards away. The Drones advance. She starts pelting them with rocks, which they bat away. Some Troopers advance beside her and blast into them, but they deflect the blasts like they were Jedi themselves!

    “Trooper, call in an air strike,” she says.

    Two Gunships fly up and starts cutting into the two Drones with automatic laser fire. Overwhelmed by the assault, one is cut down and the other damaged as they rush to reach the Jedi. Vrema engages the remaining one and slices it in half. Exhausted, she sadly eyes the body of her Padawan.

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    (Image source Pinterest)

    WIPE BACK TO Dantooine, where Bav Myorta and his remaining ship (his Padawan) engage the four Destroyer Fighters. The two ships zoom close to the surface of a Republic Star Destroyer, weaving and dodging among the cannon towers, antennas, and other protrusions. The Destroyer Fighters follow in a running chase. The cannons engage and soon one of the Destroyers has its wing blown off and spirals in and explodes on the surface shields. Another cannon gets shot and destroyed by a Destroyer. The Padawan has a close call, the lasers scorching his fighter.

    On Bav’s orders, the two Jedi Starfighters break apart. Two Destroyers follow the Padawan, the other follows Bav.

    “Now, break left!! Engage the fighter on my tail as we pass!!” Says Bav.

    The two fighters bank back around towards each other, completing the circle. Bav shoots past his Padawan, who in turn shoots past him, damaging the Destroyer following Bav. Bav’s lasers clip the wing of one of the Destroyers following the Padawan, causing it to spin into the other. Both EXPLODE. Bav now kills his engines, flips his Starfighter around, flying backwards with the inertia, and shoots and destroys the last Destroyer Fighter.

    “Great shots!!” says the Padawan.

    “Trust in the Force, Padawan,” says Bav.

    In the background one Sha’anar Battleship EXPLODES, then another.

    “The tide of battle turns! Onward, Padawan, to victory!”

    WIPE BACK TO Kessel and the Ghurran Man-O-War, where Mace Windu faces off against the four remaining Super Drones. Mace uses the Force to push one in front of another just as it stabs, killing its fellow Drone. Mace falls back under a barrage of strikes, deflecting them with wide, sweeping parries. A Drone flips up and over him. Mace holds the laser sword over his head and closes his eyes, A Drone goes to catch him in a scissors between its two staves. Mace leaps straight up, flips, kicks off the ceiling, and drives his laser sword into a Drone, killing it. The remaining two charge. He turns, charges silently, and slides on the floor between their legs, slicing the legs off of one. The remaining intact Drone leaps at him while the damaged one scuttles towards him on its arms. Mace spins and slices off the two left arms of the intact Drone with a down stroke and slices it in half diagonally on an upstroke. As it falls, he kicks a Shock Staff from its hands, grabs it like a spear, and throws it into the head of the scuttling Drone, killing it.

    Taking a second to catch his breath, he stands, brushes off his clothes, and walks calmly into the Bridge. He demands that the Ghurran Captain surrender. The Ghurran refuses. He casually beheads it, and the second-in-command then dutifully surrenders.

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    (Image source StarWars.com)

    WIPE BACK TO Hoth, where Ket Falacha continues his spinning battle against the three Super Drones. Surrounded, he spins and ducks low below a thrust, arching his back, right hand on the ground. He grabs the staff with his left hand and pulls it until it stabs and kills another Drone. He then does a gymnastic roll back to his feet, leaping up to kick a Drone in the head. He drops low again in a sweeping slice that cuts off its legs. The third one engages him, overwhelming him by sheer ferocity, shocking him once, twice...he falls to the ground and is only saved by another Jedi leaping in.

    The Jedi battles the Drone, cutting off an arm, before the staff strikes home for a long and fatal shock. Shaking off his own shock, Ket jumps back up, stabs backwards into the head of the legless Drone as it scampers up, then leaps in a spinning, flying, stabbing attack that penetrates the defenses of last Drone, killing it. He runs to the other Jedi, but it is too late. A Clone Trooper approaches and salutes.

    “General, we have broken their defenses.”

    Ket, exhausted, sadly eyes the dead Jedi. “Thank you, Trooper. Rally the forces and let’s end this battle.”

    WIPE BACK TO the Droid Factory at Malastare, where Nuara D’Naal battles the four Super Drones among the catwalks of the factory. She leaps from catwalk to catwalk, just ahead of the Drones. One comes charging at her, staves spinning. She takes her laser sword and cuts the catwalk, causing catwalk and Drone to fall. The Drone falls into a vat of molten metal passing under them on a transom. Two more leap over onto the catwalk, trapping her between them and the missing stretch of catwalk. She turns to leap to another catwalk, but the third Drone is there.

    Thinking, looking, she finally runs and leaps across the void, grabbing a hanging electric cable and swinging over to a hanging light, which she grabs with her legs. She cuts the cable with her laser sword and flings the sparking cable back over to the catwalk, where it electrocutes the two Drones. The third Drone holds both staves in its lower hands and starts to swing among the hanging pipes and conduits towards her. It launches a kick. She dodges and leaps away to another light. She slips, almost sliding off into a pile of sharp Droid Parts below her. The Drone follows, landing on the earlier light. She leaps to a third light that swings wildly. The Drone jumps to the second light. The Drone gets ready to leap again. She throws her laser sword, which cuts the cable holding up the second light, sending the Drone falling into the parts, where it is impaled and destroyed. Leaping again, she grabs a pillar and slides back to the floor near the control room, which is already secured by a squad of Clone Troopers.

    “The factory is secured, General.”

    Nuara pulls her laser sword back to her hand with the Force. “Excellent work, troopers. Alert the Council.”

    WIPE BACK TO Kashyyyk, where Yoda is surrounded by six Super Drones. He ducks and weaves among them in a never-ending flow of movement, effortlessly dodging each attack. He spins under one and uses the Force to further push the attacker into a second Drone, destroying both. Two more attack! Twisting between their thrusts, he Force-guides the Drones’ attacks into each other. Both fall, impaled on each other’s staves. The remaining two charge. One he slips around and Force-pushes into a tree, destroying it. The last one Yoda picks up and slams down with the Force.

    YODA, sadly, starts to walk forward again when thirteen more Super Drones burst out of the ground all around him. Yoda sighs. As they start to charge, he flings his hands out, sending two Drones into another two, destroying all four. He slips to the side of another charging Drone and Force-flings it into a fourth. Wookies and Troopers try to assist, but are cut down quickly by the hyper-fast Drones with only one Drone destroyed (ripped apart by a pair of Wookies, War Chief Graanthaa and a young warrior named Chewbacca). Soon Yoda is in the center of a wild, swinging melee of eight Drones, systematically ducking, dodging, redirecting attacks, and Force-throwing them until, one by one, all are left smoldering.

    A squad of Clone Troopers and Wookies approach, including a Clone General, Graanthaa, and Chewbacca. The Clone asks Yoda if he is hurt.

    “In my body, unharmed I am. Unseen some wounds are.”

    Chewbacca roars sympathetically.

    Yoda then approaches a still-twitching Drone. With the Force he rips the face mask from it, revealing a heavily cybernetics-enhanced small reptile-like Creature, which shrieks in pain and anger.

    Chewbacca roars aggressively.

    “What in the galaxy is that hideous thing?!?” asks the Clone General.

    “Another victim of this war, it is.”

    Yoda holds up his hand and the Creature’s shrieks stop, its pain removed, and a peaceful look crosses its face. Soon it mercifully dies in peace.

    “And may the Force be with us all.”

    WIPE BACK TO...Helborum, where a dozen Super Drones menace Obi-Wan, Anniken, and Prana. The Drones leap and dance about in a confusing pattern that even the JediI find hard to track. Obi-Wan uses the Force to push one back, but it uses its forearm spikes to dig into the dirt and scuttles back into the melee. The Jedi fall back under the barrage of strikes and are ultimately forced back-to back into a defensive circle. “Anniken, for once I’d appreciate one of your ill-advised ideas!” says Obi-Wan.

    Padmé, Guard Captain Pataka, and a squad of Troopers and Legionnaires starts to fire into the Drones at a furious pace. One Drone is hit and damaged before three peel off from the group and start to block the blasts with their shield-protected staves. Some of the blasts are reflected back into the squad, killing a couple of Troopers and a Legionnaire. One of the three blocking Drones breaks off and runs towards Padmé and the squad, staves swinging. The Drone stabs two Troopers in quick succession and leaps at Padmé and Pataka. Padmé rolls to the side with a scream, just dodging a staff. Pataka is not so lucky and gets a fatal stab to the chest! As the arcing shocks dance over him he uses his last effort to shoot the Drone, damaging it, then DIES.

    Padmé screams “No!!” and starts firing at the damaged Drone, which blocks a few hits, but a couple shots get through its weakened defenses, killing it. Another Drone breaks off and starts running towards Padmé. Anniken notices and flips over the surrounding Drones and runs, screaming at the Drone pursuing Padmé. Obi-Wan and Prana fall back-to-back, desperately trying to hold off the swarm of Drone. Two Drones break off to pursue Anniken. Padmé shoots futilely at the Drone charging her. Just as it’s about to impale her, Anniken arrives and cuts it in half!

    “It looked like you could use som.....”

    “ANNIKEN, LOOK OUT!!!”

    Anniken turns as the two pursuing Drones attack him. Caught off guard, he can barely hold them back.

    General Ceel and the Ronna Warriors join the fight and charge, screaming, towards the Drones. Two more Drones break off from the circle around Obi-Wan and Prana and rush towards the screaming Warriors. The Drones leap into the mass of Warriors, killing many of them, but the other Warriors keep charging and fighting, swarming around the Drones. Eventually by sheer numbers the Drones are overwhelmed and cut to shreds despite heavy Roona casualties.

    Eventually, working together the heroes, after a difficult fight, manage to defeat the last of the Drones, but Pataka is dead, casualties are heavy, and the battle isn’t over. They charge Admiral Kreeg’s droid factory headquarters, breaching the front gates in a rhyme to the opening fight in Episode IV and fight their way to Kreeg’s command center.

    The doors behind Kreeg blast open and the Jedi run in, cutting aside Battle Droids. Padmé and Clone Troopers join them. “Game’s over, Kreeg! Surrender!!” says Anniken.

    “Not so fast, Jedi!,” laughs Kreeg, who hits a button on his wrist and suddenly the floor around him drops and hidden doors start to slam shut. Anniken kicks a dead Battle Droid into the closing doors, holding them open. The doors shake as the Droid starts to buckle under the force. Obi-Wan drops down the hole, followed by Anniken and Prana. The Droid finally crushes and the doors shut.

    We follow Obi-Wan as he plummets down through the corridor and makes a three-point landing on a platform stacked with metal boxes. Anniken and Prana land beside him. A few feet behind them is a steep drop. All three draw their laser swords. PAN to show Kreeg behind six Super Drones with four more beside him. “I hoped you would join me! I’ll need more arms to handle the additional light sabers I collect!” he says, displaying several Jedi laser swords. “Now, Jedi, you die!”

    Anniken raises his hand and causes a tall stack of boxes to fall onto the six front Drones, crushing them.

    “That should even the odds!” says Anniken.

    Kreeg laughs and springs up onto a higher platform above and behind him. The four Drones rush to engage the Jedi. Anniken and Prana rush to engage the Drones while Obi-Wan leaps and flips over the Drones and then leaps up onto the upper platform after Kreeg, who removes and draws four laser swords. “You lack the honor for such elegant weapons, Kreeg,” says Obi-Wan.

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    (Image source Otosection)

    “And yet I keep collecting them!!” says Kreeg, who laughs, starts spinning the lower two laser swords with his pivoting wrists and holds the others above his head in stabbing poses. He advances, slicing glowing gashes in the floor with the spinning blades. Obi-Wan advances and they clash in a running, leaping fight, Obi-Wan trying without success to get past Kreeg’s defenses. Despite the four-to-one advantage in blades, Obi-Wan continues to block the four wildly swinging blades, leaping up, over, and around in an ever-flowing battle. A WIRE launches out of one of Kreeg’s wrists and wraps around Obi-Wan’s laser sword, yanking it from his grasp, then Kreeg mule-kicks Obi-Wan with two of his six legs, driving him over the edge of the platform, the Jedi just catching himself and lifting himself back onto the platform as Kreeg advances, laughing, spinning blades again gouging the floor with glowing gashes.

    “And now, Jedi, your end!!”

    Obi-Wan notices the pistol at Kreeg’s belt

    “Perhaps not.”

    Obi-Wan raises a hand and the pistol flies to his hand. He concentrates for a second, then fires three times. The blasts bypass the laser swords and cut through Kreeg’s torso, leaving holes that start to smoke. Screaming, flames engulf Kreeg’s small remaining organic parts and he DIES, torso slumping atop the still standing spider legs, the laser swords still lit in his still hands.

    Anniken leap up to join Obi-Wan.

    “We got here as soon as we...” Anniken begins, when he notices the pistol in Obi-Wan’s hand, which Obi-Wan tosses aside.

    “A barbaric weapon,” he says, embarrassed.

    “But effective, it seems,” says Prana.

    “Alert the Queen. Tell her Kreeg is dead,” says Obi-Wan.

    CIRCLE WIPE TO...nighttime on Helborum, where a celebration is happening, several roaring bonfires lighting the dark plains. A million stars and three glowing moons fill the sky. Clone Troopers sit in silence around campfires, cleaning their weapons, seemingly oblivious to the celebrations, while the Legionnaires and Roona laugh, dance, and play music. We follow Padmé as she walks, smiling demurely to the occasional cheers from the Legionnaries and Roona and silent salutes of the Clones. She walks away from the festivities to a lonely campfire where Obi-Wan, Anniken, and Prana sit quietly. She takes a seat on a log next to Anniken.

    They discuss the situation, all optimistic that with the seven Republic victories that the war is nearly over. Obi-Wan is surprised and annoyed to find that Prana is unfamiliar with the Living Force as Anniken has concentrated on her fighting skills, given the war, so he takes time to lead her in meditation while Anniken and Padmé walk off under the light of the three moons of Helborum. They walk to a canyon and Anniken speaks of the local legend of the canyon. “The locals call this canyon ‘Maralah’s Fall’. They say a young maiden was smitten with a noble warrior who had taken an oath of honor never to marry. Unable to break his oath though he loved her, he spurned her advances. She cried so long and so intensely that her tears carved this canyon, which she then threw herself into.”

    “That’s either truly romantic, truly tragic, or amazingly stupid. I’m not quite sure which,” says Padmé.

    She turns to look at Anniken. Soon both are staring at each other with a deep intensity. Faces framed by the three moons, the music crescendos with romantic promise as they lean into a long, deep, passionate kiss.

    Suddenly Padmé pushes away from Anniken and runs off. He chases her, and they disturb Obi-Wan and Prana’s meditation, causing Obi-Wan to chase after them while Prana makes a snarky comment (“No distractions. Right, Sen-nai”) and continues to meditate.

    Obi-Wan attempts to share with Anniken the lesson he received from Yoda on Jedi being forbidden from love, but struggles to explain himself to the upset Anniken. Anniken is skeptical that Obi-Wan has known love, which causes an awkward moment where Anniken realizes that Obi-Wan has love for Padmé. Platonic love, but Anniken assumes that it’s Romantic and storms off, irate.

    Suddenly the glowing ghostly form of Quigon Djyn appears behind him.

    “His attachment to the Queen is dangerous, my Padawan.”

    “As was mine. Tell me, Sen-nai, how do I teach him the way you and Yoda taught me?”

    “You have already taught him as much as you can. Only Anakin can help himself. He must confront his emotions on his own.”

    “Can you speak to him?”

    “No. In his current state he will be blind to my current form. It is up to Anakin alone.”

    “Then may the Force be with him....”

    WIPE TO…

    Had Abbadon, where we follow the Nimoida Royal Yacht as it flies among the city’s skyscrapers. Our POV changes as we watch it fly by celebrating crowds, various disinterested citizens, and, finally, a group of protestors on the verge of a riot. A group of Clone Troopers with riot shields and shock batons violently push them back.

    The Yacht continues its flight to the Jedi Temple (which is itself surrounded by angry protestors), where it lands amidst all the pomp and circumstance of a celebration. The hatch opens and Padmé, Anniken, Obi-Wan, and Prana walk out, followed by R2-D2. They walk through an honor guard of Jedi holding laser swords aloft. Exotic music plays and a group of Jedi Younglings perform a slow, entrancing, dervish-like dance.

    Obi-Wan notes that such ceremonies are to welcome a new Jedi Master, which Anniken half-jokingly says “well, I did handle myself very well…”

    Ket Falacha greets Anniken like and old friend and they go off to talk, Falacha certain that Anniken will be one of the chosen Masters. Obi-Wan offers to escort Padmé, and she smiles at him in a sisterly look, which Anniken notices and is bothered by, looking on with jealousy.

    WIPE TO the Yacht landing at the Senate Building. Padmé and R2 enter a room with Nasai Baza’a, Handmaiden Sabé (her impersonator; Vanessa Johannsen), Senator Organa and Senator Naiyadah of Mon Cala, along with C-3PO. Threepio and R2 have a small bickering session while Nassai lets Padmé know that Chancellor Palpatine has assumed even more emergency powers following a motion put forward by the Industrial Guild and supported by Senator Mothma, which enrages Organa.

    “The corruption in this government just continues to grow!! Despite his promises, Palpatine has only entrenched it further!!” says Organa.

    “We must stop this,” says a worries Padmé.

    Back at the Temple, the Jedi Council announces the three new Jedi Masters: Lady Nuara D’Naal, Bav Myorta, and…

    …Anniken watches closely, believing for a second that it will be him…

    …Obi-Wan Kenobi. All congratulate Obi-Wan, who accepts with humility. Anniken congratulates his Sen-nai, even as he is obviously hurt.

    The Council then announces that the official induction ceremonies will be done in public for the first time ever. The people are growing suspicious of the Jedi and their arcane ways and seeming influence, and so the Council hopes to open up to the people.

    WIPE TO the Grand Opera House, where a huge gala event has been made of the Induction Ceremonies. All are in their finest. Even Prana is wearing a shining gown, offset by her laser sword-staff. Anniken offers to be Padmé’s forma Jedi Escort, but she turns him down in favor of Prana. Instead, Supreme Chancellor Palpatine asks Anniken to be his Jedi Escort. Anniken is surprised considering that Anniken is not a Master, to which Palpatine notes, “No, it was you I hoped to speak with. My sources tell me you are an exceptional Jedi, perhaps the best seen in generations!”

    The ceremonies go on. Anniken’s attention wanders until he finds Padmé’s private box on the far wall. He watches her, Prana beside her. Palpatine notices this. On stage, Nuara is giving a graceful, showy display with circling stones, Myorta showing a display of raw power, and Obi-Wan calmly stacking stones in a seemingly modest display. Padmé notes how Obi-Wan’s display seems “a little…plain” to which Prana responds that Obi-Wan’s simple control will impress the Masters the most, suggesting that the other two are playing to the crowd.

    Meanwhile, Palpatine acts amazed at the display, which Anniken dismisses as simple Force connection, demonstrating his own powers using the gems from some woman’s jewelry. “Incredible!!” says Palpatine. “Why, you should be the one up there on stage, not them!!” A complex look crosses Anniken’s face.

    After the ceremony, Anniken, Padmé, and Prana meet back up and have a tense exchange. Anniken leads a confused Prana away, and they find and congratulate Obi-Wan. They have an exchange while below them, Queen Amidala and her entourage walk back to her waiting Hover Limos.

    Suddenly a Mandalorian flies up on his jet pack and starts to fire! Amidala is hit by several laser blasts and falls. Anniken screams “PADMÉ!!!”

    The Handmaidens run to cover the fallen Queen and draw hidden pistols and engage the Mandalorian!! The Roona Guards pull out small objects that expand into laser shield frames that ignite force fields. They too cover the fallen Queen! The three Jedi leap from the balcony to the platform and draw their laser swords! SIRENS can be heard in the background! The Mandalorian flies off. Obi-Wan leaps off the platform and onto a passing Hover Patrol Car below them, sirens blaring. Anniken rushes to the fallen Amidala, who is being administered to by a Handmaiden.

    “Padmé!! Padmé!!” cries Anniken.

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    (Image source Pinterest)

    “I’m here, Anakin,” says Padmé, in fact one of the Handmaidens. They hug tearfully, then Padmé shares tender last words with Sabé, her double, who was disguised as the Queen.

    Obi-Wan rides the patrol car as the Mandalorian streaks off around a building. They pursue around the corner and encounter more patrol cars, but the Mandalorian is gone.

    CIRCLE WIPE TO Had Abbadon at sunrise. MONTAGE of images of the sun rising over skyscrapers. Patrol Cars silently cruise the skylanes. The streets clear of people, only Clone Troopers on patrol. Finally, we see the dome of the Galactic Senate building, glowing in the morning sun.

    Inside, the numerous seats of the hundreds of worlds are filled around the cavernous Senate Dome. Padmé (as Amidala) and Nassai look on as Supreme Chancellor Palpatine addresses the Senate.

    “Yesterday three of our illustrious Senators were attacked. Senator Amidala of Naboo-Gunga thankfully survived her assault, but Senators Gurbal and Hadralon were not so fortunate.”

    “Both opposition Senators!” Padmé notes.

    As protection, Supreme Chancellor invokes Article 4 of the Jedi Charter, giving every Senator a Jedi Escort.

    Back at the Jedi Temple, Mace Windu assigns each Jedi to a Senator. Obi-Wan is assigned to Senator Bail Organa of Alderaan. Anniken, by special request of the Chancellor himself, is assigned to Senator Amidala of Nima-Roona (“It looks like you have friends in high places, Sir Anniken”).

    Anniken and Prana fly off to Nima-Roona, but Obi-Wan is approached by WIndu. He will not go to Alderaan, but is assigned a special task: find the Sith Master that they all suspect is behind everything.

    WIPE TO the dark, brutalist form of the Murchalar Prison Complex, that looms like a dark counterpoint to the Opera House. A lightning storm crackles behind it in the distance. Spotlights trace the grounds from guard towers. A nondescript hover car flies towards it. CUT TO the entrance where a Hooded Figure emerges from the car. Two Clone Troopers guard the entryway. They salute as the doors rise like a portcullis and the Figure enters.

    We follow the Hooded Figure as he walks through long, dungeon-like hallways broken up by numerous checkpoints and gates, through a large open Alcatraz-like bay full of shouting prisoners, and finally through a high security checkpoint with four Clone Guards and into a stone detainment area reminiscent of Silence of the Lambs. The Figure walks past cells full of various dangerous and snarling prisoners, including one Sophisticated Alien Prisoner who sits at a fancy table listening to classical-like music. He gives a serial killer’s smile to the Figure. Finally, the Figure reaches the last cell, where a brooding Mauk Shivtor sits on a bare bench. Mauk looks up and smiles evilly.

    “Jedi!!” snarls Mauk. “What a pleasure!! How is your old Sen-nai?”

    “He is doing well, thank you,” says Obi-Wan, the Hooded Figure.

    Mauk. looks confused by this answer. Obi-Wan interrogates the snarling Mauk about the identity and location of his Master. Mauk mocks him at every turn, noting how there’s no punishment that Obi-Wan can give that is worse than what his Master Sidious would do to him.

    Obi-Wan notes that they have the Mandalorian in custody.

    “You know nothing!!!” screams Mauk. “My Master is far too cunning for you!! And Kaliss would NEVER be captured alive!! You know nothing! You HAVE nothing. You ARE NOTHING!!! My Master will triumph and the Sith shall have our REVENGE!!!”

    Obi-Wan pauses a second and says, “So the Mandalorian Kaliss Fett DOES work for your Master then? That is all I need to know. Thank you for your assistance, Maul.”

    Mauk screams, causing all the other prisoners to scream. Obi-Wan walks off. Camera follows him and PANS AROUND to show where Mauk screams from his cell as we ‘leave’ with Obi-Wan. “It’s too late, fool!! He’ll kill you! He’ll kill you, free me, and we will destroy you all!!!!”

    WIPE TO the seedy Laszlo Station, a hive of scum and villainy, in orbit around planet Ord Mantell. Numerous space ships fly to and from the station. Among them we see a Mandalorian Landing Ship.

    Inside the station, we follow Kaliss Fett in his full Mandalorian armor as he walks through the streets of the station. The crowds part in front of him, none willing to get between a Mandalorian and his mission.

    He arrives at Lorray’s Shop. The small, Peter Lorre-esque rat-like alien shop owner (‘Lorray’) sits behind a small counter talking to a customer. Lorray looks up with his bulging red eyes to see Kaliss and shoes away the customer. “Ahhh, the Mandalorian! Dias told me you’d be here soon. Come, come!!”

    Lorray hops down and waves for Kaliss to follow. We follow them through a curtain into a back room where a shroud-covered hover sled about 7’ by 3’ by 2’ tall hangs in the air. He gives it to Kaliss.

    WIPE TO…

    The beautiful Nima-Roona city of Oxon atop its majestic island. A flight of streamline moderne starfighters fly by in formation, leaving multicolor smoke trails. Below groups of people flock towards the city gates. Crowds of Nimoida, Roona, and occasional other species line the sidewalks, cheering for the parade that moves slowly through the streets. There are exotic animals, acrobats, bands, dancers, hover-floats with various nubile aliens...all the entertainment one could want. Inside the throne room, Padmé, in her formal Amidala outfit, and Nassai Baza’a sit astride their twin thrones surrounded by their Handmaidens and Warriors and attended to by Sio Bibble, Prana, and a bored looking Anniken, who sits slackly in his seat. Suddenly, the grand doors open majestically and the parade enters. A band plays a fanfare and in through the doors, on a bejeweled hover chariot pulled by gleaming Horgalis is Prince Balandarr, a corpulent, mustachioed man in golden robes covered in jewelry. He raises his hands gracefully to the awed crowds.

    “Well, if it isn’t the Emperor of the Galaxy,” snarks Prana.

    Balandarr is there to propose to the Queen. He offers great trade and economic opportunities between their two planets. Bibble fully supports this as it would give them leverage against the Trade Guild, but Padmé plays coy. As the parade leaves, Padmé removes the large ceremonial wig. “What a weight to bear.”

    “The wig or the Prince?” says Anniken, offending Bibble but amusing Prana.

    Later that evening, Anniken talks to Padmé in secret. He once again confesses his love for her. She expresses her concerns that such a marriage would be forbidden. He suggests that they marry in secret, to which she, in a moment of passion, agrees. They fall into each other’s arms in a passionate kiss. We PAN PAST them to the glowing sunset of Nima-Roona and FADE TO WHITE......

    FADE IN on Laszlo Station, where Obi-Wan and Clone Colonel MX-1133 or “Max” are undercover, following intelligence placing Kaliss there. They work their way through the crowd, eventually confronting Lorray. Lorray denies everything, but Obi-Wan uses his mind trick to force the alien to reveal that he indeed had a package for Kaliss. Lorray flees, leading them on a chase through the station and into the hidden maintenance passages behind the walls.

    We cut between Obi-Wan and Lorray as they scramble among the twisting, turning tangles of the maintenance tunnels. Obi-Wan reaches a dead end.

    Lorray reaches an airlock and sees some space suits in a locked cabinet.

    Obi-Wan closes his eyes, trusts in the Force, and cuts a neat hole below him with his laser sword. He falls in front of Lorray as the alien attempts to pick the lock to the space suit cabinet. Obi-Wan enters the airlock and confronts Lorray, using his Jedi powers to start prying the information from Lorray. He offers Lorray protection in return for assisting him, but Lorray, citing the danger to his family from betraying Lord Dias, shoots out the airlock window, getting sucked out to his death. Obi-Wan fights the vacuum and manages to escape, but they are at a dead end again.

    OBI-WAN sighs and closes his eyes.

    https%3A%2F%2Fdorksideoftheforce.com%2Ffiles%2F2021%2F08%2FPadm%C3%A9-amidala-biography-gallery-16.jpg

    (Image source Dork Side of the Force)

    WIPE TO Nima-Roona. Beneath a bright blue sky in a flower-covered field we see Anniken and Padmé, hands joined, in front of a Justice officiating the impromptu wedding. An Honor Guard stands to the side. In the small audience we focus in on Moog, who smiles, and Ba Ba, who weeps with joy. The Handmaidens stand by, some smile, some seem concerned. Prana and Sio Bibble exchange a brief, worried look. As the music crescendos Anniken and Padmé kiss and the crowd applauds, some wholeheartedly, some with reservation. The Honor Guard stands at attention as the couple walks away smiling, arm in arm.

    We now ZOOM IN on a single guard, specifically on his left hand, which is clicking on a small device he has palmed.

    CUT TO the hooded Sidious Morg, who sits at his desk. A panel beeps and projects a hologram of the marriage on Naboo-Gunga.

    “Interesting...interesting indeed,” he says.

    Sidious waves his hand and the hologram changes to Kaliss Fett in his space ship. He checks on “Project Phoenix” and also orders Kaliss to end his vendetta against Anniken and the Queen. “I have use for them,” he tells the Mandalorian.

    Kaliss is outraged, but Sidious will not relent.

    Instead, we follow Kaliss to the planet Geonosis, a place of Transylvania-like forested mountains. The Mandalorian ship descends through the cloud cover towards a dark, ancient stone castle with many modern, metal additions. It rests atop a forested mountain like something out of a Hammer Horror film. The ship lands on a platform and Kaliss exits. A hunchbacked Cyborg Dwarf (Warwick Davis) is there to greet him and lead him inside the castle.

    Inside the Castle in a giant hall various cyborg Workers man a large assembly line. Towering, sparking Van der Graf generators right out of Frankenstein shoot lightning between them. A Worker pushes a hover cart filled with cages of the small reptiles last seen inside a Super Drone. The reptiles snap and hiss at each other. The Worker pushes the cages up to a machine where one robot arm grabs a cage and another deftly grabs a struggling, shrieking reptile from it and slaps the creature into a metal frame. Other arms weld the shrieking reptile into the frame and plug wires into its body. New arms connect robotic part after robotic part until a final arm slaps down the face and chest plate of a X-9 Super Drone over it. Electric sparks shoot through the Drone, animating it to life. It rises from the line, and joins a company of other Drones. A cybernetic wolfman-like Shistavanen (‘Chane’) looks on approvingly and barks orders to Workers. Chane looks up to high catwalks above. We PAN UP and ZOOM IN to see the Dwarf leading Kaliss. A Worker pushes the shroud-draped ‘package’ from Laszlo Station behind them.

    “That way, master,” says the Dwarf, who motions to a doorway. Kaliss and the Worker enter into a room where Vurqlar-9-B of the Galactic Technology Union awaits. The door shuts.

    WIPE TO…

    The Senate Building on Had Abbadon where Chancellor Palpatine is talking with a Senator, walking towards a hover lino. Palpatine is stopped by his Attaché, Secretary Tarkin, while the Senator continues to the limo. As Palpatine and Tarkin talk, the limo EXPLODES behind them.

    WIPE TO Nima-Roona, on a peaceful, sunny morning. Padmé and Anniken sit at a table while Droids serve them breakfast. In the background Prana goes through a series of kata-like exercises with her laser sword-spear. Padmé and Anniken smile lovingly at each other, lazy & peaceful in the morning sun.

    This perfect morning is interrupted. Anniken has a call from Mace WIndu. Supreme Chancellor Palpatine has survived an assassination attempt and has specifically requested that Anniken be his guardian.

    Padmé is suddenly panicking, begging Anniken not to go. “Ani, please! I...I have this feeling that something terrible will happen if you go!!”

    Anniken says, “What, you’re a Jedi now and can see the future?”

    “No...I......the last couple of weeks I’ve just had this strange feeling of...connection and....”

    “Yep, you’re a Jedi now!” he scoffs.

    “Anniken, don’t be cruel!!”

    She pleads for him to stay, but he gets angry with her. He loses his patience and yells at her, “You will NOT stop me from performing my mission! This is an opportunity for something greater!! I am the Jedi, I know what’s best, and I will decide whether I go or not!! Do you hear me?!?”

    ZOOM IN on Padmé, who watches helplessly as Anniken exits, a single tear in her eye.

    WIPE TO Geonosis. In a back chamber Kalis and Vurqlar-9-B stare down at the ‘package’ up on a table. The sheet is removed to reveal a painfully contorted man frozen in Carbonite, his face obscured by the tortured hands. Vurqlar pushes a few buttons and the Man starts to glow red. Kaliss notices a flashing light on his wrist and leaves to investigate.

    We see the Dwarf chirping in an alien language into a comm. Suddenly, mid-sentence, he looks up to see Kaliss and Chane leering down at him. Smiling, the Dwarf throws the comm. at them, runs to a corner, and hits a hidden button, causing a section of the wall to swivel. Laughing, he disappears.

    The Dwarf runs through a small stone passage, ducking under beams, climbing over rock falls, and sliding down a dirt ramp and into the open forest. He runs through the underbrush of a coniferous forest. In the background we see searchlights and hear the growls of strange animals. CUT TO Chane, who barks out orders to a series of X-9 Super Drones, who run through the forest. Handlers release growling cybernetic Worflaks, wolf-rat beasts, from their leashes. They run into the forest. In the background Kaliss lifts off with his rocket pack.

    CUT BACK TO the Dwarf, who runs. Suddenly a Drone bursts through the underbrush!! The Dwarf just manages to duck under the attack. A Worflak charges towards him, and he pulls out a small device, which he points at the Worflak, causing it to yelp in pain and run away. The Dwarf laughs and runs out into a dirt road. He clicks a button and a camouflaged speeder bike uncloaks. He’s about to get on when Kaliss lands next to him. Suddenly Drones and Worflaks lunge TOWARDS THE CAMERA, the mouth of one Worflak COVERING THE SCREEN, which CUTS TO BLACK.

    FADE IN to Space and a Corellian freighter. Inside Obi-Wan and Max talk. Obi-Wan briefly mentions his upbringing on “a desolate and unimportant planet named Tatooine,” noting that “my brother Owen lives there still, a moisture farmer to the end. As children, he tried to talk me out of joining the Jedi.” Max notes Obi-Wan’s discomfort with the Clones and Obi-Wan admits to his discomfort not with the Clones themselves, but with using them as “tools of war” given their being essentially child slaves lacking complete free will in their choices. Max notes that since they are programmed to be happy and content with their life, does it matter if they have true free will?

    Before Obi-Wan can answer, they receive a communication. It is Mace Windu. The first part is alerting them that they received a message from Geonosis: Kaliss was seen there delivering a package. Communications was lost with the agent.

    Next, Windu notes that the Jedi Council received a special request by Supreme Chancellor Palpatine to make Sir Anakin a Jedi Master, which Obi-Wan notes as “irregular.” Windu asks Obi-Wan if he feels that Anniken is “ready”.

    After much agonizing, Obi-Wan admits that Anniken has “an attachment” that he can’t let go of, and therefore is not, in his mind, ready to be a Jedi Master. “One day soon if he can let it go, he will be a great Master, worthy of a seat on the Council, but that time is not now. ....I regret that I had to say that...”

    “Yet say it you did, Master Kenobi,” says Windu. “By your recommendation Sir Anakin will not yet be granted the rank of Jedi Master. Fare well on your mission to Geonosis.”

    Wishing that the message had come “at a different time” Obi-Wan turns the freighter around and they fly towards Geonisis.

    (Continues in next post........)
     
    Last edited:
    Even More Sith
  • Full Synopsis (cont.)

    WIPE TO…

    Had Abbadon, where Anniken arrives at the Jedi Temple and meets with Mace Windu, Yoda, and Kiai Mudi. They assign him to be Chancellor Palpatine’s guardian, but they also have a second, Top Secret mission for him: watch Palpatine, record who he meets and where he goes, and report back to the Council. Anniken is shocked at this unprecedented betrayal of trust in the Chancellor.

    “Disturbing trends the Chancellor’s rise has accompanied,” says Yoda. “The Naboo Crisis, the Clone Army, the Separatist Coalition, the assassinations...with every troubling event rise his personal power does.”

    “You think he’s with the Sith,” says Anniken.

    “Impossible to say, that is. Perhaps only a well-meaning public servant he is, himself manipulated, but to ignore the dangers of his rise we cannot.”

    star-wars-anakin-jedi-starfighter-i40110.jpg

    (Image source Ingeniovirtual)

    Anniken is hesitant, but relents and agrees to follow the orders. He flies his Starfighter to the Senate Building.

    CRANE SHOT of Anniken walking down the platform where Palpatine awaits, cloak billowing in the wind, his Guards and Secretary Tarkin behind him. Anniken approaches with trepidation. Palpatine walks out to him, arms out, welcoming.

    “Ah! Sir Anakin!” The Chancellor puts an arm around Anniken. “You are just in time! I was on my way to a luncheon with the Corellian Shipwright’s Guild! And following that is a meeting with Senator Horliss and then on to Senator Mothma...you’ll want to take good notes for the Council on that one!”

    “Of course, I...what?!?”

    Palpatine laughs. “Oh, don’t be naive, Sir Anakin! I’m well aware the Jedi Council wants you to monitor me. These terrible events have given me enviable authority, one that threatens the authority of the Jedi. Take all the notes you want, my friend...I have nothing to hide.”

    WIPE TO Geonisis, where a Worker escorted by Vurqlar-9-B, pushes a hover-gurney with the moaning Man, his face obscured by an oxygen mask, down a long, dirty corridor. It is clear that he is badly burnt.

    The Man is placed on an operating table. Several robotic arms descend upon him, sparking and stabbing. He screams through the mask and thrashes in agony.

    WIPE TO the forests of Geonosis, where the Corellian Freighter appears through the low cloud cover and lands in a forest field. Obi-Wan and Colonel Max emerge from the hatch. Worflaks howl in the distance. Noting the danger, they head into the woods.

    The Castle sits atop its forested mountain. Storm clouds gather around it, lightning crackling. A large bolt hits and illuminates the tallest tower. We PAN and ZOOM to a steep, winding mountain road heading up to the tower. A tired old Klorg drags a battered looking Hover Wagon along the road. Old Clag drives. Obi-Wan and Max huddle in the back. Old Clag notes how “them in the Castle moved in a couple years’ back, made all the changes. Strange lights an’ sounds. Ships fly in at all hours. Worflaks multiply, drag off not just nerfs, but herdsmen too…Worflaks is different. Smarter, meaner, with metal eyes. Them in the Castle sees all, hears all.”

    We ZOOM UP to a tree where a crow-like Caalic Bird lands. We ZOOM CLOSER to see its cybernetic eye watching the wagon.

    Suddenly Obi-Wan sits up. “Danger. How fast can your Klorg run?”

    “She’s not run in years.” A howl cuts the air, frighteningly close. More join it.

    “Time for her to remember! GO!!!”

    Old Clag whips the reins with a ‘hyah!’ and the old Klorg bellows and starts to run. Several cybernetically-enhanced Worflaks burst from the underbrush and chase the wagon!! One leaps at the wagon. Obi-Wan ignites his laser sword and cuts it, causing it to fall back with a yelp. Max draws a pistol and starts shooting, wounding one. Another leaps, only to be cut down by Obi-Wan. Max shoots and kills another. Two Worflaks start nipping at the Klorg, trying to take it down.

    Obi-Wan takes the reins. He closes his eyes and raises a hand. He says to the Klorg, “Remember, old girl. Remember the speed of your youth.”

    Suddenly the Klorg picks up speed. She kicks the remaining Worflak biting at her. It yelps and falls.

    A Worflak leaps onto the wagon and starts tearing at Max’s cloak. Obi-Wan raises a hand and the creature flies into the woods. The Klorg starts to leave the Worflaks in the dust.

    Obi-Wan hands the reins back to Clag. He closes his eyes, reaching out with the Force.

    “I need you to put your trust fully in me, Colonel. When I say, jump with all your might.” Obi-Wan , eyes still closed, reaches out with his fingers. “Soon.... Soon.... NOW!!!!”

    Obi-Wan and Max jump off the wagon and fly into the woods. They CRASH through a tangle of thin vines growing over a large rock (leaving a hole) and disappear. The Worflaks run and leap into the hole after them as Old Clag and his Klorg escape up the path.

    Obi-Wan and Max land in an old tunnel, rolling and returning to their feet. A single beam of light from the hole is the only illumination. The Worflaks leap in after them, growling. OBI-WAN ignites his laser sword and holds them off.

    “Max, see that red rock sticking out of the ceiling? Shoot it.”

    Max shoots the rock, which causes the ceiling to CAVE IN, burying the Worflaks, but sealing them in. The tunnel goes DARK, illuminated only by Obi-Wan’s laser sword, which he extinguishes, plunging them into total blackness. Obi-Wan turns on a small lantern, dimly illuminating the tunnel. “It’s a secret tunnel, centuries old. It probably leads to the Castle.”

    WIPE TO…

    Nima-Roona. Storms rage outside the window. In the canopied bed Padmé, in white cotton nightgown, tosses and thrashes in her sleep. This scene is inter-spliced with flashes from other images, so fast as to be almost subliminal: Anniken’s face wracked with anger, a bridge over molten lava, a knife in a feminine hand, a flash of Darth Vader’s mask......Padmé bolts awake, gasping.

    “Annniken!!” Padmé looks around, sighs. Suddenly she puts her hand over her mouth and bolts out of bed, running to a trash can where she throws up. “By the Force what is happening to me? Anakin. Anakin, where are you?”

    WIPE TO the Opera House on Had Abbadon, where Anniken, in formal robes, drink in hand, follows Chancellor through a group of formally dressed guests. Palpatine works the crowd, thanking various wealthy bankers, industrialists, and politicians, totally in his element.

    “Impressive, Chancellor. You really know how to make friends!”

    “You’ll find everyone is happy to be your friend when there’s something in it for them.” A light flashes. “Ah! The show is about to begin!”

    tumblr_inline_nrleaeb4kt1sjf2gc_1280.jpg

    (Image source swPrequelFrames on Tumbler)

    Anniken and Palpatine sit overlooking the stage. Performers in strange outfits sing operatically in a strange alien language. Anniken expresses a disinterest in opera, but Palpatine notes that he specifically requested this performance. “This, for example, is the ‘Tragedy of Emperor Ganthicass’. It tells of the wise and powerful ruler who first united Coruscant. Alas his warriors, jealous of his power, betrayed and murdered him, plunging the planet into three hundred years of war.” He puts a paternal hand on Anniken’s shoulder and leans towards the stage, pointing. “Watch, my son. Watch and learn...”

    WIPE TO Geonosis. On the platform of the Castle, the storm still raging in the distance, Workers, watched by Vurqlar-9-B and Kaliss Fett, help a hunched, stumbling Dark Figure in a black hooded cloak try to walk. Occasional flashes of the skeletal robot hands and feet of the Figure are seen as he stumbles towards a waiting transport. The hatch of the transport closes behind him and the ship lifts off and flies into the clouds. ZOOM IN on Kaliss, who speaks into a comm. “The package is on its way.”

    PAN DOWN into the forest...into the ground, to blackness, then down to the tunnels beneath the Castle, where Obi-Wan and Colonel Max continue to walk in the dim lantern light. They break through into a dust and cobweb strewn chamber lit by fingers of light. Various torture devices lay around, unused for centuries. We focus on an iron maiden against a wall. It creaks open and Obi-Wan and Max step out.

    Max looks at a device. “This chamber appears to be tied into a series of secret passages throughout the Castle.”

    “As I had hoped. Now, let us find Kaliss.”

    A Worker plods down a stone hallway, eyes glued to a device. An old portrait of a man in medieval-style armor hangs on the wall. The eyes of the portrait slide open, revealing human eyes that watch the Worker as he passes. The portrait opens like a door. A hand reaches out, grabs the Worker, and pulls him inside. The portrait door closes.

    Inside the secret passage, Max holds the Worker from behind while Obi-Wan faces him.

    “I’ll tell you nothing, Jedi!” says the Worker. He taps his temple with a finger. “I have the mind of a Cerean and the will of a Hutt!!”

    Obi-Wan raises his hand. “You will tell me where to find the Mandalorian.”

    “He’s in room 2-3-7. Oh!!” The Worker puts a hand over his mouth.

    “Thank you for your assistance.” Obi-Wan raises his hand. “Your will fall asleep now and forget you ever saw us.” The Worker falls asleep. “Colonel, drop him back in the hall and then go to the Mandalorian’s room. If it’s empty try to crack his computer systems. I’ll try to find out what the mysterious delivery was. If Sio Dias wants it then it must be critical to his plans.”

    “Yes, General,” says Max.

    CIRCLE WIPE TO a secret room outside of Vurqlar’s office. Obi-Wan watches Vurqlar through a small two-way mirror on the wall. The cyborg taps at a computer. The Comm. Buzzes. He hits a button and a small hologram of Chane appears, telling him that “the package has cleared atmosphere and is en route.”

    Meanwhile, Colonel Max looks into the rather nondescript room. Kaliss’ armor hangs from a wooden frame. A desk sits in the corner. Across from it is a coffin-like Mandalorian Meditation Pod. The room appears empty, so Max opens the secret door and steps into the room. He walks up to the desk and removes a device and plugs it into the computer. Numbers start to flash on its screen.

    We PAN over Max’s shoulder to the Meditation Pod, which starts to silently open, a rolling cloud of steam billowing out from it.

    CUT BACK to where one of the flashing numbers on the device goes GREEN. “Almost...”

    CUT BACK to the Pod. Slowly, Kaliss Fett sits up in the Pod. Slowly, silently, he stands and steps out. He wears only some loose pants. The tribal tattoos on the left side of his face and neck extend down the whole left side of a body hatched with battle-scars.

    CUT BACK to where another number on the device turns GREEN. “Almost there...”

    PAN BACK. Kaliss approaches Max, who finally realizes something is amiss. He turns around slowly to see Kaliss.

    “Hello, father...”

    Max reaches for his pistol, but Kaliss bolts and quickly chops Max in the side of the neck. Max falls to the floor.

    “I am NOT your father, you second-rate copy!” says Kaliss.

    Suddenly Max’s Comm. beeps quietly. Kaliss picks it up. Pretending to be Max, Kaliss plays along with Obi-Wan saying that “the Mandalorian’s information is ours.” They agree to meet at the tower in ten minutes. Kaliss crushes the Comm. with his bare hands.

    WIPE TO…

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    (Image source Wookiepedia)

    Had Abbadon, where we see the Freighter carrying the Dark Figure flying towards the planet below. CUT TO the Senate building and Palpatine’s office, where he is informing Anniken on all of his scheduled meetings. He refers to Anniken as “Master Skywalker” to which Anniken relates that, no, he is not a Master yet. Palpatine replies in shock, noting that he’d specifically requested Anniken’s promotion to the Jedi Council. “I guess I should expect such duplicity from them,” says Palpatine.

    Anniken confronts Palpatine about this statement, to which Palpatine asks him to “Look at me, Anniken, with your Jedi eyes. What do you see?”

    Anniken looks into Palpatine’s eyes. “I see a man, nothing more. The Force passes you by.”

    “What if I told you I once was a Jedi?”

    Palpatine tells Anniken about how, years ago, under a different name, he was a Jedi. “They will deny everything, of course. I was powerful, but rebellious. I balked at their silly rules. I saw a new way for the Jedi more in keeping with modern times. And.....I found love. A woman named ‘Shmi’ from a small desert planet.”

    Anniken looks at Palpatine in shock and disbelief.

    “She was enslaved by the Hutt and taken away. I never found her. For that forbidden love they punished me, stole my powers from me!!”

    “I....I can’t believe it! It’s impossible!!”

    “It is all too true! Look at me again, Anakin...search your feelings.”

    Anniken looks again. “There is...something. The Force doesn’t just pass you, it is repelled by you!!”

    “Yeeesss!!! That is the subtle nature of their deceit!” Palpatine removes a small object from a pocket. “Take this and place it into the main computer of the Jedi Temple. Bring it to me, and all will be made clear to you.”

    Anniken reaches for the object...hesitates….

    “Anakin...trust your feelings,” says Palpatine with a fierce intensity. “Your instincts will not betray you. This device will reveal every lie! Take it, son, and know the truth!!”

    After a moment’s hesitation, Anniken takes the object.


    WIPE TO Geonosis, where Obi-Wan emerges from a secret door into the lower level of the tower. The rotted frame of a long-decayed stairwell lines the walls. He asks for Max, but Kaliss appears. “My copy will not be joining us,” says Kaliss

    “You are a fool to trust Lord Dias, Kaliss.”

    “Clan Fett grows strong under his patronage.”

    “He will never tolerate an army of warriors that he cannot control. If he wins, the clans will be scattered. Your children will be forced into dishonorable service as assassins and bounty hunters!!”

    “More Jedi lies! Besides, you owe me a debt of honor, Jedi.”

    Suddenly Chane and a swarm of Super Drones run up from the hallways. Chane hisses and points and the Drones charge! Kaliss fires at Obi-Wan, who draws his laser sword and deflects the blasts. Obi-Wan leaps high up into the rotted stair frame, some of which crumbles at the touch. The Drones start to climb and Kaliss rockets up to engage. A running fight emerges as Obi-Wan leaps from beam to beam, the Drones following, Kaliss harassing the Jedi with his rifle.

    After several floors Obi-Wan uses the Force to remove a Thermal Detonator hanging from Kaliss’ belt. He pulls it to him, hits the button, and drops it. It EXPLODES in a huge orange-red sphere of pure heat, obliterating the Drones and causing the tower to start to COLLAPSE!! Obi-Wan falls as the tower gives way. A falling rock hits Kaliss, who falls too.

    WIPE TO the Jedi Temple. Two Jedi walk along the outer wall of the Jedi Temple. They pass OUT OF FRAME to the RIGHT. Suddenly a Hooded Figure emerges from the shadows, as if melting out from them. It creeps up after the Jedi. There is the sound of a laser sword igniting and the sound of two STRIKES. One of the two Jedi falls dead back into frame. We PAN to see the other dead Jedi and the Hooded Figure sweep with the cloak then fade back into the shadows.

    CUT TO inside the Temple in a room full of fancy Computer Equipment. A panel pops off of the wall and a Hooded Figure slips into the room. The Hooded Figure removes the hood and is revealed to be Anniken. He looks nervous, but focused. He approaches a console and removes the Object that Palpatine gave him and plugs it into the computer, which whirs. He watches nervously.

    Suddenly the door opens and Ket Falacha steps in. “Oh! Hey, Sir Anakin, I didn’t expect to see you here! When did you get assigned Computer Duty?”

    Anniken tries to make small talk when the Object beeps three times.

    “What’s that thing doing there?” asks Ket.

    Anniken tenses up. Realization dawns as shock on Ket’s face. BUSTED!!! Ket scrambles for a red button on the wall! Anniken panics, draws his laser sword, and strikes down his friend! Ket falls to the ground saying, weakly, “Anniken...why....??” and DIES.

    Anniken, at a loss for a second, grabs the object, and slips back through the panel.

    Hood up, he runs along the wall. He TRIPS over the bodies of the two slain Jedi, looks at them in surprise, shock and horror, then gets up and LEAPS off of the wall.

    WIPE TO Geonisis, where we watch as Obi-Wan falls amid the tumbling rocks and beams of the Tower. He springs from falling object to falling object until emerging from the chaos, just grabbing the edge of the remaining tower walls. Several stones are dislodged and fall into the depth, but Obi-Wan emerges and stands up on the edge. Panting, he pushes some buttons on his wrist.

    Inside the Corellian Freighter, an inactive yellow-painted R2 unit (R2-F5) blinks to life. It disengages from its station and rolls up to a console, ejects its probe, and interfaces the console. The Freighter comes to life and lifts off into the night.

    ALARMS blare across the Castle. Searchlights cut the sky. Obi-Wan stands atop the ruined wall of the tower. Suddenly Kaliss hovers up on his rocket pack, a new dent in his armor.

    “Nowhere to run now, Jedi! At last, I shall have my revenge!!”

    Obi-Wan raises hand and closes his eyes as if searching the Force. “Another time, perhaps.”

    Obi-Wan LEAPS high into the sky just as the Corellian Freighter flies by.....

    ...Obi-Wan flies into the open hatch, does a roll on the deck, and steps back up. He walks casually past R2-F5. “Great work, F5.”

    R2-F5 beeps. Obi-Wan takes a seat in the cockpit. “I’ll take it from here.”

    Kaliss watches as the Freighter flies off into the distance. He hits a button on his wrist and a second later his Mandalorian Landing Craft emerges from the Castle. He rockets to the Craft.

    WIPE TO Had Abbadon, where Anniken sits in shock on Palpatine’s couch. Palpatine tries to comfort him. “I killed him. I killed my friend.....” says Anniken.

    Palpatine call it “An unavoidable tragedy. He would have exposed you and ruined everything,” asking Anniken “how did it feel when you first struck him down?”

    Anniken hesitates, and then says, “I just felt...relief. I was relieved he didn’t get to the alarm.”

    Palpatine pats Anniken on the shoulder. “Then trust those feelings, son.”

    Tarkin then enters. “Chancellor, I have retrieved some information from the Jedi communications logs you should see.”

    They show Anniken a highly edited version of the communications between Obi-Wan and Mace Windu.

    “No. Sir Anakin is not yet ready to be a Jedi Master,” says the hologram of Obi-Wan. “He has an...attachment that holds him back from the Force.” There’s a SKIP in the recording. “By your recommendation Sir Anakin will not yet be granted the rank of Jedi Master,” says the hologram of Windu. The fanfare notes of the “Imperial March” play softly in minor key as Anniken stares at the holograms, dumbfounded.

    “By the Force, betrayed by your own Sen-nai!!” says Palpatine in seeming shock.

    ZOOM IN on Anniken’s face, where the shock turns to confusion, confusion to distress, and finally distress to a deep, burning anger.

    CUT TO a raised walkway on Had Abbadon. A Jedi escorts an alien Senator along a walkway. Suddenly a Hooded Figure materializes out of nowhere. A skeletal robotic hand appears from under the robe and ignites a short red laser sword. As the music crescendos he STABS the Jedi and Senator in the back in quick succession and fades back into invisibility, but not before we see a very brief flash of a skull-like mask reminiscent of Darth Vader’s and hear the slightest sound of a single sickly, wheezing robotic breath.

    WIPE TO…

    databank_alderaan_01_169_4a5264e2.jpeg

    (Image source StarWars.com)

    Alderaan, where a Nimoida Yacht banks gracefully towards the beautiful planet.

    In the Yacht’s sick bay, Padmé sits on an examination table, attended to by Medical Droid 2-1B4. R2-D2 stands by. “Are you sure?” asks Padmé.

    2-1B4 whirs and burbles. There’s a buzz at the door and Prana enters.

    “Your Majesty, we are approaching Alderaan.”

    The Yacht lands amid the beautiful mansion and grounds of the stunning Organa Estate sits amid gorgeous white-capped mountains, green forests and fields, and blue lakes.

    We enter a spacious country manor reminiscent of a French chateau. Bail Organa, Senator Naiyadah, C‑3PO and Kiai Mudi await Padmé, Nassai Baza, Moog, Ba Ba, and R2-D2. Prana heads off to train with Mudi while Moog and Ba Ba wait in the parlor.

    The four Senators sit around comfortable chairs and couches. C-3PO serves drinks.

    “Senator Talfrin of Glibbian and his Jedi Escort were assassinated by a Jedi weapon. Rumors blame the Jedi,” says Naiyadah.

    “Impossible....the rogue Jedi that attacked us on Ttaz was captured!”

    “I’m afraid there are...other dark Jedi,” says Padmé.

    “If we, beh, keep losing Senators that support us, beh,” says Nasaai, “we will never see our reforms passed!!”

    “Then we will need more allies,” says Padmé, who grabs a Comm. “Senator, if you please?”

    The door opens and Senator Mon Mothma enters.

    “Her?!? She has supported Palpatine’s rise from the beginning!!”

    “Senator Organa, I was...mistaken in my support of the Chancellor and his army,” says Mothma. “I’m a centralist, not an authoritarian. Several other Senators quietly support you as well. What can we do to return democracy to the republic?”

    Organa says, quietly, to Padmé, “How do you know we can trust her?”

    “I just...know.”

    WIPE TO Space, where the Corellian Freighter flies off, the Mandalorian Craft in pursuit.

    The Mandalorian Ship fires into the Freighter. There is a large EXPLOSION. The cockpit SHAKES. The lights flicker. “Severe damage! We’ve lost hyperdrive!!” says Obi-Wan to F5. R2-F5 beeps and rolls off.

    The Mandalorian Ship lands on the Freighter. An EXPLOSION blows a hole in the ceiling of the Freighter and Kaliss Fett drops through. Obi-Wan awaits him, laser sword drawn.

    “Long have I pursued you, Jedi, and now I will avenge the dishonor you visited upon me on Kamino!”

    “I admire your persistence, Warrior Kaliss, if not your obsession. You cannot win against a Jedi Master.”

    “I have near bested you and your Padawan, Jedi. My armor and its capabilities make me your equal.”

    “Yet you forget one thing...in these narrow confines your gadgets do you little good.”

    Kaliss shoots his grapple line, which Obi-Wan dodges and cuts in half. Obi-Wan runs, cuts Kaliss’ blaster in half, and slashes at him. Kaliss rockets back, but only hits the far wall. With a running spin Obi-Wan dodges Kaliss’ wrist lasers and IMPALES him against the bulkhead.

    Gasping and laughing, Kaliss says, “My death will not prevent my revenge, Jedi! My nephew will...carry on with my mission......” and slumps, dead.

    Obi-Wan bolts upright. “PADMÉ!!!”

    The Mandalorian Ship detaches from the dead Freighter and flies off TOWARDS CAMERA. As it passes, we see Obi-Wan in the pilot’s seat.

    ca57c541-d85d-11eb-8d7e-a9f429dd9720

    (Image source Yahoo)

    WIPE TO Duprali, where a Mandalorian Carrier can be seen in orbit around the gas giant planet. “Master to Slaves, Master to Slaves, return to the Carrier,” says a voice over. The various “Slaves” Two through Four report their casualties and success or failure of their objectives. Boba Fett, flying “Slave One”, reports light casualties, all Objectives complete.

    There is a beeping at the control. Boba Fett hits a button. A hologram of Kaliss Fett appears.

    “Boba Fett, this is your uncle Kaliss. If you are receiving this message then I am dead. I am passing my mission to Lord Dias on to you. I also formally request that you avenge my debts of honor. Details are included.”

    Boba Fett turns off the hologram and banks off.

    WIPE TO Had Abbadon, and Palpatine’s office. Anniken sits on the floor in meditation. Palpatine walks around him. Storms rage in the background through a window.

    “My powers may have been wrongfully stolen, but I remember a few tricks! Focus on the very emotions that the Jedi forced you to repress. Feel the joy, the sorrow, the fear, the anger. Find that which you value the most in this Galaxy, and concentrate....”

    We ZOOM IN on Anniken’s eyes, which dart under their lids.

    “Focusssss....seeee...... feeeeeeeeel.....”

    Flashes of Oxon’s waterfall, the marriage, Padmé’s smile.....fire, falling black rock, Padmé in fear.....Padmé’s face, on a white bed, screaming in pain....crying ‘Noooooo!!’ and reaching towards a Blurry Figure.

    “See what has been hidden from you!!!”

    The Blurry Figure focuses into....Obi-Wan Kenobi!! Anniken bolts alert.

    “Obi-Wan!! He was hurting Padmé!!!”

    “Now you can see...the TRUTH.”

    “How do I stop it? How do I save her?”

    “You must trust in me explicitly, without question, and know that I have your best interests at heart. Can you do this? Can you swear your loyalty and faith to me?”

    “I can do this, father.”

    “Good......now, it is time for you to confront your greatest fears and angers. Search your emotions...they will tell you where to go.”

    WIPE TO the streets of Had Abbadon. Anniken throws a dark hood up over himself and heads off into the driving rain.

    The dark, brutalist form of the giant Murchalar Prison Complex looms in the rain. A Hooded Figure passes the two Clone Troopers guards, who salute the Figure as he enters.

    We follow the Hooded Figure past the high security checkpoint with four Clone Guards and into the stone detainment area. The Sophisticated Alien Prisoner raises an eyebrow as he passes. Finally, the Figure reaches the cell with Mauk Shivtor, who looks up and smiles evilly.

    “Jedi!! Such a pleasure to see you!”

    “Mauk.”

    “Forget it, Jedi, I will never betray my Master!!”

    “It is not your Master I seek, Mauk, it is you. A friend tells me I must face my fear and anger. At one time you were the principle focus of both.”

    Mauk slams into the Force Field barrier, snarling. “And fear me you should, whelk!! Lower this field and I will carve out your heart as I did to the old Jedi and your tired old mother!!!”

    Anniken quietly seethes, but maintains his focus.

    “She screamed and begged me not to kill her! It was sweet music to my.....hack!!!” Mauk grabs his neck, choking, as Anniken raises a grasping hand.

    “It turns out, I need no longer fear or even hate you, Mauk, for I have found power the like of which you can never know.”

    Mauk falls, choking to his knees, a look of fear in his red eyes.

    “I can take your pathetic life whenever I so choose.”

    Suddenly the Guards run in. Seeing them, Anniken releases Mauk, who falls, gasping, to the floor.

    “This prisoner was choking and I used my powers to help dislodge it. See to it that he is more careful with what’s in his mouth.”

    With a last, mocking glance Anniken leaves.

    WIPE TO the Jedi Temple, where Mace Windu walks the walls of the Jedi compound. Suddenly we see – barely – the cloaked shape of a Figure outlined by the rain that runs off of it. The Dark Figure, the Sith Assassin, fades into visibility. Windu looks up, suddenly alert. The Sith ignites his short laser sword and thrusts!! A millisecond before being impaled Windu ignites his and blocks the thrust. Mace stares into the skeletal mask of the Sith.

    “Who are you, Sith?!?

    “Your doom, Windu!” says a deep, robotic, raspy voice.

    The two begin to fight with their laser swords, the half-robotic Sith leaping around in a crouch, as if unable to stand fully erect. He leaps and darts around Mace, avoiding any attack by the Jedi, seeking any gaps to exploit. They fight to a standstill. ALARMS blare. Finally, Mace uses the Force to fling the Sith up and over the wall. He flies off into the night.

    “Next time, old friend!!!”

    Two Jedi run up to Mace, laser swords drawn. “What was that?!?” asks one

    “A new complication.”

    WIPE TO Alderaan, where Slave One and another Mandalorian Landing Ship fly low near the Organa Estate. The hatch opens on one and several Mandalorian Warriors rocket out from it. We follow the Mandalorians as they fly towards a field, where in the ever-nearing distance Kiai Mudi, Bav Myorta, and Prana Ashla practice with their laser swords. The Mandalroians attack and engage them while the Ships fly on.

    The ships land at the Organa Estate, the Mandalorian warriors easily overcoming the small squad of guards, and captures the Senators. “Gather all but the Queen and take them to the ships,” says Boba Fett. “My uncle has a debt of honor with her.” He turns his blaster towards Padmé.

    Suddenly R2-D2 rolls, beeping, in front of her. C-3PO runs to join him.

    “Wait! Wait! Stop!!” says C-3PO. “The Astromech says that the Queen is with child!!” he turns to R2. “Is this true?”

    R2-D2 beeps.

    “My uncle’s honor debt is with the Queen, not with the child. Take her to the ships!”

    He grabs Padmé by the shoulder and pushes her along.

    WIPE TO Had Abbadon. Palpatine and Anniken walk along a platform towards the Senate Chambers.

    “Today, Sir Anakin, I will announce to the Senate the final offensive, ending this war, and set in motion events allowing us to reshape a New Galactic Order!”

    “And what will become of the Jedi?”

    “They will be heroes, but their days ruling from the shadows are past. Soon we will retire the Jedi Council and absorb the Jedi into the New Galactic Army, a corps I want you, Master Anakin, to personally lead. Can you do this for me?”

    “Of...of course!! Perhaps we can restore your powers, too!”

    Palpatine stops, smiles warmly, and places a hand on Anniken’s shoulder. “That will not be necessary, my son.”

    At the Jedi Temple, Yoda and Mace Windu stand on a balcony overlooking assembled Jedi, many in hologram form. “The Supreme Chancellor has ordered a final offensive against the Separatist forces at Mustafar, to begin immediately,” says Mace. “All Jedi are hereby recalled from their protector duties. This is our moment to end this war and restore peace to the galaxy! Dismissed!!”

    The two Jedi Masters walk back inside from the balcony. “Clouded, the future remains. Portentous this day is, but know why I cannot.”

    “Despite our suspicions we must follow the Chancellor’s orders. He retains the support of the Senate.”

    “And what word from Skywalker do we have?”

    “Several reports. Meetings, events...little substantial. Also, we lost communications with Master Kenobi outside of Geonosis. We have also been unable to contact Alderaan. The fates of Masters Mudi and Myorta remain unknown.”

    “Unfortunate, this is.”

    WIPE TO Alderaan, where Obi-Wan lands in the Mandalorian ship. A group of Guards rushes out and surrounds it, guns drawn. The hatch lowers and Obi-Wan emerges. A nervous Guard shoots. Obi-Wan casually draws his laser sword and harmlessly deflects the blast, then puts the sword away. He discovers that Padmé and the other Senators have been captured and the communications array damaged. He leaves R2F5 with them to repair their destroyed communications and flies off to Had Abbadon.

    WIPE TO a Starbase on Had Abbadon. “The Imperial March” plays. Anniken and Palpatine look out over a fleet of Clone Landing Craft. Armies of Jedi Knights and Clone Troopers load into the many ships, which take off into the blood red sky.

    “It is a thing of beauty, Chancellor!” says Anniken.

    “Yes. Soon this rebellion will be crushed and a new order brought to the Galaxy! And you, Master Anakin, will be my right-hand!”

    Anniken smiles. CUT TO Yoda and Mace Windu, who stand among the assembling forces. “There is no reason for you to go on this mission, Master Yoda.”

    “No, my friend. Go on this mission I must. The will of the Force draws me to it. You,” Yoda points with his staff, “must here on Had Abbadon remain. Defenseless the Temple is to this Sith Assassin.”

    “If that is your order, Master Yoda.”

    “My order, it is. Old, I am. Able to protect the temple I am not. Only you, Master Windu, the strength to protect it have.”

    Kiai Mudi, Bav Myorta, and Prana Ashla walk up. They apologize for failing to protect the Senators.

    “No...failed you have I. So much have I not foreseen. Master Mudi, Master Myorta, with me to Mustafar you will come. Padawan Prana, your Sen-nai with the Chancellor awaits. Meet him at the Jedi Temple you will. Come, Masters...”

    Yoda turns and walks towards the waiting landing, the other two Jedi Masters behind. Mace Windu and Prana watch as they walk up the ramp.

    WIPE TO…

    Mustafar.png

    (Image source IGN)

    The molten planet of Mustafar. Slave 1 and the other Mandalorian fly towards the molten red planet below. They fly on towards the Separatist base land on a platform. Two Sha’anar, one of them the corpulent Gunray Pabucan, escorted by X-9 Super Drones and Battle Droids, await them. CUT TO the Mandalorians, Boba Fett in the lead, escorting the Senators, Droids, and Roona captured on Aldreaan, all in chains or with restraining bolts.

    “Well, well. Queen Amidala in my clutches at last!!” says Pabucan.

    “Enjoy your fleeting moment, Gunray,” says Padmé. “The Jedi will find you soon enough.”

    “Insolent as ever. Take them away!!!”

    The Mandalorians return to the ships while the Droids escort the prisoners into the stronghold. Boba Fett stays behind. “I have delivered the prisoners per Lord Dias’ contract to the letter. My service to him ends with this delivery.”

    “Don’t be too hasty, Warrior. We can pay well......”

    “I don’t perform suicide missions.” Boba Fett turns and marches back to Slave One as Pabucan looks on, alarmed.

    WIPE TO the Jedi Temple. Mace Windu Chancellor Palpatine, Anniken, and Prana stand on a balcony. A squad of Chancellor’s Guards stand on a balcony overlooking the streets beyond the Temple grounds, which are lined by a small army of Clone Troopers. Anniken seems preoccupied. Prana seems nervous next to him. Palpatine smiles and waves to a host of Camera Drones that hover just off the balcony. Mace scowls.

    “Sen-nai, again my apologies for not......” Prana starts.

    “Enough!” says Anniken, cutting her off. “You’ve explained yourself enough, Padawan. Now, go check on the Younglings.”

    “I am sure Master Shalti is more than capable of.......”

    “Do as I say!!!”

    Prana bows. “Sen-nai.” She exits.

    CUT TO Mace and Palpatine. The former scowls, scanning every corner. Palpatine pats Mace on the shoulder. “Relax, Master Windu! The Troopers have the entire perimeter secured! No one can get into the Temple!”

    “....Or out.”

    Palpatine laughs. “Such a suspicious mind you have for a Jedi!”

    WIPE TO Murchalar Prison, where a hunched, Hooded Figure limps up to the high security checkpoint with the four Clone Guards.

    “Sir, I will need to see some...gack!” The Four Guards grab their throats and fall, choking, to the ground. The Hooded Figure walks into the stone detainment area. The prisoners cower in the corners of their cells as the Figure passes. The Sophisticated Alien Prisoner stops his reading, looks up, smiles, and raises his cup in salute. The Figure reaches the cell with Mauk Shivtor, who looks up and snarls.

    “YOU!!!” he shrieks.

    “Master calls, Mauk. It is time.” The Sith Assassin pulls out a laser sword in Mauk’s twin-blade style from his cloak and holds it out as the force field blinks out. Mauk smiles evilly, grabbing the laser sword.

    “At long last! Our revenge!!!”

    databank_mustafar_01_169_5b470758.jpeg

    (Image source StarWars.com)

    WIPE TO Mustafar. The Republic Forces land on the black lava stone plains in front of the fortified complex. Lava lakes give off a macabre red glow. Marching out, the Jedi, led by Kiai Mudi, form up in the center, flanked and reinforced by armies of Clone Troopers. Across from them a force of Battle Droids and Super Drones opposes them.

    In the far back of the Republic lines Master Yoda awaits with the Clone Generals.

    “Field Marshal Yoda, we await your orders.”

    Yoda sighs and looks away. “The attack commence, General.”

    CUT TO Kiai Mudi at the head of the Jedi force. He raises his laser sword and points forward with it. With a roar the Jedi forces charge the robot armies. The Super Drones charge. Lasers fly from the Clones and Droids. The two forces CLASH, leaping high into the air at each other in a multi-level melee.

    WIPE TO the Jedi Temple. A smiling Palpatine talks to Mace Windu. “A new day dawns, Master Windu. One founded on technology with little need of warrior-monks.”

    “I’m concerned with this line of thought, Chancellor.”

    “Prepare yourself, Jedi.”

    Suddenly the lights flicker and go out. “Sir Anakin!” calls Mace.

    “On it!” says Anniken, who leaves.

    Inside the temple Prana walks through the tower when the lights go out. She comes very alert and starts to run.

    CUT TO two Jedi Guards, who stand by a door, laser spears in their hands. Suddenly the lights flicker and go out, plunging the room into darkness. They ignite their laser spears and come to a ready stance. From BEHIND SCREEN Mauk Shivtor emerges and ignites the double-bladed laser sword.

    “Stand down, Sith!”

    Mauk laughs and charges the two Jedi. The three clash, Mauk aggressively driving against the Jedi, trying to get past their long spears. The two surround him, putting him on the defensive. One thrusts aggressively. Mauk deflects the laser spear up, giving an opening. He rushes in, slicing off the Jedi’s legs. He turns to parry a thrust by the other Jedi, stabs back to finish off the injured Jedi and, laughing maniacally, attacks the remaining one. The furious assault becomes a game for the Sith.

    The Sith Assassin fades into visibility from the shadows and casually stabs the Jedi in the back.

    “He was mine!!!” roars Mauk.

    “Quit playing, Mauk,” says the Sith Assassin. “We have a mission.”

    The music takes a somber turn. On the balcony, Mace and Palpatine look out upon the city.

    “Something has been bothering me about you, Chancellor,” says Mace. “The Force touches us all in its own way. To some it is a slight breeze. To others a tempest.”

    Palpatine smiles. “And what does your ‘Force’ have to do with me, Master Windu?”

    CUT TO Mustafar. SILENT. SLOW MOTION. The battle continues to rage. We see Jedi and Drones fall left and right in the melee. Mace Windu’s voice is heard in voiceover.

    Mace (voiceover): “A Jedi is the eye at the center of a noble hurricane, a Sith the funnel of a devastating tornado. It was said that a Jedi Master could sense a Sith Master from across the galaxy, that his evil bent the fabric of space itself.”

    Inside the Jedi Temple. Prana silently runs across the Courtyard, laser sword-staff at the ready.

    CUT TO Anniken, who silently walks the halls in a dark-hooded cloak.

    Palpatine (v.o.): “A fascinating thought.”

    Mustafar. More silent, slow-motion battle. Master D’Naal cuts a Drone in half, before two more stab and kill her.

    Mace (v.o.): “But you the Force doesn’t even touch. It bends around you...as if afraid of you.”

    CUT TO Yoda, who flinches with every death.

    Mace (Cont’d - v.o.): “Yoda believes you are a normal man. He is a gentle being. One who trusts his senses.”

    Back to the Temple. Mace is standing now, facing Palpatine. Camera Drones hover by, watching.

    “I, however, am NOT a trusting man, Chancellor,” continues Mace. “I see the worst in men where Yoda sees only the best. I look in suspicion upon those he gives the benefit of doubt.

    “And what do your suspicions tell you now, Jedi?”

    “If a Sith Master stood beside me, then I should know it. Unless he had discovered a way to hide from the Force. How else could the Sith have remained hidden?”

    Inside the Temple, a snarling Mauk walks up to the door and stabs the lock as the Assassin stands with his back to the wall next to it. He is revealed to be very tall when fully erect. Suddenly Master Sha’ak Shalti runs screaming out the door, laser swords flying, towards Mauk. The Assassin stabs her in the back too. Smiling evilly, Mauk enters the door.

    younglings.jpg

    (Image source The Imperial Talker)

    It is the Younglings’ Chamber. We see the gathered Jedi Younglings, terrified as a Dark Figure steps out from BEHIND CAMERA, filling the left half of the screen. Mauk’s hand appears and ignites his laser sword. The Younglings flinch in terror.

    Up on the balcony, Mace suddenly grabs the railing and winces, as if in extreme pain. “The Younglings!!!”

    Palpatine smiles evilly. His voice takes on an evil, malign tone. “Every...single...one! You were wise to trust your suspicions, Jedi. Now, feel the true power of the Dark Side!!”

    Something unseen changes the atmosphere. Mace falls back as if in shock and revulsion, igniting his laser sword.

    Inside the temple, Prana falls to her knees as if in pain. CUT TO Anniken, who stops and looks back, shock and terror in his eyes.

    Inside the commandeered Mandalorian Ship. Stars stream by the cockpit. Obi-Wan bolts up in shock

    On Mustafar Yoda raises his head, a look of shocked revelation on his wizened face.

    Back at the Temple Mace Windu recovers and faces Sith Master Sidious Morg, no longer pretending to be Palpatine, smiling evilly. The Chancellor’s Guards come alert and move to engage Mace, but Sidious hold up a hand. The Camera Drones look on.

    “Go ahead, Jedi,” says Palpatine/Sidious, “strike me down. An unarmed old man. The freely elected Chancellor of the Galactic Republic! Reveal the treachery of the Jedi!” He motions to the Camera Drones. “...The Galaxy watches.”

    In the Temple, Prana runs into the Younglings’ chamber. She gasps seeing the little bodies, still, scattered across the floor.

    Prana exits the Younglings’ Chamber in a daze of shock. Mauk Shivtor steps out of the shadows and lights his laser sword.

    “Hello, little Padawan!!”

    Prana ignites her laser sword-staff. “You killed them!!”

    “Yes. And now I will kill you!!!”

    Mauk charges Prana, aggressively attacking in spinning slashes. Prana falls back, deftly blocking the attacks.

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    (Image source Wookiepedia)

    Elsewhere in the dark Temple, Anniken runs back up through the Tower. The Sith Assassin fades in from the shadows, standing at his full height. Anniken draws his laser sword and turns to face him. They are of equivalent height and Anniken looks upon him as if looking into a dark mirror.

    The Sith draws his laser sword. “Hello again, Anniken.”

    “Who are you?!?”

    “An old friend.”

    The Sith attacks in a leaping stab! Anniken parries and slashes. They enter a deadly dance, the Sith leaping around, beastlike, on hands and feet, stinging thrusts with his short laser sword. Anniken strains to block the wild, stinging assaults.

    Up on the Balcony, Mace hesitates. Sidious, eyes closed, head tilted back, stands in front of him. “Yes...I feel your anger, Jedi, the HATE. It burns in you, Windu. Such an excellent Sith you would have made.”

    “Never!!!”

    “YEESSSSSS!!! The Dark Side touches you, Windu, I can feel it!! Now watch as the whole Jedi Order is torn down!!”

    “NOOOOO!!!”

    Mace charges Sidious, and swings, screaming. The strike is blocked inches away by the shielded staff of a Guard. Sidious laughs.

    Inside the Temple Prana and Mauk continue their clash. Prana’s spinning parries hold off Mauk’s twin blades. Snarling, his assaults push her back. Suddenly she changes he grip, deflects Mauk’s blade up and slips under, thrusting. Mauk barely manages to turn and block it. Now HE is on the defensive!

    Her thrusts and strikes drive him back. In desperation he uses the Force to push her. Prana flies back, sliding to a halt on her feet and left hand. Swinging her laser sword-staff back behind her and pushing a button, the sword-staff TELESCOPES out into a full-length laser spear or naginata. Prana stands and spins the blade around in a ready stance.

    Elsewhere in the Temple, Anniken continues to battle the Sith Assassin. He manages to deflect three quick thrusts then uses the Force to push away the Sith, who slides, stands, and applauds, laughing.

    “Superb, Anakin!! Obi-Wan taught you well!”

    “WHO ARE YOU!?!?”

    “What, Anakin, don’t you recognize....” The Sith reaches up and removes the Vader-like mask with a hiss of steam to reveal the burn-scarred face of.......Baron Cetu Thorpe!! “.....your own Great Grand Sen-nai?”

    “Master Thorpe!”

    “In the flesh....as it were.”

    On the balcony, Mace battles the Guards in a running fight. They are skilled and disciplined, but little match for a Jedi Master, and several are quickly killed. Two Guards escort Sidious Morg towards the door. Sidious, as Chancellor Palpatine, turns to the Camera Drones. “The Jedi are in open revolt against the government!!!”

    He is ushered through the doorway, where the panicked face twists into a dark smile. He removes a Comm. from his robe. “Secretary Tarkin, execute Order 6-6.”

    Back on Mustafar, the battle continues. More Jedi, Clone Troopers, Droids, and Drones fall.

    The Clone Troopers stop and touch the sides of their helmets, receiving a message. They suddenly fall back, allowing the Battle Droids to surround the Jedi on three sides. The Clones then take aim at the Jedi from the fourth side and start to fire. Caught in the crossfire numerous Jedi start to fall.

    “No....” says Yoda.

    The Clone Generals around Yoda turn their guns on him. They fire, but Yoda has flipped away.

    FVAH39jWYAAF6LS.jpg:large

    (Image source Twitter)

    CUT BACK TO the battle, where, despite their defensive circle, Jedi after Jedi falls. The music turns tragic and things enter SLOW MOTION as several important Jedi: Bav Myorta, Vrema Melovrius, and finally Kiai Mudi are cut down.

    On the Temple Balcony, Mace Windu battles the Guards, killing the last of them as the Camera Drones watch. He storms into the doorway.

    Inside the Council Chambers, laser sword drawn, Mace enters, where Sidious awaits, seated casually in Master Yoda’s high seat, a hood over his head, shadowing his eyes. The two remaining Guards flank him.

    “Ah, Master Windu. I was expecting you.”

    The Guards charge Mace, who quickly cuts them down.

    Mace points his laser sword. “Sidious Morg, you are under arrest in the name of the Jedi Council and the Galactic Republic.”

    Sidious laughs. “Fool, I AM the Republic!!”

    “Stand down, or be put down.”

    Sidious floats specter-like down from chair. “I prefer to do this...the hard way...”

    Suddenly LIGHTNING shoots from Sidious’ fingers and engulfs Mace Windu.

    Inside the temple, Prana assaults Mauk with her telescoped laser naginata. Mauk retreats under the relentless thrusts and cuts, unable to slip past the ever-moving blade. He leaps over a cut towards his foot and tries to flip over Prana, but only just avoids being stabbed and falls back to the floor to her side, still held back by the blade.

    “Having trouble, Mauk?” Prana attacks again, pushing him back. Suddenly Mauk does a spinning move that deflects the thrust past him, grabs the pole of the laser naginata, and pulls. Prana screams as she’s pulled into his grasp. He lifts her by the neck with his right hand, the blade of his laser sword holding her weapon down.

    “And now, my little Padawan, I drink of your blood!!!” He pulls her towards him, mouth open......

    “No, my apprentice, not yet!” says the disembodied voice of Sidious. “I foresee a use for her!”

    “She is mine!!!!”

    “NOT. YET.”

    Snarling, Mauk throws Prana across the room. She rolls over, gasping, as Mauk EXITS. After a moment she gets up and pursues him.

    Elsewhere, Anniken confronts Cetu Thorpe, who reaches out. “Come, grandson, join me! Together we will destroy Yoda, Windu, and Sidious and rule the Galaxy!”

    Anniken is confused, divided. “No, I....”

    “The Thorpe-Skywalker Dynasty shall rule for a thousand years!!!” He is suddenly alert. “Ah, but this will have to wait. Mauk Shivtor approaches!! Strike him down, Anniken, with all your anger, fear, and hate!!! Avenge Quigon! Avenge your MOTHER!!!

    There is the sound of footfalls quickly approaching.

    “Strike, Anniken, STRIKE NOW!!!!”

    Anniken, screaming, rage in his eyes, thrusts as a figure enters the doorway. Anniken, in horror, sees that he has impaled PRANA ASHLA, his own Padawan!!!

    “Sen-nai......why....??” asks Prana. She slumps to the floor. Anniken looks on her in a strange mix of horror and exhilaration.

    Thorpe looms just over Anniken’s shoulder. “It felt good, did it not? The rage? The hate?”

    Screaming Anniken strikes at Thorpe, who deflects the blows before pushing Anniken away with the Force. “Remember, Anniken...remember that feeling of power!” Thorpe puts the mask back on and fades back into the shadows.

    WIPE TO the Council Room, there Sidious continues to blast Mace with the lightning from his hands. Mace screams and thrashes in pain. Sidious laughs. Slowly, Mace pushes through the pain, stands, and blocks the lightning with his laser sword. Slowly, he redirects the lightning into Sidious!! The tables are turned as Sidious’ own lightning attack is attacking him!! We watch as his face twists and contorts under the lightning, becoming twisted and deformed.

    “You cannot win, Sith!”

    “It’s not over yet, Jedi!!!”

    main-qimg-395b7629854fe237480c405baab5d531-lq

    (Image source Quora)

    Suddenly Anniken, laser sword drawn, bursts into the room!

    “Anniken!!! Son!! Help me!!!!”

    “Don’t believe his lies, Sir Anakin!!! He is the Sith Master!”

    “He’s killing me, Anakin!!!”

    Anniken looks on, confused, trying to choose between the two.

    “Anniken! PLEASE!!!!”

    “FATHER!!!”

    Suddenly Anniken’s laser sword flashes, cutting off Mace Windu’s hands. Mace falls back as Sidious’ lightning pours into him. Mace falls back to the railing on the balcony, then over it, plummeting.

    “You have done well, my son,” says Sidious. He puts a hood on over his scarred head.

    “Thank you........father.”

    Sidious laughs. “I am not you father, Anakin.”

    “.....But...you said......”

    “...That I loved a woman named Shmi? A small lie.......to help you see the greater truth!”

    Suddenly Mauk Shivtor and Baron Thorpe enter, and gather next to Sidious. Thorpe removes his mask, smiling. Mauk scowls hatefully.

    “Join us, Anakin! Join the ancient order of the Sith!! Reject the LIES of the Jedi.”

    “Come, Grandson!!”

    “I...I’m not sure.”

    “Did not Master Windu oppose you at every opportunity? Did not the Council reject your advancement? Did not your own Sen-nai betray you?!? Always they have lied...always I have had your best interests at heart.”

    “Wait!! I sense someone...” says Mauk, who rips open a console on the wall to reveal a young, scared alien Padawan.

    The Padawan draws his laser sword. “Get back!!”

    Mauk draws his laser sword. “This won’t take long, Master!!”

    “No!! Sir Anniken. This one is yours to kill.”

    “He’s a child!”

    “He is a Jedi!!! Indoctrinated from infancy by their lies!!! There is no way to save him but to free him from this life! Strike him down! Prove your loyalty!!”

    “Do it, Anniken, kill him!” says Thorpe.

    “He’s too afraid! He is a coward!!!” snarls Mauk.

    The Padawan points his laser sword at Anniken. “Get back, traitor!!!”

    Anniken draws his laser sword...hesitates...and strikes the Padawan down. Sidious laughs. “Excellent!! Baron, take our newest Sith to Mustafar. Mauk, stay here and kill any Jedi who return.”

    Thorpe places a hand on Anniken’s shoulder. “Welcome to the family!!”

    CIRCLE WIPE TO…

    Obi-Wan’s commandeered Mandalorian Ship on the eerily silent grounds of the Jedi Temple. Obi-Wan exits and walks along the quiet courtyard.

    images

    (Image source Facebook)

    He visits the Youngling Chambers and stares in horror at the fallen Younglings.

    He sadly walks, hand to his head, through the empty halls of the Jedi Temple.

    He passes where Prana fell, but sees no body, somehow sensing that something important happened at this spot.

    Suddenly he comes alert. Mauk Shivtor walks out, double-bladed laser sword drawn. “I’ve been waiting a long time for this, Jedi!”

    “You killed the Younglings.” Obi-Wan calmly draws his laser sword.

    “YES!! And I savored every...last... kill...! But this kill I will savor the most of all!!!”

    ordhe01sd2121.png

    (Image source Reddit)

    As “Duel of the Fates” plays, Mauk attacks Obi-Wan in a screaming, spinning assault, a tempest of fury and aggression. Obi-Wan remains calm and focused, efficiently deflecting each blow. Mauk spins, kicks, and strikes from many angles, becoming increasingly frustrated as he is unable to penetrate the Jedi’s calm defenses. Their laser swords lock.

    “HOW?!?!”

    “Your style of fighting is old, Mauk, but I understand it now.”

    Mauk pushes off and attacks again, twirling the double-bladed laser sword, striking again and again. Obi-Wan, devoid of anger or emotion, calmly deflects them all. Mauk kicks at Obi-Wan, who raises a hand, sending Mauk flying away, spinning. Mauk rolls up on his feet and snarls.

    “You’ve learned.”

    “You didn't bother to learn.”

    Mauk grins evilly. “I don't have to, Jedi.”

    Mauk raises the laser sword like a spear and runs, screaming with rage, at Obi-Wan. Kenobi calmly lashes out, ducking under Mauk’s blade and, in a spinning slash, cuts the Sith warrior in half.

    Obi-Wan casually walks away from his fallen enemy without a trace of emotion or vengeance, a man who has performed a distasteful but necessary task.

    “Learn not...live not, my master always said.”[2]

    WIPE TO…

    Mustafar. Two spaceships, one a Jedi Starfighter, the other a Solar Sail of the type Baron Thorpe prefers, fly towards the volcanic planet.

    “Grandson, you are to lead the final destruction of the Separatist Armies. Their services are no longer required. I....have a special mission to accomplish.”

    The two spacecraft break off and fly towards different parts of the planet.

    Anniken’s ship lands amid a squad of Clone Troopers. CUT TO Anniken walking among the Clones.

    “Field Marshal Skywalker, the Droid Army is crushed and the majority of the Jedi traitors have been eliminated. A few, including Yoda, have escaped.”

    “....Send five squads to find them and kill them. The rest of you to the front. We begin bombardment of the Compound in twenty minutes. I will get you inside.”

    The Clone General salutes. “Yes, Field Marshal.”

    WIPE TO the hills overlooking the battle. Master Yoda walks along a ridgeline with two Jedi. In the distance the Clone Army starts to bombard the Headquarters, explosions lighting up the watchtowers. Yoda frowns and continues walking along the ridge.

    In the dingy, dungeon of a Prison inside the Separatist headquarters we see Padmé, Nassai, Bail Organa, Mon Mothma, Naiyadah, Moog, and Ba Ba locked in rusty cells. C-3PO and R2-D2 sit outside, held back by Restraining Bolts. A fat Ghurran Guard kicks back at a desk, watching a hologram of Pod Races. R2-D2 beeps and starts to roll. The Guard hits a button on a handheld device causing R2 to freeze.

    “It’s no use, Astromech, we have restraining bolts.”

    R2-D2 makes a sad sound. Suddenly a BOOMING sound can be heard. The walls shake, dislodging dirt and rocks.

    “They have begun bombardment,” says Mothma. “We must escape soon.”

    “In an adjacent cell Ba Ba gets an idea. He starts to push his head between the bars. His cartilaginous skull starts to squish as his head starts sliding through the bars. “Hey!! Roona! Cut it out!” says the guard, who throws something, which bounces off of Ba Ba’s head.

    Ba Ba then takes a look, licks a finger and tests the air, puts his nose between the bars again and.....his tongue shoots out and grabs the restraining bolt off of R2-D2!! R2 comes to life with a beep and rolls towards the Guard.

    “Hey!!” The Guard clicks the Device – nothing happens. R2-D2 opens a small hatch and shoots out Taser Wires that hit the Guard and shock him. The Guard falls, stunned. R2 interfaces the computer and all the cell doors open. ALL cheer!!

    “Ba Ba, beh, you, beh did it!!!” says Moog, who gives Ba Ba a bear hug, causing Ba Ba to cough up the restraining bolt. It shoots out, bounces off the wall, and smacks Moog in the head. Moog gives an angry look to Ba Ba, who smiles meekly. Moog suddenly smiles warmly and gives Ba Ba another hug. “Ba Ba, beh!!”

    The room shakes with another near explosion. Padmé runs to a weapons locker and starts pulling weapons from it and hands them out. “Quickly! Let’s go!”

    CUT TO the council of Separatist leaders sit around the table. Many flinch as a near explosion rocks the room. “The Republic Armies are about to breach the gates!! We must surrender!!” says Gunray Pabucan.

    A Battle Droid says, “Masters...a man claiming to be a representative of Lord Dias has arrived at the secret entrance!!”

    The doors slide open and a tall Hooded Figure enters. “Lord Dias thanks you for your loyalty and service, gentlemen,” says Anniken.

    “I hope he sent an army with you, then.”

    “Indeed he did. However, I regret to inform you that he has sent me to terminate your employment.”

    Suddenly Anniken raises a hand and all the doors close. He ignites his laser sword and starts to brutally cut down the Separatist leaders in cold blood. One by one they are all slaughtered.

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    (Image source CSW wiki)

    As he decapitates Pabucan, the blue laser sword flickers red for a second and his eyes glow orange.

    WIPE TO where Obi-Wan flies towards the volcanic planet. Yoda watches the Mandalorian fly towards the embattled headquarters. “May the Force be with you, Master Kenobi.”

    WIPE TO the hallways of the Separatist headquarters. Padmé leads the Senators, Droids, and Roona down the hallways of the buildings, shooting the scattered groups of Battle Droids they come across. A very close hit shakes the hallways, dislodging lots of debris. The Senators duck for cover. R2 beeps alarmed. “We’re not going to make it!’ Says Threepio.

    Padmé dusts herself off. “Then we die trying. Move!!!”

    Elsewhere in the headquarters, a group of Battle Droids and Ghurrans stand by at the main doors. Suddenly the doors start to slide open. “Who authorized opening the doors?!?” asks a Droid.

    Suddenly scores of Clone Troopers rush in, shooting. PAN BACK to a balcony where Anniken looks on, coldly, arms crossed.

    WIPE TO a cavernous room with a stone bridge that spans a massive lake of molten lava. Tooth-like stalactites hang from above. A laser sword cuts a hole in a wall and Obi-Wan steps in. On one side is a train sitting silent on some track. Obi-Wan starts running along the bridge in the opposite direction from the train. CUT TO behind him as we see him run along the bridge, which appears to run on into infinity.

    CUT TO a large room. A Sha’anar egg hatches and the Grub that hatched from it starts to scream. A Sha’anar Nanny picks it up and leads a team of Nursemaids as they shuffle eggs and Grubs between different resin chambers. Suddenly a door opens and Padmé and the rest rush in, pistols ready. A Nursemaid shrieks, nearly dropping an egg. Padmé holds up a hand and lowers her gun.

    “Hold your fire! It’s a nursery.”

    “What are you doing here!?!” demands the Nanny.

    “Trying to escape. I advise you take your young and do the same!” The room shakes with an explosion.

    “There is no leaving the Hatchery until they are ready!” The Nanny casually drops the Grub into a slimy pool full of others. It immediately starts to push smaller ones out of the way to get to the food in the middle. “This one is strong! He will survive and grow.”

    Bail Organa points to a small Grub at the edge of the pool who shrieks helplessly. “That little one is getting pushed away! It’ll starve!!”

    “He is weak. The individual dies, but the swarm grows stronger.”

    “The Trade Guild’s not just run by simple greed...it’s how your people survive!”

    “It has served us for millennia! Grow fat or starve!”

    WIPE TO the Hills, where Master Yoda watches the Headquarters burn. “So many deaths. So needless.”

    “Master Yoda, the patrols grow near. We must go,” says a Jedi.

    Yoda sighs and starts hobbling along TOWARDS CAMERA. Suddenly, as his face FILLS the FRAME, he comes alert. In the background the hooded figure of Baron Thorpe fades into visibility. With a flashing stab he lunges at Yoda, who leaps up out of the way. The remaining two Jedi engage Thorpe, who kills one Jedi with a lightning-fast stab and gets in a quick duel with the second, overwhelming and killing him. Thorpe walks up to Yoda, wheezing mechanical breathing heavy.

    “Hello, Sen-nai.”

    “Thorpe. A disappointment, you are. Such a great Jedi you were.”

    “You underestimate the power of the Dark Side.”

    “Yes, underestimated it I did. Not anymore.”

    “And not for much longer!”

    Thorpe leaps at Yoda, who deftly slips out of the way of the strike. Slashing again and again, Thorpe tries in vain to kill the ever-moving Yoda.

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    (Image source Quora)

    WIPE TO the headquarters hallways, where Anniken leads a force of Clones through the corridors of the Headquarters, mercilessly slaying all whom they encounter, combatant or non-combatant.

    “Fan out. Kill them all. This rebellion ends today!!!”

    WIPE TO the Hatchery, where Padmé is talking with the Nanny when the sounds of blaster fire can be heard beyond the door.

    “Your Majesty; armies approach!! We must move quickly!” says Mon Mothma.

    The Nanny points. “There is a small hidden door over there. Beyond it is a bridge. It will take you to the train, which will take you to starships.”

    “Thank you. May the Force be with you.” Padmé opens the small back door and the rest start crawling out through it.

    Suddenly the front doors blast open and Clone Troopers burst thorough. They start shooting the Nursemaids and Nanny in cold blood. Padmé ducks. She watches the carnage, appalled.

    Suddenly she sees Anniken walk in. She almost calls out.

    “Kill them all,” says Anniken. “The Chancellors’ orders are to leave no witnesses.”

    “Yes, Field Marshal. What about the Grubs and Eggs?”

    “They are insects. Burn them.”

    The Clones start to burn the Grubs and Eggs with flame throwers. The Grubs shriek and scream. Padmé looks on in horror as Anniken coldly watches this extermination, his eyes glowing orange. Ba Ba quietly slips back in through the small door. He suddenly raises his head and starts to look over in Padmé’s direction. “Baza’a, quick!!”

    They slip through and shut the door just as Anniken turns to see it close.

    WIPE TO the hills, where Yoda ducks under three thrusts and uses the Force to fling the screaming Thorpe across the hillside. “Kill you I will not, old friend, but kill me you cannot either.”

    “Then it is an impasse that must be ended!!”

    Thorpe attacks again and again, leaping, twisting, stabbing, slashing, but always striking air. Yoda flings him away again, and again. Finally, Yoda throws Thorpe hard against a rock. Thorpe falls, struggling to climb back up. “Win you cannot, Baron Thorpe.”

    Thorpe wheezes mechanically. “You....would do...better...not to...underestimate me!!!” Thorpe fires lightning bolts from his fingers. Yoda closes his eyes and holds up his hand and the lightning passes harmlessly around him.

    “I am sorry, old friend. Left me with little choice you have.” With a sudden shove into the air Thorpe is sent flying far away, over the edge of a cliff, where he plummets, screaming, into the blackness.

    Falling to his knees, exhausted, Yoda sighs.

    WIPE TO the bridge over the lava flows, where Obi-Wan runs across the bridge. He comes across the Senators. C-3PO and R2-D2 are close behind. Obi-Wan directs them to the train he passed and runs off down the bridge.

    CUT TO Padmé. Moog, and Ba Ba, who are at the far end of the bridge. Padmé is in shock. “....He is evil. He turned evil....”

    “Padmé, baza-ah!!!”

    She comes alert. “Yes. Yes. We must move quickly before he....”

    Anniken appears at the far end of the room. “Padmé? Is that you? Padmé!! I thought I’d lost you!!”

    Padmé dismisses the Roona and pulls something from her belt and palms it. The Roona start to hesitantly walk away. Padmé turns towards Anniken and walks up to him as if in a trance. Anniken grasps her in an embrace. “Oh, Padmé, my love! They told me you’d been taken by Mandalorians!”

    Padmé, still in a trance, says, “They brought me here.”

    “The Force brought us back together. Great news, the war is over! We can return to Had Abbadon! Chancellor Palpatine is placing me in charge of the Galactic Army! Finally, this can all be over.”

    tumblr_inline_oxksnjoNAO1sk75h8_500.jpg

    Concept Art of Padmé with the dagger (abandoned idea in our timeline; Image source Padmé Amidala Defense Funs on Tumbler)

    ZOOM IN on Padmé’s hand, which is revealed to be holding a dagger. “Yes...this can all be over.” She clutches the dagger, turns it towards ANAKIN, and........

    ......she can’t. Despite it all she loves him. The dagger falls from her fingers.

    “What are we going to do, Anakin?”

    “Whatever we wish, my love.”

    Obi-Wan runs up. “PADMÉ!!”

    A shocked and suspicious look crosses Anniken’s eyes. He pushes Padmé away. “You are with him!!! You betrayed me!!!”

    “NO! I swear to you, Ani, I....”

    Anniken holds up his hand and Padmé starts to choke. “Betrayers!! All of you!!!”

    “Anakin, stop!!” screams Obi-Wan. Padmé falls to her knees, gasping. “You’re killing her!!!”

    Obi-Wan draws his laser sword. Anniken tosses Padmé aside with the Force and draws his laser sword. She hits a wall and falls still on the floor. The Roona run up to her. “You killed her!!” says Ba Ba.

    “Anakin, what have you done?!?” says Obi-Wan.

    Moog grabs her body and throws it over his shoulder. The Roona run off down the bridge with Padmé. Anniken stares at Obi-Wan, then at Padmé, and back at Obi-Wan, a complex stream of emotions crossing his face. “You! YOU killed her! You turned her against me!! Her death is on YOUR hands!!!”

    He raises his hand and Obi-Wan starts to choke.

    Obi-Wan fights the choke. “That’s not true!!”

    “Always it has been YOU who held me back! You were ALWAYS jealous of me!!! Ever since you first freed me!!

    Obi-Wan falls to one knee. “No, Anakin....I....loved you...like a brother.”

    “LIES!!”

    Obi-Wan closes his eyes and PUSHES the air in front of him. Anniken flies back. He lands on his feet and charges, screaming. He attacks Obi-Wan in a berserk rage, pure hate and fury driving him. Obi-Wan is taken aback by the onslaught and struggles to avoid the furious strikes. He backs up onto the bridge.

    CUT TO Moog and Ba Ba as they carry Padmé up to the train. They discover that she is still breathing and board the train.

    “What about Sir Obi-Wan?”

    “He is a Jedi,” says Mothma. “He will want us to get her away from here.”

    CUT BACK TO Anniken and Obi-Wan. A wild swing by Anniken cuts away a floor-to-ceiling pillar holding up the bridge. The pillar falls, causing the ceiling and wall to cave in and causing the bridge to topple, cutting then off from Padmé and the rest. The collapsing wall reveals the outside. A small “waterfall” of lava starts to pour in. Obi-Wan attacks Anniken from the side, diverting his attention. Anniken fights back, all rage. Their laser swords lock. Anniken’s blade flickers red again.

    “You are falling to the Dark side, Anakin!! The kyber crystal in your light saber is resisting you!”

    “Then I will force it to obey me!!!”

    Anniken breaks off and attacks again, forcing Obi-Wan back. Obi-Wan jumps away, onto the fallen pillar, which bridges the lava. Obi-Wan retreats up the bridge, into the outside. Anniken, face awash in rage, sees his laser sword flicker red, then flicker out for just a second. He shakes it, returning the blue blade, and pursues Obi-Wan.

    WIPE TO the Train as it flies quickly through the tunnel. Bail organa looks out the window and then turns to check on Padmé. Nassai administering to her, she coughs and comes awake.

    “Anakin....” she says, weakly.

    “Save your strength, beh.”

    anakin-obi-wan-fighting-mustafar.jpg

    (Image source EW)

    CUT TO where, furiously, the Sen-nai and his former Padawan clash amid the lava flows of Mustafar. Streams of lava pour around them, melting the surrounding rock. Rocks break loose and fall into the seething hot flows. Vents of scalding steam shoot out from cracks. Flames erupt. The broken landscape serves as symbol of their broken friendship. Anniken chases Obi-Wan up a ridgeline between two flows. Obi-Wan leaps across a flow onto another ridge, dislodging some rocks. Anniken’s laser sword flickers red and out again. He shakes it back on and leaps across.

    “Anakin!! Resist the Dark side! I have faith in you!”

    “You, like all Jedi, are faithless liars!!”

    “It is the Sith who are the liars!”

    “They have shown me the truth!!!”

    Again they clash, Obi-Wan trying to retain his composure in the face of Anniken’s onslaught. They leap and flip from rocky outcropping to rocky outcropping. They clash and separate. Anniken stumbles and almost slips into the lava.

    “Anakin! Take care! Your anger makes you powerful, but careless!”

    “If it gives me the power to kill you, betrayer, then that is enough!!” Anniken runs, screaming, attacking. Obi-Wan blocks three reckless blows then leaps high up onto an outcropping above as Anniken’s laser sword flickers out again.

    “Stand down, Anakin!! You cannot win!! You will die!”

    “Then I will take you with me!!” Anniken forces the laser sword back on and leaps up at Obi-Wan, screaming, putting all of his hate and anger into this strike.

    Obi-Wan closes his eyes, holding the laser sword to his forehead. Reaching out with the Force, Obi-Wan deflects the blow and slices twice. Anniken’s right hand and both legs are severed from his body. Screaming, Anniken falls, legless, down to the edge of the lava. Anniken screams, and, despite the injury, starts to climb. The rocks start to slide and he slips towards the lava. Obi-Wan puts away his laser sword and starts to walk carefully down the slope, hand out.

    “Reach for me, Anakin! I can save you!”

    “Fear for yourself, traitor!!” Anniken reaches out with his remaining hand. His fallen laser sword starts to shake. Seeing this, Obi-Wan uses the Force to pull Anniken’s laser sword to himself and clips it to his belt.

    Obi-Wan reaches out “ANNIKEN!!!”

    Anniken grabs Obi-Wan’s hand and starts to pull him towards the lava. Obi-Wan fights to avoid being pulled in.

    “I WILL DRAG YOU TO HELL WITH ME!!!!”

    Obi-Wan realizes that Anniken is lost to him and pushes Aanniken away with the Force. Anniken slides to the edge of the lava. Flames ignite on him and start to engulf his body.

    “Goodbye, Anakin,” Obi-Wan says, regretfully.

    7ZTGRaCUVwugpDJTaxftAP.jpg

    (Image Source CinemaBlend)

    As Anniken, burning, screams, Obi-Wan regretfully walks away, not turning back.

    Obi-Wan reaches the top of a ridge, the lava flowing far below him. Yoda is waiting for him. Anniken’s screaming is still audible.

    “A pity it is, a Padawan to lose. Reminded of this today I was.”

    “The Jedi are gone, Master Yoda. Palpatine is the Sith Master.”

    “Know this, I do,” Yoda says, sadly.

    “How do we stop the Sith?”

    “As of now, we cannot. We wait until the Force a way provides. Until then I sense that a child of Skywalker within the Queen grows. Hide him from the Sith you must.”

    “.....I know where I must take him. What will happen to you, Master Yoda?”

    “The Force will provide a way. When right the time is know where to find me you will. Farewell, Master Obi-Wan Kenobi. May the Force be with you.”

    Yoda turns around and walks off over a ridge.

    Back below, Anniken, badly burnt, struggles to get up the hill. Suddenly the wheezy, gasping breath of Baron Thorpe can be heard. Suddenly the skeletal robotic legs of Thorpe appear before Anniken, who looks up. We PAN UP with Anniken’s gaze to see Thorpe standing above him. Thorpe holds his laser sword, ignited. He stares down with his Vader-like mask.

    “Hello, my grandchild.....or should I say.....my son!”

    Thorpe, laser sword still drawn, kneels down by Anniken, putting a hand to his throat.

    CUT BACK TO Obi-Wan, who watches from a distance as Thorpe kneels aggressively over Anniken. Obi-Wan sees a large force of Clone Troopers swarming up from below around the hills, cutting off any escape.

    A Ghurran Shuttle flies through the red skies, Bail Organa and Mon Mothma look out from a window, deep in thought.

    “Your plan is dangerous. We will need to wipe the memory of the droids as a precaution.”

    “The Protocol Droid only. The Astromech’s memory will be a useful resource.”

    Organa nods.

    PAN TO Padmé, who lies on the deck, flailing. The Roona and the Droids administer to her.

    “ANNIKEN!!! NO, ANNIKEN!!!” she thrashes.

    “She’s delirious!”

    “No....she, beh, sees what is,” says Nassai.

    Padmé suddenly becomes alert. “Obi-Wan. Obi-Wan needs us.” Pushing away Nassai’s hands she gets up and walks to the cockpit, where Naiyadah pilots. She points out the windscreen. “Down there!”

    We see Obi-Wan atop a hill, Clone Troopers streaming in from all sides. A last stand seems inevitable. Suddenly the shuttle flies up and hovers beside him. Ba Ba gives Obi-Wan a hand, pulling him up into the shuttle. The Clones start to swarm up the hillsides and fire at the shuttle as it flies away.

    Obi-Wan watches from the window as the hills of Mustafar fade off into the background. Padmé walks up and puts a sisterly arm around him. They can be seen through the window of the shuttle as it banks away into the distance. Their faces betray a galaxy of worries. As the music fades, the shuttle shrinks to a distant point on the horizon.

    In orbit around Mustafar, the shuttle flies off into the distance as a Clone Star Destroyer appears from BEHIND CAMERA, shooting at the shuttle. The shuttle disappears into hyperspace.

    CIRCLE WIPE TO...

    An “Imperial Montage”. “The Imperial March” plays as we step through a silent montage:

    A fleet of Star Destroyers fly up through space at a rising angle, like stabbing spearheads.

    The Roona being silently strafed from above by Clone Gunships.

    Clone Troopers silently devastating a force of White Legionnaires.

    Protestors in Had Abbadon getting silently gunned down by Clone Troopers.

    A giant screen on a building clicks off from a news show to display an idealized image of Emperor Palpatine. Two scarlet banners with the Imperial Logo cascade to either side of it.

    Finally, a dark Surgical Room. As the Imperial March crescendos we see a badly burnt Man (face obscured) on a dark, grey table. Robot Arms silently stab at the flailing figure. Black leg plates are clamped over burnt leg stumps. Strange equipment is sewn into a chest cavity.

    CUT TO POV shot, where a black mask descends TOWARDS CAMERA, eclipsing the view.

    As the mask eclipses the view and the last bar of the March starts, the iconic breathing of Darth Vader begins to be heard over the music. The surgical table rises slowly and silently with a black armored Figure on it as the breathing and music continues.

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    (Image source YouTube)

    Finally, we ZOOM IN on the iconic mask of Darth Vader as he rises and the music comes to an end.

    FADE TO BLACK as the breathing continues for four more cycles, the only sound filling the empty blackness.

    Then....SILENCE.

    FADE TO WHITE. A “Hope Montage” starts. “The Force Theme” plays as we enter a second silent montage:

    A clean, white Delivery Room. Padmé silently screams in pain on a delivery table, attended to by a nurse droid. Obi-Wan looks on stoically. As the droid extends a Newborn over towards the waiting hands of Padmé, Obi-Wan steps in and takes the Newborn. Padmé silently screams in emotional pain at Obi-Wan as he walks out with the baby (observant viewers will recognize this scene from Anniken’s vision in Palpatine’s office).

    1ad26346e0478e9d2825b248df7db0fc2d7dfb05_hq.jpg

    (Image source AminoApps)

    A Hooded Figure slips silently through a rowdy Bar Crowd into a back room. The Figure removes his hood to reveal Bail Organa. Mon Mothma and Naiyadah wait for him. Mothma holds up a device that projects a hologram of an X-Wing Fighter.

    Master Yoda stands silently amid the swamps of Dagobah. A Spaceship lifts off in the background.

    C-3PO pushes a hover chair down a hallway in Organa. In the chair sits a sad looking Padmé. R2-D2 trundles alongside.

    As The Force Theme crescendos, full orchestra, we see a familiar Moisture Farm on Tatooine. A young man (Owen Lars) opens a door, a woman (Beru) behind him. A Hooded Figure hands the surprised man a bundled Baby.

    CUT TO Owen, holding the Baby, now looking out upon the iconic twin suns of Tatooine.

    Owen-and-Beru-Lars-Hold-Watching-a-Tattooine-Sunset-1024x512.jpg

    (Image source Moviegasm)

    PAN BACK as the music finishes its last bars to reveal Obi-Wan Kenobi watching from afar. The orchestra fades to a single flute playing the last notes of the Force Theme. Obi-Wan puts up the hood of a Moisture Farmer’s Robe and walks silently away as the music ends.

    IRIS OUT

    Star Wars Theme plays.

    ROLL CREDITS


    [1] The N’ehma are a race unique to this timeline, but are the species that Mauk Shivtor is a member of and are therefore roughly analogous to the Zabrak (hat tip to @Migrant_Coconut). Females have longer, ever-growing horns that are manipulated at birth to twist down and around their heads in decorative ways that vary by clan and are further decorated with culturally-associated paints and other decorations. Lucas’ daughters, horrified by the N’ehma, convinced him to let the females at least have attractive “feminine” horns.

    [2] This exchange and conclusion was part of the Revised First Draft of Episode I from our timeline. I repurposed it for Episode III in this one.
     

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    Making up Sith
  • Chapter 5: Planning a Prequel Trilogy (Cont’d)
    From Star Wars: The Phantom History, by Ben Camino


    While gushers and bashers continued to debate the merits and/or flaws of the first two Star Wars prequels or argued about small details or connections revealed in the ongoing Star Wars: Chronicles of the Clone Wars Animated TV series by Filmation, Lucasfilm had the challenging job of making Episode III, ultimately subtitled (in a rhyme with an abandoned subtitle for Episode VI) Revenge of the Sith, and the pressure was on to “stick the landing”. Much of this pressure can be seen in the push to make Episode III “big”, starting with its epic Seven Battles[1], which cycled between seven conflicts in seven systems and primarily following seven Jedi, many of whom would play small but critical supporting roles in the unfolding plot. The effects of these scenes drove ultimate costs for the film well over $120 million, a staggering cost for the time.

    “George wanted to make sure we hit the audience right up front with some big-time action,” said director Ron Howard. “So the artists and ILM folks went big-time into crafting multiple effects-heavy set pieces for the opening. This was to be the ultimate showdown of the Clone Wars and a seeming high point for the film to begin at, resulting in the rest of the film being a decent into darkness. This would contrast with Star Wars [Episode IV], which began in darkness and ended in victory.”

    But the Seven Battles were simply to be an appetizer for the main course, which was the central story. Of the three prequel films, Episode III was the one most fully fleshed out in Lucas’ notes and treatments, the story of a Nixonian politician, assisted by the forces of the Military Industrial Complex, who overthrows democracy and establishes an Empire. It is also the story of the betrayal and destruction of the Jedi by Anniken Skywalker and his “death” and rebirth as Darth Vader. Lucas had outlined the basic story as background in the late 1970s and made numerous changes as the franchise progressed, the most notable changes being, of course, Father Skywalker and Darth Vader becoming the same men and the Emperor going from a powerless and corpulent figurehead in a robe of gold to a powerful Sith Master who played 4D chess with the galaxy.

    But while the basic plot and story were established, execution is everything, and writer Frank Darabont had thrown in the added challenge for himself of not revealing the “Father of All Spoilers”. This last part proved a noteworthy challenge when you had millions of fans eager to finally see the epic battle that would leave Anniken a burned, battered man in need of a “walking iron lung” to survive. Ironically, this last iconic aspect of the character was itself, as previously mentioned, due to someone other than George Lucas, the result of artist Ralph McQuarrie, who gave Vader and the Storm Troopers masks so that they could cross open space between the Imperial Star Destroyer and Rebel Blockade Runner, as was originally planned for the opening battle of “The Star Wars”.

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    Original Ralph McQuarrie Concept Art for Darth Vader’s space mask, intended to solve the practical issue of how Vader could cross space (Image source Reddit)

    The soon-to-be iconic look, combined with the soon-to-be iconic breathing by Sound Designer Ben Burtt, led directly to Lucas and the crew deciding to keep him in the mask, knowing that the face behind it would be anticlimactic, which naturally led to the question of why he constantly needed the mask. This in turn led to the “walking iron lung” concept for the suit, and with that revelation came the ultimate fate of Vader having been badly burned dueling Obi-Wan “on a bridge over lava” prior to the events of Episode IV, a scene that fans in the know had been anticipating for over two decades. As such, it would need to be planned carefully.

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    Prince Valorum as depicted in a 2014 Dark Horse comic based on the first draft of “The Star Wars”; the same character would gain the name Darth Vader in subsequent drafts, but not yet be a cyborg (Image source Tumbler)

    But how does one show audiences the long-awaited “birth” of Darth Vader without giving away the secret that it’s Anniken Skywalker? That would be the challenge, not just for Darabont, but for the Lucasfilm team and director Ron Howard and editors George Lucas and Ben Burtt alike.

    “Baron Cetu Thorpe became the key to everything,” Darabont said in a later interview. “We’d included the character early on as a sort of ‘traitor in the midst’, a seemingly benevolent father figure for Anniken, but in reality, his first corrupter, and one who secretly held an even bigger role in his life.”

    Thorpe, who’d been assumed atomized in the fiery conclusion of his ill-fated escape attempt at the end of Episode II, would appear frozen in carbonite on Geonosis, though his face would remain hidden in one way or another until his purposeful reveal to Anniken in their Jedi Temple clash. This highly-cybernetic “Sith Assassin”, as the hidden Thorpe was named in the screenplay[2], had his early appearances deliberately interwoven with Anniken’s in order to simultaneously foreshadow Anniken’s fate, symbolically represent his gradual turn to the Dark Side, and also offer viewers an “alternate possibility” for Darth Vader.

    “We deliberately never showed the face of the burned person being made into Vader,” said Howard. “We also never say the name ‘Darth Vader’ on screen or even hear his iconic voice, just his breathing, making his naming in Star Wars [Episode IV] the official first chronological appearance of the name in the Star Wars film saga. Frank’s hypothetical ‘next generation fan’ could, if one lived in a media vacuum, one supposes, believe that Thorpe is in fact Darth Vader and that he had, indeed, ‘betrayed and murdered’ Luke’s father in the literal sense, as Obi-Wan told Luke. This also avoided making Obi-Wan an outright manipulative liar in Star Wars [Episode IV], which was important to George, as from Obi-Wan’s literal point of view Thorpe was aggressively standing over Anniken and for all he knew planning to kill him.”[3]

    Thus, the canon retroactively became that Obi-Wan hadn’t been entirely certain whether Vader was Anniken or Thorpe, at least not until the Death Star when he sensed the presence of his old Padawan. He’d strongly suspected, and likely knew in his heart, tellingly referring to Vader as “a young Jedi…who was a pupil of mine until he turned to evil” (though Lucas strongly considered digitally changing the line in later VCD releases), giving the hypothetical virgin viewer a touch of foreshadowing without completely giving away the game. Of course, he and Yoda still didn’t tell Luke about Anniken/Vader even once he knew this fact for certain, which still left a residual taint of dishonesty and manipulation by Yoda and Obi-Wan in keeping with themes of how the old Jedi way of cutting oneself off from love and emotion was the wrong path.

    The full extent of the Thorpe connection to Anniken is revealed at the very end when Thorpe finally tells Anniken that he is, in reality, Anniken’s actual father (not, as Anniken and the audience were temporarily led to believe, Palpatine/Sidious), making Anniken and thus Luke the inheritors of a long Thorpe Dynasty bloodline, and thus giving Lucasfilm an easy answer to the inevitable “but who was his father?” questions. Later episodes of the Clone Wars animated TV series (the second half of Season 3, to be precise) would further flesh things out, making clear that Thorpe rescued Anniken rather than betray and murder him, allowing for Anniken to become Darth Vader. Thorpe, meanwhile, was revealed to have the Sith name Tyrus Avvectus, with Vader ultimately having to watch as Sidious painfully killed his father following an attempt by Thorpe/Tyrus to usurp him as Sith Master, giving a new subtext to Vader’s later encounters with Luke and the climactic scene in Legacy of the Jedi.[4]

    Anniken’s conception on Utapau is even demonstrated in these episodes via flashback to be a deliberate part of Thorpe’s “master plan” for his continued bloodline after previously murdering all of his brothers and sisters for wealth and power, deliberately finding a “willing vessel” for his son on a planet soon to be overrun by the Hutts. Having the mother of his child certain to be enslaved by the brutal Hutts virtually guaranteed that his child would have to “grow strong and callous” to even survive, in keeping with Thorpe’s dark, pseudo-Nietzschean philosophy. This made the unquestioning love that Shmi had for her “Sky Walker” a tragic one-way love, with Thorpe simply dispassionately using her in his schemes. All in keeping with a “vision” that he had that a child of his direct bloodline would “bring balance to the Force”, which he falsely interpreted as merging both “sides” of the Force, rather than purging the Galaxy of the corruption of the Dark Side, which was the root cause of the “imbalance”.

    Little did he know that it would be his grandson Luke that would fulfil this vision by rescuing Anniken from the Dark Side, undoing the damage caused by Thorpe and continuing the intergenerational theme of “betrayal by father, redemption by son”.

    Fatherhood, real and artificial, continued as a theme with the secret marriage of Anniken and Padmé and conception of Luke[5], as foreshadowed with Padmé’s sudden and initially unexplained Force connection. Anniken’s own impending fatherhood was also foreshadowed through his young Padawan Prana Ashla[6], who’d been previously introduced in the Clone Wars series and whose surname was taken from Lucas’ old name for the “good” side of the Force, as opposed to the “bogan” Dark Side. Her being an N’ehma, the same species as Mauk Shivtor, was both a symbolic reflection of Mauk, who was Anakin’s “avatar” for his looming corruption to the Dark Side, and thus symbolic of his “goodness” holding him back from the Dark Side. There was also an in-universe reason for the pairing, with Yoda deliberately using the young N’ehma as a way to help Anniken let go of his lingering attachment to his hate for Mauk. Anniken’s apparent accidental murder of his own Padawan, driven by his fear and hatred for Mauk Shivtor, not only symbolizes the Rubicon moment where he abandons the light for the darkness, it also retroactively foreshadowed and added context to his eventual dilemma in the Imperial Throne Room in Legacy of the Jedi.

    Prana’s missing body would, in turn, hint at her survival and presage her continued presence as a “hidden Jedi” in the remainder of the Clone Wars and follow-on Rebellion series. “My daughters would have killed me had I actually killed Prana,” Lucas later said of the controversial decision, which he made in direct opposition to the rest of the creative team’s wishes, who felt that the decision robbed the moment of it’s gravitas.

    The artificial fatherhood aspect and “betrayal by father” was also demonstrated with the quasi-paternal connection between Kaliss Fett and his Clones, most notably Colonel Max, which further played into patricide themes when Kaliss kills his quasi-son Max, foreshadowing Luke’s dilemma with Vader. Similarly, the father-shaped hole in Anniken’s life is artificially filled for a while by Sidious, who concocts a story that he was, in fact, his mother’s “Sky Walker”, a blatant lie intended to manipulate Anniken and speed his turn to the Dark Side.

    Motherhood stolen also continued as a theme, via Padmé losing her newborn son to Obi-Wan, who delivered the baby to his own brother Owen and his brother’s wife Beru, humble moisture farmers on the backwater planet of Tatooine, to raise as adoptive parents. This followed on from an ongoing series of “stolen motherhood” incidents in the Prequels, from Shmi’s murder by Mauk to the Clone’s lack of any mother in Episode II, indicating that a lack of balance between the masculine and feminine could lead to dangerous extremes. The Rebellion animated series would explore this further, with Padme trying to come to terms with the fact that not only will she never see Luke again, but that she can’t see him, because it would endanger him, leading to one of the series’ saddest story arcs, ultimately ending with her self-sacrifice to help shield her son’s location from his father when she does eventually find Luke, briefly meeting him as a stranger on Tatooine.

    The ambiguity of Vader’s origin was embraced on a larger scale as well, with the “Hooded Figure” becoming a recurring motif, whether it was Obi-Wan visiting Mauk Shivtor in the prison, Thorpe as the Sith Assassin attacking and murdering Jedi, Anniken sneaking into the Jedi Temple or confronting Mauk or leading the assault on Mustafar, Thorpe freeing Mauk, or Chancellor Palpatine hooding his disfigured face and fully assuming the guise of Sidious Morg. This also called back to Obi-Wan appearing as a hooded figure in the opening of Episode I, Padmé and her squad dressing in hoods for their break-in at the Archives in Episode II, and Mauk and Sidious appearing in black hoods, and also called forward to Obi-Wan in his moisture farmer’s hood in Episode IV and Luke appearing at Jabba’s Palace as a hooded figure in Episode VI. It fit in with the overarching theme of duality also seen in Padmé/Amidala, Palpatine/Sidious, Kaliss/Max, Thorpe/Tyrus, and ultimately Anniken/Vader. The duality of the natural and mechanical was even taken to the next degree, with the Technology Union on Geonosis crafting cybernetic soldiers and even animals (birds and the wolf-like “Worflaks”), with the heavily cybernetic Admiral Kreeg as the avatar of the new cybernetic army, the mechanical symbolically overtaking the living. Naturally, this, along with Thorpe’s resurrection via “Project Phoenix”, further foreshadowed the rise of Darth Vader, “more machine than man”.

    Also noteworthy, given the themes of ambiguity, is the number of deaths caused by Thorpe that aligned to Anniken’s betrayal, indicating that Obi-Wan’s stories to Luke about Darth Vader murdering the Jedi might not be entirely accurate, with him conflating Thorpe’s killings with Anniken’s and retroactively foreshadowing that Vader might not be as irredeemably evil and Obi-Wan and Yoda believe. While Vader would be seen in the Rebellion TV series killing many surviving Jedi, and even battling his former Padawan Prana at a few points, the new context made Vader’s actions less overtly evil and treasonous, at least at first, making his eventual redemption more understandable.

    Episode III ultimately, of course, completes Anniken’s villainous journey which began in Episode I, seeing him fully submit to the Dark Side. After learning to use the Dark Side via Thorpe and then Palpatine, and with his darkening thoughts and temper in Episode II leading him to recklessly strike out in anger and even using his increasingly dark power to choke Mauk, Episode III would see him kill his friend Ket Falacha in a moment of fear, and then seemingly kill his own Padawan in anger. His fear and lingering anger also led him to betray Mace Windu and thus the Jedi themselves. And finally, he would cement his choice to become a Sith when he murders a young Padawan in cold blood in what could be called a dark initiation ritual—blood in, blood out. After this moment he has fully fallen to the Dark Side and thus feels little to no remorse in ruthlessly killing sentient beings and even Sha’anar grubs in cold blood, dehumanizing these latter innocent beings as only “insects”, a scene that mirrors Mauk’s gleeful murder of the Jedi Younglings and demonstrating how his fear and hate for Mauk ironically helped lead him to becoming Mauk, to some degree. He will soon seemingly murder his own wife, whom he has no idea carries their child, and shift the blame onto his former Sen-nai, ever the victim in his own mind.

    This fall to the Dark Side is visually represented by his very light saber, which flickers Sith red with each Dark Side based action, even flickering out completely on occasion, the Force itself rejecting his evil by way of the Force-resonant Kyber crystal in his weapon’s hilt. The Rebellion series would later show him as Darth Vader building a new, Sith light saber using a cracked Kyber crystal, calling back to the self-tortuous exercise he learned from Mace Windu while preparing for the Bardo. Some fans were angry at this shift from the earlier canon of Sith using artificial Kyber crystals in their light sabers, but Lucasfilm expressed no regrets given the natural symbolism of a cracked crystal for the “Dark side as flaw and imbalance” and for the call-back to the Bardo lessons.

    Strangely, Anniken Skywalker actor Zachery Ty Bryan’s life would parallel his character’s in this regard. After rising from a relative unknown child actor, to getting his big break, to achieving international fame and fortune, Bryan’s rise had followed Anniken’s. His fall would likewise mirror Anniken’s. Bryan had been repeatedly seen with various women for the last few years, affairs which rumors maintain had continued even after entering a long-term relationship with a young actress. Just months following the release of Episode III, Bryan would be arrested in his home in Los Angeles, accused of physically abusing said actress[7]. The resulting tabloid fallout crushed his fame and ended his career for close to a decade, with an ultimate intervention by O.J. Simpson that worked to help Bryan apologize and attempt to make amends for his actions. The resulting campaign played well, with a repentant Bryan getting picked up to play other roles and eventually reprise his role as Anniken Skywalker. In this way Bryan’s life yet again mirrored Anniken’s in finding redemption, though not all were happy with this forgiveness, particularly considering that his victim’s post-traumatic stress issues led to her dropping out of acting. Victims’ rights advocate Jude Barsi called his career renaissance “total bullshit.”

    But while the full six-film saga was ultimately Anniken’s story, the Prequel Trilogy itself remained Obi-Wan’s story, and we largely follow Obi-Wan as he defeats Admiral Kreeg, is made a Jedi Master, and is then sent by the Jedi Council on the critical mission of finding the Sith Master. Suspecting that he works for Sidious, Obi-Wan and Clone Colonel Max track the recurring wildcard character of Kaliss Fett, a Mandalorian mercenary whose twisted sense of “honor” have him on a vengeance quest against Obi-Wan, Anniken, and Padmé that his death passes on to his more pragmatic (and ironically more callous) nephew Boba. The hunt for Fett leads Obi-Wan down a dark rabbit hole that reveals the origins of the X-9 Super Drones that proved so deadly to the Jedi in the Seven Battles. But the Sith stay one step ahead the whole time, with “Project Phoenix”, the resurrection of Baron Thorpe into the Sith assassin, successfully implemented in time for the final assault on the Jedi. The mission also removed Obi-Wan from the most crucial battles, which helped ensure that the Sith assault on the temple would succeed but also ironically likely saved his life and helped set up the events of the Original Trilogy.

    The Geonosis scenes also make obvious the classic horror film themes of Episode III, with the Transylvania-like planet (mostly filmed in Yugoslavia) and converted medieval castle becoming visual representations of this. The 1930s Universal films Frankenstein (the resurrection of Thorpe), The Wolfman (the appearance of Chane, the Shistavanen “wolfman”, which was also a humorous nod at the use of an off the shelf wolfman mask for an alien in the original cantina scene), and even Dracula (Kaliss emerging from the coffin-like pod) were directly quoted. “Episode III is a horror film,” said Lucas. “It’s the story of the death of a good man and the rise of a monster.”

    But Obi-Wan’s story is ultimately one of failure, at least for the time being. He has cut himself off from love of any emotional sort, a move which alienates his symbolic little sister Padmé, helping drive her into the Shakespearian tragedy of her relationship with Anniken. He then callously takes away Luke, sending him to Tatooine, an event that so emotionally scarred Padmé that Anniken had a premonition of the event, retroactively moving him further towards the Dark Side and thus, ironically, setting in motion the very events which led to the event that he sought to prevent. This further foreshadows how the loveless, connectionless life of the Jedi that Obi-Wan and Yoda want to steer Luke towards is the wrong path, and how Luke’s love for his friends, however seemingly reckless and dangerous, is the truest path of the Living Force, and the denial of love practiced by the older Jedi in reality a form of fear.

    One could even argue that Mace Windu is the ultimate expression of this aspect. The stoic, monastic “Bendu” is the living embodiment of the denial of emotion and connection, and while this helps quell the beast within and shield him from the temptations of the Dark Side, it also leads to a suspicious, quietly furious, almost Sith-like mind (as commented upon by Palpatine himself), as if taking the self-denial aspects of the Jedi to the extreme leads full-circle back to the Dark Side. And much has been made of his purple light saber in this regard, a color made of the mix of blue and red, a meaning ultimately embraced by Lucasfilm, though in truth it was born at the insistence of actor Samuel L. Jackson, who wished to stand out from the rest of the Jedi in the battle scenes (in a nod to his iconic role in Pulp Fiction, the light saber’s hilt says “BMF”).

    In a bit of meta-resonance, actor Kenneth Branagh would, like Sir Alec Guinness, largely try to disassociate himself from the role for a while, though lucrative cameo options would eventually lure him back. He’d go on to make frequent statements in interviews about the relentless and exhausting pace of the action scenes and his dislike for the effects work, particularly the “green screen” work. He also found many of the lines “puerile” and “cliched”, though he did ultimately express few real regrets as the paychecks helped fund his late career turn towards dramatic independent productions. Unlike Guinness, Branagh has never taken his frustrations out on fans, and willingly accepts their enthusiasm, even making occasional Con appearances, something that Guinness would never have done.

    Queen Padmé Amidala, meanwhile, would have a double-tale of tragic romance and political intrigue. Her forbidden love for Anniken would be consummated in a secret, forbidden marriage, and one whose bliss would be short lived. A marriage deliberately facilitated by Palpatine, who fully realized the dangerous attachment Anniken held for the Queen and its potential to further drive him to the Dark Side. For while Padmé’s love for Anniken is arguably true, Anniken’s false-love for her is based on attachment and possession. “He’s trying to use her to reclaim the feminine energy and hope and compassion that he lost when Mauk killed his mother,” writer Frank Darabont said in an interview. “His need for her is ultimately selfish, unlike the selflessness of love, and thus ultimately doomed to lead to anger and tragedy.”

    We can see this short honeymoon end when Palpatine, after seemingly surviving an assassination attempt (in reality a false flag operation meant to both cover his involvement in the assassinations and lure Anniken to him), specifically requests that Anniken be his Jedi guardian. This chance at power and influence and recognition for his abilities sends Anniken excitedly away, though Padmé has reservations about this. In fact, she has premonitions, something that astute viewers might notice as the first indirect appearance by Luke. The suddenness of the seeming turn to anger from “love” by Anniken was controversial, with many feeling that it wasn’t properly set up ahead of time. In part this was true, owing to the limitations of film’s run time necessitating short cuts (the Clone Wars animated series would fill in some of the “missing weeks” between the marriage and fight with subtle foreshadowing), but in part the suddenness was the point, a visualization that his supposed “love” was one-way and built upon lies, including lies to the self, ironically using Padmé much as Thorpe had used Shmi.

    It was, Darabont noted, very much in keeping with real abusive relationships, where a sense of possession on the part of the abuser drives the attachment rather than real love, and how easily this possessiveness leads to objectification and idealization of the lover and thus anger at any perceived “betrayal”, however small. “To Anniken, Padmé’s love was an achievement, and one that he felt entitled to. His attachment to her always spoke more to his need to fill something missing in himself rather than real affection for her. As such, the marriage became more about control than partnership. And when that control feels threatened, i.e. Padmé opposing him going to Had Abbadon and threatening his presumed power over her, he turns verbally abusive, which itself foreshadows the physical abuse to come.”

    But Padmé’s larger story involved her political leadership and her growing “conspiracy of light” as some fans have called it, where she and similar likeminded Senators gather to track Chancellor Palpatine’s continued accumulation of power and the suspicious nature of many of the assassinations, which overwhelmingly affect opposition politicians. And yet she serves not only as a facilitator for what would become the Rebellion, but a facilitator of Alliance when she makes amends between rivals Mon Mothma (who’d been one of Palpatine’s most vocal supporters) and Bail Organa (a leading Palpatine critic) when it became obvious to all that Palpatine had played them both against one another. Mothma took credit for her failings in this regard, admitting that she was “a centrist, not an authoritarian”, with her steely unflinching politics but ultimate honor and goodness presaging her steely leadership of the Rebellion.

    Thus we see in Padmé the mother not just of Luke, but of the Rebellion itself. Though she would tragically become Anniken’s ultimate victim, sacrificing herself to preserve Luke’s concealment when he tries to steal the information from her head, she thus becomes the ultimate Good Mother, birthing not just Hope (the Rebellion), but the vessel by which it can be made manifest (Luke).

    Actor Aleksa Palladino, like Branagh, used the money from her role to fund a shift into independent film, having grown to truly dislike the attention that came with big budget blockbuster films. Her constant harassment by tabloids and the “hateful, disgusting things” occasionally said about her by tabloids led her to dump her agent and focus on arthouse works, eventually gaining her a small cult following as a respected “indie” actress. “Carrie [Fisher] warned me of what was to come,” Palladino told People. “So rather than try to fight a typecast just to maintain a place in the spotlight that I hated, I remade my own career doing small, meaningful pictures that bring me joy and purpose.”

    Del Toro and McKellen would, of course, remain popular character actors, both reprising their roles in various future Star Wars productions.

    Fan reactions to the film were mixed, though the relative lack of Moog and Baba and some epic light saber duels, space battles, and other fan service aspects won over most in the end. Howard’s sentimental direction helped bring gravity and drama to the final battle between Obi-Wan and Anniken, which was deliberately stripped of spectacle in favor of raw emotion and brutal combat, though some found Bryan’s acting a bit too melodramatic, veering into bathos at times. Male fans’ dislike for Bryan, based on jealousy and his overexposure in the media likely tainted perceptions for many in this regard, with some seeing his eventual scandal as evidence of how they were “right all along” about him.

    Other common fan complaints were that they never get to see Vader assume his name, with many finding the deliberate ambiguity of Vader’s identity insulting to their intelligence or an unnecessary complication. Also, many found the false twist of Palpatine being Anniken’s father frustrating, particularly those who’d predicted that Palpatine would be Anniken’s father and had been briefly led to believe so, and others either disliked the Thorpe angle or were feeling cocky that they’d “called it”. The rather awkward “literal point of view” angle for Obi-Wan’s ambiguity over Vader’s identity was likewise a subject of groans for many fans, some of whom had ironically needed to be pulled kicking and screaming in the early ‘80s into accepting that Vader was Luke’s father to begin with[8].

    Still, the film performed very well, making nearly $1 billion in the international box office despite attempts by some parts of the fandom to lead a boycott, with even some of the boycott’s leaders later admitting to going to see the picture, however supposedly reluctantly. Blame games and online arguments continued and in fact still continue, particularly as millennium generation fans come of age and become more outspoken in their love for “their” trilogy. The success was enough to solidify Lucasfilm’s solvency for the long term, allowing for further expansion of the franchise into the TV, book, comic, and gaming spheres and even renewing interest in other Lucasfilm creations like Indiana Jones and Willow, THX-1138, and even Howard the Duck, whose film rights were still controlled by Lucasfilm even as he remains a Marvel-owned (and thus Disney-owned) character.

    20th Century Films also made a massive profit from the three films, and Fox Chairwoman Lisa Henson, who’d facilitated the deal, likewise received praise from the film industry even as she remained a controversial figure in the fandom. Triad Chairman and CEO Martin S. Davis led the board to give her a large bonus and pay raise and even floated the idea of an eventual Executive billet at Triad Corporate and/or a spot on the board itself, though Henson would ultimately take over from her father at Disney.

    In the end, the Star Wars Prequel Trilogy proved a successful but controversial addition to the Star Wars canon, one whose arguments continue even today with discussions of a Sequel Trilogy reportedly in pre-production, rumored to follow a third generation Skywalker, possibly a daughter (online fandom has already begun calling her “Nelith”, though that might not be her actual name). It was a trilogy that caused a great deal of stress for creator George Lucas, whose love-hate relationship with his most famous franchise lingers on.



    [1] Lucasfilm reportedly had big plans for a “seven battles” opening, but when Episode II left open hanging plotlines involving Anakin’s descent to the Dark Side, they replaced it with the Battle of Coruscant and the seeming “rescue” of Palpatine.

    [2] Note that here “Sith Assassin” is used as a literal description (a Sith who commits assassinations) rather than the formal title from our timeline’s The Clone Wars animated series, where it was a cheeky way of bypassing the “Rule of Two” when Drama Demanded More Sith.

    [3] The scene also visually “rhymes” with Obi-Wan standing over the unconscious Luke in Episode IV, which both contrasts the compassion of the Jedi with the aggression of the Sith and helps further tie Episode III to Episode IV in keeping with Medieval Ring Structure, since we’re overtly (if half-heartedly) using it here.

    [4] Other episodes will go deeper in to Palpatine’s backstory, which I will leave for future writers to fill in.

    [5] Recall that Leia became the “Other” in this timeline, but not Luke’s twin sister in Legacy of the Jedi, and remains canonically unrelated to and three years younger than Luke.

    [6] More or less this timeline’s Ahsoka Tano, obviously, and like her both an attempt by the council to help Anniken mature as a Jedi in-universe and an attempt by George Lucas meta-wise to give his daughters a positive role model. Comparisons and contrasts to Luke’s eventual Padawan Halixiana will be common in fan discussions. For reference, Prana is the Sanskrit word for the life-giving “universal energy which flows in currents in and around the body” (sound familiar?), equivalent to the Chinese Chi and Japanese Ki. Ashla comes from George Lucas’ abandoned original names for the light and dark sides of the force: the “ashla” (light) and the “bogen” (dark). The Clone Wars TV series will also give Prana a fellow Youngling-turned-Padawan friend named Shana Ylitt, who becomes a rival and then a Sith apprentice to Mauk Shivtor, assuming the Sith name Bogana Mal’qi, ultimately becoming an Asajj Ventress like figure.

    [7] Bryan was arrested in 2020 in our timeline for felony strangulation and misdemeanor charges of fourth-degree assault, ultimately serving three years of bench probation and ordered to partake in a batterer intervention program. I have no idea if he committed any acts of domestic abuse before this. Here the stresses of fame have driven him to violence far sooner.

    [8] Yes, ironically given the near universal love of the twist today, many fans at the time complained loudly about the “I am your father” twist. Many refused to accept it, insisting right up to the debut of Return of the Jedi that Vader was lying. Fans complaining about Star Wars creative decisions is a tradition as old as the first sequel.
     
    It's Been a Long Road [Downloading Earworm......]
  • Opening from “Where No Man Has Gone Before…”
    Star Trek: Discovery, S1:E1 and Pilot


    FADE IN

    Ext – Space
    A field of stars on a black background. The iconic Fanfare from Star Trek plays. We start to DESCEND through the stars as a voiceover starts. It’s the ragged voice of an elderly ZEFRAM COCHRANE (Jeffrey Combs[1]), last seen on S3:E24/S4:E1of Star Trek: Envoy, “First Contact”.

    Zefram Cochrane (V.O.)
    Space. The final frontier. (pause) For millennia it has called to us, astounded, us, beckoned to us.​

    We DESCEND to the Planet Earth in the year 2111 as the Star Trek Fanfare plays a second time. The sky is a mix of classic blue-and-white, but with tinges of brown and yellow, the remnants of a post-apocalyptic wasteland, results of the deadly Eugenics Wars from generations before, being slowly recovered and restored.

    Zefram Cochrane (V.O.)
    From the dreams of Daedeleus and Da Vinci to the accomplishments of Orville and Wilbur Wright, Yuri Gagarin, Neil Armstrong, and Shan Yu, to the, well, (laughs) the flight of the Phoenix, which I may have had a small part in making happen.​

    There’s the sound of laughter from a large crowd as we descend through the clouds, a mix of brown and white. We drop through the clouds into a rugged landscape that is a mix of forests and small, dirty villages and we HELICOPTER PAN ALONG as the forest and mountains give way to a bay valley full of ragged ruins and small, crowded shanty towns, the remains of what were once the US cities of Oakland and San Francisco. A Vulcan-Made tower sucks in the brown pollution and spits out pure white clouds. Space ships take off and land from a small space port, many of them rough-and-ready-looking Earth vessels, a few of them sleek-and shiny-looking Vulcan ones.

    Zefram Cochrane (V.O.)
    And now, with the breaking of the Warp Barrier, we are once again returning to the stars! Our ships may be slow compared to those of our Vulcan friends, but slowly and steadily we will go forth into that Final Frontier.​

    We PAN and ZOOM further into the City of San Francisco, new glimmering towers rising to replace the battered, war-torn buildings of old. Workers repair the iconic Golden Gate Bridge, which still has missing sections. We ZOOM In on Star Fleet Academy, still largely under construction, and into an Arena where a crowd of CADETS stand in ranks on the field, looking towards a stage, and family and friends watch from the stands. It is clearly a Graduation Ceremony. We continue to ZOOM IN to the speaker, seeing ZEFRAM COCHRANE as an old man, hunched and weary, but bright of attitude, a gleam in his old, cloudy eyes.

    Zefram Cochrane
    And it is you, the first graduating class of Starfleet Academy, a force of brave men from the world over, who will be the ones to take us there. I but wish that I could go with you, but it is you who shall visit strange new worlds, seeking new life, and new civilizations…​

    CUT TO two young cadets in the graduating class (both de-aged through FX): ARCHER J. DREXLER (Denis Haysbert) and TUCKER “TRIPP” JEFFRIES (Connor Trinneer). Their eyes are bright and enthusiastic, the eyes of dreamers on the verge of living their dreams.

    Zefram Cochrane (V.O.)
    …It is you who shall boldly go……where no man has gone before!

    ARCHER and TRIP and the rest of the CADETS around them cheer loudly. They toss their hats into the air. Triumphant music plays. We ZOOM IN on ARCHER and TRIP and MATCH CUT TO…

    Int – NX-5 Test Vehicle - Cockpit
    ARCHER and TRIP, slightly older, now wearing jumpsuit-like uniforms with the insignia of a Lieutenant and an Ensign respectively, sit in the cramped Cockpit of the NX-5, an experimental test space ship. They still have the bright and hopeful eyes of the graduating cadets, but now have a more serious, businesslike aura about them as they prep the ship for the Test Flight.

    Archer
    (flipping switches) Fusion Core startup initiated…

    Tripp
    (looking at panel) Active…all green. (hits some buttons) Initializing impulse rockets. Powerup sequence running normal.

    Archer
    Check. (flips more switches) Power levels to ready. (holds hand to the headset on his ears) Control has cleared us for taxi. Moving to taxi speed. (grabs stick and throttle; slowly pushes throttle forward)

    Tripp
    We’re movin’! All indications normal.​

    CUT TO…

    Ext – Space – Centered on NX-5 Test Vehicle
    The NX-5, an experimental vehicle like a rocket with two Trek-style Warp Nacelles protruding on pylons, is firing up a rocket-like engine at the back and starting to move. Someone has painted “Zephie’s Pride” on the nose in red paint next to a painting of a young woman in a pin-up pose in what is clearly not a regulation paint scheme.

    CUT TO…

    Int – NX-5 Test Vehicle - Cockpit

    Archer
    Proceeding to taxi. Steady as she goes.

    Tripp
    (looking at various screens) Fusion drive all green! Shall I power up the Warp Engines?

    Archer
    (turns to TRIPP and smiles cockily) What do you think, Tripp?

    Tripp
    (smiles back) You got it! (hits some buttons) Warp Engine 1 powering up, all normal…Warp Engine 2 powering up, all normal.

    Archer
    Control has cleared us for full Impulse. (pushing forward throttle) Moving to full Impulse. (the Cockpit starts to shake ever so slightly)

    Tripp
    Oh boy, here we go!​

    CUT TO…

    Ext – Space – Centered on NX-5 Test Vehicle
    The NX-5 is moving faster now. Lights begin to light up on the warp nacelles.

    CUT TO…

    Int – NX-5 Test Vehicle – Cockpit
    Things are visibly shaking more as the NX-5 speeds up.

    Archer
    Max impulse. Control has cleared us for Warp 1.

    Tripp
    (looking through various screens) All indications go! Let’s light this candle!​

    CUT TO…

    Ext – Space – Centered on NX-5 Test Vehicle
    The NX-5 warp nacelles fire up. The NX-5 shakes a bit, and then blurs into streaks of light that disappear into a flash, leaving empty space.

    CUT TO…

    Int – NX-5 Test Vehicle – Cockpit
    Things shake abruptly and then settle into a gentle hum.

    Tripp
    Warp 1 achieved! All signs normal!

    Archer
    Handling like a dream. Control has cleared us for Warp 2. (pushing forward throttle, the Cockpit vibrates faster).

    Tripp
    All indications normal.

    Archer
    Cleared for Warp 3.5. (pushes throttle forward more; vibration gets stronger).

    Tripp
    Warp 2…2.5…3, and holding steady.​

    Things are visibly shaking now.

    Archer
    We’re picking up some shake, Tripp.

    Tripp
    I’m looking into it. No indications of anything wrong…

    Archer
    I guess that we just need some more juice…​

    ARCHER pushed the throttle even more forward. The shaking gets worse. Some lights flash and there’s some beeping.

    Tripp
    Warp 3.5…4 achieved! Ease her up, Arch, you’re pushing her a bit too hard here!

    Archer
    Easing off a bit. (thing settle slightly) OK, steady at Warp 4.

    Tripp
    Fusion’s driving a bit hot, Arch, but Warp Field is holding. Could go either way. We may want to back off for today. What’s your call, Arch?

    Archer
    (thinks for a moment) Nothing ventured, nothing gained. You ready to break 5?

    Tripp
    (looking nervous, but excited; blinks for a moment) Nothing ventured, nothing gained. This is what we’re here for, right? Hate to have got all suited up for nothin’.

    Archer
    Then we’re doing this. Control has cleared us for Warp 5. Here we go!​

    ARCHER pushes the throttle all the way. A vibration shakes through the cockpit. It grows in frequency, severity, and unbalance. Lights light up and alarms go off.

    Tripp
    (looking concerned) Warp Field holding, but Fusion’s goin’ yellow! Take it easy on her, Arch!

    Archer
    (determined look on face) Steady as she goes. Warp 4.3…4.4…

    Tripp
    (looking to alarm) Fusion core at 98%. Moving towards overload!

    Archer
    (shaking and turbulence growing severe) 4.5…4.6…4.7…​

    An urgent alarm sounds. A light flashes red.

    Tripp
    We’ve picked up an asynchronous flux in the Warp Field! Arch, ease her up!

    Archer
    4.8…Almost there!​

    CUT TO…

    Ext – Warp Space – Centered on NX-5 Test Vehicle
    Stars blur by. The NX-5 starts to shake. Lights on the Warp Engines flutter and make a strange noise.

    CUT TO…

    Int – NX-5 Test Vehicle – Cockpit
    Things are shaking severely. Alarms are going off.

    Tripp
    Ease her down, Arch!! Fusion approaching overload!! Control is ordering us back to Warp 3!

    Archer
    (acting calm, but with a small crack of uncertainty) We’re doin’ fine, Tripp. She’ll hold. There’s a safety factor. 4.9…4.95…

    Tripp
    Arch I strongly advise…

    Archer
    (starting to look worried, a bead of sweat on his brow) 4.97…come on baby!​

    Things are shaking badly. TRIPP looks worried. Suddenly there’s a massive, rough shake and a loud POP as the cockpit lurches up-and-down three times in quick succession………..then all settles to a simple hum.

    Tripp
    (sweating, looks to sensors) Warp Field stabilized and Fusion to green.

    Archer
    Steady as she goes. Warp 5. (turns to TRIPP and smiles)

    Tripp
    (laughs nervously) Warp 5. (beat) Warp 5!! We did it! This changes everything!! Out of the solar system in hours, not days! Alpha Centauri in weeks, not months…we just opened up the doors to the galaxy!! Zef Cochrane’s dream made reality!!

    Archer
    (smiles to TRIPP) “Where no man has gone before!”​

    Ext – Warp Space – Centered on NX-5 Test Vehicle
    Stars blur by as the NX-5 flies off to the horizon, triumphant music playing.

    FADE TO Opening Credits…




    (Yes, no sappy pop song, but a classical score)



    - - -​

    Part VII: A Blast from the Past
    Excerpt from Star Trek: An Insider’s Guide by Tek No Babel


    As Star Trek: Envoy entered its 6th season, Berman and Piller started to contemplate what might come next. Having decided to end VOY after 7 seasons, this would mean that a new series would need to debut in the fall of 2002. There were considerations on what could follow VOY, but the founding of the Galactic League left a pretty definitive place to leave things. So this left a couple of options: skip ahead, or skip back.

    Piller was interested in another skip forward, to a time when the Galactic League was breaking down and factional alliances starting up in an analogue to the fall of the League of Nations and the start of World War II, perhaps with some of the newly introduced races of the other quadrants shaking things up further.

    Berman, however, was sick of the same “Dark Plot or Events threaten Rodenberry’s Sacred Vision” storylines, and wanted to go back to something more old school “Space Western” like Trek’s roots as “Wagon Train to the Stars.” He envisioned an earlier show, with a more frontier exploration attitude. He saw a Captain in the Kirk mold, a “cross between Chuck Yeager and Han Solo”, who used his wits and his fists rather than applied technobabble to solve problems.[2]

    640px-Star_Trek_ENT_logo.svg.png

    Not exactly this…

    Star Trek: Discovery was born.

    Background and Production

    The story of how DIS came about is as wild and swerving as any plot in the franchise, full of disagreements, executive meddling, egos, and arguments. The thoughts and opinions of the writers, artists, fans, producers, and Triad executives would clash and merge and reshape one another into a strange gumbo of ideas for what many consider the strangest Trek ever devised.

    And it all grew out of the events of a single two-part episode of VOY, specifically S3:E24/S4:E1, “First Contact”.

    star-trek-first-contact_668_330_80_int_s_c1.jpg

    (Image source Parent Previews)

    The events of that two-part season cliffhanger saw the Borg Queen rediscover the Borg specs for the time travel sphere last seen in Star Trek VI, and send a taskforce of Borg back to the year 2063 to assassinate or assimilate Zefram Cochrane, the first human to break the Warp Barrier. Seeing humans as the lynchpin of the Federation, and the Federation as the lynchpin of the Grand Alliance that defeated and scattered the Collective, she determined that even a slight delay in human warp capability, a mere couple of generations, could change everything and see the galaxy fully assimilated.

    Captain Shelby and her team, of course, had different ideas, and followed the Borg back in time, defeating the plot and ensuring that Cochrane successfully launched his Phoenix on schedule, breaking the Warp Barrier, and leading to humanity’s first contact with the Vulcans.

    Seen as a fan favorite double-episode, it seemed natural to take off from that point, albeit a generation or two ahead. This series would follow the very first Star Fleet Captain as he led the crew of the very first pre-federation starship into the galaxy. It would be a “chance for the crew to try new things, make mistakes, and set up the events leading to the Federation and the Original Star Trek”. Originally named the Enterprise, the “first trans-galactic starship” would serve as the template upon which all other adventures would follow.

    So, on the surface the goals of the series were simple: bridge the historical, technological, and cultural divide between “First Contact” and the original Star Trek. But this was much easier said than done, for several challenges stood in the way owing to the fact that the original Star Trek had first aired over 35 years in the past, and much had changed not just technologically and stylistically in the intervening decades, but culturally as well. While largely seen as advanced technologically and progressive politically by the standards of the time, TOS had some serious anachronisms, such as an extremely dated “Tomorrowland Problem” in terms of the level of the technology and dated “futurism” of the design, not to mention some very uncomfortably dated gender relations, despite an early attempt by Roddenberry to make Majel Barrett the First Officer. This left a real issue for the production team: how do we make this aesthetically and culturally acceptable to modern audiences without feeling more “advanced” than the “future world” of the Original Series?

    And needless to say, the events of the world would affect the production. The rise of international terrorism fueled by a flood of USR-made weapons, both within and outside of the United States, led to themes of the “us/them” vs. the “we”, the nationalistic vs. the multicultural, the xenophobic vs. the accepting, and short-term vs. the long-term thinking. Race, bigotry, sexism, and xenophobia would be recurring themes, contrasted by exploration, invention, curiosity, and, well, discovery and enterprise.

    And all of this while continuing that hopeful sense of “renewal” that came with “First Contact”.

    The debate raged for a while about how to accomplish all of this before a young writer[3] mentioned how the key to bridging the generations was the post-apocalyptic setting of “First Contact”. The reason why the technology of TOS was “behind” the modern world of 2002? Well, they have to rebuild everything from the rubble! Is it any wonder that the technology would be “behind”? And as to the gender attitudes, well, in the post-apocalyptic aftermath of the Eugenics Wars, naturally the rough men who took charge in this challenging new world would see women less as equals and more as resources for repopulating the planet. Thus, the humans that the Vulcans encounter are violent, brutish, and openly sexist, even as older views on race have fallen somewhat by the wayside, hence why in TOS the women were reduced to supporting roles (and placed in objectifying miniskirts!) while race and ethnicity didn’t seem to be much of a factor in opportunity as long as one were male (all able-bodied men are needed!). Furthermore, it was proposed, the fragmented post-war remains of various nations would, in this tribalized post-war world, double down on ethnic traits and identities and mannerisms, explaining why Montgomery Scott was so screamingly “Scottish” and Pavel Chekov so ludicrously proud of his Russian heritage, even as adherence to such national identities had somewhat subsided by Picard’s time and faded to near irrelevance by Shelby’s.

    And knowing, with the overtly feminist themes that they were attempting and the openly sexist attitudes of some of their main characters, that they’d be walking on eggshells, Piller convinced Jeri Taylor to return as a script consultant. She, in turn, recommended her old friend J. Michael Straczynski of Babylon 5 fame to help with the arc writing.

    One of the first big questions that arose from this discussion, naturally, became the central starship herself (and she would indeed be a “she” in this “less civilized” time). Berman had wanted to name her the Enterprise, and indeed name the show itself “Enterprise” as a call-forward to the future starships and due to the central theme of being “enterprising”, but Piller and many of the crew pushed back, citing that the NCC-1701 was the “original” Enterprise and feeling like the name would cheapen the original series, not to mention infuriate the fans. After sometimes heated debates, newly-appointed VP of Family Programming for PFN Vanessa Morrison[4] put herself into the debate, saying, firmly, “work it out. You have until tomorrow or I name the ship. I’m thinking something girly.”

    They ultimately settled on the name Discovery, which held a similar theme as Enterprise, but also held a sense of novelty, as every place that the USS Discovery (NCC-001) visited would be a new discovery, at least for the humans of the Federation of Terran Nations.

    For the ship herself, Berman had described her in the original treatment as “More rocketship than starship, Enterprise is lean and masculine – yet its deflector dish and twin warp nacelles suggest the shape of Starfleet vessels to come.” Based on this and his knowledge of Trek Lore, lead designer Doug Drexler was at first pushing towards a ship similar to the USS Daedalus, which had a spherical primary hull and a tubular secondary hull.

    “What could be more ‘masculine’ than a ship that looks like a giant penis?” he reportedly said.

    1681212539999.png

    USS Daedalus Class (Image source Memory Beta)

    But Berman pushed back, hard. He wanted a ship with a more saucer-like primary hull, like “audiences would expect.” After various back-and-forth arguments, eventually something along the lines of the USS Reliant from Star Trek 2 was considered[5], albeit given a deliberately retro-styled makeover in the vein of the newly remade Ford Thunderbird, which sported a deliberately ‘50s-inspired throwback design.

    What emerged was a ship with a saucer section much like the original USS Enterprise, but with a triangular-shaped secondary hull that tapered back from it, giving the ship the profile of “a flattened ice cream cone” to quote Drexler. The secondary hull was thus integrated into the primary with no strut separating them, with some of it extending below the saucer to make room for the deflector dish and the torpedo tubes at the front and the rocket-cone-like impulse engines at the aft. Above the dish and impulse engines, and extending back from the primary hull, was the shuttle bay, deliberately styled after that of the NCC-1701. Sweeping back from the triangular secondary hull on thick struts deliberately evocative of the swept wings of the F-86 Sabre fighter were the two warp nacelles. Originally, they laid flat, but later design iterations angled them up slightly “sort of like the fins of a ‘58 Cadillac”, giving the ship a dynamic profile. Ultimately, the result was something “futuristic by 1950s standards, old fashioned by Captain Kirk’s standards, and sleek and ‘cool’ enough for modern audiences.” After a long debate, they made the ship primarily white and light grey with black highlights in keeping with US rockets and space shuttles.

    1681213081511.png

    GK’s shitty 3D Render (If anyone can do better, and someone undoubtedly can, please do so!)

    For the interior, however, the designers based the aesthetics on the closest things to long term space travel available on Earth: The International Space Station (then under construction) and the submarine service. The interior would be cramped, grey-and-white, and claustrophobic with hatch-like doors you had to manually slide open, duck and step through, and with none of the big, open staterooms seen in future Starships. Engineering was a cramped and tangled industrial space and even the Captain’s Quarters were only about sixty square feet with room for a small bunk and a fold-out-of-the-wall desk. Like a Navy vessel or space station, conduits and pipes and ducts ran everywhere, fully visible, something which irked some of the ship’s crew, leading Engineering Officer Tripp Jeffries to promise them that he’d suggest that Starfleet put them all in “separate maintenance tubes” in future starships when they got back to Earth. Like a massive reminder that “this isn’t the comfortable Star Fleet of the future”, the USS Discovery was clearly a bare-bones, function-over-aesthetics place deliberately intended to feel cramped, rough, rugged, and no-frills, with not a square inch of wasted space.

    Furthermore, the ship would be a reversion in technology from the later starships. There would be no instant universal translator, and Ensign Yeoh would have to spend some time working with the main computer (voiced by Majel Barrett, naturally) before communications would be fully possible, and occasional mistranslations, particularly of idiom and metaphor, would lead to conflict and drama. There would be no food replicators, so logistics and supplies (including food and water and repair parts) would be a frequent challenge. There would be no automatic decontamination, requiring the crew to “disinfect” after missions, leading to the infamous “shower scenes”[6].

    There would be no shields, so the Discovery would, over the course of her mission, increasingly show the scars and field repairs of her various conflicts[7]. The transporters were frighteningly unreliable and nobody was willing to use them except in a major (and dramatic) emergency, with the occasional accident shown to drive home the point. And most critically, there were no Subspace Communications, meaning that the crew was completely on their own, without being able to call back to Earth for advice, and thus they would truly be making things up as they went.

    But there was one exception to this last part: T’Pau had a small subspace communicator that she secretly used to report back to Vulcan High Command. She kept this boon hidden, only revealing it, to great shock and after agonizing with the logic of what the “greater good” was, when the Discovery’s warp went down, leaving the crew stranded lightyears from anyone in S2:E7, “Adrift”.

    maxresdefault.jpg
    75247c96cf1a626b97f87f5a2c3d5392.jpg

    Less the former and more the latter (Image sources Behance & Guadalupe Olvera Martinez on Pinterest)

    As to functionality, they deliberately lowered the control technology. The bridge, like all spaces, was cramped. The view screen was small and the image grainy. The various crew stations, evoking a submarine, had large, protruding lights, gauges, and large switches of the midcentury type as were often still found in NASA vehicles and US Navy vessels. “We took the classic bridge layout of the USS Enterprise,” said a designer, “and we shrunk it, retrograded the technology to the 1950s, and squeezed it all together with little space to walk around.”

    The end result of all of these setting and design choices would be a series based a generation and a half following “First Contact” and a generation and a half before Kirk, where humanity has not yet fully coalesced into a global nation (the Federation of Terran Nations is at best a confederacy) with lots of residual nationalism and plenty of open distrust or even prejudice for these “strange, pointy-eared invaders”, demonstrating that Dr. McCoy’s anti-Vulcan racism was due to residual systemic human xenophobia. Race and nationality were not as much of a factor, but sexism was fully systemic. And humans still had “one foot in barbarity,” thus the cowboy-like attitude and explorer’s drive. Humans have been travelling in space again for a generation by this point, launching various slow-speed starships, even a few sub-warp “sleepers”, colonizing the solar system and a few outlying stars such as Alpha and Proxima Centauri. Humans have slowly progressed through Warp 1, 2, 3, and 4, but are still limited in the reasonable range that they can travel given the limits of their maximum speed.

    But the breaking of the critical Warp 5 barrier (shown in the opening of the Pilot) has suddenly reduced interstellar travel times from weeks to days and made deep space exploration suddenly possible, “opening the door to the stars.”

    And yet the Vulcans, who have aided the humans in restoring their battered, polluted environment and are helping to shepherd them – slowly – into the club of interstellar nations, are increasingly disturbed by these loud, emotional, volatile creatures with their tendency towards violence and their appallingly barbaric treatment of their females. They see far too many parallels to other violent, volatile species like the Klingons and Andorians and had hoped to keep humans progressing slowly and steadily until their culture advanced to meet their technology. The Vulcans, honestly (and justifiably) concerned that the humans are not yet ready for deep space exploration – and alarmed at how fast the humans are progressing technologically, but not culturally – have resisted attempts by the humans to buy advanced warp drives and other advanced technology from them. The humans, of course, see this cautious patriarchalism as “standing in the way” at best or actively “suppressing human progress” at worst, further feeding into racist conspiracy theories about the “green bloods”.

    “Early on, we planned to have everything be from the human perspective,” said Berman’s assistant Brannon Braga. “And you didn’t know if you could trust the Vulcans or not. But Mike [Piller] pushed back on that. ‘Trek fandom loves the Vulcans. Do we really want to demonize them?’ he asked. Fair point, really.”

    Thus, two main characters, one human, one Vulcan, would each offer an opposing perspective.

    Characters and Casting

    The human perspective would come from Captain John D. Archer, later renamed Archer J. Drexler as a nod to Discovery designer Doug Drexler. Captain Drexler, or “Arch”, would at first be a cocky, devil-may-care leader loaded with old fashioned masculinity in the Kirk mold, “Chuck Yeager meets Han Solo” in Berman’s words. They explored actors such as Scott Bakula and Bruce Boxleitner, but Paramount, receiving floods of requests from the fandom for a non-white Captain[8], were urging for a person of color to play the lead role. They ended up finding the imposing, deep voiced character actor Dennis Haysbert, who gave the role a cocky gravitas and a projection of exactly the old-world masculinity that Berman had wanted.

    faceapp_1681348022469-jpg.824958

    Haysbert as Capt. Archer Drexler (Image by @nick_crenshaw82)

    Originally, Drexler was supposed to be the “likeable one”, a cocky, sanguine fellow. The casting of both “Arch” and “Tripp” changed that. With his deep, resonant voice and commanding presence, Haysbert’s Drexler was quickly determined to be best as a controlled, stoic, and choleric character. No nonsense, ambitious, and brave, sometimes to the point of recklessness, he had Kirk’s adventurism with Picard’s strong, silent presence. “We basically asked him to play a cross between the tough military guys he often played, and Pedro Cerrano,” said Piller.

    The character also took on some darker aspects. “We originally had Tripp as the anti-Vulcan racist,” said Berman, “But Conner [Trinneer] didn’t like that aspect and neither did the fans, yet Dennis was happy to take up that trait.” Haybert saw the character flaw as an opportunity to give the role some depth in what had been a pretty broadly-drawn archetype up to that point. He even worked with the writers to draft a background for the character as the child of a broken home and self-made man with a boundless ambition to do great things, driven by a buried sense of inadequacy, and while not xenophobic by nature, he sees the Vulcans as obstacles to human achievement, his dislike being based on political rather than racial grounds.

    “I don’t care what color their damned blood is, I just want them to get the hell out of my way!”

    Playing opposite to Captain Drexler would be Subcommander T’Pau, a character actually first introduced in TOS S2:E1 “Amok Time” as an old Vulcan played by Celia Lovsky. Berman was hoping to find a “Kim Cattrall type” to play the character, and they reportedly interviewed hundreds of women looking for the right fit. But then one actress walked in who stole the show and changed the course of DIS forever. “We’d seen dozens of women, most of them beautiful,” said casting director Junie Lowry-Johnson, “and then in walks in this tall woman with the physique and composure of a Roman Goddess. While most of the auditionees wore street clothes or Star Fleet uniforms, she wore this silver, flowing dress and had her long, black hair piled up on her head in a complicated retro hairdo. The whole studio went silent and just gaped. I knew we’d found our T’Pau before she even opened her mouth.”

    The actress was Indian American model Padma Lakshmi. “I can’t say that I’m a Trekkie or even really knew what a ‘Vulcan’ was besides pointy ears at that point,” she told EW, “But my agent suggested that I audition. I’d been considering acting at that point, so I gave it a try, and I figured that I shouldn’t go into it cold, so I did my research. When I heard that the character was originally in the old series, I looked up the episode, and, wow. Vulcan women were stone cold bitches!

    “I could totally get into that!” she added with a sly smirk.

    e4da3b7fbbce2345d7772b0674a318d5.jpg

    T’Pring in “Amok Time”, Lakshmi’s inspiration for her audition look (Image source Startrek.com)

    As Lakshmi watched the episode, given that the role was clearly for a young Vulcan and not realizing that it was a prequel series, she assumed that Arlene Martel’s T’Pring was the character that she’d be playing. “So, I went in to the audition with this long, silver dress, got some hair extensions, and piled up my hair on my head like in the old series,” she said, “and I guess that I caught their attention!”

    “Padma was not a trained actress,” said Lowry-Johnson, “so we got her some acting lessons. She found it challenging, but really put herself into it. Thankfully as a Vulcan the trick was to not visibly emote while still having a strong screen presence. As a model, she already knew how to maintain a screen presence while utterly silent, and she instinctively knew just where to stand and just how to position herself to stand out and express complex thoughts with subtle facial expressions. She could steal a scene without even saying a word.”

    And the hair soon became an issue. “They wanted me to cut my hair short,” said Lakshmi, “because, quote, ‘that’s how Vulcans wear their hair.’ I said, ‘have you seen your own show?’”

    After reviewing “Amok Time” and other appearances by Vulcan women in TOS, the producers relented. T’Pau would have long, luxurious hair piled up in complex styles, as would many other Vulcan females and even a couple Vulcan males, the cultural shift towards short hair for all having not yet been established. Lakshmi also insisted on different outfits for each episode, which gave the budget people apoplexy. “We finally compromised on a single uniform for her ‘on duty’ time and a rack of ‘off duty’ dresses inspired by the various Bill Theiss looks of the Original Series, which made the male viewers in particular very happy!” laughed Wardrobe Supervisor Carol Kunz[9]. “We’d be the first Trek series in a long time to have a large costume budget!”

    Ultimately, between the fan service outfits and imposing screen presence, T’Pau would become a breakout character, giving Lakshmi the clout to take more control over her own character and push back against some of the more objectifying scripts or “out of character” subplots that the writers had planned.

    “I flat out told them, ‘no, I’m not getting mind-raped for cheap drama,’” she told EW.

    500full.jpg

    T’Pau and Tripp on an away mission (actually from Lakshmi’s appearance in our timeline’s “beloved” Enterprise S2:E11 “Precious Cargo”; Image source Listal)

    Rounding out the “power trio” would be Commander Matthew Tucker Jeffries III, or “Tripp” (as in “triple” for being the 3rd). Named in honor of original Star Trek set designer Matt Jeffries, for whom the “Jeffries Tubes” were named, they even added an in-joke that suggests that Jeffries will ultimately go on to invent or inspire said tubes. Originally intended to be a choleric “Dr. McCoy type”, the casting of the imminently likeable Connor Trinneer resulted in the choleric traits being passed on to Captain Drexler and Tripp inheriting the sanguine personality, along with a touch of the phlegmatic. Tripp was outgoing, enthusiastic, wore his heart on his sleeve, and was generally a likeable guy. In early episodes he was shown to be an anti-Vulcan racist, but this didn’t sit well with either Trinneer or audiences. “Sure, make the Southern guy the racist,” Trinneer reportedly sarcastically noted to Berman. “Nobody’s seen that trope before.” Thus, Drexler would inherit the distrust of Vulcans from Tripp along with the choleric personality, adding a small bit of situational irony by making the Black man the bigot[10] and the Southern white man the more accepting one. Tripp’s racism would be quietly dropped midway through season 1 without a word.

    Instead, over time his on-screen chemistry with Lakshmi would see the two of them paired as a “will they or won’t they” couple after a couple of awkward attempts by writers to pair T’Pau with Drexler. Tripp would quickly become a fan favorite, a likeable “everyman” that allowed the writers to use him as an audience surrogate when needed.

    The cast was further rounded out by a powerhouse of supporting characters. British character actor (and avowed Trekker) Daniel Craig was one of the first people cast, portraying the tough British security officer Ian Moore, who is ultimately revealed to be gay after strong hints over the course of the series[11]. “Moore was one part James Bond, one part Inspector Morse,” recalled Berman. Also quickly cast was character actor Brent Spiner as the ever-cheery Farobulan physician Dr. Na’roxx-u’lamaria-e’tommiala-cho, or simply Dr. Na’roxx. Spiner worked extensively with the writers, helping to develop the Farobulan race, which had not yet even been named when the idea for a quirky alien doctor was envisioned. Berman wanted to have the character’s role be more than just “an endless stream of sick bay plots” and thus he became “Dian Fossey among the primates”, studying these curious primitive humans with a sympathetic eye. Spiner’s natural sincerity and silliness made the ever-smiling Dr. Na’roxx a breakout character.

    Young New Zealand actor John Tui was cast as Lieutenant Joseph “Joe” Fuimaono, a “boomer” born in space who, though young, has lived most of his life in the slow-flying space transports that run goods between the human planets. As such, he’s presented as an expert and veteran whom Captain Drexler comes to rely upon, jokingly referring to the young boomer as “old man” on occasion. Tui gave the character an infectious enthusiasm and a cocky but laid-back “seen it all” manner combined with a “salty spacer’s attitude” who disliked and frequently balked at the formality and discipline of Star Fleet. Which occasionally grated on the serious Captain Drexler.

    And finally, comedian Margaret Cho was cast as Ensign Eun-Ji Yeoh, an introverted expert in languages who gets assigned to the Discovery despite being agoraphobic and afraid of space. The persnickety Yeoh would, under Cho’s sardonic direction, be a constantly flustered, overwhelmed, and disgruntled, occasionally reacting in sarcastic, passive-aggressive ways. Berman had at first opposed the casting, wanting someone “more delicate”, but allowed Lowry-Johnson to convince him to give Cho a try. Even so, she would regularly face pushback over her appearance. “My face was too round, my ass was too big, I didn’t smile enough,” she’d later relay in a standup act, “I guess Rick [Berman] wanted a delicate little Japanese teacup, not a fat-assed Korean kimchee pot.” However, female viewers, always a core constituency in the Star Trek fandom, came to identify with her struggles, and wrote numerous fan letters, compelling the writers to lean in to her metatextual battles with her appearance and how she was judged for it, which fit in well with the show’s overtly feminist themes.

    But in addition to this principal cast, one supporting and recurring character was added at the insistence of Taylor and Straczynski; one who would play critically with an ongoing subplot: Aisha Tyler’s Yeoman Naalia Booker. “Yeoman Naali” wore an objectifying miniskirt, was treated like the staff, and was introduced in the Pilot as an extra, delivering coffee to the Captain and leaving without a word. Although she is soon revealed to have a doctorate in history, and regularly became a fountain of valuable exposition for those who took the time to listen to her (including some wry observations about how women used to be treated better “before the wars”), she was frequently referred to as “honey” or “little lady”. She’d become a close friend and confidant of Ensign Yeoh and a close friend and occasional lover to Dr. Na’roxx, one of the few males on the ship to treat her with open respect and equality. She also concealed a major secret.

    Trek alums also made numerous appearances, such as Jeffrey Coombs, who not only reprised Zephram Cochrane in the Pilot, but appeared as the recurring, and later Main Cast character of Commander Shraa, an aggressive and argumentative Andorian. Other famous Trek actors made appearances. Walter Koenig cameoed as a thoroughly dislikeable Tellurite. George Takei appeared as a flamboyant, sword-wielding Andorian Elder who challenges Moore to “cross swords”. Nichelle Nichols played a plotting Klingon matriarch while Robert Englund played her dim but sociopathic son Fa’redi. And most famously, William Shatner himself appeared as “Chef Bill”, a recurring comic relief character[12] and occasional Guinan-like “attentive ear” and source of advice.

    “We wanted Discovery to be fun,” said Piller. “After fifteen years of serious explorations of humanity, philosophy, and politics in The Next Generation and Envoy, with, to be frank, an increasing reliance on five or six standard plotlines, we wanted to mix things up. Sure, we’d address serious issues like prejudice and sexism and war, but we’d also have some fun with quirky aliens, green-skinned space babes[13], and Bill Shatner as a Chef.”

    Writing and Story Arcs

    With the characters and ship and setting and general story arcs established, the production team then needed to start writing. By this point, TV as long form storytelling had been cemented as a viable option, so Straczynski was tasked with developing a five-year story arc, albeit one that would be padded out with “planet of the week” episodes. Straczynski was soon also appointed as the “continuity editor” there to ensure that standalone episodes didn’t contradict the long-term narrative, and ultimately took over as lead writer. To this end, Straczynski developed what he called the “Three Pillers [SIC] of Discovery”, the deliberate misspelling a play on show runner Mike Piller’s name. The “Pillers” were: 1) Bridging the Gap, or filling in the historical events between “First Contact” and TOS, 2) Building the Federation, or dramatically showing the long, ugly road to overcome inbuilt distrust between races in order to forge the Partnership of Planets, forerunner to the United Federation of Planets, by the end of Season 5, and 3) Stirring Things Up, or throwing in disruptions, chaos, obstacles, and other impediments to the first two “Pillers”. This last “Piller” would lead to one of the more controversial story arcs.

    Berman had originally wanted the first season to take place entirely on Earth as the humans fought bureaucratic battles with the Vulcans to finally be cleared to take off, but Paramount and PFN were adamant about getting into space “quickly” since that’s what the fans would presumably be tuning in for. This meant that they needed a reason to get the crew into space by the end of the Pilot. And the Pilot, ultimately named “Where No Man Has Gone Before”, written by Berman, Piller, and Straczynski, would need to set up the multi-year arcs for all three “Pillers”.

    Berman and Straczynski in particular battled over even how to begin. Berman wanted to toss in a Klingon in Iowa as a way to get the ball rolling, but Straczynski had a more meaningful opening in mind, one which, he insisted, was absolutely critical to “established the theme up front”. After much wrangling, Straczynski won out, giving the “Zefram Cochrane speech” that essentially duplicated the Star Trek Introductory Narration made iconic by William Shatner’s Captain Kirk and uttered, in one form or another, by later Captains. While Berman had initially wanted to save that speech for the end of the show as a big payoff, Straczynski held his ground and Berman, facing a writer’s strike since the writing team had taken a real liking to the amicable Straczynski over the micromanaging Berman, gave in, later admitting that, yes, it was the right way to open things.

    In return, Berman got his “Chuck Yeager moment” right up front as well, as the Cochrane Speech transitioned straight to Arch and Tripp breaking the critical Warp 5 Barrier. “We began with the Promise, jumped to the Method, and then had five seasons to Fulfil the Promise,” as Straczynski later put it.

    To set up “Piller 1”, after the flashback to the Warp 5 break, the USS Discovery was introduced, assembled in an orbital dry dock, ready to launch into deep space. The ship herself helped show the technological bridge from NASA to TOS, with the mix of the familiar and the “old fashioned” with its blend of modern navy, NASA, and TOS styling. The effects of the Eugenics Wars on setting back “human progress” both technologically and socially, are explicitly shown and called out. The technology, as stated, was “behind” TOS and “behind” modern 2000s technology simultaneously, and this discrepancy is alluded to in exposition, such as Tripp explaining to Yeoh how these bulky new Communicator Units, with their flip-up stylings, were “inspired by an ancient global communications technology, now long-since lost,” even showing her an “ancient” Motorola flip phone[14]. Even the uniforms, which resemble NASA jumpsuits for the men, are stylistically “between NASA and TOS”, with Yeoman Naali’s rather objectifying minidress used as both a call-forward to the TOS costumes and a call out of the regressive gender roles of post-war humanity.

    7724857041cce690a1f09c8b9a51bae451c480aee6e7ebed4e61b6635aa96a52._SX1080_.jpg

    Not The Crew, save for one (Image source Amazon)

    “Piller 2” is quickly established through the interactions between the humans and the Vulcan “representatives”, led by Ambassador Skon[15], child of Solkar, and soon to be father of Sarek, who will be Spock’s father. Skon, played by Gary Graham, is stoic and serious even by the standards of Vulcans, and is quite “taken aback” by the “passions” of the humans. He is assisted by an attaché named Selig[16] (Bill Mumy), who is quite amicable by Vulcan standards and sees the “potential” in the humans, and by Subcommander T’Pau, who is highly suspicious of the humans. The two provide Skon with a “good cop/bad cop” view of the humans.

    “The humans are rough and uncouth, it is true,” says Selig, “But they can be quite logical and efficient.”

    “I would call your assessment of ‘rough’ an understatement,” says T’Pau. “This morning some construction workers were making pointed comments about my…backside.”

    “Humans place much value in physical beauty. Perhaps it was a compliment?”

    “I can assure you, Attaché Selig, that their intentions were not…complimentary.”

    fc219378b51c0ed725d01547da4e1c47.jpg

    Sort of like this (Image source David Thibaut on Pinterest)

    By comparison, the humans feel “trapped” by the Vulcans. As Ambassador Skon relays, the Vulcan High Command opposes the NCC-001 mission, making it clear that they do not consider the humans to be “ready”. Arch in particular, who has been “preparing for this day for [his] entire life,” is outraged, and gets into a heated argument with T’Pau, who stands stoically, unperturbed by his anger, and quietly eviscerates his arguments with logic. Both sides are studiously shown to be “rightfully paranoid” in their suspicions of the other, though Straczynski and the writers go to great lengths to make it clear that neither side is wholly right, and neither wholly wrong, hinting that both attitudes: the willingness to push your boundaries and “boldly go”, and the logical consideration of the risks versus rewards of bold action with a conscious avoidance of recklessness, are needed in balance to achieve great things.

    “Piller 3” is then introduced when mysterious, wall-climbing, near-invisible humanoids appear at the Discovery and attempt to sabotage her systems. They are never shown except as camouflaged shapes (one gets killed and is immediately beamed away) and they are never named, though Moore dubs them “Chammies” because of their “chameleon-like” abilities. Moore blames the Vulcans for the attack, noting that no human nation had “that level of technology,” though T’Pau insists that the Vulcans do not possess such technology either, yet is quite coy about who might have such “cloaking devices”. Still, the incident, which happens at the end of Part I (or at the Midpoint when the Pilot aired as a 2-hour special), casts serious doubt in the human-Vulcan relationship. And an astute viewer would notice that Yeoman Naali is particularly upset and confused by the event, noting that the event “shouldn’t have happened.”

    The entirety of the second half (or Part II) of the Pilot involves getting the humans and Vulcans to settle their differences, as investigators determine that the Chammies had unique signatures compared to the Vulcans. While this doesn’t allay all suspicions (Moore in particular notes that “they could have been hired”) it allows a break for dialog. The two end up making common cause to fight back a second attack by the mysterious Chammies, both confused as to who would have launched the attacks and why, as the humans are, at this point, an unimportant neophyte warp culture (T’Pau suspects the Andorians, considering it a “logical” method of breaking the humans apart from the Vulcans, though she’s at a loss for why they’d focus on the unknown humans as opposed to more established species like the Tellurites). This spate of cooperation leads eventually to a diplomatic breakthrough, where Arch and Skon agree that the Discovery can launch on her maiden voyage, but that to help “guide and advise” the humans, a Vulcan will accompany them as First Officer. Selig volunteers, but Skon notes that he is “too enamored” of the humans, and instead assigns the skeptical T’Pau in the role.

    Thus, with the strange mystery of the Chammies and lingering distrust between the erstwhile human and Vulcan allies, the Discovery crew assembles and they launch in an extended sequence, accelerating to Warp 5 at the very end of the Pilot, humanity now fulfilling Cochrane’s promise at the start of the Pilot and Boldly Going where No Man (but many a Vulcan) has Gone Before.

    This Pilot set up the show, but much work remained to be done. They had decided early on to have a five-season arc (the original “Five-Year Mission”) and Straczynski had sketched out the five seasonal arcs from the start, but plenty of details remained to be filled in, all tied in some way into fulfilling at least one of the three “Pillers” of the show, even in small ways in the stand-alone “planet of the week” episodes.

    MV5BNjkzZTNlMWEtNDRlMy00ODQwLWIzNjAtMDc0YjViMmJiNGM5XkEyXkFqcGdeQXVyMTI3MDk3MzQ@._V1_.jpg

    Captain Archer J. Drexler, undercover while on a planet-side mission (Image source IMDB)

    Going forward, for “Piller 1”, the encounters on their Five-Year Mission would introduce the crew to all sorts of aliens, both ones familiar to fans like the Klingons, Andorians, Orions, Tellerites, Tholians, and Gorn, and new ones, like the Farobulans, Mamoxians, Xindarians, and Shiisheeli[17]. In a typical episode, the crew would make First Contact or visit a strange new world (Example: S1:E6, “Ready for Action”, where they visit Sigma Iotia II to investigate the disappearance of the starship Horizon a couple of years earlier). They would then encounter “for the first time” situations typical of “future” standard Trek plots (Example: against the advice of T’Pau, who cites a Vulcan “Directive” forbidding contact with pre-Warp societies, the Crew decide to visit the early-industrial locals of Sigma Iotia II to ask questions about the Horizon). This then causes troubles that will help “establish” later rules and tropes (Example: The Prime Directive) or even set up future plots in future series episodes (Example: Moore loses his copy of Chicago Mobs of the Twenties while on the surface of Sigma Iota II, setting up the events of TOS S2:E17 “A Piece of the Action”). Other plots introduce technical issues, such as the Discovery running low on food, which leads Tripp to start investigating the possibility of using the transporter technology to reformulate matter to make food, resulting in a distasteful but nutritious “emergency rations” paste, which will presage future technology (the food replicators).

    For “Piller 2” things were more complicated, as they had to set up not only the willingness for the humans, Vulcans, Andorians, and others to set aside their differences, but also had to retain that vestigial sexism and anti-Vulcan prejudice to set up the subplots of TOS. Straczynski correctly predicted that this would create a lot of argument and anger in the fandom, who would be upset to see Yeoman Naali dismissed and ignored and humans hurling ethnic slurs at Vulcans…and vice versa. “Looking back at the Original Series can be rough at times,” said Straczynski. “You have Yeoman Rand getting openly talked down to, Bones calling Spock a ‘green-blooded Hobgoblin’ or other insult, and Sarek or even Spock being absolutely heartless bastards when they deemed it ‘logical’ to do so. This was good for drama, but I knew that the generations raised on Picard, Riker, and Shelby, where intra-Federation bigotry was mostly unheard of and Vulcans had learned the logic of compassion, would be taken aback. We launched a Discovering Star Trek’s Beginnings special with behind-the-scenes information and panel discussions and started playing the Original Series on FX to prime the audience, but even so, complaints about ‘racist humans and asshole Vulcans’ remained[18].”

    1681212186143.png

    Much like this (Image source Memory Alpha)

    Another running subplot involved the Terra First movement, an “anti-alien” human supremacist movement with a violent terrorist wing called the “Sons of Terra”, with the Vulcans and other non-human cast increasingly becoming targets of harassment and even violence, starting with rotten fruit and advancing to kidnapping and assassination attempts by season 5. Clearly influenced by the actions of the American “Sword of Liberty” and similar domestic terrorist cells (the season 3 episode that introduced the Sons of Terra was even called “Sons of Terror”), the subplot garnered controversy from right-wing demagogues as a “politically correct character attack” against conservatives, and suffered criticism from many across the political spectrum who considered the plotline “exploitative”, “in poor taste”, and “too soon”. Still, Piller and Straczynski defended the subplot, noting how it was critical to establishing the “growth arc of humanity” and establishing undercurrents that would appear in “future” Trek series.

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    Shraa (Image source Memory Alpha)

    And yet more conflict awaited. The Vulcans and Andorians were, controversially, depicted as being in a cold war, and having once fought a hot war. Jeffrey Combs’ Shraa became a recurring character and foil to T’Pau, just as the Andorians would become foils for the Vulcans, and both races become foils for the humans, symbolically representing (according to Straczynski) the “two brains” of humanity between the passionate “right brained” Andorians and logical “left brained” Vulcans. The Vulcans, via T’Pau’s communications with High Command, are shown to fear, rightfully, the prospect of a human-Andorian alliance that could marginalize or even enslave the Vulcans. Ultimately, the writers, following Straczynski’s framework, turned the passionate and aggressive Andorians into the “Id” of the Federation-to-Be, the humans into the “Ego”, and the Vulcans into the “Superego”. Vulcan logic and attention to detail would form the foundations of the Directives of the Federation, Andorian passion would motivate the Federation to do what was “right and good”, not just what was pragmatically logical, and human cooperation would serve as the link that would build the ultimate synthesis…assuming that the Chammies didn’t sabotage it all.

    Which brings us to the controversial “Piller 3” of “Stirring Things Up”.

    “The problem with prequels,” noted Straczynski, “Is that we already know what’s going to happen. We all know that Anniken Skywalker will fall to the Dark Side, become Darth Vader, and that Palpatine will become Emperor. Similarly, we know that the Vulcans, humans, and Andorians will overcome their differences to form the Federation, the crew’s admirable attempts to forge a peaceful relationship with the Klingons is doomed to failure, and that war with the mysterious Romulans is inevitable. From a dramatic standpoint, how do you add tension? Dramatic irony can only carry you so far.

    “But what, Rick and I wondered, if you didn’t know all of that?”

    Thus came the Chammies, obviously influenced by the rise of global terrorism and asymmetrical warfare. A mysterious group, they were small in number but able to inflict massive damage and cause the crew massive setbacks through a handful of well-placed attacks. Over the course of the seasons, we’d see them disrupt important diplomatic moments, sabotage simple encounters, causing death and destruction, and even assassinate critical people at critical moments, sewing discord and distrust, particularly between the various races that would form the Federation, who increasingly start to suspect one another.

    “We wanted the viewer to seriously wonder if we’d quietly put them into a parallel universe, even openly hinting more than once that this might actually be in the Mirror Universe and that we were really showing the emergence of the Terran Empire,” said writer Manny Coto. “We wanted to make the possibility of a human-Vulcan war or Andorian-Klingon alliance feel very, very real.”

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    The Chammies Revealed (Image source Memory Alpha)

    The Chammies would be revealed “in drips and drabs”, with their actual quasi-reptilian appearance not even shown until late in season 2, and where the mysterious “Sponsor”, a dark silhouette of a humanoid whom the fans referred to as “Future Guy”, was shown for the first time at the end of the season, and whose identity would be hotly debated by the fandom, with most assuming “him” to be either the Borg Queen, a Romulan, a Cardassian, or even someone from the Mirror Universe. The Chammies’ actual mission, origins, and even name (Xindarians) wouldn’t even be revealed until season 3. The Sponsor wouldn’t be revealed until the end of season 4[19].

    “Introducing the Time Terror plot up front, name-dropping the Xindarians, and showing the Sponsor in the Pilot would have killed any mystery,” said Straczynski, in an interview which many cite as evidence backing rumors of an intense battle over how much of the Time Terror plot to show, and when. Reportedly Straczynski, referring back to the success of his gradual introduction of the Shadows and Vorlons in Babylon 5, eventually caught the ear of Morrison and won the day. Some wonder if Berman’s and Braga’s “retirement” from Trek at the end of season 3 in favor of Piller and Straczynski (“the Mikes”) was a result of this internal struggle[20].

    This “Piller 3” subplot would be further augmented by Yeoman Naali, who would eventually be revealed late in season 2, after many hints, to be a time traveler from the 24th Century serving with The Department of Temporal Investigations, there to investigate “temporal disturbances” in the timeline[21]. She would ultimately reveal herself to the crew when the Xindarians’ mission becomes more overt and the threat to the timeline more immediate. By the last half of season 4, the Xindarians are being actively engaged by the Discovery crew, who team up with a future Federation starship recruited by Naali to penetrate a strange temporal anomaly “between space” to find their home world.

    Driven by fear and anger, egged on by Shraa (by this point a crew member), and supported by T’Pau, who considers it “logical” to destroy the threat, the crew are on their way, unknowingly, to committing what will be to the time-displaced Xindarians the “first strike” against them by the humans. Ensign Yeoh, meanwhile, manages to finally translate the Xindarian journals that she acquired earlier in the season, discovering that the Xindarians were keen on destroying the humans because their home world was destroyed by humans. Eventually, she realizes that the planet that the Discovery is on its way to engage is the XIndarian home world and that the Discovery’s actions will accidentally destroy the planet. She manages to talk Captain Drexler down from his Ahab-like pursuit, avoiding the causal attack that would have destroyed the Xindarian home world and radicalized the Xindarians, thus closing the time loop and allowing Drexler to make peace with the Xindarians.

    And thematically, it is Yeoh’s compassion and understanding that prevent catastrophe and save the Federation rather than Shraa’s aggression, T’Pau’s cold logic, or Drexler’s driving ambition.

    “All the logic, intention, and passion in the world are directionless without compassion,” Coto said at a Comicon panel.

    “Future Guy”, meanwhile, is finally revealed in the season 4 finale to be none other than Locutus of Borg (Patrick Bauchau reprising his role), who has been manipulating events remotely through time and space in an early Borg time manipulation experiment. This entire experiment lasted a mere three-hours to him, and is hinted to have occurred sometime during the 4th season of The Next Generation. It is strongly implied that the temporal projection experiments would eventually lead to the direct temporal interdiction by the Borg in Star Trek VI: The Last Voyage. It was a twist that few viewers had predicted, which led to a divide on whether it was a great twist, or “obvious crap that got it all wrong”, usually tied to how invested a given fan was in their pet theory.

    By season 5, the major arc of the Xindarian Plot was through, and thus the final season became, much like season 8 of TNG, a wrap-up season where hanging plot threads are tied up, the seeds of the Romulan War planted, and (after a few “close calls” to maintain tension) the humans broker a three-way alliance between the Vulcans, Andorians, and humans which will soon grow into a Partnership of Planets, the loose progenitor of the Federation, setting the stage for the Original Series a couple of generations in the future.

    Pillar had hoped to expand into a sixth through eighth season to have a Romulan War arc to parallel the Borg War in TNG, but by this point viewership had tapered off with the resolution of the Xindarian arc. Season 5 was mostly viewed by the dedicated Trek fandom, all part of a long decline in viewership over two decades as “Trek Fatigue” sapped away the common viewers, leaving only a dedicated core. The Star Trek production team and Paramount alike agreed that a hiatus was needed, and thus a five year “production gap” was set up, giving the teams more time to plan for what came next, specifically 2013’s Star Trek: Mercy, which followed the titular hospital ship under Captain Crusher[22], essentially creating a “Hospital Drama in Space”.

    Piller, meanwhile, would instead turn to animation for his continuing story, which cut costs significantly now that CG animation was becoming increasingly cheap and easy. Thus, in 2010 Star Trek: The Romulan War would launch, following an all-new multi-species crew of the USS Defiant as the early Federation battled the Romulan Empire, forging the final bridge between Discovery and the Original Series.

    Conclusion: A Long Road Getting to Here

    Star Trek: Discovery holds a strange place in Trek continuity, the first of the three “prequel” series when the animated The Romulan War and Star Fleet Academy are included. A stylistic and cultural throwback that often gets compared to and contrasted with the Star Wars Prequels, it is similarly controversial, sometimes for the liberties it took, and sometimes for the liberties that it didn’t take in actually sticking to established canon, even when that caused discomfort for some viewers. It occasionally gets “blamed” for the hiatus, though by that point a hiatus was practically unavoidable as both the fandom and the production team were burnt out after 20 straight years of Star Trek on the small screen.

    DIS managed to “bridge the gap” in a way that is generally seen as “fair to good” by a plurality of fans, though some hated and still hate it. Many aspects remain controversial, particularly the “racist humans and asshole Vulcans”, though people after the fact who watch the series in internal chronological order note that DIS does a fair if occasionally inconsistent job of jumping off from “First Contact” and leading into Star Trek: The Original Series. While some added questions were created due to the occasional (and probably unavoidable) conflicts with earlier canon, leading to a fan theory that the “Discoveryverse” is a parallel timeline to the “Roddenberryverse”, even though the official canon has them being the same continuity, in general the dislike for DIS has muted over the years.

    Star Trek continues on to this day in one form or another, of course, but the two decades initiated by The Next Generation and continued via Envoy and Discovery managed to Boldly Go to places where Trek hadn’t quite yet gone, and in doing so they cemented a franchise that began with a struggling 1960s three-season “Wagon Train to the Stars” into one of the seminal science fiction franchises in history.



    [1] Since Cochrane will appear on TV rather than in a feature film, rather than hire an expensive film actor to play him (such as with our timeline’s James Cromwell) they went with go-to Trek character actor Jeffrey Combs, who also bears a resemblance to Original Series Cochrane actor Glenn Corbett.

    [2] For those hoping to see Star Trek: Enterprise butterflied, sorry, but as long as Berman is in charge some sort of prequel series is nearly unavoidable, as Berman was chomping at the bit to escape the “confines” of Roddenberry’s Utopianism and return to something more edgy and adventurous.

    [3] Someone that never joined the Star Trek writing team in our timeline, but joined this one due to butterflies.

    [4] Hired by PFN President Warren Littlefield on the recommendation of Lisa Henson and Mira Velimirovic.

    [5] With no Star Trek: First Contact film, there will be no USS Akira (designed by Paramount artists hired for the film) to inspire the design.

    [6] Rather than fanservice via gratuitous underwear rubdowns, the fanservice comes through slightly less blatant showers.

    [7] Yeah, no “hull polarization” and “hull integrity down 25%” easy stand-ins for lazy writers.

    [8] Recall that without Deep Space 9 and Commander Sisko, there has yet to be a non-white Captain in Star Trek except in cameos and supporting roles, with Babylon 5 being the ones to break the sci-fi lead color barrier.

    [9] It’s not Berman Trek, or even Roddenberry Trek, without gratuitous, occasionally objectifying fan service!

    [10] Which in turn references TOS S1:E16, “The Galileo Seven”, and the overt anti-Vulcan bias displayed by Lt. Boma, portrayed by Black actor Don Marshall.

    [11] Originally the plan in our timeline, but they chickened out. With staunch ally Straczynski as the arc writer, this will not be dropped.

    [12] The Shatner role as the hinted-at but never shown “Chef” was one of the original plans for Enterprise, which never materialized in our timeline due to scheduling issues (they ultimately handed the role to Riker in the infamous finale). In this timeline they make it happen, because the world needs Bill Shatner as a Guinan-like Chef. There will even be a time travel episode where Yeoman Naali recruits him to impersonate an older Captain Kirk in the future, where Shatner clearly has a blast visibly “struggling” to play his own iconic character.

    [13] Like in our timeline’s season 4 episode of ENT, they will somewhat controversially “flip the script” on the Orion Slave Girls by making the males the real slaves to the females’ hypnotic pheromones, with the women of Discovery and a recently-out Reid having to save the day when “the boys” all become hypnotized. Of course, the episode in question gained even more notoriety for another reason when the openly bisexual Margaret Cho, staring open-mouthed at the Orion women as they led away the male crew (save for Reid), adlibbed the line “Yeah, I’d be going with the boys here, but they’d burn me at the stake!”

    [14] A recursive Easter Egg for fans: the Star Trek Communicator reportedly inspired the design of the flip-phone, and here a flip-phone “inspires” the original Communicator design!

    [15] Skon was considered for Earth Ambassador in our timeline’s aborted Star Trek: The Beginning. Skon being an ambassador to the humans also sets up Sarek to be raised among humans, setting up his future relationship with Amanda Grayson.

    [16] Selig is described in the character notes as “an unassuming Vulcan who nonetheless has played a small and unsung role in most of the major historical events of the Alpha Quadrant.”

    [17] Note that without some of Berman’s and Bragga’s…excesses, that ratings will hold relatively steady, on par for the most part with late-season VOY in our timeline, meaning that there will be less pressure to introduce post-TNG species like the Ferengi as viewer bait, though the Borg will, due to the events of “First Contact”, always be there in the background, even appearing briefly at the end of season 4.

    [18] Every time I heard fan complaints about the “racist humans and asshole Vulcans” on Enterprise I was, like, “Have you met Bones and Sarek?” Admittedly, the execution on ENT in that regard was extremely poor and without nuance or context. In this timeline, the backlash will be more muted due to Straczynski and the writers providing more, well, nuance and context and providing multiple points of view (in ENT they seemed to be actively steering the audience to take the humans’ side). They’re also “priming” the core audience through marketing efforts to expect things to be less “Kumbaya” than the more recent sequel series through reminders about what TOS was like. “This isn’t the culturally unified Federation of Picard and Riker’s time, or even Kirk’s time! This is the long, ugly road that took us there.”

    [19] Yes, the infamous “Temporal Cold War” arc survives the butterflies. Why? Because as Straczynski notes above, the problem with prequels is that everyone already knows what to expect. It wasn’t a bad idea in my opinion per se (time interference is a Trek staple, after all), it was just really poorly executed, throwing all of the important details right in the viewer’s face right up front and leaving the writers with no real mystery left save for whomever “Future Guy” was supposed to be (and whose identity even the writers in our timeline didn’t seem to know; “Mystery Box” writing at its “finest”). They also largely ignored the subplot beyond occasional mentions except at season cliffhangers, meaning that it would go from a largely forgotten background thing to an “in your face hijack of the storyline” and then back again several times over the first two seasons. By contrast, most viewers seem to love the whole Shadow-Vorlon arc, likely in part because the mystery was revealed carefully and at meaningful points in the overarching story while always being there, affecting events, and looming over everything. Likely this is the difference between Straczynski’s “plan it out up front while leaving room for changes and ‘trap doors’ for major unplanned real-life events” and the “write as you go” Star Trek philosophy. Even so, I expect fans will be divided on it.

    Also, it is worth noting that since the War on Terror has manifested differently in this timeline, that this will butterfly both the Suliban name (Americans know and dislike the Taliban earlier) and the season 3 Xindi arc, which was clearly a reaction to 9/11.

    [20] As it has now been over 17 years since the point of departure, whatever random carcinogenic mutations led to Piller’s mouth-and-throat cancer (smoking? I can’t find a specific cause; anyone know?) have been butterflied, or alternately he was diagnosed and treated sooner. He will live past 2005.

    [21] Having Straczynski there to formalize the arcs from the start means that he considers the Temporal Affairs person from the start, so the “reveal” is of an actual crew member known by the fans, not a random “oh, you remember Crewman Smith, whom we never talked about, right?”

    [22] Idea by @Ogrebear.
     
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    You Can't Take the Sky from Me
  • Mission #1: “Cleared for Launch!”
    Netcast from Tranquility Base Fansite, July 20th, 2009



    Theme music from Tranquility (2002-2005) plays. It is followed by the iconic Opening Narration by Padre Ralph (Edward James Olmos):

    PADRE: (clip) Generations ago, as Earth-that-Was tore itself apart, our ancestors set out for new homes among the stars. We found a new solar system and hundreds of new Earths were terraformed and colonized while those left behind fought over the scraps. While our forefathers scrapped out a new life among these harsh new worlds, Earth-that-Was got its act together and decided that all the new planets had to join under their Central rule. There was some disagreement on that point. After the War, many of the Resistance who had fought and lost drifted to the edges of the system, far from Centralist control. Out here, people struggled to get by with the most basic technologies; a ship would bring you work, a gun would help you keep it. A captain's goal was simple: find a crew, find a job, keep flying.

    Fireflyopeninglogo.JPG

    Not quite this, but Shiny none the less…

    Hu: Yes, Tancoats and Greybacks, today we launch our first long-awaited Netcast: Tranquility Base, where we discuss Joss Whedon’s cult classic literal Space Western Tranquility, a name with many meanings!

    Alyss: Yes, a Netcast “long awaited” by us, at least!

    Hu: It’s been four full years since the starship Tranquility made her final flight, airing originally on Fantasia TV from 2002-2006, and we had to say goodbye to Mal and Padre and Navi and the crew.

    Alyss: So sad!

    Hu: Yeah, so as we all scrape by on whatever comics that Marvel cares to release, we’re remined of why we love this series so much.

    Alyss: So we launched this Netcast specifically to talk Tranquility!

    Hu: Shiny. And today we discuss the show in overview, mentioning the major characters, plot – including spoilers, so be warned if you’re still catching up on VCD or Direct View – and even some behind-the scenes stuff! With deeper dives on individual episodes and background to come.

    Alyss: Yes, like did you know that Joss was inspired by a single book he read on vacation?

    Hu: No way!

    Alyss: Hu, seriously, you already know that! It’s a rhetorical question for the audience. But yes, Joss was rather exhausted in the late 1990s following directing films and closing out Final Girl and its spinoffs and he really wanted to just relax. But being totally ADHD, which I can totally relate to, he was getting restless on the beach so he read a book someone gave him called Guns, Germs, and Steel, by Jared Diamond, which was about how geographical factors led to the rise of Eurasia at the expense of Africa and the Americas[1].

    Hu: To be fair, Joss had been kicking around ideas for a sci-fi series or film for a while, as he’d grown in his words “tired” of the sterile sci-fi formula spawned by Trek and its imitators, in particular the use of aliens as stand-ins for human excess rather than letting humans be, well, human. He wanted serious, plausible science fiction with realistic physics and no sound in space and no aliens, just fallible humans facing troubles. He also, being a Tropaholic, wanted to do a Space Western in the literal rather than figurative sense, in the vein of Brave Starr and Outlaw Star, with cowboys and spaceships, though many see similarities to the cult classic early ‘90s cartoon Spelljammer, which also featured a ragtag crew of a spaceship fleeing a meddlesome Empire by doing small jobs on the edge of legality.

    firefly-serenity-e1387241089451-530x326.jpg

    The Starship Tranquility (Image source Geeks of Doom)

    Alyss: They even note that the Spelljammer crew flew a Dragonfly Class Spelljammer while Mal’s crew fly a Firefly Class, though Joss insists that’s just coincidence, claiming to have chosen the Firefly name simply because it was something “small and insignificant”. And that’s a lot of what we love about it, of course. But back to the Guns, Germs, and Steel book, which he admits “bored the living shit” out of him, it still captured his mind, particularly on the idea of colonialism and the struggles of colonial peoples against colonizing powers with vastly superior technology. So he crafted a narrative, as mentioned in the expository intro we played, about how a group of settlers fleeing a disintegrating Earth wracked by climate change, famine, and war founded new colonies on terraformed planets and moons in a far-away solar system.

    Hu: Yes, the full background of course is that Earth, in the midst of a climate catastrophe, dispatched “those what could” to quote Mal in generational sub-light ships to visit and found new settlements amid the terraforming new planets while “those what couldn’t” stayed behind to fight over the scraps. Well, while the “Frontiersmen” founded their new societies over the generations, the “Old Earthers” rebuilt from the ashes, with new technologies like advanced weapons, AI, human cloning, and, critically, faster-than-light travel via some half-explained system based on “quantum tunnelling” and “spacetime folding” that apparently even the “eggheads” don’t fully understand.

    Alyss: It’s amazing what you can do in fiction if you tack the word “quantum” on it.

    Hu: Yeah, and anyway the Old Earth “Centralists” popped into the ‘Verse and proceeded to defeat the local navies and militias, many of them privateers, using their advanced technology and organization, despite their inferior numbers, and proceeded to conquer and “pacify” the locals, all save, of course, for “Le Sauvage”, our “space Indians”, who fled to the “outer darkness” where they reportedly turned into dangerous, cannibalistic ravagers.

    Alyss: With a twist!

    Hu: Yes, which we will get to, of course. The production team made the ironic decision to make the Centralists largely from formerly-colonized African and Latin American and central and south Asian communities in an ironic spin on the colonized being from the formerly-dominant Euro-American and East Asian communities. They were the ones most sheltered from “the hard times” and thus recovered fastest, after all.

    Alyss: Which, of course, created controversy since certain white nativist groups in the US and Europe saw the thing as a “white replacement” narrative, just as others saw the use of southern culture tropes and language as a neo-Confederate thing. You can’t help stupid[2]. But with all of that said, this brings us to the crew of the Tranquility, mostly former Resistance fighters.

    Hu: Our Hero, Captain Mallory “Mal” Hé, is played by the incredible Ming Na Wen. The name “Mal”, as Dari noted, means “Bad” in Latin, while Hé fittingly means “Carry the Load” in Mandarin and may also be a reference to Chinese explorer Zheng Hé.

    Alyss: Wen, of course, was originally offered the role of the Companion, who became Inara Vimoksha, played by Navi Rawat, of course. Ever since she’d surprised people with her standout musical performance in the ER musical episode, she’d gone on to star on Broadway in Madame Butterfly and Miss Saigon, where she won Tony awards, but Hollow-Wood, Joss included, reacted by offering her jobs as “Asian Chanteuse” and “Asian Hooker with a Heart of Gold” and she was damned sick of it. So she read the treatment, rejected the Companion role, and pointed to Mal, then a white male, and said to him, as Joss himself reported, “Captain or nothing, Joss.”[3]

    Hu: (laughs) And there’s your “You Go Girl” – Tee Em – Moment!

    Alyss: Yea, “You go” indeed! And considering that, per the background, American and East Asian people made up the majority of the settlers, with the US and China as the principal powers-that-be during the Great Migration, as reflected by the mix of English and Mandarin dialog[4], having a Chinese American Captain made story sense.

    Hu: Hey, I’m very happy about it! Represent, yo!

    4659faede98e169a2d4a66fa115d4fb0.jpg

    Captain Mal on deck (Image source IMDB)

    Alyss: Mal is, of course, a very dark and troubled soul. When we meet her in the prologue of the made-for-TV Pilot Film, in media res in the middle of the pivotal and ironically-named Battle of Tranquility, we see her as a motivated, natural leader, driven by her faith and confident that they will prevail. Inspired by antifascist Partisans in World War II, she dresses in pants, a long coat, and tended to wear a Maquis-style beret. When her leadership abandons them and leaves them to die, she is left broken, angry, bitter, and traumatized. The starship Tranquility, named for the battle and symbolic of her “self what was”, is thus her way of staying ahead of the authorities and able to remain “free and flying” despite the increasingly dominant hand of the Old Earth colonizing authorities.

    Hu: Furthermore, her crew and passengers each, according to Word of Joss, reflect some aspect of her that was “lost” in the battle. While he’s been a bit cagey on what each character represents, we’ve tried to reverse-engineer it. Let’s start with her right-hand man, Sergeant Lance Dunbar, played by the great character actor Andy Serkis in his first big TV role. Lance is, as the name flagrantly lampshades, Mal’s “lancer” and seems to represent her lost sense of duty, loyalty, and purpose. Lance is notably more pragmatic than Mal and will kill without hesitation or remorse. He can be crude, macho, confrontational, and insensitive, but he’s also likeable and humorous in his way, completely loyal to Mal, and serves as a bit of an unintentional “morality check” on Mal. If she finds herself too quick to listen to Lance, she knows that she’s going too far.

    MV5BNzc1ZjRkYmUtYmMzYy00M2YxLWFkMjktZWE0NzFjMzI4MTg5XkEyXkFqcGdeQXVyOTY0NzE2NTU@._V1_.jpg

    “That’s enough out’a you, mate!” (Image source IMDB)

    Alyss: Lance has been by her side from the beginning, of course, but he’s the exception. Hot-shot pilot Hogan “Burnie” Burns, played by Alexis Denisof, is a new member of the team, a former privateer in the Resistance, he was captured and imprisoned early in the war and is a mix of cocky and insecure, feeling that he never has really proven himself, despite being a naturally talented pilot. He represents, or seems to, Mal’s sense of humor, confidence, and pride, but also a long-buried sense of vulnerability. He, of course, is married to the ship’s mechanic and symbolic “little sister” of the crew, Kaylee.

    Hu: Yes, rumor has it that when the character that became Lance was female she was married to Burnie, but that changed with the gender since, well, the early 2000s were still making baby steps and “gay marriage” was highly controversial and still illegal in most countries, the US included. Katherine Lee “Kaylee” Foster, played by then-newcomer and comedian Mindy Kaling, whose own last name may have influenced the character’s nickname, is of course a fan favorite. Cute, vulnerable, joyous but often flustered, and very sexually liberated and surprisingly streetwise despite the “girly” tropes, Kaylee is clearly Mal’s lost sense of joy and innocence, and is frequently referred to by her as “mei mei”, or little sister, with genuine affection between them. Mess with Kaylee and bring out the worst in Mal and the rest!

    Alyss: And no doubt why, as she’s just adorable, relatable, and Kaling, for a Massachusetts girl, manages a respectable southern accent. Kaling joked that she was “from South Asia, after all.” Her marriage to Burnie, of course, is the occasional source of drama as he objects to Mal putting her in danger or (laughs) early in Season 1 when he gets increasingly jealous of her growing friendship with Lance, only to discover, along with the audience, that Lance is openly gay!

    They play an audio clip.

    LANCE: Settle down, lover boy, I’m a Friend of Dorothy’s if you get. (beat) You know, a fairy? A poof? A “Friendly Shipmate?”

    [long audio pause; on screen BURNIE is staring blankly, mouth open, clueless]

    LANCE: Cripes, you’re thick. I’m gay, you bloody wanker!

    Hu: (laughs) I love that clip. The look on Alexis Denisof’s face was priceless.

    Alyss: Serkis noted that he constantly gets assumed to be gay after that role, though he identifies straight and has been married to his female wife for years, or so he told Dirk and Donnie in his interview with Many or Gay. So anyway, that rounds out the crew, but it would be the passengers, introduced in the feature-length pilot, that would round out the cast and Mal’s totality.

    Hu: Yes, like Navi Rawat’s beloved Companion Inara Vimoksha, a first name meaning ray of light and a last name meaning emancipation, enlightenment, liberation, and release in Sanskrit, which is kind of sexual in that Kundalini/Tantra kind of way, when you think of it. She is Mal’s lost heart and compassion, a play on the “hooker with a heart of gold” trope who is also a member of the aristocracy and ironically a much more reputable character than the crew, despite being a “whore”, as Lance calls her.

    Alyss: And she’s also a member of the Old Earth colonists. Like the Geisha, her role is actually a reputable and respected part of the Aristocracy. Ethnically she’s part of the Pan-Asian culture that developed in Central Asia from refugees from South Asia and the Middle East, so she’s a sort of Sufi-Buddhist, if that makes any sense, and she’s in general far more sophisticated and educated than Mal, serving along with Lance as a sort of foil for her. And rumors persist that when Mal became female that there was a big push inside the production team to make Inara male, with rumors that Jubal himself, Nathan Fillion, was being considered for the part before NBC execs put a kibosh on that[5].

    Hu: You could possibly get away with a male hooker today, but 2002 was a different time, even though it’s not that long ago. So much has changed in so little time. Either way, Inara and Mal also share a certain measure of unstated UST and have launched more Ships than the Centralist Armada.

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    Henry Simmons c2002 (Image source TV Guide)

    Alyss: UST is also a factor with Doctor Simón Ibekwe, played by the great Henry Simmons.

    Hu: Yes, and we meet him in the Pilot under suspicious circumstances as he and his apparent Clone Slave Billy, played by occasional Angelus guest actor Nicholas Brendon (more on him later), load a large crate onto the Tranquility in the pilot. Mal and Simón don’t get along at all from the start, and she is highly suspicious of this “Old Earth Dandy”. Another passenger, Johnny Rae James, played by Joss-alum and star of Butcher James Marsters, is a much more likeable man who claims to be a former Resistance fighter.

    Alyss: And naturally he isn’t, but is instead a Quisling-like Collaborator or “Quis” who is in fact working for the Centralists. Joss made excellent use of the well-known-to-his-fans Marsters opposed to the “new” Simmons and side-character Brendon as a brilliant misdirection, even putting Marsters in the opening credits of the pilot to fool viewers into thinking that he’d be a permanent part of the crew.

    Hu: Yes, and as is eventually revealed, Simón is a fugitive from the Centralists and the mystery box, in a possible nod to Outlaw Star, though Joss denies this, contains his sister Daraja “Dari” Ibekwe, who is in stasis. Dari is played by Rutina Wesley, whose first name means “One who is valuable and important to everyone”, as befitting a Human MacGuffin, and Wesley gives her a damaged, vulnerable, sympathetic and relatable pathos for a character “madder than mouse in a dunny”, to quote Lance. When Mal and crew decide to accept Simón and Dari and Billy as part of the crew, “Doc” evolves to be Mal’s sense of justice, purpose and sacrifice while Dari becomes, effectively, “the scar”, a physical embodiment of her trauma and pain in need of care and healing.

    Alyss: And Billy, a clone who only has a first name as the series begins and is introduced as Doc’s property, is revealed to be a “free” clone, rescued along with Dari by Doc. Clones, it seems, were created on Old Earth to fill a labor shortage and are essentially slaves, but Billy is free and pretends to be Doc’s slave to avoid capture and enslavement by “fugitive clone hunters”. He is, of course, much smarter, more motivated, and more capable than most assume and comes to represent Mal’s sense of ambition, dignity, and righteous rebellion.

    Hu: And, of course Brendon has an identical twin brother, Kelly Donovan, who gets to play opposite to him as other, generally unfree clones.

    Alyss: And finally, of course, we are introduced to Edward James Olmos as Padre Raphael Martin de Santa Sophia or “Padre Ralph”, a “Shepherd” with a hidden past. The names are derived from the patron saints of recovery, social justice, and wisdom, and Padre or Shepherd represents Mal’s lost faith and conscience.

    Hu: Padre Ralph, of course, was a complicated character for Joss, who is a devout atheist with an open disdain for religion, even as he notes how his friends Glen Keane and Pete Docter have helped keep him tolerant. He told Swords and Spaceships that he “had to work hard to put myself into the mind of a true believer” when he wrote the character, and apparently worked closely with Docter to get the character’s faith right and make him sympathetic.

    Alyss: But also mysterious, as Padre reveals, time and time again, that there’s much more to him than he appears.

    JUBAL: (clip; Nathan Fillion) That ain’t no Shepherd.

    Hu: And that was, of course, recurring minor antagonist, rival, and fan-favorite guest star Jubal E. Kaine played by Nathan Fillion, who is a rival to (and former cobelligerent and strongly hinted to be a former lover of) Mal. He’s joined by Adam Baldwin as his brother Jayne, the dim and dastardly brawn to Jubal’s oily brains. Jubal and Jayne, of course, frequently show up to compete for jobs and MacGuffins and create trouble for Mal and her crew. They were intended as one-time guest antagonists, but the crew and fans loved the two so much that they became recurring characters, eventually adding a rotating group of comically incompetent crew members and allies, including at one point a put-upon Clone named Benny, played by Donovan.

    Alyss: And the name Jubal is derived from Confederate General Jubal Early, from whom Fillion is apparently descended, as a fun bit of trivia.

    deef5ffc62ef18ba2bae52096a658bdc.jpg

    The Rivals: Jubal and Jayne Kaine (Image source Pinterest)

    Hu: So the pilot introduces us to the crew, the Tranquility, the setting, and the stakes and pretty much hooks you immediately with its mix of quirky characters, clever dialog, and deep emotional stakes. And Season 1 progresses with Mal and the crew increasingly forced to choose between two paths: one seemingly “easy” path of selfish short-term greed, and one “hard road” to doing “what’s right by the ‘Verse.” An early example occurs in Season 1 Episode 4’s “The Train Job”, where the crew pull off a daring hover train heist for a disreputable psychopath, only to discover that the goods they stole were rations bound for starving colonists, forcing Mal and crew to choose between taking the money and completing the job they were paid for, and doing the Right Thing and losing the money and, incidentally, making an enemy of a vicious psychopathic crime lord.

    Alyss: Decisions, decisions.

    Hu: Another pivotal moment was when Lance tried to sell out Simón and Davi to the Centrists, in part out of greed, but mostly out of a desire to protect Mal from her own “stupid sentimentality”.

    Alyss: It was the first big rupture in their relationship, and the first time Mal had to put him in his place, leaving him in the airlock and nearly spacing him.

    Hu: What a scene! We also learn more about Dari, seeing that behind her madness is a real power, dangerous and unpredictable and with uncanny insight, and we learn about the cruel experiments that were conducted upon her, part of an evil program to develop psychic super-soldiers. The Operatives enter the scene, seeking to recapture their “most promising experiment to date.”

    Alyss: But for me, the highlight of Season 1 was the big reveal on Le Sauvage, which we were led to believe throughout the season to be violent savages, with the crew discovering a colony that had been completely massacred and butchered. So when the crew are captured and led before the Sauvage Chieftain, all were sure they’d be raped, murdered, and skinned…hopefully in that order.

    Hu: But instead, they meet Gina Torres’ Queen of Skulls, who is a well-spoken if brutal woman, and discover that it isn’t Le Sauvage committing the atrocities, it is another force, committing the evil acts and blaming them.

    Alyss: Yes, Le Sauvage are simply people…people who have fled the encroaching civilization. We’d only discover in Season 2 that the real Ravagers are a team of Centrist “irregulars”, using the false flag actions to eliminate “troublesome” groups and generate fear of Le Sauvage as a wedge to scare the Frontiersmen into siding with the Centrists for protection. At one point, and in one of the most brutal and controversial scenes in the entire series, Inara is assaulted and gang raped by these Ravagers, only to reveal what’s in that syringe we were shown in the first episode: a toxin that kills anyone who forces themselves upon her. The scene of her laying among the dead Ravagers is, well…I can’t really say, I have so many conflicting emotions. Run a clip, Hu.

    MAL: (clip) We see who the real savages are, now don’t we?

    Hu: With this damning evidence in their possession, the rest of Season 2 becomes a running chase as the crew tries to get the word out before the Ravagers and the Operatives can track them down and murder them. We subsequently learn more about Padre’s hidden past as a Deep Operative inside the Centrist ranks, and as a man who assumed the name of a man he killed.

    Alyss: So they release The Signal, and all the ‘Verse is alerted to the crimes of the Centrists in the big Season 2 finale, which leaves the Operatives dead, but at the cost of first Billy, who is killed by the Ravagers in Episode 16, and then Doc and Padre, who are killed in the climactic battle, much to the sadness and occasionally outrage of the fans themselves.

    Hu: I knew one lady that was inconsolable for a week!

    Alyss: Yes, and the running Fannon has it that each “death” is symbolic of Mal regaining those traits, reclaiming her sense of justice (Billy), sense of purpose (Doc), and sense of faith (Padre), though in the case of Billy it’s just as likely that Nick Brendon’s ongoing battle with substance abuse was a factor, and Olmos had another job lined up, so perhaps it’s based upon Real Life necessity.

    Hu: And Season 3 held more shocks as we learn that Inara is dying, having an incurable disease. This is revealed to be the cause of her wanting to see the ‘Verse, a sort of celestial Bucket List. In a touching and heartbreaking scene in Episode 13, Inara passes away, Mal holding her hand, and from that point forward wore Inara’s signature necklace.

    Alyss: And not coincidentally, became much more openly compassionate and introspective. Another check on the “death equals regained traits” list.

    INARA: (clip) Mal, whatever you do, do it for love, not hate.

    [Sad music plays]

    MAL: (sniffling quietly) I swear by all the angels and saints and divine Avatars it will be done.

    [Sad music crescendos as Inara’s life slips away, her hand slipping slowly out of Mal’s grasp]

    Alyss: (choking up) Ah! So sad! I hate it! I love it but I hate it! Damn you, Joss!

    Hu: But Season 3 is mostly dealing with the aftermath of The Signal, as massive civil unrest and violent resistance grows throughout the ‘Verse. Mal, now Public Enemy Number One, is increasingly becoming a beacon of resistance, and becoming the de facto leader of a new Revolution against Old Earth. Mal and Lance have one last moment of disagreement as he’s “done with all this” and, after a heart-to-heart with Mal, leaves the crew to join with Jubal and Jayne in a get rich quick scheme, Mal regaining her sense of Duty, and making Lance, interestingly, the first one of the Crew to get out alive.

    Alyss: And with the Crew now reduced to Mal, Burnie, Kaylee, and Davi, plus various New Followers, the last half of the last season sees the climactic battle as Mal becomes the Admiral of a new fleet that goes against the Centrists in a big assault on their capital planet. Burnie is nearly killed – hell, we were all convinced that he was dead at one point – and the Tranquility is destroyed, but in the end, they triumph, the Governing Council is forced to flee back to Old Earth, and Mal turns down a position as the new President, instead supporting a dynamic young revolutionary named Brendon, another clone played by Kelly Donovan and a quiet salute to his still-struggling twin brother, for the role. In happier news, Brendon seems to have finally gotten that monkey off of his back, as he’s been sober for three years now.

    Hu: The injured and now paraplegic Burnie then retires with his recently revealed to be pregnant wife Kaylee, the culmination of a long and dramatic subplot as the two of them worked through their diverging thoughts on family and duty, leaving Mal, who smiles and laughs as they hug her goodbye, alone with Davi, the last original member of the crew, the spark that set off the whole adventure, and a much more independent, confident, and indeed healing woman than the broken bird in the box.

    Alyss: Yes, The Scar is still there, and always will be. But the healing goes on. The two of them find a new ship with a new crew – a “New Tranquility” – and fly off into the sunset; well, a sun half hidden behind a ringed planet. A fitting end to a brilliant three seasons.

    Hu: And that hardly scratches the surface of the myriad subplots and personal relationships and individual growth arcs and philosophical underpinnings of this amazing show. We hardly touched on the complexities of Mal and Lance, their history, and the “bad stuff” they did during the war, the Resistance revealed to not be as honorable and heroic as Mal would have liked. We skipped over the pivotal episode where Mal confronts one of the pilots who firebombed her village, and how she had to learn mercy and forgiveness for this broken, guilt-ridden man. We barely touched on the issues of Clone Slavery, the Operatives and the Experiments, the politics of the Centrists…hell we never even mentioned Season 3’s principal antagonists, Captain Holbert and Agent 432!

    AGENT 432: (clip) The Council grows tired of these rogue elements, Captain. How hard is it to track down a single old Firefly?

    CAPTAIN HOLBERT: (clip) Perhaps you can share some of your infinite Black Card resources if it’s so important to you, Agent.

    Alyss: Yeah, we hardly discussed Mal’s complex relationships with Doc and Inara, barely brushed on Burnie and Kaylee’s marriage and parenthood woes, didn’t even bring up the vicious fan favorite femme fatal Saffron, played by the seemingly innocent Allyson Hannigan, didn’t get into Kaylee’s Big Puffy Dress, Jayne’s goofy hat, or even get into how Mindy Kaling became one of the principal writers and how this launched her career in television and movies!

    Hu: I guess that we’ll just have to discuss them in the upcoming episodes of this ongoing Netcast, huh?

    Alyss: What a brilliant idea!!

    SAFFRON: (clip) Come on, sweetie! Don’t make a girl wait!

    Alyss: We’ll be posting every Friday at 4:20 – no special significance to that time, we swear, Officer – so tune in next week! I say we should start with a Deep Dive on the Pilot.

    Hu: I agree. And definitely an episode or seven on the Fandom and its continued efforts to Keep the Signal Going.

    Alyss: Or we can discuss ongoing rumors of a Big Damned Movie.

    Hu: And that brings us to today’s sponsor: my dad, who bought me this recording equipment for my birthday. Thanks, dad!

    Alyss: Maybe someday someone like Froggy’s Fixit Finders or whoever will send us some scratch to keep this gig going. But until then, Keep Flying!

    Hu: And Don’t Stop the Signal!!

    KAYLEE: (clip) Shiny!

    Tranquility’s theme music starts to play briefly, before cutting off before a Copyright Claim could be made.



    [1] In our timeline he read The Killer Angels by Michael Shaara about the Civil War, leading him to a narrative about a frontier populated by those who lost a civil war.

    [2] While the avoidance of overt Unreconstructed Confederate tropes will mitigate the neo-Confederate narrative, the ironic use of brown and black people as the “colonizers” will create a different set of Unfortunate Implications. While a Toxic Misaimed Fandom will persist, most will see the series as the pro-diversity anti-Imperial setting that the production team intended.

    [3] Space Cowboy hat tip to Mrs. Khan.

    [4] Ma will also be able to help her costars with their Mandarin pronunciation.

    [5] While @LelouchOfTheBarBrawl’s idea for making Nathan Fillion the “Inara” was exceedingly tempting, I went in a different direction here for both. It was 2002, after all.
     
    Speaking of "Shiny"
  • The Broadway Spectacle Age
    From Pizazz! The Fabulous History of Musical Theater from Broadway and Beyond, by Tony Worthy


    The late 1990s and 2000s were the era where the Spectacle Age of Theater peaked and started to recede. It was the time where you had all of these attempts to one-up Julie Taymor’s War of the Worlds, including by Julie herself, and yeah, a lot of it was totally Corporate Branding stuff with Disney and Dolly Parton, so a lot of Theater Queens still denounce the Spectacle Age with all kinds of vicious burns. “Fauxbulous” was my fav and I admit I use it all the time when catty, but when I look back at it there were some great moments here and there and we saw the beginnings of the Renaissance Age of the 2010s, as lots of folks slipped in some original and groundbreaking stuff, like Lin Manuel and of course Jonathan Larson (though even he did a Disney thing with Unbound, ‘cause a gurl’s gotta eat, right?).

    Well, since we name dropped Julie T. let’s start with her. And she did a couple of things, with “One for the Money and Two for the Show” being the operative phrase as she produced the jazzy and popular Spider-Man: Swingtime show in 2004 alongside an unknown producer named George Soros followed by the more artsy Hello, Dali! in 2008. [Author’s Note: since publishing the First Edition of this history it came to my attention that nobody named Soros was involved with the production of the Spider-Man show or really any other show. This was all the result of some Wiki Vandalism by “Kitara_R”; shame on you, gurl! Fooled me once.]

    220px-Spider-Man_musical.jpg

    Not quite this and years earlier

    Spider-Man: Swingtime was of course all midcentury big band jazz and Julie’s over-the-top stage spectacle as the titular webslinger swings over the heads of the audience. It reportedly evolved out of a Disney Parks Show. And yeah, I admit it’s fun and it helped bring new audience to the theater, so it probably helped bring in the Ren Age, but yeah too, it’s totally Tourist Bait so you can see why Theater Queens hate it. The show’s cast, originally led by Neil Patrick Harris, changed quite a bit over its run since it was a technically demanding show that tended to wear its cast out, so I won’t go into it here. It won lots of technical awards, needless to say, but while casual audiences liked it and it got a new generation into the theater (which I for one support) critics were less impressed, so it’s sort of a sore spot for a lot of people and gets thrown under the bus as symbolic of the empty excess of the Spectacle Age.

    Much more to my personal taste is, of course Julie’s follow-up: Hello, Dali! Yeah, it’s a surreal sendup and affectionate homage to Hello, Dolly and that style and age of theater. A biopic of the Surrealist painter Salvador Dali starring Adam Pascal in the titular role, it was full of fun, midcentury-style music, and framed Dali’s attempts at the time to reinvent himself for the Mod Generation long after his pre-War heyday. Idina Menzel totally shined as Dali’s muse/mistress/wife/agent/tormentor Gala, and if you can’t tell from the casting Jonathan L. was totally involved here, helping Julie on the songs.

    blog_2018_10_05_a_dali_mae_west_room_pako_campo.jpg

    Something like this for a start (Image source Pakocampo)

    Hello, Dali! dominated the Tonys that year. It was fresh-yet-retro, the stage design was incredible, the original music was a blast, and the irony was palpable. It totally explored Modernism through a Postmodern lens, showing Dali as a tragic figure, struggling for identity through mental illness and the political and social upheavals of his life. And even the most dramatic of Theater Queens, no matter how much they hate Spidey, forgave Julie after this one. It’s still playing on Broadway to this day, probably on its like tenth cast.

    Warner Brothers would answer Spider-Man with Aquaman: Under the Waves, spun off from the hit movie starring Hank Azaria, with Hank reprising his role for the original Broadway run. It featured a lot of the same kind of wire-work stuff as Spidey (just “swimming” rather than “swinging”), and some original songs, and it was fun in its way, but really everyone saw it as derivative of Spidey. That said, I’d argue it was the better show, since lyricist Nell Benjamin and composer Larry O’Keefe provided some of the same fun and frisky work that they become famous for in the Ren Age, even as they tended to stick to derivative work (like 2007’s Ladies Room, obviously).

    Columbia, now under Michael Eisner, who is a Theater Queen in his own right and the one behind the Nederlander deal, launched a lot plays, like more than I’ll get into here. But he did that big Hillcore play Fire Up your Bow with Dolly P. in 2006 that floored Tony with its sheer musical crossover audacity and visual and audio splendor, which stands out as his biggest of the decade. And of course there was the Branded Stuff, like The Hobbit in 2003, that got a makeup award, and Ruler of the Roost, which we should do our best to forget ever happened.

    Paramount jumped in the game with Star Trek: Where No One has Gone Before, which at least maintained a fun and campy ‘60s vibe and some catchy songs, even if it wasn’t exactly Supurbia, if you get my drift. Fox followed suit with Charlotte’s Web, which had some great puppetry and got some technical love, and of course Mrs. Doubtfire, which when shorn of Robin Williams is really just following a frumpy Fish Queen as he stalks his kids, so don’t bother with it (few did).

    Universal even got into the game, doing Go Go Godzilla in 2004 and Frankenstein in 2009. Set and spectacle, yes. Groundbreaking productions? No.

    But the Mouse would strike back with a new show executive produced by Bambi Moe that brought back her breakout creation: Halyx. The Star Wars rip-off band from the early 1980s had been a breakout hit, and turned Lara Whitehall into a household name (we certainly got to see plenty of her in Sunset Strip…and OMG plenty more in Playboy!). But Bambi, wanting to do more than just copy George Lucas, revamped Halyx into an all-new Space Opera multimedia crossover. In addition to the Rock Opera based stage play starring Merle Dandridge as Lora, which Jonathan L. did the music and lyrics for, they launched an original Sci-Fi production on Fantasia TV with original effects by the Creatureworks for both.

    6c195528ad650cbbd9d2d5ff63a2c4e0aa6f3daa.jpg

    This as a Broadway Musical…to start (Image source Dis Insider)

    Well, the play only did so-so, though it got credit for breaking the band out into its own original production, not just ripping off Star Wars, and it still plays at Disney parks, so there’s that. But really it was the TV show, also starring Merle, that really took off, making a good five and a half seasons. Toei launched an Anime version and a Manga and Comics line in partnership with Marvel and a toy line with Olmec Toys…you get the picture[1].

    Spectacle Indeed.

    But Spectacle was thankfully put on a back burner when Lin Manuel and Quiara Alegría Hudes produced The Heights in 2005. And yeah, you know it. And you know what came next ten years later. It largely flew under the radar at the time[2], but it got enough attention for Lin Manuel, so really, ‘nough said.

    Instead, for his next thing Lin Manuel found a biography on Benito Mussolini of all people while on vacay, and a new Revolution came to Broadway in the mid-2010s, but we’ll get to that.



    [1] Hat tips to whoever was having the discussions on Halyx back in the day that suggested Stage Shows and Toei anime and a “rock-opera Farscape”. I failed to record your names, just the conversation, but hat-tips none the less.

    [2] In The Heights was based on his real-life experiences, which was Sondheim’s recommendation for one of your first musicals, so second order butterflies applied here. Since Tupac has already introduced Hip Hop to the Stage and Jonathan Larson has already actively made representation a thing on Broadway, it will not be as “revolutionary” as In the Heights was in our timeline.
     
    Movies 2001-2004
  • New York Times Short Movie Reviews, 2001-2004

    All That Glitters… (2001)

    Ralph Fiennes reprises his role as the next James Bond one last time[1] in this remake of the classic 1964 Sean Connery classic Goldfinger. And alas, the gold does not shine quite so well. In keeping with the ongoing “New Old Bond” series, the film follows the book more closely, sadly to its detriment as many of the pragmatic changes to the 1964 film, such as the nature of Auric Goldfinger’s plot, were for the better. A simple plot to steal the gold of Fort Knox, as noted by Connery’s Bond, just isn’t practical, even using a tactical nuke to break in. The 1964 film idea, to simply radiate the gold to destroy the US economy and spike gold prices, was infinitely more practical and ingenious. As such, Goldfinger comes across as more deluded than brilliant in this interpretation, with Bond instead wondering if Goldfinger’s Soviet allies are setting him up specifically to irradiate the gold.

    Similarly, others may find the simple attempted strangling of Bond by Odd Job less memorable than getting cut in half by a giant laser, however campy.

    But whatever the case, the film still manages to hold on well as popcorn fare. Fiennes could have phoned in his last appearance, but instead is as solid as ever as 007. Jeroen Krabbé shines as the titular Goldfinger, arguably giving Gert Fröbe a run for his money. B.D. Wong gives stoic dignity to the role of Oddjob, Rebecca Romijn and Amy Smart do well as the doomed Jill and Tilley Masterson, and Cate Blanchett gives a new honor and decency to Pussy Galore, who in this version of the film thankfully remains a lesbian, with no uncomfortable “rape her straight” scene (said scene was never in the original Fleming novel, though he did fall back on the old saw about lesbianism being a trauma-induced mental illness). And Freddie Mercury’s platinum-selling cover of the original Shirley Bassey song is a delight all on its own.

    And if this version of Goldfinger can’t compete for hearts and minds with the “original” Connery vehicle, there is little doubt that it is enjoyable on its own, helping to correct some of the sins of the earlier production while still providing an action-packed caper worthy of Bond.

    220px-Goldfinger-Ian_Fleming.jpg


    Goldfinger; Rated T for violence, adult situations, sexuality, and substance use; ⭐⭐½



    This Film Rocks (2001)

    Many have wondered when Arnold Schwarzenegger would make a comics film. Well, believe it or not, he just has. Directed by John McTiernan based on a screenplay by John Milius, Sgt. Rock is actually based upon an old DC Comic of the same name. And while the film does follow some of the usual action movie tropes, with a few choice quips for Schwarzenegger, this is decidedly a more serious film in the vein of Crusader rather than Conan. The film follows Rock as he leads an all-star force on a dangerous secret mission in Nazi Europe in World War 2. Paying homage to The Dirty Dozen and similar classic war films, the movie explores the complexity of the conflict, even as it is decidedly pro-US. And if the thought of an Austrian son of a German soldier holds a certain irony, they acknowledge this fact, making Rock in this retelling an Austrian emigree named Rachmuhl whose family fled when Hitler annexed Austria.

    While the film can be formulaic and unapologetically violent and hyper-masculine, there is still a soul to the film, brought out by McTiernan’s subtle direction and sympathetic camera work, even as his “eye for action” is displayed in full. While some may want to dismiss this as empty action, it takes its time to set the stakes, both physical and emotional, and gives Rock a vested interest in this Austrian-set mission.

    In all, Sgt. Rock is one of the better DC comics films, even if you didn’t know it was a DC comics film.

    220px-Sgt._Rock_%28circa_1983%29.png


    Sgt. Rock; Rated T for violence, profanity, adult situations, and alcohol and tobacco use; ⭐⭐⭐



    Brothers Reunited (2002)

    Luke Wilson has been a staple of quirky comedies for the last few years, but it was his brother Owen that was once seen as the rising star. And yet when his 1996 comedy Bottle Rocket failed at the box office, Owen joined the US Marines as a helicopter mechanic and served briefly in Rwanda while his brother went on to fame in Hollywood. Well, now Owen is back, having completed his enlistment and is costarring with his brother Luke in Brothers in Arms, a quirky new comedy by their friend Wes Anderson[2]. Starring two brothers (Luke and Owen) who enlist together in the US Marine Corps, Brothers in Arms is a strange and quirky Indie comedy, and one much drier than you might expect from what is superficially a war film. Released by Wildside Productions, Brothers in Arms has a style all its own, and, when following Bottle Rocket and 1998’s Revolutionary, shows Anderson to be an auteur unlike any other. Using almost old-fashioned sets and effects sewn together using CG, Brothers in Arms is also visually unlike anything else that you have seen, with an almost pastel pallet and uncanny symmetry. Luke and Owen shine together, inevitably hyper-calm and flat-faced even in the face of the strangest of circumstances, be that boot camp, work on the flightline, or the war in Rwanda. Cate Blanchett shines as their commanding officer, as does Gwyneth Paltrow as the triangulated love interest. In all, this strangely stylistic and postmodern war film is best seen rather than described.

    Brothers in Arms; Rated T for mild violence, profanity, alcohol use, sexuality, and adult situations; ⭐⭐⭐½



    A Hostile Partnership (2002)

    The era of the Activist Investor was bound to make its way to the Big Screen, and naturally, given the headline-grabbing Good Shepherds Group proxy battle with Disney, Hyperion Pictures would be the first to have some fun with the concept. And the resulting film, Proxy, is a blast. When politically Liberal Chairwoman Amy Fuller of the Fuller Toy Company (Tina Fey) finds her struggling company suddenly partly acquired by politically Conservative Activist Investor Dick Kaiser (Dean Winters), the resulting proxy fight moves beyond business and into the deeply personal. The result is a quirky, messy, highly-dysfunctional Rom-Com, or satire of Rom-Coms…or possibly a bit of both. Full of humor that straddles both the High Brow and the Low and a strangely perfect toxic chemistry between the two leads, Proxy is probably the funniest take on Boardroom Drama we have ever seen, not that anyone should be surprised by that.

    E4m0BFOXMAE7F20.jpg

    Basically, these two (Image source Twitter)

    Proxy; Rated R for Profanity, Adult Situations, Substance Use, and Brief Nudity; ⭐⭐⭐



    Life on the Street (2003)

    Oscar is sure to pay close attention to this brutal and visceral tale of life on the LA Streets, in particular the titular Sunset Strip. The last film to star Biggie Smalls prior to his tragic DUI-related death, The Strip, which was written, produced, and directed by his friend Tupac Shakur, is dedicated in his honor. And indeed, the loss is extra-tragic given that this was by far Biggie’s best performance to date[3]. Shakur’s Poet’s Eye and Ear stand out in this story, which follows Tupac’s “Low Boy” and his complex relationships with his brother-in-law “Kush” (Kurt Cobain), sister Lisaah (Aaliyah), and friend “Eight Ball” (Smalls), a small time “Thug” and addict who’s trying to go clean. Drugs, crime, poverty, racism, and the other challenges of life in the poor urban areas of LA are explored in depth, with a brutal naturalism worthy of Fellini. The Strip is a must-see for cinephiles and casual audiences alike.

    The Strip; Rated R for Violence, Nudity, Substance Use, Crime, and Adult Situations; ⭐⭐⭐⭐



    An Epic Romance (2004)

    Universal took a big gamble in this epic retelling of the tale Liz Taylor made famous, and thankfully they pulled it off. Anthony and Cleopatra is epic in scope and ambition, bringing us a modern take on the ancient and tragic romance and political union. Angelina Jolie and Brad Pitt shine and sizzle as the titular duo with screen chemistry, which, if the tabloids are to be believed, is based in reality. River Phoenix is menacing as the ambitious antagonist Octavian. The location shots and cinematography by Scorsese shine, as does his particular retelling of the great and tragic historical romance, which he imbues with themes of guilt, temptation, and sacrifice. The sets and props, particularly the fleet of triremes, are as ambitious as Cesare himself. $130 million well-spent, in my mind.

    fan-made-poster-angelina-jolie-cleopatra.jpg

    (Image source IB Times)

    Anthony and Cleopatra; Rated T for Violence, Sexuality, and Adult Situations; ⭐⭐⭐



    In Brief:[4]
    • A Touch of Magic: (2001) Harry Fletcher, boy wizard, reaches the big screen (courtesy of Penguin Pictures) in what’s sure to be the start of a magnificent series that honors the source material; ⭐⭐⭐½
    • Meat-Eater Swarm: (2001) Trey Parker and Matt Stone bring us a deliberately campy B-movie about carnivorous dinosaurs falling from the sky in this send-up of both monster and disaster films; ⭐⭐
    • Lord of the Rings: The Fellowship of the Ring: (2001) Tolkien’s Magnum Opus[5] finally reaches the big screen in spectacular fashion; ⭐⭐⭐⭐
    • Bored of the Rings: (2002) National Lampoon, Trey Parker, and Matt Stone bring us this merciless parody of Lord of the Rings based upon the Douglas Kenney and Henry Beard novel. Follow Frito Bugger (nephew of Dildo, naturally), his fellow “Bogies” Spam, Moxie & Pepsi, and Goodgulf the Inept Wizard as they meet a Tall Dark Ranger (Arrowroot, son of Arrowshirt, also known as “Stomper”) and set out to destroy a rather cheap and ugly ring, despite the machinations of the evil Sorehead, his Nozdrul, and the obnoxious Goddamn; ⭐⭐⭐
    • Game: (2002) The “Ballers” (Will Ferrell and Terry Crews) return in this fun if frivolous sequel where the two take their rivalry to the baseball diamond; ⭐⭐
    • Big Pianist: (2002) A raunchy Farrelly Brothers comedy about a well-endowed piano player; ⭐⭐
    • The Room: (2003) Executive Producer Tommy Wiseau’s film debut brings us this brilliantly quirky Indie romantic comedy-thriller directed by Gus Van Sant and starring Matt Damon, Minnie Driver, and Casey Affleck. Oscar, take notice; ⭐⭐⭐⭐
    • Eleven: (2003) Snoop Dog, Tupac, Kurt Cobain, Aaliyah, Freddie Mercury, and Seth MacFarlane, among others, recreate the Rat Pack classic Ocean’s Eleven for the Hip Hop generation; ⭐⭐⭐
    • Break the Bank: (2003) A surprise hit comedy from Hyperion featuring Melissa McCarthy; ⭐⭐⭐
    • Crash: (2004) A Hyperion comedy that explores the Dot-Com Bubble and the business culture that fed it; ⭐⭐⭐
    • Gridlocked: (2004) The “Ballers” return, this time on the football field, and fumble the ball. The magic is gone; ⭐½
    • Munich: (2004) Director and Producer Steven Spielberg brings us this historical drama about the 1972 Munich Olympics terrorist attack; ⭐⭐⭐⭐
    • Maurice and his Educated Rodents: (2004) Penguin Pictures and Thunderbird Studios join forces to bring Sir Terry Pratchett’s story[6] of a hyper-intelligent can and mice who enlist a fake piper to run a con on localities; ⭐⭐⭐




    [1] This is Fiennes’ last Bond Film and the last one I will write about. While the Bond Films will continue to follow the “New Old Bond” of the Ian Fleming novels through Octopussy and The Living Daylights, I will leave the rest of the franchise, to include whomever will play the next bond, up to a guest writer.

    [2] What happens next with Anderson and the Wilsons? Up to you all!

    [3] He will win a posthumous Best Supporting Actor Oscar. The film in general will dominate the Oscars in 2003.

    [4] All open for Guest Posts!! PM me.

    [5] Yes, all Lord of the Rings and Harry Fletcher novels will reach the Big Screen and be a success. No I will not be detailing them, but someone else can as a guest post.

    [6] Hat tip to @GrahamB for this idea (waaay back when), though he thought of it for the Creatureworks while I kept it all British. You blokes are welcome.
     
    In the News/Election 2004
  • Large Scale Military Exercises in USR Spark Concern
    The Times of London, July 12th, 2003


    Moscow – Unscheduled military exercises were launched across the Union of Sovereign Republics this morning, with armored vehicles and soldiers and aircraft making several partially coordinated demonstrations at points in Belarus, The Ukraine, Central Asia, the Russian Far East, and the Caucus States. These exercises spooked Beijing, NATO and CEFTA, sparking brief fears of military action. However, intelligence analysts suggest that the show of force was mostly intended for a domestic audience, intended to send a clear warning to member states and republics that Moscow is “in charge” and ready to enforce its authority.

    “The USR just invaded itself,” said former US Secretary of Defense…



    Stock Market Crashes, Dragged Down by NASDAQ Selloff
    The Wall Street Journal, September 4th, 2003


    The NASDAQ plunged over 6% this morning, dragging down the other Indices, in a massive selloff of Green Tech Sector stocks in a panic driven by the failure of Solar Horizons, LLC, the latest of a series of renewable energy companies to fail. Blaming foreign competition, in particular from China, and with GGA funds drying up[1], the Green Tech sector has, some analysts feel, been primed for a Correction…



    Disney Family “Reunites” in Retlaw-Shamrock Merger
    The Wall Street Journal, January 19th, 2004


    disney_gallery_walt_13-crop-c0-54__0-4-700x394.jpg

    (Image source PBS)

    Anaheim – Retlaw Enterprises, the private Holding Company owned by the children of Walt Disney, and Shamrock Holdings, the private company that manages assets for the Roy Disney family, have announced an all-stock merger to form Calumet Holdings, a single company for managing and proportionately allocating all Disney family possessions. The deal, whose value remains unknown, is rumored to be in the tens of billions of dollars based on Disney Company (DIS) stock holdings alone. The deal gives the combined Disney Family the largest stake in their family’s namesake company at 29.5% of Outstanding Shares, with the Henson Family’s Henson Arts Holdings claiming the second highest stake at 22%.

    “The deal represents both a financial and symbolic reconciliation,” said WSJ Financial Analyst Penny Counter. “The first big break in the Disney family came between Walt and Roy Sr. over the Walt Disney Miniature Railroad company, which was used to keep assets that were arguably Disney Company assets in the exclusive hands of Walt Disney’s family. This formed the seed of Retlaw, and remained a point of contention between the Walt and Roy sides of the family. This merger indicates that a larger familial reconciliation has occurred as well as the fiscal one.”

    Calumet Holdings, named for the Native American Peace Pipe, which holds personal meaning to the Disney family, represents a goliath of a private company, and while the internal charter is a close held secret, the internal shares are reportedly divided proportionally between the two sides of the family based on the monetary values of the two companies prior to merger and then divided equally between the Disney Grandchildren, with Roy E. Disney maintaining his non-Disney portfolio in trust until his and his wife’s deaths, when the assets will be similarly proportionally divided. Reported exclusivity clauses prevent any individual Disney family member from selling any of their shares except equally among all other branches of the Disney family.

    “Calumet appears to be deliberately engineered to keep Disney in the Disney family, and yet simultaneously keep a majority out of the hands of any one Disney,” said Counter. “The bylaws would appear to be specifically designed to prevent any one member from accumulating too much power, possibly to prevent the rise of another schism of the type that first split the Disney Brothers and has left the company vulnerable on more than one occasion.”



    “Kivunam”; Increasing Casualties and Shrinking Morale Drive Congo Questions
    The New York Times, September 19th, 2004


    Kigali – Increasing US, French, and other UN casualties and a growing sense of disillusionment with the mission are leading to growing calls for the US to pull out of the MONUSCO UN Peacekeeping force in the Democratic Republic of the Congo, with GOP Presidential Candidate John Heinz openly promising to accelerate the US drawdown. As internecine violence continues to rage, and US forces are increasingly caught in the crossfire, many have started to wonder what America’s exit strategy is. Comparisons to the Vietnam conflict, which also featured an alleged “quagmire” in a jungle nation of arguable strategic value, has already led the US troops stationed there to declare the place “Kivunam.”

    “MONUSCO has the wolf by the ears,” said former US Secretary of State Henry Kissinger, who has renewed his calls for a Two State Solution, citing increasing involvement by African powers and growing strategic divisions between the US and French Governments, the former of which is nominally tied to the Rwandan Alliance and the latter of whom backs the central government. “Stalemate has set in. Escalation is a real threat. Diplomacy is the only answer to this impasse.”

    US President Gephardt, who is facing a tough reelection, has cautioned against…


    Heinz, Bush win Close Election

    President Gephardt Concedes in Impassioned Speech

    Dems make small gains in Legislature, neither chamber flips

    The Washington Post, November 3rd, 2004


    images

    Ex President George H. W. Bush and MLB Commissioner George W. Bush congratulate son and brother Jeb on his Vice-Presidential victory (Image source The Atlantic)

    Philadelphia – Senator John Heinz of Pennsylvania and his Vice Presidential running mate Senator Jeb Bush of Florida claimed victory in a narrow win over incumbent President Dick Gephardt and VP Ann Richards, sealing their success with twin wins in their home states of Florida and Pennsylvania. With a final electoral margin of 275 to 263 and a razor-thin popular vote margin of 49.66% to 48.39%, the victory will return the GOP to the White House for the first time since 1992. “The 1990s were the Democrat’s Decade, and look where it got us?” said Heinz in his victory speech. “Let the new millennium be a Republican Millennium!”[2]

    Dogged by terror attacks, an unpopular war in the Congo, and most critically a faltering economy with manufacturing job losses to China and Mexico, President Gephardt, who relied heavily on blue collar voters to overcome a deficit with suburban voters, struggled with approval ratings throughout his White House tenure…

    President

    2004-Presidential-Map.png

    Senator Heinz (R-PA) / Senator Bush (R-FL) - 49.66% - 275
    President Gephardt (D-MO) / Vice President Ann Richards (D-TX) - 48.39% - 263



    Senate

    Henson-Senate-2005.png

    Democrats: 53 (+3)
    Republicans: 44 (-2)
    Reform: 3 (-1)



    House of Representatives

    genusmap.php


    Republicans: 224 (-3)
    Democrats: 209 (+5)
    Reform: 1 (-2)
    Socialist: 1



    - - -​

    Excerpt from The Tonight Show with David Letterman, November 3rd, 2004 Episode

    Dave
    : So, Paul, I guess we have President Heinz and Vice President Bush to look forward to.

    Paul: Don’t remind me.

    Audience laughs.

    Dave: Actually, Paul, this is a big moment. You know why, Paul?

    Paul: Fine I’ll take the bait.

    Audience laughs

    Dave: It’s the first time that not one, but two brands of Baked Beans have been represented in the White House.

    Awkward laugh from the audience.

    intro-1653336642.jpg

    (Image source Tasting Table)

    Dave: Oh, come on, that was All Gold.

    Silence. A couple tepid laughs.

    Paul: Dave, I don’t think that they know that’s a brand of beans.

    Dave: I bet this joke would play in Boston. (silence) Because it’s “Bean Town”. (silence) Nothing?

    Paul: It might be time to introduce the guest star.

    Audience Laughs.

    Dave: Paul, you’re fired.

    Paul: I wonder if they’re hiring in Boston?

    Audience laughs. Dave laughs, mimes throwing something at Paul.



    [1] What goes up must come down, and eventually the “good times” of a burgeoning new industry will come to an end, particularly in high-risk fields where not all bets will pay off (think Solyndra). The “Green Bubble” of 2003, combined with the Dot-Com Bubble and without a corresponding post-9/11 “Doom Boom”, will lead to the “Millennium Recession” of 2003-2006.

    [2] Hat tip as always to @jpj1421 for elections help.
     
    Remember the 2000s?
  • Remember the 2000s? We Do!!
    From the We Remember Booklet Collection by Nostalgia, Inc., Published 2022


    Q: What do Men’s Rights Activists, Boy Wizards, Punk Princesses, Airship Pirates, Netcasts, Banjo Rock, Claymation Creatures, and Culture Warriors all have in common?

    A: They are all iconic of the 2000s!

    Yes, today We Remember the 2000s! A decade that said, “The Future is Here! Now What?”

    Here are just a few images and memories about the Millennium Decade.

    World Events:

    Well, let’s get the hard part out of the way. The 2000s were a violent decade that saw a culmination of the rise in terrorism, with Al Qaida’s infamous Dirty Bomb attacks, corresponding sectarian violence, and the resurgence of White Nationalist violence in the US towards the end of the decade, particularly against America’s Muslim, Middle Eastern, North African, and South Asian communities, whom they falsely blamed for the dirty bomb attacks.

    The USR struggled through sporadic periods of domestic terrorism and internal ethnic nationalist uprisings that had to be violently put down by a Federal Government that was increasingly heavy-handed, with many questioning whether the current Federal Government is truly still a democracy or not.

    Alleged Chinese support for sporadic uprisings in the Russian Far East, fed by loose talk from Chinese Revanchists who were openly calling for the “reintegration” of the region that they call Outer Manchuria and exacerbated by illegal immigration by Ethnic Han (some of whom have been subjected to violence by Ethnic Russians and authorities), led to a war scare in 2009.

    Similar tensions started between the USR and the West when the Central European Treaty Organization (CETO) was formed in 2006 and made open overtures to NATO for mutual defense. Feeling increasingly isolated even as its trade with Europe and China grew, the USR found a willing partner in a rising India.

    us_army_africa_ap_img.jpg

    (Image source The Nation)

    The US and other Western nations struggled in the Democratic Republic of the Congo, a quagmire that only ended in 2009 with the split into the Democratic Republic of the Congo in the west and the Federal Republic of the Congo in the east. Inter-ethnic violence continues to this day.

    Somalia descended into tribal warfare, leading to a rise in piracy and further UN interventions trying to calm tensions. The breakaway Republic of Somaliland, on the other hand, has become a hallmark of regional growth and stability thanks to large petroleum reserves and a functioning government.

    Hurricane Donald[1] would devastate Cuba, Florida, and the Gulf Coast in 2007, the massive Category 5 storm causing devastating flooding that left several US cities submerged and led to increased calls for more steps on combatting climate change. On the other side of the world, Cyclone Moana of 2003 would cause massive destruction in Indonesia and The Philippines. An earthquake in Iran would cause massive destruction, while the US aid response would help temporarily thaw relations between the two nations.

    s132e012209_sm.jpg

    (Image source NASA)

    In happier news, the International Space Station grew, adding new modules from the USR and Europe, a regular presence by Chinese Taikonauts, with a Chinese module later added in 2014, and visits from multiple countries. It would be a shining beacon of international cooperation.

    The UN agreed to work towards more international cooperation on fighting climate change, setting the stage for the 2012 Paris Accords.

    In 2009 Vice President Jeb Bush negotiated a historic peace agreement between Israel, Iran, Lebanon, Syria, and Saudi Arabia, setting limits on Israeli settlement expansions, reducing attacks by Hezbollah and Hamas, and seeing the creation of a Palestinian Authority, creating hope for a Two State Solution to the Israeli-Palestinian conflict.

    Politics:

    In the US, the decade began, obviously enough, with the narrow 2000 election of Richard “Dick” Gephardt as the 43rd President of the United States, with his running mate Ann Richards of Texas breaking ground as America’s first female Vice President.[2]

    gephardt-280x386.jpg
    800px-Ann_Richards%2C_Governor_of_Texas.jpg

    (Image sources WUSTL.edu and Wikimedia)

    Gephardt would renegotiate some of the terms of NAFTA to increase environmental stewardship, defend worker’s rights, and add in some safeguards for US jobs. Even so, many US manufacturing jobs not directly tied to US government programs like Defense, Space, and Renewable Energy moved to Mexico and Asia, in particular China, where manufacturing costs were far lower[3]. This growing “rust belt” would alienate many of Gephardt’s core blue collar voters.

    The US culture, in reaction to the “Girl Power”, Diversity Awareness, and “Political Correctness” movements of the 1990s, shifted rightwards, starting with a “Men’s Rights” movement that was, at first, largely tongue-in-cheek, but soon exploded. “Politically Incorrect” comedians and newscasters would push the bounds of race, religion, and gender in what detractors called “hate speech” but which they defended as “free speech”. Even so, LGBTQ rights gained ground as popular attitudes shifted away from older cis- and heteronormative attitudes, paving the way for marriage equality throughout much of the West in the 2010s.

    The “Christian Civil War” as it came to be called broke out in the US between the typically older, whiter, and more socially conservative “Old Testament Evangelicals” and the typically younger and more diverse self-avowed “Judge-Notters”. Numerous Christian denominations fissured into Conservative and (relatively) Progressive sub-denominations. The breakup of the Southern Baptists in particular into the Old Southern and New Southern branches in 2011 would be seen as a pivotal moment in US Christianity.

    The Dot-Com Bubble of 2000 and the Green Bubble of 2003 would, when combined with the offshoring of manufacturing jobs, lead to the “Millennium Recession” of 2003-2006, leaving many in the US, Canada, and Europe without jobs and dragging the world economy down with it.[4]

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    640px-Jeb_Bush_by_Gage_Skidmore_2.jpg


    The Republicans finally regained the White House after 12 years in a narrow victory in 2004 by Pennsylvania Senator John Heinz and Florida Senator Jeb Bush as his VP. Following the “Compassionate Conservative” model, they would lead a center-right platform that managed to win back “Reagan Democrats” and Reform supporters while putting out just enough Conservative red meat for their base. GOP attempts to roll back the Green Growth Act saw limited returns as blue collar manufacturing jobs became threatened and renewable energy costs approached, and then reached, parity with fossil fuels by the end of the decade, in part because of cheaper manufacturing in China. They would be narrowly re-elected in 2008.

    Canada began the decade with Paul Martin of the Liberal Party as Prime Minister, who first took office in 1997. He would lose a No Confidence vote in 2006, with the NDP taking over and Jack Layton becoming PM.

    The UK would begin the decade with a Tory government under Prime Minister Michael Portillo, but soon lost power to Gordon Brown and Labour in 2004, who would retain control throughout the decade. This particular Labour Party would be more center-right in its economics while pressing for more progressive social politics and greater investment in renewable energy.

    In France, after facing a second-election shut out from the runoff in 2002, a new Union of Popular Movement (UPM) consisting of the major center-right parties would finally oust the long-ruling Socialists in 2007, with PM Nicolas Sarkozy and President Jean-Pierre Raffarin taking over.

    Angela Merkel’s Christian Democrats would come back to power in Germany in 2005 after seven years under Gerhard Schröder’s Social Democrats.

    In Japan Naoto Kan of the DPJ would start the decade as PM only to be replaced by Junichiro Koizumi of the LDP in 2005 in Coalition with Komeito and Japan Restoration Party under Shintaro Ishihara. Koizumi would continue as PM until 2010.

    close-up-of-chinese-politician-ministry-of-the-machine-building-and-electronics-industry-hu.jpg

    Hu’s the Man? I am! (Image source Getty (duh))

    And in China, Hu Qili would replace Qiao Shi as Chinese Premier in 2004, continuing the Lotus Plan that had come to define Chinese liberalization and growth as a world power.

    Be sure to check out our Appendix on elections and other political events!

    Arts & Entertainment:

    Ok, now on to the truly fun stuff!

    The decade, indeed the millennium, began with huge celebrations as the landmark Year 2000 was reached. The brief panic over the “Y2K Bug” ended, proving to be a non-issue. And once the buzz died down, the realization struck that it was just another year, and that all the old utopian and dystopian predictions over the last century proved highly to wildly inaccurate, leading to much ironic comedy at their expense and a rise in interest in Retrofuturism.

    fireworks-night-sydney.jpg

    (Image source Time and Date)

    The aesthetics of the 2000s were increasingly driven by Retrofuturism and the just-plain Retro as people looked back, sometimes nostalgically, sometimes ironically, on the “Tomorrowland” assumptions of what life in the 2000s would be like. Whether it was satirizing Midcentury Modern Utopianism like Andy Venture or embracing the Jules Verne Futurism of Steam Romance like the Black Smoke and League of Extraordinary Gentlemen franchises, Yesterday’s Tomorrow was the look of their Today.

    5e5d4fc38ea9d.image.jpg

    (Image source Tuscon.com)

    Retrofuturism in art and aesthetic led organically into Retro as deconstructive dramas set in the midcentury found audiences. Period Dramas on the big and small screen alike looked in particular at the 1960s and 1970s as aging Boomers looked back and their now-thirty-something kids wondered what life was like for their parents at their current age. Fashions often followed the Retro and Retrofuture trends, with hats and early to mid-20th century stylings coming back into fashion, sometimes dripping with irony, sometimes with affection, often with a touch of both. Facial hair for men made a comeback, in particular mustaches, either pencil-thin Jazz Age ones or prodigious waxed Victorian era ones.

    Geek Culture began to make itself known, with the Gen-X and Millennium Gen in particular making interests that were scorned in the past, such as comics, science, fantasy, computers, and the like, unironically “Cool”. TV shows like Revenge of the Nerds, The Geek Life, and (of course) Dungeon Dorks made the what was once terminally unhip the hippest thing around.

    Music trends in the 2000s started with NuPunk, Post-Goth, Hip-Pop, and FuturePop[5] and then shifted in the late 2000s towards less-processed sounds like the NuGrass, NerdCore, Hillcore, and the Folk Renaissance[6] as Millen-Gen audiences became obsessed with the twin poles of Irony and Authenticity. Steam Romance-inspired Post-Goth bands like Ironhand Pete and the Air Pirates would briefly make “Steam Punk” a thing, though many consider it a subgenre of Post-Goth or NuPunk. R&B would continue to make its presence known, with Beyoncé and others dominating the charts and becoming iconic. FuturePop artists like Star Queen Ga-Ga took Postmodernism to the next level while Biz Markie, De La Soul, and Sade Adu teamed up for their Grammy-dominating Markie De Sade collaboration in 2004.

    the-history-of-future-folk.jpg

    (Image source Film School Rejects)

    The 2000s saw the start of the Disney Millennium Age, also called the New Silver Age or Age of Exploration, as Lisa Henson replaced her iconic father Jim Henson as Chairperson of Disney. 2002’s iconoclastic smash hit Damsel would kick off the Millennium Age in a big way, and is sometimes seen in hindsight as the High-Water Mark of the Girl Power movement and Third Wave Feminism. Iconic animated and live action films abounded, most famously the popular Red Sails franchise and its Black Smoke spinoff. The Transformers franchise would start midway through the decade and come to dominate the next. Marvel’s Phase III saw a “rest and reset” period following the tumultuous massive-crossover of Phase II, leading eventually to Phase IV in the 2010s. Disney and Hyperion Music would lead the FuturePop and Post-Goth movements, signing acts like Star Queen Ga-Ga, the Lohan Sisters, Wolfgang Parker, and Municipal Waste and later jump on the Folk Renaissance and NuGrass movements, signing Folkadelic, Planet Hondo, and Trampled by Turtles.

    Char_Profile_JusticeLeague_5be4e1a2b164c8.57008596.jpg

    (Image source DC)

    While Disney’s Renaissance Age was past, Warner Brothers’ Renaissance Age would begin and peak in the 2000s after a tumultuous start to the decade following an ill-timed merger with Leap. Bought out by Comcast in 2003, who brought in new Chairman/CEO Jeffrey Katzenberg, “The Katz” set his sights on the Mouse and launched a renaissance in both animation and live action, in particular bringing new gravitas to the DC film franchise, which would overtake Marvel in overall sales in the decade. Films like the ongoing Terminator franchise and a big return to Musicals and Historical Dramas restored the venerable studio to its former gravitas as an industry leader. A renewed partnership with Amblin would likewise produce many popular films and TV series, such as 2004’s landmark Munich and 2007’s The Man in the High Castle.

    Columbia would, by the middle of the decade, merge with Time-Atlantic creating a massive media conglomerate. Time-Columbia under new Chairman/CEO Michael Eisner would have its Golden Age, expanding its international market share with non-white and non-US audiences. Columbia Pictures began the decade with The Lord of the Rings and went on to create other epic, immersive films like One Small Step and Chosin. Hanna-Barbera expanded further onto the big screen with original Oscar-winning animated features like Cowgirls Don’t Cry, Animal Kingdoms, and Eddie Murphy’s Hippity Hop. In keeping with Chairman-Emeritus Ted Turner’s New South proclivities, they also worked to make Country & Western music and culture “cool” by marketing younger, less mainstream, less “Nashville Hit Machine” artists through their Time Music brand. This included NuGrass artists like Old Crow Medicine Show and The Carolina Chocolate Drops, but also introduced Hillcore artists like Redneck Rampage, The Ridge Runners, Banjo Underground, and The Hellbillies.

    old-crow-medicine-show_wide-c5edb6bc7f32d2c98c2ec190a7ab7048f592ef08.jpg

    Old Crow Medicine Show (Image source NPR)

    The 2000s would see the “Second British Invasion”, this time primarily visual rather than audio. This was led by Warner’s former Chairman and CEO Richard Daly, removed in 1994 following a gaffe on industry collaborations on renewable energy and soon picked up by the Pearson PLC to head their new Penguin Pictures. Harry Fletcher and Aardman Entertainment would lead the charge, of course, but soon enough TV shows like Rebecca Rabbit, Wobbly Wallaby, Angus the Bull, Shawn the Sheep, Morris the Tortoise, Star Fox, The New Thunderbirds, and a renewed interest in Dr. Who would capture the minds of US audiences, leading to a surge in the use of British slang, inflection, and terminology by Postmillenials in a phenomenon that shocked linguists. The action-comedy of Edgar Wright, Simon Pegg, and Nick Frost would make huge inroads in the big screen and more Terry Pratchett adaptions would appear.

    03353ee81e32a6ee406a8d89339d367977-06-shaun-sheep.2x.h473.w710.jpg

    (Image source Vulture)

    Triad would hold its own thanks to the continued performance of Fox under Lisa Henson protégé Mira Velimirovic. Continued partnerships with Chris Columbus and Brad Bird netted successful shows and films that buttressed the brand. 20th Century would evolve into a Hyperion or Hollywood Pictures like “Adult contemporary” studio for comedies and action films with the occasional Oscar Bait while Paramount would become the “prestige label” with the summer tentpole features, such as the Indiana Jones reboot and continued Alien and Predator films. Paramount would briefly retire the venerable Star Trek franchise only to reboot it with 2008’s deliberately campy but delightful Star Trek: New Frontiers directed by Edgar Wright and following Captain Montgomery Scott IV (Simon Pegg) and the crew of the ever-endangered USS Invincible.

    Venerable mid-sized studios like United Artists and Orion would hold their own while small studios like Lucasfilm, Amblin, Skeleton Crew, As You Wish, and Whoopass would continue to make a big splash.

    Universal, on the other hand, would struggle as interest in the Monster films and Disaster films that were their big hits in the 1990s fell out of favor. They struggled to find and market original IP, with the load ultimately being carried by Universal Animation, the nearly-cancelled animation studio managing to make a steady income with their League of Extraordinary Gentlemen series and a few original productions. A continued partnership with Triad on theme parks would help keep Universal Studios competitive against Disney, Warner-Six Flags, and Columbia-Kings.

    On Television, the Big Four of ABC, CBS, NBC, and PFN would continue to dominate, with The WB always nipping at their heels. But it would be Broadcast TV’s last Decade of Dominance as Cable would continue to gain market share as laboratories for original programming, with Warner’s new Comcast owners battling Time-Columbia’s dominance in that sphere, and Disney-NBC holding on to a strong showing. The TV Musical would dominate the start of the decade, but fade away as the decade continued and the novelty wore off. HBO and AMC and Hyperion TV would launch the New TV Golden Age with smart new programming with high production values, moving beyond the usual Sitcom/Drama/Reality trifecta.

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    Something like this… (Image source E! Online)

    But by the end of the decade a new player had emerged: Direct Viewing. This would start small: experiments by VCDirect (a company that originally mailed VCDs) and Disney.net in the mid-2000s that took advantage of the spread of high-speed internet access, but by the end of the decade would start to explode, with Disney’s Disney Direct and Peacock hubs, Triad’s Shamrock, and Warner’s WB Direct launching by the end of the decade. It’s first victim would be the venerable Neighborhood Video Store, with the once-dominant Blockbuster Video in particular reduced to a handful of stores by the end of the 2010s and ultimately being bought out by Time-Columbia, the Blockbuster name now being used as a brand for Time-Columbia’s Direct Viewing service: Blockbuster Direct[7].

    Be sure to see our Appendix for a full listing of Oscar and Emmy winners, TV Schedules, and the like!

    Technology:

    Well, Direct Viewing we’ve mentioned, but let’s not forget that the 2000s also saw the rise of handheld electronic communications devices. Cell phones made huge inroads in society as not just playthings of the rich and privileged, but an indispensable part of modern life.

    IPod_family.png


    The advent of Flash Memory allowed for more and more data in a smaller and smaller packet, leading naturally to the Digital Music Player and the inevitable decline and death of CDs and Cassette Tapes over the course of the decade. The rise of the Intelephone by the end of the decade would, needless to say, reshape society, but things like the Palm Pilot and Blackberry still ruled the handheld IT market for the time being.

    Social media sites would spin up, from sending a “Hiss” on Kamelion to telling your friends, family, and the world a little too much about yourself on LillyPad and E-Community. The rise of amateur online video content thanks to sites like Viewpoint, Me-TV, and Vidzz let to an explosion of creative content.

    Videogame consoles would continue to hold market share, with Nintendo, Atari, and Sega dominating, but other companies like Sony and Microsoft making a play for market share. PC games were big, with the VCD-ROM still a major data storage device even as StickDrives began their slow takeover. And while small, downloadable games for Intelephones would become the dominant force in the coming decade, such “physical game media” would remain the leading place for gaming.

    360_F_289257580_aeybJkQerlZJZZgeD38yjLQTpuopwcNM.jpg

    Goodnight, Sweet Prince… (Image source Adobe.com)

    Advances in screen technology led to the HD Flat Screen TV and the eventual end of the venerable CRT. Only the most nostalgia-driven folks were sad to see those giant, heavy boxes go, to be honest.

    And the Internet became a global marketplace and communications hub, no longer a place for wasting time but an essential communications and business infrastructure. Soon even cars and home appliances would be connected to the net.

    In short, the 2000s were the decade that saw the rise of Interconnectivity and the end of stand-alone media, which is both good and bad in our book.

    Please see our appendix for individual technology debut dates and other Fun Facts!

    Sports:

    Let’s start big: the Summer Olympics were held in Sydney in 2004 and Beijing in 2008 and the Winter Olympics in Salt Lake City in 2002 and Lviv, USR, in 2006. The USA and China competed for the top medal winners while the USR faced doping allegations. Middle Eastern teams faced pushback at home for some of the revealing clothing that the women would wear (particularly beach volleyball!). And new sports like triathlon, trampoline gymnastics, water polo, women's pentathlon, race walking, women’s weightlifting, taekwondo, 10k Swim Marathon, and BMX Racing were added to the Summer Olympics over the decade. The Winter Olympics brought back Skeleton in 2002.

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    The start of the decade would see the LA Rams led by Trent Green dominate the 2000 season, winning the Superbowl, but then lose to the Eagles under Kurt Warner in the 2001 playoffs on the Eagles’ path to the Super Bowl. Green would be replaced in 2002 by Tom Brady, leading the Rams back on top as the Team to Beat. Nashville, Tennessee, would, after years of petitioning, finally receive a professional sports team in the Tennessee Titans.

    The NBA would be dominated by the San Antonio Spurs and LA Lakers, two teams flush with superstars like Kobe Bryant and Lebron James. The LA Clippers, who moved to Anaheim in the late 1990s, would be the latest team to receive a Disney investment in a deal finalized in 2000 and which saw Disney now invested in NFL, NBA, MLB, and NHL teams.

    The World Series would get more Worldly when the Mexico City Aztecas[8] won the 2001 World Series, with Team Mexico going on to win the World Baseball Classic on its inaugural year in 2005. The International Olympic Committee opened up Baseball to pro athletes in 2001, a move fully supported by MLB Commissioner George W. Bush. The growing popularity of the sport internationally led to the IOC abandoning plans to drop the sport in 2012.

    Japan and South Korea would co-host the 2002 World Cup, with Brazil beating “home team” South Korea 1-0 in the final. South Africa hosted in 2006 following a bribery scandal, with Italy just beating out the USR team 2-1 in the final.

    Major League Soccer would spin up in the US, with Women’s League Soccer gaining a large following thanks to Sports Century and the continued dominance of the US Women’s team on the world stage. This, in turn, would lead to a major pay discrimination lawsuit[9]. Similar issues would affect the WNBA.

    220px-WasatchVsJunctionCity.jpg


    Instead, one area where US Women would find new opportunities in sport would be the Roller Derby renaissance, which spanned the 2000s and 2010s. The strange sport would continue to be a hub for Girl Power and Riot Grrl culture in the midst of the Men’s Rights pushback.

    Be sure to see our Appendix for a full listing of scores, rosters, and other fun facts about sports in the 2000s!

    Conclusion; A Decade to Remember:

    So, We Remember the 2000s. How about you? Were you old enough to remember? Were you an adult? A teen? A child? What World Events or sports moments or films or TV shows stood out for you? How did the technology affect you?

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    Shown: basically, nothing that appears in This Timeline’s 2000s! (Image source YouTube)

    Did you ever paste a gear to a top hat or don a mini-bustle and call yourself an Airship Captain?

    Did you teach yourself to play the banjo?

    Did you have a mustache, ironic or otherwise?

    Be sure to tell us all about it at www.WeRememberBooks.net/I-Remember.



    [1] Walt Disney World will suffer notable damage from the storm, leading the press to go wild with the Donald Duck references.

    [2] Hat tip as always to @jpj1421 on politics and sports. And hat tip to @ajm8888 for Japanese politics.

    [3] There’s a tendency to blame NAFTA for all US job offshoring, and while it was certainly a major contributor to the rust belt (I’m not going to downplay the impact), nothing shy of punitive protectionists tariffs of the Smoot-Hawley type, which would have disastrous economic consequences of their own, would have stopped US jobs from moving to China. It’s just so much cheaper to build an iPhone when you pay people dollars a day to work punishing 100-hour work weeks in a low cost of living country as opposed to paying unionized workers a living wage with benefits and a reasonable work schedule. Estimates of what an iPhone would cost retail if made in the USA range from $2000 to as much as $100,000, though I take the latter with a large amount of salt.

    [4] Warning: Engineer Talking Macroeconomics: With no 9/11, and no corresponding Global War on Terror leading to massive increases in economic investment and defense industry jobs, there’s no resulting “Doom Boom” of the early 2000s, leading, when combined with Offshoring and the fact that not all of the Green Growth Act investments are going to pan out (think Solyndra), to a small recession in the mid-2000s. The lack of a Doom Boom leads to less housing investment, less tinkering by congress to push Freddie Mack and Fannie May into expanding loan availability or deregulation actions by the White House that led to the plague of sub-prime and ARM mortgages, and thus the 2006 Housing Bubble is butterflied and along with it the 2008 Great Recession.

    [5] NuPunk has been mentioned; Post-Goth is a sort of ironic spin on goth, emo, punk, death metal, and industrial, often mixing black and grey with bright colors like pink and yellow and the macabre with the bright and cheery (like this timeline’s popular Japanese band Death Kitty) that crosses over a lot with NuPunk; Hip-Pop is a popular “White Friendly” form of Hip-Hop for those who find Will Smith a bit too hard core; and FuturePop is a sort of Electronica-inspired, Autotune-fueled Pop music full of Top 10 earworms.

    [6] NuGrass or NewGrass is also from our timeline, starting with folks like Bela Fleck and the like and booming briefly in our timeline in the late 2000s with bands like the Carolina Chocolate Drops and Old Crow Medicine Show. NerdCore is per our timeline: ironic Hip Hop about Nerd and Geek Culture. HillCore is Outlaw Country inspired by Hard Rock and Heavy Metal. NuGrass and Hillcore are New South reactions to the increasingly pop-y and processed Nashville Sound and Nashville Hit Machine and Hillcore is original to this timeline as far as I know.

    [7] Sorry folks who wanted Blockbuster to dominate the Streaming Market by buying Netflix, but systemic entrenched bureaucracy that failed to adapt pretty much doomed the chain to irrelevance, much as Kodak sticking with film doomed them. So instead, in this timeline they get bought out and reborn as Time-Columbia’s streaming service, really just in name only.

    [8] Team saying “Danos tu Corazón!”

    [9] I, for one, do not believe that US Women’s Soccer Players should be paid the same as the US Men. They should be paid substantially more. Unlike the US Men, the Women actually bring home World Cups.
     
    Am I a Man or a Muppet? Yes.
  • Mad About Muppet Man (2005)
    From Mad About Muppets with Mad Molly Moolah Netsite, March 1st, 2010


    Hi, I’m Molly and I’m Mad for Muppets, and so are you. That’s why you’re here right? I mean, you should all know this by now. 😊

    But before I get into today’s AWESOME INCREDIBLE FABULOUS Film Muppet Man, I have a big announcement myself:

    Remember those “Piggy as Disney Princesses” prints[1] I made and sold under the LOLA as a Fundraiser? Of course you do, you all bought me out! (Love you love you love you!!!! <3 <3 <3)

    FQUBNQUVUAcGLog.jpg

    (Actually from KO Makes Things on Twitter; KO has a couple for Beauty and the Beast too, which sadly won’t exist in this timeline)

    Well, Disney saw them and…



    ………



    Well…….



    ………



    Gonna make you wait for it!!! :p



    ………



    THEY LOVED THEM AND BOUGHT THE RIGHTS AND ARE NOW MAKING OFFICIAL POSTERS, CALENDARS, AND EVEN TOYS AND DOLLS AND SUCH!!!!!!!!

    I DESIGNED OFFICIAL DISNEY MUPPETS MERCH!!!!!

    SQUEEEEEE!!!!!!!!!!!!!!

    Ahem, sorry (not sorry!!).

    But better still, I got a thank you letter from none other than ChairWOMAN of Disney, Lisa Henson!!!

    DOUBLE SQUEEEEEE!!!!!!!!!!!!!!

    Double ahem.

    She said:


    Dear Ms. [Moolah] (Sorry, I’m not sharing my real last name yet!!)

    Walt Disney Entertainment has always encouraged our fans to follow their imaginations, to be inspired, and to be inspiring. The LOLA agreement is one of our more successful programs for Sharing the Magic, and we are happy to see that you made such creative use of it. My father and Mr. Walt Disney Miller particularly appreciate your clever reimagining of our beloved Miss Piggy taking over the roles of our beloved Princesses. Piggy was always a princess in her own right. And it is a personal pleasure to see young women like yourself be creative and inspiring.[2]

    As such, we thank you for sharing your creativity with Walt Disney Entertainment, and per your request the proceeds from all sales from the Princess Piggy line will go to support our Wildlife Conservation efforts at DisneySea and Disney’s Animal Kingdom.

    Thank you again for your creative input. Stay inspired!

    Sincerely,

    Lisa M. Henson, Chairwoman



    OMG I know right?!?

    I have officially died and gone to Hog Heaven.

    Miss-Piggy-e1430254274657.jpg

    (Image ©Disney; source Women You Should Know)

    Oh, and prepare for my next big announcement: my upcoming video series on Viewpoint! Details to come soon!

    So yeah what were we here for again?

    OF COURSE, 2005’s Muppet Man which if you live under a rock is a Jim Henson Biopic made entirely with Muppets!!!

    Yes not the Muppets Muppets (though they appear in very small form) but like original Muppets based on Jim and Frank and the rest. Some of them already existed apparently as I saw some on The Muppet Show.

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    Jim, Frank, and Jerry Jam Out (Image source Indiewire)

    So, if you haven’t seen Muppet Man FOR SHAME YOU ARE DEAD TO ME, lol jk.

    So, Muppet Man is a Biopic of Jim Henson obviously but what makes it stand out is that they do it all with Muppets no humans appearing on screen. Jim, Jane, Frank, the Jerrys, the Guest Stars (even the ones like Elton John and Prince who voice themselves!) are played by Muppets. And it’s a basic formulaic biopic but played kind of openly fast and loose with the facts with lots of fourth wall breaks and self-aware comedy because duh it’s the Muppets.

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    The Muppet Formerly Known as Prince (Image source Muppet Wiki)

    It follows Jim from childhood through his high school years in Maryland through his time doing Sam & Friends with Jane through Sesame Street and The Muppet Show and Disney and all of that. It’s got all the usual exaggerated biopic cliché melodrama moments, some of which are totally silly (like Jim who never even smoked pot getting addicted to placebos) to some of them based kind of in dramatic reality (like an affair with Daryl Hannah). It’s totally Muppets but it’s totally kind of real and serious and was even nominated for some Golden Globe awards and won a BAFTA but Oscar snubbed it except for a technical nom because Oscar sucks (Oscar the Award not Oscar the Grouch who is awesome!)

    But the highlight for me was seeing Muppets use Muppets by which I mean the People Muppets like Jim and Frank using the Muppets Muppets like Kermie and Piggie, which was amazing to behold as SOMEHOW they manage to have the Muppet Men use their own little Muppets. They haven’t yet revealed how they did it but rumors suggest teams of four with wires or animatronics or something.

    Cxeu86rUQAAzXF2.jpg

    Much better than Fozzie’s attempts at least (image source Twitter)

    Seeing the Caroll Spinney Muppet put on the Big Bird costume and the Richard Hunt Muppet put on Sweetums was just surreal!!!

    But like in the end it’s a real serious film and a heartwarming drama and so like bring your tissue box because you’ll laugh and cry and laugh some more but totally love Jim and the Muppets all the more.

    But you know this already because you’ve seen it 10,000 times like me, right? Or why are you here?

    So tune in next week where we’ll talk about another film we’ve all seen 10,000 times: 2005’s The Muppets Return which relaunched the Muppets in film after a short hiatus and made Mucho Moolah while it was at it and revitalized the Muppets for a new generation and showing them just how awesome that Kermie and Piggie and Rowlf are.

    Some of us already knew all that, of course!!!



    [1] Based on a Mrs. Khan idea. Apparently “KO” on Twitter had the same idea.

    [2] Compare to the infamous letter from Walt to prospective animator Mary Ford in 1938.
     
    Eisner's Exodus
  • Chapter 11: The View from the Summit
    Excerpt from Man of Iron: The Michael Eisner Story, an unauthorized biography by Anthony Edward Stark


    In 2003 Ted Turner retired as Chairman and CEO of Columbia Entertainment, staying on the board, but handing his duties and titles off to his chosen successor, Michael Eisner. Eisner, as he’d promised, recommended Brandon Tartikoff as President and COO. The board unanimously elected both. It was a quest that had begun almost two decades earlier, but Eisner was finally the head of an entertainment empire with a global reach and over $80 billion in valuation.

    The summit that he’d long sought was now achieved. But after a few weeks of near-elation at having finally achieved a lifelong goal, he realized that the fulfilment he’d expected wasn’t there. Instead, something new greeted him: a sense of responsibility. He’d worked hard for over a decade as Ted Turner’s creative chief and studio head, putting up with some serious ups-and-downs, and over the years had seen the empire grow from the inside, knew everyone involved in its growth, and realized how close they’d come to having it all come crashing down more than once, particularly the narrowly-dodged Leap deal.

    Put simply, he felt the need to keep that powerful machine going strong, not just use it as an instrument of his own glory.

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    The company was doing well. The Lord of the Rings Trilogy had defied all expectations, including his own, and held its own against Star Wars and Marvel and even the new Harry Fletcher movies. The recent Kings 2000 theme park overhauls were proving very popular. Eisner had long since abandoned trying to compete with Disney on the parks front (his first walk through DisneySea had made clear to him that Disney was on another level there), but Kings was making a steady and reliable profit as arguably “number three” in the industry (though Universal aficionados would disagree) and even hot on the heels of the “number two”, Warner Movie World and Six Flags. Coming in first now mattered less to him than standing on his own, master of his domain, the inseparable face of the New Columbia, not just “Turner’s Chicken Hawk” but “Turner’s worthy successor”. And eventually, if his plans for the next two decades played out, he’d see Turner become known as “Eisner’s worthy predecessor”.

    Besides, after nearly a decade “Hotlanta” was starting to feel like home.

    His son Breck had gotten a job with Fantasia Television, producing a Hawkmoon made-for-TV movie as a spinoff of the popular Stormbringer, which strangely brought Eisner full-circle to his near-miss in 1984. “An Eisner at Disney after all,” he mused to Jane.

    He’d felt enraged, even betrayed by Disney back in ‘84, and had even attempted to grab a slice for ABC at one point. But now, older, wiser, and slightly humbled, he silently thanked God for sending him to ABC and then Columbia. He honestly wondered if he’d have been up to running Disney in the tumultuous 1980s and 1990s after hearing the crazy stories coming out of Anaheim. He’d planned to kill Disney Animation as a non-performer. Now he’d spun up Hanna-Barbera into a true rival for the House of Mouse. He even still thought of Universal Animation, which he still referred to as Hollywood Animation, as his creation, though he had to admit that his old protégé-turned-rival Jeffrey Katzenberg had done well with it.

    Reminiscing about it all, Eisner called up Jim Henson. Henson had retired to New Mexico, leaving his daughter Lisa as Chairwoman of Disney. He and Jim had a long talk full of reminiscences including about “the one that got away,” as Eisner still referred to The Dark Crystal, and soon Eisner found himself taking a trip to Henson’s newly founded “Academy” in New Mexico, which at first seemed “quaint” to him. The Academy was still very young at the time, with only a handful of small Pueblo-style cabins, a student dorm, and a single small studio building, which to Eisner seemed like a huge step down from the Chair of Disney, but Jim seemed truly happy with it all. Eisner got rather agoraphobic and impatient in the meandering, open-plan, slow-moving space, though over a few days he got used to the casual limbo of it all and found himself relaxing and reflecting for the first time in years, actually taking time to notice how the sky and the plants and the birds seemed to just keep going on, oblivious and unconcerned with what film won the Oscar or came in number one at the Holiday box office.

    He was bemused at some of the little “student projects” going on, including a young Hopi puppeteer who had a small digital camera, recording some weird Southwest Indian-style puppets in the desert. It was only much later that Eisner realized that he was producing a TV-series on-site using a digital camera, producing movie-quality production for pennies on the dollar, and that the series, Desert Winds, which played on the Disney Channel, was competing with traditional studio-made shows that cost significantly more.

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    Traditional Hopi Kachina Figures

    Eisner ultimately began to consider the possibilities of digital productions.

    Eisner picked Henson’s brain while he was there, about his thoughts on balancing creativity vs. fiscal needs, managing a raucous board full of big personalities (Eisner had correctly predicted that Ted Turner wouldn’t just sit quietly on the board), and how to ensure loyalty from his subordinates. Henson’s advice on almost all of this was strangely simple: “just treat folks with respect. Listen to them, hear their thoughts, and if you have a difference of opinion, explain your reasoning. Most people, as long as they feel heard and respected, can take ‘no’ for an answer, or at least ‘yes, if…’

    “And loyalty and respect need to be two-way streets. If folks know that you value them and have their back, they’ll value you and have your back. If they see you stand up for them, they’ll stick up for you. Conversely, throw them under the bus and they won’t hesitate to take you down if given the chance. Loyalty and respect can’t be demanded or purchased, only earned.”

    While Eisner didn’t know if he completely agreed, it did give him something to think about. And the loyalty that the employees and fans of Disney showed to Henson was unmistakable, so maybe there was something to it.

    “That and sincerity,” Henson added. “As George Burns said, learn to fake that and you’ll have it made.” Henson’s smile made clear that last part was a joke, and Eisner found himself laughing, completely caught off guard.

    With his short sojourn in New Mexico complete (he called it his “exodus in in the desert”), Eisner returned to Columbia Tower in Atlanta, new handmade snakeskin cowboy boots on his feet and a new Navajo-made silver-and-turquois bola tie around his neck. His self-reflections there in the empty eternity of the desert had let him put things into perspective. In particular, he’d thought about Jeffrey Katzenberg, and their falling-out. His hate for Katzenberg had diminished somewhat over the years, evolving into a rivalry that had, in its own way, become a sort of game between the two. When he ran into Bob Iger, his old rival at ABC, at one gala, he actually took the time to speak with him. “Holding on to hate is like drinking poison, and expecting your enemy to die,” Jane Fonda had once told him, quoting the Dalai Lama or somebody. He decided to give that theory a try.

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    Columbia Chairman and CEO Michael Eisner takes Questions

    To Eisner’s surprise he and Iger got along well, the old intrigues of a decade earlier long having dulled as “just business”. Iger had assumed duties as President/COO of Universal alongside Sumner Redstone as Chairman/CEO. The conversation, of course, led to Katzenberg, who’d just taken over as Chairman/CEO of Warner Brothers at the behest of new owners Comcast, coming up. Katzenberg was reportedly enjoying the challenge of trying to rebuild the studio in the wake of the post-Leap collapse. Eisner admitted to wanting to bury the hatchet. Iger agreed to set something up with Katzenberg.

    The three met at Formosa Café and, while tensions were palpable at first, Eisner, taking a trick that he learned from Turner, immediately complimented Katzenberg on the latest numbers on the latest Green Lantern film. They stuck to safe subjects that first meeting, but that first meeting led to a second, and then later others. Eventually, after a couple of high-end bourbons (Eisner having become an early afficionado of the US whisky renaissance) they both came clean about their rivalry. While neither seemed quite ready to admit fault, they both came to agree that the whole thing had been unproductive.

    The very next week they made a deal on a Looney Tunes/Hanna-Barbera Friends crossover event. Eisner had only one condition: that Foghorn Leghorn and Henry Hawk have a noteworthy role, particularly the latter.

    With hatchets buried with Katzenberg, Eisner got to work as Chairman/CEO of Columbia Entertainment. His next order of business was an exploratory meeting with Time-Atlantic set up by Tartikoff to consider a future merger.
     
    A Knave's Tale
  • A Canterbury League
    Post from Animation, Stories, and Us Net-log, by Rodrick Zarrel, October 15th, 2012

    A Guest Post by @Nerdman3000


    A year into the new millennium, Universal Studios and Universal Animation would experience quite a shakeup when Universal Studios CEO Thomas Murphy confirmed that he intended to go through with his planned retirement once his contract expired at the end of the year. The announcement would go on to rock the company as it led to a short and surprisingly (considering one of the men involved) courteous proxy battle between Jeffrey Katzenberg and Bob Iger to succeed him as CEO.

    Now while said company battle to succeed Murphy is certainly worth its own story, all you need to know in regards to the making of Canterbury Tales and League of Extraordinary Gentlemen is that the proxy battle between the two men would extend to Universal Animation. The studios animators found themselves facing a bit of extra pressure from on high as Katzenberg hoped to showcase the success of Universal Animation under his watch as a way of demonstrating why he believed he was the right person to get the CEO job over the charismatic Iger. While the studio had certainly dealt with pressure from Katzenberg before, many of the studio’s animators have remarked in the years since that the pressure they were put under felt vastly different to that of the days of Heart and Soul or Spirit of the West.

    As one animator would remark, “Unlike with Heart and Soul, we weren’t sure what would happen if we ended up releasing a dud. With that film, we knew Katzenberg would just shut us down due to his grudge against our studio. With Canterbury and League though, we were being thrown in the middle of Katzenberg and Iger’s d*ck measuring contest during our last year making those films and none of us knew what was going to happen if we failed, even despite how tame the conflict between both men was turning out when compared to what happened to Eisner. Hell, we weren't even sure what would happen if we succeeded, because if Iger won, who knew how he’d react. Everything was so unknown and that honestly scared us.”

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    The proxy battle between Jeffrey Katzenberg and Bob Iger as the two former allies sought the CEO position would dominate much of the behind the scenes for Canterbury Tales and League of Extraordinary Gentlemen over the course of 2001. Unlike with the previous BTS battle with Eisner from a few years beforehand, this proxy battle was notable for the fact that both men remained on relatively good-terms throughout and afterwards[1]. (Source: IMBD and TheRichest)

    Another potential issue the studio was facing was the potential departure of Marjorie Cohn. Cohn, who had a bit of a rocky relationship with her boss Jeffrey Katzenberg, felt increasingly exhausted by having to handle her “prick” of a boss. Though she was well respected and even loved by the animators working under her, she felt increasingly strained by having to constantly put up with Katzenberg’s BS. She would later be quoted as saying, “Working with Jeff [Katzenberg] certainly made me understand what Dawn Steel must have felt like working for Ted Turner.”

    Cohn’s potential departure would stem from her being offered a job by Warner Bros to potentially head their Nickelodeon Network which they were overhauling in the aftermath of the company's recent stock crash [2]. Cohn reportedly strongly considered the offer for a number of weeks, with perhaps the only reason she didn’t outright accept it being that if Katzenberg won the proxy battle with Iger, she herself would be poised to replace him as the head of the Universal Film Group.

    In the end, Cohn decided to remain at Universal, leading to the WBK position to go to Jim Samples, who would lead WBK through its golden age. Yet despite turning down the position, the near departure still created a short bit of chaos in the production of Canterbury Tales and League of Extraordinary Gentlemen as some leading figures working on the film weren’t sure how to approach or report anything to Cohn since none of them knew if she was going to be around for long. This was especially problematic in the latter film, which was originally slated to release in 2002 but was then forced into serious crunch when it was pushed forward in 2001 by Katzenberg, who sought to use the film in his proxy war with Iger. That the film ultimately managed to get through that chaos intact is perhaps a testament to the leadership of Cohn’s right hand and future successor Mellody Hobson, who by all reports eventually stepped up to the plate during this brief chaotic moment to handle any issues Cohn had left hanging.

    What’s certain is that of the two upcoming films, the one which really didn’t need this added bit of chaos and pressure was Canterbury Tales, which in fact was already experiencing a bit of a tough production all on its own. Being the last of the films greenlit in the immediate aftermath of the juggernaut release of Heart and Soul, the film was always considered to be the odd one out of the bunch. Greenlit solely due to a loose historical connection with the character of Chanticleer, whom Columbia’s Ruler of the Roost would be based on, it was a film which ultimately few at the animation studio truly seemed passionate about and only seemed to exist in order to dual Ruler of the Roost.

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    Story-wise it will ultimately have a lot of similarities with our timeline’s A Knights Tale[3], but aesthetically it will be similar to Disney’s Robin Hood in that the stories characters are all anthropomorphic animals in a Medieval setting wearing human medieval clothes. (Source: Wikipedia)

    Not only did the film find itself championed by no one except Jeffrey Katzenberg, who solely wanted it made so that it could compete with Bluth’s Ruler of the Roost, but it also found itself essentially restarting production in late 1997 when news broke that Don Bluth had decided to switch the release schedule of Ruler of the Roost (which was originally supposed to release in 1999) with The Velveteen Rabbit. This lead to the cancellation an early, darker version of the film that was supposed to be directed by Conrad Vernon and would have more closely follow the 1944 Canterbury Tales film[4].

    When the film did finally return to production, it was certainly with little enthusiasm behind it. Despite this, the film would still find a pair of suitable directors in an initially reluctant David Bowers and Vicky Jenson, who both decided to go for a looser and lighter adaptation of the Canterbury Tales, mixing elements of three tales from the first fragment, the Knights Tale, the Reave’s Tale, and the Cook’s Tale, to craft an original story which borrowed from all three.

    Featuring anthropomorphic characters due to orders by Katzenberg, the film would tell the story of a cat named Oswald (played by Ewan McGregor), a rather successful reave who finds he is rather bored of his life serving his Master’s estate despite his success. One day, when visiting the local tavern, he meets with an old friend named Perkins (played by Jeffrey Pierce), a rabbit cook who also finds himself rather bored with his current duties in life. Reminiscing about their boyhood dreams to become knights, the two decide to solve their current midlife crisis by essentially making their boyhood dreams come true, impersonating a pair of knights and traveling to Canterbury to attend a grand tournament that is being hosted by the King (played by Patrick Stewart). Complicating matters, the tournament will also be attended by Oswald’s master, a bear knight named Ser Leon (Dennis Hoffman) who is also secretly plotting to depose the king and usurp his throne.

    Problems naturally arise when not only does Ser Leon begin to suspect them for being false knights, but when the two men begin to find their friendship tested when they both start competing for the affections of the same woman, Princess Emelye (voiced by Jennifer Love Hewit), despite the fact that she herself is rather obnoxious and cruel and is willingly pitting both men against each other for her own amusement.

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    Jennifer Love Hewitt, who would voice the Lion princess Emelye, whom Oswald and Perkins end up competing for. (Source: Getty Images)

    By the end of the film, both characters are able to repair their friendship, expose Ser Leon, and catch onto Emelye’s spoiled and cruel nature while also realizing that their childhood dreams were probably best left in childhood, as for all their enthusiasm and bravery, neither man finds the dangerous excitement of playing knights nearly as fun. Ending with both men accepting to work as a reave and cook for the king, the film leaves audiences with the message that sometimes one might find that our big childhood dreams don’t always live up to the fantasy we create in our heads.

    Upon release the film received mixed to positive reviews, with most critics praising the films characters, humor[5], and music by Elton John but feeling that the story felt slightly unoriginal, with some critics also (perhaps unfairly) comparing the film to Disney’s classic animated Robin Hood due to the similar anthropomorphic medieval aesthetic shared by both films. Both Bowers and Jenson have since confirmed that the similarity was partially intentional, as they sought to pay a bit of homage to the Disney animated film. In terms of box office, however, the film would struggle, making only $179 million, mostly due to competition from the much better received Ruler of the Roost and the Disney’s Scare Force One. It’s perhaps only thanks to the film’s relatively small budget of $80 million that the film ultimately was not considered a complete failure.

    In terms of the Katzenberg and Iger proxy war, however, it’s undeniable that Canterbury Tales’ box office disappointment was regarded as an embarrassing slap in the face for Katzenberg, who hoped the film would be successful and allow him to present an example to show the board, who were increasingly in favor of the more charismatic Iger, of why he should be Murphy’s successor. If not for the fact that he was busy with said proxy war he might have punished the animation studio for the perceived embarrassment, but thankfully for the studio, The League of Extraordinary Gentlemen, which released in the Spring of 2002, pushed from its originally-planned Holiday release in order to avoid a likely trouncing from the triple-threat of Lord of the Rings 1, Harry Fletcher 1, and Star Wars 3, would more than make up for Canterbury Tales’ disappointing results at the box office.

    Considered the third in what is regarded as Universal Animation’s unofficial pulp fiction adventure trilogy, The League of Extraordinary Gentlemen would go on to make an impressive $302 million worldwide at the box office upon its release to critically positive reviews. Based on a graphic novel series by writer Alan Moore that is set in an alternate history version of the Victorian Age where all classic literature characters exist and live in the same world, it features a group of those very characters coming together in what almost seems like a gothic literature/pulp fiction superhero team.

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    The League of Extraordinary Gentlemen by Alan Moore, which would be adapted as an animated film, rather than a live action film. (source: Wikipedia)

    Directed by Spirit of the West’s second pair of directors, Bibo Bergeron and Tim Johnson, the film stars Ian McKellen as famous African hunter Alan Quartermain, Kate Winslet as the vampire Mina Harker, Naseeruddin Shah as Captain Nemo, Batman star Willem Dafoe as Dr. Jekyll/Mr. Hyde, David Hemmings as the Invisible Man, John Glover as Adam/Frankenstein’s Monster, and Jason Flemyng as the group's recruiter and link to British Intelligence, Champion Bond.[6] Following events inspired from both the first and second volume of Moore’s comic, the plot follows the group of heroes as they come together after being recruited by Champion Bond and Her Majesty’s government on a mission to help put an end to the invading Martians from H.G. Wells classic novel War of the Worlds while also seeking to uncover and take down the Martian's secret human allies who are attempting to aid the aliens in their conquest[7].

    While it certainly diverges a lot from the original spirit and tone of the original graphic novels (something which has led it to be often despised by hard core fans of the comic, even ignoring the mess with Moore which I'll get into in a bit), that doesn’t mean it ends up being a bad telling of the story. In fact, in many ways one of the strongest advantages of the film is that it tries to and succeeds in doing its own thing, leaning into and in fact fully embracing the almost superhero-y feeling of the original work. In some ways it even feels like watching an animated version of the Avengers or Justice League on film, but with classic literature heroes in the place of the more modern comic book heroes. Yet while that doesn’t exactly make it a great or even good adaptation of the source material, I’m certainly not the only person who nonetheless still really likes the film for what it is and thinks the film still manages to stand on its own merits as its own work, even if it's ultimately based on Moore's work largely in name only. So while that might not necessarily please diehard fans of Moore’s original comic, I don’t think it’s lack of complete faithfulness prevents this film from being rather good.

    Helping to elevate the film is both its fantastic Danny Elfman score and the rather strong writing delivered by screenwriters Ethan Reiff, Cyrus Voris, and William Davies, who manage to perfectly balance the large cast of characters while still delivering a well written story and witty dialogue. It’s perhaps unsurprising that this same trio would be the ones who went on to write one of my favorite animated films of all time, 2007’s The Princess and the Dragon[8].

    Now all that being said, I’d be kind of remiss if I didn’t talk about the big elephant in the room surrounding the film’s creation, that of course being how Jeffrey Katzenberg infamously screwed over Alan Moore when he got this film made.

    See, back in the late 90’s, a little film called Watchmen was coming out, based on a graphic novel also written by Moore. As production on the film was ongoing, Moore was reportedly growing increasingly pessimistic and slightly antagonistic toward the movie while it was being made, even despite working as a consultant on it. During this time, he was also in the process of writing The League of Extraordinary Gentlemen graphic novel, and as sometimes happens, there was a huge bidding war for the film rights to the comic, with Universal, 20th Century Fox, Warner Bros, and Columbia Pictures all competing for the rights.

    Ultimately however, the reason Moore chose to sell it to Universal was due to what one can consider to be the oddest of reasons to imagine: the fact that they explicitly promised Moore to not use the acquired rights or make an adaptation of the film. While strange on the surface, you have to understand that Universal’s reasons for this is that, unlike the other studios, they were actually trying to buy the rights in order to prevent a different studio from making a movie that featured classic gothic horror monsters like Frankenstein’s monster, the Invisible Man, and Dracula coming together, as at the time Universal had been planning on making a new potential adaptation of House of Frankenstein (cue me shuddering and Flashbacks), which would feature their classic monsters crossing over in one film.

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    Alan Moore, the famed comic book author behind The League of Extraordinary Gentlemen, which Universal Animation would adapt into a 2001 animated film after essentially screwing him over. (Source: Wikipedia)

    With Universal having thus secured the rights, it seemed guaranteed no League of Extraordinary Gentlemen movie would happen, right? What changed then? Well, The Creature of the Black Lagoon movie and Jeffrey Katzenberg happened.

    In the case of the former, the disappointing box office of 1997’s The Invisible Man film and the outright box office flop that was 1998’s Creature of the Black Lagoon would effectively lead to the end of Universal’s 90’s Monster Renaissance, with Universal ultimately deciding to abandon their original plans for a remake of House of Frankenstein (if only it stayed that way…).

    Into this newfound void came Jeffrey Katzenberg, the very man who had originally promised Moore that the studio wouldn’t produce a film based on The League of Extraordinary Gentlemen comic once they bought the film rights. To Katzenberg, it would seem figured that since there was no longer any reason not to use the film rights that the studio had just bought for a few million dollars, that they might as well go through with adapting the comic into a film after all. Not really having much regard for the comic otherwise and not wanting to waste a huge expense on making a live action version of the film, he thus decided to give it to Universal Animation, reportedly by showing up to Cohn’s office, tossing the paperback of the comic at her, and demanding she make a movie out of it.

    Stay classy Katzenberg.

    Naturally Moore didn’t exactly take the betrayal lying down and tried to sue, but with Universal and Moore never having signed any kind of explicit agreement and the promise made to Moore having only been a vocal one, it overall meant that Moore didn’t have much of a case going for him, thus leading to him and Universal eventually settling out of court in 2003. Despite that, Moore would never forgive Katzenberg and Universal, refusing to both contribute as a consultant in its making and watch it following its release.

    Despite the fact that the film turned out to be quite good, Moore’s reaction here is definitely understandable all things considered. While it certainly did lead to a few Moore fans outright boycotting the film in support of Moore, that did little to put a dent in its box office as was mentioned. In fact, it’s arguable the controversy led to a bit of a Walt’s Head effect, as it ended up doing more to spark interest and awareness towards the movie than anything, likely helping to drive sales of the film. Moore’s cause certainly wasn’t helped by some of his more vocal and hardline supporters who felt Moore had been wronged getting real nasty on the Internet by harassing people who showed interest in the film or talked about it, something I know from firsthand experience. I can tell you that their actions only alienated people who might otherwise have been sympathetic to Moore’s cause.

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    Zorro, Tom Sawyer, and the Lone Ranger would be just some of the classic American characters who would show up in the second League of Extraordinary Gentlemen film. In the case of Lone Ranger, it led to Universal having to negotiate with Disney to use the character[9]. (Source: Wikipedia and TV Tropes)

    Regardless of that whole mess, the film’s massive success almost certainly made Jeffrey Katzenberg very happy, as the film went on to spark a whole League of Extraordinary Gentlemen franchise which included a follow-up animated series that aired from 2002-2005, a themed land at Universal Studios Orlando, and two highly successful animated sequels (the first time Universal would produce animated sequel films in fact), 2004’s League of Extraordinary Gentlemen 2, which featured the League journeying to America and encountering Zorro, an older Tom Sawyer, and the Lone Ranger in a more original story that wasn’t based on any specific issue or volume by Moore, and 2007’s League of Extraordinary Gentlemen 3, which saw the league once again go up against Professor James Moriarty, though unlike the original comic, here Moriarty is leading a sort of a classic literature version of the Legion of Doom known only as The Society[10].

    Sadly, one rather bad (in hindsight) result of the success of League of Extraordinary Gentlemen would be that it would also result in Universal reconsidering its scrapped plans to make a House of Frankenstein movie, which is a damn shame because the 2005 film in question ended up being a complete steaming pile of total garbage.[11]



    [1] While this will be explored in depth in a future post, the short gist here is that Katzenberg and Iger, a bit smartened after their previous scuffle with Eisner during the latter's fall, decide to agree to try and hold no grudges over who wins with Murphy. You'll see how that ultimately turns out in the future.

    [2] The English Dub for Capsumon never premieres on WB Kids due to butterflies, leading to the network to continue to struggle against competition without that breakthrough hit. Eventually they chose to relaunch the network and rework it, hoping to aim at teen audiences a bit more.

    [3] For those unaware, the film was also a loose adaptation of the Canterbury Tales, taking inspiration from the Knight's Tale from Fragment I of the collection.

    [4] The decision likely also contributed to Universal Animation’s decision to not release a film to compete with The Velveteen Rabbit. The earlier version of Canterbury Tales would have followed anthropomorphic characters in a slightly darker film that would have seen them traveling to Canterbury in an England at war, though unlike the 1944 film, said war in this film would have been WW1 rather than WW2.

    [5] Which like Shrek in our timeline would have a bit of adult humor scattered throughout and it would also poke fun at some of the animated princess tropes, though not nearly to the same extent as Shrek did in our timeline since Universal Animation has their own foot in the animated princess game and therefore doesn’t want to completely burn the trope down.

    [6] Like in our timeline’s movie, there would be a change added to Mina’s character that was not in Moore’s original work, which had Mina not retaining her vampiric abilities at the end of Dracula. In this version though, Mina’s vampire powers will be closer to what Vampires had in the original Dracula novel rather than the more traditional movie vampire power set, meaning for example she can turn into mist, crawl on walls, and walk in daylight (though when doing so she is as mortal and powerless as any regular human).

    As for Dafoe’s portrayal in the film, just picture Dafoe’s Norman Osborn/Green Goblin but with a Southern Wales accent for Jekyll and a Cockney accent for Hyde. Less of a big giant monster from our timeline’s novel and film, Mr. Hyde here is more of a normal gruff looking dude, but one who’s also a very tricky and cunning A-hole whose wits, ruthlessness and out of the box thinking are what makes him an effective member of the team, rather than any superhuman strength. Essential he’s a chaotic force in a way that’s reminiscent of Marvel’s Loki or Heath Ledger’s Joker, in that no one knows what he will do next. Hyde naturally will also serve the traitorous role Griffin had in our timeline’s graphic novel and Dorian Grey had in our timeline’s movie, with him even going as far as to seemingly try and forever silence his good half, Dr. Jekyll, when the good doctor tries to warn the team of Hyde’s deceit and him having seemingly allied with the Martians. Where it differs from Griffin and Grey’s role in our timeline’s comic and movie is that here Hyde is actually a double agent, as what Jekyll didn’t know was that Hyde’s actually faking his aid to the Martian’s in order to try and take them down from within.

    Like in our timeline’s film, rather than the original Invisible Man, Hawley Griffin, the Invisible Man here is instead a thief who stole the formula. Here however, said thief is a man named Rodrick Benning, a thief with a heart of gold whose drinking of the formula has led to tragedy as it has effectively stolen his ability to be seen by his family whom he previously stole to provide for. Notably Benning’s version of the thief will also be the one who appears in this timeline’s graphic novel, rather than Griffin, so this change is not due to a copyright issue.
    Unlike in our timeline, Frankenstein’s monster (who is called Adam) is a member of the group and serves as the group's strong muscle. Being almost a hundred years old and essentially immortal, he has become sort of a reclusive religious fanatic who’s turned to God since his creator, Victor, died all those years ago in the Arctic. In a way he’s kind of like the Frankenstein monster from our timeline’s Van Helsing movie. Notably it’s implied that this version might also be closer in terms of backstory to the one from this timeline’s 1994 Universal Mary Shelley’s Frankenstein film, as Adam mentions that Victor’s wife Elizabeth was resurrected by her husband following her murder to briefly become Bride Elizabeth (which results in her suicidally burning herself to death out of despair at what Victor did to her), similar to what happens in both timeline’s 1994 Mary Shelley’s Frankenstein film, yet is something which does not occur in the original novel.

    [7] As you might guess, this secret human ally of the Martians turns out to be Professor Moriarty, who seeks to seemingly aid the Martian in their conquest before then betraying them and killing them off with a secret Martian plague he has invented, so that he can then use the heroic credit of having ended the invasion (while framing the League for being the ones to aid the Martians) to advance his future goals. In the end he's exposed for his betrayal of humanity by the League, though not before his plague is still used to end the threat of the Martian menace.

    [8] Which is a Universal Animation film in this timeline about a princess who is kidnapped by a dragon, but then subverts the trope by having her befriend said dragon who was just lonely, in a subversion of the knight having to rescue a princess from a dragon story that’s kind of reminiscent of King Kong.

    [9] Notably the successful negotiation between Disney and Universal here can most certainly be directly attributed to Disney's Skeleton Crew, whose love for Steam Romance and Universal’s so called ‘Pulp Adventure Trilogy’ would lead them to actually help negotiate the licensing deal and would even see SCP join the production of League of Extraordinary Gentlemen’s two sequels as members of the films design team in a rare instance of studio bipartisanship.

    [10] Sawyer, like in our timeline’s film somehow still manages to still find himself working for the US government funnily enough. The Society is made up of Professor Moriarty himself, the immortal Dorian Grey, Springheeled Jack, Captain Hook, Dr. Moreau, and Mina’s old friend Lucy Westenra (who has been resurrected by Moriarty and still remains a vampire).

    [11] The film sort of ends up being this timeline’s equivalent to 2004’s Van Helsing from our timeline, but without the ‘So Bad, It’s Good’ cheesy charm of our timeline’s film. This version instead is just plain awful with no redeeming qualities.
     
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