Longreads + Open Thread

Data, Invisible Software, The Post, AI, Cheating, Control, Star Wars

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Books

How Star Wars Conquered the Universe: The Past, Present, and Future of a Multibillion Dollar Franchise: To be fair, Star Wars is not humanity's greatest artistic achievement. It's derivative in some ways, incomprehensible in others, ahead of its time in many technical respects, but not a great artistic achievement. On the other hand, I vividly remember watching The Empire Strikes Back in preschool, and I devoted a substantial share of my free time from ages ~10-12 to reading Star Wars Expanded Universe novels. (Takeaway: Thrawn is a pretty cool concept for a character, but if he were analyzing humans what would he look at? Would he contemplate the Mona Lisa? Watch every season of Cheers? Mainline the Twitter firehose?) Star Wars is compelling as a cultural phenomenon even if it's not especially significant as an artistic one.

The book bounces back and forth between telling the backstory and story of the creation of the Star Wars movies, and talking about various parts of the fandom, like the 501st Legion or the insta-fans who watched every single showing on the day Star Wars premiered in theaters.

That structure is a good representation of Star Wars itself, which is both a consumer product—movies, shows, games, theme parks, action figures—and a fandom. One thing that stands out is how contingent the whole thing is. All that infinite Star Wars lore on Wookieepedia starts with the first movie, which itself was a snapshot of a rapidly-evolving process where Lucas would assemble names and concepts from random real-world influences, Verbal Kint-style: Han Solo is named after solo cups, R2D2 comes from a shorthand reference to "second reel, second dialog," one of the extras in a previous Lucas movie had a friend named "Bill Wookey," etc. But basically every random visual, bit character, or offhand reference to prior events has now been fleshed out with a detailed, complicated backstory, a backstory so contradictory that much of it had to be declared non-canonical so Disney could keep its own stories straight.

This is an odd flywheel: Lucas threw lots of details into his universe in order to make it look like the story was taking place in a detailed world, not as an isolated little vignette. (This is roughly the same reason the characters' uniforms look grubby and the tools and vehicles are all banged-up—Lucas wanted a fictional universe that looked lived-in.) And then every bit of that mystery, like Obi-Wan's offhand reference to the "clone wars," or a random lizard skeleton on Tatooine, now have detailed backstories. In one version of the script, Han Solo's reference to doing "the Kessel Run in less than 12 parsecs" was meant to be understood, by Obi-Wan and thus by the audience, as Solo revealing that he had no idea what he was talking about. There are at least two books where he does the Kessel Run. There's something very Trumpian about Lucas' approach, where he throws out a lot of random ideas and listens to the crowd to find out what they want to hear more of.

All of this was partly accidental, but it turns out to be a repeatable business model: make an entertaining story with lots of evocative details, so the fans who keep watching will keep wondering about them. And then, one game, novelization, spinoff, or theme park experience at a time, sell them an explanation that resolves that mystery but ideally adds a few more.

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