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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lucasfilm has fired Gina Carano from her job on \u003cem>The Mandalorian\u003c/em>, after the action star posted on social media that today’s political climate in the U.S. is similar to Nazi Germany’s treatment of Jews. The comments were “abhorrent,” the company said.\u003c/p>\n\u003cp>“Gina Carano is not currently employed by Lucasfilm and there are no plans for her to be in the future,” a Lucasfilm spokesperson said in a widely distributed statement. “Nevertheless, her social media posts denigrating people based on their cultural and religious identities are abhorrent and unacceptable.”\u003c/p>\n\u003cp>Carano was also dropped by the United Talent Agency, which had been representing her, according to \u003ca href=\"https://deadline.com/2021/02/the-mandalorian-actress-gina-carano-agency-uta-part-ways-in-wake-of-social-media-controversy-1234691964/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Deadline\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The comments were made on Carano’s Instagram account, where she shared an image of a woman being chased through the streets. The accompanying text stated that the Nazis fomented public hatred against Jews as part of the Holocaust.\u003c/p>\n\u003cp>“How is that any different from hating someone for their political views?” the post asked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In response, commenters said it was offensive to compare political divisions and rancor with the state-engineered systematic killing of millions of Jews and other people.\u003c/p>\n\u003cp>Carano’s Instagram posting was later deleted. But it sparked the hashtag \u003ca href=\"https://twitter.com/search?q=%23FireGinaCarano&src=typeahead_click\" target=\"_blank\" rel=\"noopener noreferrer\">#FireGinaCarano\u003c/a>, which gained steam as people \u003ca href=\"https://twitter.com/djarinculture/status/1359547709900922884\" target=\"_blank\" rel=\"noopener noreferrer\">shared screenshots\u003c/a> of the deleted message.\u003c/p>\n\u003cp>Carano has been criticized for her posts before, including last fall, when she echoed President Donald Trump’s false claims that the 2020 election was stolen.\u003c/p>\n\u003cp>“We need to clean up the election process so we are not left feeling the way we do today,” Carano said two days after the Nov. 3 vote.\u003c/p>\n\u003cp>She has also posted comments and images about face masks that were seen as mocking an essential tool in combating a global pandemic. Carano later clarified that she respects anyone who requests that she wear a mask.\u003c/p>\n\u003cp>“With all the misinformation, I understand either way,” \u003ca href=\"https://twitter.com/ginacarano/status/1303457936069373952\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>.\u003c/p>\n\u003cp>The action star, who translated a winning career in mixed martial arts into roles in films and TV, had won new fans with her portrayal of the battle-hardened Cara Dune on \u003cem>The Mandalorian\u003c/em>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of those fans are defending her now, saying that the reprisals she faces are proof that the current political climate in the U.S. is intolerant. Calling Carano a victim of cancel culture, her supporters are in turn calling for people to cancel Disney Plus, the streaming service on which \u003cem>The Mandalorian \u003c/em>appears.\u003c/p>\n\u003cp>Lucasfilm is parting ways with Carano after reports had suggested she would play a prominent role in future \u003cem>Star Wars\u003c/em> spinoffs, propelled by the runaway success of \u003cem>The Mandalorian\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“According to sources, Lucasfilm planned to unveil Carano as the star of her own Disney+ series during a \u003ca href=\"https://www.hollywoodreporter.com/heat-vision/disney-plans-10-star-wars-and-10-marvel-series-over-next-few-years\" target=\"_blank\" rel=\"noopener noreferrer\">December investors presentation\u003c/a> but scrapped those plans following her November tweets,” \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/the-mandalorian-star-gina-carano-fired-amid-social-media-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">The Hollywood Reporter\u003c/a>\u003c/em> said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lucasfilm+Ditches+Gina+Carano+From+%27The+Mandalorian%27+Over+Social+Media+Posts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Tale of 2 Star Wars Holiday Specials: 2020 (LEGO) Vs. 1978 (Oh, No)",
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"content": "\u003cp>Before we chew over the new \u003cem>LEGO Star Wars Holiday Special\u003c/em>, reader, it behooves us to embrace the historical perspective. We must cite precedent, examine trend lines, peruse the vicissitudes of causation. For only then may we place it in its rightful cultural context.\u003c/p>\n\u003cp>There, I said it: It is impossible to properly understand and meaningfully appreciate Disney Plus’ latest foray into the \u003cem>Star Wars\u003c/em> universe of intellectual property—a holiday special which consists of computer-animated, extruded-plastic versions of the franchise’s major and minor characters coming to understand the true meaning of friendship, togetherness, joy, the whole Hallmark Channel schmear—without first peeling the big, stinky space-onion that came before it.\u003c/p>\n\u003cp>That’s right: Let’s talk Korman, you and I.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Star Wars Holiday Special (1978)\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 1978. A Friday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: CBS.\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: Two hours. No, seriously: \u003cem>Two\u003c/em>. \u003cem>Hours\u003c/em>. So apart from its various and sundry other grievous sins, it pre-empted episodes of \u003cem>both The Incredible Hulk\u003c/em> and \u003cem>Wonder Woman\u003c/em>. Imagine. The unmitigated gall.\u003c/p>\n\u003cp>\u003cstrong>What It Was: \u003c/strong>A cynical cash-grab, for one thing. For another: A holiday special featuring the main stars of the film\u003cem> Star Wars\u003c/em> and … just … so much else. \u003cem>So \u003c/em>much else.\u003c/p>\n\u003cp>\u003cstrong>Like What?\u003c/strong>: “Like what,” you ask. Oh, you sweet summer child. Like a lengthy interlude featuring a troupe of holographic acrobats performing a routine that’s 20 percent Cirque du Soleil, 20 percent Studio 54 and 60 percent the very concept of cocaine. Like Diahann Carroll in a spangly outfit, floating in space as she breathily seduces a pervy old Wookiee through the magic of song. Like Art Carney delivering lines like “I’ll just insert this here proton pack.” Like Jefferson Starship, randomly. Like Harvey Korman in drag as a four-armed alien hosting a cooking show. Like Harvey Korman as a malfunctioning robot attempting to explain how to assemble electronic equipment. Like Harvey Korman as a lovestruck cantina bar patron who drinks liquor via an opening at the top of his head. Like-\u003c/p>\n\u003cp>\u003cstrong>Ok Ok I Get The Idea\u003c/strong>: Oh, you may \u003cem>think \u003c/em>you do. I guarantee that you do not.\u003c/p>\n\u003cp>\u003cstrong>Stars\u003c/strong>: Mark Hamill, Carrie Fisher and Harrison Ford show up, briefly, having not read the fine print on their contracts. Hamill and Fisher perform with gusto—Fisher even sings a song, passably enough. Ford performs with whatever the opposite of gusto is.\u003c/p>\n\u003cp>\u003cstrong>Plot:\u003c/strong> Hoo boy. Where to begin. Chewbacca wants to get to his home planet (Kashyyyk, canonically, but an Imperial officer calls it “Kazook,” here, because if the Empire is about anything, it’s about that casual racism). His family is celebrating Life Day, the Wookiee celebration of hope and peace and what have you. We learn that Chewie lives in a bad matte painting of a treehouse with his wife Malla, his father Itchy and his son Lumpy (no word if he’s got cousins named, like, Scaly, Rashy and Irregularmoley, but we can extrapolate from the evidence presented.)\u003c/p>\n\u003cp>We also learn that Chewie’s house has a brown, suburban-key-party-chic vibe (there’s even a space-Barcalounger plopped in the center of the conversation pit). He communicates with others across the vast empty void of space via a Commodore PET that the set dresser couldn’t be bothered to snazz up, even a little. (In fact, all of the electronic equipment in the special has a very 1970s burnt-ochre Texas Instruments feel.)\u003c/p>\n\u003cp>Imperial troops invade Chewie’s house and search it, Art Carney outsmarts them (!) and Chewie returns home. Then all the characters sort of float (I know) and walk across space (I know) into a star (don’t think about it) and gather to watch Princess Leia totally co-opt a Wookiee holiday by making it all about \u003cem>her \u003c/em>and singing a Life Day song. The End.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VXcb7VPw59s\u003c/p>\n\u003cp>\u003cstrong>The Main Thing About It, Though:\u003c/strong> It \u003cem>drags\u003c/em>. All those nonsensical interludes—the tumbling routine, Space-Diahann, Jefferson Starship, All! The! Kormans!, oh and the cartoon that introduces the character of Boba Fett (did I mention there’s a cartoon that introduces the character of Boba Fett? because there’s a cartoon that introduces the character of Boba Fett, making this fetid debacle Canonically Important)—all of it takes forever. Plus, the scenes of Chewie’s family aren’t subtitled, so it’s just three people in furry costumes incessantly grunting and snarling at each other while gesticulating broadly. Call it Loud Mime.\u003c/p>\n\u003cp>\u003cstrong>Why Have I Never Heard Of This?\u003c/strong>: Because you … have other things going on in your life, presumably? But the real reason, of course, is that the special was immediately disavowed by George Lucas and his people (who were working on \u003cem>The Empire Strikes Back\u003c/em> at the time, and had outsourced the writing and production of the special to CBS).\u003c/p>\n\u003cp>(Bruce Vilanch was a co-writer of this thing, by the way. A fact that seems surprising at first and then, suddenly, completely and irrevocably not.)\u003c/p>\n\u003cp>(If I were to tell you that another writer credited was named Mitzie Welch—and I am, I am telling you that—your reaction to the fact that someone named Mitzie was partly responsible would probably go something like, “No, yeah, I kinda figured that, somehow.”)\u003c/p>\n\u003cp>So, even though George Lucas and Co. ordered that it never be broadcast again, and, further, that it be completely wiped from the Jedi Archives like some kind of cheese-tastic variety-show Kamino, bootleg copies circulated at cons, and inevitably migrated online, \u003ca href=\"https://www.youtube.com/watch?v=6hH8rxarVG8\">as is the way of such things\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Come On, It Can’t Be \u003c/strong>\u003cstrong>\u003cem>That \u003c/em>\u003c/strong>\u003cstrong>Bad\u003c/strong>: It can be, and it is. Except … Well. Okay. If you can hold out for \u003cem>an hour and fifteen minute\u003c/em>s, you’ll come to an oasis of a sketch in which Bea Arthur (you heard me) gets a musical number. She plays the proprietor of the Mos Eisley cantina, and slows the familiar Cantina Band Song way, way down, transforming it into a tune that manages to be at once a German beerhall oompah ditty and a torch song. Seriously, she does that. Because when you hire Bea Arthur, you hire a pro who can commit to the bit, even when the bit in question is this ingloriously shambolic, and yet emerge somehow unscathed.\u003c/p>\n\u003cp>Okay. We have sufficiently immersed ourselves in the dank backwaters of the disavowed past. You’ll want to take a quick shower to get the stink off you. But in the meantime: Onward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong> The LEGO Star Wars Holiday Special\u003c/strong>\u003c/em>\u003cstrong> (2020)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 2020. A Tuesday.\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: Disney+\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: 44 minutes! We’ll come back to this!\u003c/p>\n\u003cp>\u003cstrong>What It Is\u003c/strong>: Pretty good, is what. I mean, it’s pure fan-service and little more than that, but at the end of the day? I’m a fan, and I’m fine with getting serviced, now and again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-bZxO5Dn9x0\u003c/p>\n\u003cp>It’s trying to be a lot of things at once, admittedly: On the most basic level it’s a straight-up, full-throated holiday special for families, with messages about coming together to celebrate friendship, love, togetherness—the whole schmoopy Hallmark schmear, really.\u003c/p>\n\u003cp>But it’s also a story that takes characters from the final \u003cem>Star Wars\u003c/em> film trilogy and sends them hopping through pretty much every climactic moment of the Skywalker Saga … and beyond. And it does so while gently satirizing the franchise, in much the same way the many LEGO \u003cem>Star Wars\u003c/em> games do. It even includes references to the 1978 \u003cem>Star Wars Holiday Special\u003c/em>, which, as I trust I have amply illustrated, was a fiasco, stuffed inside a debacle, wrapped in the guy who voiced The Great Gazoo.\u003c/p>\n\u003cp>\u003cstrong>Stars:\u003c/strong> Within the reality of the special, LEGO versions of Rey, Finn, Poe, Rose, Chewie, Lando, R2-D2 and C-3PO. In our reality, however, the only actors reprising their film roles are Billy Dee Williams, Kelly Marie Tran and (wait for it) Anthony Daniels, who never turns down a gig, and bless him for it. The other characters are voiced by talented sound-alike voice-actors.\u003c/p>\n\u003cp>\u003cstrong>Plot\u003c/strong>: Rey is training Finn to be a Jedi, while everyone else is preparing a Life Day party aboard the Millennium Falcon. Rey experiences a crisis of confidence in her mentorship abilities and leaves with BB-8 to uncover an artifact that can send her hurtling through time, so as to study other mentor-student relationships across the franchise.\u003c/p>\n\u003cp>If that seems to you like just a flimsy excuse to have Rey meet characters from every Star Wars movie and their spin-offs, pour yourself a blue milk.\u003c/p>\n\u003cp>\u003cstrong>The Main Thing About It, Though\u003c/strong>: It’s pure fan service, yes, but what’s weird is that it’s attempting to service very different sets of fans.\u003c/p>\n\u003cp>\u003cem>Star Wars \u003c/em>fandom isn’t monolithic, after all. Some fans of the original films despise the Abrams-Johnson-Abrams final trilogy, and all of its characters. Foregrounding Rey as much as this special does will likely turn those fans off, and once they see how centrally she now figures in, say, one of the most memorable moments in \u003cem>A New Hope\u003c/em>, well. That’ll send them straight to Reddit.\u003c/p>\n\u003cp>Make no mistake: The fact that it’s all so clearly a joke, a goof, a clever meta-gag in a holiday special for kiddies—that won’t matter to these fans. They’ll be incensed, and they’ll stew, because when this particular subset of fandom is angry is when they feel most themselves.\u003c/p>\n\u003cp>Me? I belong to the cohort of fans who like the final trilogy just fine, thank you very much. I would have liked it better if \u003cem>The Rise of Skywalker\u003c/em> hadn’t dropped so many threads introduced in \u003cem>The Last Jedi\u003c/em>, so imagine my surprise when \u003cem>The LEGO Star Wars Holiday Special\u003c/em>, of all things, started picking them up again.\u003c/p>\n\u003cp>Case in point: Kelly Marie Tran’s Rose. The fact that she gets more lines of dialogue in this silly thing than she did in the entirety of \u003cem>The Rise of Skywalker\u003c/em> is … well, it’s sad, frankly, but I’ll take it, because you know why? More Rose.\u003c/p>\n\u003cp>Ditto Rey training Finn—a notion that the films only feinted at, but that here drives the entire plot.\u003c/p>\n\u003cp>Some elements unique to the special also work nicely. Its version of Emperor Palpatine, for example, gets the best lines, and his persona is less that of the universe’s greatest and most terrible incarnation of elemental evil, and more that of a vain, insecure, manipulative bully—the ultimate bad boss. Which tracks.\u003c/p>\n\u003cp>\u003cstrong>How Are The Jokes?\u003c/strong>: Good question. They’re solid, mostly. Not nearly as on point and just plain weird as they were in those first couple Lord and Miller theatrical films, though admittedly that’s a high bar.\u003c/p>\n\u003cp>In terms of the Hit Rate of these jokes and Easter eggs (Life Day eggs, I suppose), I’d put this lower than \u003cem>The LEGO Movie\u003c/em> but a notch or two above \u003cem>The LEGO Ninjago Movie\u003c/em>. You know? Right in there.\u003c/p>\n\u003cp>That impression is certainly bolstered by the fact that \u003cem>The LEGO Star Wars Holiday Special\u003c/em> knows not to overstay its welcome. In and out, 44 minutes. Faster than the attack run on the Death Star, and more or less as successful.\u003c/p>\n\u003cp>Though would it have killed them to throw us one last bone?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>LEGO Bea Arthur\u003c/em>, guys. Come on. Big missed opportunity. Huge. I mean it was just \u003cem>lying \u003c/em>there.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Tale+Of+2+Star+Wars+Holiday+Specials%3A+2020+%28LEGO%29+Vs.+1978+%28Oh%2C+No%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before we chew over the new \u003cem>LEGO Star Wars Holiday Special\u003c/em>, reader, it behooves us to embrace the historical perspective. We must cite precedent, examine trend lines, peruse the vicissitudes of causation. For only then may we place it in its rightful cultural context.\u003c/p>\n\u003cp>There, I said it: It is impossible to properly understand and meaningfully appreciate Disney Plus’ latest foray into the \u003cem>Star Wars\u003c/em> universe of intellectual property—a holiday special which consists of computer-animated, extruded-plastic versions of the franchise’s major and minor characters coming to understand the true meaning of friendship, togetherness, joy, the whole Hallmark Channel schmear—without first peeling the big, stinky space-onion that came before it.\u003c/p>\n\u003cp>That’s right: Let’s talk Korman, you and I.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Star Wars Holiday Special (1978)\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 1978. A Friday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: CBS.\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: Two hours. No, seriously: \u003cem>Two\u003c/em>. \u003cem>Hours\u003c/em>. So apart from its various and sundry other grievous sins, it pre-empted episodes of \u003cem>both The Incredible Hulk\u003c/em> and \u003cem>Wonder Woman\u003c/em>. Imagine. The unmitigated gall.\u003c/p>\n\u003cp>\u003cstrong>What It Was: \u003c/strong>A cynical cash-grab, for one thing. For another: A holiday special featuring the main stars of the film\u003cem> Star Wars\u003c/em> and … just … so much else. \u003cem>So \u003c/em>much else.\u003c/p>\n\u003cp>\u003cstrong>Like What?\u003c/strong>: “Like what,” you ask. Oh, you sweet summer child. Like a lengthy interlude featuring a troupe of holographic acrobats performing a routine that’s 20 percent Cirque du Soleil, 20 percent Studio 54 and 60 percent the very concept of cocaine. Like Diahann Carroll in a spangly outfit, floating in space as she breathily seduces a pervy old Wookiee through the magic of song. Like Art Carney delivering lines like “I’ll just insert this here proton pack.” Like Jefferson Starship, randomly. Like Harvey Korman in drag as a four-armed alien hosting a cooking show. Like Harvey Korman as a malfunctioning robot attempting to explain how to assemble electronic equipment. Like Harvey Korman as a lovestruck cantina bar patron who drinks liquor via an opening at the top of his head. Like-\u003c/p>\n\u003cp>\u003cstrong>Ok Ok I Get The Idea\u003c/strong>: Oh, you may \u003cem>think \u003c/em>you do. I guarantee that you do not.\u003c/p>\n\u003cp>\u003cstrong>Stars\u003c/strong>: Mark Hamill, Carrie Fisher and Harrison Ford show up, briefly, having not read the fine print on their contracts. Hamill and Fisher perform with gusto—Fisher even sings a song, passably enough. Ford performs with whatever the opposite of gusto is.\u003c/p>\n\u003cp>\u003cstrong>Plot:\u003c/strong> Hoo boy. Where to begin. Chewbacca wants to get to his home planet (Kashyyyk, canonically, but an Imperial officer calls it “Kazook,” here, because if the Empire is about anything, it’s about that casual racism). His family is celebrating Life Day, the Wookiee celebration of hope and peace and what have you. We learn that Chewie lives in a bad matte painting of a treehouse with his wife Malla, his father Itchy and his son Lumpy (no word if he’s got cousins named, like, Scaly, Rashy and Irregularmoley, but we can extrapolate from the evidence presented.)\u003c/p>\n\u003cp>We also learn that Chewie’s house has a brown, suburban-key-party-chic vibe (there’s even a space-Barcalounger plopped in the center of the conversation pit). He communicates with others across the vast empty void of space via a Commodore PET that the set dresser couldn’t be bothered to snazz up, even a little. (In fact, all of the electronic equipment in the special has a very 1970s burnt-ochre Texas Instruments feel.)\u003c/p>\n\u003cp>Imperial troops invade Chewie’s house and search it, Art Carney outsmarts them (!) and Chewie returns home. Then all the characters sort of float (I know) and walk across space (I know) into a star (don’t think about it) and gather to watch Princess Leia totally co-opt a Wookiee holiday by making it all about \u003cem>her \u003c/em>and singing a Life Day song. The End.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VXcb7VPw59s'\n title='//www.youtube.com/embed/VXcb7VPw59s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The Main Thing About It, Though:\u003c/strong> It \u003cem>drags\u003c/em>. All those nonsensical interludes—the tumbling routine, Space-Diahann, Jefferson Starship, All! The! Kormans!, oh and the cartoon that introduces the character of Boba Fett (did I mention there’s a cartoon that introduces the character of Boba Fett? because there’s a cartoon that introduces the character of Boba Fett, making this fetid debacle Canonically Important)—all of it takes forever. Plus, the scenes of Chewie’s family aren’t subtitled, so it’s just three people in furry costumes incessantly grunting and snarling at each other while gesticulating broadly. Call it Loud Mime.\u003c/p>\n\u003cp>\u003cstrong>Why Have I Never Heard Of This?\u003c/strong>: Because you … have other things going on in your life, presumably? But the real reason, of course, is that the special was immediately disavowed by George Lucas and his people (who were working on \u003cem>The Empire Strikes Back\u003c/em> at the time, and had outsourced the writing and production of the special to CBS).\u003c/p>\n\u003cp>(Bruce Vilanch was a co-writer of this thing, by the way. A fact that seems surprising at first and then, suddenly, completely and irrevocably not.)\u003c/p>\n\u003cp>(If I were to tell you that another writer credited was named Mitzie Welch—and I am, I am telling you that—your reaction to the fact that someone named Mitzie was partly responsible would probably go something like, “No, yeah, I kinda figured that, somehow.”)\u003c/p>\n\u003cp>So, even though George Lucas and Co. ordered that it never be broadcast again, and, further, that it be completely wiped from the Jedi Archives like some kind of cheese-tastic variety-show Kamino, bootleg copies circulated at cons, and inevitably migrated online, \u003ca href=\"https://www.youtube.com/watch?v=6hH8rxarVG8\">as is the way of such things\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Come On, It Can’t Be \u003c/strong>\u003cstrong>\u003cem>That \u003c/em>\u003c/strong>\u003cstrong>Bad\u003c/strong>: It can be, and it is. Except … Well. Okay. If you can hold out for \u003cem>an hour and fifteen minute\u003c/em>s, you’ll come to an oasis of a sketch in which Bea Arthur (you heard me) gets a musical number. She plays the proprietor of the Mos Eisley cantina, and slows the familiar Cantina Band Song way, way down, transforming it into a tune that manages to be at once a German beerhall oompah ditty and a torch song. Seriously, she does that. Because when you hire Bea Arthur, you hire a pro who can commit to the bit, even when the bit in question is this ingloriously shambolic, and yet emerge somehow unscathed.\u003c/p>\n\u003cp>Okay. We have sufficiently immersed ourselves in the dank backwaters of the disavowed past. You’ll want to take a quick shower to get the stink off you. But in the meantime: Onward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong> The LEGO Star Wars Holiday Special\u003c/strong>\u003c/em>\u003cstrong> (2020)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 2020. A Tuesday.\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: Disney+\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: 44 minutes! We’ll come back to this!\u003c/p>\n\u003cp>\u003cstrong>What It Is\u003c/strong>: Pretty good, is what. I mean, it’s pure fan-service and little more than that, but at the end of the day? I’m a fan, and I’m fine with getting serviced, now and again.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-bZxO5Dn9x0'\n title='//www.youtube.com/embed/-bZxO5Dn9x0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s trying to be a lot of things at once, admittedly: On the most basic level it’s a straight-up, full-throated holiday special for families, with messages about coming together to celebrate friendship, love, togetherness—the whole schmoopy Hallmark schmear, really.\u003c/p>\n\u003cp>But it’s also a story that takes characters from the final \u003cem>Star Wars\u003c/em> film trilogy and sends them hopping through pretty much every climactic moment of the Skywalker Saga … and beyond. And it does so while gently satirizing the franchise, in much the same way the many LEGO \u003cem>Star Wars\u003c/em> games do. It even includes references to the 1978 \u003cem>Star Wars Holiday Special\u003c/em>, which, as I trust I have amply illustrated, was a fiasco, stuffed inside a debacle, wrapped in the guy who voiced The Great Gazoo.\u003c/p>\n\u003cp>\u003cstrong>Stars:\u003c/strong> Within the reality of the special, LEGO versions of Rey, Finn, Poe, Rose, Chewie, Lando, R2-D2 and C-3PO. In our reality, however, the only actors reprising their film roles are Billy Dee Williams, Kelly Marie Tran and (wait for it) Anthony Daniels, who never turns down a gig, and bless him for it. The other characters are voiced by talented sound-alike voice-actors.\u003c/p>\n\u003cp>\u003cstrong>Plot\u003c/strong>: Rey is training Finn to be a Jedi, while everyone else is preparing a Life Day party aboard the Millennium Falcon. Rey experiences a crisis of confidence in her mentorship abilities and leaves with BB-8 to uncover an artifact that can send her hurtling through time, so as to study other mentor-student relationships across the franchise.\u003c/p>\n\u003cp>If that seems to you like just a flimsy excuse to have Rey meet characters from every Star Wars movie and their spin-offs, pour yourself a blue milk.\u003c/p>\n\u003cp>\u003cstrong>The Main Thing About It, Though\u003c/strong>: It’s pure fan service, yes, but what’s weird is that it’s attempting to service very different sets of fans.\u003c/p>\n\u003cp>\u003cem>Star Wars \u003c/em>fandom isn’t monolithic, after all. Some fans of the original films despise the Abrams-Johnson-Abrams final trilogy, and all of its characters. Foregrounding Rey as much as this special does will likely turn those fans off, and once they see how centrally she now figures in, say, one of the most memorable moments in \u003cem>A New Hope\u003c/em>, well. That’ll send them straight to Reddit.\u003c/p>\n\u003cp>Make no mistake: The fact that it’s all so clearly a joke, a goof, a clever meta-gag in a holiday special for kiddies—that won’t matter to these fans. They’ll be incensed, and they’ll stew, because when this particular subset of fandom is angry is when they feel most themselves.\u003c/p>\n\u003cp>Me? I belong to the cohort of fans who like the final trilogy just fine, thank you very much. I would have liked it better if \u003cem>The Rise of Skywalker\u003c/em> hadn’t dropped so many threads introduced in \u003cem>The Last Jedi\u003c/em>, so imagine my surprise when \u003cem>The LEGO Star Wars Holiday Special\u003c/em>, of all things, started picking them up again.\u003c/p>\n\u003cp>Case in point: Kelly Marie Tran’s Rose. The fact that she gets more lines of dialogue in this silly thing than she did in the entirety of \u003cem>The Rise of Skywalker\u003c/em> is … well, it’s sad, frankly, but I’ll take it, because you know why? More Rose.\u003c/p>\n\u003cp>Ditto Rey training Finn—a notion that the films only feinted at, but that here drives the entire plot.\u003c/p>\n\u003cp>Some elements unique to the special also work nicely. Its version of Emperor Palpatine, for example, gets the best lines, and his persona is less that of the universe’s greatest and most terrible incarnation of elemental evil, and more that of a vain, insecure, manipulative bully—the ultimate bad boss. Which tracks.\u003c/p>\n\u003cp>\u003cstrong>How Are The Jokes?\u003c/strong>: Good question. They’re solid, mostly. Not nearly as on point and just plain weird as they were in those first couple Lord and Miller theatrical films, though admittedly that’s a high bar.\u003c/p>\n\u003cp>In terms of the Hit Rate of these jokes and Easter eggs (Life Day eggs, I suppose), I’d put this lower than \u003cem>The LEGO Movie\u003c/em> but a notch or two above \u003cem>The LEGO Ninjago Movie\u003c/em>. You know? Right in there.\u003c/p>\n\u003cp>That impression is certainly bolstered by the fact that \u003cem>The LEGO Star Wars Holiday Special\u003c/em> knows not to overstay its welcome. In and out, 44 minutes. Faster than the attack run on the Death Star, and more or less as successful.\u003c/p>\n\u003cp>Though would it have killed them to throw us one last bone?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>LEGO Bea Arthur\u003c/em>, guys. Come on. Big missed opportunity. Huge. I mean it was just \u003cem>lying \u003c/em>there.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Tale+Of+2+Star+Wars+Holiday+Specials%3A+2020+%28LEGO%29+Vs.+1978+%28Oh%2C+No%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The secret weapon of Disney+’s \u003cem>The Mandalorian\u003c/em>, is discovery.\u003c/p>\n\u003cp>It’s pretty much in the DNA of the series—which became a streaming TV phenomenon last year—on the strength of a new character the series calls “The Child” but most of us fans call Baby Yoda.\u003c/p>\n\u003cp>The goal: to explore all the nooks and crannies of the \u003cem>Star Wars\u003c/em> universe that the big movies ignored and build compelling stories around them.\u003c/p>\n\u003cp>I’m happy to note the first episode of the show’s second season leans hard into it with spectacular results. We see a new side of Luke Skywalker’s home planet Tatooine, learn the aftermath of the second Death Star explosion (seen in 1983’s \u003cem>Return of the Jedi\u003c/em>), uncover fresh depths in the Tusken Raiders’ culture and meet a character from the original films whose legacy has shadowed this series since it debuted with the Disney+ service back in November 2019.\u003c/p>\n\u003cp>(Don’t worry, I’m not dropping that name. But there will be a few smaller spoilers and hints sprinkled through this review, so consider yourself warned.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For disenchanted \u003cem>Star Wars\u003c/em> fans like myself—folks who have grown frustrated and dismissive of the bloated predictability in the franchise’s recent films—\u003cem>The Mandalorian\u003c/em> is an impressive, expertly-executed do-over. It revisits and reinvents a fictional world loaded with storytelling promise, too often underutilized on the big screen in the drive to build the next sci-fi blockbuster.\u003c/p>\n\u003cp>From its start, \u003cem>The Mandalorian\u003c/em> had simple goals and a direct style. Built around a bounty hunter presumed to be a member of a legendary warrior race, the first season turned on his discovery of The Child during a job and his decision to become its defender.\u003c/p>\n\u003cp>Fans knew immediately this kid was a pint-sized specimen from the same race as one of the most famous \u003cem>Star Wars\u003c/em> characters, Jedi Master Yoda. Over the course of the first season, “Mando”—a nickname from the show which sounds so close to a slur I resist deploying it—discovers he must find other members of this race and bring The Child to them, pursued by remnants of the evil, authoritarian Empire who realize the youngling is a powerful resource.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eW7Twd85m2g\u003c/p>\n\u003cp>For all those who complained about the series’ slow \u003ca href=\"https://www.npr.org/2019/11/12/778632606/the-mandalorian-has-the-nostalgia-and-storytelling-that-star-wars-fans-want\" target=\"_blank\" rel=\"noopener noreferrer\">start\u003c/a> in 2019, this year’s model kicks off with a swirl of intensity. Our Hero survives a fight, only to learn he must head to Tatooine to find another Mandalorian who might know where The Child’s people live.\u003c/p>\n\u003cp>Once there, he stumbles on Mandalorian armor any \u003cem>Star Wars\u003c/em> fan would instantly recognize, worn by a local marshal played by the best actor to ever embody a sharp-shooting lawman, \u003cem>Justified\u003c/em> alum Timothy Olyphant (told you there would be a few spoilers). The moment Olyphant lets fly with one of his smart-alecky quips, you know these two are teaming up for something.\u003c/p>\n\u003cp>If the mothership \u003cem>Star Wars\u003c/em> movies are space operas built around reimagined fragments of samurai films and the legends of medieval knights, then \u003cem>The Mandalorian\u003c/em> finds its tone in a slightly different genre: it’s a straight up Western.\u003c/p>\n\u003cp>And there is no greater Western trope than the story of a scrappy, dusty frontier town threatened by a grand danger, depending on a stalwart sheriff and mysterious, gunslinging stranger to help save the day.\u003c/p>\n\u003cp>The great challenge of \u003cem>The Mandalorian\u003c/em> is to keep us entertained, even as it references familiar storytelling most fans know so well, they can predict the end of the tale even as it begins.\u003c/p>\n\u003cp>Because we know how Westerns work, we know Our Hero and Olyphant’s character will form an uneasy alliance, after a tense initial moment. We know they’ll eventually find success. We know that success will cement an uneasy, culture-bridging alliance between the townspeople and the Tusken Raiders, marauding pirates who attack Luke Skywalker in the very first \u003cem>Star Wars\u003c/em> film.\u003c/p>\n\u003cp>But the brilliance of \u003cem>The Mandalorian’s\u003c/em> new installment is how it deploys revelations about the \u003cem>Star Wars\u003c/em> universe to keep us guessing and engaged, topped by the episode-ending reveal of a character that will make fans squeal with anticipation and delight (How do I know this? Guess who squealed loud enough to wake my neighbors when the final scene appeared?)\u003c/p>\n\u003cp>Creator Jon Favreau—who wrote and directed this first episode of the new season—seems to have learned from critical snipes about the first season. The storytelling pace here is quicker, with more reveals that spark deeper questions; just as scenes lapse into the gobbledygooky space jargon needed to build the plot, we get a little action to break things up and remind us we’re watching a gritty, occasionally grand adventure. And the new episode is 55 minutes long, compared to last season’s installments, which averaged about 40 minutes each.\u003c/p>\n\u003cp>Best of all, I left this new episode eager to see what comes next, and a little annoyed with Disney+ that they don’t follow Netflix’s binge model and drop an entire season at once.\u003c/p>\n\u003cp>This new episode of \u003cem>The Mandalorian\u003c/em> proves the first season wasn’t a fluke. They have revitalized one of sci-fi’s biggest franchises, boosted one of media’s biggest streaming services and marked a bold new chapter for one of TV’s most ambitious and well-crafted series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not a bad day’s work—even for the coolest Mandalorian in a galaxy far, far away.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Return+Of+%27The+Mandalorian%27+%28And+Baby+Yoda%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The secret weapon of Disney+’s \u003cem>The Mandalorian\u003c/em>, is discovery.\u003c/p>\n\u003cp>It’s pretty much in the DNA of the series—which became a streaming TV phenomenon last year—on the strength of a new character the series calls “The Child” but most of us fans call Baby Yoda.\u003c/p>\n\u003cp>The goal: to explore all the nooks and crannies of the \u003cem>Star Wars\u003c/em> universe that the big movies ignored and build compelling stories around them.\u003c/p>\n\u003cp>I’m happy to note the first episode of the show’s second season leans hard into it with spectacular results. We see a new side of Luke Skywalker’s home planet Tatooine, learn the aftermath of the second Death Star explosion (seen in 1983’s \u003cem>Return of the Jedi\u003c/em>), uncover fresh depths in the Tusken Raiders’ culture and meet a character from the original films whose legacy has shadowed this series since it debuted with the Disney+ service back in November 2019.\u003c/p>\n\u003cp>(Don’t worry, I’m not dropping that name. But there will be a few smaller spoilers and hints sprinkled through this review, so consider yourself warned.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For disenchanted \u003cem>Star Wars\u003c/em> fans like myself—folks who have grown frustrated and dismissive of the bloated predictability in the franchise’s recent films—\u003cem>The Mandalorian\u003c/em> is an impressive, expertly-executed do-over. It revisits and reinvents a fictional world loaded with storytelling promise, too often underutilized on the big screen in the drive to build the next sci-fi blockbuster.\u003c/p>\n\u003cp>From its start, \u003cem>The Mandalorian\u003c/em> had simple goals and a direct style. Built around a bounty hunter presumed to be a member of a legendary warrior race, the first season turned on his discovery of The Child during a job and his decision to become its defender.\u003c/p>\n\u003cp>Fans knew immediately this kid was a pint-sized specimen from the same race as one of the most famous \u003cem>Star Wars\u003c/em> characters, Jedi Master Yoda. Over the course of the first season, “Mando”—a nickname from the show which sounds so close to a slur I resist deploying it—discovers he must find other members of this race and bring The Child to them, pursued by remnants of the evil, authoritarian Empire who realize the youngling is a powerful resource.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eW7Twd85m2g'\n title='//www.youtube.com/embed/eW7Twd85m2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For all those who complained about the series’ slow \u003ca href=\"https://www.npr.org/2019/11/12/778632606/the-mandalorian-has-the-nostalgia-and-storytelling-that-star-wars-fans-want\" target=\"_blank\" rel=\"noopener noreferrer\">start\u003c/a> in 2019, this year’s model kicks off with a swirl of intensity. Our Hero survives a fight, only to learn he must head to Tatooine to find another Mandalorian who might know where The Child’s people live.\u003c/p>\n\u003cp>Once there, he stumbles on Mandalorian armor any \u003cem>Star Wars\u003c/em> fan would instantly recognize, worn by a local marshal played by the best actor to ever embody a sharp-shooting lawman, \u003cem>Justified\u003c/em> alum Timothy Olyphant (told you there would be a few spoilers). The moment Olyphant lets fly with one of his smart-alecky quips, you know these two are teaming up for something.\u003c/p>\n\u003cp>If the mothership \u003cem>Star Wars\u003c/em> movies are space operas built around reimagined fragments of samurai films and the legends of medieval knights, then \u003cem>The Mandalorian\u003c/em> finds its tone in a slightly different genre: it’s a straight up Western.\u003c/p>\n\u003cp>And there is no greater Western trope than the story of a scrappy, dusty frontier town threatened by a grand danger, depending on a stalwart sheriff and mysterious, gunslinging stranger to help save the day.\u003c/p>\n\u003cp>The great challenge of \u003cem>The Mandalorian\u003c/em> is to keep us entertained, even as it references familiar storytelling most fans know so well, they can predict the end of the tale even as it begins.\u003c/p>\n\u003cp>Because we know how Westerns work, we know Our Hero and Olyphant’s character will form an uneasy alliance, after a tense initial moment. We know they’ll eventually find success. We know that success will cement an uneasy, culture-bridging alliance between the townspeople and the Tusken Raiders, marauding pirates who attack Luke Skywalker in the very first \u003cem>Star Wars\u003c/em> film.\u003c/p>\n\u003cp>But the brilliance of \u003cem>The Mandalorian’s\u003c/em> new installment is how it deploys revelations about the \u003cem>Star Wars\u003c/em> universe to keep us guessing and engaged, topped by the episode-ending reveal of a character that will make fans squeal with anticipation and delight (How do I know this? Guess who squealed loud enough to wake my neighbors when the final scene appeared?)\u003c/p>\n\u003cp>Creator Jon Favreau—who wrote and directed this first episode of the new season—seems to have learned from critical snipes about the first season. The storytelling pace here is quicker, with more reveals that spark deeper questions; just as scenes lapse into the gobbledygooky space jargon needed to build the plot, we get a little action to break things up and remind us we’re watching a gritty, occasionally grand adventure. And the new episode is 55 minutes long, compared to last season’s installments, which averaged about 40 minutes each.\u003c/p>\n\u003cp>Best of all, I left this new episode eager to see what comes next, and a little annoyed with Disney+ that they don’t follow Netflix’s binge model and drop an entire season at once.\u003c/p>\n\u003cp>This new episode of \u003cem>The Mandalorian\u003c/em> proves the first season wasn’t a fluke. They have revitalized one of sci-fi’s biggest franchises, boosted one of media’s biggest streaming services and marked a bold new chapter for one of TV’s most ambitious and well-crafted series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not a bad day’s work—even for the coolest Mandalorian in a galaxy far, far away.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Return+Of+%27The+Mandalorian%27+%28And+Baby+Yoda%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hollywood has been making the rest of the world feel terrible about flab since movies were invented. And despite the fact that Brad Pitt’s \u003ca href=\"https://www.highsnobiety.com/2017/07/31/brad-pitt-fight-club-workout/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fight Club\u003c/em> abs\u003c/a> are now the standard for actors, and Ryan Gosling looks so Photoshopped that it’s been \u003ca href=\"https://www.youtube.com/watch?v=BoeeyY5iPHg\" target=\"_blank\" rel=\"noopener noreferrer\">worked into his scripts\u003c/a> for comedy, the rest of the world remains largely in the dark as to how actors actually maintain their physique.\u003c/p>\n\u003cp>Enter John Boyega, the 27-year-old East Londoner most famous for playing Finn in \u003cem>Star Wars\u003c/em>. Boyega just shared a workout video to Instagram that is equal parts relatable and hilarious, and tells regular folks in no uncertain terms that working out “six days a week” is as awful as it sounds.\u003c/p>\n\u003cp>“Why can’t Hollywood accept me for who I am?” he comedically sobs at the beginning. He then demonstrates how to trick a trainer into leaving him alone because he’s “too tired for this shit,” openly fantasizes about being “fat” and having “a lovely wife who loves me for who I am,” and finally forces his unimpressed trainer to tell him he’s proud of him (when he’s clearly not).\u003c/p>\n\u003cp>It is comforting, in a world more accustomed to seeing 50-year-old Jennifer Lopez \u003ca href=\"https://www.youtube.com/watch?v=sfHGLS5Xv_Q\" target=\"_blank\" rel=\"noopener noreferrer\">effortlessly planking\u003c/a> halfway up a pole and Kardashians \u003ca href=\"https://www.youtube.com/watch?v=JGQeGaYACT0\" target=\"_blank\" rel=\"noopener noreferrer\">happily lunging\u003c/a> around their backyards, to know that some celebrities despise working out as much as the rest of us.\u003c/p>\n\u003cp>Enjoy every painful moment with Boyega in the clip below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/B9J7Bs6nOsN/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood has been making the rest of the world feel terrible about flab since movies were invented. And despite the fact that Brad Pitt’s \u003ca href=\"https://www.highsnobiety.com/2017/07/31/brad-pitt-fight-club-workout/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fight Club\u003c/em> abs\u003c/a> are now the standard for actors, and Ryan Gosling looks so Photoshopped that it’s been \u003ca href=\"https://www.youtube.com/watch?v=BoeeyY5iPHg\" target=\"_blank\" rel=\"noopener noreferrer\">worked into his scripts\u003c/a> for comedy, the rest of the world remains largely in the dark as to how actors actually maintain their physique.\u003c/p>\n\u003cp>Enter John Boyega, the 27-year-old East Londoner most famous for playing Finn in \u003cem>Star Wars\u003c/em>. Boyega just shared a workout video to Instagram that is equal parts relatable and hilarious, and tells regular folks in no uncertain terms that working out “six days a week” is as awful as it sounds.\u003c/p>\n\u003cp>“Why can’t Hollywood accept me for who I am?” he comedically sobs at the beginning. He then demonstrates how to trick a trainer into leaving him alone because he’s “too tired for this shit,” openly fantasizes about being “fat” and having “a lovely wife who loves me for who I am,” and finally forces his unimpressed trainer to tell him he’s proud of him (when he’s clearly not).\u003c/p>\n\u003cp>It is comforting, in a world more accustomed to seeing 50-year-old Jennifer Lopez \u003ca href=\"https://www.youtube.com/watch?v=sfHGLS5Xv_Q\" target=\"_blank\" rel=\"noopener noreferrer\">effortlessly planking\u003c/a> halfway up a pole and Kardashians \u003ca href=\"https://www.youtube.com/watch?v=JGQeGaYACT0\" target=\"_blank\" rel=\"noopener noreferrer\">happily lunging\u003c/a> around their backyards, to know that some celebrities despise working out as much as the rest of us.\u003c/p>\n\u003cp>Enjoy every painful moment with Boyega in the clip below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Wielding a silver shovel instead of a lightsaber, \u003cem>Star Wars\u003c/em> creator George Lucas joined a handful of elected officials Wednesday in breaking ground on a billion-dollar museum dedicated to the art of visual storytelling.\u003c/p>\n\u003cp>Construction of the Lucas Museum of Narrative Art, a dream of the 73-year-old writer-director for more than a decade, is expected to be completed by the end of 2021.\u003c/p>\n\u003cp>Trucks rumbled by the museum site near downtown Los Angeles as Lucas, dressed casually in a white- and blue-checkered shirt, jeans and tennis shoes, thanked more than 100 well-wishers. Among them was his collaborator and longtime friend, director Steven Spielberg.\u003c/p>\n\u003cp>“I think it’s important to have a museum that, as I was joking and saying, supports all the orphan arts that nobody else wants to see, but that everybody loves,” Lucas said, describing the project.\u003c/p>\n\u003cp>His museum’s mission, he added, will be to explain the myths, legends, stories and portraits of people that shape societies and bring them together as one. The art will range from paintings and digital works to comic strips and, yes, movies like \u003cem>Star Wars\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“To my feeling, popular art is an insight into a society and what they aspire to, what they really want, what they really are,” Lucas said before grabbing a shovel and joining several local officials in turning over some dirt.\u003c/p>\n\u003cp>At times, the groundbreaking resembled a movie premiere minus the red carpet, with television cameras and photographers capturing the moment. Lucas called on Spielberg to join him on the mound of dirt, directing his friend to give a thumbs-up to the cameras.\u003c/p>\n\u003cp>“It’s a great location,” Spielberg told him as they headed to a private reception. Lucas pointed out the blocks-long museum site that until recently was a parking lot behind the Los Angeles Memorial Coliseum where the 1932 and 1984 Olympics took place.\u003c/p>\n\u003cp>It will be transformed into a multistory museum resembling Han Solo’s Millennium Falcon spacecraft that appears to hover over an area surrounded by 11 acres of green space. The museum itself will contain more than 100,000 square feet of gallery space, underground parking, a restaurant, movie theaters and other amenities. Numerous programs are being planned for children from surrounding schools.\u003c/p>\n\u003cp>Lucas and his wife, Mellody Hobson, are picking up the cost, which museum officials expect will exceed $1 billion for construction and its operating endowment. That will make it the largest public gift ever given to a municipality, local officials say.\u003c/p>\n\u003cp>The museum will be in Exposition Park, across the street from the Natural History Museum of Los Angeles County, the California Science Center and the California African American Museum and on the edge of the University of Southern California, where Lucas studied in the 1960s.\u003c/p>\n\u003cp>Although Lucas attended college nearby, the site was the third choice for the museum. Lucas and his wife couldn’t reach an agreement with the director’s hometown of San Francisco or his wife’s hometown of Chicago.\u003c/p>\n\u003cp>The museum’s wide-ranging collection will include paintings by Norman Rockwell, Edgar Degas and Pierre-Auguste Renoir, comic strips by \u003cem>Peanuts\u003c/em> creator Charles Schulz and underground artist Robert Crumb, animation from films such as \u003cem>Who Framed Roger Rabbit\u003c/em> and special effects from films such as \u003cem>E.T. the Extra-Terrestrial\u003c/em>.\u003c/p>\n\u003cp>Classic films represented will range from 1927’s futuristic masterpiece \u003cem>Metropolis\u003c/em> and Orson Welles’ groundbreaking 1941 film \u003cem>Citizen Kane\u003c/em> to the Lucas-Spielberg collaborations on the \u003cem>Indiana Jones\u003c/em> movies.\u003c/p>\n\u003cp>And, of course, The Force will be strong at the museum. People will find everything from Luke Skywalker’s first lightsaber to Darth Vader’s helmet. Storyboards laying out the tale that Lucas created and that lives on in new film iterations also will be on display, along with stormtrooper uniforms and other set pieces.\u003c/p>\n\u003cp>Lucas, who has said mythologist Joseph Campbell’s \u003cem>The Hero With a Thousand Faces\u003c/em> helped inspire his \u003cem>Star Wars\u003c/em> stories, remarked Wednesday that he believes that without such tales, people don’t come together to gain common cultural understanding.\u003c/p>\n\u003cp>“Whether it’s a cave painting or whether it’s Apollo as a statue or whether it’s the Sistine Chapel, whether it’s Napoleon on a horse, whatever it is, that’s what we aspire to,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And that’s a message, he added, that he hopes museum visitors will come away with.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“To my feeling, popular art is an insight into a society and what they aspire to, what they really want, what they really are,” Lucas said before grabbing a shovel and joining several local officials in turning over some dirt.\u003c/p>\n\u003cp>At times, the groundbreaking resembled a movie premiere minus the red carpet, with television cameras and photographers capturing the moment. Lucas called on Spielberg to join him on the mound of dirt, directing his friend to give a thumbs-up to the cameras.\u003c/p>\n\u003cp>“It’s a great location,” Spielberg told him as they headed to a private reception. Lucas pointed out the blocks-long museum site that until recently was a parking lot behind the Los Angeles Memorial Coliseum where the 1932 and 1984 Olympics took place.\u003c/p>\n\u003cp>It will be transformed into a multistory museum resembling Han Solo’s Millennium Falcon spacecraft that appears to hover over an area surrounded by 11 acres of green space. The museum itself will contain more than 100,000 square feet of gallery space, underground parking, a restaurant, movie theaters and other amenities. Numerous programs are being planned for children from surrounding schools.\u003c/p>\n\u003cp>Lucas and his wife, Mellody Hobson, are picking up the cost, which museum officials expect will exceed $1 billion for construction and its operating endowment. That will make it the largest public gift ever given to a municipality, local officials say.\u003c/p>\n\u003cp>The museum will be in Exposition Park, across the street from the Natural History Museum of Los Angeles County, the California Science Center and the California African American Museum and on the edge of the University of Southern California, where Lucas studied in the 1960s.\u003c/p>\n\u003cp>Although Lucas attended college nearby, the site was the third choice for the museum. Lucas and his wife couldn’t reach an agreement with the director’s hometown of San Francisco or his wife’s hometown of Chicago.\u003c/p>\n\u003cp>The museum’s wide-ranging collection will include paintings by Norman Rockwell, Edgar Degas and Pierre-Auguste Renoir, comic strips by \u003cem>Peanuts\u003c/em> creator Charles Schulz and underground artist Robert Crumb, animation from films such as \u003cem>Who Framed Roger Rabbit\u003c/em> and special effects from films such as \u003cem>E.T. the Extra-Terrestrial\u003c/em>.\u003c/p>\n\u003cp>Classic films represented will range from 1927’s futuristic masterpiece \u003cem>Metropolis\u003c/em> and Orson Welles’ groundbreaking 1941 film \u003cem>Citizen Kane\u003c/em> to the Lucas-Spielberg collaborations on the \u003cem>Indiana Jones\u003c/em> movies.\u003c/p>\n\u003cp>And, of course, The Force will be strong at the museum. People will find everything from Luke Skywalker’s first lightsaber to Darth Vader’s helmet. Storyboards laying out the tale that Lucas created and that lives on in new film iterations also will be on display, along with stormtrooper uniforms and other set pieces.\u003c/p>\n\u003cp>Lucas, who has said mythologist Joseph Campbell’s \u003cem>The Hero With a Thousand Faces\u003c/em> helped inspire his \u003cem>Star Wars\u003c/em> stories, remarked Wednesday that he believes that without such tales, people don’t come together to gain common cultural understanding.\u003c/p>\n\u003cp>“Whether it’s a cave painting or whether it’s Apollo as a statue or whether it’s the Sistine Chapel, whether it’s Napoleon on a horse, whatever it is, that’s what we aspire to,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And that’s a message, he added, that he hopes museum visitors will come away with.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rollicking 'Star Wars: The Last Jedi' Introduces Welcome Shades Of (G)Rey",
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"content": "\u003cp>If they are to successfully make the jump to light speed, \u003cem>Star Wars\u003c/em> movies require a precisely calibrated fuel mixture: one-third epic space battles, one-third narrow escapes and duly buckled swashes, one-third hooded beardy dudes standing around looking pained while solemnly intoning the cheesiest hokum about Darkness and Light as if it’s Hamlet’s Yorick speech (which in a way, it is).\u003c/p>\n\u003cp>Rian Johnson, director and writer of \u003cem>Star Wars: The Last Jedi\u003c/em> (a.k.a. \u003cem>Episode VIII\u003c/em>, a.k.a \u003cem>The One Without Any Big Round Thing That Needs To Get Destroyed By Exploiting A Weakness In Its Design, Thank God\u003c/em>) knows how vital each of those bedrock elements prove, and he’s struck upon precisely the right alchemical formula without making a franchise film that feels formulaic. \u003cem>The Last Jedi\u003c/em> is fun and fast, rollicking and suspenseful. It supplies us with all the things we expect — nay, \u003cem>demand \u003c/em>— in a \u003cem>Star Wars\u003c/em> movie, and manages to surprise us by revealing that this fictional universe, in which we’ve already clocked so many hours, can still surprise us.\u003c/p>\n\u003cp>To do so, Johnson supplies two fuel additives to the existing mix. One, he leans into the sly, knowing sense of humor that was present in the original trilogy (“I love you.” “I know.”), but that then got dumbed way, way down in the prequels (“How wuuuude!”) and forcefully reawakened in J.J. Abrams’ \u003cem>Star Wars: The Force Awakens\u003c/em> (“Who talks first? Do you talk first or do I talk first?”).\u003cem> The Last Jedi \u003c/em>is both jokier and funnier (two very different things) than \u003cem>The Force Awakens\u003c/em> — there’s a solid conference call bit in the first reel, for example, and later a very clever throwaway visual gag destined to join \u003cem>Raiders of the Lost Ark\u003c/em>‘s “interrogation device or coat hanger?” sequence, in the admittedly tiny \u003cem>Cinematic Conflations of Torture and Clothing-Care Hall of Fame\u003c/em>.\u003c/p>\n\u003cp>The other thing Johnson introduces is something the various \u003cem>Star Wars\u003c/em> offshoots (novels, games, animated series, etc.) have explored, but that has been assiduously kept out of the main series’ simple, rigorously Manichean, Dark Side vs. Light Side infrastructure: grayscale. There is a welcome attempt, in \u003cem>The Last Jedi\u003c/em>, to depict characters and their motivations in less stark and increasingly nuanced terms. This is both smart and inevitable, for a franchise that’s hung around long enough for its themes and plot-beats to become as pervasive as these have. Yes, sure: Joseph Campbell, monomyth, Good and Evil, blah blah blah. These films \u003cem>do \u003c/em>require a stark, easily apprehensible symbolic underpinning — but they also need to work as \u003cem>films\u003c/em>, and that means having characters whose every choice we won’t see coming, whose behaviors are not dictated by the color of their space-couture. In \u003cem>The Force Awakens\u003c/em>, Adam Driver’s Kylo Ren was evil, but (we were told, repeatedly) conflicted; here, he’s conflicted, but evil — and this time we see and feel him struggle. (When he’s not lashing out at underlings, or elevators — long story — Driver’s Ren is amusingly albeit chillingly understated; he’s your Bad Space Boyfriend, forever space-gaslighting you.)\u003c/p>\n\u003cp>Fine, but what is it \u003cem>about\u003c/em>? I’ll keep things vague, but I can say that the bulk of the film is taken up by what is essentially a slow-speed chase — the tiny Resistance fleet, led by General Leia Organa (the late Carrie Fisher), struggles to outrun the eeeeevil First Order, led by General Hux (Domnhall Gleeson, reveling in sniveling). Along for the ride: Kylo Ren and his master, Supreme Leader Snoke (a CGI creation voiced by Andy Serkis), who turns out to be more given to swanning around the joint in a gold lamé kaftan than we had perhaps been led to expect. This is not a complaint.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Everyone who was around when the Force got so rudely awakened is back, though they promptly get sorted into different plot threads. Poe (Oscar Isaac) proves himself as much a hot-head as a hotshot, this time around. Ex-Stormtrooper Finn (John Boyega) gets paired up with Resistance back-bencher/fangirl Rose (Kelly Marie Tran) on a mission that goes on a wee bit too long but that provides the film with the closest thing it gets to a vaguely political point-of-view — and another opportunity to underscore its emerging theme of moral relativism.\u003c/p>\n\u003cp>And of course there’s Rey (Daisy Ridley), stuck on a gorgeous, remote, windswept island with Luke Skywalker himself (Mark Hamill), who’s locked into the mode of Gruff Reluctant Mentor. Rey must implore him to teach her the ways of the Force, and he must refuse, until he doesn’t, because even a long time ago, in a galaxy far, far away, there must have been kung fu movies that taught everyone the rhythm of these things.\u003c/p>\n\u003cp>It’s a testament to Johnson and his editor, Bob Ducsay, that a film so loaded with characters and storylines can feel as sleek and propulsive as this one. There’s a moment at about the movie’s midway point when all of its different threads reach a violent turning point. As we jump between them, their disparate events seem to layer atop one another, each cut increasing in pace and intensity until the shattering payoff(s); it’s a mini-master class in storytelling, and the movie’s not near done with us.\u003c/p>\n\u003cp>Everyone gets a hero moment, a scene that showcases their respective, resplendent badassery, even, especially, Fisher’s Leia — though hers does seem to belong to a wholly different film franchise (you’ll know the one).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Many of the questions raised in \u003cem>The Force Awakes\u003c/em> receive their answers here — some with a very decisive, and surprising, finality. It will likely leave you wondering where the franchise is headed next — and that, in and of itself, in a film series that’s gone on this long, filled with characters who wear black because they are capital-e Evil, is a bracingly positive turn of events that will send you from the theater filled with a new hope. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rollicking+%27Star+Wars%3A+The+Last+Jedi%27+Introduces+Welcome+Shades+Of+%28G%29Rey&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If they are to successfully make the jump to light speed, \u003cem>Star Wars\u003c/em> movies require a precisely calibrated fuel mixture: one-third epic space battles, one-third narrow escapes and duly buckled swashes, one-third hooded beardy dudes standing around looking pained while solemnly intoning the cheesiest hokum about Darkness and Light as if it’s Hamlet’s Yorick speech (which in a way, it is).\u003c/p>\n\u003cp>Rian Johnson, director and writer of \u003cem>Star Wars: The Last Jedi\u003c/em> (a.k.a. \u003cem>Episode VIII\u003c/em>, a.k.a \u003cem>The One Without Any Big Round Thing That Needs To Get Destroyed By Exploiting A Weakness In Its Design, Thank God\u003c/em>) knows how vital each of those bedrock elements prove, and he’s struck upon precisely the right alchemical formula without making a franchise film that feels formulaic. \u003cem>The Last Jedi\u003c/em> is fun and fast, rollicking and suspenseful. It supplies us with all the things we expect — nay, \u003cem>demand \u003c/em>— in a \u003cem>Star Wars\u003c/em> movie, and manages to surprise us by revealing that this fictional universe, in which we’ve already clocked so many hours, can still surprise us.\u003c/p>\n\u003cp>To do so, Johnson supplies two fuel additives to the existing mix. One, he leans into the sly, knowing sense of humor that was present in the original trilogy (“I love you.” “I know.”), but that then got dumbed way, way down in the prequels (“How wuuuude!”) and forcefully reawakened in J.J. Abrams’ \u003cem>Star Wars: The Force Awakens\u003c/em> (“Who talks first? Do you talk first or do I talk first?”).\u003cem> The Last Jedi \u003c/em>is both jokier and funnier (two very different things) than \u003cem>The Force Awakens\u003c/em> — there’s a solid conference call bit in the first reel, for example, and later a very clever throwaway visual gag destined to join \u003cem>Raiders of the Lost Ark\u003c/em>‘s “interrogation device or coat hanger?” sequence, in the admittedly tiny \u003cem>Cinematic Conflations of Torture and Clothing-Care Hall of Fame\u003c/em>.\u003c/p>\n\u003cp>The other thing Johnson introduces is something the various \u003cem>Star Wars\u003c/em> offshoots (novels, games, animated series, etc.) have explored, but that has been assiduously kept out of the main series’ simple, rigorously Manichean, Dark Side vs. Light Side infrastructure: grayscale. There is a welcome attempt, in \u003cem>The Last Jedi\u003c/em>, to depict characters and their motivations in less stark and increasingly nuanced terms. This is both smart and inevitable, for a franchise that’s hung around long enough for its themes and plot-beats to become as pervasive as these have. Yes, sure: Joseph Campbell, monomyth, Good and Evil, blah blah blah. These films \u003cem>do \u003c/em>require a stark, easily apprehensible symbolic underpinning — but they also need to work as \u003cem>films\u003c/em>, and that means having characters whose every choice we won’t see coming, whose behaviors are not dictated by the color of their space-couture. In \u003cem>The Force Awakens\u003c/em>, Adam Driver’s Kylo Ren was evil, but (we were told, repeatedly) conflicted; here, he’s conflicted, but evil — and this time we see and feel him struggle. (When he’s not lashing out at underlings, or elevators — long story — Driver’s Ren is amusingly albeit chillingly understated; he’s your Bad Space Boyfriend, forever space-gaslighting you.)\u003c/p>\n\u003cp>Fine, but what is it \u003cem>about\u003c/em>? I’ll keep things vague, but I can say that the bulk of the film is taken up by what is essentially a slow-speed chase — the tiny Resistance fleet, led by General Leia Organa (the late Carrie Fisher), struggles to outrun the eeeeevil First Order, led by General Hux (Domnhall Gleeson, reveling in sniveling). Along for the ride: Kylo Ren and his master, Supreme Leader Snoke (a CGI creation voiced by Andy Serkis), who turns out to be more given to swanning around the joint in a gold lamé kaftan than we had perhaps been led to expect. This is not a complaint.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Everyone who was around when the Force got so rudely awakened is back, though they promptly get sorted into different plot threads. Poe (Oscar Isaac) proves himself as much a hot-head as a hotshot, this time around. Ex-Stormtrooper Finn (John Boyega) gets paired up with Resistance back-bencher/fangirl Rose (Kelly Marie Tran) on a mission that goes on a wee bit too long but that provides the film with the closest thing it gets to a vaguely political point-of-view — and another opportunity to underscore its emerging theme of moral relativism.\u003c/p>\n\u003cp>And of course there’s Rey (Daisy Ridley), stuck on a gorgeous, remote, windswept island with Luke Skywalker himself (Mark Hamill), who’s locked into the mode of Gruff Reluctant Mentor. Rey must implore him to teach her the ways of the Force, and he must refuse, until he doesn’t, because even a long time ago, in a galaxy far, far away, there must have been kung fu movies that taught everyone the rhythm of these things.\u003c/p>\n\u003cp>It’s a testament to Johnson and his editor, Bob Ducsay, that a film so loaded with characters and storylines can feel as sleek and propulsive as this one. There’s a moment at about the movie’s midway point when all of its different threads reach a violent turning point. As we jump between them, their disparate events seem to layer atop one another, each cut increasing in pace and intensity until the shattering payoff(s); it’s a mini-master class in storytelling, and the movie’s not near done with us.\u003c/p>\n\u003cp>Everyone gets a hero moment, a scene that showcases their respective, resplendent badassery, even, especially, Fisher’s Leia — though hers does seem to belong to a wholly different film franchise (you’ll know the one).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the questions raised in \u003cem>The Force Awakes\u003c/em> receive their answers here — some with a very decisive, and surprising, finality. It will likely leave you wondering where the franchise is headed next — and that, in and of itself, in a film series that’s gone on this long, filled with characters who wear black because they are capital-e Evil, is a bracingly positive turn of events that will send you from the theater filled with a new hope. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rollicking+%27Star+Wars%3A+The+Last+Jedi%27+Introduces+Welcome+Shades+Of+%28G%29Rey&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What's $800 And Already Sold Out? This Lego Star Wars Ship",
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"content": "\u003cp>It made the \u003ca href=\"http://starwars.wikia.com/wiki/Kessel_Run/Legends\" target=\"_blank\" rel=\"noopener\">Kessel Run\u003c/a> in less than 12 parsecs. But a new buildable version of Han Solo’s famous Millennium Falcon is currently stalled.\u003c/p>\n\u003cp>Those hoping to snag one of Lego’s new \u003cem>Star Wars\u003c/em> sets for the 2017 holidays will likely be disappointed. It’s currently sold out online. After a September release only to its VIP list, the company promises it’s working as fast as it can to “make more sets available and keep our LEGO builders happy.” At a cool $799.99 and more than 7,500 pieces, it’s the expensive, easy-to-lose gift that keeps on giving.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=hGoQ44SfV-c\u003c/p>\n\u003cp>The ship is big. Once constructed, it’s longer than the width of a grown man’s shoulders — at least the shoulders of Lego employee Hans, pictured in \u003ca href=\"https://www.youtube.com/watch?v=KHc5F9XiP1U\" target=\"_blank\" rel=\"noopener\">this video explanation\u003c/a>. Cashing in on the nostalgia surrounding not only the \u003cem>Star Wars\u003c/em> franchise, but also its own toy brand, this is the 10th anniversary edition of Lego’s first Falcon set, according to the video.\u003c/p>\n\u003cp>https://twitter.com/mrjalco/status/932608894563770369?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fthetwo-way%2F2017%2F11%2F24%2F566370961%2Fwhats-800-and-already-sold-out-this-lego-star-wars-ship\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lego Falcon owners have taken to fan blogs and Twitter to show off their constructions.\u003c/p>\n\u003cp>And, as is to be expected, the video offerings attached to #FalconBuild are numerous and sometimes painstaking productions. Options include multiple “un-boxing” ceremonies, a \u003ca href=\"https://www.youtube.com/watch?v=W4dZY3T8c2M&t=11s\" target=\"_blank\" rel=\"noopener\">seven-episode series\u003c/a> of real-time builds generally lasting about two hours, and high-quality time-lapse versions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GeLbhxJxUHU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The “lucky” ones who claimed one during the first sale leave this Two-Way blogger with one thought: You’re building that thing? \u003ca href=\"https://www.youtube.com/watch?v=lXrBZnOIw7Q\">You’re braver\u003c/a> than I thought. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+%24800+And+Already+Sold+Out%3F+This+Lego+Star+Wars+Ship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It made the \u003ca href=\"http://starwars.wikia.com/wiki/Kessel_Run/Legends\" target=\"_blank\" rel=\"noopener\">Kessel Run\u003c/a> in less than 12 parsecs. But a new buildable version of Han Solo’s famous Millennium Falcon is currently stalled.\u003c/p>\n\u003cp>Those hoping to snag one of Lego’s new \u003cem>Star Wars\u003c/em> sets for the 2017 holidays will likely be disappointed. It’s currently sold out online. After a September release only to its VIP list, the company promises it’s working as fast as it can to “make more sets available and keep our LEGO builders happy.” At a cool $799.99 and more than 7,500 pieces, it’s the expensive, easy-to-lose gift that keeps on giving.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hGoQ44SfV-c'\n title='//www.youtube.com/embed/hGoQ44SfV-c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The ship is big. Once constructed, it’s longer than the width of a grown man’s shoulders — at least the shoulders of Lego employee Hans, pictured in \u003ca href=\"https://www.youtube.com/watch?v=KHc5F9XiP1U\" target=\"_blank\" rel=\"noopener\">this video explanation\u003c/a>. Cashing in on the nostalgia surrounding not only the \u003cem>Star Wars\u003c/em> franchise, but also its own toy brand, this is the 10th anniversary edition of Lego’s first Falcon set, according to the video.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lego Falcon owners have taken to fan blogs and Twitter to show off their constructions.\u003c/p>\n\u003cp>And, as is to be expected, the video offerings attached to #FalconBuild are numerous and sometimes painstaking productions. Options include multiple “un-boxing” ceremonies, a \u003ca href=\"https://www.youtube.com/watch?v=W4dZY3T8c2M&t=11s\" target=\"_blank\" rel=\"noopener\">seven-episode series\u003c/a> of real-time builds generally lasting about two hours, and high-quality time-lapse versions.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GeLbhxJxUHU'\n title='//www.youtube.com/embed/GeLbhxJxUHU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>The “lucky” ones who claimed one during the first sale leave this Two-Way blogger with one thought: You’re building that thing? \u003ca href=\"https://www.youtube.com/watch?v=lXrBZnOIw7Q\">You’re braver\u003c/a> than I thought. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+%24800+And+Already+Sold+Out%3F+This+Lego+Star+Wars+Ship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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