😮😍🤤

….. I know.

Kyloha

A (tiny, crocheted) shirtless Master of the Knights of Ren visits Oahu

My sister lives in Oahu and made these dolls for me, so I had to go pick them up. I decided to make this Flat-Stanley-esque photo essay with my adorable Kylo Ren.

I arrived with a trooper escort but soon got into the Aloha spirit and gave the trooper the week off.

View from the balcony of my accommodations. I don’t want to give away the name of the place lest they be flooded with visitors wanting to sleep in the same bed that I graced.

Taking Uber makes it easy to get around the island, away from the crowds

Enjoying a guava dumpling for breakfast at Island Brew Coffeehouse in Hawaii Kai

Halona Cove Lookout. This is a much prettier seaside location than where I “hooked up” with Rey, but it messed up my hair.

Halona Cove Lookout

At Koko Crater Botanical Gardens, I really felt the Aloha flowing through me. The Plumerias were beautiful and smelled almost as intoxicating as Rey.

At Makapu’u Beach working on my tan

Thought I heard some Resistance Scum nearby

Some shopping at Manoa Chocolate Factory. I hope Rey likes chocolate.

Rum tasting at KoHana Distillery

I wanted to see what they aging barrels look like, so I sliced them open.

Laie Church of Latter Day Saints Temple. Much better than any Jedi Temple

Going to find Rey a Hello Kitty sticker at Don Quijote

Happy Hour at Buho Cantina in Waikiki

It was taco Tuesday

I had a lot to drink. Met this cute, but very drunk, girl and her friends. She was strong with the Force and kept trying to touch my saber. I was a bit drunk, so I hope Rey understands.

Went for a ride with her on her Biki. I was too drunk to pedal the thing, but she wasn’t in a much better state to be pedaling, either, so we parked it.

Duke Kahanamoku statue on Waikiki Beach. He must have been as awesome to his people as I am.

Couldn’t find another Biki to rent, so I Force-choked a local and took this cruiser.

Breakfast on the last day of the trip

Alohi cakes with Guava jam and banana sour cream. I think Rey would like these.

Seeing if this banyan tree might be a Force tree while waiting for my tour of the Iolani Palace.

Darth Vader’s castle was much better than Iolani Palace.

Some final souvenir shopping at Ala Moana Mall

I hope Rey likes cookies

Waiting to board my flight. My saber needs some repairs. I had a great trip. Think I got a bit of a tan, too. I hope Rey likes that.

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squireren-blog

7 years ago

Cognitive Struggle Experienced, Simultaneously, by the “The Force Awakens” Audience and the Film’s Villain

A Sith Scholar work-in-progress (Draft of the first section of my current academic research)

I'm addicted to and obsessed with Kylo Ren. There is this conflict amongst the Star Wars audience about this character, a conflict that parallels the conflict he feels between the light and the dark side (Writers usually have intent behind every aspect, every word (or at least they should) in everything they put on a page, and I think they are cognizant of this conflict, implicit in it). Ren/Ben is the son of one of my favorite couples, and I can't remove him from my head, and I find myself trying to understand his point of view, empathize with him attempting to research the cognitive and emotional processing he may have experienced when hearing the stories about Vader. I have to admit there is the lust factor, too. I had never seen this actor before The Force Awakens, and my attraction to him increases my desire to take Kylo Ren's side in this whole matter, and I'm finding those reasons to take his side, which frightens and fascinates me.

I wrote that expanded response on Facebook to this question: “Who is your favorite Star Wars villain?” Darth Vader and Princess Leia were my favorite character of Star Wars: A New Hope. Boba Fett tied Leia and Vader as my favorite characters after Star Wars: The Empire Strikes Back. So two of my favorite characters, not just of the villains, but of the entire cast of characters, represented the dark side.

When I saw The Force Awakens (TFA), I felt how my love for Star Wars consumed many of my moments – wake or asleep – that I have no control over its powerful pull. Han Solo’s death really impacted me. I became fascinated by the strong emotions in that scene, why fictional characters could be such a part of my psyche that when one was killed and the other was being lost to a life of dark choices, that I grieved intensely. That level of grief surprised me, and I felt ashamed for having such strong emotion for a fictional character. But that got me thinking how is it even possible to feel such a real reaction from fictional characters? How does a text achieve that?

My intent is to examine the cognitive connection to emotion in TFA, particularly those felt by Kylo Ren and about Kylo Ren by the other characters and the audience. “Links between cognition and emotion have been acknowledged within neuroscience and psychology (e.g.,Damasio,1994).This paves the way for psychological and philosophical theories of emotions and affect in cinema (Grodal,1997; Plantinga & Smith,1999; Tan,1996; Vorderer et al.,1996), providing a complement to psychoanalytical and sexual approaches to emotion” (Persson 38). Because neuroscience “acknowledged” these “links between cognition and emotion,” there needs to be an examination of the TFA using “psychological and philosophical theories of emotions and affect in cinema.”

Degree of Innate Sadism in a Human Being

In The Force Awakens, the neurology of a terrible act is manifested in Kylo Ren’s face after he kills Han Solo. We see the endorphins released as a result of an act of patricide.

It takes a moment for Ren to process the action, which is described by Holland:

“perceptions going to and from the amygdala immediately arouse feelings of fear. The amygdala has two kinds of output. One process creates a rapid response. It projects directly to the hypothalamus…and then on to the brainstem and spinal cord to move the body.” The “second…process is more cognitive. The signal has gone more slowly from the amygdala to the frontal lobe which evaluate the stimulus and reaction” (91).

In The Force Awakens, the audience sees it took Ren a moment to process what he had just done to his father. He had admitted during that scene that he is conflicted, so he did feel love for his father, and the loss of his father could cause pain. There is a moment of disbelief in his face, then he gasps, perhaps with grief, some pain, and then his pupils dilate; his eyes widen as if a drug has just been injected into his body, calming him, then making him relieved, anticipating euphoria. The reward center of his brain is activated.

In “Cruelty’s Rewards: The gratifications of perpetrators and spectators” it explains, “It is incomprehensible that the infliction of pain on the self is both pleasurable and also sexually arousing. This unlikely conjunction has long puzzled moral philosophers and psychologists.

This is Ren. Finally choosing a side may have brought Ren comfort to a life where he felt a lot of pain, abandonment, resentment. He may have felt a moment of pleasure, but there is debate whether he feels the relief this resolution was to bring. Then my reaction was, despite him just murdering a beloved character and sending from me a cry of grief, in the theatre, I still found him arousing, but, initially kept those pangs of lust to myself. I took pleasure in him, before, during and after this horrific act, and, although evidence says humans do that, it doesn’t mean that humans aren’t ashamed of feeling that way. Ren serves to show us a side of humanity that we may not like but is biologically a fact. Humanity’s sadism is innate.

Yet, using functional magnetic resonance imaging (fMRI), Becerra et al. (2001) report that a pain stimulus (a probe heated to 468C applied to the skin) activated the brain’s reward circuitry, following a pathway similar to that of the pleasure response: protein from the cfos gene shows “that many neurons in the amygdala that are aroused by aggressive encounters are also aroused by sexual activity” (Panksepp 1998, p. 199): the underlying motivation may be the seeking of safety (“Cruelty’s Rewards”)

Kylo Ren reveals the biology of being sadistic. However, the film does not keep us as mere observer of a sadistic person. The audience becomes implicated. Lisa Zunshine explains that in films, when a character is in pain that the camera turns away, that people turn away when another person is experiencing a strong emotion. People don’t want to look at a character’s face when they are feeling a strong emotion. Zunshine describes:

The same effect is achieved when other characters refuse to watch an individual who is experiencing strong emotions and the camera moves away from him or her at a crucial moment. The assumption behind this strategy is that sometimes people’s faces expose their feelings to such a degree that they become painful to watch, unless a person who watches has a sadistic streak. It is transparency by omission: we can’t see the actual face, but our imagination magnifies its emotional nakedness. (93)

The camera focuses on Kylo Ren and his father’s (Han Solo’s) face during his act of patricide. The audience is forced to have a sadistic streak because the filmmakers show us the face of a character in pain and the scene of Ren crying then killing his father. The audience is the characters in the film that did not turn away--the Stormtroopers, Finn, Rey, and Chewbacca--and the theatre audience. It is not too painful for them to watch. If Zunshine concludes that only a sadistic person would watch, then all of these witnesses are sadistic in not turning away from the strong emotions being shown on Han Solo’s and Kylo Ren’s faces. The humanoids and wookiee have a certain degree of innate sadism. Kylo Ren’s actions make us question if our sadism any worse than Kylo Ren’s patricide?

Kylo Ren takes pleasure in the pain of killing his own father just as the audience takes pleasure in the pain and these strong emotions because they do not turn away. It shows us a side of humanity that is sadistic, biologically. Human beings have a degree of innate sadism. Do we feel it as a flaw and does that reality then cause us pain? And if pain stimulates the reward center of our brain, do we experience a smidgen of euphoria, perhaps a small delight in this dark side of ourselves that we’ve found?

Our strong emotional response to the murder of Han Solo is the result of the feelings we bring with us to our viewing of TFA. Kylo Ren is the son of our favorite scoundrel and we get to “see” some of Han in him in scenes where he has humorous lines [need to include link to video of this]. And some of us felt pangs of shock amongst sympathy when he finds out that the droid he’s seeking is with his father; his voices cracks when he eeks out “He means nothing to me.” and he asks for Snokes help “By the grace of your training, I will not be seduced.” He is at the end of this scene alone, small on the screen in this dark room. His parents sent him away, Snoke questions his ability to resist the light and he is alone –it’s hard for me not to feel sympathy for him. Holland explains that we care for those in a fictional text because in “Creating or responding to literature, we bring such emotional markings and memories to bear, and, like direct emotional stimulation, they operate outside of conscious intellection, Darwin’s ‘reason’” (92). The emotions we bring to Kylo Ren are that he is the child of our favorite couple. He is the son of Han Solo, our favorite scoundrel, smuggler turned hero, lover of our favorite princess, who we also love and hope for, and we bring those emotional markings to our acquaintance to his son. We want their son to be good, for them, for us so that we don’t have to deal with the pain the fall of their son would bring us.

I find it difficult to accept Kylo Ren as lost to the dark side, someone to label as evil. I am desperate to “solve” why he chose the dark side, that there were forces within his biology that made him susceptible to the dark side. I am even willing to question that which we label as evil, to look at the intentions of people who commit terrible acts to find something that will relieve him from some of the blame. As an audience member, it is hard for me to accept that the son of Han and Leia is responsible, to blame for what has happened to him.

But as a text, that pain of that tragedy brings us pleasure. I am compelled to watch TFA repeatedly. Does the audience take pleasure in the pain of the Skywalker family saga? “We enjoy ugly or threatening things in art because we are seeking---and finding. Both the act of seeking and the act of removing the threat and incorporating painful things into our normal mental functioning yield pleasure (Holland 247). We watch emotionally wrenching films because it affects the reward center of our brains.

“Evolutional psychology provides, I think, an explanation. Dead bodies, “low” animals, rotting food—these all represent potential threats to our survival and reproduction. Our brain insists that we pay attention to them because we may need to do something about them. To trigger those actions, we look at the ugly and painful more intensely than we look at blander sights” (Holland 248).

We are so compelled to watch this emotionally wrenching scene of Kylo Ren killing Han Solo not despite the emotional pain it causes because we need to experience that emotional pain - it sharpens our senses. Witnessing pain is biologically beneficial.

Kylo Ren tries hard to seem like an unsympathetic character. When he murders Lor San Tekka and the villagers at the beginning of the film, interrogates Poe Dameron, threatens Hux, he is a cold, menacing figure. However, when he learns that the droid has escaped the squadron’s attempts to capture it, a bit of his father’s sarcasm comes out. The lieutenant reports to him that the droid “escaped on a stolen freighter.” Kylo Ren replies, “The droid stole a freighter?” It is a similar sarcastic reaction of disbelief comparable to Han Solo’s sarcastic reactions. We begin to see another dimension of this villain.

And soon after when he finds out that the droid was helped by the Finn, the Stormtrooper who freed Poe, he ignites his lightsaber and violently smashes the equipment in front of him. Another dimension revealed through this emotional outburst. We find humor in his tantrum because it is such unstable, childish behavior. These tantrums resulted in a laugh from the audience, and seems to be a pattern of behavior that those who work for the First Order have come to expect (when the Stormtroopers turn around when they see Kylo throwing a tantrum after Rey escapes). Humorous as these tantrums were, it demonstrates his disregard and willingness to destroy anything to express his emotions. He is dangerous because having a temper, albeit mostly something he can control, may also be caused by chemical imbalance over which he may have no control “These findings suggest that greater acute and chronic pain responsiveness associated with trait anger-out may be due in part to impaired ability to elicit endogenous opioid analgesia.” (Breuhl 224) That is a frightening person to be around. Does he have tantrums also because of acute psychological pain? His dimensions are growing.

But when we learn that his father is Han Solo, we can no longer see him as a two dimensional villain. He is the son of our beloved scoundrel. We get our first pangs of sympathy. This is created by the aforementioned scene of him alone in the large room where he communicates with Snoke. When Snoke tells him that his father, Han Solo, has the droid the First Order has been pursing, he replies that Han “means nothing to me.” His voice almost cracks as he can barely get himself to utter these words. Sympathy builds.

Snoke doubts him, “Not even you, Master of the Knights of Ren has ever faced such a test.”

“By the grace of your training, I will not be seduced.” Kylo Ren replies.

“We shall see. We shall see.” Snoke says as his hologram fades away. When the master Kylo Ren is trying so hard to impress doesn’t think he has the strength to face this test of hunting down his father, he feels alone. The only being he feels he can get approval from is doubting him. It could be approval he had failed to get from his father and now seeks it from Snoke. And he is alone. So he stands in that room, the one stream of light a spotlight on him. The camera is watching him from across the room to his right.

The height of the room is 10 times taller than he. The entrance and back wall of the room cannot be seen within the limits of the screen. His figure is dwarfed by the room and its dark cavernous emptiness. He stands in a room for a moment after Snoke disappears in silence. The expression of our reaction might be to dislike him more for knowing he chose the dark side, but then we feel pity because we feel he is misguided. And we want the son of Han and Leia back.

Now we have developed sympathy for a character who has made us aware of our innate sadism. We are reminded of the pleasure he derives from the pain of others, reminding us of our same innate sadism. He enjoys causing Rey’s transparency and enjoying the spectacle of it. He finds pleasure in the power to expose her deepest feelings against her will. Zunshine suggested “if you are a writer and you want your character to remain sympathetic, you don’t put her in a situation in which she begins to enjoy the spectacle of someone else’s transparency, thus coming across as sadistic. (97) Ren enjoys the spectacle of Rey’s transparency as he reads her mind. It’s a transparency he imposes upon her, a result of a violation. We begin to feel sympathy wane because of his sadistic cause and enjoyment of her transparency. The reward centers of his brain must be activated because he knows that if he gets the map it will increase his odds of survival – in the sense that he seems so dependent on approval for life to mean something and in the sense that if Snoke doesn’t feel Ren’s strong enough, he could destroy Ren.

We feel sympathy for Rey as she is made vulnerable. However, Rey reciprocates and through his violation of her, she is able to violate him and see his deepest fear and enjoy the spectacle of his transparency. She risks becoming unsympathetic by taking advantage of his transparency, definitely having the reward center of her brain activated because her violation of his mind is helping her survive. Both are finding involuntary pleasure violating each other in order to survive their respective threats. In addition, the audience is privy to their moments of transparency and find it pleasing in that it’s activating our reward center so much that we are fixated on it and cannot turn away.

© Sheila Wright and Squire of the Knights of Ren, 2017. Unauthorized use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Sheila Wright and Squire of the Knights of Ren with appropriate and specific direction to the original content.

Cognitive Struggle Experienced, Simultaneously, by the “The Force Awakens” Audience and the Film’s Villain: Part 2

A Sith Scholar work-in-progress (Draft of the second section of my current research, and a bit dated)

Restraints and the Stress of Keeping a Secret

Kylo Ren is not skilled in showing restraint. His mask is literally on but figuratively off because he reveals his emotional state. We cannot see any facial expression when he is angered, but it’s manifested in physical violence. When he first unmasks himself he shows incredible restraint as Rey refuses to tell him voluntarily about BB8. Not only does he remain calm when she refuses to tell him and gets sarcastic, he doesn’t throw a fit. He’s almost bragging about his restraint at this time Rey is restrained in a chair capable of many tortures. He tells Rey, “you know I can take anything I want.” He remains calm and uses the Force to look into her mind. Her secrets are revealed and soon after are his. Revealing a secret releases stress.

According to “Incognito,” if we keep a secret, we're protecting a confidence, which is what we think we want to do. But there's an urge to spill the beans because another part of the brain knows it will relieve stress in our bodies” (Eagleman). When Ren uses telepathy, he relies on his victim’s brain’s urge to reveal a secret to extract the information he wants. He makes that urge harder to resist. Rey’s secrets about her loneliness are revealed, and she must have felt some stress relief, a release of pleasure for which she had to credit Ren. However, she never gets to reveal her secret of the map.

(Imagine the stress of other secrets kept in this saga: secret of Luke and Leia’s parents; Anakin’s father, Anakin and Padme’s secret relationship; Finn not telling Rey he’s a stormtrooper gone AWOL; those in the film and makers of the film keeping the secret about Rey’s parentage -- all these people with extra stress from keeping their secrets!)

In return, Rey provides stress relief to Ren by revealing his secret fear that he won’t be “as strong as Darth Vader.” He is unable to remain restrained after she resists him, but he doesn’t harm her. He voluntarily, literally unmasked himself for Rey, but, under Rey’s control, he involuntary, figuratively unmasked himself. He heads in a panic, still unmasked, literally and figuratively vulnerable and exposed to consult with Snoke. He’s so distracted he doesn’t realize that Hux was right behind him, eager to tell Snoke that Ren’s the one that decided that all they needed was the girl. Ren was either completely sure that he could read Rey’s mind and get the information Snoke wanted, or something inside him wanted to delay the First Order locating the Resistance. The latter is what Hux wants Snoke to infer. Hux wants to reveal that Ren intentionally defied Snoke’s orders. Ren’s pull to the light is, again, evident here.

Although he defied Snoke, possibly confirming his pull to the light, he still seeks belonging and approval through the dark side. His inability to get the map and letting the droid go, defying Snoke’s orders, will not get him the approval from Snoke that he so desires. To try to make things right he must retrieve Rey, but she is gone. His attempts at restraining himself are done, he ignites his lightsaber and destroys his interrogation room. He finds relief in not restraining, not holding his emotions, not keeping them a secret, as explained in Kornhaber’s article, “Darth Vader 2.0,″ “...what sets Ren apart is that “he’s full of emotion,” which at first sounds like a platitude but then seems like an important distinction—while Vader worked to conceal his conflicted feelings …” (Kornhaber). As obsessed as he is, as much as a fan he is and wants to be like Vader, his lack of restraint keeps him from being like Vader, which probably further fuels his tantrums.

Kylo Ren likely still loves his family – which is why he is so conflicted. Hearing that the droid fell into the hands of his father, knowing the resistance, led by his mother must have made certain feelings resurface. Certainly feelings of resentment resurfaced, fueling his desire to ally with the dark side, but certainly any fond memories or feelings for his parents he had resurfaced as well.

So if Kylo Ren is a humanoid, the impact of sending him away must be similar to the impact it might have on a human adolescent here on earth sent away to boarding school. Dr. Joy Schaverien in a 2011 paper in The British Journal of Psychiatry, argued that boarding schools "can cause profound developmental damage" (Schaverien).

So one can imagine that on top of the genetic burden Ben Solo carries that these feelings he has of being sent away to the Jedi Academy are akin to those felt by children sent away to boarding school. So much is set up against a well-adjusted adolescence that it cannot be surprising that he is vulnerable, attracted to the dark side. It should not be surprising that as a young adult that he is not emotionally well-developed or balanced. He has big issues stemming from the legacy he carries in his blood and the circumstances he faced in his formative adolescent years. This is not to excuse his behavior, but it might help to explain a lot and show that there are multi-dimensions to this villain that many try to keep in a one dimensional category.

We see this manifested when they fail to get the droid from Jakku. Hux proposes to use their weapon to destroy the republic which supports the resistance. Kylo Ren turns to look at Hux as Snoke approves the suggestion. Hux knows that this hits close to home for Ren. His parents are protected by the resistance military forces, thus this is a threat to his family. And still being conflicted, this shows that it worries him. Later, when Hux proposes using the weapon against the resistance, Ren begs Snoke for guidance to get the information from Rey. He is desperate to please Snoke but he is not ready to be implicit in the death of his parents at the Resistance base, perhaps desperate to save them as well.

When he confronts his father, who it’s apparent he has bitter feeling towards, we find out, when he reads Rey’s mind and senses her fondness for Han, he is calm, not in a rage, tearful. The scene begins with him masked, but his father persuades him to unmask himself. He submits to his father’s will by removing the mask. And now he stands literally unmasked and he tries to maintain a facade of toughness, disregard for his father in this stand-off. However, he flinches when approached by Han. I don’t think that even at the moment they were eye to eye that Ren knew if he was going to join his father or kill his father.

I am convinced that his words, “I want to be free of this pain.” were a genuine cry for help, a moment he was ready to ask to come home, a step towards the relief in revealing his secret that he just wants to rejoin his family. As a fan, I wanted that so much for that to be true, for this tension to result in a reunion, for Leia and Han’s son to go home so we can see them become a family again. But as a film viewer, that would have been too easy solution to this conflict; it would have been unsatisfactory. So I was fearful of what was to come next; I was yelling in my head to Han Solo, “RUN!” And although Han really could not escape, I thought that maybe Ren would attempt something but that maybe Chewie would intervene and maybe Han would just get badly hurt. I was not prepared for Ren to do what he did.

As the light changes to red, something makes him decide that he will seek the relief by making the decision to kill his father. And in igniting that lightsaber and holding it intently into his father, he face is so sinister and hate-filled. As he backs away he does sign in anticipation of a sense of relief for revealing the degree of hate he felt for his father. He had been mourning the metaphoric loss of his father for a long time, and it’s a loss that he acted to make real and permanent. But he knows deep down that he did not hate his father enough to feed a murderous rage. And he dons a figurative mask, feigning relief in making this final act to bring him to the dark side, but those dark, doe eyes keep the audience from believing that.

During the firing of the Starkiller base weapon passing by Ren’s ship (the finalizer), the camera is positioned behind him then the view is switched to a head on shot of his masked face. The glare of the weapon’s beam is reflected on his mask, but no emotion is shown. Ren knows that this show of Force brings the First Order closer to destroying the resistance, his mother, if he is unable to track down the map to Luke. We supply the gravity of this moment as Lisa Zunshine explains with the Kuleshov Effect, where images are juxtaposed with expressionless faces, the audience supplies emotion (80). We supply the emotion of this scene--Ren’s thoughts because we know he was trying to prevent this action from happening. “What drives our interpretation of a character’s mental state are our earlier interpretations of other mental states.” (81) We know that he is conflicted, that he feels remorse in destroying the Republic – this is part of the conflict, the “light” he feels pulling him away from the dark side.

The audience is conflicted about Ren because he is the product of one of our favorite couples, and we want him to choose a path that makes them proud of him, that honors all for that they fought. The audience is also conflicted because of the ways this villain tries hard to compare to, but mostly contrasts Darth Vader. He is not the ruthless villain Darth Vader was for the audience of Episode IV and V. Compounding this conflict is Ren’s unmasking. Darth Vader was not unmasked until the very end of his life. Ren doesn’t even need a mask, but he willingly reveals himself to his enemy, Rey.

The audience’s conflict about Kylo Ren grows because his unmasking reveals the actor’s face, and many may have worked to reconcile the other roles in which they’ve seen this actor with his portrayal of Ren. As Zunshine explains, “In film the actor adds another dimension to the character, an extra level to process.” So not only is this character the son of a favorite couple, he is also a character from another story. However, the filmmakers have done such an incredible job distancing him from his other known role. Many of the Star Wars actors first became known to the audience through the Star Wars films, but the actor who played Ren was a familiar face to many of the audience members.

I was in the position of seeing this actor for the first time as Kylo Ren and not as any of the other characters he has portrayed. However, I have since seen him in his role in other films and the TV show, “Girls,” and I am impressed on how different and convincing he is in these different roles. Something about the films made him look very different from the character he plays in “Girls,” and I can’t quite pinpoint what those particular strategies are in the film besides his acting: lighting, hairstyle, angles, costuming, makeup perhaps. Something was done to make him distinct in this film. I wonder if the audience that had seen him in the TV show “Girls” before seeing him as Kylo Ren think that his appearance is really different between the two productions. Part of me still believes that this is not the same actor, and I want to know why, even though Adam Sackler on “Girls” behaves somewhat like Kylo Ren when he gets frustrated. As commented on in The Atlantic, “I can imagine Driver-as-bad-guy being a bit petulant and petty, not unlike his Girls character in a bad mood, or like Loki, the one successful Marvel movie villain thus far.”

My impression and assessment of Kylo Ren is compounded by this actor. As Zunshine explains, “Once the actor’s face gets factored into the equation, our mind-reading adaptations have some-thing extra to process” (85). The filmmakers and Adam Driver have done a spectacular job making Kylo Ren look nothing like the other characters that Driver has played. The filmmakers have done an incredible job showing Kylo Ren’s many faces. Of course, there is the Kylo Ren we see with a mask. Then there is Kylo Ren unmasked, not repulsive to Rey nor the audience, actually quite attractive to many when he is interrogating her. When he rushes to Snoke unmasked, the angles are not flattering. His crooked nose and teeth are accentuated. But when he confronts them in the snow battle, he is almost more youthful, even his voice sparks of innocence, “We’re not done.” But most of all, he does not look like Adam Sackler of “Girls” or other films that this actor has been in. When he shouts “traitor” it hints of ugliness, but then during the scene he is an attractive sight. When he has Rey backed against the chasm and tells her, “You need a teacher” his desperation is manifested in an unflattering angle, but these moments that he is unmasked depicted in an unflattering light or angle are not as dominant as the attractive face, and attractiveness is typically associated with the hero, the light side, further emphasizing his conflict and pull to the light. I don’t want him redeemed because I love my dark side cupcake, but in this film, it sets it up so that result would not be a surprise.

Archives of the Last Jedi Academy (continued, pt. 4)

The Recovery

The medical droid gave her clearance to start her Jedi hand-to-hand training again…with the younglings. There was no contact in the sessions just technique drills. Everything was muscle memory, but the muscles on the left were so contracted and stiff.

After 3 months of this humiliation, she was cleared for one-on-one training with a Jedi guard. Then after that was able to rejoin her age group, not at the level she had been, but at least she wasn’t the tallest one in the room. Impatient about returning to where she left off, she pushed her training; every move was exaggerated exertion, every punch harder, every kick stronger, every saber spar pushing the limits. Hesitancy disappeared from thought, which released the flow of the Force.

Master Luke granted her permission to use the training hall for practice in the early morning. The room took on a new persona when she was in it alone, no droids or assessors in the upper galley looking down on her; it was just her, the space all to herself for her to recapture her ability. Her moves were second nature but the muscles still screamed out from disuse. However, by the end of the first hour, balance had returned, the ability to sustain positions became not quite easy, but natural, places where she was supposed to be. Every time she felt the inadequacy of the recovering parts and the synthetic bone in her thigh, she thought of him and her strikes strengthened. Since his clumsiness put her in the infirmary, not once had he come to see how she was doing, perhaps maybe even apologize.

The next day, she wanted to start practice earlier. A violet mist lingered among the piercing cold scarlet dawn, hovering over the plaza between buildings, trailing behind her as she entered through the viewing galley of training hall. Expecting the silence to preface her practice, a voice below called out.

“This space is occupied. You must leave.” Down below, Ben and a Jedi temple guard were face to face, as she turned to hurry out, she heard their sabers ignite and lock. Stopping and looking down, she expected to see the clumsy moves that had disappointed her perception of him and injured her before leaving, and as she peeked down, Ben and the guard looked back at her. Her eyes grew wide and she backed up, running out of there and back into the violet mist.

Well after her actual granted time before returning for her practice, she returned to the hall. He was still there, alone, standing in the middle of the mat, eyes closed, hands linked behind his back, surprising her as she set up her space.

“I’m so sorry for interrupting this morning.” She called down. If this had been before her injury when she held him on that Skywalker pedestal, she might be afraid that she had made him angry. But since the accident and his failure to even check on her recovery, she wasn’t very fond of him anymore, saddened that the grandson of a warrior so revered in her culture had been such a disappointment.

“Apprentices should not overstep their bounds. You should be aware how unusual it is for you to have been given special permission to use this room and be more cautious when entering before your unprecedented granted time.”

At least an apology or a pale attempt feign regret might could have been attempted, she thought. Whatever his cultural traditions, certainly it was appropriate for a person to do if they had injured another person so grievously. But then, it hadn’t been a comfortable situation when they had interacted before then. He had intruded on her work in the archives, and read her thoughts on the page but not a lot was said between them. And after experiencing the disconnect happening in his body that caused her injury, she thought that perhaps he just didn’t know how to coordinate himself enough to interact with her.

She also wanted to tell him not to forget that he was an apprentice, too. But, although she kept the words from being vocalized, he read her thoughts and glared at her. After slight embarrassment by her sass came irritation; he should remember his place, too; the special privilege everyone knew he had as Master Luke’s nephew, as Darth Vader’s grandson was seen by some as unfair, that every padawan was entitled to just as rigorous a training as he was.

“I know you know that,’ She began after being certain he captured those thoughts. “All of us here have every right to expand our training; we all have a unique descendancy, gifts from our ancestors that deserve attention to enhance our ways with the Force.”

“I am the descendant of the “chosen one.” He responded and stepped towards her.

“The chosen one from a certain point of view.” She vocalized, and stepped towards him. “Now, can I have my given time in this room?” He stared for a moment, and she smirked, carefully examining his face and the dark eyes that had looked on her crafted thoughts with intrigue a few weeks ago, to tell him she wasn’t intimidated, nor impressed by his legacy, but she knew he’d know that was a lie. Her eyes traced over his features and felt his muscles tense. Then she blushed as he read a thought of hers that she didn’t expect and couldn’t stop.

“Go.” She turned away and finished setting up her space. He smirked back at her and turned and walked out. She had to struggle to keep her eyes off of him as he left. Her heart was beating so fast that she didn’t think she could calm down and practice. Covering her eyes with her hands at this last tender thought of his, she treaded upon a fine line between sobbing and laughing from embarrassment and was able to fall upon the latter.

After walking out, he reentered the viewing galley and watched her. He felt immense guilt for injuring her as she struggled with the positions on her left side and tears came to her eyes when her injury did not allow her to complete a sequence. Unable to balance in a routine the hologram deemed simple she threw down her saber then punched the wall and shouted. She looked up to the ceiling and sighed, and he backed against the wall of the viewing gallery.