Heart over Mind: Why Details Don’t Matter as Much
I’d like to talk about two science fiction properties today, one of which I like quite a bit and the other which I actively despise. These properties are the Netflix Lost in Space reboot and the abysmal, frenetically empty Rise of Skywalker. In an effort to keep this from becoming a rant on RoS (because that could go on for a while), I’m going to try and focus the conversation here and use the comparison to Lost in Space to draw out certain elemental weaknesses in Episode IX that make it, very basically, a terrible movie and a story poorly told. Spoiler alert, of course, but honestly it’s really hard to spoil a movie that’s about nothing. So, mostly spoiler alert for Lost in Space.
The reason I think this comparison should work pretty well is that Lost in Space has a lot of the same weaknesses that Rise of Skywalker has. Namely, the technical details of the story don’t make
any sense and the pacing is frequently breathless and frenetic. For example:
In Rise of Skywalker
- The idea that the Sith planet is hidden and yet hundreds of thousands (possibly millions) of people need to have traveled there to build the secret fleet makes no sense.
- The idea that a fleet of Star Destroyers could just be hidden underwater while being built makes no sense.
- Lightspeed Jumping makes no sense
- The whole thing with the Sith Dagger makes no sense.
- The fact that Poe’s helmeted friend from that rainy planet gave him the Only Way Off The Planet and then managed to get off the planet anyway later on makes no sense.
- Palpatine’s plan to have Kylo kill Rey only to have him not kill Rey so that Palpatine could not kill Rey only so that later on he could kill Rey MAKES NO SENSE.
In Lost in Space
- Sailboats don’t work like that.
- Re-entry doesn’t work like that.
- Ice doesn’t freeze that way.
- What the hell did the horse eat on the space station for 7 months?
- You mean to tell me nobody thought to look for the kid on that space station for SEVEN MONTHS?
- Everybody’s got computers on their wrists collecting all kinds of data about them but not BIOMETRIC DATA?
- What did the raptors on the desert planet eat before humans showed up?
- So that whole forest is, like a year old? WHAT?!
Both properties have the characters in near-constant peril, sometimes arbitrarily. There is always somebody yelling something at somebody else, such as “GET BACK TO THE SHIP!” or “HURRY UP!” or “RUN!”
And yet, Lost in Space is a hundred thousand times better than Rise of Skywalker. When watching LoS, I am usually at the edge of my seat, holding my breath, cheering, and so on. In Episode IX, I was laughing at the movie, throwing my hands up in frustration, and rolling my eyes. The big question, then, is why?
In Lost in Space the peril is always character oriented and the moments of downtime are spent setting up character relationships. In Rise of Skywalker the peril has very little to do with any of the characters and the downtime is spent setting up the next set-piece or maguffin-related errand.
Look, we all know that none of the Robinsons are going to die (well, I’m pretty sure – not all the way through Season 2 yet) just like we ALL know that Rey, Poe, and Finn are going to live. We all know the good guys are going to win in the end – it’s light space opera, so it’s basically guaranteed. When that’s the case, the trick to getting the audience invested in the peril that you’ve devised is getting you to hook into the emotional state of the characters themselves. You, sitting on your couch at home, are well aware that the Robinsons live through this, but because you are so connected to the Robinsons on an emotional level, you are still anxious for them. You have empathy for their situation. It builds this empathy with flashbacks to the kids’ relationships with their parents back on Earth, with tender moments among the family or even by themselves (the Christmas celebration! Penny’s book! Will’s toy robot! Don and his pet chicken!). The “clever” plans that save the day? They come up with them in seconds and implement them through montage and then whammo, we’ve turned a spaceship into a sailboat and (hand waving) it works or something.
See, we (the audience) don’t ACTUALLY care about the technical details of a story that much. I know, I know – right now you’re trying to marshal arguments to the contrary, about how this or that science fiction movie or book or whatever had crappy science and it knocked you completely out of the book. And here I am, calling you a liar.
That’s right, I said it.
You know what beloved scifi franchise has shitty science and NOBODY CARES? Firefly. Garbage, guys – just straight up crappy world-building on several intersecting levels. Do you care? No.
You know what else has garbage technical details? Star Trek. YES, STAR TREK. The holodeck? C’mon now.
You know what else? EVERY SINGLE STAR WARS MOVIE, YES EVEN THE GOOD ONES!
Even The Martian hand-waved away crucial details to make the plot work!
The reason technical details knock you out of the story is not because the technical details were bad – you’ve forgiven those before and you will again – it’s because you didn’t connect or engage with the emotional content of the story or the characters’ conflicts.
Consider Rise of Skywalker, then. For the first 45 minutes of the movie, almost no one gets to finish talking without being interrupted (I timed it). Any character relationship building that is established is rushed, hasty, and clearly playing second fiddle to the external conflicts. Christ, look at poor Finn – he’s gone something important to tell Rey and the movie literally never gives him the opportunity to say it. What the fuck is that about? We want to hear what he has to say! No, we need to hear what he has to say or we’ll NEVER CARE ABOUT IT! And caring about what happens to the characters is literally the only thing that matters in any story, or, if not the only thing, the thing that needs to happen first before anything else will work.
Much like in the initial Abrams Star Trek reboot, any sympathy or connection we have with the characters in Rise of Skywalker is largely residual – we like them because we already know them from previous properties. There is just about no character building that occurs in the movie itself, with the possible exception of Rey and Kylo (and even that was inhibited by all the planet hopping and macguffin chasing, rather than aided by it). To make matters worse, the few moments where something happens that might affect how the characters think and behave are all erased by the film shortly thereafter. Chewie? Alive. 3-PO? Gets his memory back. Poe’s old flame? Makes it off the planet. Finn’s secret? Doesn’t matter. Hux’s betrayal? Not only nonsensical but discarded arbitrarily in the next scene. That kiss? What the fuck was that about?
Peril, danger, external conflict does not work if the audience has not invested in the characters on the screen. And that is an investment you need to keep investing in. You can’t do in once and expect it to ride for the next three films or six episodes or whatever. The audience is a fickle beast, sitting there in their comfy chair eating Raisinettes and popcorn, and looking for any opportunity to check out of your nonsensical thrill ride. However, once you hook them, suddenly you can violate the laws of physics (or even your own world-building) and almost nobody will care because, like it or not, we are creatures of the heart more than we have ever been creatures of the mind.