Prefacing this entry with the usual SPOILER ALERT for Star Wars: The Force Awakens, although seriously, if you’re one of the eight people left in the world who hasn’t seen it yet, what’s stopping you already? I’m gonna get into major storyline discussion here, so please stop now if you don’t want to have the movie ruined for you. Should you proceed past this paragraph, you are tacitly agreeing to hold me blameless. Putting on the hold music while you consider wading further…
…doo dee doo dee doodeedoo, da da da da, dara dada daa. (That’s the Cantina Band song, FYI.)
Now that we’ve had a little over a month to watch, re-watch, digest, mull, contemplate and postulate regarding the implications of the newest Star Wars movie, not to mention its – in the modest opinion of this scribe – gobsmackingly awesome lead character, we turn our lonely eyes to imagining what lies beyond the horizon of December 2017 and revelations promised to us by the ambiguous finale there on that isolated mountaintop in the middle of an endless sea where nascent Jedi Rey presented the fabled blue lightsaber of Anakin Skywalker to its last master Luke, just before the iris wipe to credits. One of the biggest mysteries left unanswered as those blue names began fading in and out surrounded Rey herself, how she was able to achieve a decent mastery of the Force so quickly, and if perhaps the solution lies in her parentage. There are three main theories circulating the Internet to that regard: that she is Luke’s daughter, that she is Obi-Wan Kenobi’s granddaughter, or she is another child of Han Solo and Leia Organa whom they chose not to acknowledge during their many interactions with her in The Force Awakens. While it’s very possible that one of those theories is the correct answer, I would argue that from a story perspective, it’s better if Rey is none of the above. Why? Let’s get into that.
1. The Star Wars universe is incestuous enough already.
One of the loveliest aspects of the narrative of the very first Star Wars movie is how each character guides you to the next through a series of what seem like chance encounters. Princess Leia hides the Death Star plans inside R2-D2, who meets up with C-3P0 and crashes with him on Tatooine. They are abducted by Jawas who then sell them to the family of Luke Skywalker, who takes them to Obi-Wan Kenobi, who takes him to Han Solo and Chewbacca, who takes the whole gang back to Princess Leia, completing the circle. With the sequels we learned of familial connections that made that journey in the first film seem like an amazing series of coincidences. Indeed, it’s well known that making the villain the father of the hero did not occur to George Lucas until well into the second draft of The Empire Strikes Back, and likewise had he known that Luke and Leia would turn out to be siblings in the next movie we would have escaped the notorious makeout scene in the Hoth medical bay.
You can’t argue the dramatic impact of those revelations – the original trilogy probably would not have had as much resonance without them – but as modern writers and directors, you can’t go back to that parched well yet again without risking the audience’s suspension of disbelief. The prequels made things worse by establishing that C-3P0 had been built by Anakin Skywalker himself and that R2-D2 had been present for every significant event that transformed the Republic into the Empire, the cumulative effect of which was to retroactively make old Obi-Wan Kenobi into the biggest exaggerator/outright liar this side of Coruscant. (Theory #2, that Rey is a descendant of Kenobi, would make him an even bigger liar, and render all his sanctimonious teachings to Anakin about forsaking attachment for the greater good pretty well moot.)
It almost escalated into the realm of the ridiculous: we were spared, thankfully, an “Anakin, I am your father” moment from Episode III when a planned monologue from Palpatine about how he used the Force to will the midichlorians (ugh) to create the young Skywalker was dropped from the final script. To paraphrase Douglas Adams, space is really, really, really, really big. Are we to accept that every major happening in the really, really, really big Star Wars galaxy centers on three generations of a single family who keep running into each other in amazingly convenient fashion, and hold back just enough truth from their encounters to keep the plot moving right along? The Force Awakens was fairly criticized for having its story rely too much on coincidence, and Episode VIII should endeavor to move away from that – not turn the whole enterprise into a “who’s your father” exercise that would embarrass Maury Povich.
2. It weakens Kylo Ren’s character arc.
Kylo Ren, a.k.a. Ben Solo, sees himself as the natural heir to Darth Vader (the evil part of Vader, not the redeem-yourself-in-the-end-by-killing-the-bad-guy-aspect). As a member of the hallowed Skywalker line, Kylo believes he has been chosen by the Force itself to fulfill a grand purpose left unfinished. When he is using the Force to extract information from Rey’s mind and finds his own mind under siege by her awakening Force powers, his deepest fear, that he will never achieve that goal, is revealed. After Rey rejects his offer of teaching her and defeats him in their climactic lightsaber duel, the implication for Kylo going forward is an escalating path of bitterness that he is not, in fact, the Chosen One he believes himself to be. That his destiny is one of mediocrity, being vilified for his murderous actions, and ultimately being forgotten. How much more brutal for his ego does it become, how many more lightsaber-slashing tantrums ensue, if the person who is fated for greatness in the Force turns out to be a mere nobody from a backwater world plucked from obscurity, instead of being yet another scion of an already famous family?
Kylo feels entitled to greatness by virtue of being descended from greatness. If he is pitted against someone descended from that exact same greatness, what results is petulant cries of “mom and dad always liked you best” as glowing blades clash (and Kylo is teetering a little too far on the emo scale for the liking of many to begin with). It becomes the equivalent of Kim and Kourtney and Khloe duking it out for Force supremacy, and honestly, nobody really roots for anyone in that contest, do they? Instead, Kylo’s rage at failing to measure up to someone who has not a drop of Skywalker blood in her would truly push him over the edge – and if he is to follow Anakin Skywalker’s ultimate path of redemption, the choice to save someone who was not family (especially after he had no problem murdering his own father) would be all the more meaningful.
3. It makes Rey less special, and it reinforces the dubious lesson that greatness depends solely on where you came from.
Daisy Ridley’s performance as Rey elevated her above contemporary genre female heroes simply by how much whiz-bang joy she invested in it. Rey wasn’t one of these downtrodden “sigh, I guess I have to go reluctantly save the world now because I’m the only one who can” tropes yanked from dystopian teen fiction. While her choice to join the fight was not a willing one, once she committed she went all in, and brought a sense of wonder to the new world she was discovering both without and within. Despite her initial and understandable fears, she embraced her abilities with the Force and became stronger than the young “no one” had ever dreamed. Obviously Rey’s connection to her family is a pivotal component of her character; when we first meet her she is marking off the days since she was abandoned by them on the desert planet Jakku, and she longs to go back and continue waiting for them to return. In the vision that accompanies her first touch of the lightsaber, we see a young Rey begging them not to go, and a spaceship rising into the sky in the distance, the faces of her family conveniently kept off camera for a possible future revelation. If we see a future reprise of this scene and the camera whips around to reveal Luke Skywalker, or anyone else we already know, Rey’s choice to grow becomes less about personal courage and more about inevitability and predestination. In that iteration, the choice was never hers – her DNA made it for her. Put it in more contemporary terms: a young man is born to a legendary major league home run hitter and eventually grows up to hit even more home runs than his father. How interesting is that story, versus that of a young man born to an non-athletic minimum-wage day laborer who against much longer odds achieves the same goal?
The Chosen One is a trope that stretches back to the beginning of human storytelling, and resonates because there is a part of every single one of us that sometimes wishes we were “chosen ones” ourselves. But in a way, this fantasy is abdicating a very precious responsibility – free will, our ability to write our own destiny – by wishing that someone else had set everything in motion for us long before we were born. That we were born into royalty, or a long line of millionaires/magicians/mutants, or whatever, and all that is needed to rise from the puddle of mediocrity in which we think we swim is that fabled call to adventure. There is something to be said for the concept of a true nobody who comes from nothing rising to seize the lightsaber by virtue of her own determination and hard work (a concept sure to appeal to the libertarians out there) and righting the course of history. It would certainly be a positive message to send to the young women who identify with Rey that they don’t need to be of noble blood (or marry someone who is) in order to make something remarkable of themselves.
We know, based on the existence of Yoda, Obi-Wan Kenobi and the countless other Jedi who populated the prequels, that the Force is not confined to the members of the Skywalker family. Kenobi says in the first movie that the Force exists in all living things, and as much as you might hate the whole midichlorian concept, it reinforces this idea that everything has the ability to touch the Force on some level. We also know that the Force is sentient, and is constantly attempting to balance itself by investing individual people with an enhanced ability to use it. For all we know, there could be thousands of young men and women like Rey spread throughout the galaxy, gifted in different areas with an unusual level of aptitude that they don’t fully understand. Poe Dameron’s ace piloting skills, for example, might even be another manifestation of the Force, if to a more limited degree. But only Rey has the courage to “let it in,” which, if it speaks to her fortitude and not her parentage, makes her all the more compelling a character. It tells the audience that every last one of you has the potential for greatness, and nothing about that requires that your last name is or has ever been Skywalker.
4. And it’s exactly what we’re expecting them to do.
And that is my biggest gripe with the potential big reveal about Rey’s parents in Episode VIII. J.J. Abrams et al did such a phenomenal job in keeping Rey’s story secret for The Force Awakens that watching her discover her true self was the most wonderful surprise about a movie that relied so much on echoing the story beats of the first, classic trilogy. I can’t help but thinking that if Rian Johnson and Colin Trevorrow (respective directors of Episode VIII and IX) go down the well-trodden road of hanging the emotional stakes of the next two movies on a tired, obvious theory about Rey that everyone has already guessed, then the audience response will be a fairly giant collective shrug – and it’s not as though those movies don’t already have enormous expectations to live up to the standard set by TFA. Certainly it’s fun to speculate about who Rey could really be, but we want the answer to be something that nobody ever saw coming. We want to be surprised again, and frankly, given the amount of money and talent going into producing these things, we should see nothing less than their best efforts to do just that. The greatest stories are those where your expectations are turned on their head, not just met (barely).
It was announced this week that Episode VIII‘s release date has been bumped from May to December 2017, ostensibly due to that being a window that steers it clear of the comic-book adaptations and other summer movie fare that might eat into its potential box office take. But it was also revealed that writer-director Rian Johnson is doing another revision on the script (even though filming has already begun) to pare back the roles of some new characters and ensure that the spotlight remains on Rey, Poe and Finn (umm… obviously?). If they are going to take that extra time to make sure we get the best movie possible, then use it to give us a story that will keep us guessing or make us admit in hindsight that “I never would have thought of that.” Don’t count on holding the audience’s loyalty if what you are serving is a lame, obvious “Rey, I am your father” reveal. (The latest theory about Rey is that she is descended from Emperor Palpatine, based on, I don’t know, the fact that they both have British accents? Not quite sure how old Palps was getting some on the side while he was so single-mindedly plotting to take over the galaxy.)
Rey is such a wonderful addition to the Star Wars universe, and to the motion picture science fiction/fantasy genre in general, that it would be a shame to see her lessened by a cheap, easily anticipated plot twist about her parentage. She, and her fans cheering her on from the theater seats, deserve far more. It may be fun to speculate about such things, but I have a feeling that if any of these theories turns out to be right, the result will be only disappointment – and everyone knows we have endured far too much disappointment from this franchise already.