Weekend Watching and Summer Reading

Weekend Watching Recap

1. To All the Boys I’ve Loved Before (Netflix)
A 16 year old’s secret letters to her crushes, some years old, get mailed. Including one to her first kiss and one to her neighbor, who her older sister just broke up with. Yikes. A soon-to-be-classic teen romance starring an East Asian protagonist.

2. The Guernsey Literary and Potato Peel Pie Society (Netflix)
Just after WWII, a London writer begins conversing with a member of a book club on Guernsey, an island in the English Channel which was under German occupation. The writer travels there to meet the club’s members, including her handsome pen pal, and begins uncovering the mystery of what happened to the book club’s founding member.

3. Crazy Rich Asians (theater)
An NYU economics professor is invited to join her boyfriend on a trip home to Singapore for a friend’s wedding, where she discovers he’s the “crazy rich” Prince Harry of Southeast Asia. And almost no one—from his mother to the bride’s friends to strangers on the street—are happy about him choosing a “commoner”. A modern Cinderella retelling with an all Asian cast.

All three movies are based on books! Speaking of books…

Summer Reading Recap

Furyborn by Claire Legrand
If you don’t like fantasy, this book is my best hope for changing your mind.

The Day of the Duchess by Sarah MacLean
A compelling, complex, nuanced love story that begins with a petition for divorce.

The Woman on the Orient Express by Lindsay Jayne Ashford
A novel about the real journey that inspired at least 3 of Agatha Christie’s novels, including her most famous.

The Murder of Roger Ackroyd by Agatha Christie
One of the best Agatha Christie’s I’ve read yet.

Jackaby series by William Ritter
Sherlock meets Grimm-style fairytales in an alternate 19th-century NYC.

Rolling in the Deep by Mira Grant
While filming a mockumentary in the Marianas Trench, the crew discovers real (murderous) mermaids.

Brown Girl Dreaming by Jacqueline Woodson
I’ve written about this book before. Basically, it’s a novel in prose and you need it in your life.

Tropic of Squalor by Mary Karr
A short but deep collection of poetry by a best-selling, hilarious memoirist.

The Martian by Andy Weir
I’ve read this 4 times in as many years.

Power, Institutions, and the Force

***Extensive SPOILERS for Star Wars: The Last Jedi. You have been warned.***

In the emotional climax between Kylo Ren/Ben Solo and Rey, Rey is tortured by Snoke, Kylo Ren turns on and kills Snoke, the pair defeat the red-clad guards, and now they must decide what will happen next. Both have entered this fight with assumptions about their end goals, and only now, when it’s just the two of them, do they realize how different these expectations are. Kylo asks Rey to join him in making a new order in the galaxy. Rey begs him not to choose this path of corruption.

They’ve been explaining their positions throughout the movie, but until this point they believed the other thought enough like them that the two of them could agree. And, honestly, I found Kylo Ren’s argument surprisingly relatable. All the only institutions are broken. Let them die, he says. We know how broken it all is. We can do things differently. We just have to let the broken institutions die. We have to let go of our ideas of how things have to be so we can build something better.

Even Luke, our dear, salty space uncle, is disillusioned with the institutions of the past and he makes sure Rey knows why they shouldn’t be resurrected. His unilateral decision about his nephew Ben’s darkness, and his power over him, is what pushed Ben to the dark side. Rey points this out to Luke, that his failure was a misuse of his power as the sole Jedi master and as Ben’s uncle and mentor. By the red throne room confrontation, it seems Kylo has come to the same conclusion: the Jedi Order is just as broken as any other institution. His uncle tried to resurrect it and Kylo suffered, and was nearly killed, because of it.

This morning on NPR, I heard a similar argument to Kylo’s, along with a guest asking young people, particularly millennials, not to completely abandon all the old institutions of government and civil service. The speaker agreed that institutions are fundamentally broken in many ways, but insisted that they serve a vital purpose: continuity. This is more of Rey’s philosophy. The First Order is tyranny. The Republic and it’s Jedi Order were also deeply problematic. But Rey doesn’t think others’ lives should depend on her whims, and in Leia and Poe’s arcs we see the need to learn and pass on wisdom so that the resistance, its members, and hope survive.

Kylo is willing to kill many people and to let many many more be killed for this purpose. And murder—since we’re talking about the rise of fascist regimes, it probably needs saying—is wrong. Including murders you allow to occur because the results will further your own purposes.

Kylo asks Rey to join him, to be his balance in the Force and in power, to let him be her balance and teacher. He asks that she accept that the existing institutions cannot be redeemed or saved. He asks that she give up on everyone who still clings to these institutions. He demands that she be complicit in the murders of hundreds of resistance members within sight of the late Supreme Leader’s command ship and the oppression of millions across the galaxy. After her experiences with Luke and Snoke, and confronting the truth about her parents and life on Jakku, he believes she will.

You don’t have to do it yourself, Ren says of the deaths. You just have to let it happen. Which is exactly how fascist regimes come to power, with the majority doing nothing so that, one day, they can hold more power. Even if that promise of power is a lie. I’d even say that it’s always a lie. Power corrupts. No one interested in sharing power with the masses wants loads of people to die in order to obtain that power. You can’t care about people’s freedom while not caring if they die.

I believe Kylo recognizes that he is a better person because of Rey’s influence. He wants Rey to be a part of this mission. He doesn’t want to be alone. But when she rejects his worldview and refuses to join him—refuses to accept the murders of hundreds and the oppression of millions in the name of one powerful person’s version of progress—Ren does not accept her decision and go about his mission on his own. He doesn’t wait out the battle on the planet or begin to dismantle the existing First Order power structures. He doesn’t wake up, fire Hux and Phasma, release all the Stormtroopers, and destroy the First Order ships. Rather, he lies about Rey and embraces again his existing power within the largest, most corrupt institution in the galaxy.

Remember, this is minutes after Rey disagrees with his worldview, which is minutes after he promises to share power with her.

We don’t know Ren’s ultimate vision for the galaxy, but we are given a glimpse of possibility: a trusting and caring team, Rey and Ben Solo working together to eliminate oppression and bring balance to the Force. He is more dark, but possesses light. She is light, but possesses some darkness. Together, they can be in balance. If only she will accept oppression of others, but Rey will not. If only Kylo will work within the existing institutions, but he will not. Rey asks him to use his existing role of power to save lives, but Kylo wants them all to die instead so he and Rey can rule together, as they see fit.

Luke believes he’s right that the Jedi order should die when Yoda’s force ghost sets the ancient tree on fire, but that wiley master knew that the sacred texts, the building blocks of the Jedi and their understanding of the Force, were safe aboard the Falcon. In Rey’s choices, Yoda’s lightning, and even the final exchange of the movie between Rey and Leia, the filmmakers seem to be saying, “Yes. Tear down what’s broken. But don’t burn it all. Don’t hurt people to do it. Go back to basics. The basics are good. Start from there.” Considering the “Weinstein effect” presently gripping Hollywood, I find this argument particularly poignant.

Recently, a friend shared about a dysfunctional dynamic in an organization she belongs to. The person with the most power in the group felt threatened by anyone who disagreed with her and was actively discouraging discussion and making others feel small. This leader initially joined the group when only one person had a voice and only that person had any power. In her eagerness to dismantle that system in which she was voiceless, she created a new system in which only her voice mattered. She doesn’t realize that she had helped created a system of oppression, just like the one she had suffered under, but this time she was the oppressor.

I read accounts of abuse, death, oppression, corruption, and listen to analysis of incompetence run rampant in the most powerful positions in government, supported by people claiming to value the opposite traits in humanity. I am tempted by Kylo’s message. I think the tired, jaded among us were meant to be tempted by it. Let it die. Just let all this horrible crap crash and burn. We’ll make something better. But power doesn’t work like that. Nor does creation. We must have honest group discussions, diverse voices, a populous that asks questions, leaders afraid of their own power, and checks and balances to both power and privilege. And I believe that we do need institutions. Not as they are at present, but institutions that will provide a framework of fair operations and protection of the vulnerable and marginalized so that no one is oppressed. I believe our rebuilt institutions should be able to survive in tact without its builders and leaders.

I don’t know where Star Wars is headed, if Kylo Ren will be redeemed somehow or not, if Rey will manage to create a freedom-oriented teaching environment for force-sensitive people. I come back to hope. I find more hope in a Falcon full of porgs and friends and mentors who work to give others freedom than in powerful people promising to forsake their power once they have a different kind of power. This year, as I call members of Congress and sign petitions and ask questions in response to diverse sources of news and commentary, I am leaning on hope. I am choosing to believe this country can be better. Rebellions are built on hope.

For the Love of Hallmark Movies

It’s hardly a secret—though I haven’t talked about it much here—that I love Hallmark movies. Admittedly, they aren’t always the highest quality possible, but they are sweet, comforting, swoony, and leave me smiling. When the world feels like the flashback chapters of a gritty post-apocalyptic novel, it’s really important to me that I’m smiling when I close the back cover of a book or turn off my TV to go to bed.

Yesterday I read an excellent discussion of the use of “fluffy” to describe books, particularly Young Adult books (my favorite genre). Although some author balk at the word, readers generally use “fluffy” to mean a book, usually a contemporary romance, with little angst or melodrama that makes them feel happy and that they often reread. Hallmark Channel original movies, for me, meet this definition of fluffy. They aren’t only cheerful, neither are they insignificant. They could have wonderful messages or deal with deep or complex topics. The angst is limited in degree and topic to the relationship, and because it’s a Hallmark movie, we know what to expect and how it’s going to end (happily).

Now, let’s talk about what goes into the structure of a Hallmark, using a favorite fall Hallmark movie as a case study.

1. Plot set up. We’re introduced to out main character—almost always a woman—and the plot element that will put the main character in a position to meet the love interest—usually a man.

2. Meet cute. The couple meets for the first time or reconnects after a long separation, and they often don’t get along.

3. Thrown together. For plot purposes, the couple has to spent time together, though they try to maintain physical or emotional separation. This is often because of initial dislike, past hurts, or the existence of a significant other.

4. Bonding. The couple sees good qualities in the other person, overcome an obstacle, and help each other advance their goals. This takes most of the movie—everything except the first fourth and last fourth of the movie—which is why it’s really important to have an interesting situation or reason why they’ve been thrown together, as well as compelling goals for each person.

5. Small crisis. At the 50% mark of the movie, something relatively small but meaningful happens, often threatening one of the character’s goals, and which can only be overcome together. Doing so solidifies the relationship, revealing to the couple that they each care for the other. A first kiss might happen here.

6. More bonding. Now even closer, the couple works together toward their goals with increasing cuteness, perhaps peppered by a second kiss.

7. BIG PROBLEM. 75% of the way through the movie, the romance is threatened by a big problem, the couple separates, and everyone is miserable. In Hallmarks, the problem is usually something objectively small, like a misunderstanding or the reappearance of the aforementioned significant other who no one likes, as opposed to a massive problem like both of their dreams came true but now they live in different countries. Massive problems are difficult to overcome in the last fourth of the movie, so usually a simple but honest conversation will solve things. However, first they have to be miserable and the audience must pretend to wonder if they’ll ever work it out. (They will. This a Hallmark. We’re here for happy endings.)

8. Reconciliation. Often prompted by a friend or mentor shedding new light on the situation, one person doggedly pursues reconciliation, usually in a big or public gesture, offering a solution to the problem and pledging their love. This is always where the couple kisses. It might be a first kiss or the third kiss, but they kiss.

An Aside on Kissing: Hallmarks generally have a 3 kiss rule. If the couple first kisses around the halfway point of the movie, they likely kiss again before the BIG PROBLEM and kiss a final time to cement their reconciliation. However, in slower burn sorts of movies, the first kiss is at the end. Cheesy clichés like a Christmas tree lighting up in the background, the bang of fireworks overhead, or the first snowfall often accompany these finale moments. Some actors and actresses sell this well. Sometimes the actress is Danica McKellar (Winnie from The Wonder Years), who always looks doe-eyed and devastated right before the final kiss. This would be annoying but okay if she’d just follow it up with non-awkward-looking kiss. But she doesn’t. Ever.

To help us understand how this structure plays out, I offer All of My Heart, a goat-tastic fall Hallmark movie from 2015. Its sequel (a Hallmark rarity) came out earlier this month.

1. Plot set up: Jenny, a young chef wanting to open her own restaurant (played by Lacey Chabert, Gretchen from Mean Girls), learns she’s inherited a house in the country from her great-something-aunt. She decides to adjust her dream and open a B&B, a “restaurant with beds,” in the big country house.

2. Meet cute: Brian (played by Brennan Elliot), a Wall Street financial consultant, inherits the same house and, since he and Jenny have equal claim, wants to sell the house and split the proceeds. Jenny asks for time to start her business and buy him out, Brian wants the deal done so he can move on.

3. Thrown together: Brian is fired from his firm and can’t afford his apartment, forcing him to move into the inherited house Jenny is already living in.

4. Bonding: Money-strapped and grumpy, constantly searching for a new Wall Street job, Brian tries to save money by fixing the house’s many problems himself. He’s quickly won over by Jenny’s cooking and encourages her to sell her pastries to local cafes and restaurants, helping lay the base for her future inn. Jenny likes having help, even if Brian isn’t naturally handy, and flourishes under his encouragement and business advice.

5. Small crisis: Gabby, the nanny goat that came with property, goes missing. When Brian and Jenny finally find her and get her back to the barn, they learn she’s in labor. The morning arrives with happy kids, happy housemates, and a happy Gabby.

6. More bonding: Paint war on the porch, singing pipes, a wobbly table, a stuck window. New lock screen images of the furry kids. Jenny gets a deal with a regional supplier and Brian finally fixes the sink.

7. Big problem: Brian is hired to consult again and takes off back to the city. He’s just as good at his job, but not enjoying it like he used to. The advance on Jenny’s baked goods deal gives her enough funds to start buying Brian out. After he signs a few papers, they’re connection will be severed forever.

8. Reconciliation: Brian returns early, asking Jenny to let him move back for good. An epilogue scene includes the B&B’s grand opening and Brian’s proposal to Jenny.

I also want to point out that this structure is similar to most romance genre books—contemporary, historical, fantasy, and otherwise. Furthermore, it’s the basic structure I will be using for this year’s cozy mystery NaNo project (Eeek!).

I’ve already watched my first Hallmark Christmas movie of the year and am planning to enthusiastically watch and rate all 31 holiday movies Hallmark is debuting this year. I don’t want to be too annoying about this, so I’m starting a new tab on the site (see above, or follow this link) for my summaries and ratings of all the Christmas Hallmarks I watch this season. I’ll also post on Facebook and Twitter when I update the list, in case you’re into that sort of thing.