Fri, 28 November 2025
A year after Part I, the Wicked movie franchise returns with For Good, an adaptation of the second act of the Broadway musical. In this episode of Hyperspace Theories, Tricia Barr and B.J. Priester examine how Wicked: For Good takes advantage of the movie format, and the passage of time since the original musical was written, to strengthen the character arcs of Elphaba, Glinda, and Fiyero in tandem with the story’s themes. Like Part I, For Good also maximizes the opportunity to include locations, action sequences, and other visual elements which wouldn’t be possible in a Broadway stage production. The two new songs written for Wicked: For Good, Elphaba’s “No Place Like Home” early in the movie and Glinda’s “Girl in the Bubble” near the end, reinforce the two characters’ motivations for their crucial decisions in the story. Each song also feels especially timely, directly addressing themes of resistance to oppression, the influence of propaganda, and the emotional and psychological obstacles that sometimes must be overcome to make the right choice and do the right thing. Although the characters had similar motivations in the original Broadway show, the new songs for Wicked: For Good reflect the impact of recent political and social events to drive home themes that perhaps felt a little more abstract and distant to many listeners two decades ago. Along the path of their own respective journeys, Elphaba and Glinda also change the other Wicked characters around them, and ultimately Oz itself. Yet For Good also takes place in the background of The Wizard of Oz in a much more direct way than Part I‘s story. If there’s a weak point in For Good, it’s that this movie leans a bit too heavily on the assumption that its audience remembers the details of Dorothy’s plotline from the earlier film, an assumption that may not be as workable for a mainstream movie release in 2025 compared to the theatrical musical attendees at the turn of the twenty-first century. Together, though, Wicked: Part I and Wicked: For Good tell a complete story for Elphaba and Glinda, and how they changed each other forever. Related Links:
Social Media: |
Thu, 11 September 2025
In a matter of weeks, the Sony-produced animated movie K-Pop Demon Hunters became the all-time most-viewed original title on Netflix. A limited-release theatrical run of the sing-along version of the film, for two days on fewer than two thousand screens after it had been available on streaming for two months, was the #1 movie at the box office for that weekend. With four songs in the Billboard Hot 100 chart, including “Golden” reaching #1, K-Pop Demon Hunters has attained soundtrack feats not seen since Purple Rain (1984) and Saturday Night Fever (1978). And the social media fandom for the movie shows no signs of slowing down. On this episode of Hyperspace Theories, Tricia Barr and B.J. Priester discuss the multi-layered success of K-Pop Demon Hunters in its storytelling and in its appeal to fans. Building on longstanding themes of the blog and podcast, we examine the story structure of K-Pop Demon Hunters as a movie that isn’t a heroic origin story for its protagonists, and how the character-driven narrative modifies some classic plot beats and character archetypes. Although it isn’t an origin story, K-Pop Demon Hunters shares features in common with contemporary Heroine’s Journey stories, in contrast to tales based on the older monomyth of the Hero’s Journey, particularly its climax in a victory based on democratic collective participation rather than a triumph in combat by Rumi or Huntrix. In many ways, K-Pop Demon Hunters succeeds at developing the core narrative and world-building elements that the Star Wars Sequel Trilogy should have used, but didn’t. We also consider other successful aspects of K-Pop Demon Hunters in resonating with so many people. The movie draws not only from its creator’s Korean heritage and folklore to tell a story with universal themes like shame and trauma, but also from her experience as a lifelong K-Pop fan to weave in moments and ideas that ring true to twenty-first century pop-culture fandom. The soundtrack itself is excellent, of course, but the progression of lyrics and musicality mirrors the plot and character development throughout the arc of the film. And of course it has an adorable animal sidekick, whose role is actually far more significant and impactful than first appears. Related Links:
Social Media: |
Wed, 13 August 2025
For our third episode of Hyperspace Theories podcast discussing the second season of Andor, Tricia Barr and B.J. Priester examine how the series portrays characterization through the use of point of view in its writing and visual imagery. Although prose fiction Star Wars usually relies upon third-person limited storytelling, only revealing to the reader what the characters themselves know or understand, cinematic Star Wars sometimes gives the impression of a third-person omniscient perspective, with the audience as an external observer watching a "true" version of events unfold. In Andor, however, much of the storytelling follows the limited point of view of the respective characters, and deploys effective camera angles and shot framing to convey their emotions as well as to build dramatic tension for the audience.
We begin by revisiting the Ghorman Massacre from our previous episode, considering the ways its portrays the points of view from Cassian, Syril, and Dedra during those crucial events. When then examine Mon Mothma, whose POV scenes begin with her very first appearance in the second season's opening episode, when the camera follows her through a single extended shot in which she must constantly switch her persona and demeanor as she encounters the next person she greets. Other dynamic uses of point of view in these Andor episodes include Vel's perspective during the Ghorman Front's attack on the Imperial character, scenes with Cassian and Bix and with Luthen and Kleya, and Kleya's dramatic mission into the Imperial hospital on Coruscant. |
Mon, 2 June 2025
On the latest episode of Hyperspace Theories, Tricia Barr and B.J. Priester continue their analysis of Season Two of the Disney+ streaming series Andor: A Star Wars Story with a discussion centered on the Ghorman storyline heavily featured across Episodes 4 to 8 and culminating in the eighth episode focused entirely on the the tragedy of the Ghorman Massacre. One major theme of this storyline is the power of propaganda, introduced in the first Imperial scenes of the season’s first episode. We then consider other forms of Imperial manipulation of the events on Ghorman, and the ideas Andor presents about oppression and resistance through the lens of Imperial military occupation, the Ghorman Front and public opposition, and the role of Luthen’s agents on the road to the Massacre. These themes and ideas are reflected across the characterization and character arcs of numerous individuals in these episodes, including Cassian, Luthen, and Wilmon; Vel and Cinta; Dedra, Syril, and Partagaz; and even Mon Mothma and Director Krennic. We also examine how the various new characters from Ghorman – particularly Carro Rylanz, Enza Rylanz, Samm, Thela, and Lezine – illustrate the themes and ideas of the storyline, and how their experiences of oppression and resistance influence their decisions and actions leading up to, and during, the Massacre. In media appearances promoting Andor Season Two, creator and showrunner Tony Gilroy has spoken extensively about the real-world influences on his storytelling in the series, especially his lifelong passion for reading and learning about revolutions across the world and throughout history. Our discussion considers several of these influences, such as wartime propaganda, especially in the twentieth century. Gilroy also references both the French Resistance to Nazi occupation during World War II and the subsequent Algerian resistance to French colonial control in subsequent decades, portrayed in the classic film The Battle of Algiers (1966), which influenced the visual style of the eighth episode in particular. We also point out connections to the American Revolution, French Revolution, and Haitian Revolution, and the significance of Gilroy’s mentions of Oliver Cromwell and the Baader-Meinhof Group. Like George Lucas, who drew heavily on fictional and nonfictional influences when first creating his ideas for the initial Star Wars films, Tony Gilroy’s Andor contains an insightful and impactful combination of fiction and nonfiction inspirations. Related Links: |
Wed, 14 May 2025
Beginning immediately on the heels of Star Wars Celebration Japan 2025, the second season of the Disney+ streaming series Andor, now carrying the same A Star Wars Story subtitle as Rogue One, kicked off its four-week run with its first trio of episodes. The premiere and its title, "One Year Later," sets the framework for Season Two: as each "a movie a week" batch of three episodes brings us a year closer to Rogue One, several interweaving plots advance the characters arcs of Andor's expansive cast.
On this episode of Hyperspace Theories podcast, Tricia Barr and B.J. Priester analyze the first story arc of Season Two by breaking down how each of the four subplots reveals more of the world-building and characterization that drive the story forward. We begin with Cassian Andor examining how his character has evolved since the events of Season One and the lessons he learns in his mission-gone-awry from a Sienar facility to the Yavin IV jungle to his fateful return to his Ferrix friends. The other major plotline features Mon Mothma and the ostentatious wedding for her daughter on Chandrila, which brings with it considerable interpersonal drama for the family and for the still-perilous groundwork for the burgeoning Rebellion. On Mina Rau, the Ferrix expatriates confront the iron grip of the Empire through the lens of unexpectedly timely themes of refugees, undocumented residents, and the risks of exploitation and oppression they face. Similar themes appear in the final subplot, the Imperial characters who shift from hunting rebels to plotting far greater atrocities on Ghorman, all the while planning to use propaganda and manipulation to conceal the truth.
Along the way, we also discuss the color palette used in the costume design for these episodes. Deliberately recurring hues cutting across the storylines indicate important thematic parallels in more subtle visual ways – and also, perhaps, hint toward events to come in future episode arcs. |
Sat, 3 May 2025
On the latest episode of Hyperspace Theories podcast, hosts Tricia Barr and B.J. Priester report from Star Wars Celebration Japan on the latest news and happenings. Highlights from key panels - The Mandalorian and Grogu, Andor Season 2, Ahsoka, Star Wars Animation 25th Anniversary - are discussed. Let's celebrate Star Wars! |
Mon, 10 March 2025
On this episode of Hyperspace Theories podcast, Tricia Barr and B.J. Priester detour from our usual focus on fictional storytelling to discuss an instance of real-world events and surrounding narratives in the form of journalistic coverage of the upcoming retirement of Kathleen Kennedy from her current role as president of Lucasfilm. On February 24, 2025, experienced Hollywood journalist Matt Belloni at Puck reported that “Kathleen Kennedy has informed Disney, as well as friends and associates, that she will exit as Lucasfilm president by the end of the year, per three sources.” Two of the three longstanding Hollywood trades, The Hollywood Reporter and Variety, quickly corroborated the reported, followed soon after by articles considering potential replacements as Lucasfilm’s leader. Then, on February 27, the other major trade, Deadline, ran an extended written interview with Kennedy. Although framed as a debunking of Belloni’s reporting, its substance actually verified the fundamental accuracy of his information while presenting a narrative of Kennedy’s aspirations to remain an important participant in Star Wars movies after her successors takes over. In addition to closely examining the wording of the reporting and the interview for their accurately interpreted meaning, we also consider the implications of these revelations for the future of Lucasfilm and cinematic storytelling in the Star Wars franchise in the years ahead. Media Articles:
Related Links:
|
Hyperspace Theories
Categories
Star WarsSpecial Edition
general
New Galaxies
Night Light: A Ms. Marvel Podcast
Archives
MayJanuary
November
September
August
June
May
March
December
November
October
August
March
February
January
October
August
May
March
February
January
November
October
September
August
July
June
May
January
November
October
September
April
March
October
June
May
April
November
October
September
August
June
May
January
October
August
June
April
February
January
December
November
October
August
July
June
April
February
December
November
October
August
July
May
March
February
January
December
November
October
August
July
June
May
April
March
February
January
December
November
September
| S | M | T | W | T | F | S |
|---|---|---|---|---|---|---|
| 1 | 2 | 3 | ||||
| 4 | 5 | 6 | 7 | 8 | 9 | 10 |
| 11 | 12 | 13 | 14 | 15 | 16 | 17 |
| 18 | 19 | 20 | 21 | 22 | 23 | 24 |
| 25 | 26 | 27 | 28 | 29 | 30 | 31 |
Syndication
