“STAR WARS: EPISODE IX – THE RISE OF SKYWALKER” (2019) Review

“STAR WARS: EPISODE IX – THE RISE OF SKYWALKER” (2019) Review

Despite its success at the box office, the second film in the Disney STAR WARS Sequel Trilogy, “STAR WARS: EPISODE VIII – THE LAST JEDI”, proved to be something of a publicity disaster. Many film critics loved it. An even greater number of moviegoers disliked it. Many have attributed this schism within the STAR WARS fandom as a contributing factor to the box office failure of “SOLO: A STAR WARS STORY”. To regain the universal love of the fandom, Disney Studios and Kathleen Kennedy of Lucasfilm brought back J.J. Abrams, who had directed “STAR WARS: EPISODE VII – THE FORCE AWAKENS”, to handled the trilogy’s third entry, “STAR WARS: EPISODE IX – THE RISE OF SKYWALKER”.

Disney Studios and Lucasfilm heralded “THE RISE OF SKYWALKER” as not only the end of the franchise’s Sequel Trilogy, but also the end of the Skywalker family saga, which began under George Lucas. The 2019 movie began a year after “THE LAST JEDI”. The Resistance under Leia Organa has been hiding from the ever growing threat of the First Order, which has been ruled by her son, Kylo Ren aka Ben Solo. Leia has also been training Force acolyte Rey, while orchestrating the Resistance’s attempts to rebuild the organization and form contacts with other worlds and factions throughout the Galaxy. However, the film’s opening crawl reveals that Emperor Sheev Palpatine is still alive, despite being tossed down the second Death Star’s reactor shaft by Anakin Skywalker aka Darth Vader, while being electrocuted in “STAR WARS: EPISODE VI – RETURN OF THE JEDI”. Palpatine vows revenge against the Galaxy for its rejection of him and his power. Leia charges Poe Dameron, Finn and Rey to search for Palpatine and destroy him. Kylo Ren also seeks Palpatine with the intent to kill the latter and maintain his own supremacy of the First Order. Kylo Ren eventually manages to find Palpatine on the remote planet of Exegol. He learns that his former master, Snoke, had merely been a puppet of Palpatine. And the former Emperor wants him to find Rey and kill her in order to remove any possible threat to the resurgence of the Sith Order.

When I learned that J.J. Abrams would return to the “STAR WARS” franchise to conclude the Sequel Trilogy, my reactions were mixed. On one hand, I disliked his handling of “THE FORCE AWAKENS”. On the other hand, I completely loathed what Rian Johnson had done with “THE LAST JEDI”. And when Abrams had promised to do right by the Finn character, which had been so badly mishandled by Johnson . . . well, some part of me did not know whether to welcome Abrams’ return or be leery of it.

There were aspects of “THE RISE OF SKYWALKER” that I liked. I was impressed by Dan Mindel’s cinematography for the movie, especially in scenes that featured the planet of Pasaana. I thought Mindel did an excellent job of utilizing the country of Jordan for those scenes, as shown below:

I was also impressed how Mindel shot the visual effects for the last duel between Rey and Kylo Ren among the second Death Star ruins on the Endor moon. Some of the film’s action sequences struck me as pretty memorable, thanks to Abrams’ direction, Mindel’s cinematography and stunt coordinator Eunice Huthart. I am referring to those scenes that feature the heroes’ occasional encounters with the First Order on Psaana and aboard the First Order star ship. I was also relieved to see the trilogy’s three protagonists – Rey, Finn and Poe Dameron – and Chewbacca spend a great deal of the movie together. The four characters managed to create a pretty solid dynamic, thanks to the performances of Daisy Ridley, John Boyega, Oscar Isaac and Joonas Suotamo and it is a shame that audiences never got a chance to experience this dynamic in the trilogy’s other two films.

There was an aspect of the film’s narrative that delivered a great deal of satisfaction to me. It is a small matter, but involved Rey’s Jedi training. I am very relieved that Abrams finally allowed Rey to receive substantial training from a mentor, who happened to be Leia. A year had passed between “THE LAST JEDI” and “THE RISE OF SKYWALKER”. Rey’s first scene established that Leia had been training her during that year. The movie also established in a flashback that Leia had received her training from her brother Luke Skywalker. Why did I find this satisfying? Most of Luke’s own Jedi training had also occurred during the period of a year – between the events of “STAR WARS: EPISODE V – THE EMPIRE STRIKES BACK” and “RETURN OF THE JEDI”. And during this period, he had received his training from . . . you know, I have no idea on how Luke managed to complete his training. Even after so many years. To this day, it is a mystery. And this is why I am grateful that Abrams and co-writer Chris Terrio had made it clear that Leia had continued Rey’s training between “THE LAST JEDI” and “THE RISE OF SKYWALKER”.

The performances featured in the movie struck me as pretty solid, especially from the leads – Ridley, Boyega, Isaac and Adam Driver. The movie also featured solid, yet brief performances from returning cast members such as Kelly Marie Tran, Domhnall Gleeson, Mark Hamill, Harrison Ford, Billie Lourd, Lupita Nyong’o, and the late Carrie Fisher. Dominic Monaghan, Naomie Ackie, Keri Russell and Richard E. Grant all made nice additions to the trilogy. It was great to see Billy Dee Williams reprise his role as Lando Calrissian. He was one of the bright spots of this film. Hell, it was even nice to see Denis Lawson as Wedge Antilles again, despite his brief appearance. But if I must be honest, I was not particularly blown away by any of them – including the usually outstanding Boyega. Actually, I take that back. There was one cast member who provided a moment of superb acting. I refer to Joonas Suotamo, who did an excellent job in conveying a true moment of grief and despair for Chewbacca’s character in the film’s second half.

But I do have a complaint about one particular performance. And it came, from all people, Ian McDiarmid who portrayed the surprisingly alive Emperor Palpatine. How can I put this? This Palpatine seemed like a ghost of his former self. No. Wait. That was phrased wrong. What I meant to say is that McDiarmid’s portrayal of Palpatine in this film seemed like an exaggeration in compare to his performances in the Original and Prequel Trilogy films. Exaggerated . . . ham-fisted. I found McDiarmid’s scenes so wince-inducing that I could barely watch them. However, aware of McDiarmid’s true skills as an actor, I finally realized that his bad performance may have been a result of J.J. Abrams’ direction. The latter’s failure as a director in Palpatine’s scenes and failure to visualize the character as a subtle and manipulative villain really impeded McDiarmid’s performance.

Unfortunately, McDiarmid’s performance was not my only problem with “THE RISE OF SKYWALKER”. I had a host of others. Many film critics have bashed J.J. Abrams for trying to reject what Rian Johnson had set up in “THE LAST JEDI”. I find this criticism ironic, considering that Johnson had rejected a great deal of what Abrams had set up in “THE FORCE AWAKENS”. Not that it really matters to me. I disliked “THE FORCE AWAKENS”. I disliked “THE LAST JEDI”. And if I must be brutally honest, I disliked “THE RISE OF SKYWALKER”. Like the other two films, I thought the 2019 movie was pretty bad.

My first problem with “THE RISE OF SKYWALKER” was its main narrative. Basically, the entire story revolved around the heroes and the First Order’s search for the now alive Palpatine. The film’s opening crawl pretty much announced to movie audiences that Palpatine was alive without bothering presenting this revelation as a surprise. It is simply the old case of “tell and not show” that has hampered a great number of fictional works throughout time. I believe this narrative device especially does not suit a plot for a motion picture or a television series, because it comes off as a cheat. It is lazy writing. Worse, most of the main characters spend a great deal of the movie searching for Palpatine. And when they finally discover him, no one bothered to ask how he had escaped death after being allegedly killed by Anakin Skywalker aka Darth Vader in “RETURN OF THE JEDI”. How did Palpatine survive being tossed to his death, while being electrocuted by Force lightning? Well, STAR WARS fans finally learned the truth in the film’s novelization written by Rae Carson. The only major character who immediately managed to find Palpatine was Kylo Ren, who used a Sith wayfinder . . . or compass. Meanwhile, Rey, Finn, Poe and Chewbacca had to resort to following clues to lead to first a Sith dagger, and later, a Sith wayfinder – traveling from one planet to another at a dizzying speed. This whole search for a wayfinder and Palpatine struck me as unnecessarily rushed. I do not think it is a good thing when a person complains about the fast pacing of a movie with a 142 minutes running time. For me, this exposed the hollow nature of the movie’s narrative.

As I had earlier stated, the majority of the film’s narrative is centered around the protagonists’ determination to find Palpatine. A part of me wonders how did the Resistance and the First Order had planned to kill him, once he was discovered. And yes, the First Order’s leader, Kylo Ren, also wanted Palpatine’s dead. But how did any of them plan to kill him? The movie never conveyed any of the other characters’ plans. Worse, this search for Palpatine had transformed the movie into some space opera version of both the INDIANA JONES and NATIONAL TREASURE movie franchises. Was that why Abrams had decided to expose Palpatine’s return or resurrection in the film’s opening crawl? So he could have his major characters embark on this “Indiana Jones” style hunt for Palpatine from the get go? Or relive the whole “map to Luke Skywalker” search from “THE FORCE AWAKENS” that proved to be so irrelevant? Well guess what? The “Search for Palpatine” proved to be equally irrelevant. Watching Rey, Finn, Poe and Chewbacca hunt down artifacts that would lead them to Palpatine was one of the more ridiculous aspects of this film. I felt as if I had watched a hybrid STAR WARS/INDIANA JONES/NATIONAL TREASURE movie. It was fucking exhausting.

Returning to Palpatine, I was unpleasantly shocked to learn that during the thirty years he was missing, he had created a new fleet of Star Destroyers, each ship equipped with a planet-killing laser. Thirty years. Is that how long it took Palpatine (or his clone) to create a fleet of planet killing Star Destroyers? Is that why he had taken so long construct these ships? If one Star Destroyer can destroy a planet, why did he bother to wait so long to use any of them to re-take the Galaxy? Three decades? I wish I could say more, but I do not see the point. Is a Star Destroyer strong enough to be used as a “base” for a laser powerful enough to destroy a planet?

I have also noticed that the lightsaber duels featured in “THE RISE OF SKYWALKER” . . . well, they were bad. Quite a travesty, if I must be honest. I have never been that impressed by the lightsaber duels in the Sequel Trilogy, but even I must admit that Kylo Ren’s duels with both Finn and Rey in “THE FORCE AWAKENS” were somewhat better than the Obi-Wan Kenobi/Darth Vader duel in “STAR WARS: EPISODE IV – A NEW HOPE”. But after the 2015 movie . . . dear God. Rey and Kylo Ren’s fight against Snoke’s guards in “THE LAST JEDI” struck me as something of a joke. But Rey and Kylo Ren’s duels in “THE RISE OF SKYWALKER” were simply abysmal. Dan Mindel’s cinematography and the movie’s visual effects team could do nothing to hide the laughable nature of the duels. Both Daisy Ridley and Adam Driver seemed to spend a great deal of their time slashing at each with no semblance of swordsmanship whatsoever. Where is Nick Gillard when you need him?

Not surprisingly, “THE RISE OF SKYWALKER” revealed a number of Force abilities that appeared for the first (or second time) in the STAR WARS franchise. The Force bond between Rey and Kylo Ren, which was created by Snoke in the previous film; allowed the First Order leader to snatch a necklace from the Resistance fighter’s neck in a violent manner – despite the fact that the pair was thousands of miles from each other. And in another scene, while Rey faced Palpatine and Kylo Ren faced the Knights of the Ren, she was able to hand over a lightsaber to him – despite being miles apart. How did they do this? I have not the foggiest idea. I do not even understand how Abrams and Terrio managed to create this ability in the first place. And frankly, I find it rather stupid and implausible. Force healing. For the first time in the history of the franchise, a Force user has the ability to heal. How did this come about? I have not the foggiest idea. If this had been the case during the events of the Prequel Trilogy, chances are Anakin Skywalker would have never become a Sith Lord. The Force healing ability made its debut in the Disney Plus series, “THE MANDALORIAN” . . . I think. However, Kylo Ren had the ability to use Force healing. So did Rey. I do not know who taught them or how . . . fuck it! I will just treat this as another plot device that came out of Lucasfilm’s ass. “THE RISE OF SKYWALKER” also revealed that the “resurrected” Palpatine had the ability to transfer one person’s essence into the body of another. How? More contrived writing.

Speaking of contrivance, there is the matter of one Leia Organa. Although a part of me still believes Lucasfilm should have killed off Leia Organa in “THE LAST JEDI”, in the wake of Carrie Fisher’s death a year before the film’s release; I must admit that Abrams did an admirable job in utilizing old footage of the actress from “THE FORCE AWAKENS”, digital special effects and Billie Lourd as a body double for some of Leia’s scenes. But I hated the way Leia was finally killed off. It was similar to Luke’s ludicrous death in “THE LAST JEDI”. I HATE how Disney Studios and Lucasfilm portray the Force as some kind of energy that can kill an individual if it was used too long or too hard. As if the Force user was some kind of goddamn battery. I really hate that. And this is why I dislike Leia’s death just as much as I disliked Luke’s.

In fact, this movie seemed to be filled with contrived writing. As for the Rebel Alli . . . I mean the Resistance, I noticed that their numbers had grown since the end of “THE LAST JEDI”. Had Leia managed to recruit new members for the Resistance’s cause during the year between the two films? If so, “THE RISE OF SKYWALKER” did not hint one way or the other. I mean there were barely enough Resistance members to crowd the Millennium Falcon in the last film’s finale. And the narrative for “THE RISE OF SKYWALKER” seemed to hint that aside from Maz Kanata, hardly anyone new had bothered to join the Resistance during that year between the two films. So . . . if this is true, why did the number of Resistance members seemed to have tripled during that year between the two movies? Among the new members is one Beaumont Kin, portrayed by “LOST” alumni Dominic Monaghan.

Speaking of characters – the arcs for the major characters have proven to be as disastrous as those featured in “THE FORCE AWAKENS” and especially “THE LAST JEDI”. I was surprised to see Maz Kanata as a member of the Resistance. Her recruitment into the organization was never seen on screen. Even worse, the former smuggler and tavern owner was basically reduced to a background character with one or two lines. Actress Lupita Nyong’o’s time was certainly wasted for this film. Although I thought Rose Tico was a promising character, I never liked how Rian Johnson had used her as a very unnecessary mentor for Finn in “THE LAST JEDI”. However, my hopes that J.J. Abrams would do her character justice in “THE RISE OF SKYWALKER” proved to be fruitless. In this film, Rose had been reduced from supporting character to minor character, who spent most of her appearances interacting with Monaghan’s Beaumont Kin in three or four scenes. What a damn waste! Speaking of waste . . . poor Domhnall Gleeson. His character, General Armitage Hux, was another character whose presence was wasted in “THE RISE OF SKYWALKER”. Audiences learned in the film’s second half that he had become a mole for the Resistance, supplying the group information on the First Order’s movements. The problem with this scenario is that film had Hux explained that he was simply betraying his leader, Kylo Ren. But his reason for this betrayal was never fully explained, let alone developed. Harrison Ford returned in a brief cameo appearance as the ghost of Han Solo. Wait a minute. Let me re-phrase that. Ford returned as a figment of Kylo Ren’s imagination . . . as Han Solo. How was his performance? Unmemorable.

“THE RISE OF SKYWALKER” also featured a good number of new characters. Probably too many. I have already mentioned Resistance fighter Beaumont Kim. Abrams and co-writer Chris Terrio also introduced Jannah, a former stormtrooper who had deserted from the First Order like Finn. When she was introduced, I had assumed that Finn’s background would finally be explored. Never happened. Worse, Abrams only allowed Jannah – a new character – to speculate on her background in one line spoken to Lando Calrissian. And nothing else. Next, there was Zorri Bliss, a smuggler and former paramour of Poe Dameron’s, who provided the Resistance with information on how to interpret the Sith dagger in their possession. Aside from this task, Bliss managed to miraculously survive the destruction of Kijimi, her homeworld to participate in the final battle against Palpatine and the First Order. Through her, audiences learned that Poe was a former spice smuggler . . . a drug smuggler. More on this, later. And finally, we have Allegiant General Enric Pryde, who came out of no where to become Kylo Ren’s top commander. It occurred to me that Pryde turned out to be the Sequel Trilogy’s General Grievous. I love the Prequel Trilogy, but I never liked Grievous. He should have been introduced a lot earlier than the Prequel Trilogy’s last film. And Enric Pryde should have been introduced earlier than “THE RISE OF SKYWALKER”. It would have made his brief conflict with Hux a lot more believable.

I read somewhere that the character of Kylo Ren aka Ben Solo is the most popular in the Sequel Trilogy. I am a firm admirer of actor Adam Driver and I thought he gave a solid performance as Kylo Ren. But . . . the character has never been a favorite of mine. I could complain that Kylo Ren is bad written, but I can honestly say the same about the other major (and minor) characters. Yet for some reason, Lucasfilm, a good number of the STAR WARS and media seemed to think the stars shined on Kylo Ren’s ass. I hate it when the glorification of a story or character is unearned and then shoved down the throats of the public. In “THE RISE OF SKYWALKER”, Kylo Ren’s character arc proved to be just as rushed and full of writing contrivances as his relationship arc in “THE LAST JEDI”. Honestly. Unlike Anakin Skywalker in the Original Trilogy, Kylo Ren’s redemption was never properly set up in “THE RISE OF SKYWALKER”. It merely sprung up in the film’s last third act so that Abrams (the unoriginal storyteller that he is) could allow him to mimic his grandfather’s arc. Looking back on Kylo Ren’s character, he should have continued his arc from the end of “THE LAST JEDI” – as the main villain. Instead, Abrams and Lucasfilm brought back Palpatine so they could have Kylo Ren repeat Anakin’s arc and avoid dying as the film’s Big Bad. This decision only brought about bad writing. And then we have Poe Dameron. In some ways, Poe proved to be the worst written character in this trilogy. It almost seemed as if Lucasfilm, Abrams and Rian Johnson did not know what to do with him. His death was initially set up in “THE FORCE AWAKENS” and he spent most of that film off-screen, only to make a miraculous re-appearance near the end, with no real explanation how he had survived the crash on Jakku. In “THE LAST JEDI”, Johnson had transformed Poe into some hot-headed Latino stereotype, who questioned the decisions of the Resistance’s two female leaders – Leia and Admiral Holdo. And “THE RISE OF SKYWALKER” made another revision to Poe’s character. The movie revealed that Poe had a past romance with the smuggler Zorri Bliss and was a spice runner (drug smuggler). How quaint. Abrams and Terrio took the only leading character in the Sequel Trilogy portrayed by a Latino actor and transformed him into a drug lord. Where the two writers watching “NARCO” or old reruns of “MIAMI VICE” when they made this decision to Poe’s character? God only knows. I do know that in my eyes, this was another mark of racism on Lucasfilm’s belt.

Speaking of racism . . . what on earth happened to Finn? Following Rian Johnson’s shoddy treatment of his character in “THE LAST JEDI”, J.J. Abrams had assured the franchise’s fans that he would do justice to Finn. And he failed. Spectacularly. Did Finn even have a character arc in “THE RISE OF SKYWALKER”? The former stormtrooper spent most of the film either participating in the search for Palpatine, while keeping one eye on the constantly distracted Rey, like some lovesick puppy. He seemed to lack his own story in this film. “THE RISE OF SKYWALKER” could have provided the perfect opportunity for Lucasfilm to further explore his background as a former stormtrooper. With the creation of Jannah, I thought it would finally happen. Instead, the movie focused more on Jannah’s questions about her origins. And Lucasfilm and Abrams wasted the chance to even consider at subplot regarding Finn and the First Order’s stormtroopers. Boyega also spent most of the film hinting that he had something important to tell Rey. Many believe he was trying to confess that he loved her. That is because the movie DID NOT allow him to finally make his confession. Even worse, audiences learned that he wanted to confess his suspicions that he might be Force sensitive. And Lucasfilm confirmed this. Why on earth could they NOT confirm Finn’s Force sensitivity on film? Why? What was the point in keeping this a secret until AFTER the film’s release?

I also noticed one other disturbing aspect about Finn . . . or John Boyega. I just discovered that John Boyega had been demoted by Disney Studios and Lucasfilm from leading actor to supporting actor. Only this had happened a lot sooner that I thought. In the studio’s Academy Awards campaign for “THE FORCE AWAKENS”, it pushed Boyega for a Best Actor nomination. But in both “THE LAST JEDI” and “THE RISE OF SKYWALKER”, the studio pushed him for a Best Supporting Actor nomination. Yet, for all three movies, Lucasfilm and Disney also pushed a white actor for Best Actor. They pushed Harrison Ford (along with Boyega) “THE FORCE AWAKENS”. They pushed Mark Hamill for Best Actor in “THE LAST JEDI”. Yet, both Ford and Hamill were clearly part of the supporting cast. And they pushed Adam Driver for Best Actor for “THE RISE OF SKYWALKER”. Hmmmm . . . Driver went from supporting actor to lead actor, while Boyega was demoted from lead actor to supporting actor. A few more notches in Lucasfilm/Disney’s racist belt. God, I am sick to my stomach. And poor John Boyega. He was poorly misused by Lucasfilm, Disney Studios, Rian Johnson and J.J. Abrams.

As for Rey . . . I am completely over her as a character. Although I found her Mary Sue qualities annoying, I found her arc in “THE RISE OF SKYWALKER” a complete mess. The only good that came from her arc was the fact that Leia had trained her in the ways of the Force for a year. Otherwise, I had to grit my teeth and watch her behave in this chaotic manner throughout the entire film. Every time she and her friends were in the middle of some situation, she would get distracted by Kylo Ren’s presence and break away. Why? So she could kill him . . . I guess. Apparently, killing Kylo Ren was more important to her than completing a mission for the Resistance. Why? I have no idea. The movie’s narrative never explained this behavior of hers. And it gets worse. Rey eventually learns that she is Palpatine’s granddaughter. Granddaughter. Palpatine managed to knock up some woman years ago and conceive a son after he had become Emperor. That son conceived Rey with her mother before dying. Palpatine, who had been alive all of these years, never bothered to get his hands on Rey . . . until this movie. Why? I have no idea.

During Rey and Kylo Ren’s final duel, she managed to shove her lightsaber blade into his gut. And then she used the Force to heal him. Why? Perhaps she felt guilty for nearly killing him. Who knows? Later, she is killed by Palpatine (who could not make up his mind on whether he wanted her alive or dead) before Kylo Ren Force healed her. And then she planted a big wet kiss on his pucker. Lucasfilm and Disney claimed that the kiss was an act of gratitude on her part. I did not realize that gratitude could be so sexual. Nevertheless, Lucasfilm and Disney ensured that the only leading male that Rey would exchange bodily fluids with was one who shared her white skin. Despite the fact that this . . . man had more or less abused her – mentally and physically – since “THE FORCE AWAKENS”. There was no real development that led to this sexual kiss of gratitude. But I guess Disney and Lucasfilm were determined that Rey would not exchange a kiss with the two non-white men. Another notch on Lucasfilm/Disney’s racist belt. Oh . . . and by the way, the film or Lucasfilm had established that Rey and Kylo Ren were part of some Force dyad. What is a Force dyad? Two Force-sensitive people who had created a Force bond, making them one in the Force. And this happened because Rey and Kylo Ren were grandchildren of Sith Lords. I have never heard of anything so ludicrous in my life, especially since it was established in “THE LAST JEDI” that Snoke – a creation of Palpatine, by the way – had created their mental bond. How he did that I have no idea.

You know what? I could go on and on about “STAR WARS: EPISODE IX – THE RISE OF SKYWALKER”. But I now realize it would take a goddamn essay to explain why I dislike this movie so much. I should have realized that J.J. Abrams’ promises that he would fix the problems of “STAR WARS: EPISODE VIII – THE LAST JEDI” was worth shit in the wind. He, Chris Terrio, Disney Studios and Lucasfilm only made the Sequel Trilogy worse . . . as if that was possible. Not only was “THE RISE OF SKYWALKER” a waste of my time, so was the entire Sequel Trilogy. And it wasted the acting skills of its talented cast led by Daisy Ridley, John Boyega, Oscar Isaac and Adam Driver for so many years.

“WESTWARD HO!”: Part Five – “INTO THE WEST” (2005)

Below is Part Five to my article about Hollywood’s depiction about the westward migration via wagon trains in 19th century United States. It focuses upon “Manifest Destiny”, the second episode of the 2005 television miniseries, “INTO THE WEST”:

 

“WESTWARD HO!”: Part Five – “INTO THE WEST” (2005)

I. Introduction

Steven Spielberg had served as executive producer for a miniseries about the history of the Old West, during a period that spanned from the mid-1820s to 1890-91. If this premise sounds familiar, it should. It bears a strong resemblance to the main plot for “HOW THE WEST WAS WON”. Only the story for “INTO THE WEST” centered on two families – a family of wheelwrights from western Virginia and a family from the Lakota nation.

“INTO THE WEST” aired as a six-part miniseries during the summer of 2005. The second episode, “Manifest Destiny”, focused on wagon journey from Independence, Missouri to California in 1841. The first episode, “Wheel to the Stars”, introduced some of the saga’s main characters – such as Jacob Wheeler, the son and grandson of Virginia wheelwrights; Thunder Heart Woman, the Lakota woman with whom he will fall in love and marry; his younger brother Jethro Wheeler, who was too frightened to follow Jacob on the latter’s first journey to the West; and Thunder Heart Woman’s three brothers, Loved By the Buffalo, Dog Star and Running Fox. This episode ended with Jacob and Thunder Heart Woman’s marriage at her family’s village.

“Manifest Destiny” picked up seven to eight years later with Jacob’s return to Wheelerton, Virginia, with a pregnant Thunder Heart Woman and their four year-old daughter, Margaret Light Shines in two. With the exception of Jethro, the rest of the Wheeler family – including Jacob’s three cousins, Naomi, Rachel and Leah – greet Thunder Heart Woman and Margaret with a chilly intolerance. After the birth of Jacob and Thunder Heart Woman’s new son, Abraham High Wolf, Jacob learns of the death of the famous explorer and trapper Jedediah Smith.

Jacob realizes that Wheelerton is no longer home to him and decides to return to the West. This time, Jethro, Naomi, Rachel and Leah decide to accompany him and Thunder Heart Woman. The Wheelers spend at least three years traveling west, until they reach Independence, Missouri in the fall of 1840. The family decides to travel to California and is forced to wait until the following spring of 1841 to start their journey. The Wheelers join a wagon party led by one Stephen Moxie. The Wheelers, along with their fellow emigrants experience bad weather, accidents, Native Americans, romance and tragedy during their journey to California.

 

II. History vs. Hollywood

With television miniseries like “CENTENNIAL” and “THE CHISHOLMS” as examples, one would think that Hollywood had finally learned to inject as much historical accuracy in its period dramas as possible. But “INTO THE WEST” – at least as far as “Manifest Destiny” is concerned – seemed to be an exception to the rule. Screenwriters William Mastrosimone and Cyrus Nowrasteh managed to toss historical facts to the wind, when they wrote this episode.

Mind you, Mastrosimone and Nowrasteh managed to begin the journey on the right note. The first known wagon party to attempt the journey to California (the Bartleson-Bidwell Party) did leave Westport, Missouri in 1841, the same year as the Wheelers’ departure. “Manifest Destiny” did an excellent job in conveying the day-to-day chores performed by the emigrants. The wagons used by the Wheelers and other members of the Moxie wagon party were, thankfully, not the lumbering Conestogas seen in old Hollywood films. The episode also included the use of buffalo meat, dangers of cholera on the trail, river crossings and an accident caused by difficult terrain like the Windlass Hill around Ash Hollow. Unfortunately, the rest of the episode’s portrayal of wagon train migration proved to have very little historical accuracy.

“Manifest Destiny” marked a return of an inaccurate portrayal of emigrant life that had not been seen for a while. Although none of the wagons featured in the episode are not Conestogas, all of them are being pulled by horses, instead of mules or oxen. I found it a miracle that none of the horses had dropped dead by the end of the episode. I also noticed that the emigrants in Moxie’s party had to pay at least $80.00 or provide some valuable service (in Jacob and Jethro’s case, provide wheelwright service) in order to join. However, I cannot say whether this is accurate or not. I have never come across such a thing during my studies of overland wagon travel. On the other hand, such transactions may have occurred.

One glance of the terrain featured in “Manifest Destiny” immediately alerted me to the fact that the episode had not been filmed anywhere near the locations from the actual Oregon and California trails. In fact, no famous landmarks from the two trails were shown in this episode. Not even a single fort. I discovered that the miniseries was either filmed in the Alberta Province of Canada and around Santa Fe, New Mexico. This does not surprised me. The actors in this episode spent a good deal of time wearing coats or cloaks. Since the wagon journey from Missouri to California usually spanned between mid-spring and early fall, I found the presence of outer wear unrealistic.

The Lakota characters featured in the six-part miniseries proved to be just as complex as the white characters. This is not surprising. After all, some of Jacob Wheeler’s in-laws were among the main characters – especially his three brothers-in-law. However, when it came to the Hoxie wagon party’s encounter with members of the Cheyenne nation, historical accuracy was once again tossed into the wind.

Among the travelers that joined the Moxie wagon party was a family of free blacks from Illinois named Jones. When Mrs. Jones died from cholera, they were forced to remain behind, until they could be certain that no one else in their party had contracted the disease. The Wheelers – with the exception of Naomi, who was traveling with her new husband – were forced to remain with the Jones, due to being the closest with the family. Soon, Jethro came down with cholera. But he managed to overcome his illness. After his recovery, Jacob rode ahead to find the wagon party. He discovered that the entire wagon train – except for Naomi, who was taken – had been killed by Native Americans. Jacob returned to the Wheeler and Jones wagons, which found themselves under attack by Cheyenne dog soldiers, the very party that wiped out the Moxie wagon train. In other words, the viewers were expected to believe that a band of Cheyenne dog soldiers were able to wipe out a fairly-sized and well-armed wagon party. Yet, the only damage they were able to inflict upon the Wheeler and Jones families was a lance through Jacob Wheeler’s shoulder. Ri-i-ii-i-ight! This was one the most ludicrous piece of historical inaccuracy I had ever encountered in a period drama.

There were other minor historical inaccuracies, which had nothing to do with the Moxie wagon party that I found in “Manifest Destiny”. One, Jedediah Smith did not die around 1836-37. He was killed in 1831. And according to Jacob, there were no battles or any real violence in California during the Mexican-American War. Wrong! A few months after the Americans had taken over the province, the Californios took up arms against their new rulers, resulting in a few battles mainly fought in Southern California.

It seems ironic that “Manifest Destiny” turned out to be the least historically accurate episode of “INTO THE WEST”. I say that it is ironic, because this episode happens to be my favorite from the entire miniseries. “Manifest Destiny” gave a fairly accurate picture of the daily activities of emigrants on the overland trails. But it turned out to be like many films from the past – more Hollywood than history.

 

III. Conclusion

This marks the end of my look at Hollywood’s depiction of emigrant wagon trains. The two movies and three miniseries were not the only productions to feature this setting. And if these articles have increased your interest in this subject, you might want to consider other movie and television productions about it.

Top Five Favorite “THE AMERICANS” Season Two (2014) Episodes

Below is a list of my five favorite episodes from Season Two of FX’s “THE AMERICANS”. Created by Joe Weisberg, the series stars Keri Russell and Matthew Rhys:

 

TOP FIVE FAVORITE “THE AMERICANS” SEASON TWO (2014) Episodes

1. (2.01) “Comrades” – In this season opener, Philip and Elizabeth Jennings are forced to work with another pair of Soviet spies named the Connors for a mission that results in the death of the latter.

2. (2.07) “Arpanet” – Nina Sergeevna agrees to a polygraph test conducted by FBI Agent Stan Beeman and receives instructions from her Soviet colleague, Oleg Burov in this tense episode. And Philip is ordered to bug the Americans’ newARPANET computer system.

3. (2.09) “Martial Eagle” – Elizabeth and Philip infiltrate the local Contra training base, which results in unexpected casualties. They also learn that their daughter Paige has donated all of her savings to her local church.

4. (2.13) “Echo” – The Jennings are forced to confront one of their marks – a U.S. Navy officer named Andrew Larrick, who had been blackmailed into helping the KGB. The truth behind the Connors’ murders is revealed. and Stan makes a decision that has strong consequences for Nina’s fate.

5. (2.04) “A Little Night Music” – The Jennings’ KBG supervisor, Claudia, gives them two assignments — to snatch a Soviet defector who is assisting the U.S. in stealth technology and investigate Larrick, who is a suspect in the Connors’ murders. Meanwhile, Paige becomes involved in church, thanks to her close friend.

Top Five Favorite “THE AMERICANS” Season One (2013) Episodes

Below is a list of my five favorite episodes from Season One of FX’s“THE AMERICANS”. Created by Joe Weisberg, the series stars Keri Russell and Matthew Rhys: 

 

TOP FIVE FAVORITE “THE AMERICANS” SEASON ONE (2013) Episodes

1. (1.10) “Only You” – The FBI’s tenacious investigation of Agent Chris Amador’s death leads the KGB to frame Elizabeth Jenning’s colleague and former lover, Gregory Thomas, for his murder in order to protect Elizabeth and Philip’s identities.

2. (1.07) “Duty and Honor” – During a mission to discredit a Polish dissident in New York City, Philip is reunited with a former lover and fellow KGB agent named Irina.

3. (1.13) “The Colonel” – In this tense season finale, Philip and handler Claudia proceed to meet with an Air Force colonel, who might be a new source. Meanwhile, Elizabeth sets out to retrieve a bug from Defense Secretary Caspar Weinberger’s home, unaware that the FBI has set a trap.

4. (1.04) “In Control” – Following the assassination attempt on President Ronald Reagan, the FBI attempt to assess whether the KGB was involved. Meanwhile, Elizabeth and Philip prepare to deal with any excessive reactions from the American intelligence community.

5. (1.06) “Trust Me” – Elizabeth and Philip are abducted and brutally questioned. Their abductors turn out to be KGB agents instructed by Claudia to determine if either of them is a mole. Meanwhile, FBI Agent Stan Chambers helps his Soviet source Nina frame her embassy supervisor for treason.

“INTO THE WEST” (2005) – Jacob Wheeler and the Awareness of Self

 

 

“INTO THE WEST” (2005) – Jacob Wheeler and the Awareness of Self

Many people would usually consider the topic of Self Awareness when discussing New Age religions or Eastern mysticism. Characters from a TV Western miniseries seems like the last thing anyone would think of when discussing the meaning of Self. Yet, a major character led me to consider this very topic, while re-watching Steven Spielberg’s 2005 miniseries about two families – Lakota and western Virginia – called “INTO THE WEST”. 

“Self” has been described as the essential self or the core of an individual. A person who has learned to live one’s life with a strong sense of Self is considered as someone who has achieved or come close to a level of self-actualization – namely, achieving personal growth through accepting the true core of oneself. If there is one character in “INTO THE WEST” who seemed to personify self-actualization, it was Thunder Heart Woman (Tonazin Carmelo and later Sheila Tousey), the Lakota woman who had married into the Wheeler family. I am not saying that Thunder Heart Woman was a person with no insecurities, personal demons or anything of the sort. But of all the major characters, she seemed to be more in tune of what and more importantly, who she was.

In the miniseries’ second episode titled, “Manifest Destiny”, Thunder Heart Woman had seemed impervious to her white in-laws’ attitude toward her, during her immediate family’s short stay with her in-laws in Virginia. Even when faced with the disapproval of a German minister and fellow wagon immigrant called Preacher Hobbes (Derek de Lint), she remained impervious to his bigotry. At least according to her husband’s narrative. But this essay is not about Thunder Heart Woman. It is about one of the men in her life – the one love in her life, who managed to catch my attention. Namely one Jacob Wheeler (Matthew Settle and later John Terry).

The third of four brothers from a Virginia wheelwright family, Jacob Wheeler seemed very similar to his Lakota wife – the type of person that seemed to know his own mind. The miniseries’ first episode, ”Wheel to the Stars” revealed that Jacob’s Virginia family seemed to view him as a non-conformist . . . or oddball. He, in turn, regarded his hometown of Wheelerton, Virginia; his family and its profession with mild contempt. In short, this young Virginian was a fish out of water in 1825 America and he knew it. This would explain Jacob’s longing to see the world beyond his hometown and the eastern United States. He did not hesitate to express his enthusiasm for the West. After meeting mountain man James Fletcher (Will Patton), he immediately set out to achieve his desire to leave Wheelerton.

Possessing a talent for persuasion, Jacob managed to convince two of his brothers – Nathan (Alan Tudyk) and Jethro (Skeet Ulrich) – into joining his trek to the West. Jethro turned back at the last minute and Nathan ended up accompanying him. After Jacob and Nathan parted ways in St. Louis, the former caught up with Fletcher and famed mountain man, Jedediah Smith (Josh Brolin) and convinced the latter to allow him to accompany Smith’s expedition to California. I could probably list a number of examples of Jacob’s talent for persuasion, along with his exuberant and non-conformist nature. What I had failed to mention was that he possessed a strong and stubborn will to achieve what he desired. A perfect example of this was his determination to return to California after he, Smith and their fellow mountain men had been kicked out of the province by Mexican authorities. Not only did Jacob manage to achieve this goal, he did so at a great price. And yet . . . one of the interesting aspects of the Jacob Wheeler character is that despite possessing a strong will and extroverted nature, he also had certain vulnerable characteristics and insecurities. Especially insecurities. In both ”Wheel to the Stars” and ”Manifest Destiny”, Jacob’s relationships with his Wheelerton family and Thunder Heart Woman revealed just how insecure he could be.

Jacob seemed to have a rather peculiar relationship with his Virginia family. Despite regarding them with contempt for their provincial attitudes, he had also allowed their attitudes to bring out his own insecurities. His grandfather Abraham (Ken Pogue), his father Enoch (Serge Houde) and his three brothers – Nathan, Ezra (Joshua Kalef) and Jethro – either derided or teased him about his lack of interest in the family’s wheelwright business. And all of them viewed Jacob as a daydreamer with no sense of family duty or any common sense. The Wheelers have never hesitated to express their low opinion of Jacob’s desire to experience life beyond Wheelerton. I cannot help but wonder if the Wheelers’ contempt toward Jacob’s non-conformist ways had bred a sense of insecurity within him. Or if this insecurity was one of the reasons behind his desire to escape Wheelerton for the west.

It is possible that I may have stumbled across one result from Jacob’s less-than-ideal relationship with his Virginia family. I do not know if anyone else had noticed, but it seemed to me that whenever any of the other Wheelers teased, ranted or expressed contempt toward Jacob or his views on the West, he rarely bothered to defend himself. Jacob did not defend himself whenever his brothers mocked him at the dinner table.; when Jethro made the ”tail tucked between your legs”comment, following Jacob’s return to Wheelerton in ”Manifest Destiny”; and when Enoch accused him of luring both Nathan and later, Jacob to the West. Instead of defending himself, Jacob merely remained silent in an effort to ignore the hurtful comments.

However, there have also been moments when he did defend himself. Jacob made a snarky comment about his grandfather Abraham’s penchant for rambling on about his past as Revolutionary War veteran and the family’s business. And the elderly man reacted in such a vitriolic manner that I found myself wondering if Jacob had ended up with a new hole in his backside. When Nathan raged against him for helping an escaped slave named Ben Franklin (Sean Blakemore) in Tennessee, Jacob insisted they had done the right thing considering that Ben had earlier released Nathan after holding him hostage with a knife. And when Nathan lost his temper over Jacob’s refusal to follow him to Texas, the younger brother merely insisted upon continuing his intention to join Jedidiah Smith’s expedition.

One could only wonder why Jacob had rarely bothered to defend himself against his family’s scorn. Did he share Thunder Heart Woman’s talent for imperviously ignoring the scorn and prejudices of others? I rather doubt it. Whereas Thunder Heart Woman had seemed unconcerned by others, Jacob’s face tends to express his pain or embarrassment caused by his family’s attitudes. I suspect that deep down, Jacob longed for not only his family’s respect, but their acceptance of his true self. But unlike many people, he was not willing to change his nature for the Wheelers or anyone else’s acceptance.

Why did Jacob decide to return to Wheelerton with his pregnant wife and daughter after eleven years in the West? In his narration, Jacob claimed that he wanted Thunder Heart Woman and his daughter Margaret Light Shines (Elizabeth Sage, later Irene Bedard) to meet his Virginia family. Perhaps he was telling the truth. Yet, a part of me found that hard to believe. The moment Jacob began to enjoy his Lakota in-laws’ hospitality, he felt certain that his own family extend the same kind of warmth to his wife. And yet . . . he had insisted upon returning to Virginia. Why? Had Jethro hinted the truth in his ”tail tuckered between his legs” comment – that Jacob encountered nothing but failure in the West and returned back to Virginia for a livelihood? Or was it something deeper? Perhaps a last chance for Jacob to seek final acceptance from his family? Who knows.

Whatever Jacob had sought in 1836 Virginia, he did not find it. His father Enoch revealed that the family’s wheelwright business had suffered a setback, due to the economic depression that struck the United States in the mid and late 1830s. And the Wheelers seemed no more closer in accepting Jacob for himself or his Western family. His cousin, Naomi Wheeler (Keri Russell) viewed Indians as non-human. His brother Ezra regarded Thunder Heart Woman as a mere ”squaw”. Naomi’s sister, Rachel (Jessica Capshaw), viewed young Margaret’s hand as a piece of dung. And Enoch seemed to act as if his new daughter-in-law and grandchildren did not exist. No wonder Jacob ended up complaining about the Wheelers’ treatment of his Lakota family.

Eventually, Jacob decided to take his wife and children and return to the West permanently – preferably Californa. It seemed the Wheelers’ continuing disregard toward them – along with news of his idol Jedediah Smith’s death – led to this decision. He almost seemed cold and distant toward his parents and Ezra. But he did not count on Jethro and his three female cousins’ decision to accompany him to California. Apparently, not all of the Wheelers viewed him as an oddball for his preference for the West. Jacob seemed heartened by Jethro’s decision to join him. And although Naomi, Rachel and Leah’s (Emily Holmes) decision to join the trek West took him by surprise, Jacob readily accepted their company. In the following narration, he came to this conclusion:

”I hope that I would prove equal to the responsibility I had undertaken.”

I found this comment rather odd. Jethro and the three cousins had been determined to follow Jacob and Thunder Heart Woman on the trek to California, regardless of anything he would have done or said. Even Jethro had later pointed this out.

The next three years (1837-1840) must have been the best Jacob had ever experienced with any of the Virginia Wheelers. The three cousins – Naomi, Rachel and Leah – finally began to view Thunder Heart Woman as a member of the family and cherished her and Jacob’s three children (Abraham had been born in Wheelerton in 1836 and Jacob Jr. was born in Missouri sometime in late 1840). Jacob’s close relationship with Jethro seemed like a far cry from the conflicts with Nathan that marred his trip to the west back in the 1820s. One would begin to think that Jacob no longer suffered from any insecurity by this point. And yet . . . they only remained buried inside him, waiting for the right moment to manifest.

In the end, it took the wagon train journey to California (dubbed ”the Wagon Train of Doom” by me) featured in ”Manifest Destiny” for Jacob’s insecurities to get the best of him. Upon their arrival in Independence, Missouri in the fall of 1840, the Wheeler family remained there during the winter before joining a California-bound wagon train led by one Stephen Hoxie (Beau Bridges) in the spring of 1841. Surprisingly, only Thunder Heart Woman seemed reluctant to leave Missouri. I suspect she had enough of being constantly on the move for the past several years. But the rest of the Wheelers, especially Jacob, seemed determined to head for California.

Once the Hoxie wagon company began their westward trek, everything seemed to be faring well. The weather seemed beautiful. Everyone seemed to be in good spirits – including the black family from Illinois named Jones that managed to join the wagon train without any opposition. Both Naomi and Rachel attracted the romantic attention of the train’s two scouts – ‘Skate’ Guthrie and James ‘Jim’ Ebbets (Ryan Robbins and Christopher Heyerdahl). This contentment finally ended when Thunder Heart Woman spotted wolves feeding off the corpse of a buffalo and when the train later crossed what I believe was the Big Blue River. The incident proved to be the first of two disagreements between the couple. Thunder Heart Woman viewed the wolves as a sign that the wagon train would come to a bad end. She insisted that the Wheeler family return to Missouri. Jacob dismissed her worries as superstition on her part. But the expression on his face clearly indicated his doubts on the wisdom of the trip.

Then the first disaster struck. One of the emigrants, a German-born minister named Preacher Hobbes (Derek de Lint), lost control of his wagon during the crossing. Distracted by the Hobbes family’s situation, Jethro nearly lost control of his wagon. Leah fell out of the wagon and drowned in the river’s fast flowing water. Although Hobbes received an angry response for his carelessness from Captain Hoxie, the Wheeler women’s anger seemed to be directed at Jacob for leading them to this western trek. The expression of guilt seemed very palpable on Jacob’s face, as Naomi demanded that he take the family back to Missouri. Leah’s death proved to be just the beginning.

The further west the wagon train traveled, more disasters followed. The emigrants were forced to deal with a severe thunderstorm and a cattle stampede that left the only son of a black emigrant named Absalom Jones (Neville Edwards) dead. Not long after the storm and the stampede, both Naomi and Rachel married two of the wagon train’s scouts, Skate and Jim. But that brief period of happiness failed to last when the wagon train attempted to travel through a pass. While traversing a pass, a wagon broke free, knocked Rachel down and ran over her leg, causing a severe compound fracture. The leg eventually became infected. Hobbes, the closest thing to a doctor available, tried to amputate Rachel’s leg; but his efforts turned out to be clumsy and Rachel died before he could finish. Although no family member angrily demanded that return to Missouri, the expression on Jacob’s face obviously conveyed his feelings of guilt.

The final blow to Jacob’s disastrous return to the west occurred when Mrs. Jones died from cholera. Since the Wheelers’ wagons had been traveling with the Jones’ wagon at the back of the train, they had been exposed to the disease. Hoxie and the scouts forced the Wheelers and the remaining members of the Jones family (Mr. Jones and Sally Jones) to remain behind under quarantine while the main body of the wagon train carries on. Only Naomi was able to continue with the train, since she had been with her new husband. Jethro became afflicted with symptoms of cholera but recovered. Both Jacob and Thunder Heart Woman drifted into a serious quarrel, when he suggested that she take their children and attempt to find her Lakota family. Needless to say, Thunder Heart Woman took the suggestion badly and reminded Jacob that he should have listened to her warnings about the journey.

No new outbreaks occurred after Jacob ordered that all drinking water be boiled. The Wheelers and the Jones rushed to catch up with the wagon train, but discovered that it had been attacked by Cheyenne warriors. All of the emigrants had been wiped out, aside from Naomi, who first became a captive and later, a wife of a Cheyenne chief Prairie Fire (Jay Tavare). The Wheelers and the Jones families were also attacked by Cheyenne warriors. They managed to repulse the attack, but Jacob ended up seriously wounded by an arrow in his chest. The surviving emigrants tried to move on with a wounded Jacob, but the juts and bumps of the trail made it impossible for him to endure the pain. Instead, he insisted that Thunder Heart Woman, Jethro, Mr. Jones and the children continue west to California without him, since he would only prevent them from crossing the Sierra Nevada Mountains before winter. They left him behind with great reluctance.

The period that Jacob spent east of the Sierra Nevada Mountains allowed him to wallow in loneliness and grief over the separation from his family. But he remained determined to find them. And it took him another four to five years before he finally did. Becoming a member of John Charles Frémont’s California Volunteer Militia during the Mexican-American War allowed Jacob to scour the region for signs or news of his remaining family. Five years passed before he finally came upon the ranch that Jethro and Thunder Heart Woman had settled. Jacob also discovered that in the intervening years, his brother and wife had considered him dead, began a relationship and had a child – a little girl named Cornflower. Devastated by this turn of events, Jacob decided not to reveal himself to his family. At least not openly. Instead, he left the wooden medicine wheel necklace that Thunder Heart Woman had given him when they first met to his youngest child, Jacob High Cloud. Another five years passed before Jacob finally reconciled with his family, due to the efforts of his daughter, Margaret Light Shines.

Ever since I first saw ”INTO THE WEST” and especially the above mentioned scene from ”Manifest Destiny”, I have found myself wondering about Jacob’s actions. I understood why he decided not to intrude upon the family that Jethro and Thunder Heart Woman had formed upon their arrival in California. But why did he leave the medicine wheel necklace to young Jacob? Surely, he knew that his family would be aware that he was alive . . . and knew about their situation? Looking back on his action, it struck me as a very passive-aggressive on his part. He lacked the courage to face Jethro and Thunder Heart Woman. And yet, he seemed determined to thwart the happiness they had created . . . as if he was punishing them for continuing their lives without him. Or perhaps Jacob felt a great deal of envy toward Jethro because the latter turned out to be the one who successfully led the family to California, and not him.

Perhaps Jacob had always a passively-aggressive personality from the beginning. His relationship with his Virginia family struck me as being marked by a great deal of passive-aggressive behavior from the start. Jacob seemed determined to be his own man, whether in his enthusiasm for the West, his decision to leave Wheeler or join Jedediah Smith’s expedition over following his brother Nathan to Texas. And yet . . . he never defended himself in the face of their criticism. Instead, he resorted to resentful silence. Why did he constantly fail to defend himself? Was he merely trying to keep the peace? Or did some small part of him fear that his family may have been right about him? It seemed strange than many fans and critics of “INTO THE WEST” seemed to adore Jacob for his seemingly self-assurance and outgoing personality. At the same time, they derided Jethro for being an insecure loser in their eyes. I got the feeling that they were so busy either scorning Jethro or adulating Jacob that they failed to detect the latter’s personal insecurities and darker traits. And Jacob certainly had them by the bucketful.

Did Jacob ever overcome his insecurities? Perhaps. Perhaps not. I wonder if many are aware of this, but it usually takes an individual to overcome his or her faults during an entire lifetime. A good number of people never succeed in overcoming all of their faults. And since “INTO THE WEST” focused more on his and Thunder Heart Woman’s children in the last three episodes, audiences never discovered if he had overcome all of his faults and insecurities. Jacob certainly seemed more at peace in his old age than he did during his first forty years. Perhaps those years of solitude near the Sierra Mountains foothills helped him finally achieve some inner peace.