Tiny Rogue One Spoiler in this post about Bail Organa
But nothing that’s not already all over the internet.
It’s easily inferred from the dialogue that Bail Organa and Mon Mothma had spoken previously about Obi-Wan and asking him to come join them in their struggle against the Empire. It’s likely been an ongoing discussion for quite some time as to whether and/or when to approach him.
And when Bail says confidently that he’s sending a person who he can trust with is life to be the emissary, it’s so clear from the look on his face that Leia is his absolute pride and joy. He has obviously thought about this. He’s probably had lengthy conversations with Breha about it. Sending Leia to make contact with Kenobi is a very big deal.
He knows that, if anyone could convince the Jedi to come out of hiding and join the war, it’s one of Anakin’s children. He knows that he’s sending not only a qualified operative, not only the person he trusts the most in the entire Alliance, but the person in the galaxy who is the most uniquely qualified, even though she doesn’t know it yet. And he knows that he’s about to open a big can of worms for her.
Because- think about it. He knows his old friend is on Tatooine. He has every reason to presume that Obi-Wan is engaged somehow with Luke. Luke! Leia’s twin brother. Let that sink in. He’s sending his beloved daughter into a situation that will possibly lead her to learning who her birth parents are. She is likely to meet her long-hidden twin brother along the way. There is every chance that she will learn through her time with Kenobi about her own connection to The Force, and will likely come home to Alderaan with lots of questions.
I think that he’s thought this through and that he’s ready for her to know these things. Sending her for Kenobi is the first step to not having one Jedi to aid the Rebellion, but three. He had been preparing for some time- since it first began to look like they weren’t going to get through this war without the aid of a Jedi- to begin opening up to his daughter about her heritage and her part in this whole mess. My educated guess is that, when she and Obi-Wan (and possibly Luke) returned to Alderaan together, Bail and Breha were going to sit her down and lay their cards on the table.
He isn’t only trusting Leia with the future of the Alliance and the Jedi, he’s about to unlock a whole new identity for her. Because she’s ready. She’s come into her own as a Senator and a future monarch and a leader of peoples and a genuinely good human being and she’s ready to be taught about the incredible power that’s within her.
But there is one thing that people know but never seem to realize the full implications of.
The Metrotitans were the vessels for the Knights of Cybertron, each with a spacebridge inside of them to point the way home for the Knights, or to travel vast unimaginable distances.
And when one realizes it:
There are questions to be asked.
Chromedome decided to show mercy and free the Crystal City Titan rather than killing him trying to find the answer he was looking for. And Metroplex… well…
Quite harsh, right? I mean, four million year long war can’t really be giving good impressions when you ask for the path to paradise and enlightenment?
Except look at who asked Metroplex to begin with.
Nautica, an offspring of a colony that was never part of the war, that was never in contact with Cybertron after the colony was established, or at least hasn’t been in contact at all ever since long before Megatron was even built.
And yet Metroplex rejected her. He rejected Caminus, he rejected every single Cybertronian who were both from Cybertron itself or one of its offshoot colonies.
Why do none of them deserve to know?
Thankfully it is Caminus that gives us the answer to that question. Notice that in the teachings of the Way of Flame, there is not a single mention of the Guiding Hand, not even a mention of the Knights of Cybertron. But there is a mention of the Thirteen.
But if the Knights of Cybertron were the first generation of Cybertronians, who spread out on Metrotitans to spread the message of peace and prosperity, and to ultimately find or build Cyberutopia, where does that leave the colony Titans? Where does that leave the Thirteen who appear to have come after?
The Thirteen came after the Knights of Cybertron, and either forced them away or exterminated them on Cybertron, or some other unimaginable grave sin that they committed against the Knights of Cybertron. Maybe it was when Prima had Solus reforge the Creation Matrix into the hilt of the Star Saber.
And then The Thirteen were rejected. The Way to Cyberutopia was closed on them, leaving them alone to rule a planet without a purpose.
Whatever unforgivable deed the Thirteen did, it tainted the rest of Cybertronians, leaving them without guidance or the ability to really atone for the unknown sin.
None of them deserve to know about the Knights of Cybertron, or to know where Cyberutopia lies.
In the end, the Thirteen sought to expand into the cosmos again, each of them creating not just a metrotitan, but a metrotitan which can reformat themselves to cyberform whole planets, and also carry hot spots, the tiny miracles of life that would imbue those cyberformed planets with life befitting them.
It was almost sundown and I was ready for the best day of my life. Hermione, Fleur and Luna scurry around, trying their best to calm my nerves with cold water, my favorite music and a butterbeer cork. I look at the mirror and stare at myself in admiration. My mother’s white dress fit me like a glove, the lace looked liked they were patterns around my skin and the details were just beautiful. The girls put some finishing touches on me and then it was time. Time to face my future, time to face the love of my life.
The view was amazing, there was a wide variety of warm colors that mixed in with the sky. Oranges bled into yellows and yellows bled into reds and it was a harmony of colors. I could hear the music playing in the distance as I made my way towards the aisle. My dad links his arm around mine and slowly, I walk down the aisle. Fred looked like he was crying, it was almost too good to be true. From this day and beyond I was to be a Weasley and I couldn’t be happier. I hand my bouquet towards my Maid of Honor and give my dad a kiss goodbye. Fred takes his hands into mine and gives me a smile that looked like he had won a million galleons. George gives him a soft pat and whispers, “I solemnly swear that I’m up to no good.” I roll my eyes and Fred gives him a sly smile. The minister clears his throat and begins the ceremony.
“Do you, Fred Weasley, take Y/N Y/L/N as your lawfully wedded wife, to have and to hold, in sickness and in poorer, till death do you part? he says.
“Do you, Y/N Y/L/N, take Fred Weasley as your lawfully wedded husband, to have and to hold, in sickness and in poorer, till death do you part?”
I smile, “I do.”
“Now, you may kiss the bride.”
Fred leans in ever so slowly and wraps his arm around my waist and just as our lips touch, sealing our love forever…my eyes shot open.
Tears begin to stream down my face. Ever since the war, that dream has been replaying over and over; it was almost as if it was taunting me. I lie back onto the bed and close my eyes and doze back into darkness.
It was almost sundown and I was ready for the best day of my life.
Hattie McDaniel was born on June 10, 1895, to a family of entertainers in Wichita, Kansas. She was her parents’ 13th child. Her father, Henry, was a Baptist minister who played the banjo and performed in minstrel shows. Her mother, Susan Holbert, was a gospel singer. In 1901, McDaniel and her family moved to Denver, Colorado.
McDaniel attended the 24th Street Elementary School in Denver, where she was one of only two black students in her class. Her natural flair for singing—in church, at school and in her home—was apparent early on, and gained her popularity among her classmates. Following her elementary schooling, McDaniel attended Denver East High School for two years.
Singing and Dancing
While still in high school, McDaniel started professionally singing, dancing and performing funny skits in minstrel shows. In 1910, she decided to leave school in order to train with her father’s minstrel troupe full time. In 1920, she became a member of Professor George Morrison’s orchestra, and toured with his and other vaudeville troops for the next five years. In 1925, she was invited to perform on Denver’s KOA radio station. The performance gave McDaniel the illustrious distinction of being the first African-American woman to sing on the radio in the United States.
Following her radio performance, McDaniel continued to work the vaudeville circuit for the next few years. When work was slow, she took a job as a restroom attendant to supplement her income. Much to her relief, in 1929, McDaniel landed a steady gig as a vocalist at Sam Pick’s Club in Milwaukee.
A year or so later, McDaniel’s brother, Sam, and sister, Etta, convinced her to move to Los Angeles, where they had managed to procure minor movie roles for themselves. Sam was also a regular on a KNX radio show, called The Optimistic Do-Nuts. Not long after arriving in L.A., McDaniel had a chance to appear on her brother’s radio show. She was a quick hit with listeners, and was dubbed “Hi-Hat Hattie” for donning formal wear during her first KNX radio performance.
In 1931 McDaniel scored her first small film role as an extra in a Hollywood musical. In 193, she won a larger role as a housekeeper in The Golden West. McDaniel continued to land bit parts here and there, but, as roles for blacks were hard to come by at the time, she was once again forced to take odd jobs to make ends meet.
McDaniel landed her first major on-screen break in 1934, singing a duet with Will Rogers in John Ford’s Judge Priest. The following year, McDaniel was awarded the role of Mom Beck, starring opposite Shirley Temple and Lionel Barrymore in The Little Colonel. The part gained McDaniel the attention of Hollywood directors, and was followed by a steady stream of offers.
In 1939, McDaniel accepted a role that would mark the highlight of her entertainment career. As Mammy, Scarlett O'Hara’s house servant in Gone with the Wind, McDaniel earned the 1940 Academy Award for best supporting actress—becoming the first African American to win an Oscar. All of the film’s black actors, including McDaniel, were barred from attending the film’s premiere in 1939, aired at the Loew’s Grand Theatre on Peachtree Street in Atlanta, Georgia.
Later, during World War II, McDaniel helped entertain American troops and promoted the sale of war bonds.
Through the mid-1940s, McDaniel appeared in additional films, primarily playing roles that members of the post-war progressive black community were beginning to cite as offensively old-fashioned. Since playing Mom Beck in The Little Colonel, McDaniel had been attacked by the media for taking parts that perpetuated a negative stereotype of blacks; she was criticized for playing servants and slaves who were seemingly content to retain their role as such.
Walter White, then president of the National Association for the Advancement of Colored People, pleaded with African-American actors to stop accepting such stereotypical roles, as he believed they degraded the black community. He also urged movie studios to start creating roles that portrayed blacks as capable of achieving far more than cooking and cleaning for white people.
In her defense, McDaniel responded by asserting her prerogative to accept whatever roles she chose. She also suggested that characters like Mammy proved themselves as more than just measuring up to their employers.
Later Life and Death
As the Civil Rights Movement progressed, the sort of roles for which McDaniel was typecast began to gradually disappear. As a result of her conflict with the NAACP, she was also no longer a popular choice for film roles. Movie offers eventually stopped coming altogether.
McDaniel reacted to the decline in her acting career by making a strategic return to radio in the late 1940s. In 1947, she took the starring role on CBS radio’s The Beulah Show. Although McDaniel was once again playing a maid, she managed—to the NAACP’s approval—to use her talents to break racial stereotypes rather than reinforce them.
In 1951, McDaniel started filming for a television version of The Beulah Show. Unexpectedly, she suffered a heart attack around the same time, but was able to resume filming after a short recovery period. When McDaniel was diagnosed with breast cancer in 1952, actress Louise Beavers stepped in to assume her role on the TV show.
Hattie McDaniel lost her battle with cancer in Los Angeles, California, on October 26, 1952. Since her death, McDaniel has been posthumously awarded two stars on the Hollywood Walk of Fame. Additionally, in 1975, she was inducted into the Black Filmmakers Hall of Fame.