jyn-mother-fucking-andor - Tumblr blog

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Rogue One Spoilers: yoda is still chillin

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very old, and very kind, and the very, very last

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you will be.

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Star Wars: Duel of the Fates (Leaked original Episode IX) | Concept Art

Rey on a Star Destroyer with double-bladed saber

Luke training Rey on Koralev

Kylo fighting a vision of Darth Vader

Finn, Rose, C-3PO, and R2-D2 on Coruscant trying to get Leia’s message out

Coruscant under the control of the First Order

Finn rallying the citizens of Coruscant to fight back

Rey faces a creature on Mortis

Rey vs Kylo Ren on Mortis

Luke stops Kylo’s saber

Leia recording a message to plea for help

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he’s our only ho bonus:

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I don’t think that’s necessarily feminist to see women like we see men in movies. Just having a range of different ways women can be - whether it’s weak and strong, just being human and being real, and not just being some fantasy of a male writer - is more feminist than ‘she knows how to do kung fu’. - Natalie Portman

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ROGUE ONE CREW →  LAST MOMENTS

rogue one novelization ( alexander freed )

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anidala as iconic literary/mythological/historical lovers

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Rey and Ben Solo in the Star Wars Sequel Trilogy

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the fallen boy stood up.

The Rise Of Ben Solo.

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goodnight

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Ben & Rey

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Me: *logs onto youtube*

Youtube:

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My grandfather was VERY progressive

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Everything about the throne room sequence in The Last Jedi is incredible. 

The set starts off beautiful and gets better. Stark red and black, the gold of Snoke’s robe, the Praetorians in their samurai-inspired armour. As the curtains burn, raining embers on the protagonists, the view opens up behind them—and finally, as Kylo makes his proposition, there’s nothing but ash.

Everything, from Rey being brought before the throne to Kylo Ren’s betrayal of Snoke to the duel with the Praetorians, it’s all masterfully shot and choreographed, the tension builds and builds and reaches a crescendo when Rey grabs the lightsabre from the air. Rey and Kylo both make choices which come from character, not from plot demands. The battle that follows is brutal and inventive in a way Star Wars hadn’t done before and will never do again.

The acting is fantastic throughout. Adam Driver is one of the most talented actors of his generation, and this is the only Star Wars script to come close to letting him play as good as he actually is. Of course, Daisy Ridley is no slouch either: every word, every glance, is laden with meaning, with uncertainty, with tension.

“There’s still conflict in him,” Rey says earlier in the movie, but she leaves unspoken that there’s conflict in her, too—and both of them play it beautifully.

I’m not a Reylo, I honestly do not care who is in love with who, but the chemistry between these two as performers, as characters, is scintillating. I think viewing it solely as romantic tension is absurd and a sign of how reductionist fandom discourse really is. There is so much more going on here than physical or sexual attraction. Each character can offer something the other craves—answers, a partner, a place. That could be read as romantic but I think that’s simplistic in the extreme.

Of course, the best part of the whole thing is the revelation that Rey is descended from nobodies. A resonant and intelligent thematic and character choice which was pissed away on a half-baked retcon in the next movie.

Actually, most of this scene’s interesting ideas were wasted by the follow-up. Dispatching Snoke so unceremoniously was a bold choice and it was the correct one. Rey and Kylo Ren are the lead characters of this trilogy, even the movie’s billing reflects that. Who was Snoke? Where did he come from? It doesn’t matter, the movies aren’t about him, go buy the books if you want to know that stuff—just like no one knew who the Emperor was or where he came from in 1983 and it didn’t matter.

Movies aren’t video games. They shouldn’t revolve around collecting information to advance a plot. They should let characters drive plot—let the choices and mistakes and triumphs of characters take us through the story. This whole sequence, and the scene above in particular, is a masterful example of that, but it’s an element of filmmaking we’re losing, particularly in big budget blockbusters, because of CinemaSins-style nitpicking and fandom-level purity politics.

This scene could only happen in a Star Wars movie but it doesn’t belong in a Star Wars movie. This is what Star Wars is if George Lucas’ aesthetic vision is given to a talented writer and filmmaker. I shouldn’t be surprised that so much of the fandom rebelled. For the first time since 1983, and probably since 1980—and I say this as a big, big Rogue One fan—Star Wars gave us an actual movie, and the children lost their god damn minds.

Star Wars doesn’t have to be good, apparently, it just has to be loud. I love this scene, both because and despite the fact it represents everything good and everything bad about Star Wars.