#. • ° ❃ star wars prequel trilogy — a single chance is a galaxy of hope.

[coeursainte]

                    delicate chin perched atop folded arms, the chest height wall separating the two providing more than an ample ledge for her to lean upon.      these snatched moments a welcome rest from her never ending toil.      ❝  i hardly knew what to expect.  ❞      a soft admission from almost reluctant lips, gaze sheepishly cast down to seriously consider the grain of the rocks which made up the barrier.

                    especially on a separatist planet such as this, a swirl of rumors certainly took on a life of their own regarding the grand army of the republic, especially the clones which made up the vast majority of its ranks.      a large number assigned a varying amount of inhumanity to their kind, building some sort of mythos around their treatment of others.      and myth it seemed more than utterly to be to ella's eyes, even when every last one remained shielded by their helmets.

                    honesty was what spurred her tongue, an explanation perhaps for how others may act.      not that she hadn't doubted for a moment they lacked experience in facing as much.      ❝  but i'm pleased to see everything they say is quite wrong.     i didn't wish to think any of it true of a living being.  ❞

— @galaxycrxss ( echo )

[lokiondisneyplus]

Disney has revealed that it has spent $141.3 million (£110.6 million) on pre-production and filming of the second season of its Loki streaming series as it attempts to reinvigorate its struggling Marvel Studios division after a string of critical and commercial failures.

No expense has been spared on Loki Season 2 which cost more in pre-production and filming than many big screen Marvel movies including Doctor Strange (£102.7 million), Thor 2: The Dark World (£99.4 million) and Guardians of the Galaxy (£91.1 million).

Due to debut on the Disney+ platform in October, the sequel to the hit 2021 series stars Tom Hiddleston as the eponymous Asgardian god of mischief. He is joined by Owen Wilson and a new addition to the cast, Oscar-winning Indiana Jones actor Ke Huy Quan who team up to stop a time-travelling conqueror called Kang.

Indiana Jones star Ke Huy Quan is joining Loki for Season 2.2023 MARVEL

Quan's role has been particularly well-received with one fan gushing that "this is the greatest thing to ever happen. I adore this man". Another described it as "like seeing an old friend. It is comforting to see him on screen." One fan even went as far as to say that Quan is reason enough for tuning in. "I was on the fence on watching Loki season 2 but I saw that Ke Huy Quan is in it and yeah...I'm definitely watching that." It is more than can be said for most of Marvel's productions this year.

The studio kicked off 2023 with Ant-Man and the Wasp: Quantumania, a sci-fi film which opened in February and introduced the Kang character. Its domestic debut weekend box office of $106 million was the highest in the Ant-Man trilogy but then it fell by 70%, resulting in the biggest second-weekend drop in the franchise's history. The movie ended up grossing $476.1 million worldwide which was lower than both of its prequels. As we revealed, Disney spent $193.2 million on pre-production and filming alone.

Ant-Man and the Wasp: Quantumania was widely criticised for its CGI Photo courtesy of Marvel ... [+]COURTESY OF MARVEL STUDIOS

Just days after her departure, Marvel was rocked again when Kang actor Jonathan Majors was arrested on assault and harassment charges. He denies them and will get a chance to explain why when he goes on trial this month.

Guardians of the Galaxy Vol. 3 was a rare recent success for Marvel © 2023 MARVEL.COURTESY OF MARVEL STUDIOS

Then came Secret Invasion. Disney had high hopes for the streaming series which launched in June and was based on a beloved comic series about a race of shape-shifting aliens secretly invading the corridors of power. However, its serious tone, gaping plot holes and poor CGI put off fans leading to its crescendo becoming the single lowest-rated episode of any Marvel series with just a 7% score on Rotten Tomatoes.

As we revealed, staggeringly, it had a budget of $211.6 million. It explains why Disney's chief executive Bob Iger said in February that the studio needs to "reduce costs on everything that we make because, while we're extremely proud of what's on the screen, it's gotten to a point where it's extraordinarily expensive."

A total of 7,000 job cuts and $5.5 billion of cost-savings followed, but even that wasn't enough. Just last month, Iger told CNBC that Disney is slowing down when it comes to making movies and streaming series for its Marvel and Star Wars franchises. "You pull back not just to focus, but also as part of our cost containment initiative. Spending less on what we make, and making less," he said.

Season 2 of Loki was given the green light long before these comments and before Iger even returned to the helm of Disney in November last year. It shows.

The series was filmed at the historic Pinewood Studios just outside London as well as on location across the UK capital. It's a far cry from tinsel town and this shines a spotlight on the otherwise secretive cost of film-making.

Budgets of streaming shows are usually confidential as studios combine the cost of them in their overall expenses and don't itemise how much they spent on each one.

Shows made in the UK are an exception. They benefit from the government's Television Tax Relief scheme which allows studios to claim a cash reimbursement of up to 25% of the money they spend in the country.

To qualify, shows must pass a points test based on factors such as how much filming was done in the UK, the level of UK content and how much they promote UK heritage. Furthermore, at least 10% of the core costs of the production need to relate to activities in the UK and in order to demonstrate this to the government, studios set up a separate Television Production Company (TPC) there for each picture.

These TPCs have to file publicly-available financial statements showing everything from the headcount and salaries to the total cost of the production and the amount of cash they have got back.

The UK government's regulations state that each TPC must be "responsible for pre-production, principal photography and post-production of the television programme; and for delivery of the completed programme." Accordingly, there is no doubt that their financial statements show all of the costs of each series. It isn't even possible for studios to hide costs in other companies as the law also states that "there can only be one TPC in relation to a programme."

The companies usually have code names so that they don’t raise attention when filing for permits to film on location. The Disney subsidiary behind Loki Season 2 is called Limbo Productions I UK in a nod to title character's transient status. Its first set of financial statements were filed on Sunday and cover the 18-month period to October 31 2022 which is when filming wrapped.

They reveal that the company was handed a $27.9 million (£21.8 million) reimbursement bringing its net spending down to $113.4 million which is still far from small beer. The colossal cost dates back to the peak of the pandemic when much of the world was locked indoors addicted to streaming content. Disney was eagerly adding shows to its streaming platform in a bid to attract more subscribers than its rivals.

Season 1 of Loki was the most-watched Marvel TV show to date on Disney+ ©Marvel Studios 2020. All ... [+]COURTESY OF MARVEL STUDIOS

According to industry analysts Samba TV, Loki's first episode was watched by 2.5 million households in its first five days giving it a higher audience than any of Marvel's other streaming shows - a record which stands to this day. The streaming bubble has long since burst thanks to the easing of the pandemic and pure strings being pulled due to rising inflation. However, Season 2's budget could be more important now than ever. Disney doesn't just need it to succeed in order to give a glow to Marvel but to its entire streaming platform.

Unlike theatrical releases, which share ticket sales between studios and exhibitors, Disney receives all of the revenue from its streaming platform. Subscribers pay a single fee which grants them access to all of its new content throughout the year, with or without advertising depending on how much they pay. This makes it impossible to calculate how much subscription revenue is generated by each streaming show.

Instead, the total costs of the shows are deducted from the total revenue to determine whether the platform overall made a profit or a loss. The more subscribers it has, the higher the revenue and the greater the potential for profit. However, Disney wisely changed its goal of chasing subscribers in light of the bleak economic backdrop. Its aim now is to reduce the cost of the programming which also gives a greater potential for profit. It is badly needed.

Disney+ hasn't made a profit since it was launched in 2019 and made an operating loss of $659 million in the first quarter of 2023 alone. Disney has assured investors that the platform will be profitable by the end of its 2024 fiscal year and time will tell whether Loki Season 2's blockbuster budget is a help or a hindrance to that.

[chocolateslatte]

🚨The Rise of Skywalker Detailed Review and Spoilers Ahead🚨

George Lucas: “If the boy and girl walk off into the sunset hand-in-hand in the last scene, it adds 10 million to the box office”

The “fairytale” we got: A long long time ago in a galaxy far far away, there was a curse of pain and death in a family that just went on and on.  They were never able to break it and they all die, the end. 

Well, you did it JJ, you little punk...you ruined 40 years of cinema. Kids are coming out of theatres crying, they can’t understand. I guess this was the “fun and hopeful ending” you were speaking of during the press tours.  Are you on crack or something, or just sadistic....why would you promote it like that!? Did you forget Star Wars at its core is a story of hope, light, a fairytale in space for children? They did it...they united Reylo’s and Fanboys through hate. 

JJ you do realize tragical romances are only tragically romantic if there was romantic buildup? Romeo and Juliet married in secret, Anidala did as well and flirted in the fields. How was this supposed to be satisfying? A five-second beginning, middle, and end. How this went through multiple execs is beyond me.... I would have understood if Reylo was Rian’s creation. BUT JJ LITERALLY was the one who told Rian to go forth with it...he created Reylo so you can’t say the last Jedi derailed things on that front. JJ wasn’t brave enough for his own vision. This movie was like “the crimes of Grindlewald”, a lot of stuff happening that made me feel nothing. 

Okay, first things first. The OG trilogy was necessary, the prequels were necessary to set up that Vader did not start off bad. What was necessary about the sequels? They just dismantled everything the Skywalker family worked for. Why did we have to see ALL of our favorite characters die? Was the aim that a villain can only be redeemed through death? How original. I’m convinced what they were planning for since force awakens was a journey from villain to hero...but instead we got this a 10min redemption resulting in death a la Vader. Why call Adam Driver’s character a “Disney Prince”?When did Happy endings become so controversial? We go to the movies to feel hope, to escape reality...George Lucas understood that. JJ’s trilogy is uninspired, bland and contributes nothing to the saga. JJ went as far as to recon his own “The Force Awakens”.It had the chance to define generations but no. Literal and utter garbage. Rian made some odd choices but he was bold, unafraid and had the vision. HE knew emotion was at the heart of Star Wars.

WHERE DID THE SKYWALKERS RISE? MORE LIKE RISE OF PALPATINE,  HE BLOODY WON

BUT my problem is not with the ending, it’s the bloody entire movie. This movie made me realize that it's not Reylo that I am a fan of, it was Ben, Leia, Han, Ani, Padme, and all those other characters. I’m upset because this movie is not my Star Wars: of family, love and above all else hope. This is just a 2.5-hour video game with no emotions. This trilogy was all angst with NO payoff.

Okay, you will never ever convince me Palpatine was planned the whole time. This whole movie was retcon for the Last Jedi that pissed off the fanboys. Lucas films did not have an outline for the three films and Rian derailed whatever they wanted to do....except they didn’t even tell him what they wanted! This should be a cautionary tale of why you need to plan. Kylo ain’t bad, Snoke is gone....well pull out Palpatine I guess. This whole film is JJ’s mad scrambling.  Alright, I will humor you, tell me how Palpatine came back when he fell down a shaft and exploded....not *boom boom because of force*. The force in this movie is not canon George Lucas force, it’s just an easy out whenever JJ wants one. 

1. Opening Crawl: As soon as I saw this I knew all the leaks were true, I wanted to bolt from the theatre. When I saw them in August I laughed cause it was so ridiculous it couldn’t be true. How could Disney let a whole movie leak? The plot seemed like a bad fan-fiction. Actually, fanfics are way more true to lore. Anyway, so Palpatine “announces” that he’s back. Is this the shrewd Chancellor Palpatine we know? Certainly, not...why in the world would he announce it rather than keep on the DL and just attack. Yo Palps ain’t this dumb why would you let them (the resistance) prepare?? Because of plot...well okay. 

2. Did Last Jedi even happen:  this film is the sequel to the force awakens, like TLJ never happened...except it’s acting like there was some movie in between that JJ made. Okay, so why is Kylo trying to run Rey over with his tie fighter...he doesn’t really want to kill her. It’s just meaningless action shots.  And don’t get me started on exposition, the dialogue: “hey look its the Knights of Ren”. Except they do nothing. Cool cool.  Kylo’s character goes back to Force awakens era like no development had occurred...except he’s not even there he’s just messing around not even being a real villain.  JJ’s specialty is set-up and he does this beautifully....but he can not wrap up and follow through. 

3. Rose Tico: yup last Jedi never happened, she has nothing to do. She and Finn are irrelevant. Finn has reverted to being obsessed with Rey. Cool Cool.  I honestly feel so bad for the lovely Kelly Marie Tran. How did you relegate a relatively big character into the sidelines?? Why introduce two new characters this late. Rose could have filmed in for them...but alas we must snub Rian at every turn because that’s just how petty JJ Abrams is. ( don’t get me wrong Jannah was cool)

4. The Rise Of Poe Dameron: Finn has been relegated to a side character who does nothing and just yells “REY!”. It was a great setup, a stormtrooper who was force sensitive but doesn’t want his life to be fighting for nothing. You could have explored trauma, the discovery of the light but nope nada. Tell me the point of his character journey. So flat and static. And with Jannah and the ex stormtroopers they could have gone with the arc of these lost, sad kids coming together to find family. 

5. Leia:  Okay you’re telling me our Princess would give up on her son before he was born, just throw away her lightsaber and accept Ben’s fate? Cool alright. And she knew about Rey Palpatine and didn’t say anything...my princess would never.

6. Mary Sue Rey: Ahh Rey this girl feels no emotion in this movie...just like the audience. Sure she’s trained but she can just do stuff with the “force” that even Jedi masters can’t. Stopping a whole starship, something even Yoda could barely do...yup she can do it. Beat Kylo all the time except one, yup she can. Manipulate the force in mind-boggling ways, heal people...sure Luke couldn’t but Rey certainly can.  Cause she is the chosen one...hell even Ani wasn’t this talented and he had years of training. Poe and Finn have a genuine connection, Rey just seems disjointed (totally understandable why)...but if so the ending is even worse. She doesn’t even find peace with her friends. She’s not realistic and human like Luke and Leia were. 

 Force sensitivity in the galaxy:  What a perfect setup, the boy with the broom at the end of TLJ that was force sensitive. The message is that the power to use the force was spreading through the galaxy. No longer confined to the elite. People were hearing of Luke’s battle of Crate and rising.

7. Kylo/Ben: I still maintain that he, other than Ani was the most nuanced character in the whole saga. His arc from Force Awakens to Last Jedi had progressed. How great that even someone from the legendary line of skywalker and solo could fall to the dark again. He wasn’t flat, he was a tortured boy that was conflicted since the first movie. How great would it have been to see him as a conflicted supreme leader, which was set up in TLJ. But *gasps* a plot of his very own, no can do, this is the nature of JJ’s crush on Rey and Daisy. 

Disney released comics that made us sympathize with him, to see that all along he was manipulated by Snoke, and Palpatine the voices in his head. Neglected by those who were supposed to love him. Adam Driver was cast perfectly, he had almost no lines that weren’t related to Rey’s charcater arc. If he were a woman I’m sure everyone would be offended. That single line’s delivery “Dad-”

Come on Poe had more lines than him, and Driver according to JJ was half of the protagonist. He was pitched an arc opposite that of Darth Vader that’s why he signed. Man JJ really did do everyone dirty. 

8. Ben had no lines while redeemed other than “ow”...I am so sorry ADAM that this nasty ass JJ did this to you...this part was 100% improv by Adam, I am willing to bet my life on it. You know why “ow” was brilliant? Cause it meant he felt pain and emotion, he was no longer hiding behind the hardness of Kylo REN. Adam’s performance as Ben left me speechless, he was convincing as Kylo, intimidating...but as BEN he shines in the way only Solo’s can. The way his eyes become determined once he accepts he must give his life, and he does so happily for the love of his life. His soulmate. Star Wars and JJ never deserved the talent that is Adam Driver.

9. They are supposed to be equals in the force yet they missed the opportunity to fight Snoke together. Tell me how they are equals. He existed only to further Rey’s plotline. 

Oh and the other Jedi including Anakin whisper and help Rey...when his own grandson has been asking for help in distress for like 30years. Nice real nice.

10. Finally Reylo:  it felt unearned cause there was no buildup, JJ just threw it in for kicks forgetting all the P&P parallels he was shooting for. An afterthought. Driver and Ridley’s acting saved the day, they had no lines.  Adam Driver is truly one of the finest actors. You could see the difference between Ben and Kylo in his subtle gestures...the sass was pure Han Solo.  

11. And then the death: I wouldn’t even say we won, but at what cost. We won in no way. Had he died fighting I would have understood, but this death was so unnecessary and put in just for the fanboys. Let me say again I would have been okay with death had it been justified.  How is this any different than Vader x Luke. JJ can only copy not create. How crazy that you can just bring people back from the dead...Anakin is here like, am I joke to you? I could have brought Padme back say what???? What was the point of his whole fall to the dark. The force is infinite, that’s the whole point...once you know how to use it you can’t run out of it like juice. Oh, and Ben did not become one with Rey but rather the Force according to the Disney website. So why pray tell did he not appear as a force ghost? I’m convinced JJ was on crack.  

12. No Mourning BEN no acknowledgment:  5 seconds! And then she moves on from losing her soulmate, half of her soul. She loses it over Chewie but nothing, no emotion not even a second over her other half. Seriously? No one ever knows Ben came back...nada. JJ set up Reylo, time and time again he has said that he crafted the story around the romance. He was left scrambling after Last Jedi and this was a last-ditch shock ending. No Reylo theme song, no across the stars

13. Last Jedi told us you don’t have to come from a powerful family to be important. THE WHOLE thing was that you could be force-sensitive and be a nobody. Nobodies can become somebody. A Hero is not born but made. The force lives in all beings, not just powerful families. It inspired me, what a great message to young guys and gals. Kylo’s line, “you come from nothing, you are nothing...you have no place in this story” finally turns out true. You have to come from something to have a part in the Star Wars story. And Rey had darkness inside her cause she was human. Because none of us are pure, we are shades of grey. But no, it’s cause darkness only runs in families. In the Last Jedi when she wants to see her family all she sees is herself and a shadow (Ben) who joins with her. Please do explain this JJ. And if this granddaughter thing was set up I would have had no problem...but they pulled it from their asses. You can have nothing but mean something. But no pander to the fanboys. In the end, a Palpatine lived and all the skywalkers ended....and we are supposed to have hope. Palpatine really did win. 

14. Rey’s biggest fear was ending up in the desert alone, we were told “the belonging she seeks is ahead not behind” and “there’s someone who could still come back”. They mentioned she felt just as alone with the resistance. Only the other half of her soul understood her. This is truly tragic and sad...I am so heartbroken for her. And don’t tell me she isn’t there to stay...the soundtrack is called “a new home”. Enjoy the rest of your days being exactly where you started Rey....but hey at least you got a droid boo. I’m convinced this is not the balance JJ envisioned in the first movie. At one point in TFA Rey looks up sees an old woman alone, scavenging in the desert. This rattles her to the core and it starts her journey of wanting a better, different life. I am so sorry Rey. Okay so you may say she has the resistance and her friends...but let’s consult the last Jedi. In the end when everyone is on the ship...Rey is surrounded by friends yet looks more alone than ever. No one but Ben, maybe Luke, Leia, and Han understood her pull to the dark.

How sad that these two hopeless souls who had never known a moment of belonging and true love, found it for all but a few seconds.

I will quote: “preventing female characters with strong, compelling narratives from experiencing love, intimacy, and affection is just as regressive as reducing them down to sexual accessories. Assumes that women must choose between a romantic interest and depth of character”

Men really can not write good female characters, can they? A woman really can’t be a badass and end up with the love of her life

15. The Skywalker’s and Redemption: How truly truly sad that Han and Leia gave their life for their son who also died at a young age. ALL the Skywalkers and Solo’s have a tragic end. This is not what George Lucas wanted. What a tragic way to end this saga...they weren't able to break the curse. AND to all those troubled kids out there that lashed out and made terrible mistakes in their youth....doesn’t matter what you do dying is the only way out. You could have exiled him, made him pay in other ways. Nothing can be done to make up for your sins but death, no amount of good means that you can come home. To the young boys that get wrapped up in terror organizations, sorry the only way you can be redeemed is death...don’t bother changing and coming back. They could have exiled him, had him start an academy with Rey for Jedi kids. He could have spent the rest of his days redeeming himself. Why tell us he was literally preyed upon, haunted, and manipulated as a child. Even in a fantasy world, a victim of mental illness and abuse can not catch a break. Ben as a child could not fall asleep due to the demon-like voices in his mind. Everyone abandoned him in his time of need. Ben never desired power like Anakin, he went over to the dark because “the voice” of his grandfather promised belonging. I am shocked that this is the message Disney sends us. Oh and yeah you can totally take on the Skywalker name for kicks...the disrespect I swear

16. The worst bit is that I am 90% sure there was another ending that was scrapped.  There was a promo shot of Jannah in a field, soft lighting, lush planet. It was exactly like P&P. Daisy Ridley said the lasts scene was known to only Her, Jannah on that panel (Driver was away). Convinced Jannah was looking at Rey and Ben starting a new life away from the desert which she and Luke hate so much. Hence the production of “A New Home” soundtrack. Hence why the “Farewell” song played behind Reylo kiss was hopeful. Why Luke’s soundtrack when he became part of the force was not triumphant. Why the death scene was sudden and cut weird and no sorrow from Rey. CAUSE THEY SCRAPPED THE ORIGINAL ENDING LAST MINUTE.  Everyone knows JJ was still editing one month before. The concept art which was supposed to be released this month has been pushed to March. Why you ask? They need to remove the pages with a happy ending. He just didn’t have the guts, pandered to everyone and yet no one. He was successful in creating a beautifully filmed action-filled movie with none of the heart of Star Wars.

And then she goes and buries Anakin’s saber on freaking TATOOINE. He HATES Sand and Luke wanted to get away from there as soon as possible. Of course, a Palpatine would torture them that way. But nostalgia is the cash cow so. JJ can only generate nostalgia, not create original stories. IF he had any creativity she would have buried it at Padme’s grave.

The fanboys say “leave the romance for the romance movies”....have you seen the original trilogy or the prequels? Star Wars has always had hope and romance entwined with it. 

SO AFTER 40 YEARS...PALPATINE WINS...HIS BLOODLINE LIVES ON

...and people thought the prequels were bad 

JJ you also said that your goal was for people to come out of the movie feeling more hopeful and happy then they went in...yet here I am. My roommate literally had to console me and buy me ice cream. I am just so numb. I am sure the casual fan will enjoy this, as seen from the rotten tomatoes ratings. I think the critics were too generous with this one, 

Star Wars is very simple at its core, Good vs Bad and Dark vs Light. The kids are expected to understand that a Palpatine being the only one who lives is hopeful? That is the conclusion of three generations of Skywalker sacrifice...

This is how the Skywalkers are remembered...In Tragedy and Curse??

[janiedean]

Just seen a post like "y r reylos upset? they kissed. I have a ship where they don't even meet" and I was ready to go "I Don't Know How To Explain To You That knowingly shipping a crackship and seeing a ship that's been set up since the beginning get turned into some emotionally manipulative little trick by hacks who dgaf abt the characters and only want to cash in on every single part of the fandom are very different things." But I gave up. Not worth the effort.

it’s not, but... honestly?

this thing is... like... I don’t want to say mildly worrying me, but... it is. (beware the next post won’t probably make much sense but bear with me this thing isn’t sitting well with me lmao)

I mean, like, let’s get it out of the way that I didn’t care for reylo either way until tlj and post-tlj I was like ‘oh okay they’re definitely the romance of the trilogy fine sounds nice I’ll be here being happy for them when they inevitably kiss’, because it’s like.. star... wars. I mean. sw is like the one franchise that until five days ago I’d have cashed in on being the ONE thing that would always end up cheesy/hopeful/not disappointing you know, so... I didn’t even consider that there was another way it could end. because it’s goddamn sw, redemption stories with happy endings are the damned brand.

so like... the fact that the thing was obviously set up and they tore it to shreds along with everything else in the movie is bad. like, bad. but people who didn’t realize how fucking insulting it was just... don’t seem to get that the moment you go watch movies whose brand is making you feel better about things and they turn into calvinism central NO HAPPINESS ALLOWED and they don’t even do it with sense - bc rots made no fucking sense at any point ever and that’s outside reylo - it just... makes you feel betrayed? like, again: in 2015 when I came out of the cinema the only thing I banked on was poe dameron not dying and I couldn’t care either way about kylo ren, but like - tlj made me care. as it was supposed to be. I was supposed to care about kylo ren’s pull to the light and guess what I did because that movie wanted me to, and it wanted me to do 2+2 and realize that he and rey were soulmates and fine I was down with that because I like myself a nice love story.

and then like... you give it to me, like that, and the moment you have the character who has had a shitty life, has been groomed since he was born if not before by Worst Person In The Galaxy if the new canon wants me to buy that - or by snoke but it’s the same -, is an abuse victim and is 100% sure that everyone hates him and no one understands him or wants to understand him, you make that character related to one of the most iconic ones in the franchise to the point that you tried to make han every other member of the trio tbh, you actually have that character taking his life in his hands after talking to han and like embrace what he always wanted to be and show that he’s actually happy with it (like ffs guys it’s also probs because adam driver is an excellent actor but you can see the ben solo vs kylo ren difference in the span of five seconds, and you’re supposed to root for ben solo to win ffs), have him actually win, have him being happy for the first time in the entire canon and then you kill him a second later with rey in tears over it except that then we forget to give him a funeral........... like.......... sorry but I feel robbed because as lowkey as my effort on banking on ben solo’s redemption was because I was sure it was coming and I took it for granted it still felt like they were being unnecessarily cruel. like, they could have killed him in ten other ways that wouldn’t make you feel like someone stabbed you in the kidney as another anon put it. but no, let’s give people the prospect of HEY THEY’LL BE HAPPY just to tear it away from them ten seconds later. like, what the fuck? that’s not what anyone signed up for.

especially when the entire thing was obviously set up for the happy ending. like, if you actually misread the audience so much that you think star wars audience wants grimdark when it’s a movie marketed at children then you don’t deserve the money you’re most likely getting paid.

like, again: as someone who wasn’t even diehard reylo or whatever even if I absolutely shipped it, I felt like these assholes took my money and punched me in the kidney since rey palpatine was a thing and the moment he died I about screamed fuck you out loud... along with most of the entire room which was screaming fuck you, because guess what, not a single person in that room actually was banking on the ben solo redemption to fail and each single person in the room was clapping when they kissed because we were fucking waiting for it already, and like......... obviously ppl shipping it are upset. they were given an unsatisfactory movie up until then that didn’t give the characters justice but which could have still been more or less decent if it saved the spirit of the entire thing... which it didn’t because sw is not fucking calvinist central and hasn’t ever been until now. and then they were given canon after being the target of the vilest shit (guys seriously I unfollowed antireylo people way before shipping reylo myself bc that crap was out of line for shipping fictional stuff)... just to have them take it away by killing the one character that was there to show you that there’s always hope for you to do the right thing?

like, let’s be fucking real: the message is that if you fucked up and want to be better it won’t ever be enough because sorry but you’ll never get another good start and if you care about someone who fucked up and want to help them be better it’s wasted time because people who want to do better can’t actually live and have a chance to keep on doing it.

and sorry but fuck that message with a chainsaw. the beautiful thing about this ship imvho was that in tlj it made it overtly clear how rey helped him out of being a genuinely nice person who listened to someone who thought no one ever would and at the same time kylo/ben couldn’t believe that someone actually said that he wouldn’t be alone either bc the two of them are extremely lonely people and feel that acutely....... and they even threw in the soul bond to make it extra obvious. it was a hopeful story because you had girl who never had anyone who was also innately good who could put her prejudices aside to see that someone who also went dark side because he thought no one loved him and then kept on being abused his entire life actually had good inside them and wanted to help him see that instead of writing him off as a lost cause. like. that was a good romance. nothing exceedingly new under the sun, but in sw it was pretty fresh and a good spin compared to the two other main love stories of the trilogy. also, anakin/padme was what it was and han/leia was immensely better but hey someone decided to kill off the entire original trio so whatever... and if these two ended well they’d have been a constant improvement, never mind the symbolism - you had anakin who was a no one and married a space princess but ended up tragically because he went to the dark side and she could do nothing for him, then anakin’s daughter who was a space princess and married han who is also technically a no one since he didn’t even have a surname on his home planet, and if rey/ben had actually not.. had that ending you’d have closed the circle with space prince descended from both anakin and leia being brought back from the dark side with the help of another no one and finally the damned skywalker line would have gotten one 100% happy ending because it was supposed to be the ending.

like.

that’s something that thematically made so much sense I didn’t even think they wouldn’t do it.

and they did. and guess what of course people are pissed. because this movie about ignored themes, its own canon (from tfa and tlj) and didn’t accomplish one single thing except chewie getting his damned medal.

which, while something we all hoped would happen at some point, is hardly the one thing you should accomplish in a star wars movie supposed to end the goddamned cycle and which eventually ended up being prequel-level if not worse. because I mean, objectively I think the phantom menace was actually a better movie, and I would rewatch this over 2 and 3 just because the cgi in this movie didn’t hurt my eyes, but as bad as lucas got with the prequels, he never did a single character as dirty as disney did all the characters here. no, not even padme, and he did do padme dirty.

tldr: if people don’t get why you’d be pissed at how this movie ended idk what to tell them... but shit if it’s not worrying me that people apparently can’t get that it was a disaster on each single level it could have been. peace.

[loopy777]

A larger question that needs two asks to cover. One of the biggest criticisms against the star wars sequel trilogy, is that all the OT main characters died complete failures after having all their work undone. Luke was the shining hope for new jedi, but had his academy killed, gave up, and essentially just became a bitter Yoda, then after returning to the man he used to be, he dies. Han saw his son become evil, abandoned his wife and became a smuggler again, and died failing to redeem him.

Leia worked so, so hard to make the new republic happen, only for it to die ridiculously easy. Essentially, there's an argument to be made that all their work was undone and they all died miserable failures. What's your thoughts on the subject?

Well, my take on this comes my philosophy on sequels in general. Unless it’s something with enough entries to really play with things, sequels need to maintain or escalate the story stakes. James Bond and Marvel movies, for example, can sometimes go big and sometimes go smaller scale, because they’re essentially episodes in a television series or chapters in a massive book.

Star Wars, on the other hand, is all epic all the time. Its movies are always events- and when they aren’t, the titles of the movies themselves tell us that they’re small skippable little things. Episodes 1-6 are about the greatest threat ever to the galaxy and Jedi; a sequel trilogy can’t follow that with a story about mopping up and just doing the stuff implied by the ending of Episode 6. But Episode 6 was meant to be the finale to the saga, so there’s no remaining threats or plots on the same level as Palpatine, the Empire, and the Sith.

I thought the sequels, at least TFA and TLJ, had an interesting way around that by being about the concept of sequels themselves. In order to create the proper stakes, the heroes were indeed turned into failures- and the heroes are directly reacting to that! Leia reacts by digging in trying to keep fighting. Han reacts by going back to just surviving. Luke reacts by giving up and trying to die. They hate the sequels turning them into failures as much as the audience.

And then TFA brings them back into things by having them become aware of the new heroes and the cycle of stories. What so many people took as Han’s moments of “Wow, I think Rey might be my daughter,” I took as “Huh, another wide-eyed prodigy from a desert planet who’s dragging me into an epic adventure.” I took Luke’s reaction to Rey offering him the lightsaber as him realizing that the story is starting over again and trying to draw him back in. Even Kylo Ren is actively trying to fit into the Darth Vader role and is frustrated that he’s just a cheap copy.

(I could have done without the repetition being so explicit with the return of X-Wings, TIE Fighters, a jungle base for the Rebels, another desert planet, Bigger Death Star, etc. The themes could have been there with new visuals that merely homage the old stuff. But I think the choice to recycle so much was a direct ploy to ease people back into Star Wars after the reactions to the prequels, so hoping for a lot of new stuff in TFA was probably always futile.)

And then TLJ directly follows this up by making the concept of a repeating story one of the major themes, explicitly! I considered it solid validation of my interpretation of TFA! (Now I honestly have no idea what was intended with TFA, because I think Rise Of Skywalker is completely disconnected from it. If ROS indeed represents the original intentions of J.J. Abrams, then TFA must have been heavily pulled off track, to its benefit, by Lawrence Kasdan.)

Han’s death, to me, was a mix of triumph and failure. On the one hand, he finds the strength to give himself over to The Story, to let go of survival and offer everything up for the chance to save his son. I think he knows that it’s not going to work, but he understands that it’s a step that has to be taken, and so he makes the attempt and lets his life be claimed.

This is the problem facing the young cast in TLJ. They trust too much in The Story, in heroes and last stands and destiny and redemption and sacrifice and a righteous cause. Luke, on the other hand, sees how all of that accomplishes nothing in the long run; he sees The Story at work and knows that a Happy Ending depends on where the storyteller stops, that continuance inevitably brings back the darkness. He realizes that the storyline of the prequels was forced on him in a repeat, despite his victory in Episode 6, and wants no part in an endless cycle of dumb movies about space wizards killing people.

It’s Leia who seems, in TLJ, to see the possibility for a path of balance. She’s still part of The Story, still values the things that the younger generation does, but she also sees that those things won’t bring victory by themselves. They need to be smart about how they participate in The Story. Strategic with when they invoke The Story and when they should shy away from it. The failures of the younger cast eventually teach them this, as well. Rey uses the Millennium Falcon to bait the First Order at the end of the movie, pulling TIE Fighters into a reenactment of Return Of The Jedi to save her friends, but she no longer thinks she can force the redemption of Vader onto Kylo. Poe and Finn learn lessons about how the true value of Heroic Stands isn’t taking out bad guys, but changing the direction of The Story.

And Luke finds the path of balance as well, finding that The Story can be turned against the darkness. Where Finn and Poe learn when not to invoke the Heroic Stand, he rediscovers the moment when both a Hero and a Last Stand is the greatest weapon to employ against the enemy, and so steps back into his role in a way that will let the younger generation learn and continue to grow. That he does so in the single greatest feat of the Force in the entire saga makes it especially triumphant.

Kylo Ren, meanwhile, has likewise become frustrated with the nature of sequels, but instead of finding a balance between new and old, he casts away everything old (”Let the past die. Kill it if you have to. It's the only way to become who you were meant to be.“) and seeks only something new- and in doing so is defeated by the protagonists who have weaponized The Story against him. Because a franchise like Star Wars can’t go fully New as there’s too much valuable IP to mine.

This is why I had such high hopes for ROS. Luke had already turned the tide of The Story, and the next cast had been set up to find an Ending that would prevent The Story from happening again. Literally all the next movie had to do was deliver on what was already set up with some plot mechanics.

And that’s why Rise Of Skywalker is so bad, to me. After two sequels dealing, on a meta level, with the concept of sequels themselves, ROS just copies tropes from the classic trilogy without adding anything, without finding new meaning in anything. Rey learns that her father is Darth Vader (metaphorically), and struggles with the same themes Luke did, eventually coming to the same conclusions. She confronts Palpatine just like Luke did, with the aid of a darksider she helped pull back to the light, and makes the conflict into just another clash of Jedi vs Sith, doing nothing to guarantee that another sequel down the line won’t bring that enemy back for a nostalgia cash-in.

Even Leia becomes a failure, throwing a Redemption trope at her son with no meaning behind it, turning him away from the darkness but without any insight into how he became Anakin Skywalker Redux, how she and Han and Luke had previously failed. She did nothing to prevent it from happening again in another generation; she just solved this one problem and then died, tidying up her subplot but having no lasting impact.

All of this confirms that Han, Luke, and Leia are merely failures, as you describe, as ROS shows that they’ve left nothing behind that will continue. Where TLJ introduced the idea that they had to fail in order to gain greater understanding of The Story, so that they could teach its mastery to the next set of protagonists and end things with merely one Sequel Trilogy,

And thus ROS confirms that failure is inevitable; Rey, Finn, and Poe will fail again the next time Disney needs to exploit nostalgia, because they never mastered The Story. The full cast tried to confront the nature of Sequels, saw the conundrum that they can have no impact while Disney sees more money to be made from Star Wars...

And they all give up, surrendering to cliche. Han, Luke, and Leia repeat their acts from previous movies, or the acts of their predecessors from the prequels, and cash their checks and walk away. I don’t mean the actors; I truly mean that ROS turns Han, Luke, and Leia into Space Opera jobbers.

So yes, they all died as miserable failures.

But, dangit, until ROS, I thought there was going to be a greater, beautiful point to it.

And there’s no fixing it now. This isn’t a story that can be retconned or ignored. ROS’s abandonment of the themes of the previous two sequels stands as a glaring Statement Of Intent from Disney: there is no meaning in these movies, just the exploitation of a thing we once loved.

And that’s going to take a lot come back from.

[danwhobrowses]

Why Star Wars: The Last Jedi Deserves More Respect

So after a handful of posts I think it’s time to bring back this one, the conflict was that I was considering reviews for Pokémon Sword and Shield as well as a review for Rise of Skywalker, but the latter made me think that this is an opportune moment to talk about the previous entry.  Like The Last Jedi, Rise of Skywalker has had divisive opinions, frankly I liked the film but I think TLJ was the best of the sequel trilogy, and I am going to explain why

Fair Warning, within this there’s gonna be spoilers for Rise of Skywalker, possibly Mandalorian, maybe Solo and definitely The Last Jedi...this will also be very long

So I know straight away that this is gonna get heat, there has been constant times where me saying that I liked TLJ has been considered trolling or ‘bait’, honestly I find myself baffled that people can hate it so vehemently, believing that the story is and I quote ‘the worst sequel ever’. While it is clear that Johnson had a different vision to Abrams, that was not a bad thing, a lot of the criticism the film gets are quite hypocritical in contrast to the Original Trilogy which is held to so much esteem, so to start I’m going to break that down. Small Disclaimer before I do: People are allowed to dislike things, not saying that if you do dislike it you are doing something wrong, just pointing out that it’s not wrong to like the film either. Disowning before Watching The first thing I think turned people off of TLJ was the interview Mark Hamill had before the film came out, people misconceiving his comments that it’s not the journey he expected seeing of Luke to mean that this is not a film he would approve of. The same almost happened with RoS with Abrams comment which was abridged to imply that Abrams disowned TLJ as well - he did not - but in a society where we want to home in on flaws and criticize before even seeing that was too wide a door left open. So without fault, TLJ already had a group of people set on disliking the film because it would be different to how they and Hamill wanted it to be and because it’s not exactly like the decanonized ‘Legends’ continuity - despite people being fine that Jacen Solo and Ben Skywalker had been merged to make Kylo Ren in The Force Awakens. It’s easy to point out that if you go into something adamant to dislike you’re going to get your wish, so the first point of order is to give something a chance to impress you, you can’t criticize something because an actor didn’t think it’d go that creative direction, Hamill did not hate this movie and people disliking their content does not automatically make it bad, Stannis from GoT hated the show, Alan Moore hates everything but that doesn’t mean Watchmen was bad, the actors for C3PO and R2-D2 hated each other but that doesn’t mean that when they acted their bond wasn’t great.

The ‘Luke is not Luke’ Criticism Hamill’s comments ease nicely into one of the main critiques that fans felt that Luke was not the same character he was in Return of the Jedi. People criticized his disconnection from the force which included tossing his lightsaber away in the opening scene, the Rashomon sequence where Luke considered striking down his own nephew - a move that ultimately turned Ben to the Dark, drinking green milk and that his last stand was a projection rather than a solid encounter. You know what I say to those criticisms?

They are bollocks, absolute nonsensical criticisms made to try and dismantle the best character of the movie. Hamill delivers his best for Luke in TLJ and his character arc is brilliant. I watched Blind Wave (a great youtube reactor channel) react to TLJ and the members noted how it was great that Luke had a character arc, something I wholly agree with. Luke was around 23 in Return of the Jedi (since the galaxy uses the standardized dating of Coruscant which has the most earth-like cycle), if you expect a 23 year old to have no room left to grow in the next 30 years of his life then I don’t think anything’s gonna get through to you, Luke is meant to be different, because since Jedi a lot of shit has happened. Luke’s discarding of the lightsaber shows his disconnect with the Force, something that had allowed the First Order to paint him as a myth and rendered everyone near-unable to find him, only tracked by the galactic map to Ahch-To from his past days of discovering remnants of Jedi past. Next let’s bring down the Rashomon sequence, the 3 tales of Ben’s turning. Initially, Luke painted a picture that he sensed that the darkness was too late, Ben woke and attacked him. Later Ben paints that Luke is lying, and that when Ben awoke Luke was there with his Lightsaber drawn with intent to kill him. The third story admits that both are correct, Luke drew his lightsaber in sensing the darkness, and Ben awoke to see it and retaliated.

This story peeves people mainly because they say that in Jedi ‘Luke was willing to fight for a single hope of light in his Father but was willing to kill his nephew for a bad dream’. A ridiculous comment that waters down and ignores the bigger picture though. For one, while Luke wanted to save his father and sensed good in him, he still ended up cutting his dad’s hand off, the indication that much like his father Luke - as he had always been in the Original Trilogy - was still susceptible to his emotions, including the negative ones. The other reason this statement is foolhardy is because they don’t listen to Luke’s narration, where he explains that it was a fleeting moment of panic and arrogance, his ego as ‘Luke Skywalker, Jedi Master’ took over when he sensed that Ben was already turned by Snoke, and it was only for a split second which he immediately regrets. It’s this moment that snowballs into why Luke disconnects himself from the force, his ego as a saviour to Jedi led to the downfall of his nephew - which led to his best friend and sister separating, the rise of the First Order being like a second Empire and the massacre of most of his other jedi students, he realised that this was the same ego that led to the previous Jedi’s downfall to Vader and Sidious and thus came to the conclusion that maybe the Jedi way is not the right way. Not only is this a brilliantly done tragedy for the character but it’s a progression that identifies with public opinion of jedi ways and the pompousness that led to Anakin’s turn to the dark side as depicted in the prequels. The use of Rashomon also connects to the Jedi/Sith connections to Samurai which was a great touch by Johnson. The green milk scene was a weird one I’ve seen being criticized, like people are fine with Calamarian fishmen but a Tatooine/Naboo humanoid can’t drink green milk? I think I need to remind you that Luke drinks blue milk on Tatooine, he is a moisture farmer as well, the ‘green milk’ scene was a depiction of how Luke survived on Ahch-To as Rey followed him, his lifestyle disconnected from the force as he lived as basically a farm boy. I don’t know why people got so mad about the colour of milk but you can’t expect those nuns to have fed him roast porgs every day The final criticism is his last stand, something I will touch on a bit later as well. In terms of Luke, people were disappointed that it wasn’t Luke actually there and while yes it would’ve been great to watch Luke tear down AT-ATs luke the EU, but he literally says that he won’t do that

it’s not a matter of can’t, it’s a matter of him strutting up to the army of the First Order will not end the war, most people don’t even know if he exists. Showing up will have inspired the resistance yes but if Luke was shown killed or captured that hope would then be instantly diminished, and Snoke and Ren would definitely be going for Luke’s head to make that so. This is why Luke goes via projection, instead of his ragged hermit self where he’d likely die similarly to how Kenobi did, he demonstrates a highly advanced force power to display himself as a clean-cut warrior who shrugs off the full might of the First Order’s arsenal and humiliates its brand new Supreme Leader, while disappearing. That stand does the Resistance far better than him showing up in person, because now the legend of Luke Skywalker lives longer than he does, he inspires a new wave of Jedi who understand his sacrifice and rebels who have just seen how one man can expose the weakness of the First Order. Luke’s last living gesture is one that inspires hope, before he becomes one with the Force at peace. If anything that is as beautiful as it is tragic of an end for Luke, but by no means is that bad. The Rose Tico ‘Issue’ Luke wasn’t the only character to get on the wrong side of criticism, undoubtedly Kelly Marie Tran got it the worst. Despicable people flocked to harass her over her character, throwing about racism just for that added content of being a horrid human being. Her character, Rose Tico, was a newly introduced character from the Resistance who joins Finn and Poe’s arcs, her main non-racist criticism is her act of saving Finn from the Laser Battering Ram ‘She has this stupid speech about saving people with love while a laser battering ram breaks down the door to kill a bunch of people’ A common theme seems to be that people are taking things the absolute wrong way. Rose’s journey with Finn is an interesting arc where she seeks to make sure her sister’s sacrifice - caused by Poe’s rash personality - is not in vain while accompanying a ‘hero of the resistance’, what she is unaware of is how her assistance relates to Finn’s journey as he tries to live up to the esteem she sees him in, he had always considered himself a defector rather than a rebel. Rose (and DJ) open his eyes to a reality that not everything is black and white, he left the First Order in TFA because he believed that they were ‘wrong’ and so by default the resistance had to be ‘right’ but TLJ challenged Finn to see both sides and make a choice for himself, a choice that is made thanks to Rose. However, his embrace of being a rebel is why he is adamant to try and sacrifice himself for the laser battering ram. I have to point out that until Rose stepped in I thought Finn was gonna die, I thought it really ballsy and a little disappointing that they were gonna kill him off, I also knew that the ship would not stop the battering ram so it was actually a relief that Rose did save him.

I think people dislike it for that reason though, they felt that Finn dying would’ve been a more shocking narrative turn and because Rose saved him she is to ‘blame’, I also believe that people didn’t like the relationship because Finn was clearly still on Rey and not everyone was on the Reylo boat or it got in the way of FinnPoe being more than just a bromance (side note, at the start of RoS I thought they were sailing on the ReyPoe for a moment, though I’m not mad about how they went), but again, that shouldn’t be the fault of Rose’s character. Rose clearly was inspired by Finn’s reputation and grew fond of his personality the more time she spent with him, likewise Finn found himself wanting to earn her esteem and taking care of her, it’s actually a shame that Rose’s role gets heavily reduced in RoS, because I do feel like Rose could’ve filled Jannah’s role (nothing against Jannah or Naomi Ackie of course) with the Canto Bight horse-things instead of the Kef Bir horse-things. So to conclude this section, Rose was good in this film, she served a purpose to grow Finn as a character and most constructive criticisms against her revolve around things either out of her control as a character or without would diminish her character role completely. The Communication Issue between Holdo and Poe Alright, let’s throw some hands up before I rub them together. I agree that Holdo should’ve told people the plan, I do dislike it when a movie creates conflict made by a lack of communication. But, he will say rubbing his hands together, this does not ruin the film. It’s worth reminding that Poe is recently demoted for reckless behaviour, the Resistance’s entire offensive fleet was destroyed due to Poe wanting to destroy one Dreadnought Ship. A reasonable punishment for Poe on his arc to realise that being a leader is more than just winning a battle, but more on that later. So Holdo comes in, new squadron she barely knows because she’s taking over for Leia, she has a plan that she and Leia know but are the only living members who know now. So why doesn’t she tell Poe? It’s quite simple, not only does the novel imply that she’s figuring out if there’s a mole - which is understandable because the First Order must’ve watched Star Trek: Into Darkness and thought ‘hey we could track ships in hyperspeed too!’ - but she’s also trying to enforce Leia’s punishment to Poe. Poe is in this shit because he refused to listen to orders, so Holdo is basically telling Poe to listen to orders, something he refuses to do and starts a mutiny. It is frustrating yes and we side with Poe because he’s the more familiar character, but had Poe just proved himself a trustworthy person who is learning from Leia’s last decree before she went into a coma she would’ve told him. This also transitions nicely into the next criticism people have Canto Bight and the Cryptographer Goose-Chase Poe’s plans of mutiny starts with sending Rose and Finn to Canto Bight, at the behest of the massively underused Maz Kanata, to find a Cryptographer so that they could disable the hyperspace tracker. People hate this scene mainly because it segue’s from the plot, it’s high on CGI and reminds them of the Prequel Trilogy

Now I can’t really contest the CGI but it was nothing bad, CGI still gets used well and the visit to the Casino aided in time for Rose and Finn to establish a relationship, have some lightheated BB-8 moments, introduce DJ the speech impediment ‘wrong hacker’ and continue to drive the shades of grey theme Finn is about to learn about. People never seem to criticize that they put their faith in the wrong guy because it leads to a more interesting conflict, so it’s strange that they hate this transition so much. The Brevity of Snoke and Phasma Two characters introduced that promised to be big deals were killed off in The Last Jedi, the nature of them both was a brave scene that many felt dropped the ball on these characters. And while I am inclined to agree on Phasma at least, Snoke’s death was actually a great turn. Before RoS we were none the wiser on who Snoke was, now we’ve seen it we know that he was basically a mass-produced puppet by the emperor...not the best of closures I’d admit but the anger towards Snoke being killed off is actually hypocritical ‘All Snoke does is sit in his chair and die’ You know who else sat in his chair and ‘died’, ol’ Sheev Palpatine. People are quick to criticize that Snoke was hyped up but barely got to show anything when Palpatine only really demonstrated the force twice in the Original trilogy before being thrown into a pit of apparent death, we allowed the Emperor a pass because we learned more about him through novels and future movies, and that’s something we eventually find out from Snoke as well.

Captain Phasma on the other hand was a sad disappointment, after one brush with death already she returned to basically be killed off again as a symbol of Finn shedding his ties as an ex-stormtrooper and embracing the role of a rebel. This is not really the fault of Johnson though, everyone seems to be more content with the alternate scene where Finn exposes Phasma’s actions for TFA, but that was a choice from the cutting room. While we can be disappointed that Phasma didn’t leave enough of a mark on the trilogy, we can always hope for prequel stuff as we had with Boba Fett, an equally wasted character in his main trilogy who could theoretically be in The Mandalorian (only a theory, nothing is concrete), but if we are willing to love the Original Trilogy despite similar issues we hate on TLJ for then aren’t we being hypocrites? tHaT’s nOt HoW tHe FoRcE wOrKs If you try to pick on Rian Johnson for ‘not getting Star Wars’ directly you would be in for a world of punishment. Two major force powers that get used in The Last Jedi is the ‘Force Skype’ and Force Projection, however both are basically using the same techniques, one is connecting minds while the other is connecting one mind to an individual place. It’s immediately told to us that this is an advanced technique but this is not something Johnson has made up. In the EU this ability is called Simifuturus or just Doppelganger, practiced by Luke, Dooku and Yarael Poof. Rey and Ben’s Force Skype is also used in the EU called Force Bond, Chain or Jedi Kinship, the ability had been fine in beloved Star Wars games Knights of the Old Republic I & II, the Clone Wars and Rebels series and aplenty of novels. For the legitimacy of these abilities cannot be contested. The fact that the ability kills Luke shouldn’t be criticized either, Luke is projecting himself light years away on Crait, with a copy of Han’s dice in a much more polished form, he physically interacts with Leia and takes on a barrage of AT-M6 blasters - turbolasers that can destroy speeders and ships with one hit - and two lightsaber slices, remember Ben felt the impact from Rey’s blaster on their first Force Skype, so Luke carried the feeling of all that damage and strain on his body and maintained his projection. So not only did Luke’s dying moments lead to an incredible display of using the Force but also one that forced him to sustain an immeasurable amount of damage and still manage to bide the resistance time to escape. Leia Poppins Ah yes, the Mary Poppins moment. I dunno how I can explain this one so easily but how about this. Leia is force sensitive, we have known this since Jedi, so to see Leia use the force was a massive moment, but she’s floating in the vacuum of space so there is no ‘up’ she is basically pulling a heavier object than herself in a vacuum, using it as an anchor so she can get to a blast door. As to why she survives in space, you can survive up to 2 minutes in space without a helmet, it is horribly painful though, it’s also worth reminding that Leia is not a human like you or me and if the Force can heal (as shown in The Mandalorian and RoS) then why can’t it keep Leia alive a bit longer in Space? She ends up in a coma anyway so I don’t see why complaints are rife here, she survives barely and it’s not like they knew Carrie was going to die sometime after the film was completed, they obviously had more plans for her so it would’ve been wrong to kill her off there when we were already killing Luke off. Did Disney Ruin Star Wars? This is a statement I’ve heard a lot in regards to TLJ, Solo and RoS, which is weird though, people were fine with Disney doing TFA, Rogue One and The Mandalorian, Mando’s journey with Baby Yoda proving that the utility of fanservice - something the trio get loathed for - can be enjoyable and it bodes well that the director of some episodes is doing an Obi Wan film. The phrase ‘Star Wars Fatigue’ also came about from post-Solo reviews, which I have expressed is dumb because MCU do 3 marvel movies minimum a year. But the reason Solo got low box office figures wasn’t because it was bad, it’s because it was released around the same time as Deadpool 2, it was left to the sharks without a chance to succeed. So no, Disney have not ruined Star Wars, if anything fan perception has damaged the franchise with people hating it because it’s not the Original Trilogy or it’s too much like the Original Trilogy, the same can be said for the EU. RoS is quite similar to Dark Empire but because Disney retconned most of the EU it’s the enemy, but let’s be honest, does anyone want the continuity to be that Chewie gets blown up? I doubt that. So WHY does The Last Jedi deserve more respect I think the mixed reviews of Rise of Skywalker has proved that maybe TLJ got a harsh end of a stick, even with Abrams’ vision back at the helm the film proved to be divisive and personally quite safe. This is probably why I liked TLJ the most, Johnson went to challenge things and build off of the previous movies as a whole, nothing really was safe, it took narrative risks that opened the door to a lot more things.

We explored Rey’s connection to the force and her desires for answers being unable to be sated by it because she’s expecting more from her level of learning, we also have Snoke’s gambit to bond Ben and Rey together to strengthen both, Ben strengthens into a more mature state but continues to conflict in a less whiny way, even relenting from trying to kill his mother. We also got some ‘reverse Jedi’ stuff with both Ben and Rey adamant that the other will turn but instead of turning one another, Ben’s hatred however proves too great for Rey to accompany him which leads to Ben getting a villain promotion to Supreme Leader. We have a solid arc for Finn, Luke and Poe as he finally learns to take care of others, because as Rose was saying, sacrificing yourself is not going to beat the First Order, heroes are great but dead heroes win nothing, protecting others is the essence of the Resistance and that’s what a leader is meant to do. Hell, we even get a little Hux stuff, the way he slowly considers shooting Kylo Ren while he’s down and his constant abuse culminating in the rather obvious RoS reveal that he’s the spy. Unlike RoS, TLJ thrived on giving every major character worthwhile arcs like these which all ended up entwining in the climactic showdown, while tertiary characters did end up getting underused there were still windows for them to do more in the next episode which was taken out of Johnson’s hands, but he laid a lot of groundwork for the story to be taken multiple directions, which is actually quite difficult when you’re midway through a trilogy and on the 8th outing of a saga. In addition, the film provided Hamill’s best performance as Luke Skywalker, giving him a fitting end to his journey which explored almost every dimension of a Jedi’s character; training, temptation, losing faith and redemption.

I also loved how Johnson described the Force in TLJ, it wasn’t about Dark or Light, the Force was the Force, an energy that flows through all that is harnessed by the force sensitive, even Force Ghosts. And using the Puppet Yoda was a great and fun addition, and it makes sense that he can fire lightning, because Force Ghosts are one with the Force, they flow with the flow of nature. We got lore and demonstration of great powers that made the ‘holy shit’ moment of Kylo Ren stopping a blaster shot mid-flow look like novice work. And while we’re talking about ‘holy shit’ moments

You cannot deny that TLJ had some absolutely breathtaking visuals, moments in this film are some of the best moments in Star Wars, a combination of intensity and hype from Luke’s standoff with the First Order to Holdo’s hyperspace ram, Ahch-To’s real-life setting was also beautiful as were the design of Crait from its Icicle foxes to its salt speeders leaving a red path of smoke

This film looks beautiful and the story is multilayered with character development, worldbuilding, good action and gutsy plot twists, you know everything people (rightfully) praise The Mandalorian for. It’s definitely not a film where you’d find yourself bored and when you set aside your fan theories and the illusion that the Original Trilogy was Flawless save for the Death Star plot hole you will find this movie a lot more enjoyable. Now I don’t want people saying it’s a ‘Don’t Question, Consume’ sorta thing, it’s a matter of accepting that there are flaws but not allowing it to ruin the experience, because The Last Jedi embodies a lot of the essence of Star Wars old and new, it is probably the best that the New Trilogy has provided and it is certainly worthy of respect.

[gffa]

Here’s how good STAR WARS fandom has been this last month: I still have half of Queen’s Shadow to read and yet fic still manages to pull me away and distract me with all these wonderful stories! Sometimes happy and sometimes heartbreaking and sometimes just really fascinating worldbuilding, the fandom has been pretty damn amazing this month and I would like to yell about all these feelings the Star Wars fic has given me with everyone. You know how, when you’ve read a good fic, and you get that sated, lazy, warm tingly in your brain feeling because everything is just so good? That was me about a dozen different times this last month, every time I would go on a fic-reading binge and I need to share that with everyone who will listen for at least five minutes. STAR WARS FIC RECS: TIME TRAVEL RECS: ✦ I thought I fought this war alone by stonefreeak, obi-wan & qui-gon & cast, time travel, 3.7k    Obi-Wan is thirteen years old, just about to start learning Ataru from his Master. Obi-Wan is sixty-one years old, dead and one with the Force since four years back. Obi-Wan is both, and neither. ✦ Grave Accents by primeideal, anakin & leia & mace, time travel, 1.5k    In retrospect, Mace decided, it had mostly been Qui-Gon’s fault. He was measured enough not to blame the master for the entire state of affairs; after all, it was not Qui-Gon but chance or the will of the Force that had brought young Leia to Jedha. ✦ The Road Is Made By Walking by the_rck, obi-wan/luke (maybe), time travel, 6.9k    Eventually, it occurred to Obi-Wan that figuring out Luke’s motives might be some sort of test. Simply understanding that it was a test would mean accepting that Luke was a teacher. ✦ Runaway by Fairleigh, luke & shmi, time travel, 1.2k    Shmi Skywalker befriends a boy who has run away from home. PREQUELS RECS: ✦ Master by CJinn, obi-wan & anakin, 27.5k    Obi-Wan Kenobi had always wanted to become a Jedi Knight. What he didn’t expect was to become a Master merely days after his own Master died. Adapting to his new role as the mentor and Master of the quite unusual Padawan Anakin Skywalker became a bumpy road. ✦ Supreme Chancellor Obi-Wan Kenobi by stonefreeak, obi-wan & anakin & padme & palpatine & bail & cast, 6.8k wip    By an old Republic law, all members of the Jedi High Council are senators in the Galactic Senate, and can thus be voted in as chancellor. ✦ Am Bushed by SingManyFaces, obi-wan & anakin & ahsoka & rex, 1.6k    During the war, sometimes special tactics are required to make sure The Team gets the sleep it needs. ✦ A little idle talk of this and that by victoria_p (musesfool), obi-wan & iroh & aang & cast, 4k    On his way to Tatooine with Luke, Obi-Wan makes an unexpected stop for tea in Ba Sing Se. ✦ Ghosts of the Present by randomlyimagine, obi-wan & yoda & caleb & siri & plo & aayla & jedi & cast, 8.2k wip    Every single Jedi killed during Order 66 becomes a Force ghost, often before their bodies even hit the floor. ✦ The First Trial by Raven_Knight, obi-wan & qui-gon, 2k    Accompanied by his Master, Qui-Gon Jinn, young Obi-Wan Kenobi undergoes his first trial and rite as a Padawan Learner on the frozen planet of Ilum. ✦ adust by TheFreakWithTheWings, obi-wan & anakin, ~1k    adust: scorched, burned; Obi-Wan had never liked to think of himself as cruel. Practical, yes. Ruthless, sometimes. ✦ untitled by stonefreeak, anakin & ahsoka & yoda & cast, 2.7k    Returning to the Temple seems almost unreal. Despite everything going on in the galaxy, the Temple has always been a point of calm, the eye of the storm. But now when Anakin walks these familiar halls again—his second home, the one not build of sand and stone in the hottest of deserts, and not the one in an upper Coruscant apartment that smells of perfume—it seems as if the very air of it has changed. ✦ Arrival by CJinn, obi-wan & yoda & cast, 2.6k    Little Obi-Wan was only a few days old when he was brought to the Jedi Temple. His arrival caused some confusion among the Jedi. ✦ Trembling Brightness by Pandora151, obi-wan & ahsoka & cast, 2.3k    “I watched you die—twice. And I just can’t go through that again.” ✦ What Should Be by LessAttitudeMoreAltitude, mace & depa, 1.2k    Depa expresses concern about the effect this war is having on her padawan. ✦ The Song in the Soil by Ria Talla (ronia), aayla & quinlan, 3.1k    He had asked her to stay below in the ship, so she wouldn’t know where they were going, and then to wrap the cloth over her eyes before she could get a glimpse of where they’d landed. He always asked. And Aayla never turned down a challenge. ✦ The Lawful by Raven_Knight, obi-wan/satine & bo-katan & cast, NSFW, 4.2k    With the help of Bo-Katan, certain things go a little differently after Obi-Wan Kenobi arrives to rescue Satine from Darth Maul’s clutches. ✦ Don’t Bring a Blaster to a Lightsaber Fight by FireflyFish, obi-wan & anakin & luke & han & rey & dooku & maul & palpatine, 2.9k    a.k.a A Weekly Meetup for Local Force Users OBI-WAN/ANAKIN RECS: ✦ Wish upon a star by Paper_cut, obi-wan/anakin, modern au, 4.3k    Obi-Wan buys a lamp, gets much more than just a genie. ✦ Ashes of the Republic by mewgirl1995, obi-wan/anakin & obi-wan/padme (& some anakin/padme) & luke & leia & ahsoka & cast, nsfw, 96.7k    In the chaos of the fall of the Republic, the Jedi Temple is destroyed, hiding all evidence of what happened there. In order to protect the Chosen One’s children, Obi-Wan Kenobi and Padmé Amidala flee into hiding, hoping that they can find Anakin again. Meanwhile, Vader searches for those that he hopes will still be loyal to him and the new Emperor. ✦ The Missing Part by Nightstar269, obi-wan/anakin & ahsoka, modern au, 36.8k wip    Anakin Skywalker, a student of mechanical engineering, has always felt that his life was lacking something, a feeling that was made much worse with the deaths of his mother first, and of the woman he loved some time later. Still haunted by the pain and heartbreak, he tries to go on with his life as well as he can. When an initiative of the director of the university has the students attending the classes of another degree so as to enrich their knowledge, he will meet someone that will turn his world upside down. ✦ The Devil’s Own by lilyconrad, obi-wan/anakin & cast, regency au, 11.1k wip    Some whisper the Skywalker family is the devil’s own, and no tutors in the area will take on the orphaned Lord, a young man famous for his excessive drinking, riding, and dueling. The townspeople shake their heads at the arrival of the latest tutor, a London scholar out of money and other options, wondering how long it will be before this Kenobi is run out like all the rest. ✦ Sear me pale sun by liv_k, obi-wan/anakin, NSFW, bittersweet themes, 9.8k    “So here we are, a failed Jedi, a Sith, and our imminent deaths. I leave it to you to choose how we will meet our demise, whether fighting or doing something else entirely.” ✦ Bedroom Hymns by orphan_account, obi-wan/anakin, NSFW, modern au, spanking, bondage, bdsm, d/s, 26.6k wip    Anakin Skywalker is a young student with some kinky interests, and his search for a Dom leads him to Obi-Wan, a former professional. Obi-Wan has retired, but their purely professional kinky relationship changes the lives of both men. How long can they keep it professional? And what happens when they start falling for each other? ✦ Across the Darkness by xpityx, obi-wan/anakin & anakin/padme & rex & cast, 16.2k wip    Obi-Wan knew they had hit the temple’s inner security measures when Anakin went from calm to clutching both Obi-Wan and his lightsaber between one step and the next. ✦ Miasma by lilyconrad, obi-wan/anakin & rex & cody & fives & kix & cast, dark themes, 15.2k wip    Obi-Wan never believed his best friend and lover Anakin would die first. But he has. ✦ Physical Examination of a Submissive by orphan_account, obi-wana/anakin/padme, NSFW, medical kink, d/s, 2.7k    Anakin’s partners want to make sure he’s nice and healthy. ✦ What An Expensive Fate by FromDreamstoEmpires, obi-wan/anakin, NSFW sith!obi-wan, 1.3k    Obi-Wan raised an eyebrow at him, “But you like it when I tell you what to do.” He said softly, hand pulling on his curls until Anakin was forced to look at him, “Don’t you, sweetheart?” ✦ Shaak Herding for the Troubled and Lonely by protos_metazu_ison (larkspyt), obi-wan/anakin & anakin/padme & ahsoka, 22.4k wip    Disgraced Master Obi-Wan Kenobi was content to live out the rest of his life as a hermit until the Prime Minister appeared at his door, begging him to attend the Skywalker clan’s annual party. While reluctant to re-enter society, Obi-Wan’s always wanted to meet Anakin Skywalker, the most powerful Force-user in the galaxy. ✦ Things we never said by Gondolin, obi-wan/anakin, ~1k    “Stop lecturing me for ten seconds and think of yourself! I swear you plan to die still lecturing me. Well, you might as well give up now and rest, because I care, I care, I care! And it doesn’t matter how bad a Jedi this makes me.” ✦ To have and to hold by Gondolin, obi-wan/anakin, 1.5k    “Obi-Wan…” he whispers, focusing on that Force signature that shines like a beacon in the endless night of deep space. ✦ baby, put on heart-shaped sunglasses by destiny919, obi-wan/anakin & palpatine, 1.2k    Palpatine: I’d like to talk to Anakin. Obi-Wan, feeding Anakin bon bons while they lay on a plush chaise lounge: Tragic ✦ Soul by Gondolin, obi-wan/anakin, soulmate au, ~1k    Obi-Wan took a deep breath. He should trust the other Knight. He could trust him. He wasn’t a misbehaving child. “Is there a legitimate reason why you won’t accept my help?” ORIGINAL TRILOGY RECS: ✦ No Snowmen on Tatooine by HiNerdsItsCat (HiLarpItsCat), obi-wan & anakin & luke & han & chewbacca, 2.6k    Luke Skywalker spent his entire childhood on a desert planet. He might be a hero of the Rebellion and strong in the Force, but he isn’t handling the freezing temperatures on Hoth well at all. Thirty years earlier, Anakin Skywalker is in the exact same location… and having the exact same problem. REBELS RECS: ✦ Chess Across the Galaxy by ambiguously, hera & thrawn, 2.7k    Thrawn has his favorite opponent in his custody at last, and he has an offer for her. ✦ The Sea Has Ten Thousand Names by ambiguously, kallus/zeb, 2.6k    Living on a new planet is hard when you don’t know the language. SEQUELS RECS: ✦ we are here and it is now by victoria_p (musesfool), anakin & rey & luke, 3.5k    “So either you’re not here or you’re not living,” she says. “I’m definitely here,” he replies, and there’s amusement in his voice. ✦ find your way (back) by glorious_clio, rose & paige, 2.1k    Paige and Rose are separated by five years and not much else. As a unit, they navigate the rise of the First Order on Hays Minor, and their eventual evacuation and separation from their beloved parents. But they trust in each other and in the future. ✦ Flyboys by ambiguously, poe/jacen, nsfw, 18k    Poe Dameron goes to the Academy, learns to fly, and falls in love a lot. As you do. ✦ That’s Not How the Force Works by imaginary_golux, anakin & han & ben, ~1k    Han wakes up as a Force ghost, and decides to go and have a few words with his son. FULL DETAILS + RECS HERE!

[dracox-serdriel]

TROS Ending Issues

Okay, so I’ve seen several posts regarding the ending of TROS, and I wanted to address them with some analysis by bullets. Under the cut for length, sass, and spoilers for The Rise of Skywalker.

There have been several posts out there arguing that if TROS had an original ending that was edittied away, it likely would’ve been worse for Ben Solo and Rey. For example, several people are arguing that one of the popular leaks - that Ben died offscreen in the pit after Palps threw him in “thus falls the last Skywalker” - was likely the original ending. I’ve also read several posts  from Reylos that argue that whatever alternate/original ending was to TROS, it would never have had a happily-ever-after with Rey and Ben Solo together.

While I understand the general jadedenss on this issue, I wanted to point out a number of things:

In all of the Star Wars saga history, there has never been a named character who has died and never been mentioned again in the movie s/he died in. That’s right, Ben Solo is the first and only named character to die in the Star Wars saga and not spoken of or otherwise mentioned again.

This isn’t just a huge break with Star Wars tradition. This is a huge break with good storytelling pratices, too.

To have a major character die in a movie without anything said about them again is, for want of a better word, VERY WEIRD.

I know one might argue that after his death, they were wrapping up the movie. However, the same could be said for many deaths in Star Wars. Qui-gon died at the end of an episode. Darth Vadar/Anakin Skywalker... plenty of people die at the end of saga episodes. But people still discuss their deaths in that same episode. It’s not like they didn’t have time for a short exchange between -- for example -- Rey and Finn (since Finn was set up in the movie to be a distant witness of Ben’s sacrifice--even though the movie didn’t even give us that).

All good stories have descending action and a resolution. Finding a place to mention the fact that Ben Solo helped save the galaxy--and sacrificed himself to save Rey--would’ve been pretty damn easy and taken almost no screentime.

Also: Ben Solo had no lines other than those he shared with Ghost Han. He said nothing to the Knights of Ren, nothing to Palpatine, and nothing to Rey. This is incredibly odd, since he’s been trapped under the mask (literal and actual) of Kylo Ren for 2 movies, and he finally has a chance to be himself. If they planned to kill him, surely they would’ve let him speak a few times before offing him.

TROS made Rey and Ben Solo a Force Dyad.

This literally means that - according to canon - Rey and Ben share a single soul.

In terms of plot, this was unnecessary.

They already showed the bond can transfer physical objects across space.

Kylo didn’t want to kill Rey before--and he values the Force bond. He already has plenty of reason to avoid killing Rey. He needs no more motivation in terms of “resisting the temptation” of killing her.

Palpatine could’ve drained the life force of 2 powerful young Force users to restore himself (I mean, why the hell not?)

There was absolutely no reason to make Rey and Ben Solo a Force Dyad when they already had a Force Bond to explain everything.

However, by making them a Force Dyad, they irrevocably linked Ben’s fate with Rey’s.

Even if you believe Ben Solo deserved to die because of what Kylo Ren did, it’s impossible to sell the idea that Rey deserves to lose half her soul. She didn’t choose the Force Dyad. (Neither did Ben.)

Selling the idea of Rey being “free” of the Force bond with Kylo Ren would’ve been infinitely easier than selling the idea of Rey being happy with her future despite half her soul dying.

If the original ending included Ben Solo dying, it absolutely would’ve provided more information about Force Dyads--particularly what happens when one half of the soul dies. (That would’ve been tied in as foreshadowing Ben’s death.)

TROS screws up the whole thing where the original trio all died to save Ben.

Han Solo’s death “splintered” Kylo Ren (gave Ben a fighting chance).

Luke Skywalker’s death gave Kylo a chance to face the master who failed him and vent his rage without killing anyone.

Leia Organa-Solo’s death proved that Ben was really alive/made him come to the surface.

This all sounds great, except... it’s unnessary. If Ben/Rey are a Force Dyad, then the bond would always result in him falling in love with her.  Which means, in narrative terms, that Ben/Kylo would always have died to save Rey, even without the deaths of Han, Luke, and Leia fueling his return to the light.

Having all 3 die for him to return to the light, only to die minutes later, is not only a waste of good character redemption arc, but also a poor use of the narrative elements here. “Saving Ben Solo” as a full trilogy arc only works if “saving” him means more than “turn him to the light.”

Also, we’ve already seen what happens when someone turns (to the Dark), and everything changes with Darth Vadar. Narratively, we should be setting up to see what happens when someome turns (to the Light), and everything changes. But that requires the character in question to be alive.

TROS had virtually nothing in terms of “what’s next.” For anybody.

At the end of the original trilogy, there was a sense that all the characters who survived were moving forward with their lives... into a better future to boot.

I will admit, I’ve only seen the prequels twice (nowhere near how much I’ve seen the originals), but they also ended with people moving forward. Leia and Luke were split up and sent to grow up with different people. Anakin was now become Darth Vadar... and so on. I don’t remember this being as strong/clear as with the original trilogy, but I do remember it being there.

Now consider TROS. What do we know about the character’s future?

Lando offered Jannah some help discovering her roots.

“People are rising up all over the galaxy” -- we even saw a “Holdo move” aka a First Order ship that I am pretty sure was destroyed by lightspeed jump -- above a planet.

Rey is... possibly becoming a Jedi? But would she? Didn’t the Jedi create the Sith? Can she be a Jedi and still bring balance? Hm... fine, let’s say she’s gonna use her new lightsaber and bring Force balance. (But I am seriously guessing here, since the movie gave us no indications.)

Finn is...?

Poe is... what, exactly?

Rose is... ?

Maz is...?

Chewie is the caption of the Falcon now, so... he’s... ?

Zorii is...?

The movie didn’t give us any insight into the character’s futures. It barely touched on what Rey - its protagonist - would be doing, other than calling herself “Skywalker.”

This is likely because Disney/Lucas Films wanted open-ended plots (because keeping track of things for continuity is clearly not their strong suit).

Even so, at the very least, we should’ve had some idea what “the trio” was going onto next. But we don’t.

TL;DR Bullet List Summary

If the original ending of this script included the death of Ben Solo:

his change of heart and/or sacrifice would’ve been mentioned in the resolution at least once in dialog

they won’t have bothered making Ben and Rey a Force Dyad (because it wasn’t needed--and killing off half your protagonist’s soul is neither “hopeful” nor “satisfying”)

his death would’ve been foreshadowed at least twice in the script

there would’ve been dialog (or at least some direct indication) of the fact that Force Healing can result in the death of the Healer if s/he either gives too much of their life force or if s/he exerts himself/herself too much with the Force (for example, in TLJ, Kylo specifically says that Force projection at a long distance can kill)

This was supposed to be Leia’s movie in the trilogy. I always assumed Leia would die (as Han and Luke died in their movies), but I never doubted Ben Solo would survive. Why? Because this is Leia’s movie. Killing her only child in her movie is, as I have said before, rude.

[riselioness]

Some thoughts on TROS, including things I enjoyed

It’s two weeks since I first saw TROS (I’ve had a couple more viewings since then), and I’ve been doing a LOT of processing since then (haven’t we all!). I’m disappointed with many aspects of it, but there’s also a lot in it I enjoy, and some things I love. I think I’m now at a place where I’ve largely made my peace with what TROS is as a film, and am both able and keen to enjoy it (I have a high tolerance for ridiculousness in Star Wars, which definitely helps). I’ll probably be sharing some less positive articles/meta in time, but I wanted to start in a more positive way. So I’m going to get my main criticisms out of the way first, then share some of my favourite things about TROS.

*

From the start TROS was set an impossible task: close out the entire Skywalker saga, conclude major plot threads and character development, and reunite and invigorate the fandom after TLJ and Solo. It's abundantly clear that there was no real overall plan for the sequel trilogy, and without this how could the film possibly succeed? There are some things in TROS that could/should have been incredible if developed over the course of the three films: the Emperor's return, Finn's being Force sensitive, Leia's Jedi training to name just a few. But the way these things were handled in TROS was sadly lacking.

I've been rooting for Bendemption for some time, and the fact that he ends the film on the Light Side is one of the major reasons why I'm able to enjoy TROS as much as I do. However, he doesn't get a redemption arc so much as a redemption U-turn. Given his progressive and deliberate embracing of the Dark in TFA and TLJ, TROS had a LOT to do to set up and justify a convincing turn to the Light, and I don't think it did that. I do buy his turn, but that's in large part due to me reading into it headcanon that's consistent with the film but not contained within it (more on that later).

Ben having such an abrupt change of heart (for ambiguous reasons), and dying so soon after, means TROS barely scrapes the surface of redemption, and doesn’t even touch on the long, long work of reconciliation and rehabilitation. Why did Ben turn back to the Light at that moment, when he’d had so many other chances? If he’d lived, how would he have dealt with facing the consequences of his actions? Even though he’s (presumably) genuinely repented of his violent, manipulative and abusive behaviour towards Rey, how (if it’s even possible) would he reform to such an extent that there would be even a possibility of a healthy relationship with Rey? In failing to address these questions, TROS fails to provide a believable or responsible picture of the messy, painful and lengthy process we try to sum up with the word redemption.

I’ll leave any in depth commentary on representation in TROS to those better qualified than me, and just say here that the sidelining of Rose Tico (as the first major POC woman protagonist in the SW films, and especially given the horrific racial abuse Kelly Marie Tran was subjected to) is inexcusable, and the people responsible should be ashamed of themselves.

*

Despite all these things and many more, there was plenty in TROS that I liked or loved. I’ve enjoyed it more with each viewing, and I hope this continues. So in that spirit, I thought I’d share some of the things I loved (in attempted chronological order):

REY. REY REY REY. I flipping love her, and overall I’m happy with where she ended up as a character by the end of TROS. Am I completely happy with her characterisation? No. Do I think it could have been done better, for example if any women at all were involved in writing her? Absolutely. Do I still love her with every bit of my fangirl heart? You bet I do.

Literally every single hug and friendship moment in the whole film (wish I could remember more specific examples, awks).

Finn's absolute devotion to Rey (which I read as deep platonic friendship rather than unrequited love). The moment where she actually tells him what’s worrying her

Iain McDiarmid was great. As a prequel girl I got a real kick out of him quoting that line from ROTS.

Rey and Poe's argument at the start of the film (shame that tension is brushed under the carpet for the rest of the film).

"Dark science. Cloning". For some reason, that line and Dom Monaghan's delivery crack me up every time, despite (or perhaps because of) the Very Serious Moment.

Rey's little smile after she heals the sandworm, pleased with and proud of what she's done.

BABU FRIK. His heyheeeeeeeeeys get me every time.

Hux’s “I’m the spy” reveal was bonkers, but very enjoyable.

The fact that Rey doesn't try to redeem Ben. The way I read it is that when she senses Leia's presence she remembers that it's Leia’s son she's just mortally wounded, and that once she had hope that he would join her on the Light side. In healing him she allows him one more chance to make the right decision, but she doesn't try to influence him. Instead she leaves him to choose for himself, and you can see just the flicker of hope on her face that Ben Solo might come back after all. It was hugely important to me that after TLJ, when she literally closes the door on him, she didn't spend TROS trying to redeem him. Is Ben’s turn sudden and unexplained in the film? Yes. Is Rey’s part in it made clear? Nope. Can I read it in a way I like? Heck yes.

The scene with Kylo/Ben and the memory of Han Solo. I was on tenterhooks all throughout it, and the moment when he hurls his lightsaber into the sea is probably my biggest punching-the-air moment after the throne room scene in TLJ.

Every frickin' second of Ben Solo screentime we get after this. Sprinting alone across Exegol to her in his Hot Jedi Boyfriend outfit. THAT LOOK before the lightsaber manoeuvre. His little bow before he absolutely destroys the Knights of Ren. Limping and crawling to her and the way he tenderly holds her before healing her. The kiss - somewhat despite myself. I read it as a back-from-the-dead-heat-of-the-moment-potential-start-of-something kiss, when she saw the Ben she thought she saw in TLJ. My headcanon is that had he lived they wouldn’t have fallen headlong into a relationship, but rather would have taken time to get to know themselves and each other, and for Ben to do A LOT of reforming, before potentially starting something. Doesn’t that sound like riveting cinema (I wish). You can tell, from the fact that my feelings in this paragraph are inconsistent with my thoughts about Bendemption at the start of this post, that I am VERY conflicted about Reylo.

The fact that it's very clearly Rey who saves the galaxy (with the help of the Jedi before her). When Ben was racing to join her, I was worried that his part in the showdown might lessen her agency, strength and power, but in fact he was the one who got damselled.

Rey’s yellow lightsaber!

Rey calling herself a Skywalker - I've got mixed feelings about it now, but first time round it really worked for me.

*

There are plenty more things I liked, but these are the ones I’ve got for now. My feelings on TROS are and will probably remain distinctively mixed, but I’ve found it pretty therapeutic to share both my main concerns and things I loved. If you’ve made it this far, thanks for bearing with me!

[lj-writes]

“All-out war,” with what?

In one of his memorable last lines in The Last Jedi, Luke Skywalker contradicted Kylo Ren to say “The Rebellion is reborn today” and “The war is just beginning.” John Boyega predicted that Episode IX would be about war as well, saying:

“I think Episode IX you know, regardless of where the story goes, and I haven’t read it by the way, is going to be all-out war . . .”

This grand vision is somewhat belied by the reality at the end of TLJ, however. The entire remainder of the Resistance fits on the Millennium Falcon, and its calls for help to its Outer Rim allies were evidently ignored. The main First Order fleet may also have taken a blow from Holdo’s suicide attack, but even just the ground forces portion of its remainder is considerable. We also know that it has troops elsewhere with which it is tightening its grip on the galaxy.

So how can there be all-out war between two such asymmetrical forces? One possibility is guerilla warfare, perhaps with the Resistance operating out of mobile headquarters since having a stationary one didn’t work out so well for them. They can harass the First Order, strike at its supply lines, rally support in the populace, conduct sabotage missions. This is how badly outnumbered and outgunned forces have fought for millennia, after all.

Guerilla warfare by itself is not enough, however, to be described as “all-out war.” It’s not enough to topple the First Order, either, and that is the Resistance’s goal especially if Luke, Holdo, Finn etc. are right and they are resurrecting the Rebellion. A rebellion as I understand it doesn’t just seek to weaken and undermine the enemy, it seeks to replace the enemy government. Nibbling around the edges of the First Order’s domination of the galaxy might be fine for Leia’s barely-sanctioned militia, but a full rebellion against the First Order needs to have the means to unseat it and defend territory from it. Leia implies that necessity herself in the Poe Dameron comic:

What are the sources of the troops and materiel the Resistance/Rebellion might have? Here are a few I can think of.

Resistance forces and allies elsewhere

It appears that the Resistance did not put all its eggs in one basket and there are others who were not in Leia’s fleet that ran from the First Order. Black Squadron, for instance, was on a mission to the Outer Rim to gain support from allies. The one mission that we know about from the partial transmission in the comic is a failure and the radio silence in response to the Resistance’s distress call implies they may have not met with resounding success, but there is a chance the Squadron itself survived.

Zay and Shriv from the Battleront II single-player DLC were similarly dispatched to the Outer Rim to contact the Resistance’s allies. They may well come back with allies of their own, though this did not come to pass at the end of TLJ. Have the Outer Rim allies really foresaken the Resistance, or was something else going on?

Lando Calrissian

Lando’s return in Episode IX may mean a significant boost in the Resistance’s forces, too. Lando was a General during the last war, the Administrator of a city, and the owner of Calrissian Enterprises, a huge droid manufacturer. His wealth and resources, coupled with his war experience and the security forces he himself must command, make his return a hopeful development for the Resistance/Rebellion. Since his base of Cloud City on Bespin is located in the Outer Rim, he may well have been one of the allies Leia dispatched people to contact.

A droid army

The droid manufacturing capacity of Calrissian Enterprises could additionally mean the manufacture of combat droids to augment the Resistance against The First Order. We saw droids fighting armored troopers before in the prequel movies and The Clone Wars. Could we be seeing a reprise, only this time we’re meant to root for the droids?

Droids aren’t just cannon fodder but also excellent sources of information, as C3PO’s plot in the Poe Dameron comics showed. C3PO had an extensive droid spy network, something that was on Leia’s to-do list to revive in The Last Jedi novelization. It remains to be seen whether droids will play a greater role in the war.

The New Republic

We know that the New Republic is in shambles after the destruction of the Hosnia system, but by the time of Episode IX they will have at least begun to regroup. If the New Republic’s military were to join forces with the Resistance, as seems likely, we will see a significant boost in the Resistance’s numbers. They should also, in my opinion, be called not “Resistance” or “Rebellion” but Republic forces. Such a change also brings potential for cultural clashes and mutual resentments, something that may have begun to be explored in TLJ but didn’t really go anywhere.

If Leia plays a leadership role in the New Republic again because they come to their senses in the crisis and realizes they need her, then we’ll see her lead the charge on this end. This seems a likely path for her character to take, since the footage cut from TFA that will be used in Episode IX is likely to pertain to the New Republic’s political situation, like the deleted scene with her aide Korr Sella.

People around the galaxy

Finn’s conviction that people around the galaxy would rise up against the First Order may not have been borne out on Crait, but was validated by the final scene of The Last Jedi when it was shown that people throughout the galaxy are sharing and taking heart in the story of the Resistance and the Jedi. Over time this hope may become a groundswell of support for the Resistance.

Stormtroopers Insurgent Free Troopers

This is my personal fondest hope of all, that Finn inspire other kidnapped and brainwashed Stormtroopers to rise up as he did. He has already gone twice into the heart of the First Order and escaped, showing that this group not invincible--they’re kind of pathetic, in fact.

Speaking of pathetic, the new Supreme Leader of the First Order is this dude:

Kylo Ren, a man who has a lot of raw power but zero self-restraint or dignity, who is skeptical of the entire Stormtrooper program (but not of slavery itself--he brought up clone troopers in TFA), and who very publicly made a fool of himself on Crait in front of his army.

It seems likely that Finn’s exploits, together with disappointment in Kylo Ren and his leadership, will lead at least some Stormtroopers to be disillusioned with the First Order. They could fill out the Resistance’s ranks or at least drop out of the fighting altogether, making the numerical disadvantage less overwhelming.

As one anon has pointed out (link), combined with the droid army idea above, it’s possible that we could see Free Troopers and droids working together in another inversion of the prequel trilogy/The Clone Wars dynamics when they were pitted against each other.

Such cooperation would be all the more poignant because, with the recent canon incorporating a droid liberation plotline, the Free Troopers and the droids would share a liberation narrative. And if the new Star Wars canon gives a liberation plot to the droids but ignores the Stormtroopers then man, fuck Star Wars.

In conclusion

Though the ending of TLJ is very bleak in terms of its prospects for the fight against the First Order, the Resistance has a lot of untapped resources. Episode IX could show these allies coming together to destroy the First Order and, eventually, start the hard work of rebuilding.

[him-e]

this might be a dumb comparison but would you consider star wars/skywalkers in general to be kind of like a greek tragedy? or at least inspired by greek tragedies? i just really love mythology and would like to think there’s some sort of connection in some way. thank you! :)

Definitely! Star Wars relies heavily on archetypes and psychological motifs, and many of them come from Greek and Latin literature. In the original trilogy, taken in isolation, you see more echoes of arthurian myths and classic fairytale elements than tragedy. It’s when you think of the three trilogies as a whole, particularly in terms of Anakin’s arc, his rise and fall and redemption and the repetition of the cycle with Ben’s fall just a generation later, that the Greek tragedy vibes become evident.

To put it in very simple terms, Greek tragedy typically revolves around a good/average man who has one “fatal” flaw (usually an error in judgment or hubris). Because of this, but also because of the crucial role played in the genre by the inevitability of fate and the cosmic order dwarfing humanity, fragile and powerless even at its best and at the mercy of much bigger and incomprehensible forces, the hero is bound to fall. And one fundamental aspect of tragedy is that the audience knows he’s going to fall, and watching the events unravel to the inevitable gut wrenching conclusion is cathartic. (see how the whole prequels experience is built on the premise that you know exactly how it’s going to end.) (also, side note, catharsis is a major reason why even today we need fiction, including “dark” fiction.) 

The fall of the hero often takes the form of a heavily immoral act, a horrific crime against the aforementioned cosmic order that the hero performs either in good faith, as a result of his hubris, anger or passion, or because he feels he has to—be it accidentally killing your father and sleeping with your mother, sacrificing your own daughter to the gods, punishing your asshole ex husband by killing your own children, or choking your pregnant wife who has come to confront you after you slaughtered a temple of younglings. As monstrous as the act can be, the audience can’t help but sympathize with the fallen hero, because it’s clear he’s motivated by a desire to do the right thing (or to fix some wrong), he loves fiercely and intensely, he is (at least in part) a victim of circumstances, and the pain and punishment inflicted on him and everyone who he loves and who loves him is disproportionate. What happens to the protagonist is a metaphor of the fragility of human condition, in which sometimes a minor mistake or an unforeseeable chain of events leads to catastrophic consequences. Individual responsibility matters, but it’s always portrayed in tension with the cruel irony of a blind, irrational fate who tears good people and bad people down alike, which it often succumbs to, or is proven to be eventually irrelevant.

You can see how Anakin is in this sense the quintessential tragic hero. A good man raised in humble conditions but destined to be royalty, to be the hope of a galaxy, the fulfillment of a long awaited prophecy, who rises to a state of quasi-kingship (becoming a Jedi master, marrying a former queen), but remains ultimately a slave—to his own passions and fears, to destiny (as personified by Palpatineworking slowly to corrupt him), to the will of the gods (the Force), to the trappings and limitations of a corrupt society (the Jedi order and the republic). His one fatal flaw, loving Padmé, backfires and turns him into the very cause of her death. 

Ben’s fall is also deeply tragic, as it’s the result of a twofold lapse in judgment: Luke’s (who falls for a second prey of his own darkness and briefly considers executing his nephew for the greater good) and Ben’s himself (who mistakes this one second of weakness for a truly murderous intent, and violentlyretaliates, and never stops acting on the false assumption that his uncle was really going to kill him).

Hubris and madness are two other crucial themes in greek tragedy and I can see the dark side as a fascinating space opera portrayal of both. And then, vengeance, and family—and even more relevant to star wars, the cycle of violence-pain-revenge. The original crime opens a wound in the cosmic order (you could also say: the Force becomes unbalanced) that spreads like a cancer dooming multiple generationsand is only really healed when there is a genuine will to step out of this cycle. 

This is imo the key to understand the three trilogies in their entirety, and what they’re trying to do with the sequel trilogy in particular. Many people struggle with Ben’s fall because he “had everything”—i.e. was born in a time of peace, from a loving family of revered rebellion heroes, with unique force powers and someone to teach him how to use them, etc.—so his turning to the dark side is thrice as hard to swallow. Was he a bad seed from the start? Or did he just infuriatingly squander all he had? Other people complain that the new trilogy is built on a nihilistic concept, that evil always come back cyclically one way or another, that victory is never complete, that the heroes are bound to make the same mistakes over and over again, or that everyone is inevitably destined to be corrupted and lose hope (see the discourse re: Luke in TLJ).

Both miss the point, in my opinion. The way I see it, it all ties back to Anakin’s original crime—his tragic, blood-soaked fall to the dark side, order 66, and most importantly Padmé’s death—and how that crime was a cosmic wound that tore the balance of the universe apart and was never fully healed. So it reverberates across the galaxy, onto his progeny, and his progeny’s progeny (Ben).

Luke did begin to make things right—by choosing to reject violence he gave Vader the chance to sacrifice himself to to kill the emperor and save his son, which earned him his redemption. And…it’s a good way to end a story if you want it to end there, but if you want the story to continue, then you have to face the fact that it’s only a partial, and in many ways convenient solution to a much larger problem. Vader’s redemption did nothing to eradicate the deep-seated political views of those who were still loyal to the Empire and fighting for a dictatorship in the moment when Palpatine was killed. It wasn’t enough for Luke and Leia to actually embrace their lineage and come out as Vader’s children, if Bloodline is to be believed. It wasn’t enough to shield little Ben from Snoke’s attentions—in fact, Anakin’s blood is exactly what put a big ol’ target on Ben’s back, with nothing of his grandfather’s post-redemption wisdom to keep him on the right track, only the myth of his legacy, a myth that as we’ve sadly seen can be easily misconstrued and exploited and that Leia and Luke never properly explained to Ben either. Anakin just died, and if that single sacrifice was enough to save his soul, it actually didn’t do much to fix the countless wrongs he contributed to create during the two decades he served the Empire as lord Vader. The galaxy bled because of him. And he just died and left his children to clean up his mess. Lucas’ original idea that Vader’s redemption brought balance to the Force is a good happily ever after, but only if you don’t really plan to deal with the consequences.

More on a thematic level, RotJ represents a perfect fairytale ending on almost all fronts but it leaves a question unanswered: was Anakin wrong to love Padmé? Is romantic love wrong? Aside from Han and Leia—whose marriage didn’t end well anyway—romantic love comes out of this narrative as a tragically negative force. Specifically, romantic love for a Jedi. If you consider the first six films, the logical conclusion is that the Jedi were right, after all, to forbid romantic attachments, because look at the mess Anakin made. Anakin destroyed himself and Padmé. It was only Luke’s familial love that made him come back to the light—Luke, the eternal celibate Jedi. Familial love is good, romantic love is poisonous. The narrative absolutely implies this reading.

So although RotJ’s ending fixes everything on a superficial level, the wound keeps festering underneath, there are still many things that weren’t made right, and this is why only a few years later Luke is still so haunted by the darkness and still so afraid that a new Vader is possible that he actually considers killing his nephew for a split second. This is why the ashes of the old Empire don’t die out, but instead give birth to a new tyrannical power; and why Leia cannot be free to live her life in peace with her family, but still feels committed to a rebellion that never ceased to have reasons to exist, even after the Emperor’s death.The gods (the Force) aren’t satisfied, if you will, so they keep punishing this family. The original evil has not been completely exorcised. Love, personified by Padmé’s unacceptable, unnatural death, hasn’t been vindicated. The balance is not restored. And Ben falls.

The sequel trilogy is set to heal this wound, for real, this time. It’s also why it has a much darker tone (despite the superficial humor) than the original trilogy. It’s not impossible for a tragedy to have a happy ending, but the resolution must have the same tone, the same gravity of the premise. The prequels are a tragedy, and the original trilogy is essentially a fairytale, a hero’s journey—they’re basically two different genres, and Vader’s last minute redemption seems (and is) inadequate once you’ve seen all three movies of his very detailed and nuanced fall to the Dark Side.

We’re watching, through Ben, the tortured redemption arc that should have been written for Vader if this story had followed a chronologically and stylistically linear narrative. Through Ben and Rey, we’re watching a reconciliation of the Dark and the Light side, whose unresolved conflict, worsened by the repressive puritanical policy of the Jedi order, originated the schism in Anakin’s soul. And we’ll also (hopefully) get the answer to that question I said earlier, and see the redemption of romantic love.

[aion-rsa]

Star Wars Fans Create What If? Scenarios That Completely Change the Galaxy

https://ift.tt/eA8V8J

“What if Darth Plagueis was a light sleeper?” journalist Charlie Ashby responded on Twitter to the question “What If?” It’s a stunning pitch for an alternate Star Wars timeline, brilliant in its simplicity but with major implications for the galaxy far, far away.

Let’s think about Plagueis’ alternate sleeping habits for a second. Were Plagueis a light sleeper, Palpatine probably wouldn’t have been able to murder him in his slumber, which would have likely led to Plagueis killing the future Emperor before he even had a chance to become Supreme Chancellor in The Phantom Menace. This means Plagueis would have been the Dark Lord of the Sith in charge throughout the Prequel Trilogy. Would Plagueis have next taken Maul as his apprentice, sparking a chain of events that led to Plagueis or Maul becoming Emperor? Without Palpatine to manipulate the midi-chlorians, would Anakin have been born? Would there BE a Skywalker Saga at all?

Ashby’s is just one of the many pitches currently being circulated on Twitter, thanks to a prompt from The Star Wars Underworld handle that reads: “If Lucasfilm created a ‘Star Wars: What If…?” series and asked YOU to come up with an alternative scenario in the Star Wars universe base an episode on, what would you choose?”

With Marvel’s What If? currently exploring alternative scenarios set within the MCU on Disney+, Star Wars fans didn’t waste any time dreaming up their own takes, some of which lead to really interesting possibilities.

What if Leia had been raised on Tatooine and Luke on Alderan? https://t.co/zYUGYe7hxd

— Zack Davisson (@ZackDavisson) August 17, 2021

Writer and translator Zack Davisson asked, “What if Leia had been raised on Tatooine and Luke on Alderaan?” We can assume Leia would have been the Skywalker to be trained as a Jedi by Obi-Wan Kenobi, which would have led to her rescuing Prince Luke Organa from the Death Star in A New Hope, and later her life-altering confrontation with her father in The Empire Strikes Back. Funny enough, there already is a What If-style comic series where Leia became the last hope of the Jedi after Luke was killed by the Wampa in Empire.

How about it, Disney? Greenlight the Star Wars Infinities animated series, please.

What if Wedge Antilles was the one who blew up the first Death Star? https://t.co/WkCkbcD5yX

— Chock'lit Gidddyup (@JAMALIGLE) August 17, 2021

“What if Wedge Antilles was the one who blew up the first Death Star?” asked comic book writer and artist Jamal Igle. Would that have put Wedge on Vader’s immediate shit list? We know that the Sith lord spent the years between A New Hope and Empire chasing Luke, even before he learned the young rebel was his son. Why? Because he wanted revenge for the humiliation he suffered during the Battle of Yavin. But replace Luke with Wedge, and how does that change things? Well, for one thing, Wedge isn’t Force-sensitive and definitely wouldn’t be able to hold his own in a fight against Vader. Let’s just say Wedge’s career would have ended much more quickly.

What If… Rogue One Failed to Steal the Death Star Plans? https://t.co/qMI6qlW9TY

— DEJ #BlackLivesMatter #TransRights #FreePalestine (@DawsonEJoyce) August 17, 2021

Speaking of short careers, Luke, Leia, and the rest of the Rebellion would have been extinguished by the time the credits rolled on the first Star Wars movie had “Rogue One failed to steal the Death Star plans.” No plans means the Rebellion never finds the Death Star’s single weakness and Yavin IV is obliterated. Wait…without those Death Star plans, Leia never sends R2-D2 on a mission to find Obi-Wan, which means the droids never run into Luke on Tatooine. Without those Death Star plans, there’s no Original Trilogy at all!

1. Anakin never turns to the dark side 2. Order 66 fails. 3. Ahsoka raises Luke And Leia 4. Qui Jon lives and trains Anakin 5. Maul kills both Obi-Wan and Qui Jon and trains Anakin. 6. Ahsoka never leaves the Order 7. Starkiller/Galen Marrik gets reintroduced. https://t.co/4K6M3s3HIY

— CySmithVA (@CyrilSmithVA) August 17, 2021

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

YouTuber Cy Smith shot out a whole list of fun pitches but my favorite is “[What if] Maul kills both Obi-Wan and Qui Jon and trains Anakin?” We can all agree The Phantom Menace hardly did our eternally sad Zabrak Sith boy justice. He’s the coolest character in the movie, yet he gets one line of dialogue and is then cut in half in the third act. While he eventually returned in The Clone Wars, better and pettier than ever (and with spider legs made out of trash!!!), there’s no doubt that Maul deserved more time on the big screen, something he seemed poised to get in a sequel to Solo: A Star Wars Story had the first movie not bombed. Regardless, I would love to watch an alternate version of Episode II and III where young Anakin served Maul. Would they have teamed up to take down Palpatine and Dooku during the Clone Wars? There’s probably some really good fanfic about this already!

You can read more scenarios here.

While we wait for Disney to jump on Star Wars What If?, the studio is releasing another animated anthology series that introduces fresh perspectives to the galaxy far, far away. The collection of anime short films is called Star Wars Visions and is out on Sept. 22.

Make sure to check out the complete upcoming Star Wars movie and TV release schedule here.

The post Star Wars Fans Create What If? Scenarios That Completely Change the Galaxy appeared first on Den of Geek.

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[hansoloschubbybrother]

My Opinion On The Last Jedi...For What It’s Worth

Having just watched The Last Jedi again and having seen way too many YouTube videos from people who hated the movie, I just had to write down my thoughts on it because I disagree with so many of the things that people hated about it.

It wasn’t perfect but, on the whole, I still think it is a great movie, mostly because of the choices made regarding the story arcs for the main characters.

But before I get into that though, I’m going to confirm some of the things where I can agree with the haters.  Firstly, Mary Poppins Leia.  It’s a nice idea that, by being blown into space, Leia’s survival instinct kicks in and enables her to use the force in a way she hadn’t before but I thought it looked awful and by just not having her blown into space in the first place would have been better.  The moment with Kylo Ren deciding not to shoot would have been more poignant and instead of Holdo being needed, Leia could have remained in charge and Admiiral Ackbar could have been the one to sacrifice himself by using light speed to obliterate the First Order fleet, giving him the noble death such a character deserved.

Just on that whole using light speed as a weapon thing, I’ve listened to people using it as another reason to put down the film, saying that if it was a plausible weapon it would have been used already so having it in TLJ doesn’t make sense.  Rian Johnson or someone had a cool idea that looked great in the movie and if other people involved in previous movies had thought of the idea then I’m sure they would have used it too.  It was a great moment in the film and people need to stop trying to find reasons to dislike the movie that aren’t there.

Next up is some of the humour.  Whilst I enjoyed some it, overall it felt a little out of place in a good Star Wars movie and harked back more to the prequels.  It may have been an attempt to appeal to children, but I felt the same way about Luke milking that animal and going fishing and the way BB-8 is used. In the original trilogy, R2-D2 would never actually ride a AT-ST, he may have found a way to control something by interfacing with a computer terminal but not actually driven something himself. This step toward children’s comedy was just one of the reasons I mostly disliked the prequel trilogy and wasn’t necessary here either.  The original trilogy didn’t have that and it didn’t stop those films from becoming an obsession for most children at the time.

My final gripe about TLJ is the over arching story of the slow chase.  Not only does it seem silly that the First Order would need to wait to destroy them, it created the need for the whole Canto Bight scene.  I enjoyed Finn and Rose’s scenes when they were on Snoke’s ship and I also enjoyed DJ as a character, but they needed to find a better way to make that all play out.  I really enjoyed the film’s opening battle with the dreadnought and the end battle on Crait but the story they created to get them from one place to the next was very underwhelming.

In spite of these issues, I still really enjoyed the film and that was mostly because of how they developed the story of each of the main characters.  On the whole, I thought they got this spot on and is generally where I seem to differ hugely from many of the online posting star wars fanbase.

I will leave Luke until last as I think his treatment in the film is what has caused the most hate from the fanbase, not least from Mark Hamill himself.  Instead, I’ll start with Rey as she is probably the character where there is the most common ground.  Undoubtedly for me, Rey is far too much of a Mary Sue.  As the central character of this new trilogy, this is not great film making.  If they needed her to have these abilities/skills from the get go, they shouldn’t have made her an orphaned desert girl at the start.  The journey they needed her to make was too far, too soon.  I know they are trying to explain how this is possible by saying that she basically downloaded Kylo Ren’s skills but it’s not very believable.  This said, I don’t actually believe that TLJ is what makes her a Mary Sue.  This problem is one created by TFA.  In TLJ, she doesn’t actually advance her skills set a great deal, other than to move a bunch of rocks, which is Jedi Training 1.1. Therefore, this is not a problem with TLJ, it’s the knock on effect from a big failure with TFA…which is not the last time I’ll say that.

We then have the issue of Rey’s parents, the source of much speculation between the two films.  I mentioned in a post I wrote after the film came out that I’m glad that her parents are nobodies.  Star Wars is a vast galaxy, why does she have to be some blood relative of an existing character.  It would be difficult to realistically explain that she is a relative of one of the key characters from the original trilogy and very unimaginative.  It is far better that her heritage broadens the Star Wars landscape, not enclose it furthermore.  For those that wanted her to be a Kenobi or a Solo or whatever, there is always the possibility that Kylo was lying.  Rian Johnson did, after all, include the mysterious but unresolved scene with Rey and the mirror thing on Ahch-To.  So for me, it was a positive that Rey’s parents were nobodies.

Finally for Rey, there is her connection with Kylo Ren, which brings me to another aside.  Many people are up in arms that Rian Johnson would use the force in a way that they have never seen before but for me this is just ridiculous.  It’s a sci-fi fantasy film.  If you can extend your disbelief in the originals then why not now?  The Jedi’s are supposed to have kept peace for thousands of years and we have only followed a handful for a few years but somehow we have seen the force used to its fullest extent.  Come on now.  You wouldn’t have worried about this as a child, so why now?  It’s totally not important and totally possible.

Anyway, back to Rey and Kylo.  For me, their connection is the most interesting arc of the new trilogy and using the force as a way to further develop this relationship was an important reason as to why I enjoyed the film.  Without that, they would not get the chance to interact as frequently as they do, thus removing important character development.  Many people, have said that it is not realistic that they would feel some kind of connection after knowing each other for such a short space of time but I see it completely differently.  Maybe it’s linked to personal experiences when it comes to relationships but, to me, it is perfectly plausible that two people with so much in common and who both share the same insecurities would feel an immediate connection.  They are in the same position as each other just on different sides of the force.  It’s natural to feel drawn to someone who is going through a similar experience to yourself, so that you don’t feel alone and for support.  For me, their relationship is an intriguing way to consider the force and how idea of light and dark sides exist.

This leads us nicely onto Kylo Ren.  Many people disliked the fact that in TFA he was basically a power brat.  For me, I was immediately drawn to this idea that we are seeing the proper development of the main bad guy.  His journey in this trilogy is much more what I was hoping to see for Anakin’s journey in the prequel trilogy.  Unfortunately, in the prequels, we a got a few brattish comments and then he basically became a full on bad guy after a short conversation with Palpatine/Sidious.  Kylo Ren’s character development is far more considered than Anakin’s.  He is a powerful brat but, especially because Adam Driver is as good an actor as Hayden Christensen is bad, you can understand why. You can also see that has not completely turned to the dark side, that it isn’t a switch.  This is developed even further in TLJ and, as I said before, I have enjoyed his development and how his character has mirrored Rey.  Kylo Ren has become my second favourite character in the Star Wars universe after his father.  I enjoyed how he first appears to be a Darth Vader clone, evening looking up to his Grandfather, but then falls way short.  I enjoyed the line TLJ when Snoke reminds him of this and tells him to remove his helmet.  I suppose some people don’t want to see their bad guy go through some dark coming of age story but I think it makes it much more interesting.

It is the same reason why I thoroughly enjoyed that Rian Johnson just killed off Snoke.  No back story, no big bad, just everything opposite to what people might have been expecting.  For me he was Sidious 2.0.  A powerful bad guy who we thought was going to be defeated at the end of the third film. To me he was unoriginal and another reason why TFA was described as a love letter to the original trilogy.  He felt very “Star Wars” but that was it.  People felt short changed after Snoke’s back story was ignored and became insignificant but thought it was exactly the right decision.  He played his part and moved aside for Kylo Ren to become the main bad guy for the second half of the trilogy.  On the subject of his back story, I just don’t get this obsession with needing to know everything about every character’s back story.  We never got that in the original trilogy.  We didn’t get told a single thing about Darth Sidious.  He was just the powerful bad guy that ruled the Empire.  We didn’t need to know more and we didn’t care.  That we got to learn more via the prequel films was great but it wasn’t a vital part of the story that was missing from the original films. This is the same with a whole host of other characters from Jabba, Boba Fett, Lando and even Han and Chewie.  Why do people now suggest that the new films lack characterisation or some shit because we don’t know the back story of every character?  It’s just not necessary.

Poe was another character whose story arc has been criticised.  When I first watch TLJ, I also thought that having Leia and Holdo hold back their plan from him seemed like a stupid decision but this felt more and more reasonable with each watch.  In order to avoid him being just another boring hero pilot character that destroys lots of enemy ships and always survives, Rian Johnson clearly wanted him to have some kind of journey to help develop his character.  It makes total sense to me that a hero pilot would have an ego that is too big and gets in the way of strong leadership decisions, so Rian Johnson develops this through the film, from Poe unnecessarily sacrificing lives and ships to destroy the dreadnought at the start, to his demotion and subsequent exclusion from leadership decision and then redemption at the end by choosing to pull the Resistance fighters back when they’re being picked off easily on Crait.  I can’t help but think that having two women leaders decide not to let the male hero pilot in on the plan goes against male sensibilities in this situation.  He’s the hero, the man and, in all previous eras, would be the one who knows what the right thing to do is.  The truth is, that if it were two male leaders and a female hero pilot who was denied knowledge of the plan, we probably wouldn’t bat an eye-lid.  Is it feminist politics unnecessarily introduced to Star Wars?  I don’t think so.  It’s not forced down our throats, just used to help develop what could easily become a boring character.

The final character I’ll focus on before Luke is Finn.  As mentioned before, I enjoyed his scenes on Snoke’s ship with Rose and Captain Phasma but really didn’t like how they got him there.  It’s a shame that it made his character seem marginalised.  The only part I did enjoy was how DJ made him question his defection from the First Order and whether there is a good or a bad side in war.  This is quite deep stuff for a Star Wars film and quite political but I liked that they asked these questions and it seemed fitting that Finn’s character be the one to contemplate these ideas.  Again, it’s a shame they couldn’t have found a better way to do it, that made him more integral to the story.

Finally, we come to Luke. More than anything else, it’s people’s comments about Luke that get me shouting at my screen.  Maybe it is because I was never drawn to Luke as my favourite character as a child but, for some reason, I just don’t see things the same way as all the haters.  For me, Luke’s story through TLJ needed to follow on from what we were told in TFA, in a manner that is both realistic to how you might think someone would react having been through that experience and also realistic to how Luke, the character, would react.

So, what were we told in TFA?  We learnt that Luke is in hiding and has cut himself off completely from his family and friends as a result of the part he played in the failure of his Jedi Academy and turning his nephew into Kylo Ren.

This leads me to the first of the things that annoy me about some of the arguments laid at the door of TLJ and Rian Johnson.  People claim that Luke would never abandon his friends and cowardly hide away and cut himself off from everything.  This idea is played out in TLJ but this story was clearly set in motion in TFA.  If people can’t believe Luke would act in this way then be angry at JJ Abrams because it was his idea.  Rian Johnson continued Luke’s story from this situation because it’s the only place he could have started from.

Next is to decide whether Luke’s reaction to what has happened is a realistic way for someone to respond.  This is obviously subjective but his failings have led to the creation of a potential new Sith Lord, the death of many young fledgling Jedis, the estrangement of his nephew from his family and the break up of his sister’s marriage to his best friend.  This is quite a heavy burden bare, considering this is on top of how someone would naturally feel after failing so badly.  Imagine someone is revered as a hero around the galaxy, a new Jedi Knight to help bring peace.  Your self-esteem would be sky high.  You would be pretty happy with how your life is panning out. It is clearly absolutely plausible that someone could react to what happened the way Luke does in TLJ.  If people were happy to believe Luke’s set up in TFA, then they have to accept that someone could react the way Luke does. I believe that this is a far more likely way that someone would react than to remain positive and not question your beliefs and the part they played in what happened.

Therefore the question is whether Luke Skywalker, Jedi Knight and hero of the galaxy, would react this way.  Clearly many fans and Mark Hamill say he wouldn’t.  I just don’t see how they can come to this conclusion based on his actions in the original trilogy.  The main argument I hear is that he was a great Jedi who saw the good in Darth Vader and defeated Sidious.  This just doesn’t stack up I’m afraid.  How do we know Luke is a great Jedi?  He was only taught by Yoda for a little while and clearly never finished his training. In fact, choosing to be so loyal to his friends was against his Jedi training.  Additionally, he beat Darth Vader, not by being a great Jedi but by turning to the dark side and using anger to fuel his fight with him.  Vader threatened Leia and he threw anything Jedi out the window and got plain mad.  This made him a hero but certainly not some grand Jedi.  Then we come to Sidious.  Luke didn’t defeat Sidious at all.  Seeing the good in Vader pulled him back from killing his father but he was about to be killed by Sidious.  It was Vader/Anakin who killed Sidious.  So, Luke was a hero, a bastian of hope but he was not some infallible human or a Jedi dedicated to their code.  If anything, he was the first grey Jedi.  For me, the fact that he felt so strongly for his family and friends is a reason why he would have reacted the way he did when he caused it all to go to shit.

People have also suggested that Luke would never think, even for a second, about killing his nephew. Again, I just don’t have this picture of Luke as all things light and good.  He is not so squeaky clean that when faced with the prospect of a new Sidious or Vader and acknowledging that he is not able to control him, that, for a second, he wouldn’t think that right thing to do is kill him.  Everyone has thoughts they shouldn’t have for just a split second.  Again, why is Luke any different?

It seems to me that people who loved Luke in the originals can’t face the idea that he is somehow a flawed human being and a flawed Jedi.  This character that they idolised as a child is actually a human and not some unrealistic hero type.  For me, it gave Luke something interesting to contribute to this trilogy.  Did people who hated it just want Johnson to forget what was set up for him in TFA, something he is criticised for in other areas, and suddenly have Luke forget all about why he was where he was?  Was he supposed to return to the Luke from the original trilogy just because some girl he doesn’t know turns up with his old lightsabre?  That would have been bad film making in my eyes, not good.

Another criticism is that he died a coward.  I just don’t see it that way.  Was it cowardly to hide away? Possibly but, as mentioned, this wasn’t Rian Johnson’s fault and also not an unrealistic way for him to react to what happened. Having been put in this position, you then want Luke to redeem himself and I thought he did that.  As the film progressed, he slowly became his old self. First he saw Chewie, then the falcon and news of Han’s death, he then agreed to help Rey a bit, then he saw R2-D2 who played him Leia’s recording for Obi-Wan and finally Yoda’s force ghost helped him come around.  There was a progression to his arc and, in the end, his actions were both brave and saved the day.  He would have known that using the force to project his image for all that time would lead to his death but that it was necessary to save the rebellion.  His death gave hope, renewed the idea of Luke the idolised hero, and then echoed the death of both Obi-Wan and Yoda, so was more than fitting, especially with the twin suns setting.  I thought it was a great way for him to “die” and not at all cowardly.  He will almost certainly be back as force ghost in IX as well.

As before, anyone moaning that force projection has never been done by a Jedi in any other material, needs to open up their imagination a little.  Also, if Luke is supposed to be such an amazing Jedi then surely he could find ways to use the force that others before him hadn’t.

My final point about Luke, and of this ridiculously long essay about a film, relates to how people have criticised the idea that Luke could ever feel that the Jedi order needed to end, the idea that an order that kept peace for thousands of years could ever need to move on or evolve.  I can’t believe people even say this without thinking about our own history. Religion, the British Empire, slavery, etc have all been institutions used over 100s of years to keep peace and maintain the powerful but there always comes a time when life and people learn and move forward.  They find better ways to live.  The Jedi might have kept peace for 1000s of years but in the recent past, and Luke’s understanding, they have not kept the peace, they have only been one side of a conflict.  Luke would be absolutely right to reflect on his Jedi beliefs and could easily be correct in his new found stance that the Jedi need to end.  He comes round again at the end of the film, when he corrects Kylo that he is not the last Jedi, but in my eyes his questioning of the Jedi order is not only right but interesting and made for a great film.

[wazafam]

When George Lucas released Star Wars for the first time in 1977, he had no idea how much of a juggernaut the franchise would be in the years that have followed. It's become one of the biggest parts of pop culture over the last 40 years with 11 movies released so far. They've made audiences laugh, cheer and exclaim in equal measure.

RELATED: These Are The Only 10 Movies To Beat The Skywalker Saga At The Box Office

And there have also been moments that have forced fans to reach for the tissues. Starting with 1999's The Phantom Menace, every single movie in the franchise has made audiences shed quite a few tears.

11 The Phantom Menace: Anakin's Goodbye

Star Wars: The Phantom Menace introduced a young Anakin Skywalker, who is a slave owned by Watto on the planet of Tatooine. Jake Lloyd's character comes across as sweet and innocent, in stark contrast to the villainous Darth Vader he'd become many years down the line. So that makes his goodbye to his mother, Shmi, all the more tragic.

Anakin and Shmi part ways and fans know they're going down two very different paths, with one destined to become bad and the other helpless to stop it. A close second for Episode I was the death of Qui-Gon Jinn but, given he wasn't in the original trilogy, the writing was always on the wall.

10 Attack Of The Clones: Shmi Skywalker's Death

While on the subject of Shmi, it's time to talk about her sad passing in Attack of the Clones. That movie is fun, keeping the tone light and casual for the most part. But Shmi's death at the hands of the Tusken Raiders is poignant.

Anakin goes back to Tatooine to try and save her, having become aware of her struggles via his dreams. Yet while he manages to get to her, he's unable to stop the person he loves most from dying. The fact he comes so close makes things extra emotional and it's sad seeing Anakin lose control in the aftermath, slaughtering the Sand People for their heinous crime.

9 Revenge Of The Sith: "You Were My Brother Anakin"

The third act of Lucas' prequel trilogy was always going to see Anakin become Darth Vader. That is, after all, the point of all three films. And it's sad when the moment actually happens, with Hayden Christensen's character losing to Obi-Wan Kenobi after a fiery lightsaber duel on the planet of Mustafar.

RELATED: LEGO Skywalker Saga: All LEGO Star Wars Games So Far (Ranked By GameSpot Score)

Ewan McGregor's Kenobi is visibly distraught at seeing his old friend burn as the lava engulfs him, having chopped off both of his legs and a hand as well. The duo had been like brothers over the course of the saga so far but this incident really is the death of that friendship, with Anakin reaching the point of no return.

8 Solo: Qi'ra Snubs Han

Solo: A Star Wars Story didn't fare the best at the box office, with Disney's blockbuster struggling to recoup what it cost to make. While that's the case, however, it's still a welcome addition to the franchise. A young Han Solo is fun to see, while Emilia Clarke's character Qi'ra is an intriguing debutant.

And Qi'ra is responsible for Solo's saddest moment when she rejects Han, sending him on his way at the end of the movie. While he's free as a bird, she's still tied to the criminal syndicate Crimson Dawn. Their love may exist, but their lives have taken them down alternative roads and this is perfectly summed up in this scene.

7 Rogue One: Galen Erso's Death

Rogue One, simply put, is a bloodbath of a Star Wars movie. Jyn Erso and Cassian Andor both perish, despite being protagonists, while Chirrut Imwe, Baze Malbus, K2-SO, and Saw Gerrera all meet their ends as well. Even the villains aren't safe, with Orson Krennic a casualty when the Death Star pays a visit to Scarif.

RELATED: Star Wars: 10 Ways Palpatine's Story Could Have Played Out Differently

But, out of them all, Galen Erso's passing is arguably the saddest. Like Anakin with Shmi, Jyn spends many years apart from her father. And when she finally gets to him, she's too late, with Galen dying when a Rebel Alliance ambush comes calling. This ultimately spurs Jyn on, giving her the fire to light the spark to blow the whole thing up.

6 A New Hope: Obi-Wan Kenobi's Death

A New Hope was originally called just Star Wars, only getting a new name when Lucas opted to press ahead with the original trilogy. It was the first time fans got a glimpse of iconic characters such as Luke Skywalker, Leia Organa, Han Solo, and Darth Vader. And it also introduced the character of Obi-Wan Kenobi.

Alec Guinness gives an excellent performance as the wise Jedi Master, who acts as a mentor to Luke - particularly after the Empire callously murders his Aunt Beru and Uncle Owen. Therefore, when Darth Vader cuts him down, it's a really sad moment. Kenobi would later return but being a force ghost isn't the same as being physically there, meaning he can only do so much for Luke.

5 The Empire Strikes Back: Han Solo In Carbonite

The ending of The Empire Strikes Back sees many of the Rebels' major players in a state of chaos. Luke is left without a hand when Darth Vader slices it off, Lando Calrissian is forced out of Bespin by the Empire and Leia Organa is left crushed when Han Solo is whisked off to Jabba the Hutt by Boba Fett.

RELATED: Kenobi: 10 Characters Alive During The Time Period (& Could Appear)

Han and Leia have an emotional parting, with the latter finally telling the loveable rogue she loves him. Han merely says 'I know', in one of Star Wars' most famous quotes of all time. And it's heartbreaking seeing him taken away from Leia, though it does set up a rather exciting finale...

4 Return Of The Jedi: Darth Vader's Funeral

For Return of the Jedi, it was a choice between two scenes. The first is the death of Yoda, with the Jedi Master passing away on Dagobah due to old age. But the second is the funeral of Darth Vader. With John Williams' force theme playing in the background, and Luke looking dejected, it's certainly a moment that makes fans weep.

Especially given how, shortly before dying, Vader redeemed himself by throwing Emperor Palpatine down the chute of the second Death Star. Anakin's journey is completed at this moment, bringing things to a satisfying ending. That is until the sequel trilogy came along...

3 The Force Awakens: Han Solo's Death

Han Solo is one of the most beloved characters in the whole of Star Wars. So when it was announced Harrison Ford would be reprising his role for The Force Awakens, it got excitement tingling across the fandom.

But that excitement was to be short-lived, with Kylo Ren brutally murdering his father on Starkiller Base. Ford had hoped to be killed off during Return of the Jedi, but he didn't get his wish. When he did, it was to be at the expense of many the fans who had hoped to see the original trilogy character embark on yet more heroic adventures.

2 The Last Jedi: Luke Skywalker's Death

The Force Awakens decided to hold back the character of Lule Skywalker, instead saving him for the sequel: The Last Jedi. Fans had waited many years to see Mark Hamill's character back in action. And he didn't disappoint, with Luke central to all things that happen.

RELATED: Kenobi: 10 Unanswered Questions Fans Have

Yet his death was sad because it deprived the chance to see Luke have a prominent role in the third installment of the sequel trilogy. Having been held back for a year, people wanted more. It was also well handled, with Luke sacrificing himself to save the galaxy in a truly heroic act.

1 The Rise Of Skywalker: Leia's Death

To complete the hat-trick, Leia's death is the most poignant moment in The Rise of Skywalker. For obvious reasons. Firstly, because it allowed people to grieve for Carrie Fisher - who sadly passed in December 2016.

And, secondly, because Leia - like Luke - sacrificed herself. She does this to bring Ben Solo back to the light side of the force and her son doesn't let her down, joining the fight against Palpatine to save the day and end the Sith Lord's rule once and for all.

NEXT: The 10 Best Double Acts In The Star Wars Saga, Ranked

Star Wars: The Saddest Scene From Every Movie | ScreenRant from https://ift.tt/3fjbF9U

[thebastardofgloucester]

all the posts collating reactions to The Empire Strikes Back or writing mock Rotten Tomatoes reviews to imply that the criticisms of this film aren’t worth paying attention to are just…so missing the point

exactly two works that said what ‘Star Wars’ was existed at the time of Empire’s release in 1980: Star Wars (not yet renamed ‘A New Hope’) and Alan Dean Foster’s 'Splinter of the Mind’s Eye’ (a sequel written in case Star Wars was a flop that could be filmed on a shoestring budget and without Harrison Ford. It’s Wild and puts the lie to the idea that Lucas had any idea where the Skywalker story was going; highly recommend)

in the year of our Lord 2017, The Last Jedi was released as the third film in a revival of a six film, single creative vision franchise, with the added baggage of over two decades of novels, comics, video games, and other media (the only thing ever fully expelled from canon was the infamous holiday special, which, honestly, had greater creative merit than some of the stuff that got to stay)

what’s the point? Expectations. No, not people who didn’t want anything to change and are Mad About It or whatever facile narrative the authors of those blog posts and reviews are using to explain why this film is probably more divisive than the goddamn prequels. The problem is that not only does The Last Jedi clash with decades of fandom, it is even at loggerheads with its sister films in this particular revival. and it doesn’t get the same benefit of the doubt that ESB got because that’s not how franchises and fandoms actually work. you don’t get to ignore everything that came before to tell your own story. they have to work together. 

Sure, not everybody read the EU (and trust me some of them are better off for it). But almost everybody saw The Force Awakens, most of them saw Rogue One, and a fair number of them, old and young fans alike, eagerly consumed the New EU content that offered glimpses into how the events of The Force Awakens came about and what mysteries were set up in what was effectively a reboot rather than a sequel. Generally, you know, regardless of how much you hate 'puzzleboxes,’ it is reasonable to expect that what one film sets up will have a payoff in the next, particularly when the first film takes such care to be sensitive to what the fans want (as JJ and Kasden did with TFA) - because while this is a money faucet for Disney, sure, there’s no point in bringing this franchise back without those fans (and of course, their kids) - and what they got from Rian and the Lucasfilm story team was…a confirmation that they had been wasting their time. It’s all well and good to pull the rug out from under the audience (as this film does incessantly) but it’s cynical bullshit to basically bait them with promo material and the preceding canon and then to deliver on basically nothing and expect everyone to just be okay with it. This film effectively penalizes the people who cared the most and spent the most time engaging with The Force Awakens and rewards people who may not have really been here for what Lucas was selling to begin with. As one review put it, it ‘does not care what you think about Star Wars’.

But when you set expectations as deliberately as Kennedy and the Lucasfilm Story Group did in JJ and Kasden’s TFA, it’s not great writing to blow them to pieces mid-narrative. It’s just lazy. the idea that Rey has no connection to the Skywalker line? a good idea, potentially, but clumsily executed, as it is played out less as an important revelation and more an excuse to not actually give any kind of answer to how Rey came to be Ben’s equal on the Light (or why she even is ‘Light’ honestly; I love Angry Rey but there’s seemingly no danger in her temptation) or where she got a skill set rivaled in this franchise only by literal Space Jesus Anakin Skywalker. Snoke is a one-noted villain; having him be betrayed by Kylo in the midst of his own villain arc? a very good idea. it belongs as the climax of the film, not the end of act 2 so there is no time for anything to breathe, just more never-ending crises and hardship.

Like, spare me the 'force visions are unreliable’ (Rey’s was unlike anything we had seen before, it wasn’t Anakin’s nightmare or Luke on Dagobah) bs; the film didn’t say that what Rey saw was wrong for x reason, it just pretended that it never happened and Rey didn’t say anything about it); spare me ‘our heroes have to fail and sometimes all the plans don’t work out’ we know that, we live in the real world of 2017 but while making your clever point you have wasted the presence of three extremely talented actors of color, and let down the audiences waiting for a chance to see people who look like them be the heroes for once. instead it turns out they didn’t actually matter all that much, but maybe next film! 

It’s not clever. It’s not visionary. It’s cheap, it’s cowardly, and it isn’t actually that original because the film leaves us exactly where we expected. Poe is the leader and Leia’s heir to command, Finn is a newly-committed Rebel brimming with unrealized potential, Rey is a Jedi character (amorphously defined) who we know exactly as much about as we started, Luke is gone, even if he went out in pretty spectacular fashion, Carrie’s death means that Leia will be leaving us soon, and Kyle Ben has become the big bad. That’s the only real development - Snoke’s death and Ben’s rejection of his redemption - and it’s buried under Rey, our erstwhile heroine, being a vehicle for the villain’s character development. The only character this film particularly cares about is a white fascist who gets every chance to be redeemed and rejects them while the film expects us to keep caring. 

So, yeah. People are mad. Not because of the same ‘the series is changed forever now’ shit that the haters of ESB were on about. Because the real changes? Ben being the real villain, the smallfolk of the galaxy being the source of light and conduits of the Force? I don’t see anyone complaining all that hard about them. 

the complaints are about the damage done to beloved characters for…not all that much of a payoff. the misuse and marginalization of the characters of color. the disdain with which the script treats the nostalgia of the Force Awakens. the unrelenting pace of the film that just grinds the Resistance (and the audience) down and just tells them to trust us, even as more and more and more is taken away. Rey’s parentage isn’t the only thing cast aside - promises of developments in Finn’s story - his identity, his potential to cause a revolt in the First Order, even his force sensitivity (you want a force user from nothing? how about a child soldier from a nameless family who as we are continually reminded used to be on sanitation crew) - are broken. Rey has her dream of family taken away…and replaced with…well the film doesn’t really bother to say because she’s a plot device for most of act 3. We don’t get to see her reject Ren and leave him. Because this isn’t her story; it’s his. Kylo is unconscious, so the scene is over. Tell me how that is a satisfying arc for our erstwhile protagonist? Poe’s character is completely uprooted from what we’ve seen before to make him an obnoxious hotheaded menace whose emotions threaten the survival of the Resistance if two old white women aren’t able to keep him in check. Rose says a lot and gets to do almost nothing. Luke…Luke is torn down to justify the fall of Ben Solo, never given the chance to establish a meaningful bond with his erstwhile successor, and is only given the chance to atone by acting as a diversion to give the others time to escape. he dies alone, a failure, even if he is at peace with how things turned out.

last year we were shown a movie in the wake of one of the more traumatic political events in the life of the people on this website where a diverse and sympathetic cast fight hard and are entirely wiped out. But their deaths come in a spectacular and charged finale that carries the desperation and grief and pathos through into the beginning of the story we know and love. it all feels worth something. Rogue One has its flaws as a film but it comes together in a way that The Last Jedi does not. In the end, what Jyn and Cassian and the others do is just enough to get the plans away, to start the sequence of events that will lead to the Empire’s destruction.

Here?

there’s just not enough left. not enough of the Resistance, not enough story, not enough hope. 

to have that hope repeatedly stripped away and cynically exploited through a narrative that drags the characters from crisis to crisis without bothering to justify itself or its role in the story (while retreading the highlights of Episodes V and VI without the emotional depth to back them up), and in so doing wears down the audience as much as the characters is not why I have devoted so much of my life and emotional energy to this series about space wizards and their galaxy-destroying family squabbles and eventual chance for redemption. for all his many, many faults, George Lucas understood that.

you can’t just talk about hope. sooner or later you have to see it. You have to feel that what you are suffering will be worth it. The text needs to tell you as much. it’s clumsy and cliched and it is necessary. In the Empire Strikes Back, after Han is captured and Luke is beaten, the turning point is Lando. Lando changes the course of the movie, rescuing Leia and Chewie, who rescue Luke. They live to fight another day, and at the end they are wounded but among friends. 

the moment in The Last Jedi where that could have happened was when Leia’s signal went out. How terrific would it have been if after being betrayed by a scoundrel the original scoundrel with a heart of gold, Lando Calrissian, arrives at the head of a fleet made up of all the alien races so inexplicably missing from the sequel trilogy so far, fending off the First Order long enough for the Resistance to escape with most of the survivors on Crait?

But Rian had to have one last twist of the knife. so nobody came. only Luke, and only as a distraction to buy time that ultimately cost him his life and reduced his legacy to giving everything to atone for his past sins. there is no Lando moment. there is no turning point, no moment where a larger victory is hinted at. and no, a single stable boy far, far away from the war is not the same thing. It makes an interesting point about the force and the metanarrative of Star Wars. It is not what this film needed after everything it put its characters and audience through.

and so at the end I’m not hopeful. I’m just tired. So, very tired. And I miss what made me fall in love with this series about space wizards and the Skywalker family in the first place

[uomo-accattivante]

A long time ago, a grade-schooler got his hands on a spaceship. He followed the assembly instructions as best he could, snapping on the cannons, the landing gear, the tiny interstellar-chess table. Soon enough, Rian Johnson was holding his very own Millennium Falcon. “The first thing I did,” he recalls, “was throw it across the room, to see how it would look flying.” He grins. “And it broke.”

Johnson grew up, went to film school, made some good stuff, including the entertainingly twisted 2012 sci-fi drama Looper. He’s nearly 44 now, though his cherub cheeks and gentle manner make it easy to picture the kid he was (too easy, maybe – he’s trying to grow back a goatee he shaved); even his neatly pressed short-sleeve button-down has a picture-day feel. In late October, he’s sitting in an office suite inside Disney’s Burbank studios that he’s called home for many months, where a whiteboard declares, “We’re working on Star Wars: The Last Jedi (in case you forgot).” Johnson is the film’s writer-director, which means he ended up with the world’s finest collection of replacement toys, including a life-size Falcon set that nearly brought him to tears when he stepped onto it. He treated it all with what sounds like an intriguing mix of reverence and mischief – cast members keep saying nothing was quite what they expected. “I shook up the box a little bit,” he says, with that same grin.

Meanwhile, back in the real world, everything is broken. In the months since the franchise stirred back to life in 2015’s The Force Awakens, it has felt rather like some incautious child grabbed civilization itself and threw it across the room – and, midflight, many of us realized we were the evil Empire all along, complete with a new ruler that even latter-day George Lucas at his most CGI-addled would reject as too grotesque and implausible a character.

Weirdly, the saga saw it all coming – or maybe it’s not so weird when you consider the Vietnam War commentary embedded in Lucas’ original trilogy, or the warnings about democracy’s fragility in his prequels. In the J.J. Abrams-directed The Force Awakens, a revanchist movement calling itself the First Order assembles in Triumph of the Will-style marches, showing the shocking strength of an ideology that was supposed to have been thoroughly defeated long ago. What’s left of the government is collapsing and feckless, so the only hope in sight is a band of good guys known as the Resistance. Familiar, this all sounds.

“It’s somewhat a reflection of society,” acknowledges the saga’s new star, Daisy Ridley, who plays Rey, and who has gone from unknown London actress to full-blown movie star nearly as fast as her character went from desert scavenger to budding Jedi. “But also it is escapism, because there are creatures and there are people running around with fucking lasers and shit. So, I think, a wonderful mix of both.”

And the worse the world gets, the more we need that far-off galaxy, says Gwendoline Christie, who plays stormtrooper honcho Captain Phasma (as well as Game of Thrones’ Brienne of Tarth): “During testing times, there’s nothing wrong with being transported by art. I think we all need it. Many of us are united in our love for this one thing.”

The Last Jedi, due December 15th, is the second episode of the current trilogy, and advance word has suggested that, as in the original middle film, The Empire Strikes Back, things get darker this time. But Johnson pushes back on that, though he does admit some influence from the morally ambiguous 2000s reboot of Battlestar Galactica (which is funny, because Lucas considered the Seventies TV show a rip-off and urged a lawsuit – long since settled – against it). “That’s one thing I hope people will be surprised about with the movie,” Johnson says. “I think it’s very funny. The trailers have been kind of dark – the movie has that, but I also made a real conscious effort for it to be a riot. I want it to have all the things tonally that I associate with Star Wars, which is not just the Wagner of it. It’s also the Flash Gordon.”

As of late October, almost no one has seen it yet, but Johnson seems eerily free of apprehension about its prospects. He exuded a similar calm on set, according to Adam Driver, who plays Han and Leia’s Darth Vader-worshipping prodigal son, Kylo Ren. “If I had that job, I would be stressed out,” he says. “To pick up where someone left off and carry it forward, but also introduce a vocabulary that hasn’t been seen in a Star Wars movie before, is a tall order and really hard to get right. He’s incredibly smart and doesn’t feel the need to let everyone know it.” (“It felt like we were playing the whole time,” says Kelly Marie Tran, cast as the biggest new character, Rose Tico.) A few weeks after we talk, Lucasfilm announces that Johnson signed on to make three more Star Wars films in the coming decade, the first that step outside of the prevailing Skywalker saga, indicating that Disney and Lucasfilm matriarch Kathleen Kennedy are more than delighted with Last Jedi. And Kennedy’s not easily delighted, having recently replaced the directors of a Han Solo spinoff midshoot and removed original Episode 9 director Colin Trevorrow in favor of Abrams’ return.

The Force Awakens’ biggest triumph was the introduction of new characters worth caring about, led by Rey and Kylo Ren, plus the likes of John Boyega’s stormtrooper-defector Finn, Oscar Isaac’s Poe Dameron and more. Kylo Ren (born Ben Solo) lightsaber-shanked Harrison Ford’s Han, depriving Johnson of one coveted action figure – but the film left us with Carrie Fisher’s Princess Leia, now the general who leads the Resistance, and the climactic reveal of Mark Hamill’s now-grizzled Luke Skywalker.

The Last Jedi will be Fisher’s last Star Wars movie. In the waning days of the cruel year of 2016, she went into cardiac arrest on an airplane, dying four days later. Less than a month afterward, 500,000 or so people assembled in Washington, D.C., for that city’s Women’s March, and Leia was everywhere, in posters bearing her doughnut-haired image circa 1977, with accompanying slogans (“A Woman’s Place Is in the Resistance” was, perhaps, the best).

Johnson had grown close with Fisher, and is glad to hear that I visited her psychedelically decorated Beverly Hills house a couple of years back, where she did almost an entire hilarious interview prone in bed. Afterward, she cheerily cracked jokes about drugs and mental illness in front of a visiting Disney publicist. “You got to experience a little bit of that magical sphere that she created,” says Johnson, who went over the script with her in that same bedroom. “I’m happy I got to poke my head into that, briefly, and know her even a little bit.”

He left her part in the film untouched. “We didn’t end up changing a thing,” says Johnson. “Luckily, we had a totally complete performance from her.” So it is now Abrams who has to figure out how to grapple with Fisher and Leia’s sudden absence. (He is characteristically gnomic on the matter: “It’s a sad reality,” he says. “In terms of going forward … time will tell what ends up getting done.”)

Overall, Johnson enjoyed what seems like an almost unfathomable level of autonomy in shaping The Last Jedi’s story. He says no one dictated a single plot point, that he simply decided what happens next. And he’s baffled by fans who are concerned by the idea that they’re “making it up as we go along”: “The truth is, stories are made up! Whether somebody made this whole thing up 10 years ago and put it on a whiteboard and we all have to stick to that, or whether we’re organically finding it as we move forward, it doesn’t mean that any less thought is being put into it.”

Mark Hamill’s single scene in The Force Awakens lasts all of one minute, and he doesn’t say a thing. But it’s an indelible piece of screen acting with real gravitas, from an underrated performer who had become better known for Broadway and voice-over work – he’s been the definitive animated Joker since the early Nineties. (“With voice-over,” Hamill says, “I thought, ‘This is great! I can let myself go to hell physically! I don’t have to memorize lines!’”) As Rey approaches him on the lonely mountaintop where’s he’s presumably spent years studying the Jedi equivalent of the Talmud, Luke Skywalker’s bearded face cycles through grief, terror and longing.

“I didn’t look at that as ‘Oh, this is going to be my big chance,’” says Hamill, who has just shown up at Johnson’s offices and plopped down next to him, carrying a large thermos of coffee in the right hand that Darth Vader once chopped off. He has a trimmed-down version of his elder-Jedi beard, which he’s grown to appreciate: “I shaved, and I thought, ‘You know what, the beard does cover up the jowl.’”

Hamill is a charming, jittery chatterbox – turns out that even at his youngest and prettiest, he was a geek trapped in the body of a golden boy. He is excitable and wild-eyed enough to give the vague sense that, like Luke, he actually might have spent a few solitary years on a distant planet, and is still readjusting to Earth life, or at least movie stardom.

He admits to having had “frustrations over being over-associated” with Star Wars over the years – his Skywalking cost him a chance at even auditioning to reprise his stage role as Mozart in the film of Amadeus – “but nothing that caused me any deep anguish.” He still spent the decades since Return of the Jedi acting and raising a family with Marilou, his wife of 39 years. And as for his current return to the role of Luke? “It’s a culmination of my career,” he says. “If I focused on how enormous it really is, I don’t think I could function. I told Rian that. I said, as absurd as it sounds, ‘I’m going to have to pretend this is an art-house film that no one is going to see.’ ”

For his Force Awakens scene, he says, “I didn’t know – and I don’t think J.J. really knew – specifically what had happened in those 30 years. Honestly, what I did was try and give J.J. a range of options. Neutral, suspicion, doubt … taking advantage of the fact that it’s all thoughts. I love watching silent films. Think of how effective they could be without dialogue.”

Abrams had some trepidation over the idea of handing Hamill a script with such a tiny role. “The last thing I wanted to do was insult a childhood hero,” he says, “but I also knew it was potentially one of the great drumrolls of all time.” In fact, Hamill’s first reaction was, “What a rip-off, I don’t get to run around the Death Star bumping heads with Carrie and Harrison anymore!”

But he came to agree with Abrams, especially after he counted the number of times Luke was mentioned in the screenplay – he thinks it was more than 50: “I don’t want to say, ‘That’s the greatest entrance in cinematic history’ … but certainly the greatest entrance of my career.”

Johnson turns to Hamill. “Did I ever tell you that early on when I was trying to figure out the story for this,” he says, “I had a brief idea I was chasing where I was like, ‘What if Luke is blind? What if he’s, like, the blind samurai?’ But we didn’t do it. You’re welcome. Didn’t stick.” (He adds that this was before a blind Force-using character showed up in 2016’s side film Rogue One.)

Hamill laughs, briefly contemplating how tough that twist would’ve been: “Luke, not too close to the cliff!”

He had a hard enough time with the storyline Johnson actually created for Luke, who is now what the actor calls a “disillusioned” Jedi. “This is not a joyful story to tell,” Hamill says, “my portion of it.” Johnson confirms that Hamill flat-out told him at the start that he disagreed with the direction Luke’s character was taking. “We then started a conversation,” says Johnson. “We went back and forth, and after having to explain my version, I adjusted it. And I had to justify it to myself, and that ended up being incredibly useful. I felt very close to Mark by the end. Those early days of butting heads and then coming together, that process always brings you closer.”

Hamill pushed himself to imagine how Luke could’ve gotten to his place of alienation. A rock fan who’s buddies with the Kinks’ Dave Davies, Hamill started thinking about shattered hippie dreams as he watched a Beatles documentary. “I was hearing Ringo talk about ‘Well, in those days, it was peace and love.’ And how it was a movement that largely didn’t work. I thought about that. Back in the day, I thought, by the time we get into power, there will be no more wars. Pot will be legal.” He smiles at that part. “I believed all that. I had to use that feeling of failure to relate to it.” (We do already know that Luke was training a bunch of Jedi, and Kylo Ren turned on him.)

Hamill’s grief over the loss of Fisher is still fresh, especially since the two of them got to renew their bond, and their space-sibling squabbling, after fallow decades that had given them far fewer reasons to get together. “There was now a comfort level that she had with me,” he says, “that I wasn’t out to get anything or trying to hustle her in any way. I was the same person that I was when she knew me. … I was sort of the square, stick-in-the-mud brother, and she was the wild, madcap Auntie Mame.” Promoting the movie is bringing it all back for him. “I just can’t stand it,” he says. “She’s wonderful in the movie. But it adds a layer of melancholy we don’t deserve. I’d love the emotions to come from the story, not from real life.”

I mention how hard Luke seems to have had it: never meeting his mom; finding the burnt corpses of the aunt and uncle who raised him; those well-known daddy issues; the later years of isolation. “It’s the life of a hero, man,” says Johnson. “That’s what you’ve gotta do to be a hero. You’ve gotta watch people that you love burn to death!”

Hamill notes that reality is not so great either. “Sometimes,” he says, softer than usual, “you think, ‘I’d rather have Luke’s life than mine.’”

Adam Driver has a question for me. “What,” he asks, “is emo?”

Between training for the Marines and training at Juilliard to become one of his generation’s most extraordinary actors, Driver missed some stuff, including entire music genres. But the rest of the world (including an amusing parody Twitter account) decided there’s something distinctly emo about his character, with his luxuriant hair, black outfits and periodic temper tantrums. “You have someone who’s being told that he’s special his whole life,” Driver says of his character, “and he can feel it. And he feels everything probably more intensely than the people around him, you know?”

As anyone who’s seen Driver in practically anything, even Girls, could tell you, the actor himself seems to feel things more strongly than most. “I don’t think of myself as a particularly intense person,” he says, possibly not unaware that he is making intense eye contact, and that his right knee is bouncing up and down with excess energy. “I get obsessive about certain things and, like, enjoy the process of working on something.” He’s in a Brooklyn cafe, on a tree-lined street, that seems to be his go-to spot for interviews. He arrived early, fresh from shooting the new Spike Lee movie, wearing a dark-blue sweater over black jeans and high-top Adidas. Driver has a certainty to him, a steel core, that’s a little intimidating, despite his obvious affability and big, near-constant laugh. It’s not unlike talking to Harrison Ford, who played his dad. Until Driver’s character murdered him.

Driver, raised by his mom and preacher stepdad after his parents divorced when he was seven, doesn’t flinch when I suggest his own father issues might be at work. “I don’t know that it’s always that literal,” he says. He mentions that Kylo Ren also murders Max Van Sydow’s character, who was sort of a “distant uncle” to him. “No one asks me, ‘So you have a distant-uncle problem?’ ”

John Boyega told me in 2015 that Driver stayed in character on set, but that seems to be not quite true. Driver just tries to keep focused on his character’s emotions in the face of an environment he can’t help but find ridiculous. “Watching Star Wars, it’s an action-adventure,” he says. “But shooting it, it’s a straight comedy. Stormtroopers trying to find a bathroom. People dressed as trolls, like, running into doorways. It’s hilarious.” And when he wears his helmet, he can’t see very well. “You’re supposed to be very stealth, and a tree root takes you down.”

He refuses to see his character as bratty. “There is a little bit of an elitist, royalty thing going on,” he says, reminding us that the character’s estranged mom is “the princess. I think he’s aware of maybe the privilege.” He does acknowledge playing Kylo Ren younger than his own age of 34: “I don’t want to say how much younger, 'cause people will read into it… .” He flushes, and later says he regrets mentioning it at all. If it’s a plot spoiler, it’s unclear exactly how, unless it’s related to his unexplained connection to Rey. The two apparently spend serious time together in this film. “The relationship between Kylo and Rey is awesome,” says Ridley, whom Driver calls a “great scene partner,” apparently one of his highest compliments.

At first, Driver wasn’t totally sure he wanted to be in a Star Wars movie. I’m always skeptical of Hollywood movies because they’re mostly just too broad,“ he says. But Abrams’ pitch, emphasizing the uniqueness of Kylo Ren’s character as a conflicted villain, made the sale. “Everything about him from the outside is designed to project the image that he’s assured,” he says. Only in private can he acknowledge “how un-figured-out he is … how weak.”

Driver can make a passionate case for why Kylo Ren isn’t actually a villain at all.

“It’s not like people weren’t living on the Death Star,” he says, his brown eyes shifting from puppyish to fierce without warning. He seems almost in character now. “Isn’t that also an act of terrorism against the hundreds of thousands of people who died there? Did they not have families? I see how people can point to examples that make themselves feel they’re right. And when you feel in your bones that you’re supported by a higher power on top of that, and you’re morally right, there’s no limit to what you’ll do to make sure that you win. Both sides feel this way.”

You’re starting to talk me into joining the Empire, I say. He laughs and shifts his delivery one degree over the top. “So, the rebels are bad,” he says, connecting his fist with the table. “I strongly believe this!”

On an extravagantly rainy Thursday evening in Montreal, I’m sitting at crowded, noisy Le Vin Papillon, a wine bar ranked as Canada’s fourth-best restaurant, holding a seat for a Jedi. Ridley arrives right on time, in a fuzzy faux-fur coat and a jumper dress – “the dregs of my wardrobe,” she says. Her shortish hair is in a Rey-ish topknot that makes her way too recognizable, but she doesn’t care. “This is how I have always had my hair,” says Ridley. “I am not going to change it.” She’s been in Montreal for three months, shooting a Doug Liman-directed sci-fi movie called Chaos Walking – which “is a little bit chaotic, in that we’re writing as we go and everything,” she says. “I’ve realized I don’t work well with that.”

She’s on the second of two unexpected days off thanks to co-star Tom Holland (a.k.a the latest Spider-Man) suffering an impacted wisdom tooth, but she’s still deeply exhausted. 

“I need a [vitamin] B shot in my ass,” she muses, in the kind of upscale British accent that makes curses sound elegant. It seems already clear that typecasting won’t pose the kind of problem for her that it did for the likes of Hamill and Fisher. Instead, she’s just busy in a way that only a freshly minted 25-year-old movie star could be – and she still managed to fulfill a pre-fame plan to go back to college for a semester last year. “I have no control in my life at all,” she says. She has four movies on the way, not even counting the Liman one. “So there is a lot going on, and I have never had to deal with that before. I don’t think my brain can really keep up with what is going on.” She has full-blown night terrors: “I wake up and scream.”

Rey had an epochal moment in the last movie, claiming her lightsaber from the snowy ground, and with it, her power, her destiny, her place at the center of the narrative. Her turn. Ridley is still absorbing what that moment, and that character, mean to women and little girls. But she definitely felt more pressure this time around, especially because last time, “it was all so insane, it felt like a dream,” she says. “I remember saying to Rian, 'I am so fucking neurotic on this one.’ I was like, 'I am going to fuck this up. All these people think this thing. How do I do that thing?’ ”

Part of the problem may have been Ridley’s tendency to downplay what she pulled off in the first movie. Her heart-tugging solo scenes in the first act, especially the moment where she eats her sad little “one half portion” of green space bread, created enormous goodwill, in seconds, for a character no one had seen before. She mentions Harrison Ford’s effusive praise for that eating scene, to the point where he was “getting emotional.” “I don’t know,” she says with a shrug, ultimately giving credit for the impact to Abrams and the movie’s cinematographer, Dan Mindel. “I was just eating!”

But in other ways, Rey has given her confidence. On her current film, she says, she was offered a stunt double for a scene where a door would swing open and knock her back. She took Liman aside and said, “'Doug, I don’t need a stunt double to do that.’ And I thought, 'I don’t know if this would’ve happened if it was Tom Holland.’”

Unlike almost everyone else in the world, Ridley has known for years who Rey’s parents are, since Abrams told her on the set of The Force Awakens. Ridley believes that nothing ever changed: “I thought what I was told in the beginning is what it is.” Which is odd, because Johnson insists he had free rein to come up with any answer he wanted to the question. “I wasn’t given any directive as to what that had to be,” he says. “I was never given the information that she is this or she is that.” 

The idea that Johnson and Abrams somehow landed on the same answer does seem to suggest that Rey’s parents aren’t some random, never-before-seen characters. All that said, Abrams cryptically hints there may have been more coordination between him and Johnson than the latter director has let on, so who knows what’s going on here – they may be messing with us to preserve one of Abrams’ precious mystery boxes. In any case, Ridley loves the speculation: Her favorite fan theories involve immaculate conception and time travel. It seems more likely that she’s either Luke’s daughter or his niece, but again, who knows.

Back in 2015, Ridley told me she was fine with the idea of being seen as Rey forever, the way Fisher was always Leia. Now she’s changed her mind. “There are literally no similarities with Carrie’s story and mine,” she says, adding that while Fisher ultimately embraced writing over acting, she plans on continuing to “inhabit” as many characters as possible. On the other hand, “a lot of Rey is me,” she says, “but that is not me being Rey. That is parts of me being a character as Rey, because how could it not? So in that sense, I understand it, because so much of Leia is Carrie.”

This trilogy will end with Abrams’ Last Jedi sequel, and after that, it sounds like the main thrust of the franchise will move into Johnson’s mysterious new movies, which look to be unconnected to the previous saga. As far as Abrams is concerned, that will be the end of the Skywalker story. “I do see it that way,” he says. “But the future is in flux.”

As far as Ridley is concerned, the future of Rey is pretty much set. She doesn’t want to play the character after the next movie. “No,” she says flatly. “For me, I didn’t really know what I was signing on to. I hadn’t read the script, but from what I could tell, it was really nice people involved, so I was just like, 'Awesome.’ Now I think I am even luckier than I knew then, to be part of something that feels so like coming home now.”

But, um, doesn’t that sort of sound like a yes? “No,” she says again, smiling a little. “No, no, no. I am really, really excited to do the third thing and round it out, because ultimately, what I was signing on to was three films. So in my head, it’s three films. I think it will feel like the right time to round it out.”

And how about coming back in 30 years, as her predecessors did? She considers this soberly, between bites of Brussels sprouts roasted on the stalk. (We split the dish, which means she got … one half portion.) “Who knows? I honestly feel like the world may end in the next 30 years, so, if in 30 years we are not living underground in a series of interconnected cells … then sure. Maybe. But again, it’s like, who knows. Because the thing I thought was so amazing, was people really wanted it. And it was done by people who really love it.”

She thinks even harder about it, this new Star Wars trilogy that we’ve made up on the spot. “How old will I be?” she asks, before doing the math. “55.” She looks very young for a moment, as she tries to picture herself as a middle-aged Jedi. Then she gives up. It’s time to go, anyway; she has a 5:25 a.m. pickup tomorrow for her new movie. “Fuck,” Ridley says. “I can’t think that far ahead.”  

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