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PROOF THE REYLO KISS SCENE WAS ALSO HEAVILY EDITED

Credit to @centennial_2 on Twitter

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TROS; What Really Happened?! (Reylo Kiss)

before I get started I was becoming more and more confused trying to piece this together (the editing of this film is just…wow) so forgive me if I’m not making total sense. I hope it’s clear though. I also just want to clarify that I LOVE their kiss. it’s so beautiful and it is just glorious, so please don’t think I’m hating on it. I’m just showing an example of how messy the film is in the this scene.

1. Ben Revives Rey

2. Rey Waking Up

3. Ben Then “Dies”

4. Leia Uses Her Life Force As She Fades (explains Maz happy smile) + the whole “belonging you seek is not behind you it is ahead.” line from TFA.

5. Rey Watches Ben Come Back (Relieved Look)

6. Ben RISES + Stares

7. THEN THE KISS + SMILE

that’s basically it. this could be 2 scenes merged together to try and make it look like he dies after the kiss. when really it’s the other way round. ¯\_(ツ)_/¯. this could also just be reshoots. the kiss could’ve been a reshoot because they would’ve kissed in the ending (Adam was on the set of Tatooine) but as they cut that ending (Daisy stated the ending “the crew was shaken in a way I had not seen before. and I thought, ‘my god if this is people’s immediate reaction when the scene isn’t even ready, imagine what it will be like to see it in the movies, with the John Williams soundtrack and all that.”) they chose to make them kiss here instead? BUT WE CAN AGREE EVERYTHING IS SUPER WEIRD AF. 

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I don’t know how true this is as DLF and JJ said there were no test screenings...

But damn...did they just pull an ending out of a hat and that’s the ending they went with?

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I love how Forbes is out for TROS and rightfully so

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he speaks truth @reylos watch it

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Lot’s of interesting thoughts in this thread. Also the world does not deserve Rian and TLJ.

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I edited the last reylo scene of TROS in accordance to what a lot of people are theorizing is the original sequence of events (Ben revives Rey, he dies, Leia uses her life force to bring him back [this could explain why Maz is smiling], Rey’s shocked/relieved, then they kiss). I also added in ‘Across the Stars’ by John Williams.

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The Death of Love and the Lonely Soul: Eros and Psyche in a Post-TROS World

This is the first of my follow-up posts to my series on Folktale Types in Star Wars, focusing on how the Sequel Trilogy retells (or fails to retell) the Eros and Psyche myth, and the potential psychological implications for our culture. This essay will frequently reference my original Reylo as Eros and Psyche post, though I will also occasionally refer to my other Search for the Lost Husband posts (2) (3) (4), so please consider reading those before diving in here.

To explain why I had a great deal of confidence in TROS being a classic happy ending to a Search for the Lost Husband tale (ATU 425), I have to share a little bit of what I learned about how folklorists view these tale types. A century ago, the popular theory about why myths and folktales were so similar all over the world was evolutionary: it assumed there was one origin tale, and that as humans traveled, they would carry the story with them and it would be retold and adapted by other cultures. This suggested there was one ancestral tale from which all the others developed, which accounted for the recurrence of the story’s basic plot and motifs.

Since then, however, advancements in anthropological research and the increasing appreciation for folklore in the study of human psychology has debunked the old evolutionary theory. It was discovered that cultures and societies existing at the same time in history, on opposite sides of the globe and which could have had no possible contact with one another, still told the same tale types with the same motifs. Details might be changed, but every culture had animal husband tales, or animal bride tales, and so on. This led to the now widely-accepted idea that universal human psychology accounts for the similarity in folktales. Basically, all humans tell each other the same stories because we all wrestle with the same fundamental truths, challenges, and transitions. This is why the swan maiden tales can be traced to male anxiety over sexual performance or the prospect of losing a wife in childbirth, or why animal husband tales can be traced to female power fantasies of taming a mate in a patriarchal society.

Based on all this, I assumed that even if Terrio and Abrams made a typically vapid modern action flick, they’d still hit all of the main beats of the Eros and Psyche myth because that’s what would come naturally to them. Obviously, Beauty’s love will return the Beast to his human form. Obviously, Psyche will complete her journey from child to adult and take her place as the true or metaphorical mother to the next generation. Obviously, they will end the story united for eternity to signify the end of the galaxy-wide conflict and the beginning of the true peace so long sought by the heroes of the Skywalker Saga.

While this was true to a limited extent in The Rise of Skywalker, several of the reveals and the final moments of the film not only departed dramatically from the structure of the Search for the Lost Husband myth, but the movie even fails to align with the commonly more sorrowful Quest for the Lost Bride. In a cruel and baffling twist, the story erases its hero and returns its heroine to childhood in a barren underworld. There is, frankly, no historical folktale I can find that matches this pattern. Even stories featuring preadolescent children are about disassociation from parental figures, not deeper dependence. (Note: Marie-Claire and Ty Black of What The Force and Wit and Folly have done some exploration of how TROS reflects the so-called “American Monomyth.” This is a valid interpretation but for the purposes of this analysis, I’m continuing to use stories more commonly recognized by the Aarne-Thompson-Uther classification of folktales.)

Rey’s Regression and Psyche’s Tasks

As a quick refresher of where we stood in alignment with the myth by the end of The Last Jedi, Rey is the mortal woman Psyche, and her force powers are akin to Psyche’s beauty in the myth. Kylo Ren/Ben Solo is god of desire Eros, Psyche’s husband and the son of god of war Ares and goddess of love Aphrodite. In Star Wars, it is the Dark Side and dark force users who play the part of Aphrodite herself, attempting to control Ben Solo and jealous of the powerful Rey. The symbolic marriage of the lovers has unmistakably occurred multiple times, but when Rey attempts to force Ben into the light and to accept his true identity, he recoils and they are separated. She has broken the taboo of seeing his true self, and so her animal bridegroom has fled to the safety of the Dark Side, or “his mother’s house.” Finally, all of Rey’s illusions, help, and protections have been stripped away, so she must now learn how to rely on herself to obtain what she desires. When Rey discovers her own worth, independent of anyone else, she will achieve womanhood. When Ben Solo accepts his full humanity, both dark and light, he will achieve manhood. Together, they will reach adulthood.

Keep reading

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But it is pLAtOniC you guys.

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We were robbed so badly of a happy ending for Reylo & Star Wars as a franchise that I'm feeling the loss to this day.

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🗡️🩸👑

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i heard people are i ship us

shipping us

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I will always choose you

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Kylo Ren's "Join Me" Marriage Proposal

Even after all these years, it seems Reylos are still having to defend the brilliance of Reylos but it's fine, I can do this easily. The main thing people highlight is the "join me" scene. Oddly, I do remember Anakin cut his own son's hand off in his "join me" scene and no body's still tripping about it. With that being said let's get this started.

Rey says she saw his future: him turning. Kylo says he saw hers: her turning.

They were both right—and wrong.

Their connection is real. Their bond is deep. But they projected their hopes onto each other.

And when the moment came, neither changed in the way the other needed.

Kylo: “It’s time to let old things die. Snoke. Skywalker. The Sith. The Jedi. The Rebels. Let it all die.”

Kylo Ren in this scene is emotionally raw. He just killed his master. He’s fully exposed to Rey. Craving connection—but on his own terms. He doesn’t want to join Rey's cause. He wants her to join his rebellion—to burn both the Jedi and Sith legacies to the ground.

“I want you to join me.”

Kylo isn’t asking Rey to turn to the dark side in name. He’s offering something more seductive: a fresh start, outside any structure. The vulnerability in his tone implies he’s genuinely desperate—he doesn’t want to be alone in this new vision.

Rey: “Don’t do this, Ben. Please don't go this way”

Rey is genuinely shocked that Kylo Ren didn't evolve back into Ben. She thought defeating Snoke would redeem him; she’s stunned and heartbroken that it didn’t. This, however, is more about Rey's naivete. Ben/Kylo Ren is a complicated man. He would and did go to great lengths for Rey but that doesn't extend to beyond that. He has no love for the resistance like girl he don't give a damn if they all go..... you on the other hand he does care for.

Ben: "Do you want to know the truth about your parents? Or have you always known?"

—He's weaponizing the secret she fears most. But also offering the painful clarity she craves. He's freeing her from the past and in Rey's case you see why it's needed. Ben's done everything he can to separate himself from his past while Rey desperately clung onto it.

Kylo: "They were nothing. They were filthy junk traders who sold you off for drinking money. They’re dead in a pauper’s grave in the Jakku desert. You have no place in this story. You come from nothing. You’re nothing. But not to me.”

This is the emotional peak—and the most controversial line. It’s framed as a moment of intimacy, but it's also deeply manipulative. He acknowledges her greatest insecurity (her abandonment, her origins) and weaponizes it. It's also incredibly telling...... He doesn't care about where she's from. HE is a prince, a Skywalker, a son of legends and while he runs from these things he's a snob. This Adam Driver even admitted. Still, he really doesn't care about Rey's origins. Kylo is clearly hurt and sincere in parts—but his need to control, reshape, and redefine is still dominant.

He sees Rey’s deepest pain (abandonment, lack of identity) and tries to fill that void—on his terms. His love is conditional: be mine, and you matter. This is a trauma-bond offer. They're both orphans, both abandoned, both shaped by war. But instead of healing together, Kylo wants to remake the world in their image—destructively. This is not just a romantic proposal—it’s a psychological offer of radical belonging. He is offering: Escape from pain and loneliness. Power and control over their destinies. A place in the galaxy with him, not as a Jedi, not as a Sith, but as something entirely new. In many ways, this is a very persuasive proposal because it's everything Rey's been looking for and Kylo Ren. A sense of togetherness.

The Director, Rian Johnson, views Rey and Kylo as two halves of a whole: light and dark, mirroring each other emotionally and existentially. For Johnson, their bond is central to the film’s story, and Kylo is as key a protagonist as Rey

Publications like Vanity Fair and Vogue highlighted how this scene marks a tonal shift in Star Wars, blending sexual tension, ideology, and action in a way the franchise hadn’t before—with intimacy that pushes beyond just lightsaber combat

Driver has spoken about how emotional conflict and fury inform every beat in Kylo's throne‑room moment. Kylo isn’t just manipulated—he’s vulnerable, desperate, and messily sincere, which Driver portrays with teenage-like emotional volatility. It’s not just rage; it’s a wounded heart calling, wrapped in ideology

In summary, it's an absolutely bizarre, twisted, emotionally raw way for Kylo Ren to express that he genuinely wants to be with Rey. And that's what makes the scene so powerful and disturbing. Kylo isn’t faking. He’s not manipulating Rey in a cold, calculated sense. His voice is soft. He looks heartbroken. He doesn’t raise his weapon—he offers his hand. His love is possessive. His emotional foundation is based in trauma, abandonment, and power dynamics and he brings that into his dynamic with Rey here. He's only offering her part of what she wants, connection, but she also has come to love what he hates. He genuinely wants Rey—but not in a way that’s healthy. And she knows it. Which is why she sensibly walks away. She believed in his light—but he didn’t believe in it himself. This was actually healthy for Rey to learn. Rey, out little ball of optimism, cannot save someone who doesn't want to save themselves.

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The cover for the official artwork book for The Rise of Skywalker is just so beautiful!

Initial notes

Ben is pictured beneath, and it looks as though Rey is helping him rise, because she’s above.

Ben is swathed in blue light, which is both Rey’s colour AND the colour of the movie title. BENDEMPTION!

Rey is swathed in red, which is Ben’s colour.

Rey looks like she’s on a lava planet… Mustafar? (in which case… reverse Anidala, anyone?)

They are a mirror image. They parallel each other. Dual protagonists.

Their lightsabers are crossing over into each other’s sphere and are locked together forming an ‘x’ with a beam of light. So their stories and destiny are interwoven.

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“And suddenly she became his universe and every star in it”