#//<- I put this here because I can’t with good conscience lie to you ooc about this. but yeah. he’s lying. our main guy is not back.

[psyonicscream]

Hey. I’m back.

Couldn’t find the snoot on my picture gallery, so I hope you’ll appreciate me giving spot some spot-light instead. (God that was awful.)

[mintchocolatechipnut]

icarus | takami keigo

Note: I first posted this on Ao3, you can find it here. Hawks seems a little OOC here and I Regret That as I reread it but I still liked how it turned out overall. Hope you enjoy!

Tags: ‘Hawks has a crush!’ drabble, reader works at the same agency, possibly OOC Hawks, slow burn, fluff galore, overly generous use of italics

Word count: 2.4k

It’s just moments before he has to leave for patrol, but as Hawks hangs around in the lobby of his agency that fact momentarily leaves his mind when he catches sight of you, with your perpetual smile. You’re at the reception desk, back ramrod straight, fashion impeccable as you greet clients, your eyes lighting up as they regale you with their latest anecdote. Hawks could have been fooled, if he hadn’t known you since the three years he and you began working here, him nineteen and you looking a little older. Perhaps twenty? Twenty-one?

He knows what you look like on a cloudy Monday morning running late for work, your hair in a frizz due to the humidity in the air and the slightly crumpled hem of your dress shirt peeking coyly atop the waistband of your skirt. He remembers the cup of coffee from the cafe down the block that you clutch in the palm of your hand precariously as you shuffle into the building, bidding a hasty ‘good morning’ and letting a look of pure relief grace your face when you spy the clock ticking three minutes to eight.

The you that he sees that’s not for customers is, sadly, also seen by most of his colleagues. They know you’re the entertainment fairy of the agency; despite your calm and collected looks, you’re really the life of the party at functions, always ready to go ham on the karaoke machine and take the dance floor with some killer moves. It’s led to a lot of love for you as one of the youngest in the agency, aside from him, and how the atmosphere becomes a little lighter the moment you step into a room.

He’s not going to lie, those three years with you really did a number on him. He’s a willing contractor of your contagious cheer, his heart lifting when the sight of you greets him after a harrowing day of taking down villains. The job’s not always difficult, he admits, but it’s exhausting nonetheless. Sometimes, if you’re not busy, you’d glance up from your seat, your eyes peeking over the edge of the counter, and disarm him with your gaze. Then a smile, and a wave, and you’re back to work. Little do you know those gestures have carved a nice little space for themselves in his mind, but not his heart.

He’s asked himself the question many times, but he’s been warned many times more. About how it is when you give your heart away to someone who might never understand the workings of a pro hero, or to someone who understands because of their own experiences, but in return you’re never fully guaranteed of their safety out in the field. He definitely has hero acquaintances who’re happily married, with kids and fur-kids, but the stories that echo in his brain whenever he looks at you are those of broken bonds, severed ties and loved ones lost. And then he remembers how pretty you look with that smile on your face, and knows he wouldn’t want anything to ever risk its existence.

But is it too much to hope that he might be, at some point of time, the cause of that smile?

He’s shaken out of his reverie when his sidekick calls out to him, having just stepped out of the elevator in time for their patrol. Unconsciously, he takes one last look at your form, now turned away from him as you stand before the photocopier, and his chest vibrates with the murmurs of his heart’s wish for you to turn back for one last glance.

But you don’t, instead your head turning sideways to return a conversation with a coworker, and Hawks finally looks away. The automatic glass doors open up before him as he steps out into the city for another day of work, and the last thought he has before switching into professionalism is how you greet him in a way these glass doors never could.

Hawks has always been one to be in tune with his emotions, but just because he acknowledges them doesn’t mean he needs to act on them, or give in to them.

But as he sits alone in his office, hands tightly balled atop his knees as he heaves through his mouth, he’s tempted to let go. The words Dabi uttered to him feel like they were from eons ago, yet they’re floating afresh in his mind, bouncing off the confines of his brain like echoes as he strains for his own voice to be heard above the din. He’s shaken, no doubt, but heaven forbid that he’s so shaken he loses his balance in the air.

He’s known as the man who goes too fast, but never as the man who flies too high or too low. He’s comfortable where he is, his technique immaculate as he keeps himself airborne. But the drawbacks of being too fast is that without near perfect control you’re prone to crash and burn, and Hawks surmises that he’s close to that end when he’s never once slowed down enough to confront the feelings collecting dust and despair inside his heart. The mental strain the undercover mission has on him weighs on his conscience like gravity, and suddenly he’s falling, and his wings don’t open up fast enough, he’s not fast enough—

And then the sound of his name in your voice envelopes him like a safety net and grounds him gently, instead of the splat to the earth that he’d seen as imminent just seconds ago. He looks up from where he’s sitting to see your eyes scan over his hunched figure, and he prays you can’t see the sweat beading the sides of his neck or the whiteness of his knuckles in his lap. He watches as your brows knit together, your stare once sweet now laced with worry, and he curses internally that he’s not able to put you at ease in his condition. Smiles come as easy to him as they do you, so why is it so hard to muster one now?

He barely hears the click-clack of your heels as you make your way over to him. All at once his brain is firing off warning signals, his head is ringing with alarms. No, don’t come near, don’t get near me, the sirens blare, don’t see me like this—

A carton of juice is placed on the glass tabletop before him, and his gaze slowly traces up your fingers to your face. He wants to remove his gold-tinted glasses to convince himself you’re not as perfect as he perceived, but at the same time your light is so blinding he’s afraid that if he sees you in your full glory he’ll burn.

But you’re still perfect in his vision, though the edges of your mouth don’t quite reach your cheeks as you put on your trademark smile, and are you faltering? It’s the first time he’s ever seen it, and yet you look prettier still. Hawks wonders if you're not accustomed to sadness, you with your eternal grin. Wonders if, for all the cheering up you do, you lack in comforting and sympathizing, but then he realizes that's such a rude thing to assume.

“It’s been a long day, huh?” He spies the stray strands of hair plastered against your damp forehead, as you walk away from him towards the windows, where you start to draw the blinds. “You can stay here if you want, but I’d really like to lock up soon.” When you turn to him again, your smile no longer wavers. Your gaze does, though, and it's enough to prove his earlier theory wrong. "I also think you should get some rest."

That precarious position he holds while airborne is threatened immediately by the sun in your smile, your laugh, your heart, and he finds himself falling to the sea below, instantly relishing the feeling of air through his feathers and the coolness the water’s about to grant to his scorching skin. But oh no, oh dear— the sea is also you, the deep expanse of your arms and chest welcoming like that of a siren's song, while your eyes threaten to rob him of the lift in his wings.

He knows the League of Villains was a force to be reckoned with, but you are a whole new danger altogether.

It’s the first and last time Hawks would ever let you see him as… well, ‘vulnerable’ is what most people like to call it. ‘Less than best’ is what he tells himself instead.

He couldn’t call your relationship that of friends, since you’ve never had to speak to him more than the occasional small talk and necessary work matters. However, he couldn’t call you an acquaintance either, when he bumps into you in a convenience store one weekend and immediately watches your countenance brighten.

You greet him first with a sunny smile on your face, but he’s delighted to see that it came with a messy bun and sweatpants that signal you were in your most comfortable state. As he stands behind you in line as to not obscure your view of the signs overhead, displaying the prices for an ice cream cone, he’s locked onto the sight of your frame, the loose baby hairs sweeping across your nape, and he wonders how it’d feel to envelop that frame with his own, to let his own hair tickle that nape—

His silent beration of himself for having these thoughts come to a standstill when you move out of the periphery of his vision to let him make his purchases. Instantly, regret washes over him that you have to leave so soon, that the one time he’s managed to see you out of work you’re gone so quickly. So imagine his shock when he finds you waiting near the doors, your purchases in a bag on your arm while you hold two ice cream cones in hand.

He doesn’t know what good deeds he’d done to bring this on, but he’s not questioning this: walking side by side with you, ice cream cone in hand as you both make your way down the street towards the station. You apologize that you’d been presumptuous in getting him ice cream, and he’s taken with how the corners of your eyes crinkle in mirth when he dismisses it with a laugh. He's enjoying the ride home, even misses his own stop under the pretense of ensuring safe passage home to a well-meaning civilian. And when you reach the front door of your apartment, ice cream gone from your hand a long time ago, he wonders if you'll ask him to stay.

But you don't, instead thanking him and telling him to rest well and have a good evening, Hawks. And before he can stop himself, he utters, "Keigo. Keigo is fine."

A beat, then another. They're loud and thundering before he realizes that they're echoing through his eardrums. Gritting his teeth, he forces himself to look up.

"Okay." Your voice lilts from the doorway, and—he really wants to know where you get all these dazzling grins from, so that he can bottle some up for a rainy day. "Have a good evening, Keigo."

Suits don’t suit him. Obviously they hinder his wings, but the stuffiness of wearing them often makes him wish he was on patrol instead, soaring through the sky while feeling the wind whip his clothes.

But here he is, in a tailored suit where the starch of his collar digs into his neck hard enough for him to consider laying off the chicken nuggets this month. Besides the stuffiness of the suit itself, the air where he’s at is downright suffocating, though the ceilings are high and the chandeliers glisten in magnificence above his head. He can feel the thin film of sweat forming across the skin beneath his tight, layered clothing, and he wonders how he hasn’t gotten used to this, after all the charity balls and hero galas he’s had to attend.

Perhaps today will be different, he thinks. Today is his agency’s tenth anniversary, and there’d been a function thrown together for it. Of course today is different, he realizes—you’ll be here. That fact is enough for him to inhale deeply and step into the grand ballroom, and really, it’s not hard to spot you.

There you are in the middle of the room next to the refreshments, a vision in your dress as you hold a flute of champagne between your fingers. It’s a stark contrast from how you hold your coffee cup on work mornings, and all of a sudden he realizes he’s been holding his breath. You’re talking wistfully to a bunch of colleagues at work, and your polished appearance makes him forget how much more frazzled you’ve looked the past few days while planning for this occasion with the rest of the events team. Where strands of your hair would have been sticking up in all directions sits an elegant braid pinned to your head, while the rest of your hair cascades past your bare shoulders like shimmering waterfalls. The demure smile on your face belies the pallor of your complexion where lack of sleep is evident, but you’re beautiful, even if in a vampire sort of way. Hell, you’re beautiful no matter what.

You’re absolutely magnetic, and he’s drawn into the whirlpool that is your presence as he takes a shaky step across the floor towards you. He’s all too aware of the rapidly pulsing heart inside his too-tight chest, the heart that holds a million wishes just for you.

But he's done wishing and wondering. He's done hearing the voices that tell him he's too fast, or not fast enough, or that he's in trouble. Your name leaves his lips like a prayer, a desire given form and shape for just having been spoken, and Hawks watches as you turn. He feels your face brighten before he sees it.

His heart alights when your mouth moves in tandem with the letters in his name, his first name, and he shifts his gaze to eyes that disarm him once more. Instantly he knows those eyes will disarm him as long as he lets them (as long as it’s you).

He’s falling, but god, has he ever felt so free—

[unexpectedreylo]

Here It Is:  My Spoilerific Review/Post Mortem of TROS

When I saw The Last Jedi two years ago, the movie haunted me for days, for weeks, for months.  It inspired the imagination, dragging me into the world of Reylo and reassuring whatever reservations I had about the post-Lucas sequel trilogy.

The Rise of Skywalker haunts me too but more in a “Demon House” kind of way.  It fires up the imagination, but more in the sense that it keeps you up at night thinking of all of the ways it could’ve been better.

This isn’t to say I hate the movie.  I don’t.  It’s not even entirely or mostly bad which is what makes it extra frustrating.  You can laugh your way through a total disaster like “Cats” or “The Room” but a movie with plenty of promise and of talent behind it that makes some bad decisions is tragic.  Especially since this is the closing chapter to a trilogy and the saga itself.

You can see there are bones for what could’ve been a really good, maybe even great movie.  One of my favorite parts was the opener where Kylo Ren literally descends into hell/the underworld to confront the devil for no other reason than he didn’t even want Satan above him, a man who serves no gods or devils.   (That right there is a classic Byronic hero.)  Exogol is a great haunted house/spooky setting.  The revelation that it was Palpatine manipulating him all along was a shocker and makes Ben’s story that much more poignant.  I also really liked the contrast with Rey’s introduction, a beautiful shot of her in the verdant forest floating among rocks as she’s meditating.  She is Persephone in her element (which makes the ending all that more baffling but don’t worry, I’m getting to that).

This sets the stage for the revelation that the two are part of an intriguing concept, a Force dyad, kind of a Star Wars version of soulmates maybe even twin flames.  The two just had to acknowledge the feelings between them, reunite, and take out the Sith trash while Rey finally confronts her own dark side.   I don’t mind the latter concept at all because with the trilogy’s thickest plot armor, I think it’s valuable to put her in some peril and to have her better understand Kylo/Ben.

Abrams also wanted to recapture the feel of 1980s blockbusters like the Indiana Jones films or The Goonies, both made by his old mentor Steven Spielberg.  That’s most palpable when the Space Scoops Troop, er “trio,” falls into quicksand and pokes around an underground cave looking for one of the film’s many MacGuffins.  Abrams does good set pieces and powers them along with snappy dialogue.  Like TFA, it’s peppered with some genuinely funny scenes.

If nothing else, you can’t blame the cast for any of the film’s problems.  Everyone does the best they can with what they’re given and the long-standing chemistry between various pairs (Adam and Daisy, John and Oscar, Adam and Harrison Ford for example) do a lot to serve their scenes.  I think Oscar’s best scene was when he confesses to Leia lying in state that he doesn’t know if he can be the leader the Resistance needs.  It’s an honest, human moment.  Daisy continues to infuse Rey with her natural luminance.  I particularly liked the few quiet moments she has, such as meeting the children on Pasaana or healing the snake.  It shows her compassion and foreshadows healing Ben.

Daisy does pretty well with what she is given about struggling with her dark side.  (Remember, she didn’t write her own screenplay.)  Maybe it’s unpopular to say this but I kind of liked her brief turn as “Dark Rey.”  I have no doubt had she turned dark she would be pretty scary.  Her desire for revenge and fear of her own nature--driven by genetics or not--were intriguing concepts and I thought she tried to make the most of it in her performance.

Ah Adam Driver.  God bless that man.  He brings his considerable A-game 100% of the time no matter what and it shows.  He could sell sand on Tatooine.  I have no idea why they put the mask back on him other than a marketing department decision as I suspected, but taking it off when he’s making his appeal to Rey before she leaps out to the Falcon carries a gravity few people can pull off.  His reconciliation with Han was one of the film’s highlights.  For once the repetitive nature of the script actually worked in TROS’s favor, as Kylo retraces his steps in that fateful scene from TFA and finds a way to clear his conscience.  I also think this was originally meant to help the audience forgive him, especially since right after this he renounces the dark side.  Which makes later choices baffling, which I’ll get to.  Driver’s shiniest shining moment though is when he is once again Ben Solo.  Deprived of dialogue for the rest of the film other than “ow,” he nevertheless manages to convey a different personality that is very much Han Solo’s son.  His fight scene is right out of a 1970s martial arts movie, imbued with determination and sass.  I want to see a trilogy about THAT guy.

The Reylo scenes are, well, until it goes south, wonderful.  Some of us would’ve  preferred a lot less fighting but I see it as mostly Rey trying to deny herself and Kylo not being sure if he really wants Rey to turn to the dark side.  (On that note, I wish we’d seen Rey’s vision of sharing a throne with Kylo rather than just hear her talk about it.)   As I predicted, the turning point of the relationship came after the lightsaber battle on the Death Star wreckage.  I find it interesting that Kylo hesitates to kill Rey--partially because of his mother’s influence--and it’s she who could’ve killed him.  She immediately recognizes the dark side was turning her into something she didn’t want to be and nearly costs her the man that deep down she loves.  She heals him completely and along with her confession that she would’ve taken Ben’s hand, his soul is nearly healed by the power of love alone.  Which makes the film’s later choices baffling.  If you think about it, Ben’s turn is even more dramatic than Vader’s.  Vader chose his son over the Emperor at the last minute, some inkling of his light still there shining through at the right moment under duress.  Ben flat out rejects the dark side of his own volition.  That is pretty powerful.  Which makes the ending far more painful.

Rey and Ben’s one big romantic moment was tender and sweet and that was a pretty good kiss.  We finally get to see Ben’s big toothy grin.  Even though we all hate it, Driver did an amazing job conveying first his sorrow over Rey, then his relief, his joy, his love, and finally his strength leaving him.

Visually, the film looks great.  I think J.J. did an even better job shooting this film than TFA.  Adding to the visuals is the fabulous art direction.  They hired supervising art director Paul Inglis immediately after his previous flick Blade Runner 2049 came out, and that decision paid off.  This leaves the film with a number of beautifully-rendered scenes, whether it’s the haunted house scary underworld beneath Exogol, Kylo Ren’s starkly white quarters, the landscapes of Pasaana, the stormy seas around the Death Star II’s wreckage, the shot of Rey hesitating in the Star Destroyer’s hangar before leaping out to the Falcon, or Rey meditating among the floating rocks during her introduction.

I liked D-O and Babu Frick.  I even liked the lady who complimented Kylo’s helmet.  

Where do I start having problems?  The first time I saw the movie the scenes with Leia didn’t bother me but the second time I saw it, it was far more apparent they wrote around the bits of footage they had left.  It was a valiant effort to make Carrie Fisher part of the last film she never had the chance to perform in but it didn’t feel organic.  Since Leia dies during the movie anyway, I don’t know why having her pass away offscreen in between TLJ and TROS is less merciful to the audience than having her body lie beneath a sheet for half the film.  No wonder Billie Lourd skipped the premiere of this flick.  I couldn’t take it if it were my mother either.

On my second viewing, the Resistance base scenes started to get on my nerves.  Maybe it’s because I got tired of looking at the same group of like 10 people over and over.  Maybe I was annoyed that the only purpose of those scenes was to earnestly spout exposition.  Now, exposition is important.  I’m surprised Abrams, notorious for not bothering with it even if it’s necessary, even did this much.  But there was something about George Lucas’s Rebel base scenes that made these people look and act like guerrilla soldiers.  Maybe it was Lucas’s experience shooting films with Navy guys as a student, or his documentary style.  Abrams’s Resistance behave more like college students and activists than soldiers.  

But TROS’s biggest problems lie in its breakneck pacing and its writing.  Parts that should’ve had greater emotional resonance don’t because it moves along too fast.  I would’ve sacrificed one of the set pieces/action scenes or chuck one of the pointless new characters for the sake of deepening the relationship between Kylo and Rey or showing us more Ben Solo.

Some of the characterizations seemed off.  I know a lot of fans are deeply unhappy Rose Tico didn’t get to do much but I was surprised to see her in it even to the degree she was there.  What gets me about the whole Rose thing was her relationship with Finn is totally forgotten FOR NO REASON.  Really, why drop it?  There was no narrative purpose for doing so!  

General Hux is totally wasted in this film, reduced to little more than a cameo.  Sure it might be a surprising twist that “I am the spy!!!” (LOL) but his reasons for it are totally OOC.  He might despise Kylo Ren but to the point of helping the Resistance?  This is the guy who cheerfully blew up the Hosnian Prime system and wanted to blow up more.  He’s evil, a psychopath, a true believer in the First Order.  He might give the Resistance a tip that would result in embarrassing Kylo Rey and use that to start a coup against him but just helping the Resistance out of petulance and spite?  Nah.

Poe tries in this film to be a combination of rogue and deadly earnest idealist, but you generally don’t find those two qualities in the same person.  One second he’s talking about smuggling space dope, the next second he’s saying stuff like “Good people will fight if we lead them!”

Finn, God love him, is reduced to largely running around yelling, “Reeeey!” and eagerly trying to tell Rey something but the film never really got around to what it was.  It wasn’t until a Q&A session that Abrams revealed Finn was trying to tell Rey he was Force sensitive (something that should’ve been developed over the course of the trilogy).  Abrams had time to show us a random lesbian kiss for representation points, but no time for Finn to tell Rey he was Force sensitive?  Huh?

The story not only contradicts the previous films--I wonder if Abrams even saw his own movie TFA much less anything else besides the OT--it contradicts itself throughout.  Palpatine’s return is never really explained and his motives with Rey keep changing.  MacGuffins are added on top of MacGuffins with side missions thrown in.  Chewbacca is blown up then he’s miraculously alive on another transport we didn’t see.  Abrams and Chris Terrio didn’t just add to Rey’s origins, they blatantly spackled over it and TLJ’s overall message.  Discovering one is of evil origins is a gothic storytelling trope but really, it should’ve been developed since the first film so it doesn’t feel like whiplash from something else.  Everyone keeps telling Rey don’t be afraid of who you really are, but Rey ultimately does nothing but run from who she really is.  With each reversal, retcon, or contradiction in the film, it leaves a mess.  We’re supposed to believe Rey was better off sold to Unkar Plutt than be with her not-so-bad parents?   Who the bloody hell had sex with Darth Sidious?  You mean to tell me Luke and Leia knew all along Rey was a Palpatine but they never bothered to say anything and somehow they had more confidence in her than in their own flesh and blood?  Oh while we’re at it, I noticed the second time I saw the movie they straight up gave away Ben’s death before it happened!  WTF?  “Leia saw her son’s death at the end of her Jedi path.”  It seems like Luke and Leia were resigned to Ben’s fate as some horrible destiny that couldn’t be changed but Rey was still an open book to them.  That’s so stupid and really fellow OT fans, how does this respect our childhood faves?  Han comes off as the only decent person in this thing.

Rey and Ben taking on the Emperor was a great applause moment, the dyad unified against the ultimate evil.  For the most part it was fantastic...until The Yeetening.  Two things annoy me about the remainder of the conflict against Palpatine.  One, Rey and Ben should have destroyed Palpatine together.  If Rey could do it on her own then what the hell did she need Ben for?  He could’ve sat out the rest of the movie at Starbucks and remained alive while Rey killed Palps on her own.  There’s no point to their combined power because it wasn't necessary.  Two, while poor redeemed I-turned-back-to-the-light Ben was crawling up the pit with no help from anyone, every good guy we ever knew of in Star Wars, even from the cartoons, is giving a voice over pep talk to Rey.  (It seems cheap too since we don’t see the characters.  Avengers Endgame did this kind of thing far better.)  How about if the pep talk was given to the BOTH of them?  That Anakin Skywalker, the man Ben had idolized, had time to say “wakey-wakey” to his tormentor’s granddaughter and not his own grandson is appalling.  The third thing is while Darth Vader defeated Palpatine with the love for his son and his long-gone wife, Rey defeats Palpatine simply with power.  Rey and Ben’s love for each other could’ve been the force that defeats the Sith once and for all but for some reason it doesn’t occur to Abrams and Terrio.

I could’ve forgiven most of this--the jar of Snickles and all--had they got the resolution right.  But they didn’t.

ROTJ and ROTS’s endings were masterful.  ROTJ gives you an idea of what trajectory our heroes were likely to follow:  Han and Leia were going to end up together, Luke was going to bring forth the next generation of Jedi.  ROTS sets up Obi-Wan on Tatooine, Yoda on Dagobah, Leia on Alderaan, Luke on Tatooine, Darth Vader on a Star Destroyer, and poor Padmé on her way to Star Wars Heaven.  I have no idea what happens to Finn.  Maybe he’ll train with Rey.  Maybe he’ll go to college.  Maybe he’ll backpack through Europe.  I have no idea.  His story just stops.  Same deal with Poe.  Aside from getting shot down by Zorii, what’s he going to do?  The film gives zero indication.  It goes from the Free Hugs session to Rey squatting at the old Lars homestead.

The biggest crimes though occur to Ben and Rey.  Ben’s death sucked all of the air out of the film.  Yes, it’s beautiful that Ben loved Rey so much and so selflessly he was willing to surrender his life for hers.     It’s beautiful that it never mattered to Ben who Rey was, whether it was “nobody” in the last movie or the granddaughter of his tormentor/enemy in this one.  Had the Palpatine concept been there all along, there would’ve been something sweet about healing the rift originating in the prequels.  But I wanted Ben to live.  I wanted for once for someone to address the issue of atonement but Terrio and Abrams were too lazy to bother.   If The Grinch could be redeemed AND find atonement with those he wronged in a 30 minute Christmas special with commercials, then why not Ben Solo in a 150-minute movie?  

I could have lived with a sacrifice arc though had it been handled correctly.  But they flubbed it big time.  The sacrifice isn’t honored at all.  He just dies, he vanishes as Leia’s body vanishes, and he’s “never to be seen again.” Or mentioned.  Rey barely reacts on camera.  It’s as though reviving Ben from certain death, choosing good over evil, making a valiant attempt to save his girlfriend armed only with a blaster, and giving his life for hers weren’t valued by anyone.  The movie didn’t give a damn.  When Vader died in ROTJ, he at least had final words with Luke who then burns Vader’s remains on a pyre.  We see Anakin restored to his true self join the Force Ghost crew at the end of the movie.  We got none of this with Ben.

It’s also the most frustrating and disappointing disruption of a romantic arc since 1980′s “Somewhere In Time.”  In that film, Christopher Reeve travels back to 1912 and finds true love with Jane Seymour.  Everything is going great and Reeve’s character has made the choice to stay in that time and marry Seymour.  Then he pulls out a 1979 penny and is sent “back to the future” as Seymour screams.  At least that film though had the decency to reunite the love birds in the afterlife.  Which might explain why the movie still has a cult following to this day.  Tragic love stories always make sure there’s some kind of catharsis for the audience.  Rose takes Jack’s name, lives her life as he asked her to do for him, tells his story, and reunites with him when she dies.  Romeo and Juliet are united in death and the healing of their respective houses begins.  Even Padmé got a state funeral and had the legacy of her children.  There was no such catharsis for Rey and Ben.

Rey ends up right where she started:  alone and in the desert.  She got the Dorothy ending, there’s no place like home.  But the difference is Dorothy is a child not yet ready for the big scary world and the answers to her problems weren’t out there but right where she was.  Rey is a grown woman.  She should’ve been treated like one.  Instead she is deprived of her lover/soulmate and while such a separation should have been painful, it doesn’t even register.  She has a “found family” but they’re not there with her.  She’s in a home others tried to escape from, haunted by ghosts instead of being among those she loves.  Taking the Skywalker name seems tacked on, as though they realized if the name is to live on somebody needed to take it.  Why not then just have made her Han and Leia’s or Luke’s daughter in the first place?  It’s worse when you remember it’s a Palpatine who’s usurping the name.  Or when you realize she’s still hiding who she is.  

Here’s what would’ve been better.  Rey tells the Resistance about the pure selflessness of the Skywalkers and she wants that to be the core value of the new Jedi going forward, where every new student was going to learn their story.  Then we see her anywhere but Tatooine, happy and surrounded by students of all ages.  Maybe Finn training too.  She sees the approving Force ghosts of Leia, Luke, and Anakin.  Then Ben, clearly a different entity, materializes beside her.

Or something, anything other than what we got.

It’s as though they kept making story decisions without giving any thought at all to their implications.  They tried to do too much while being lazy about it.  They went for expedience--copy pasting ROTJ when convenient--over meaning.

The ending accomplishes what no other Star Wars film has done to me in 42 years of being a fan...it broke my heart and fulfilled my worst suspicions about where the ST was going to end up, largely due to its deflating ending and terrible denouement.  It leaves for me and many other fans a big gaping open wound, not closure.  

Ultimately the sequel trilogy’s biggest flaw is that there clearly was no plan.  What we got was a billion dollar game of exquisite cadaver with no real design for characters, their arcs, the story, or even what message these films are supposed to have.  Every decision was based on the director’s own ideas along with corporate meddling.  So we get conflicting ideas and blatant spackling over what the last director didn’t like. Was Kylo Ren meant to be a guy we love to hate or a lost boy we want to come home?   Was Rey a heroine we can all aspire to be or a lost princess of darkness?  What the hell was the point of Finn or Poe?  What does this add to the saga overall aside from more stuff?  Who are these films even for, old OT fans or young fans?  I believe it’s this lack of a plan that has generated so much confusion and bitter internet wars among fandom.