#luke would succumb to despair

[david-talks-sw]

Debunking myths in the GFFA: Luke Skywalker isn't the One True Jedi™ and doesn't "reject the Jedi teachings."

The myth:

Luke's Jedi mentors - trained to be dispassionate and mission-driven - callously tell him to let his friends die in service of a greater cause.

"In The Empire Strikes Back, Luke becomes Yoda's Padawan, and there are echoes of Anakin's training and the dilemmas he faced. Like Anakin, Luke is told he is too old to begin the training. Like Anakin, he has a vision of his loved ones suffering in captivity, and receives cold advice from Yoda, who tells him to sacrifice Han and Leia if he honors what they fight for." - Jason Fry, “Family Tradition; Rejecting the Jedi Teachings” Star Wars Insider #130, 2012

The intended narrative:

The Jedi are actually right on all points. Luke isn't ready or fully trained and he's arrogantly letting his emotions rule him and rushing into danger. By ignoring them, Luke gets himself into a spot of trouble that actually jeopardizes the lives of the very friends he tried to help, as they now need to rescue him.

“It’s pivotal that Luke doesn’t have patience. He doesn’t want to finish his training. He’s being succumbed by his emotional feelings for his friends rather than the practical feelings of “I’ve got to get this job done before I can actually save them. I can’t save them, really.” But he sort of takes the easy route, the arrogant route, the emotional but least practical route, which is to say, “I’m just going to go off and do this without thinking too much.” And the result is that he fails and doesn’t do well for Han Solo or himself.”

“Luke is making a critical mistake in his life of going after- to try to save his friends when he’s not ready. There’s a lot being taught here about patience and about waiting for the right moment to do whatever you’re going to do.”

“Luke is in the process of going into an extremely dangerous situation out of his compassion— Without the proper training, without the proper thought, without the proper foresight to figure out how he’s gonna get out of it. His impulses are right, but his methodology is wrong.”

The myth:

The Jedi want Luke to repress his feelings and kill his father, to destroy the Sith, their religious enemies. As emotionally-detached Jedi, it is inconceivable that a Sith would come back from the Dark Side, and thus wrongly believe that the only solution is to kill Vader.

"It's easy to miss that Luke disagrees sharply with his Jedi teachers about what to do. Obi-Wan and Yoda have trained Luke and push him toward a second confrontation with Vader. He is, they believe, the Jedi weapon that will destroy both Vader and the Emperor. When Luke insists there is still good in Vader, Obi-Wan retorts that "he's more machine than man-twisted and evil." When Luke says he can't kill his own father, Obi-Wan despairs, "Then the Emperor has already won."  But Obi-Wan could not be more wrong. It is precisely because Luke can't kill his own father that he defeats the Sith." - Jason Fry, Star Wars Insider #130, 2012

The intended narrative:

The Jedi never tell Luke to "kill" his father. That's just a fact.

They tell him to "confront" and "face" him.

Their bottom line is that Vader and the Emperor need to be stopped.

If Luke can manage to do so without killing his father, that's great.

"In Jedi the film is really about the redemption of this fallen angel. Ben is the fitting good angel, and Vader is the bad angel who started off good. All these years Ben has been waiting for Luke to come of age so that he can become a Jedi and redeem his father. That's what Ben has been doing, but you don't know this in the first film." - Star Wars: The Annotated Screenplays, 1998

(credit to @writerbuddha for finding the above quote)

The problem is: Darth Vader has a track record of murdering loved ones who refuse to kill him. Be it his wife...

... his father/brother...

... and if you're going by Canon, his little sister.

As such, there's a very strong chance that Vader might do the same to his son as well.

“A Jedi can’t kill for the sake of killing. The mission isn’t for Luke to go out and kill his father and get rid of him. The issue is, if he confronts his father again, he may, in defending himself, have to kill him, because his father will try to kill him.” - 1981 story conference, from The Making of Return of the Jedi

Now, as the last Jedi left, the fate of the galaxy rests entirely on Luke's shoulders.

If he dies, then the galaxy and its billions of inhabitants are doomed to live in a tyrannical dictatorship forever.

“He knows a confrontation is brewing between Luke and his father. Ben hopes Luke will either save his father or kill him, because whatever extra powers Luke's got in his lineage, he is the one person that can probably fight his father and win.” - The Star Wars Archives: 1977-1983, 2018

There's a time for talking things through... and a time to do your duty. Above all else, a Jedi's duty is to end conflict.

Obi-Wan was once tasked with this same duty.

And while he managed to weaken Vader considerably (thus avoiding the catastrophe of a full-powered Vader being unleashed onto the galaxy)... because of his attachment, he failed to kill Vader.

Twice, if you include the Kenobi show.

(A show which, per Pablo Hidalgo, is one of George Lucas' favorite recent Star Wars projects, a tidbit that doesn't surprise me one bit considering how much the series perfectly aligns with what Lucas said about Star Wars (see here, here and here))

Point being: because Ben failed his duty, the galaxy suffered for it.

Luke is now in danger of doing the same.

If he's unable to end the conflict in a peaceful way, then Luke needs to be ready to do so in a more permanent manner. Because while Luke has qualms about killing his father, there's a very big chance that the feeling won't be mutual.

So Luke isn't rejecting his teachers' orders to kill Vader. He's saying he's unable to confront Vader altogether, because he'll be half-assing the task. In the (very likely) worst case scenario where reasoning with Vader fails, Luke is concerned he won't be able to follow-through and do what he must.

Further, there's also a worse outcome to Luke dying: Luke joining the Dark Side and becoming yet another asset of the Emperor, more dangerous than Vader himself.

It's thus essential that Luke steel himself and mask his emotions, because the Emperor is a master manipulator who'll likely attempt to corrupt Luke via the strong emotions he has for his friends.

Obi-Wan is not telling Luke to repress his emotions. On the contrary, he acknowledges that these feelings do Luke credit. But the fact remains that when your opponent can jiu-jitsu those feelings against you and your friends, you need to keep a poker face.

And judging by how close the Sith Lords come to seducing Luke to the Dark Side...

... that advice is completely on point.

The myth:

"It isn't Jedi teachings that save the galaxy, but bonds the Jedi tried to forbid - such as the love of a father for his son, and a son for his father. Emotional attachments, in other words." - Jason Fry, Star Wars Insider #130, 2012

The intended narrative:

In Return of the Jedi, Luke isn't doing anything different than what other Jedi have done.

He does his best to avoid lethal force unless he deems that it is necessary (see his fight against Jabba's hostile forces).

He sacrifices himself for the greater good and let himself be captured, in order to allow the mission to be carried out.

He tries to reason with his enemy, hoping to avoid conflict.

He spares his enemy, showing mercy.

That's all standard Jedi stuff. We've seen other Jedi do all those things, both in the films and The Clone Wars.

If that isn't enough, just look at how Lucas describes what Jedi normally do (left), versus what Luke does in Return of the Jedi (right):

See what I mean? There’s pretty much no difference.

In Lucas' narrative, Luke isn’t “better than” or “rejecting the teachings” of the Jedi who came before him. He’s following the Jedi path. And he's really good at doing so.

Because this idea that Luke "rejects the teachings" makes no sense! They're Lucas' teachings. He agrees with the Jedi, they're the mouthpieces he uses to deliver the audience his own values.

Lucas having his main character do something he'd ideologically disagree with is something that doesn't make sense.

And part of this confusion comes from a misunderstanding of the word "attachment", in Star Wars.

It doesn't mean "emotional attachments" or "feelings" or "affection." It comes from the Buddhist principle of non-attachment.

It's not about depriving yourself of relationships or affection, it's about accepting that everything comes and goes and letting go of those very things you hold on to, when the time comes.

Lucas makes a distinction in his discourse between attachment and compassion.

"The whole idea of the movie, ultimately is that you have the Light Side and the Dark Side. The Light Side is compassion, which means you care about other people. The Dark Side is you care only about yourself. And you are obsessed with yourself. Getting your pleasure and getting all your stuff. The other one, you give it to everybody. You give goodness and health to everybody else.  So the issue of love... there’s a line between loving somebody compassionately and caring about them and helping them. But the other line is not to be greedy or... once you are greedy then you get fearful. You don’t want to lose what it is you have that you are getting. So you have to learn to give up everything. And ultimately for a Jedi Knight, it’s very easy to give up." - Celebration V, Main Event, 2010

In-universe, this is something Anakin knew the theory of, but never really applied all that much.

Luke on the other hand, was able to learn the lesson and apply it.

Speaking in Lucas lingo, it's not Luke's attachment that makes him spare Vader. It's his compassion. And in turn, that compassion inspires Vader to do the same.

"It really has to do with learning. Children teach you compassion. They teach you to love unconditionally. Anakin can’t be redeemed for all the pain and suffering he’s caused. He doesn’t right the wrongs, but he stops the horror. The end of the Saga is simply Anakin saying, ‘I care about this person, regardless of what it means to me. I will throw away everything that I have, everything that I have grown to love - primarily the Emperor - and throw away my life, to save this person. And I’m doing this because he has faith in me, loves me despite all the horrible things I’ve done. I broke his mother’s heart, but he still cares about me, and I can’t let that die.’" - The Making of Revenge of The Sith; page 221

Or, to put things more simply:

Attachment (selfish love), is what makes Anakin do this:

Compassion (selfless love), is what makes Luke do this:

Now, could Lucas have made his narrative more explicit, to avoid confusion? Maybe.

But I think it's also fair to point the finger at the biggest cause of these muddied waters:

Simply put, the Expanded Universe (the Star Wars books, novels and games that spun out of the films) established new lore elements that didn't necessarily align with Lucas' vision of things. Namely:

Jedi can get married, and Luke marries Mara Jade.

Jedi can begin their training as adults, and Luke takes on many apprentices that are already adults.

When considering George's minimal involvement in the development of EU stories, it's easy to see why these plot points were allowed to come through.

But when he made the Prequels, his headcanons came to light and the above plot points needed to be retconned.

George Lucas' narrative:

"Nope. You can't be a Jedi and be married."

This isn't actually coming out of left field.

When Timothy Zahn asked for Luke and Mara to be married or engaged, back in 1993, Lucasfilm initially vetoed the idea.

And over the years, Lucas and other Lucasfilm employees have made it it clear that "Luke getting married" did not align with his vision (so much so that it's a plot point in Attack of the Clones).

So the question becomes: why can't Jedi get married?

It's about commitment.

Simply put: you can't have two marriages. Eventually, your commitment to one of them will falter and you'll ruin them both. A Jedi is already married to the cause and to the Order.

If they want to get married, they have to leave the Jedi.

"One of the things [the Jedi] give up is marriage. They can still love people. But they can’t possess them. They can’t own them. They can’t demand that they do things. They have to be able to accept the fact, one, their mortality, that they are going to die. And not worry about it. That the loved ones they have, everything they love is going to die and they can’t do anything about it. I mean they can protect them as you would ordinarily protect, you know, ‘Get out of the way of that car.’ Somebody charges you with a gun, you knock the gun out, but there is an inevitability to life which is death and you have to accept that." - Celebration V, Main Event, 2010

And this is another example, really, of how Lucas' own values and past experiences shape the Jedi's teachings.

Marcia Lucas divorced George because he was constantly working on Star Wars, even when he wasn't directing it, which she said led to an emotional blockage in their marriage...

... and this leads us to the reason why George didn't double-down on the success of the Original Trilogy: he decided to take time off to raise his three kids as a single Dad.

He learned his lesson, reasoned that he wouldn't be able to be both a good, present father and a successful blockbuster film director.

When you're dealing with time-consuming commitments of this scale, you need to make a choice, or you'll end up (half-assing and thus ruining) both of them.

"Nope. Jedi get taken in as babies for a reason."

Once again, this has to do with Lucas' definition of "attachment."

"Jedi Knights get taken from their families very young. They do not grow attachments, because attachment is a path to the Dark Side. You can love people, but you can't want to possess them. They're not yours. Accept that they have a fate. Even those you love most are going to die. You can't do anything about that. Protect them with your lightsaber, but if they die they were going to die. There's nothing you can do. All you can do is accept that fact. In mythology, if you go to Hades to get them back, you're not doing it for them, you're doing it for yourself. You're doing it because you don't want to give them up. You're afraid to be without them. The key to the Dark Side is fear. You must be clean of fear, and fear of loss is the greatest fear. If you're set up for fear of loss, you will do anything to keep that loss from happening, and you're going to end up in the Dark Side. That's the basic premise of Star Wars and the Jedi, and how it works. That's why they're taken at a young age to be trained. They cannot get themselves killed trying to save their best buddy when it's a hopeless exercise." - The Star Wars Archives: 1977-1983, 2018

Jedi need to maintain objectivity and neutrality, in their day-to-day lives of mediating peace between planets.

And learning to "let go of your attachments when the time comes" is part of that training. But it is something that takes discipline and time, and thus the child needs to be young enough to develop this skill. Otherwise, they end up like Anakin, who always struggled to properly learn it and eventually was doomed by his greed.

This being part of Lucas narrative is also evidenced that in his earlier plans for the Sequel trilogy, he'd have Luke train children, not adults like he does in the EU.

"Luke is trying to restart the Jedi. He puts the word out, so out of 100,000 Jedi, maybe 50 or 100 are left. The Jedi have to grow again from scratch, so Luke has to find two- and three-year-olds, and train them. It’ll be 20 years before you have a new generation of Jedi." The Star Wars Archives: 1999-2005, 2020

The EU's retcons of Lucas' narrative:

Now, obviously, the addition of all these rules and other elements such as midi-chlorians... it does something to the older audience. They grew up on the Original Trilogy, dreaming they could be a Jedi too if they just believed enough. Now that bubble is burst.

"Wait, if I'm a Jedi I can't get married?! And I need to be taken in as a toddler, with a certain kind of blood score?! That's bullshit!"

More importantly... it goes against about a decade's worth of established EU lore (which Lucas never factored into his storytelling)!

So what does Lucasfilm Licensing do? They go with it.

They take these "weird" rules the older audience and authors don't like, and retcon a new narrative around them to ensure both the books and the new films all stay canon within the EU own continuity.

George Lucas revealed new information about his universe in Episode II that ran counter to earlier stories of the Expanded Universe. Among the surprises: the Jedi Order is monastic, with love and marriage forbidden to its members. This would necessitate reforms to the Jedi Code over time to separate the ancient era when Nomi Sunrider was married to a Jedi, seen in the Tales of the Jedi (1993–94) comics, as well as the post-Empire era when Luke Skywalker married Mara Jade in the comic series Union (1999–2000). LucasBooks also needed to create plausible exceptions for Ki-Adi-Mundi, a Jedi Master who had multiple wives in the Prelude to Rebellion comics (1999). - Pablo Hidalgo, The Essential Reader’s Companion, 2012

When it comes to Luke specifically, the narrative becomes:

"Uh... y-yes. The old Jedi Order forbid marriage, only took in toddlers and had a blood pre-requisite... which was weird, wrong, too detached, too systemic, and part of why their Order failed! But, uh, Luke's New Jedi Order allows marriage, unlike his dogmatic predecessors, because anyone can be a Jedi guys!" Hahaha! (fuck's sake George)

But as already explained above: those new rules aren't meant to be perceived negatively. It would make no sense if they were, they're based on Lucas' own values.

You know what it does do, though?

It cements the narrative that Luke is the One True Jedi™, who rejected the dogmatic teachings to forge a new path forward.

That's not the intended narrative of the Original Trilogy, nor the six-film saga as a whole.

If you've made it this far in the post (congratulations) and are interested to read another all-encompassing post about that, you can check out the link below :)

[pomplalamoose]

Can we pls have some anh luke hc just after he joined the rebellion?🙏

Aaaahhhh that's a super interesting ask, especially because this doesn't get talked about in the movies or the books👀

I apologize if these are a little bit messy and all over the place, I had a very long day at work and wasn't sure whether I should post at all (but I really wanted to lol so here you go, anon🩵)

• Luke usually is a very positive thinking and easily excitable person, so I don't think it would take him overly long to adapt to new situations and surroundings 

• at least under normal conditions

• right after he joins the rebellion they are far from normal though, and I'm sure that even the little things, like a short moment of quiet, would serve as a reminder that 

• he lost everything 

• for the very first time in his life he is far away from home and all alone 

• he had to leave behind everyone and everything he ever knew

• he couldn't even say goodbye or bring some personal belongings that might've been important to him 

• now is the time that the loss of Obi-Wan, as a well as the deaths of of his aunt and uncle, really set in 

• and let's be real, all three were brutal and followed each other so closely that it makes them even harder to process

• not only did he see his home destroyed but also witnessed the murder of the man, that he believed would lead him from here on forward

• he got shot at and nearly died several times himself 

• (at this point he probably doesn't care about that much but it's still a stress factor)

• it's only natural to assume that Luke is not doing well

• I see him being very nervous and kind of jittery, unable to remain still

• he's slightly uncomfortable as well, scared of what will happen next

• he hasn't known Leia, Han and Chewie for long but already fears that something horrible will happen to them too

• he doesn't even know where Han and Chewie are for that matter or if he'll ever see them again 

• he wants to keep them safe but knows there is not much he can do

• I think this leads to him being very frustrated and, to keep going, he turns his fear and helplessness into anger 

• he has nightmares in which again and again he has to look upon the burned bodies of his family 

• at least R2 is with him and makes for good company

• they grow much closer during that time and Luke is so grateful to have him around 

• I'm kind of conflicted because on one hand it might be a good thing there is so much going on that he can't really take his time to arrive and settle down 

• theoretically it keeps him from overthinking and dwelling on the traumatic events 

• but on the other hand it would be so important for Luke to have time to grieve and for looking after himself 

• it's incredibly harsh and unfair but eventually he will have to decide on his priorities and on what to do

• will he succumb to his anger and despair 

• or will he keep going 

• somehow he still possesses the strength to keep going and to focus on the here and now

• there is so much to discover too!

• there are new foods and drinks to try and he's so enthusiastic about them 

• he gets new outfits, which I see him gushing over because I'm sure the only clothes he owned before were hand me downs from his uncle 

• he's so very proud about the pilot uniform he gets to wear too 

• he looks at it whenever he can 

• also there is so much to do and he wants to help out wherever he can 

• maybe he gets to take the first actual shower of his life 

• (did he know before that showering with water is actually a thing?)

• he finally has the opportunity to look at ships and their repairs from up close 

• I think he'd hang around the hangars and the pilots a lot, asking them all kinds of questions about their life and adventures with the rebellion 

• because there are so many new people Luke would be hesitant in his approach at first 

• while he's very eager to learn and desperately wants to get to know as many of them as possible, he doesn't want to interrupt their work 

• he doesn't want to be a burden 

• we don't know for sure if he got bullied back on Tatooine or not

• maybe Wormie is just an affectionate nick name?

• either way he worries about not being qualified and good enough 

• sure, he saved Princess Leia but he didn't do that alone, he had help

• what if nobody takes him seriously? He's just a boy from a desert planet 

• but to his surprise everyone greets him with open arms

• suddenly he's being flirted with too???

• he is confused™

• speaking of Leia though...he wonders if he'll get to spend more time with her when this is over?

• or at least for a few minutes in between?

• he wants to 

• when will he see her again?

• she's so nice and for some reason he feels drawn to her, it's unlike anything he ever experienced with someone else before 

• I think he'd look up to her too, admiring her strength and bravery 

• like so many others he feels inspired by her

[basicrese]

i would like to thank @charms-cat for discussing this with me further because i actually kind of needed that or i would have exploded 🥹

ANYWAY, thought about it more after i saw this slideshow on Tiktok on prose, poetry, and art associated with Orpheus and Eurydice and it was different discussions on why Orpheus turned around or them meeting again in the afterlife when Orpheus eventually passes and I randomly realized, i didn't think enough about how Luke being a son of Hermes is actually such a plot point with Hermes being the main narrator and witness in Hadestown

SO BASICALLY, following the theme of tragedy, i thought of reader fighting to bring Luke back from the underworld with the reasoning of he wouldn't have been easily manipulated into starting a whole war if the gods - or at the very least his father - had just been... decent 🤩 (see where we aligned babe) but realistically speaking, i don't think it would have been logistically possible even with the gods' intervention because:

the gods simply would not have been that empathetic and forgiving to grant just any half-blood their blessing to free someone from the Underworld, plus Luke had supposedly chosen to be reborn than stay at Elysium

even if there were gods who would vouch for it like Hermes, the Fates primarily have the control in the matter. It was always interesting to me that The Fates were classified as gods in Hadestown because technically speaking, the fates are personifications of destiny. Hence, they aren't exactly under the same identification as the Olympians and other gods. In Hadestown, they weave destiny by weaponizing the worries and/or problems that everyone already held (e.g. Eurydice's hunger, Orpheus' doubts). In reality, it's more in their control wherein they start a being's life and decide until when they weave it out before they snip it. And the fact of the matter is that they had already cut Luke's thread pretty early on, prophecy and all.

Outside all that... a direct parallel simply was not heartbreaking enough for me 🤡 SO, in my head it goes like this (majorly associated to Hadestown rather than the mythical iterations of Orpheus and Eurydice) :

Hermes didn't always know that the spirit of Orpheus had been reborn as one of his kids. But, it became more apparent the older Luke got and when he eventually meets reader at camp. [The spirit of Eurydice was easier to spot in reader. She held the same naivete from all those years ago]. With every misfortune that Luke had already come across before he even arrived at camp, the revelation that his son was the same man he took under his wing from centuries ago; plus the knowledge of Luke's fate, I can imagine that he was wracked with certain guilt because yet again, they were bound to be left with heartbreak and despair. The difference this time is he has all the right to interfere this time because that's his son involved. That's his son's life and heart in the balance. But that's the thing. The gods aren't allowed to directly interfere with mortals' lives. Even their own children. So, in this alternate universe, I would say his decision to stay distant was an attempt to try and change Luke's fate. Because in the past, he did provide aid. He told Orpheus what happened to Eurydice. He told him how to get to the underworld. He encouraged Orpheus to finish and sing his song. He advised Orpheus to trust in himself and Eurydice that they would make it out together. But to no avail. Orpheus still left alone; because there's no controlling mortals' inclination to skepticism and fear. So, Hermes remains watching Luke from afar. He does offer Luke a chance at attaining glory. But Luke fails, and he chooses to remain distant. And so, the anger and the resentment grows that not even reader's song love can rescue him from. And just like how Hades enticed Eurydice to come with him to Hadestown; Kronos entices Luke to fight his war. And like how Eurydice succumbs to her hunger, Luke succumbs to his anger. And like how Orpheus tries to lead Eurydice out of the underworld, maybe reader tries to make Luke see sense before anything else drastic happens. Because he promised it was the two of them come what will. And despite Luke thinking his resolve has been final for a while, doubt comes in. But the portal out of camp is flickering. and Luke can barely hear reader's pleas through the anger rushing through his ears. So, he turns. And reader is left alone.

i was bingeing the Hadestown soundtrack again and had this sudden eureka gut-wrenching thought of a plotline where luke and reader are orpheus and eurydice in a past life. him the musician, her the runaway; ripped apart from love and life way too soon. Centuries later, they're reincarnated into a son of Hermes and daughter of Apollo, respectively. Luke, the runaway, and reader, the musician. forever fated to love each other but never last.

[threadsketchier]

@miriannemiri replied to this post: Honestly, the worst possible scenario in that case (and in some ways the most likely) is Palpatine telling Luke after. Not a happy moment and might just work in driving Luke to the Dark side. That gives me shivers.

MMMMMMMMMM YEP THAT’D BE INFINITELY WORSE AND YEAH HE’D TOTALLY DEW IT

[30somethingontumbler]

I should have been packing since I am moving this weekend but instead I wrote this because I don’t want to miss any days even if I post at 8:30pm. Someday I may find a healthy way to interact with my favorite media but today is not that day! So enjoy!

After all This Time.

Rex was supposed to be dead by now. No clone was supposed to live through the war let alone outlive both the republic and the empire. But here he stood, on a barley inhabited moon in the middle of nowhere celebrating the end of a war he was never supposed to be part of. A war that ended all thanks to a Skywalker and his bantha kark plan that never should have worked. One would think Rex would be use to this by now. One would also think that at this point he would have hated Vader enough not to mourn Anakin, but here he stood watching a pyre burn while he held back tears for a man who took everything from him.

But Vader wasn’t Anakin. Darth Vader had been a pal dark impression of his General a twisted reflection of the once great Hero of the Republic. Vader had been simply the prison that Anakin had spent 20 years trapped in. It had been Anakin finally freed from his bionic purgatory who won the battle against the emperor. After all this time fulfilling the prophecy few even remembered, bring balance to the force once more.

Rex stood at the pyre, mourning also for His Ahsoka, how she would have loved this little Sky-guy. He was the spitting image of his father with the same strength in the force, but his disposition was all the Senator. The few senators who worked with the rebels that had known Senator Amidala had remarked on how much Leia was like her, Rex had almost spit his caf out after hearing that. Leia had been raised politician and thus she was a good one but her nature was wild and free and thirsty for adventure, she was her father’s daughter. Luke held a natural grace and calm that was so much like Padme.

Rex had sat with both twins and told them many a story of their parents adventures. It had been cathartic to share those stories and relive the happier memories. Somedays though it was hard to think about those days without feeling the missing piece that was Ahsoka. It should have been her telling these tales to her masters children, it should have been her here teaching Luke and Leia the ways of the force, not Rex stumbling through a vague explanation he had heard Master Plo give about “force ghost” and learning from masters long passed. But after all this time he was the last one left, the final member of the once glorious 501st.

He felt such a heaviness in his soul as he turned from the withering embers of the pyre for his last living comrade feeling more alone the he had ever felt. He began his slow march back to the lively festivities of the village, he was tempted to return to his bunk for the evening just to wallow in his own pain, but her knew Hera wouldn’t allow it. They had become each other’s anchors over the last few years, both understanding the desire to crawl up and die after loosing the love of their life, but not allowing each other to succumb to the despair.

Rex had become once again absorbed into his own thoughts that he did not notice the white cloned figure until he was only 10 feet away from them. His hand flew to his DC-17, then the figure looked up. This had to be a dream, he knew that but nothing would have been able to stop him from in that moment from running to her, his Heart, his love, his Ahsoka. They collided into a tangle of limbs both holding on tight afraid that letting go would mean the other would disappear, and with that fear Rex finally gave in pressing his lips to hers pouring 20years of love and devotion into this one kiss, Feeling Ahsoka respond with just as much passion. He had her back in his arms after all this time.

Like comment reblog. Do it all, be it in love or hate it still give me the attention I crave!

[comic-bastards]

The Place That's Farthest From: 'Andor' and the Star Wars Legacy

By Justin Wood

The key component to longevity and the near-universal appeal of the Star Wars franchise has always been its simplicity. A student of international artistic influence, George Lucas distilled richer, headier works down to a pastiche of oblique references and mythological constants and a critical focusing by undersung contributors Brian De Palma and Marcia Lucas resulted in a tight, perfectly-accessible adventure film that seismically redefined how popular media was packaged and presented. Beyond simply being a defining achievement in special effects, the polished gleam of binary morality at its core stood in as a radical contrast to the storytelling environment of the 1970s with its grim post-Vietnam ambiguity and despair. 'Star Wars' was the Happy Meal waiting to happen. Its hero plucky and apolitical, motivated by primal narrative impulses of thirst for adventure and romance beyond his station, his opposition unsubtlely dressed by John Mollo by way of Hugo Boss in Gestapo uniforms, pop narrative shorthand later reused by Lucas and Spielberg in their Indiana Jones films. Only a few decades removed from the very real Third Reich, Lucas needed little world building to immediately communicate the partisan lines the audience would be asked to sympathize on. Some distant conception of a Galactic Senate is mentioned to be finally dismantled. An instantaneous Holocaust is bloodlessly committed. We don't need to see the state of the galaxy beyond the barren, untamed Tatooine, our imagination and familiarity with very recent history can fill in atrocities for us, allowing guilt free catharsis at the film's climactic Boom. 'Empire', despite its reputation for its startling dramatic left turn into a twistier universe with its branching storylines and iconic twist, never challenged that moral simplicity. Dramatic heft was carried by a greater sense of consequence and the peak of the trilogy's character writing resulting in heroes we were more concerned with but complexity never surpassed the cheeky scoundrel hearts of Han and Lando. Bewilderingly, Lucas's original conceived ending for 'Return of the Jedi' was to take a wild turn with Luke succumbing to the Dark Side, discarded for the most telling moment of binary morality in the trilogy: the redemption of space Nazi enforcer Darth Vader, unwriting a supposed lifetime of evil acts through the breakthrough of an ambiguously meager kernel of 'goodness' that emerges in an act of self-sacrifice.

Light side. Dark side. Even with Lucas's wildly accomplished contradiction of somehow muddling the nature of the Jedi by defining its Order, the binary was retained, undercutting any potential moment of reflection on the kinds of story Star Wars could be in depicting the fall of Anakin to Darth Vader. Later, during the cataclysmically divisive 'Last Jedi', Riann Johnson and the executive class at Disney were accused of an inanely comprehensive battery of motivations for the the dissatisfaction of audience members but couched in all of them was a sense that whatever ambitions the director had they had come at the cost of disrespecting the capital-L Legacy. Simplicity had seemingly been stripped away from a functionally basic world of heroes and villains. After years of imagining a Goku-like Force God Luke Skywalker crushing Star Destroyers like Coke cans, the historically subversion happy Johnson gave them a spiritually broken hut-dweller, drinking unpasturized giraffe milk and lecturing against the very binary heroism that had made the series successful. It excited some, disappointed others, and impossibly enraged the most vocal remaining. However, Johnson's failure was always that for all of his cheeky ruffling of a narrative construct he was foolishly expected to uncontroversially maintain, it ultimately amounted to no genuine confrontation of the status quo. 'The Last Jedi' teased ambiguity, stepping up to the edge of challenging the nature of Star Wars stories and then baldly whipping back to the Millennium Falcon popping TIE Fighters, a restored heroic Luke, and a happy ending that managed to say nothing and viscerally satisfy few. For all of the accusations of Johnson not understanding the brand, he in reality did the most to suggest that at a certain scale Star Wars was never going to fundamentally grow beyond its mythological simplicity. His failures arguably had more to do with an overabundance of respect limiting the scope of the film's imagination, not a deficit of it.

Disney+'s 'Andor' doesn't suffer from this problem. Whether intentional or not, by intending a more grounded and adult approach to telling a war story in the Star Wars universe, creator Tony Gilroy and crew have managed to produce a show that serves as a refutation of the franchise's approach to storytelling and perhaps even the health of the brand's audience's preferred taste in narrative. Consequently, it effortlessly ranks as one of the most interesting things to be made with the Star Wars brand.

On its most basic quality, 'Andor' succeeds by not requiring any familiarity with the film it serves as a direct prequel to, Garth Edwards 'Rogue One: A Star Wars Story', which featured reshoots by 'Andor's Gilroy. 'Rogue One' also dabbled in challenging the simplicity of the Star Wars universe's binary, with Rebel Intelligence Officer Cassian Andor desperately murdering a rebel contact to avoid exposure in the film's opening act, communicating that the film's grittier approach to the Rebel Alliance would be more in line with modern approaches to war espionage fiction and its grimly pragmatic operatives. In 'Andor' we meet the man behind the trigger in far more explicit detail but part of the reason why the show stands so confidently apart from the film it is leading up to is that Andor himself is only a wing of a larger story. As small events mutate into having larger consequences he unwittingly begins serving as a MacGuffin for distant powers with ambitions that only superficially are centered on him. While clearly part of the show fulfills the function of telling how a tribal scavenger from a forgotten moon became one of the unsung heroes behind the destruction of the Death Star, the show's real focus comes from depicting, for the first time on screen in detail, the texture of the galaxy in the claws of the Galactic Empire.

Indignant criticism has been mounted against 'Andor's pacing, accusing it of being intentionally boring to give it an artificial aura of maturity or padding for length. What is being felt is instead a deceleration of an adventure franchise to the speed of human life in a galaxy of dazzling intergalactic thrills. Characters eat breakfast cereal. They have casual late night hookups. They check in on elderly neighbors. They fret about their dysfunctional relationship with their daughters. In between very sparsely included set pieces of violent action the series keeps pinning moments of mundane existance to the spine of the show's central espionage plot. While frustrating for an audience raised on increasingly high bars for spectacle, these little moments fuel the heart of the show's tone. It gives character's with very little to begin with the last vestiges of agency they have to lose.

We meet Cassian Andor as he solicits a brothel trying to locate his long lost younger sister who he was separated from as a child. A simple and familiar cliché motivation for an antihero, Cassian is immediately knocked astray from this character goal by a corrupt back-alley police shakedown gone wrong that results in his priorities being reorganized to immediate survival. The vortex of escalating consequences he finds himself sucked into exposes him to a spectrum of ways in which the Empire's closing grip affecting the galaxy. Classically, the stories of Andor's adventures would all be morally instructive to the politically agnostic Cassian. The expectation is you'd see the puzzle pieces click in, that by witnessing the misery, despair, sacrifice, and the Empire's atrocities you'd see Cassian's moral rebirth, generating altruism and the construction of a heroic constitution in place of self-interest. You keep waiting for the thudding platitudes of hope and fighting for something greater and doing the right thing for its own merit but when they come they are only delivered by characters with ulterior motives or by characters distantly removed from the forces that actually influence their often bleak fates. Diego Luna, leading a comprehensively excellent cast, plays Andor as a survivor who has never known anything but the bootheel of malicious authority. His seething anger never fully overwhelms his cat-like instinct for self-preservation. 'Andor' slows down and shows us human life in a way Star Wars never felt obligated to before because it understands that the only way many people, especially those who already live on a knife's edge when it comes to resources and freedoms, can be pushed to confront evil is to truly be suffocated by it.  In a brilliant turn midway through the season, Cassian participates in a heist of Imperial funds that gives him his escape from the boot-heel. Money, transport, luxury as long as it keeps his head low enough to avoid detection. His reward is a lengthy prison sentence but his arrest and conviction have nothing to do with his undiscovered participation in the heist; instead he is swept up as an innocent bystander by an viciously apathetic government for being on the wrong beach in the wrong moment. Not even money can save him from just not being Imperial enough.

Despite its grim and serious fantasy depiction of very real world expressions of authoritarianism, it is hard to argue that 'Andor' necessarily is a uniquely qualified piece of fiction to meaningfully speak on the perpetually relevant issue of real world fascism. Police oppression, prison labor, all represented with a with a seeming respect to its non-fictional victims. Regrettably however, the lingering Disney brand looming over the show's role, at the end of the day, as a product, will always hobble most of the ambition of the writers from being able to say what other qualified and personally invested artists haven't already on the subject. Despite this, with the many and thankfully not inappropriately included allusions to our global haunting by populist no-authoritarianism, 'Andor' does draw a stark and damning comparison to the brand that has come before it.

The realization comes when thinking about what story 'Andor' is leading up to. 'Andor's characters, across the class spectrums, are called on to make compromises, often awful personally devastating ones. The Rebels on the show do so out of the bleak knowledge that in one way or another they are seeing the galaxy become inhospitable to however they don't align with the monocultural Empire. Either through allusions to the present social climate or implicated through actions on-screen, characters are driven to sacrifice comfort, love, and humanity because the non-negotiable aspects of their birth, race, sex, and orientation will eventually doom them under the resource hungry and indifferent gears serving the Emperor. The struggle depicted here comes in stark contrast to the hero who is the eventual beneficiary of their grief: Luke Skywalker, a bored farmboy who dreamed of becoming an Imperial pilot before his magic genetics fated him to save the galaxy with all of the admiration and literal trophies involved. Contrasted with the cost incurred by rebelling inflicted on the characters of 'Andor', Luke's story reads like the propaganda film the New Republic would have made after winning the war to spin the way their victory was remembered.

The criticism here isn't necessarily that there is anything wrong with escapist entertainment or stories with non-comprehensive approaches to complex real world ethics. Entertainment and art is largely experienced as escapism and has a real role to play comforting, thrilling, and inspiring us in whatever way is most successful and demanding an instructive or social function from art as a justification for its existence is far more in line with the views of history's tyrants. Where the sting of 'Andor's portrayal stems from, intentionally or not, is that it is telling its story in a world that has always benefited from facism as trope without that portrayal taking any responsibility for the history it references. The work of Leni Riefenstahl  and Adolf Hitler is used as props because of the inherit potency imagery related to the Nazis is, a result of their being one of the first autocratic beneficiaries of identity sculpting via modern media technologies making their personal branding uniquely iconic.  For all of the language borrowed from the Nazis to depict evil, Star Wars was never going to make itself responsible for engaging with why the Nazis were a shorthand for evil. The victims of the Empire, unless immediately relevantly fridged for a specific character, are overwhelmingly vague. Star Wars couldn't be bothered to have anything to say about the evil it exploited the identity of. Star Wars, once again a fantasy toyetic pop brand, also didn't really have the right platform to stage any sort of ambitious criticism of real human evil either, but the present moment only exacerbates what was probably always the case: that exploiting the echos of dark history for escapist entertainment dilutes its meaning in exchange for comfort and profit.

As we creep into the 2020s, autocracies are presenting themselves again to the people of the world as a too quickly dismissed alternative to the unwieldy, hypocritical democracies that served as the scales of power during the post-World War II era. Appeals to traditionalism, renewing the sapped spirit of masculine vigor, sweeping away the complicated trappings of progressive identity politics and negotiation in favor of a binary world right at home in Lucas's original mythos. Disney, like most corporations operating at a scale akin to small nations, is inextricably complicit both in donations to candidates and causes aligned against oppressed communities as it is their cooperation with how their product is distributed abroad, clipped and censored to the tastes of despots. Its understandable that the anxiety surrounding this would encourage the appeal of escapist pop fiction, but when it dresses up in the same armbands as worn by the men at your door without asking any questions of itself, it dismisses its responsibility to the cruelty those allusions draw potency from in a way it has less of a right to. And when, bewilderingly, a show like 'Andor', that eschews self-referential brand building in favor of telling a more adult story in its comic book landscape does so, it can only reflect back at its foundation just how poorly and insubstantially the simplistic language of its world has served us. What began with George Lucas and crew crafting a film with bluntly simple allusions for the sake of storytelling convenience had his choices drawn out over multiple decades as a financially valuable franchise. Star Wars didn't have to point back to the source of its evil, it could just reference itself, turning the word 'stormtrooper' into a child's backpack, thinning the already fragile thread linking the history it exploits to its profitable use of it. With 'Andor', Tony Gilroy and team has crafted a story that put the Nazi back in the Imperial uniform and while it certainly can't be championed as brave it at the very least takes some responsibility for the story it tells in our present moment in history.

[theartofimaginaryfriends]

I have an idea for a request. After Luke dies his partner (a child of Apollo) misses him so much they do what Orpheus did with Eurydice and maybe instead of being an idiot like Orpheus and looking back it has a happy ending?

A Second Chance

Premise: Inspired by "Doubt Comes In" from Hadestown, Luke and Y/N face the same test that Hades gave Orpheus and Eurydice.

MASTERLIST

A/N: This is the longest fic I’ve written in a while, and honestly not mad about it. Probably my favourite one I’ve written by far! Hope you enjoy it and please let me know if you like the longer fics more and I will do that XD

The trek back to the mortal world was harder than the Trek into it. The wind grew colder, which was unusual for the summertime. As if Hades tricked them, and this was useless. Y/N felt themself losing energy with every step, knowing this test was going to be the hardest yet. It was designed to make Y/N feel hopeless and to try and keep Luke from having a second chance at life.  

Y/N felt like they were alone, and Luke wasn't truly following them. Like it was a terrible punishment, and for what? They helped save the world. Luke was the one that ended it. Why did Hades feel the need to test them when they had just helped the Gods. Luke was right, the Gods were selfish and had no regard for the Demigods that fought for them. What was the point of this? Was Luke even behind them or was this a clever tactic Hades thought of to get rid of them until they were inevitably killed?

The two Demigods had been through so much together. Y/N joined Kronos' side to be with their boyfriend, wanting nothing more than to be by Luke's side. They watched Luke as he struggled to gain control over Kronos when the Titan entered his body. The fear that went along with it, knowing that if Kronos gained full control once again, Luke would die. Y/N wasn't having any of that. They wanted to be with Luke again, they needed to be with him.  

Still, the doubts tugged at the back of their mind. Why would Luke even bother to follow them back into a world that wasn't kind to them in the first place? Why would he even think to make himself available for the Gods once again? He was ready for death, ready to spend the rest of Eternity in Elysium. Who were they to think Luke loved them enough to endure more pain?  

Luke tried to talk to his partner as they continued up the path, thinking it would help keep them from turning around. Despite his mixed feelings towards going back to the mortal world, Luke knew that his love for Y/N would make everything better. Perhaps the Gods would never ask for a favour from them again? Maybe part of him wants to know if Hermes was willing to be a better father to him? He wanted to see the outcome.  

He spoke to Y/N, even as his throat went dry, to try and help their ambition. He could see the effect this test had on them, but he didn't know that it was too loud in Y/N's mind for them to hear their partner's reassuring words. "I'm right here, Y/N. Keep going we can do this."  

Luke refused to lose hope, to succumb to the energy in the Underworld. He kept rehearsing in his head the reason why they were doing this. He had to remember so he kept following. The worst thing Luke could imagine was breaking the heart of his partner, having them go through all of that only to see that Luke isn't behind them. He couldn't do that Y/N.  

Y/N couldn't help but think about Hades' promise. They were just a mere demigod, something that many Gods viewed as disposable. They didn't think Hades was telling the truth, but it was getting harder and harder not to turn around. The voices in Y/N's head grew louder and louder, taunting them further.  

The voices told Y/N that it wasn't worth it. Why believe Hades? Luke wasn't behind them anyway, so turning around wouldn't affect anything. Hades wouldn't let a soul go just because their partner came down to get them back. Persephone was gone, back in Olympus with the rest of the Gods. Without her, Y/N was shocked that they were even allowed a test. Hades couldn't have been serious, he wasn't the type without someone he cared about insisting he listens to the person pleading.  

The world has never been a good place for demigods, but Y/N still saw the potential it had. Hope was all they had when Luke was revealed to be the traitor, and he convinced them that the world could be the way they saw it if they joined. When they lost the battle, Y/N couldn't see the world in the way they wished anymore. All they could see was the sadness and despair. Trauma hit them hard as they walked on, at this point was certain Luke wasn't behind them anymore.  

It felt like a trick and a trap at the same time. As if the God put Y/N on a wild goose chase until they ended up dying in the Underworld, only to be placed in a part of this place away from their boyfriend. Were they really going to exit out of the Door of Orpheus, or was this all for nothing?  

Luke continued to attempt at reassuring words to say to his significant other, ignoring the sandpaper feeling in his mouth. "I'm still here. We're almost at the Door, babe."  

After what felt like hours, the demigods reached a dead end. In front of Y/N was the Door of Orpheus, and Luke could tell they were trying their hardest not to turn around to check. There was still an air of hopelessness, but neither of them gave up now. They made it this far.  

Exhausted, out of breath and scared, Y/N began to sing. Their voices filled the chamber as they expressed the pain they felt the past few years. They sang about Luke's betrayal, and how he convinced them to join Kronos. About Kronos using Luke as a vessel into the mortal world, and taking over his body. About the final battle and the demigod’s final sacrifice.  

Luke was mesmerized. He cried as the door shuddered open and revealed Central Park, finally understanding what he had put Y/N through during the war. He walked forward, wiping the tears from his eyes, ignoring that they kept flowing. Both demigods waited until the door closed, and finally, Y/N turned around.  

Their eyes met with Luke's, filled with tears from their music. It took a moment to process what they were seeing. They had passed Hades' test and Luke was with them again. Y/N rushed forward, not caring about the mortals looking at the two roughed up teens. Luke scooped them up in his arms and spun them around. "We did it."

"You were behind me the whole time," they breathed out. Y/N couldn't believe it, but they were overjoyed. The trek wasn't for nothing, and Hades actually kept his promise. Both demigods smiled like idiots at each other, happy to be together again.  

Luke pulled Y/N closer and kissed them, grateful that they got through this. At that moment, he didn't care what people were going to say about them when they went back to camp. All that mattered was that they were back together, and nothing was going to get in the way of that.

[a-man-for-hire-and-his-archives]

A New Gamble: Rupert Penry-Jones on Getting to Know You

“I feel my whole life has been one big gamble from the moment I chose to become an actor. I feel the buzz of getting a job is the same as winning the jackpot.”

Getting to Know You, available on demand November 24, is a poignant, touching romantic drama that hinges on a “faking dating” plot. Two strangers, Luke (Rupert Penry-Jones) and Abby (Natasha Little), meet cute in a small town hotel lobby and find themselves spending much of a weekend together. He has just left a high school reunion where he tried, unsuccessfully, to reconnect with his ex, Kayla (Rachel Blanchard). She has just arrived to attend her estranged brother’s funeral. Luke and Abby are each lonely, restless, and anxious for some company. Things get complicated, however, when a drunk Kayla turns up in Luke’s hotel room, hoping to seduce him. He refuses to get involved with her because she is married with two kids. He asks Abby to pose as his wife to extricate him from this uncomfortable situation, which she does.

Of course, the situation spirals out of control, and Abby finds herself posing as Luke’s wife as the weekend unfolds. In thanks for her support – and because he wants to spend more time with her – Luke escorts Abby to her brother’s funeral and helps her pack up some things from her brother’s house. The two strangers are undeniably attracted to each other, only they can’t act on it. Abby, like Kayla, is married with two kids. Luke insists he is a gentleman.

Penry-Jones gives a fantastic performance as a man unable to succumb to his desires. He gracefully handles the awkward situations Luke faces, and displays some real comic timing during some of the film’s sillier moments. But it is the way Luke looks at Abby – wistfully, longingly – that makes his performance standout. When Penry-Jones, finally lets down his guard and is aching at letting Abby get away, he is especially moving. Likewise, when Luke coaxes Abby to tell him how she feels, his reaction is quietly powerful.

Getting to Know You is a change of pace for the actor, who frequently works on British TV series (MI-5, Black Sails, The Strain) and period costume drams (Vita & Virginia, A Little Chaos, The Four Feathers). Penry-Jones spoke with Film International about his new film.

Gary M. Kramer: Getting to Know You opens with Luke making the best of an awkward situation he finds himself in. Over the course of the film, he finds himself in a series of awkward situations. He displays patience and kindness. But Luke also has a moral code – he won’t be a homewrecker. What observations do you have about his character?

Rupert Penry-Jones: He has this high school sweetheart [Kayla] he’s come back to see, and she gets too drunk and he can’t follow through with it. And he’s met this lovely lady [Abby]. A lot of men would go for whatever is available with two beautiful women who are potentially available. But he realizes Abby is a very special woman, and he wants to go down whatever road she needs him to. I think that is quite honorable. I think he’s very lost and lonely. He’s been away from home, and when he was at home, it wasn’t much of a home for him. Abby is in a loveless marriage and going through a difficult time. He has woken up, middle aged, and realized he has nobody. They are desperately finding a way to belong and find someone to love.

GMK: I like that Getting to Know You is not about getting the one that got away, it’s about finding someone to love. It is also about taking risks and making a sometimes public declaration of love. What are your thoughts about putting yourself out there? You do this as an actor

RPJ: Personally, I’m not very good at taking that many risks. I play it quite safe. I like to have backups. Whenever friends talk about gambling or I get invited to go to the horse races, I have absolutely no desire to gamble. I feel my whole life has been one big gamble from the moment I chose to become an actor. I feel the buzz of getting a job is the same as winning the jackpot. It’s a similar adrenaline rush. I’m too English for big declarations for love I’m afraid [laughs]. In a movie, I love it. I love extreme emotions in a movie – throwing myself at the feet of the woman I love or killing someone who has crossed me. I love that opportunity to push emotions as far as you can. But in real life, I’m pretty English and pretty controlled.

GMK: Luke admits to making stupid decisions in his life. How do you cope with bad decisions?

RPJ: I try to let them go, but they do sit with me. Everyone actor has that one job they nearly got but didn’t that could transform their careers – turned us into movie stars, or earned us an extraordinary amount of money, but didn’t. Generally, with regret, you have to look at the life you have – it’s easier for some than others. You have to be grateful for what you have and see all the wonderful things you do have instead of focusing the things you don’t. And think of the wonderful things that have happened to you instead of the things that haven’t. Everything happens for a reason – I do believe that. When I don’t get a job I want, in that gap, when that job would be happened, something else happens that wouldn’t have happened. When something good gets offered to you, I think – what’s the catch? I always think there’s a catch.

GMK: I am curious about your penchant for physical humor. There is a scene in the film where Luke trips going up a flight of stairs that I love – it’s unexpected, but completely in character. The physicality Luke has with Kayla is also fantastic. Can you talk about that aspect of the film?

RPJ: I threw in falling up the stairs without telling them. They thought I hurt myself. I wish I had done it coming down. It would have been funny to do it coming down as well. I don’t get the opportunity to do much comedy, or physical comedy. I would love to do more. I really enjoy it. But it has to come in the moment. I was going up the stairs in rehearsals so many times I thought I should slip something in.

“In a long term relationship there is always someone who lays down the law.”

GMK: It is heartbreaking that Luke falls for Abby but cannot act on his desire. In what ways are you a “romantic,” or a “gentleman”? He wasn’t looking for love and that’s why he finds it.

RPJ: He was surprised by it. He’s so wrapped up in own world and the disastrous evening he had. They fall into each other’s lines of life. What’s romantic about him is that none of it is premeditated. He doesn’t set up a scenario where he woos her. He’s honest with her and genuine and they find themselves in these situations which come organically, rather than are forced. That’s the kind of romance I like. The idea of on Valentine’s Day booking a restaurant and having a bunch of flowers – that sort of romance is not something I’ve never been able to do. I’m not very good at it. Could be because I am an actor, and I’m always having my props prepared. My marriage [his wife is actress Dervla Kirwan] was a very small affair. The idea of dressing up and people taking pictures of us and applauding us as we walk into the room – for me, that would be like a day at work. I can’t think of anything worse than having someone dress me up. My wife’s the same; having someone doing her makeup and hair…Literally, that’s what we do every day at work. We did the opposite. I find I do the opposite of what a romantic thing would be. I’ve never been very good at the planned romantic gesture. It has to come in the moment.

GMK: I liked Abby’s speech about marriage. What observations do you have about relationships?

RPJ: My parents were both actors, so one would be away working when the other was at home, and vice versa. That constant shifting roles of being the main career helps level out the relationship if you have children. In my relationship, there’s not one of us who is at home all the time and not one of us who is at work all the time. We’re both bringing the money, so it’s all very even on that level. The more it can be even, the better, but it never is, I suppose. In terms of control of emotion, I don’t know, but in a long term relationship there is someone who lays down the law. It’s always changing with my wife because one of us is away and one is at home, but we are rarely at home together. With COVID, what was positive was being able to have break from the ambition and desire and competitiveness of being an actor waiting for the phone to ring. It was us together living in a house and being together.

GMK: I think the strength of your performance is in the way Luke hides his quiet despair. Can you talk about playing/portraying that?

RPJ: He knows what he wants is not really possible, so he is trying to do right thing and be the good man. There is wonderful woman in front of him, and he just wants to spend every minute he can with her without crossing the line. She has that lovely speech where she says she wants to sleep with him but is there anywhere they can where we’re not going to sleep together? It’s very funny that the woman lays her cards on table in very bare way. I think everyone finds themselves in situations where they have to check themselves and walk the right side of the line. That’s what he is trying to do no matter what his desires are.

GMK: It’s like Brief Encounter. What can you can about developing the relationship with your co-star? There is a palpable chemistry between you because we want them to be together.

RPJ: They are both into each other, and yet they are both denying themselves, and yet they are both loving each other’s company and prepared to do what the other needs so they can be together. We got on well as two actors, so it was easy to slip in and out of those roles. It was a strange experience because the film takes place in the downbeat hotel where the film was set. We were living in hotel where we were shooting. I’ve never done that before – shot in the place that I lived in.

GMK: Let’s talk a bit about your career. I first took notice of you in Virtual Sexuality, a zany teen film. I’ve since seen you in Cambridge Spies and other projects such as Vita and Virginia. You frequently play in TV series and costume drama. What are your thoughts about your career? Luke is not a role I’ve seen you play before.

RPJ: That was a reason why I wanted to do it; it’s not a role I’ve done. And to have a crack at American accent. That’s been a problem – I felt like I couldn’t act through it, that [the accent] would get in my way. So, it was great to play a role to do that. Even Brits struggle with period accents to make them sound real and not a put-on voice. I am very keen to do anything that stretches me and slightly scares me. A lot of the time as an actor, you get offered what you’ve already done before, and you can do it standing on your head. There is a certain range and most of the time you not offered parts outside of it. You fall into boxes. Getting to Know You was fun; it was comedy, an American accent, and I don’t get to do many of those. It ticked all the boxed.

These things come along at the right time and you just go for it. I’d like to do another heroic spy saving London every week kind of role. I loved doing MI-5. It was a high point in my career.

GMK: Have you ever met someone in your life who has had a transformative effect on you?

RPJ: My wife. We met doing a play. I nearly turned it down, and my agent talked me into the experience I nearly didn’t do it. And I ended up with a wife. Also, there was an English teacher who took me aside when I was 13, and said, “I hope you’re auditioning for the play.” It was The Tempest. I went because he forced me to. That was the beginning for me. He had a big impact on my life. After that, I was in everything.

Gary M. Kramer writes about film for Salon, Cineaste, Gay City News, Philadelphia Gay News, The San Francisco Bay Times, and Film International. He is the author of Independent Queer Cinema: Reviews and Interviews, and the co-editor of Directory of World Cinema: Argentina, Volumes 1 & 2.

Source: FilmInt.nu

[anakinskywalkher]

Palpatine raises the twins and accidentally activates Anakin’s dadmodus - An alternative Star Wars plot.

@jasontoddiefor: Palpatine raises the twins & angst w/ Vader not knowing who the two are @dlegohargreeves: im gonna fuck shit up

written together on WhatsApp while listen to crack music.

------

(Barbara) Palpatine has long before he declared himself emperor abandoned the ways of the Sith. He uses them to create utmost loyalty to himself but he will not abide to the rules of his predecessor, one Palpatine would’ve defeated had he been around at that time.  People, be they sith, jedi, or other are all moldable to whatever he wants them to be.

He tricks Padme with sugar and soothed spun words, manipulates Anakin with spice and presses on his rage ("the jedi forbid you from loving your mother thats why you couldnt save her. i would never")  -- Palpatine is aware of the long game, but he has eternity. He’s a god, no one will be able to withstand him.

What Anakin never realised was that he wasnt the actual chosen one, Palpatine had seen in his vision that Anakin's children were in fact the chosen ones, and so when confronted with the soft boy he molded him into this shell to avoid his vision from happening,.... and yet these damnable children are still born. Palpatine is terrified that he wasn’t the only one with the true vision and firmly believes that owning the twins would be the least risky choice. (like he owned anakin, who long ago posed a risk)

He hunts them down, -- while anakin/Vader is completely crippled by his mental breakdown about "murdering" Padme and his child. Palpatine smiles and lets him wallow, for what Vader doesnt know is that Palpatine the God poisoned padme once he found out about her pregnancy.

Palpatine finds them, born hours ago and already pulsing brightly with the power of the force. Obi-Wan puts up a fight but Palpatine strikes him. He gloats to Obi-wan, brags about killing Padme, about manipulating Anakin (”I have taken everything from you, and now I will take your life) and takes the children. He leaves Obi-wan to bleed out by his stomach wound a faraway galaxy          (Palpatine reasons that Obiwan deserves it for this is how he left Vader to die. )

And so Palpatine at the rise of his galactic empire ends up with a crippled sith boy (not a man no matter what anakin thought), and with two babies who are most powerful force users in history. (now were shifting to meta instead of story telling lmao)

Palpatine has a god complex, he doesnt actually believe he would ever die, such petty thing is only for the unfortunate. even if his body would succumb to age, his mind through the force would rule forever -- he is unstoppable. To rule however even a godlike emperor needs tools, and while Vader is to be his guarddog the twins he believe can be shaped and molded into his personal hands, amplify his reach across galaxies.

So to mold them into his tools, Palpatine believes in starving them for love, only ever receiving ounces of recognition and pride. always craving his acknowledgment -- and it works, the twins once old enough to have actual brains (according to palpatine) he removes their wetnurses and gives them teachers, makes their training cruel and harsh and make them compete for his gaze. And it works till a certain extent, but Palpatine’s god-complex makes him blind to things he deems unneccessary, And thus he misses how the mourning of Vader for his family, turns him into a guilt-ridden man who believes giving these children some form of attention and care as penance for his own misgivings. And thus without meaning to Vader gives the children the love Palpatine tries to deny them (accidentally shifting their loyalty on the long run)

Elias: Vader hates the kids at first, with them reminding him of everything he lost and could have had, but at the end of the day, after some aggressive introspection, he gets that they’re just kids and probably starts projecting a lot the longer he’s exposed to them -- Vader, guilty, sneaks them candy and gives them stuff that’s kinda useless (like books that are not about politics or war or economics and and and) and he doesn’t think it’s much but the two would kill a man for him and probably have done so. ((Palpatine tries to break apart the codependent twins, forcing them apart for weeks, but the Force, unlike anything is a tool in hands of desperate children with a bond so strong it connected their mind)) This is not healthy, Vader thought, recalling decade old lessons from the Jedi. The twins rarely spoke, never mind both at the same time. They’re asked for their opinions, echoes of the Emperor’s wishes, and only one of them replies. They always moved at the same time, terrifying weapons of perfect synchrony, constantly aware of the other’s presence. They were living at least half in each other’s mind, even when the Emperor depraved them of contact for weeks. They were clingy afterwards, holding each other’s hands and wrists until they bruised, but Vader knew their minds were never separated. Luke slammed their teacher’s (victim’s) head to the ground as Leia kicked away his feet. They didn’t need any call signs, or training in coordination, one moved and the other followed. During battles, the twins’ dependence was a huge advantage. “Again,” Vader called out and the two of them fell back into the first Kata, the bleeding teacher still lying on the ground.

Barbara: However once the twins are older they need to learn through missions, so Vader has to take them along for missions  (once Palpatine believes they wont connect with Vader) - it starts normal but Vader slowly starts to make the missions longer, gives the kids downtime, lets them free and just engages small talk with them, he can’t face himself if he doesn't let them be actual children. But the twins are suspicious believing theres a catch but Leia, the master mind realises that theres none and so they accept reluctantly, and slowly but surely they learn how to be children under Vader’s tutelage. It takes time and dulling a sharpened blade, but the moment, that first time when the twins laugh and seem actually happy, its that moment that Vader decides, he has to become Anakin again, because these children are his second chance - And so he starts planning.

(insert a bit of crack:

Elias: Firmus: Lord Vader, are we to expect you and the Operatives back tomorrow? Vader: we haven’t finished the mission yet -Leia and Luke like 12 or so, in the background yelling in excitement bc idk they got a game, neither are in uniform- Firmus: Of course )

Barbara: Anakin: "i made sand castles when I was young" Leia: “that structure seems awfully unstable for a house”

But ever since Vader mentions the sand castle, the usually more mature one Leia clings to the idea and while he wishes he could show her, but his suit and wounds cant handle the sand. And when he explains Luke goes " well lets get u a proper suit then" and vader goes " im a moron" (leia in the back: yes duh) So Anakin looks into the treatment he’s still receiving to see if he can make it so that his breathing machine could withstand the sand and realises that Palpatine is actually keeping his body weak, he has no need of the breathing machine because its that actual machine thats poisoning his lungs. So of course Vader does a lowrisk experiment and turns off the machine and he can actually breath fresh air in 12 years (the rage controlling Anakin is one different than those before, for it is ice in his veins instead of fire. And it makes him tactical instead of foolish for once). Soon after that Vader catches some rebel transmission and  finds out that Obi-wan is alive and looking for the twins and its that moment that Anakin 'kills' Vader, believing that Obi-wan can save the twins in a way he can't.

Anakin takes the kids to fight the rebels on Palpatines order but he seizes the chance and instead he shows them his face without the mask (lets ignore the idea that hed be bald bc i hate the uglification of ani) and Leia goes: You look an awful lot like luke Anakin who hasnt actually seen his own image for 12 years, realises that luke is a spitting image of himself as a child, and leia who is glaring at him, he realises, is a carbon copy of Padme. BUT anakin thinks hes projecting and doesnt follow up with it.

Instead he asks them (and for leia this will always be the most important part), he asks them if they wish to stay with Palpatine and do his bidding or to dissapear with him -- and well the choice is easy right, Luke&Leia don’t actually like Palpatine, because despite everything, the force made them sensitive and they feel so much (the despair of the people, the sadness of Vader, the greed of Palpatine)

So they leave for Tattooine, the one place where Palpatine would never look because he never found out that Anakin realised his suit was a boobytrap. The wanted pictures of the twins (both bald shaven and in uniform) nor the one of Anakin (known as Vader, with the helmet)  soon dont match the long haired white dress wearing twins and the blond haired bronzed man.

and so Anakin and the twins go into hiding, but guess whose on Tatooine? Thats right -- ObiWan

[ice-cream-nekogirl]

Dear Agony Just let go of me Suffer slowly Is this the way it's got to be? Don't bury me Faceless enemy I'm so sorry Is this the way it's gotta be? Dear Agony

https://www.youtube.com/watch?v=x9hZFyoqp7Q

Amy and Shachath

The Angel of Death... I told ya’ll Amy has some weird friends XD Including supernatural beings, angels, demons, the freaking Anti-Christ and even Lilith herself... 

However, Amy is pretty chummy with Shachath as they talk often and Amy even shares a cup of tea with her at times. Which is touching, but it’s also... really sad when you think about it. But these two have a somewhat odd friendship/acquaintanceship due to being very familiar with one another and Shachath acts as something of a guardian angel for Amy, just like her daughter Mallory does. Aside from Shinsou, Shachath also understands Amy very much, noting that Amy hides her  feelings of worthlessness, sadness and pain with smiles and laughter as Shachath is almost always behind her in someway because of the pain she feels often.

And just to clarify... my good friend @ambroselaveau90 has the HC that Shachath is Mallory’s mother and I’m going with that cuz I like it~! <3 

Mallory acts as a guardian angel for Amy, and Shachath does the same because well... they’re angels! And they like her <3 

Shachath first appears to Amy during her childhood at Robichaux even after Cordelia is made the new Supreme as the girl began to feel empty and hollow after realizing that not only was she never going to see Shinsou again, but that she lost her parents, her dog, her sisters Madison, Misty and Nan, as well as her mother figures Fiona, Marie Laveau and Myrtle Snow and her good friend Luke. The losses hit her all suddenly as she suffered a mental breakdown, having witnessed so much death in so little time, which is what Shachath explained to her when she first arrived and she notes to the young girl that she was calling for her but Amy had no idea she was doing so. 

The Angel of Death then tells her that sometimes not everyone is aware that they are praying for the pain to end, and Amy confides in her that sometimes she does want the pain to end and Shachath does offer her a way to end the pain, a kiss of death. However, a fearful Amy apologizes and says that she’s not really ready for that, but Shachath is very understanding and tells her that should she ever feel anymore unbearable pain that she can always sing for her again and she’ll come to her. 

As Amy got older, Shachath still follows Amy because of the young witch’s singing as she notes that Amy tends to often sing for her. Although Shachath noted that while Amy did realize the entirety of what she lost, that she hadn’t processed it all and entered a heavy stage of denial until the Sports Festival when her Sentio Compassios was fully awakened. Only when Amy enters the anger stage of her grief is when Shachath feels compelled to go to her. As Amy realized that the pro-heroes abandoned her, she became distraught, confused, horrified, hurt and wild with rage and despair that it led her to going on a rampage on UA. An event that Shachath watched patiently, and she grew worried for the witch when Izuku got the upperhand and pinned her down. She was sympathetic when Amy confessed her feelings, only to get coldly rejected and breaking her heart.

The added pain of heartbreak put a lot of stress on Amy’s physical body, causing her to go into brief cardiac arrest as Shachath arrived and offered to give her the kiss of death to end it all. Amy was more than willing to be kissed because the pain was so great, but Shachath stops upon realizing the power within the witch, as well as the rage and contempt that kickstarted her power into regenerating her heart and kept her body from giving out. Shachath tells Amy that she wasn’t quite ready to go yet and had unfinished business to do. As instead of succumbing to despair, Amy became reinvigorated with a newfound scorn that allowed her to continue fighting Izuku and came close to killing him. Which is partially why Shachath stuck around as she wondered if it would have been Izuku who she would give the kiss of death too. 

In fact, another factor that allowed Amy to cease her attack was seeing Shachath flying beside Izuku, ready to give him the kiss since Amy came dangerously close to crushing him. Which horrified her when she realized how badly she was hurting him, and it allowed her to stop. Although it’s implied that this was a ploy by Shachath to prevent Amy from killing the boy to spare her from committing something she would regret and to save Izuku from a painful death. 

Afterwards, Shachath remained by Amy’s side as she quit UA and isolated herself in her mansion due to the anger, hatred, depression and despair she felt towards herself and her former teachers and classmates. Due to Amy’s fluctuating emotions ranging between anger, despair and mainly emotional pain, Shachath kept her company and stood by just in case Amy truly did want to end it all. Amy kept Shachath in mind and frequently spoke to her and turned to her for advice, especially when it came to forgiveness about herself, with Shachath comforting her and reassuring her each and every time, even telling her that love is painful but it only means that she is a human with a strong capacity to feel love for people. 

Although she also remained neutral about Amy’s choices, noting that whatever she chooses that Shachath will not judge her and would remain her friend no matter what she did. 

And as Amy prepares to go rescue her friends and her teacher during the War Arc, she asks the angel if she will stay with her since Amy secretly hoped that she would die during the rescue. Shachath kindly tells her that she will be by her side the entire time if she does want to die, but also gives her advice on how to beat Shigaraki.

Amy: You’ll be with me... right? I mean... Shigaraki’s really strong now... stronger than ever before... I’m not afraid. Honestly I’m not, I don’t even care if I come out of it alive or not, but... if he does manage to kill me... will you be there?

Shachath: Oh child... as long as you call for me, I will always be there. As I have said before... if you need me to. I will save you. 

In the present times, Amy and Shachath are still good friends, and while Amy has slowly gotten better overtime, Shachath still does come by every now and then due to Amy relapsing into her depression, including during her second year when she begins to doubt herself and spirals back into the verge of a breakdown. Shachath would be at her side and still give her the offer of the kiss of death, but since Amy gained more of a support system, the witch oncemore decline with Shachath being nothing  but understanding. As she was touched by Amy’s new friendships, especially her friendship with Ashlen, another person she had seen before and had been ‘sung’ for. 

However, Shachath did tell Amy that she wants to save her from her pain in the near future when death is inevitable. A sentiment that oddly touches Amy as she tells her that she wouldn’t want anyone else to steal her away from a painful death.

At one point Amy asks Shachath if she gets tired of waiting for her to make her decision, but because the Angel of Death has grown fond of Amy, she reassures her and tells her that she isn’t annoyed with her and is merely there to be a listening ear for her. A benevolent Grim Reaper, Shachath sometimes even offers advice to Amy and lets her vent about what is making her upset and listens to her without any judgement. Because Shachath gained an understanding towards Amy, she at times can also talk her out of death by reminding her of her friends and loved ones which often tends to make Amy reconsider.

However, like many a person suffering from depression, there are moments where Amy cannot see or think about her loved ones as she just wonders and contemplates suicide with Shachath almost always showing up during these moments.

I feel nothing anymore...

[wesleyhill]

Division and Reunion

A homily on Luke 12:49-56 and Hebrews 11:29–12:2 preached at Trinity Episcopal Cathedral, Pittsburgh, on August 18, 2019

I would speak to you in the name of God, the Father, the Son, and the Holy Spirit. Amen.

Our Gospel for today could have been ripped directly from current headlines. Jesus speaks of division in stark, unblinking terms:

From now on, five in one household will be divided, three against two and two against three; they will be divided: father against son and son against father, mother against daughter and daughter against mother, mother-in-law against her daughter-in-law and daughter-in-law against her mother-in-law.

Haven’t we experienced something like what Jesus is describing? How many of us are already looking ahead to Thanksgiving dinner and beginning to dread the political conversations that will pit us against one another?

It’s become a cliché by now to talk about and bemoan the divisions in our country. Books with titles like The Fractured Republic are bestsellers. One of our sitting U.S. Senators just published a book with the phrase “Why We Hate Each Other” in the subtitle. A social psychologist’s recent book promises to tell us “Why Good People Are Divided by Politics and Religion.” African-American voices regularly insist, with each new instance of police brutality and injustice, that the racial divide remains unrectified.

There was a recent article in the Washington Post that poignantly brought to mind my own family and our divisions. Journalist Elizabeth Bruenig interviewed Joe and Daniel Aguilar, a father and son, both evangelical Christians. Joe, the father, is a supporter of President Trump and plans to vote for him in next year’s election. Daniel, the son, is not and does not. “To see Joe and Daniel sitting together side by side, as I did, in a Fort Worth taco restaurant, you might guess they’re related; you might also guess that there’s some tension between them, at least where it comes to politics,” Bruenig writes. “They eyed each other warily as I broached the subject of Trump.” As I read those words, I thought about the last time my father and I got into a shouting match about politics.

Jesus’s words seem like an acute diagnosis at this moment in our national life: “father against son and son against father, mother against daughter and daughter against mother.”

Jesus’s words, however, aren’t original to him. When he speaks about division in this way, he is drawing on imagery and wording found in the Scriptures of Israel, what we call the Old Testament. The prophet Micah supplies the words that Jesus later takes up and uses in his time. Micah first zeroes in on the people of Israel and highlights their sins of greed and violence:

The faithful have disappeared from the land, and there is no one left who is upright; they all lie in wait for blood, and they hunt each other with nets. Their hands are skilled to do evil; the official and the judge ask for a bribe, and the powerful dictate what they desire; thus they pervert justice. (7:2-3)

In response to this injustice, Micah declares that the Lord of Israel will bring judgment upon the people. When we hear the word “judgment,” we may be tempted to think of Dante’s Inferno or the worldwide catastrophe that a villain like Thanos in The Avengers movie unleashes. But for Micah, the judgment shows up in a less flashy way. It is already here in the present, Micah insists, long before any apocalypse brings the world to an end. It is demonstrated in the present fraying of the social fabric:

Put no trust in a friend, have no confidence in a loved one; guard the doors of your mouth from her who lies in your embrace; for the son treats the father with contempt, the daughter rises up against her mother, the daughter-in-law against her mother-in-law; your enemies are members of your own household. (7:5-7)

When Jesus quotes these words from the Old Testament prophet Micah, he is saying that Micah’s prophecy is reaching its fulfillment in his own day and time. As Jesus goes around Judea proclaiming the arrival of God’s reign and healing the sick and denouncing the hypocritical religious leaders, he brings about division in families, just as Micah wrote about. Some people choose to follow him, and their relatives look at them as if they’re crazy. Some people choose to believe that he is the long-awaited Messiah, while their family members shake their heads in dismayed disbelief. No one sees eye to eye, and mutual trust and fellowship is impossible.

But what is intriguing about Jesus’s words is that he seems to view all of this division as having a trajectory to it, so to speak. The division between families and neighbors is going somewhere. Jesus doesn’t succumb to the despair that so many of our current political commentators seem to nurse. He doesn’t throw up his hands and say there’s no way to heal this fractured society. Instead, he points to the culminating moment of his ministry—the moment that has not yet arrived but that Jesus is journeying towards: “I came to bring fire to the earth, and how I wish it were already kindled! I have a baptism with which to be baptized, and what stress I am under until it is completed!”

We know that Jesus isn’t referring here to his baptism in the waters of the Jordan River by John the Baptist. That baptism has already happened. Jesus is referring instead to his death, using baptism as a metaphor. He is going to go under the water, figuratively speaking, and drown. The fire that he comes to bring is going to consume him. He is going to die in Jerusalem on a Roman cross. There, he is going to take all the judgments against God’s people into his own body, and he will bear them, and bear them away. This is what Dr. King meant when he spoke about the arc of the universe: the history of God with God’s people is a trajectory with an eventual endpoint. The judgment that Jesus went around announcing is going to reach its terminus—and it will terminate on him.

The Roman Catholic theologian Hans Urs von Balthasar, in his book Dare We Hope “That All Men Be Saved”?, observed that all the imagery of judgment in the Gospels—the places where Jesus pronounces “woes” against wrongdoers, where he announces that God will punish evil and call everyone to account, where he speaks of the sky growing dark and the earth quaking, where he (as in our Gospel for today) predicts division and a sword and a fiery baptism—all of that judgment imagery comes to head at the end of the Gospels. It reaches a crescendo and comes crashing down on Jesus himself as he hangs on the cross. And he bears that judgment in the place of and on behalf of sinners like you and me.

The division that Jesus speaks of actually happens to him: Jesus, the Son, is abandoned by his Father to die; he is not rescued. He, the Son, loses his mother as he dies; he watches her retreat into the arms of his beloved disciple. He suffers the fate of having all his friends desert him. He is singled out from among his fellow Jews. He is corralled away from them, secreted into holding cells and paraded in front of tribunals to receive his sentence of death. Jesus is the one who suffers the judgment that he predicts.

And what happens on the other side? The Father who abandoned him to die raises him from the dead. Jesus regathers around himself the friends who deserted him, and he forgives and commissions them to be his ambassadors. The mother whom he lost he makes the prime symbol of his family comprised of reconciled fathers and sons, forgiven mothers and daughters, rescued Jews and Gentiles, redeemed slaves and free persons. Our divisions are overcome because of the salvation that Jesus achieved through his death.

Our epistle for today says it this way:

Therefore, since we are surrounded by so great a cloud of witnesses, let us also lay aside every weight and the sin that clings so closely, and let us run with perseverance the race that is set before us, looking to Jesus the pioneer and perfecter of our faith, who for the sake of the joy that was set before him endured the cross, disregarding its shame, and has taken his seat at the right hand of the throne of God.

Notice: “since we are surrounded by so great a cloud of witnesses…” Not “they.” Not “us.” We. We can now say we, because Jesus has overthrown our divisions.

The epistle says, “looking to Jesus the pioneer and perfecter of our faith.” Not “theirs.” Not “ours” as opposed to “theirs.” But ours, together. Jesus has drawn us all into the same family, the same body—his body, the church—so that we can now say ours.

Jesus has relativized the divisions that used to seem like the most important thing about us. Through his death, Jesus has overcome the mistrust and hostility we used to experience towards one another. He has opened to us another way to live.

So, friends, as we ponder the harsh reality of division that our Gospel reading for today puts in front of us, let us also see how Jesus has taken all the ways we are arrayed against each other and has taken them all the way into his own body on the cross. As we come forward now to Jesus’s table, to eat his body and drink his blood, as we kneel here together and hold out our open hands alongside each other, fathers and sons, mothers and daughters, daughters-in-law and mothers-in-law, let us look to Jesus, the pioneer and perfecter of faith, and rejoice in the way he has made us one. And let us give thanks that instead of awaiting a baptism of fire, we await instead the crown of life and everlasting fellowship with the One who gave himself for us. Amen.

[claudia1829things]

"The Demand For An Ideal Woman"

"THE DEMAND FOR AN IDEAL WOMAN" Recently, the STAR WARS movie, "STAR WARS: EPISODE I - THE PHANTOM MENACE" achieved a milestone. Twenty years has passed since it initial release in theaters in May 1999. However, there have been other recent or upcoming events within the STAR WARS franchise. One of them is the upcoming release of the third Sequel Trilogy movie in December. Another was the recent release of a Young Adults (YA) novel called "Queen's Shadow", the first stand alone story about the Prequel Trilogy's leading lady, Padmé Amidala.

 Many fans, especially women, celebrated the release of "Queen's Shadow". Written by EK Johnston, the novel focused on a period in Padmé's life, when her career underwent a transformation from the elected monarch of Naboo to a senator of Naboo. This meant that the novel was set sometime during those ten years between "THE PHANTOM MENACE" and "STAR WARS: EPISODE II - ATTACK OF THE CLONES". More importantly, this novel featured the first time that Padmé was the main protagonist in any STAR WARS movie, television production or novel. "Queen's Shadow" also led many fans to contemplate the idea of Padmé surviving the birth of her twin children, Luke and Leia, and becoming a leader for the early manifestation of the Rebel Alliance. More importantly, the novel and the 20th anniversary of "THE PHANTOM MENACE" has revived the fans' never ending complaint that filmmaker George Lucas should have portrayed Padmé as an ideal character . . . a feminist icon. As a woman, the idea of a leading woman character as a feminist icon sounds very appealing. But as a lover of films and novels, I tend to harbor a strong wariness toward such characters - regardless of their gender. Recently, some fans have suggested that Padmé should have been the main character of the Prequel Trilogy (1999-2005) and not her husband, Anakin Skywalker. Considering that Anakin eventually became Darth Vader from the Original Trilogy (1977-1983), I found this suggestion a little hard to swallow. Even worse, I find the constant complaints that Lucas had "ruined" Padmé's character, due to the manner of her death in "STAR WARS: EPISODE III - REVENGE OF THE SITH", rather tiresome and pedantic. As I have pointed out in a previous article about Padmé, I found nothing wrong with a person succumbing to death due to a "broken heart" or allowing one's emotions to affect his/her health. Such deaths have actually occurred in real life. And considering that Padmé was in the third trimester of her pregnancy, had endured a series of traumatic events in her professional and personal life, including a recent attack by a jealous Anakin, the circumstances of her death did not surprise me, let alone anger me. In regard to the idea that Padmé should have been the main protagonist of the Prequel Trilogy Amidala . . . this did not make any sense to me. Like Han Solo and Leia Organa in the Original Trilogy, Padmé was a major supporting character in the Prequel Trilogy. The real focus of the Prequel Trilogy was Anakin Skywalker, which made sense considering he proved to be the catalyst of the Jedi Order's downfall and rise of the Galactic Empire. And in his own way, Padmé and Anakin's son, Luke Skywalker, was the Original Trilogy's main character. Although Ewan McGregor was the leading actor in the second and third films of the Prequel Trilogy, Obi-Wan Kenobi was not the central character. It was still Anakin. And I do not recall any film in STAR WARS franchise being made solely about Obi-Wan. Oh yes, there had been plans for one, but due to the failure of "SOLO: A STAR WARS STORY", Disney Studios had decided to curtail any Obi-Wan solo film. Yet, many did not complain. Many had bitched and moaned about how Lucas treated Padmé's character, because he had conveyed her weaknesses, as well as her strengths. He did the same with many male characters. Apparently, certain people cannot deal with a major female character's weaknesses being on display, unless she is either the main character or in a drama. What am I saying? Many people still cannot make up their mines on whether they want the Rey character from Disney's Sequel Trilogy to be ideal or flawed. On the other hand, I once came across an article - it might have come from "The Mary Sue Blog" but I am not sure - claimed that the problem with Padmé was not that she was not allowed to have flaws. This person claimed that the that moviegoers saw her as a problem solver who never gave up in the first two movies. The article also added that Padmé was not someone who would give up the will to live. A few years ago, I had written an ARTICLE that discussed Padmé's mistakes in all three Prequel Trilogy movies and argued that she was not the "flawless" or "ideal" character that many still regard her as. I had also pointed out that in "STAR WARS: EPISODE III – REVENGE OF THE SITH", Padmé had experienced the loss of the Galactic Republic, the rise of the Galactic Empire, the loss of her husband to Palpatine and the Sith, and his physical attack on her in a brief space of time – within two days or less. As someone who had recently experienced personal loss, I understood why she had given in to emotional despair. I had only experienced one loss. Padmé did not. Just because she was able to not give up and overcome a situation in the past, did not mean that she would always be able to do this. I still recall the "BUFFY THE VAMPIRE SLAYER" Season Five episode called (5.21) "The Weight of the World" in which the main protagonist, Buffy Summers, had went into a catatonic state after she failing to prevent her younger sister Dawn from being abducted by the season’s Big Bad, a hell demon called Glory. Buffy had failed to overcome her state of catatonic depression on her own. She needed help and she eventually got it in the form of one of her closest friends, Willow Rosenberg. There was no Willow to help Padmé deal with her emotional state during the downfall of the Republic and the Jedi Order. Padmé had no Willow to deal with the emotional trauma of Anakin's transformation into a Sith Lord or his attack upon her. Instead, she had to deal with going into premature labor and giving birth to twins. I hate to say this, but neither Obi-Wan Kenobi, Yoda or Bail Organa were as emotionally close to Padmé as Willow Rosenberg was close to Buffy Summers. And instead of providing emotional support to her, the two Jedi Masters and the senator were more focused on her going into labor and giving birth. There is something about today's feminism that truly irritates me. Women (both in real life and in fiction) are not allowed to be flawed. Actually, I think today's feminists and sexist men have that trait in common. Both groups demand that women be ideal in a way THEY believe women should be ideal. For feminists, women should be some all knowing saint, who can kick ass and have a successful career outside of the home. For sexist men (or men in general), women should be attractive or beautiful bed warmers, home carers and emotional crutches. Women are expected to revolve their lives around the men in their lives. Women in real life are not allowed to be flawed - especially if they are famous. And fictional women - especially those who are major characters in an action story - are definitely NOT ALLOWED to be flawed. Especially someone like Padmé Amidala. I do not believe that Lucas had subjected Padmé's character with weak writing. I think too many fans were too prejudiced to allow her to be a complex woman with both strengths and weaknesses. They had wanted . . . no, they had demanded she be some feminist icon. While complaining about Padmé's character, they would always compare her with her daughter, Princess Leia Organa aka Skywalker. The ironic thing is that Leia was no more of a feminist icon than her mother. Leia had her own set of flaws. Yes, she was an intelligent and capable political leader, who was also knowledgeable about military tactics and defending herself. Leia also possessed a tough demeanor and a sharp wit. On the other hand, Leia harbored a hot temper, impatience and a penchant for being both judgmental and an emotional coward. Nor was she the type to be forgiving (except with certain people). Two of Leia's flaws - her temper and being judgmental - were on full display in the 1980 movie, "STAR WARS: EPISODE V - THE EMPIRE STRIKES BACK". In that film, she had supported Chewbacca’s angry and murderous attack upon Lando Calrissian, after the latter was forced to betray them to Darth Vader and the Empire. During that scene, both Leia and Chewbacca’s anger got the best of them at a time when it should not have. Neither had pondered over how the Empire had arrived on Bespin before them. Nor did they ever considered that Vader had coerced Lando into choosing between betraying Han and them or watching the Empire destroy Bespin and its citizens. Many fans have also complained that George Lucas had failed to explore Padmé's backstory . . . especially in "THE PHANTOM MENACE" and "ATTACK OF THE CLONES". I found this complaint rather hypocritical. Lucas had never bothered to explore Leia or her future husband Han Solo's backstory in the Original Trilogy films. Yet, no one or very few people have complained about this. When Disney Studios finally green-lighted a movie about Han's backstory, many film goers and media outlets like "The Mary Sue Blog" bitched and moaned about how it was not necessary. I suspect they had made this complaint, because it was easier than criticizing how Disney Studios/Lucasfilm had handled the movie's production and theatrical release. Is it any wonder that I found this complaint that a movie about Han's backstory was not necessary, but Padmé's was? And to this day, no one has complained about a lack of Leia's backstory in the 1977-1983 films. Look, I am happy that a novel about Padmé Amidala has been written. And I find it interesting that STAR WARS fans will get a chance to peek into those years between "THE PHANTOM MENACE" and "ATTACK OF THE CLONES". But I must admit that I found myself getting irritated that so many have used the novel's upcoming release to criticize George Lucas' portrayal of her character. It seems obvious to me that a great deal of their criticism is wrapped around a lot of hypocrisy, an inability to understand human nature and a definite lack of attention toward what actually happened to Padmé in the Prequel Trilogy. I cannot help but feel that some people need to realize that in contemplating feminism, they also need to factor in the concept of human nature . . . and good writing. Good writing or a strong character is not one who can do no wrong or be strong, 24/7. A strong character, for me, is someone who possesses both strengths and weaknesses . . . or virtues and flaws. As far as I am concerned, George Lucas had included all in his creation of Padmé Amidala.

[drinkupthesunrise]

Star Wars Rare Pairs Exchange Letter 2018

Hey! While I’m pretty sure I will love WHATEVER you make me, if you are in need / want of some advice, the following may be of interest to you:

In general, I like: pining, unrequited love that turns out not to be unrequited, people being friends & in love with each other generally, found family, ridiculous references, fic that explores what characters mean to each other in a greater context, alt!timeline shit (ie, what would happen if a character had made x choice instead of y), complicated relationships, baby/kid!fic, hurt/comfort.

Things I do not want: character bashing, unnecessary character death (ymmv here it’s Star Wars, characters die, I accept that, but please don’t kill anyone off in the pairings, canonical deaths are fine), gratuitous / explicit violence, mundane!AUs (coffee!shop, high school/college, etc), dubcon/noncon in any form, cheating, first person POV.

General links that might be useful to you: my ao3 works, my fic writing tag, my ficlet tag, and my general star wars tag. 

General note: I like characters, and relationships, best when they’re situated in a world that feels real, and that means having other characters around them, and the relationships between them. While the pairings below should definitely be the focus of any fic, please feel free to slip in other things that you think I might like. I think what’s below should give you an idea of that, hopefully :D. For instance, I adore Wedge’s relationship / friendship with the rest of the Fab Four / his pilots in general, and I find the Han / Luke / Leia dynamic endlessly fascinating (both platonically and romantically on all sides), I’m always up for guest appearances from anyone from any point in canon.

Wedge Antilles/Luke Skywalker

Would happily take anything, but specific loves include stuff with them founding Rogue Squadron and that early part of their relationship, where they’re a little unsure and unfamiliar but still utterly trusting of each other? Or in the aftermath of Endor where Luke’s off founding the Jedi Order and Wedge is off fighting the Imperial Remnant and they’re trying to work out if they could have a relationship in all of that? I really love these two, the relationship between them really is one of my all-time faves.

I am also desperate for pre-and-post-TLJ era fic for them. What does Wedge make of Luke’s choices and decisions? Did Wedge go with him to Ahch-To? If Wedge is present, how does that affect the choices Luke makes?

I would also sell my soul for Jedi Academy-era fic in which Wedge is a teacher at Luke’s Jedi Academy, either with them in an established relationship and founding the school, or where Wedge gets involved somehow and slowly realises, oh, actually, Luke is very attractive and there is a lot of pining, and Luke is off having the same realisations about Wedge.

Wedge Antilles/Mara Jade/Luke Skywalker

In which Wedge Antilles and Mara Jade have precisely one thing in common: they both think that Luke Skywalker is endearing and also kinda useless, and would do anything for him. Which includes teaming up to save Luke when he gets into yet more trouble (insert situation of choice here) despite the fact that Mara is really not very convinced by this short fly-boy with floppy hair who cannot act, and Wedge is not really over the fact that Mara wanted to kill Luke. Bonus points for them discovering that they have far more in common than they think, and for Talon Karrde & Booster Terrik background shenanigans.

(I’d be okay with platonic!wedge&mara, if you can’t get that bit to work, but I would like Wedge and Mara to both be in love with Luke - or on their way there - and for Luke to love them both back.)

Wedge Antilles/Leia Organa

I think Wedge and Leia are very alike, in some ways - both soldiers with a sense of duty that goes far beyond themselves, who’d sacrifice their personal lives for their ideals every time. So anything that builds on that, really; either early Alliance / Rebellion (pre / post Yavin), with Leia still trying to sort out her feelings for Han / Luke and working them out with the person who is the mid-ground between the two (fight me on this Wedge is Han’s smuggling no-good self crossed with Luke’s idealism and good!man nature), or possibly after the Jedi Temple Massacre, or post TLJ, where they are the last two left standing and seek solace in each other?

Also! If you have read the 2013 Marvel Star Wars comic (the Wood/D’Anda one), you should know I was so very very very weak for Leia as Squadron Commander and Wedge as her second, and I cannot believe that was an actual thing that happened in Legends okay??

Wedge Antilles/Han Solo

Okay I can hear you probably going ‘huh what’ and I submit to you these quotes from the X-Wing books, and actually the entirety of Solo Command as a book. Essentially, Corellians giving each other shit. But no seriously in Solo Command there’s a real easiness and willingness to tease and I’d be really interested as to how they got there, and if it ever was anything more.

Also, in new canon – I’ve always figured that Wedge and Han might have a bit of antagonistic start to their relationship, Wedge is much more of a believer and very willing to die for the cause – how does he react when he finds out what Han did in Solo? Aiding Enfys Nest? Does that change his feelings?

Wedge Antilles/Leia Organa/Han Solo

Okay so Wedge spends an astonishing amount of time in the X-Wing books putting Han and Leia’s relationship back together (only for The Courtship of Princess Leia to happen, poor guy.) Like. He’s really invested in it. And also half in love with both of them it seems.

But, what I really want … is new canon, in which during the Aftermath trilogy Wedge ends up staying with Leia, and sort of never leaves, and even when Han comes back he’s still there, and then he helps out when Ben is born, because Wedge is very good with babies and this is a very important fact, and slowly Han and Leia realise, oh, wait, we never want him to leave.

I would also be very happy with drunken hook-ups, or Han and Leia accidentally propositioning Wedge.

Wedge Antilles/Biggs Darklighter

They must have known each other on Yavin, so it’s not inconceivable that they might have met and, y’know, got it on. So quick and dirty introductions, or possibly even something set later, after the Death Star battle, where Biggs!lives and the two pilots who didn’t get that shot off try and find solace in each other.

Wedge Antilles/Bodhi Rook

So – well, Wedge was at the Imperial Academy for a time, as was Bodhi, and although it’s unlikely they were in classes together, I think that their paths could have crossed; what’s it like when they see each other on Yavin all those years later? If Bodhi is the only survivor of the Rogue One team, and Wedge is the only survivor of the original pilots (Luke is too new, really) do they find solace in each other? Do they only really catch up after the war with each other, and suddenly realise that no one else is quite going to understand their grief? (I am heavily into Wedge Antilles has a case of survivor’s guilt the size of a Star Destroyer this ship only compounds my feelings).

Wedge Antilles/Lando Calrissian

They took down a Death Star together, that’s a start. I think the other thing about these two is they’re both very set on keeping their people safe – Wedge with his pilots, Lando with the people of Cloud City, and they have principles and lines they won’t cross but they’ll go through hell and back to try and save as many as they can. So maybe something about that?

Wedge Antilles/Col "Fake Wedge" Takbright

I can’t believe Jason Fry made ‘fake wedge’ an actual thing, but IT HAPPENED, and so we should all take advantage of this glorious fact by making them kiss or something, I dunno, fill in the blanks.

On a semi-serious note, I actually really like the care between them at the end of that story, how Col takes one look at about-to-succumb-to-the-worst-survivor’s-guilt-wedge and just, doesn’t stand for it. And so I would LOVE fic about all the times that Col keeps digging Wedge out of despair. Maybe about how Col turns into Wedge’s most erstwhile defender, and Wedge keeps asking why Col keeps putting himself on the line for him, and realisations about how maybe what’s between them has developed into something more.

Wedge Antilles/Mon Mothma

This was mostly crack, until I incepted myself with last year’s rare pairs letter, and now I have very serious feelings about it and I want them to be in love. And have really good sex.

I think they are both serious impassioned people who want to do what is right, only Wedge is brash and daring and Mon is tempered by experience / diplomacy. So maybe something where Wedge does something reckless and Mon has to take him to task for it? Or Wedge trying to lure Mon out of her seriousness, but also he is a very serious person himself but seriously, Chancellor, you have been at your desk for twenty hours please come to the mess. Love letters – they write letters after the war and slowly fall in love?

Fucked-up power dynamics are also very much a feature: Mon is ultimately Wedge’s commander in chief, his life is in her hands, etc. I like the power play, I like it a lot.

Wedge Antilles/Amilyn Holdo

There’s something about the way Amilyn reacts to flyboys doing stupid things, like she has seen it all before. Maybe she has? I feel these two would have really good banter and a very sparky relationship, lots of challenging each other. But also mutual respect, possibly found later – they are both very good at their jobs.

I’d love fic set post-Rebellion era, where they’re both trying to find their footing in the new Galaxy, or maybe fic set around TLJ – what if Wedge is with the Resistance? Does he conflict with Amilyn over her command decisions? (I think Amilyn should still have charge of the Resistance, don’t make Wedge outrank her.) Can he mediate the conflict between her and Poe? What if Wedge is with the Republic and brings a fleet to save the day?

Wes Janson/Derek “Hobbie” Klivian

So Wes and Hobbie are like the ultimate wingpair / brothers-in-arms, they are two peas in a pod, and I love them. I like slow realisation of feelings, the dragging out of the relationship over the years, perhaps one of them pining away whilst the other one wakes up one day and is like ‘oh, it’s you, you’ve been here all along and I never noticed.’ But also! Comic shenanigans, prank wars between them, practical jokes, truth or dare - I’m easy to please, honestly.

Jagged Fel/Jaina Solo/Zekk

Okay, for those who didn’t go and read all of Legends… Jagged Fel is Wedge Antilles’ nephew, Jaina Solo was Han and Leia’s daughter, and Zekk was one of Luke’s students. There was a bit of a love triangle going on. However, in many points, it was less of a love triangle, and more… well. They should have all banged.

Key moments include that time Jaina and Zekk were in a hive mind, and got slightly confused over whose memories were whose, leading to this conversation:

Our boyfriend means business, Zekk observed.

Don’t know that it’s him. And it’s old boyfriend.

Right. We’re so over him.

We?

And also the bit in Legacy of the Force: Invincible, where after Jag and Zekk help pull Jaina out of a sticky situation, she, in a state of confusion due to her banged up head, asks them to both to bunk with her.

So, basically, I want poly shenanigans – fic after the proposed quarters sharing would be great (what if Jag and Zekk took her seriously and had already moved everything about by the time she came round???), messy relationship rebuilding after the Dark Nest fiasco, something where Zekk steps in as Jaina and Jag’s relationship starts to fall apart post NJO? I dunno. But I want them all to kiss.

Plourr Ilo/Evaan Verlaine

They are both kickass lady pilots, and they are both very gay, sooooooooo… it is a crime that they do not exist in the same canon. I want shenanigans. I want an encounter where one or both is undercover and they don’t realise the other is a rebellion / new republic pilot until after everything. I want them on different squadrons trying to one up each other.

[arielsojourner]

Skywalker Family Values

Not sure where this section came from. From humor to some serious stuff here. I can’t seem to write crack without it becoming serious for some reason. Below is PART 6. Again, warning, this is a very ROUGH draft.

Part 1 and 2 (along with the prompt that woke up my muse in the first place) are HERE.

Part 3 is HERE.

Part 4 is HERE

Part 5 is HERE

Onward to Part 6:

Jyn darted out and grabbed Leia, pulling her into the cramped storage room that she and KayToo had been hiding in. She slammed the door shut and turned around to face Leia.

“Okay, what happened? What did they do to you?” she demanded as she looked Leia up and down.

“What are you talking about? How dare you drag me in here–“

“Did they hurt you? Did they take you somewhere other than the Happiness Hut? Did the Grangers do some sort of medical procedure on you to have you acting this way?” Jyn demanded taking Leia’s shoulders in her hands. “Are you in there somewhere? Can you send me a sign?”

Leia scowled. “Jyn, you need to let me go right now–“

“You were the only sane one here and now you’re just like them! Leia, if you’re in there, blink twice. If the Grangers did something to you, like lobotomize you or something to be kissing up to Buckman and her cronies, blink three times!”

“Jyn–“

“I’ll kill them. If they did something to you, I promise you I will kill them! KayToo won’t stop me. He’s only programmed to make sure I don’t escape again. He doesn’t care if I kill people.”

“That’s right, I don’t,” KayToo said affably.

“Just let me know you’re still in there!” she begged, shaking the princess.

“Jyn! I’m still me, nobody’s done anything to me,” Leia yelled, shoving the other girl away.

Jyn crossed her arms in disbelief. “Then explain how you’ve been acting over the past week. You’ve been kissing up to Buckman and dancing with Ozzel and praising him for killing Ewoks. A lobotomy is the only explanation,” Jyn insisted. “KayToo ran the numbers.”

“I did run the numbers and I told you the chance of a lobotomy based on the evidence were so small as to be nearly impossible. It is more likely that in typical organic fashion, Princess Leia has simply succumbed to teenage peer pressure,” the droid said.

“Or, I could be pretending to be like the mindless banthas in this camp to avoid suspicion until I put my plan into action to save the Ewoks,” Leia countered sharply.  

“Oh,” Jyn said softly.

“Yes, oh,” Leia said with a roll of her eyes. “And dragging me into a storage room to yell at me is hardly going to help with my cover story of being just another vapid Imperial brat will it?”

Jyn fidgeted for a moment and then rounded on KayToo. “Some great strategic processor you have. It didn’t even dawn on you that Leia was pretending to be like the others.”

“You were the one who insisted that she’d been subject to invasive permanent brain surgery and made me take scans of her skull while she slept two night ago. The most rational explanation was organic social dynamics fueled by hormones.”

“You scanned my brain while I was asleep?” Leia asked in a horrified voice.

“Only because we were worried you’d been hurt!” Jyn shouted and then looked abashed at her own outburst of caring.

“I wasn’t worried, speak for yourself,” KayToo interrupted, ruining the moment.

“Look,” Jyn said hurriedly, raising her hands.  “Can’t we all just agree that you were acting crazy and you didn’t tell me why and next time you should just tell me before you start acting like your brain has been surgically removed?”

Leia was agog. “Me acting crazy?”

“Yes, you were. And I’m very glad we’ve had this talk and you’ve been honest with me about what is going on.”

“I– you–“ Leia sputtered for a moment and then took a forceful deep breath. “I need to get back out there before my cover is blown. The mission must come first.  Jyn, when I can be sure we’re not been overheard we’ll talk. KayToo?”

“Yes?”

“Don’t you ever scan my brain again!”

With that the Princess left the storage room.

“Well, that went well,” KayToo said after a long moment of silence.

*

“Don’t cut so much!”

“Will you hold still?”

“The thing is tiny, there’s no need for you to cut there!”

“We have to sterilize the area before we perform the surgery.”

“Is this going to hurt much?”

“Don’t be such a baby!”

“It won’t hurt. We’ll numb it, Chewie, don’t worry. ”

“I’m going to be bald, I just know it.”

“You’re covered in fur, one little patch of skin doesn’t make you bald.”

“But it’s noticeable! They’ll notice it and start asking questions and then they’ll know I’ve gotten it removed!”

“Maybe I should be the test case instead, I don’t have any fur to shave and I can cover the incision with a bit of makeup. Buckman brought so much she won’t even notice if I use some of her green eyeshadow.”

“Now look you big coward, you’ve got ladies like Numa offering to go first. You oughta be ashamed of yourself.”

“Han, be careful with the razor.”

“That’s it! I’ve had enough of this.”

“Chewie come back here! Chewie!”

Mara ducked behind a tree as the wookie came storming out of the garage.

“Chewie!”

Please don’t see me, please don’t see me, Mara thought to herself desperately. She was so close to finding out what they were up to. Once she had proof she could reveal Luke and Cadet Solo and the other slaves as traitors to the Empire and be rewarded. She would finally be allowed to leave this Force forsaken moon and get as far away as possible from the awful Buckman brat. And then, her dream would come true. She would become the Emperor’s Hand.

“Chewie, come back inside. I’ll do it instead of Han,” Luke entreated as he followed behind the wookie. They both stopped just a meter or so away from Mara’s hiding place. She held her breath.

“Han doesn’t understand,” Chewie growled. “Fur’s . . . important, too important for jokes.” He raised one massive paw and smoothed down the fur on his head with a low purr.

“I’ll talk to him, make him understand.” Chewie cast him a disbelieving look ,visible even in the dark. “All right, I’ll make him behave then,” Luke amended. “Let’s go back and . . .” he trailed off.

“What is it?”

“Someone’s here,” Luke said softly, staring straight at Mara, finding her eyes unerringly in the dark.

Mara bolted.

“No, wait!” he called after her.

She didn’t stop. She had to get away with the information. The Emperor had to know that Vader’s patsy was up to something and that the slaves were–

Big furry arms lifted her into the air and before she could stop herself she let out a scream.

“It’s all right! We’re not going to hurt you! Chewie, be gentle.”

“I am gentle,” the wookie said gruffly. “The little cub is just fine.”

“P-put me down,” Mara said, trying to inject a note of command into her voice as she was carried back towards the garage. “Put me down right now!”

“Don’t you want to know what we’re doing, little cub? You’ve been spying on us for days now.”

“She has?” Luke asked as he hurried to catch up with Chewie’s massive strides. “You have? Why didn’t you just come inside and say hello?”

Mara looked down at him in total disbelief. “Do you not understand what spying is? Spies don’t just come up to people and say hello!”

“Of course I know what spying is,” Luke said defensively. “I just meant you didn’t have to spy on us. I’m not like Ozzel or Buckman. Han wouldn’t have told on you, neither would Numa or Chewie or Ghosh or any of the other “help” here at camp. You don’t have to be afraid of us.”

“I-I’m not afraid!” Mara retorted hotly.

“Now what’s going on?” Han demanded as they entered the garage. “What have you got there?”

“Not what,” Chewie said, “who.”

Numa took one look at the red headed girl in Chewie’s arms and panicked. “You brought that little spy here?”

“Spy?” Han yelped. “She’s a spy?”

“She didn’t really spy,” Luke explained.  “She didn’t know that she should have just come in and said hello.  She didn’t know we’re willing to free her as well.”

“You’re–you’re freeing the slaves?” Mara exclaimed before she could stop herself. “That’s what you’re up to? Are you crazy or something?”

“There! What did I tell you? Spy. Imperial spy!” Numa said pointing an accusatory finger at the human. “I knew it from the start. No Grand Moff’s daughter shows up with a human slave by accident. She’s an Imperial plant, probably sent to keep an eye on you, Luke.”

“Aw, hell!” Han said, sitting down in despair. “That’s done it. Our whole plan is now out the window.”

“You’re an Imperial spy?” Luke asked in complete disbelief. “But why would you work for the Empire? Don’t you want to be free?”

“How dare you? I am free!” Mara yelled back angrily. “You’re the one who’s not going to be free for much longer, though. You-you traitor! Just wait until my Master learns the truth about you and Vader! He’ll end you both for this treason!”

Luke gaped at her in shock.

“It’s not her fault,” Chewie explained to Luke sadly. “Poor cub, they got her young. She doesn’t know any better.”

“She knows enough to get us all in trouble and isn’t afraid to threaten people with death,” Han said darkly. “What are we gonna do with her?”

“We can’t let her go. She knows too much,” Numa replied looking at the razor in her hand with a meditative look on her face.

“No! No way! We are not killing her!” Luke said emphatically. “Chewie’s right. She’s been brainwashed or-or something. She doesn’t know what she’s saying.”

“I do too know what I’m saying!” Mara argued. “You’re all rebel scum. My Master was right about you!”

“Would you be quite?” Luke yelled back in frustration. “I’m trying to save your life here and you’re not helping!”

“I don’t need your help!” she snarled.

Luke planted his hands on his hips. “Oh, yeah? And just how are you going to get out of having Numa slit your throat and Han hiding your body in the woods if I don’t help you?”

“That was weirdly specific,” Han muttered in a sotto voice to Numa.

“But not a bad idea,” Numa murmured back.

“I-I’ll find a way,” Mara said squirming and kicking futility in Chewie’s iron grip. Chewie just looked amused at her antics.

“Look, just let us help you. We can free you. We can remove the implanted bomb inside you and you can run away to freedom. You don’t have to be a slave anymore.”

“You stupid boy! I. Am. Not. A. Slave!” Mara hissed.

“Wanna bet?” Luke asked as he picked up a cobbled together device from the worktable.

“W-what is that thing?” Mara asked nervously as he approached her.

“Don’t be scared,” Chewie soothed.  “It won’t hurt you. It will just locate the detonator implanted in you to keep you chained.”

“I-I don’t have any detonator in me. I’m human!” she protested frantically. “Humans aren’t slaves. I’m a loyal servant to my Master.  He has no doubts about me. He trusts me! He wouldn’t treat me like you. He would never do that to me!”

Chewie knelt down, keeping a tight hold on Mara so Luke could reach her. She tried to lean back out of the way but she was held fast.

“You’re traitors, you’re all traitors to the Empire!” she yelled, growing more desperate. “I’ll make you regret this. I’ll find a way to have my revenge. Just you wait, I’m—“

The machine beeped and Luke let his hand still, the scanner hovering just above Mara’s left shoulder. 

The rest of Mara’s words died in her throat.

Numa stepped forward to peer down at the scanner. She hissed in sympathy. “Mine’s in my belly. If they detonate me I’d suffer a long slow death. If you run and they detonate you, your head would likely be blown clean off.”

Han shook his head. “I don’t know if we can take hers out with what we’ve scrounged from the first aid kits. It’s going to be hard enough to get it out of Numa as it is.”

“Too many veins and arteries,” Chewie said in agreement.

“We could get a med droid to do it. We could sabotage the one in the med bay and have it sent to the garage for repairs and then we can have it perform surgery in here,” Luke suggested.

“Not a bad idea, kid. The droid could perform surgery on Numa and this big baby too,” Han said, gesturing to the wookie.

Chewie growled.

“It may take a day or so to get the droid down here but we’ll get the detonator out, I promise you,” Luke said to Mara. “You’ll be free soon.”

Mara just stared at the boy, at his stupid earnest face and his dumb blue eyes.

She had never hated anyone as much as she hated him in that very moment.

“You– you– ” she croaked, unable to even get the words out. “How– you–”

“Oh,” Luke said sadly, lowering the scanner. “I am so, so sorry.”

Mara started screaming. There were no words, not even curses. She just screamed and thrashed in fury.

“What the hell?” Han swore as he jerked back from the girl.

“She really didn’t know,” Luke explained. “She never even guessed for a moment that she was enslaved. My father told me about this. He said sometimes the slavers can trick people into not even realizing they’re in chains. The slavers can make you forget, forget where you come from and who you are.”

“The sick monster,” Numa seethed. “She’s just a child.”

“How does your– er – father know about all this?” Han asked.

“It happened to him once. He forgot everything. That’s why I built this,” Luke said lifting the scanner. “I’m going to free my father too.”

“Your father?” Mara demanded suddenly as she fought to regain her breath. She couldn’t believe what she was hearing. That’s what this was about? This boy built a scanner for Vader? “Your father?”

“Yes, and I think your master and his master are one in the same, aren’t they?” Luke said.  

Mara pressed her lips together. She would not admit anything. She’d already failed in her mission. She wasn’t going to make it worse.

“I thought so,” Luke said. “The Emperor himself sent you here.” Ignoring Han cursing, he continued on.  “Now the question is, are you going to tell him what you’ve learned so you can remain enslaved to him for the rest of your life? Or . . .” he trailed off and he took a step closer until they were nose to nose. “Or are you going to help us sabotage a med droid? Are you going to get that detonator out of your shoulder and help us free Chewie and Nuna and Ghosh and the Ewoks and all the others in camp and burn this place to the ground?”

Mara wanted to look away but he was standing so close to her, she couldn’t. There was something about him; she couldn’t look away.

“What will it be, Mara Jade?” he asked her.

How did he know her name? She always worked under an assumed name. No one knew her name but her Master. She’d never told anyone her name! But somehow this-this puppet of Vader’s knew. He knew her name and he knew of the detonator inside her, under her skin. He knew she worked for the Emperor. He knew things no one was supposed to know.

She bit her lip and shrugged against the furry arms still pinning her down. “Let me go,” she muttered.

“Let her go, Chewie,” Luke said.

“What? Kid, this is crazy. If the Emperor sent her and we let her go–“

“Chewie,” Luke said again and the wookie eased on his grip and Mara eeled free. “Mara will ensure the med droid needs maintenance and Han and Chewie make sure it gets sent to this garage. Numa will let the others know and we’ll start on the surgeries tomorrow night. Agreed?”

“If you betray us, I will kill you,” Numa said evenly. “I will be watching.”

Mara huffed but didn’t say anything, she just wrapped her skinny arms around herself.

“Tomorrow night then,” Chewie said as he stood and started to poke at the area of his fur that was shorn shorter than the rest with a mournful whine.

Without another word, Mara darted for the exit as fast as she could. She hurried to hide herself in the woods, but stayed just close enough to hear those inside.

“You’re taking an awful risk with that one,” Han said. “We all may be in prison or up before a firing squad by dawn, y’know.”

“She won’t betray us.”

Mara rolled her eyes at Luke’s words. How would he know if she was going to betray them or not? Stupid boy, he knew nothing and she didn’t owe him anything!

“Are you sure?” Numa asked.

“I’m sure. I can feel it.”

Ha! Well, she would soon show him. She would go right now and break into the camp’s main office and access the comm array and send an encrypted message that Luke had made a scanner and was planning on freeing the slaves and–

Her hand reached up and carefully touched her left shoulder, hesitantly and then with more strength.

It was a trick. There was nothing there. She didn’t have any explosives in her. It was all just a lie.

But if it was a trick, if the scanner was a fake, what did she have to report? a small voice whispered inside her.

She dug her fingers deeper into her skin. Her eyes burned.

There was nothing there. There was nothing there!

She dropped to her knees and pressed both hands against her mouth, muffling the whimpers that tried to escape her lips.

What was she going to do?

[threadsketchier]

It's also important to note that Luke also didn't have to forgive Anakin. Everyone always expect Luke to forgive him because he's a jedi and Vader saved him but Luke put himself in that vulnerable situation to save Vader in the first place. One good deed doesn't erase how horribly he treated Luke during OT

Oh hell yeah.  That’s what makes Luke’s actions so amazing.  The thing is...I really don’t believe Obi-Wan and Yoda were expecting Luke to be able to pull Anakin back from the abyss by extending an olive branch of peace and forgiveness, because of what they witnessed Anakin do in the wake of Order 66 and in subsequent years and because Obi-Wan - his closest brother-in-arms - was unable to get through to him.  So they wouldn’t have been expecting Luke to extend forgiveness, per se.  While they didn’t explicitly say that he needed to kill Anakin, Obi-Wan’s response of “Then the Emperor has already won...you were our only hope” to Luke’s statement of “I can’t kill my own father” was at bare minimum implying that Luke needed to be ready to kill Vader and it was the most likely outcome.  Their goal in training Luke, if it hadn’t been interrupted, would have been for him to master his own emotions sufficiently so that he could approach the situation with enough detachment to be able to bring himself to do the deed while not succumbing to hatred or despair.

In a way, they likely would have been espousing Luke to have that mindset of, “Blood does not have to define a relationship.  Darth Vader is an immense threat to the galaxy and has intentions to hurt or destroy you.  You may need to accept that your father is irredeemable and if it comes to that, you have to remove your emotions from this equation and do what’s necessary to save us all, and save yourself.”  Is this a horribly tragic situation?  Of fucking course.  But it’s not necessarily a bad mindset if Luke was actually faced with this dilemma at the end.  It would be similar to Leia disowning Anakin as a father, but taken to the extreme.

Vader did indeed commit heinous acts against both his children, and they can’t be argued away as, “Well, this is war” - Vader illegally interrogating Leia without due process and everything at Cloud City were outright war crimes, period, and that’s just summing them up in a clinical way.  He physically and mentally traumatized his own damn kids.  Whether or not one chooses to think of Luke’s attachment to his father as unhealthy and it was just fucking lucky it worked out - because IRL abusers actually becoming repentant and able to have reasonable relationships with the people they hurt is practically nonexistent to my knowledge - it was a monumental effort on Luke’s part to even come to that conclusion within himself and then extend that gesture.  It’s bad enough going through what he personally experienced, but Luke’s also a very caring person who’s always deeply concerned about his loved ones and their pain at Vader’s hands would affect him too.

This is why I do prefer to bring up as often as possible in my own writing that Luke doesn’t forget what his father did to him.  He does love his father unconditionally - that moment of him holding Vader’s hand in comfort and reassurance in ROTJ is so fucking meaningful, that screams volumes right there even before we get to the death scene - but there’s no erasing the horror of what happened before that.  I like to mention moments of discomfort and sadness and traumatic recollection because even though they can move forward, Anakin can’t go back and fix anything he did prior, and my Luke is typically very frank about not concealing that and acknowledging and discussing it openly.  There’s a difference between rubbing it in and not sweeping it under the rug.

But I do personally like the dichotomy of Luke and Leia processing their trauma in opposing ways, one sibling forgiving and the other not, and both coming to a healthy conclusion at those opposite ends of the spectrum.  Yeah, it’d be a rocky and tense and painful journey in the first years, but I’d eventually want them to learn to agree to disagree and make peace with each other and themselves over that.

[strangegiverdreamer]

Star Wars & Lord of the Rings crossover challenge

Synopsis

"Three Rings for the Elven-kings under the sky, Seven for the Dwarf-lords in their halls of stone, Nine for Mortal Men doomed to die, One for the Dark Lord on his dark throne In the Land of Mordor where the Shadows lie. One Ring to rule them all, One Ring to find them, One Ring to bring them all and in the darkness bind them In the Land of Mordor where the Shadows lie."

—J.R.R. Tolkien's epigraph to The Lord of the Rings

As a child growing up with the prequel trilogy of Star Wars I also grew up with Peter Jackson’s illustration of the Lord of the Rings. After seeing the movies, I remember collecting toys and figures from both universes and made them fight each other. Good times... Now that I am older and that both Star Wars and the Lord of the Rings is still alive and strong today, my 22-year-old mind is considering a long waited crossover inspired by my childhood hobby of betting the Force against Magic. I figured I’d start by issuing a fic challenge and leave you some information to help you give an idea. Enjoy!

I always became fascinated with The Rings of Power of the Lord of the Rings and their functions and thought of what they might become of in the Star Wars universe? Well, I’ll be going over the functions of the Rings and who would be best paired with it in a bit but for now, let's get right into an interesting parallel between Star Wars and Lord of the Rings.

Both Darth Sidious (Star Wars) 

and Sauron (Lord of the Rings)

Are very similar when it comes to their intentions; Power. How they both achieve their rise to power is very similar as well.

Darth Sidious the Dark Lord of the Sith, and Sauron the self-proclaimed Dark Lord of Mordor, both were immensely strong in the dark arts and have used alter-egos to bring intentions of peace and order to their realms by taking forms of sensitive and wise people to manipulate events that led to tyranny.

Sidious took the persona of Sheev Palpatine, a wise and sensitive senator from Naboo who became Chancellor with promises to restore democracy during the Clone Wars.

Sauron took the persona and guise of his Fair form as Annatar the Lord of Gifts, a beautiful, wise, and sensitive Elf who claimed to bring the Elven realms knowledge of jewelsmithing and craftsmanship.

We all know Sidious (as Palpatine) manipulated galactic events that led to the formation of the Galactic Empire and puts an end to a thousand year democracy and returned Sith dominance to the galaxy. 

How Sauron (as Annatar) manipulated the Elves was scarily familiar.

The Rings of Power & Who in Star Wars is best to pair with them.

In Lord of the Rings, there are a total of 20 rings of great power (21 if you count Shadow of War)

"Three Rings for the Elven-kings under the sky, Seven for the Dwarf-lords in their halls of stone, Nine for Mortal Men doomed to die, One for the Dark Lord on his dark throne In the Land of Mordor where the Shadows lie. One Ring to rule them all, One Ring to find them, One Ring to bring them all and in the darkness bind them In the Land of Mordor where the Shadows lie." —J.R.R. Tolkien's epigraph to The Lord of the Rings

In Tolkein’s world, The Nineteen Rings of Power were created to help Elven kings and queens of Middle-Earth govern their lands and would grant their wearers special powers such as the ability to grant agelessness and invisibility. Each Ring would also augment the wearer's senses and unique talents in magic, combat, or even greatly augment a naturally strong sense.

However, the Sixteen rings that were forged under Sauron's supervision, including the One Ring, had grave consequences to the wearers; as the rings gave the wearers a continuous lust for power and greed. The Sixteen did not grant true immunity to aging but allowed them to simply continue until they could no longer endure. The power to turn invisible on command with these rings (not counting the One Ring as you turn invisible regardless once placing it on your finger) simply transfers them to the Wraith World, a realm unseen to the mortal eye where spirits of the damned were forced to roam, if the wearer spent too long in the Wraith World, over time they will become a wraith themselves.

Sauron intended to use these Rings to dominate the remaining Elves of Middle-earth.

However, the moment Sauron put the One Ring on his finger, the Elves became aware of Sauron's intentions and took off their rings, preventing Sauron from dominating them.

In his fury at the turn of events, Sauron attacked the Elves, demanding that they hand over all the rings. Sauron managed to retrieve sixteen of the Rings, which he gave to mortals (seven were given to Dwarves, nine were given to Men).

The Elves managed to hide the remaining three rings, which were the greatest of the nineteen Rings that were forged.

The Three were crafted for the sole purpose of the betterment of Middle-Earth, as the Three were created without Sauron's aid, however, the Three were as dangerous as the rest because of their dependability on the One Ring and could easily do great evil as well as good if fallen into Sauron’s control. The Three had similar abilities as the Sixteen, however, did not possess consequences as their brethren as the Three were intended by Celebrimbor to be the purest and greatest out of the Nineteen Rings of Power to recreate the bliss of Valinor, where nothing withered or died. Each of the Three Rings had special properties, but their powers were limited. The Three Rings allegedly granted their wearers true longevity, however, the Elves already have a natural affinity for eternal life and the Three never left the hands of the Elves with exception of Gandalf, as he did possess one of the Three, however, Gandalf was not a mere mortal man but a Maiar who were also immortal beings. The Three’s abilities were instilling hope, preserve, to heal, and to shield others from evil. The Three did not grant their wearers to become invisible, however, only make the rings themselves invisible to the mortal eye to protect their existences. These rings did not possess an offensive capability, except Vilya as it was known to have some elemental control, however, were only made to heal and preserve.

The Three were the only rings out of the Nineteen to be given their own names.

Narya, also named the Ring of Fire or Red Ring was a gold ring adorned with a red ruby. Described as having the power to inspire others to resist tyranny, domination, and despair (in other words, evoking hope from others around the wielder), as well as giving resistance to the weariness of time. I believe the right owner of Narya in Star Wars would definitely be Leia Organa and also to never let Carry Fisher’s memory be lost to time.

Nenya, also named as the Ring of Adamant, the White Ring and the Ring of Water is described as being made of mithril and set with a "white stone", a diamond. Nenya's power was preservation, protection, and concealment from evil. I guess the rightful owner of this ring will be Padme Amidala because she is a very determined person, queen, and senator not tempted by evil regardless of her love for Anakin when he asked her to join him. She was also the only thing that preserved Anakin in Darth Vader and saw the good in him. Nenya is then buried with her after her death to preserve the beauty and stability of Naboo during the Imperial Era. Rey is also a suitable choice for Nenya as an inheritor of the ring regarding her character development and relationship with Ben Solo. Because freaking Reylo is the reverse Anidala. Duh!

Vilya, the Ring of Air, Blue Ring, the Dominant Ring, or Ring of Sapphire is the greatest of the Three Rings. The exact power of Vilya is not mentioned. It is reasonable to speculate that it also possesses the power to heal and to preserve. The ring can possibly possess the power to see the future. Vilya's main use was to create a realm where the Elves could be at peace. The wielder could use the ring to set an enchantment on a chosen location, preserving all living things within the region. With this boundary spell, it is possible that Vilya granted the user to control minor elements other than Air. Though it is stated that Vilya can cure any ailment or wound. I’d say the greatest out of the Three will go to Yoda and passed over to Luke Skywalker after Yoda’s death. Luke used Vilya to preserve the Force Tree on Alch-To and Yoda may still have influence over Vilya as he used it to summon lightning to set the Force Tree ablaze. After Luke’s life in the living world came to an end, Vilya remained on Alch-To upon the stone where Luke had sat. The Caretakers of the island declared the stone a shrine to Vilya where it still remained unclaimed to a new bearer.

The Seven were presented to the Dwarven Lords by Sauron as a means to dominate the mortal realm after his failure to dominate the Elves. The Dwarves were proven to also be failures to indoctrination because of the Dwarves’ natural hardiness to mental manipulations and magic, so much even the invisibility and the enhancements to their traits ceased to work on them. However, the Dwarven Lords did succumb to the lust for greed that accumulated into mountains of wealth that led to their downfall as four of the rings were either consumed or destroyed by dragons who lay hibernating in the massive mounds of gold while Sauron took back the remaining two and was never placed on a mortal or Elven finger again. 

It is my speculation that some people who have a strong willpower and mental capacity can resist the effects of the Rings that turns them into Sauron’s slaves like (SPOILER) Talion in Shadow of War when he placed one of the Nine rings on his finger.

So I guess if I had to choose who would be better to wield some of the Seven in Star Wars (without them becoming wraiths) I would say the characters that are on the side of money such as Bounty Hunters or Pirates. Characters I feel could be mentally strong enough to counteract the lethal side effect and mind control of the Seven much like the Dwarves did in LOTR, I would pick Boba Fett, Bossk, Dengar, Jabba the Hutt, D.J, and Hondo Ohnaka. (D.J. already has a ring just like the one above. Scary, right? I also like the idea of D.J’s ring starting to take effect on him given his stutter.)

The Nine were infamously known when they were gifted to the race of men who above all others desired power that matched Sauron the Deceiver. Each ring granted them extraordinary power and abilities as well as the power to cheat death and be granted immortality, for a price of their own humanity. As a result, these nine great kings of men fell into darkness one by one, becoming slaves to the Dark Lord’s will and became the Nazgûl. Damned into being ringwraiths neither living nor dead and being led by the infamous Witch-King of Angmar who was the darkest of them all.

I think the obvious choices in Star Wars would be 

and Finally...

The Knights of Ren, the new line of the Nine Nazgûl following the rediscovery of seven surviving Nine Rings of Power by the Supreme Lader Snoke. Kylo Ren out of all of them will display the focal point between the Light and the Dark as he struggles with the power of the Ring once belonging to Darth Vader that has a strong hold over him. 

Kylo would be represented as Talion from Shadow of Mordor/War when SPOILER ALERT: Talion takes a Nazgûl’s ring and uses the powers of a Ringwraith against Sauron after Celebrimbor betrays him.

The One Ring, also known as the Ruling Ring, the Master Ring, the Ring of Power, and Isildur's Bane. Sauron’s greatest prize is a simple gold band when exposed to heat shows a hidden inscription: “One ring to rule them all, One ring to find them, One ring to bring them all and in the darkness bind them.” The ring was created by Sauron in the fires of Sammath Naur and with the aid of Celebrimbor, perfected the One by masking its power and giving it a will of its own. But creating the ring simultaneously strengthened and weakened Sauron's power. 

On the one hand, as long as Sauron had the ring, he could control the power of all other Rings of Power, and thus he was significantly more powerful. On the other hand, by binding his power within the Ring, Sauron became dependent on it. Without it his power was significantly diminished. In the hands of Sauron or Celebrimbor, they could dominate the minds of Orcs and build massive armies. But the ring only answers to Sauron and is forever bound to him, mortals who hold the ring is automatically grown attached to it and will try to sway them back to its master and given several side effects from agelessness and being able to understand black speech.

The most obvious choice to wear this ring would be Snoke but as it’s true master and creator while Sidious came in possetion of it since his apprenticeship under Plagueis and was lost once more after the destruction of the Death Star II until it found its way across the stars and landed on a distant planet where it was rediscovered by the creature Gollum. (Andy Serkis was Gollum... go figure.)

Last but not least!

The New Ring, designed for one thing; War. This new Ring of Power was fashioned in Sammath Naur from the same fires from once the One Ring was forged from. Celebrimbor allied with Talion to forge a ring free from Sauron’s influence and contained every bit of power it’s bretheren contained making it a tool for evil as it was for good. Unlike it’s brother, the New Ring was bound to no man nor entity, only forged from darkness for the light to meet it upon the finger of anyone willing to become the Bright Lord of Mordor. With this new ring, the wearer can dominate the minds of lesser beings such as Orcs and tame the wild, if their will is strong enough could dominate the minds of mortals. The ring allowed the wearer to cheat death, grant longevity, and grant acess to the Wraith World but did not grant invisibility.

The ring was a obsidian or steel band with blue inscriptions: “I renounced the Blessed realm, To redeem the Land of Shadow, And bind the walls of Arda. In place of the Dark Lord, You shall have light undeminished. All shall fear me and dispair.”

The appropriate choice for this ring would obviously be the new Supreme Leader of the First Order. When Kylo Ren could not turn to the light but does not stop him from weilding it to shape the galaxy in his image not as the new Dark Lord but a Bright Lord.

So what do you guys think about that? That intriguing enough for yall? It is something to play around with obviously and this was something I had to get off my chest. If you like the idea of a crossover then I openly suggest you go for it. Happy writting!