#obi-wan is a massively popular character. do you know how powerful it would be to have a character at that scale be recognized as aspec??

[gffa]

Do you have any Sith!Obi-Wan fics you can recommend? 🙏

Hi! You can do a search for Sith Obi-Wan in my bookmarks which brings up several or you can start with the novel-length ones that still live rent-free in my head even years after I've read them: Equinox by lilyconrad, obi-wan/anakin, NSFW, 95.9k During the Clone Wars, Obi-Wan and Anakin crash on a remote planet and take shelter in the ruins of a grand estate only to find they are not alone. This fic was written for me, so I'm biased, but it's genuinely my favorite for the trope because Lily put all this thought into the undercurrents going on between the characters, because it gives such care about why any version of Obi-Wan would fall to the dark and what he would be like, because each chapter had moments of foreshadowing and care given to lush, beautiful descriptions and the creeping dread of the place. It's a gorgeous fic and I think even if someone doesn't usually like Sith versions of the characters, the way this one does it (created reflections, not that our characters are falling, so it's scratching the itch of how it's an extension of our characters, but our characters are not on that exact path), I would gently suggest this one.

Lex Talionis by intermundia, obi-wan/anakin & cast, NSFW, 187.1k Or, how Obi-Wan and Anakin fell to the dark side, obtained their revenge, and saved the galaxy in the process. My other favorite Sith Obi-Wan fic, this one is about how these characters fall to the dark, and the author takes his time with how it happens step by step, but also how these massive, galaxy-spanning changes happen, how it's a combination of how sexy the dark side can be but also how awful it can be, how much pain and hurt it can cause. There's so much care and effort put into this story, it spans such a huge story, that it's one of those fics I want to physically print out in special binding because it deserves to be a pretty set on my bookshelf.

wicked thing by imaginarykat, obi-wan/anakin & cast, NSFW, 124.2k the story of how Anakin exists in a perpetual state of intense embarrassment, Kenobi is enjoying it a little too much, and everything is, generally speaking, a gigantic mess. This is an AU where Obi-Wan never trained Anakin and is already a Sith when we meet him, and there's a reason it's one of the most famous fics in the fandom, because it is the most charismatic thing I've just about ever read, the sheer amount of dark side sexy charm coming off Obi-Wan is incredible, the tension between him and Anakin is delicious, and the writing/plotting of the storyline is superb. I could not put this fic down when I read it, there's a reason this fic helped really popularize the trope, because it's just so goddamned addicting and glorious to read.

Soldier, Poet, King by Glare, obi-wan/anakin & cast, NSFW, time travel, 106.4k wip Second chances are very rarely given, but the Force smiles upon two of its favorite children and returns them to a time before their actions have met their consequences. Anakin Skywalker, also known as Darth Vader, seeks redemption while Obi-Wan “Ben” Kenobi, disillusioned with the Jedi Order and its Code, falls to the Darkness. Trapped out of time, Master and Apprentice must once again work together to stop Sideous’ plans from reaching fruition and bring Balance to the Force—all the while dodging the Jedi, the Sith, and their feelings for each other. I think this might even have been the first Sith!Obi-Wan fic that I read and I know it remains dear to me because I reread it a year or two ago and got sucked in just as hard as before. Obi-Wan is dropped back into his younger body, feels like the whole thing is a bunch of bullshit, gets sucked into dark thoughts, and just goes full dark side dom on Anakin and fixing the galaxy through machinations and foreknowledge. It's so fun and it does such great service to Anakin's level of power, that this guy is an absolute dragon in the Force, but that he also very much wants Obi-Wan's hand on the back of his neck to force him to kneel to the one person he loves. Hnngggg, it really cemented me as a fan of this trope because of how well it scratches the sexy dark side dom/sub while they're both badass dynamic, I love it so much.

I'm still making my way through a lot of Star Wars fic, so if anyone has any more recs, feel free to jump in, especially if you have some gen ones, since I mostly read pairing fic for Sith!Obi-Wan (because I'm personally after the sexy dom/sub dynamic with it)!

[i-dreamed-i-had-a-son]

Queer Obi-Wan >>>>>

Fandom acknowledging queer Obi-Wan >>>>>>>>>

Fandom only acknowledging Obi-Wan's bi identity and ignoring the much more strongly indicated aroace identity <<<<<<<<<<<<<<<<<<<<<<<<

[sassysnowperson]

writer's meme - TY to @r0b0tb0y for the tag!

How many works do you have on AO3?

168 - oh man that's more than I'd realized. I passed 150 and didn't even notice!

What’s your total AO3 word count?

1,133,901

So many.

How many fandoms have you written for and what are they?

Since r0b0tb0y and I were just talking about this, I conveniently have a list of all 20 ranked by number of works

134 - Star Wars 7 - Original Works 7 - Marvel 2 - Pirates of The Carribean 2 - The Old Guard 2 - Discworld 1 - Good Omens 1 - Leverage 1 - The Good Place 1 - Avatar: The Last Airbender 1 - Ocean’s 11 1 - Harry Potter 1 - The Goblin Emperor 1 - Gundam Wing 1 - Star Trek: TNG 1 - Hades (Videogame) 1 - Sailor Moon 1 - Russian Doll 1 - Mummy/Wonder Woman crossover

What are your top 5 fics by kudos?

Lol, looking at my top five - it falls into two categories

1. Fics I wrote right at the height of a fandom's popularity that got a massive reader boost because it was the Hot Thing Right Then

2. Star Wars Fix-Its

~

A Series of Better Decisions - A Padme/Obi-Wan/Anakin SW Prequel Trilogy fix-it where Anakin talks to Obi-Wan and spends Revenge of the Sith in a stressed-out bisexual panic instead of becoming a Space Fascist. He winds up fake-poly-dating Obi-Wan to try to bring down Palpatine, and eventually winds up in a better place due to the power of Quitting Your Job and becoming a househusband.

Galactic Response Time - Captain Marvel - an at the time MCU canon-compliant gen fic that ran the universe forward and explained how Carol really TRIED to show up for all those other crises that happened, but it turns out most of the major MCU disasters only lasted like three days and space is real big, y'all. Featuring Nick Fury cathartically bitching with his Space Bestie.

New Lands for the Living - Fix-it where the sequel trilogy ends Even Worse, Poe goes back in time to mercy-kill the timeline, and much to his dismay winds up married to just-before-Original-Trilogy Luke Skywalker. He has an existential crisis about his own existence, meets some competent women, and starts fixing things.

Life's Little Pleasures - The Good Omens fic where I put all my ace feelings, featuring metaphysical bonding and good scotch.

Flustered - Another Padme/Anakin/Obi-Wan SW Prequel Trilogy fix-it, where Order 66 never happens. Anakin gets some therapy and Padme gets a horrible crush on Obi-Wan.

Do you respond to comments, why or why not?

I do! I love getting to talk to people about fics, and I so appreciate people making the effort to comment I want to spend some time with them! It's so much easier not to comment, I know.

What’s the fic you’ve written with the angstiest ending?

Hmmm this is not my normal wheelhouse. I usually go angst that gets resolved by the end. Let me look to see what the options are.

Okay, I think we've got two contendors: In Waystation an exhausted Poe Dameron crash-lands in a station where a Bodhi Rook that lived and then hid now lives with Baze and Chirrut. There is a little epilgue that implies they're going to meet again, but the bulk of the fic does end with Poe making the decision to go back to the Resistance, and leaving Bodhi behind. Still, I think it's more wistful, rather than angsty.

Time Enough for Mourning takes it though, I think. Davits Draven/Antoc Merrick, that is entirely about Draven mourning the fact that Antoc has died. The end is still, I think, more cathartic than angsty, but it is overall probably the strongest "break out the waterworks" of my fics.

Do you write crossovers? If so what is the craziest one you’ve written?

I do occasionally, usually when someone prompts me and I find something in there that makes my brain go!!! I think the strangest is probably The Face Underneath. It's a Cassian Andor/Elim Garak fic where I drag Garak into the Star Wars Universe for a triple drabble series where he is an old mentor of Cassian's.

Have you ever received hate on a fic?

Mmm, not proper hate. Realtalk, the most devastating one for me was when I posted a fic that the only comment was a spelling critique.

And yes, there was a spelling error, but still, very crushing to have that be the only feedback. (It has since found a few readers that said nice things, very healing :D)

Do you write smut? If so what kind?

Yes! Uh - consensual, between adults, often M/M adults, tho I have written explicit femslash, hetfic, and poly piles. It's usually affectionate, often plays with power dynamics even if it doesn't go into full dom/sub.

Have you ever had a fic stolen?

Not that anyone has made me aware of, I've never looked.

Have you ever had a fic translated?

Had a request or two, but never been linked the result - so not sure if it didn't happen or if I just didn't get linked. I welcome it!

I have had several fics podficced, and I LOVE that. What a joy! Making a blanket permission statement that allowed podfic is one of the best decisions I've made as a fic author. Suddenly, Podfic!

Have you ever co-written a fic before?

Once or twice! I like the idea of doing it, but follow-through is hard. Hoping to do some co-writing soon though, so we will see!

What’s your all time favourite ship?

Sorry, unrepentant multi-shipper here. I like possibilities, and finding the story that will bring people together, more than one specific thing.

What’s a WIP that you want to finish but don’t think you ever will?

I don't have ANYTHING I've given up on, but there are a few fics in my unpublished drafts that were beautiful ideas, and really struggled to become contained stories. They all want to be sprawling things, and I have not felt sprawling-thing-writing passionate about those ideas. But, you never know! Inspiration may strike.

What are your writing strengths?

I'd say character voice, along with that, dialogue. Also humor moments that still have real weight and don't undercut the story, as well as straight comedy writing.

What are your writing weaknesses?

You see, I, uh, do this thing where I don't really end a sentence - I think about ending it, I even assume, at some point while I'm writing that I have ended it; I have not and it meanders, persistently, until I have constructed a whole paragraph made out of one chain of words and a hodgepodge of punctuation.

Also the thing where I accidentally use an unusual word five times in one paragraph because my brain has grabbed onto it like an excited puppy and keeps offering it up as the Perfect Word.

What are your thoughts on writing dialogue in other languages in a fic?

I love having multilingual characters. When writing, I tend to keep all the words in English and use dialogue tags to denote language shift - unless I am inventing the language, or have a speaker of that language willing to beta the bits to make sure I don't mess them up too badly.

What was the first fandom you wrote for?

Actually wrote and posted? Rogue One.

Fandom of my heart my younger self spun out stories in my imagination about? Where if I had my own computer and easy access to a fic archive they almost certainly would have become spectacularly earnest fics?

ReBoot and Sailor Moon. The Sailor Moon was an AU that took place on the sun and they all had kick-ass horses. Baby Sass knew what was up.

What’s your favourite fic you’ve written?

Nope, sorry, can't pick, love them all in different ways for different reasons.

Tagging: @semisweetshadow, @anamelesstraveler, @jules-of-the-crown - and generally if you follow me and want to do it, do so and tag me in it!

[smokeybrand]

The Force Was Already Female

Lost in all of this rhetoric about Hidalgo razzing Star Wars Theory for crying tears of joy after seeing Luke in Mando and the civil war for the soul of Star Wars at Lucasfilm between Favreau and Kennedy, is the fact that Mando literally discredited the huge reason given for why people disliked the sequels. If you recall, the rallying cry was that the fans were cellar-dwelling neckbeards who hate women. Kennedy and her cohorts literally attacked the fans, calling them sexist, misogynist, incels. She showed up, injected her bullsh*t gender politics into the franchise, discredited every male in the franchise, even the ones she had created, and declared the Force is female. That sh*t i wild to me because the forces has always been female and Mando proved it.

This last season, we saw Bo-Katan Kryze, Cara Dune, Fennec Shand, and Ahsoka Tano. Each of these characters had highlight episodes. Bo-Katan and Cara Dune played an integral part in the entire show, both of which had two episodes to shine. Fennec Shand only got the one, i think, but she got to share the screen with Boba f*cking Fett, becoming his right hand for hi solo series, The Book of Boba Fett. and don’t get me started on my girl, Ahsoka. Her episode was the best in the season for me. I adore Ahsoka and she was portrayed perfectly by Rosario Dawson. I wrote a whole ass essay about that so I'm not going to get into it here, but Tano is slated for her own series as well, probably chasing after another Legends heavyweight, Thrawn. These women all showed up, wrecked sh*t, stole scenes, made dreams come true, and never once did anyone in the fandom object. Full on support for all of them, even the more politically problematic actress who plays Dune, Gina Carano.

The force is, indeed, female and no one has a problem with it. No one ever had a problem with it. Let’s not forget that, along with Sigourney Weaver’s Ellen Ripley and Linda Hamilton’s Sarah Connor, Carrie Fisher’s Leia Organa is considered one of the classic Eighties examples of female bad-assery. Indeed, she was the first to make it to the big screen and, more than likely, influenced the other two to some extent. Leia stayed in those trenches. She has a body count. She chose to be captured in order to end R2 to Obi-Wan. Leia was dope and every bit as capable as her brother and eventual husband, which makes sense because her mom was hardbody as f*ck, too. Padme Amidala as the queen of a whole ass planet at the tender age of fourteen, man. She ruled over Naboo and was a f*cking Galactic Senate rock star, all before the age of twenty. Padme has a body count, too, fighting side-by-side with during the opening battle of the Clone Wars on Geonosis. This is after she lead a straight up stealth mission to retake her throne from the occupying Trade Federation when she was, again, f*cking fourteen. And these are just the accepted canon women. There is a whole ass smorgasbord of Legends females who the fandom absolutely love.

Mara Jade Skywalker. Darth Talon. Bastila Shan. Darth Traya. Jaina Solo. These are just the few off the top of my head. Mara Jade was a massive favorite and the fandom wanted to see her in the sequels more than anything. Darth Talon is so popular that George Lucas wanted to install the character in HIS sequel trilogy as Vader to Maul’s Palpatine. These re facts. This is the reality of the fandom No one who loves Star Wars hates women. We hate underdeveloped, over-powered, Mary Sue ass, “characters.” We hate having all of these great worlds and heroes and lore people had spent decades carving out, thrown away with prejudice, just because the Ego-in-Charge literally hates the thing she was installed to protect from the very thing she did to it. Kennedy lied to Lucas in order to position herself as the executioner of everything Star Wars stands for and spam it with all of the sh*t ideas she had for the franchise. She spent her entire tenure as the Lucasfilm president, sabotaging and handicapping in an effort to bolster her own OCs when, in all reality, all she had to do is write good characters and none of this would have been a thing.

Rey Palpatine isn’t a bad character in concept. I’ve written at length about how to fix Rey and it looks like Favreau’s is going to do just that but retconning her as a Kenobi somehow. I still think she needs to be a Skywalker, but that’s neither here nor there. If Rey was written better in the beginning, none of this would have to be a thing and, according to everyone in the know, from all of these leaks, she was. Rey was, very obviously, intended to be Luke’s daughter. The fact that she could do all the stuff in Awakens was because Luke was using her as a conduit to effectively reach out into the universe from Ahch-To. That’s why when she showed up and presented him with her grandfather’s lightsaber, Luke looked so forlorn. He would begrudgingly train her during most of Episode VIII culminating in a knock down, drag out, brawl between he, Rey, and Ahsoka Tano between Kylo and his Knights of Ren. Ahsoka would take Rey and flee, leaving Luke to be killed, becoming a Force Ghost and haunting his nephew for Trevorrow’s Episode IX. That was the treatment Abrams wrote up for the entirety of the sequels. That was the plan. That’s what was supposed to happen before Kennedy f*cked it all up.

That version of Rey made sense. She felt earned. She felt like a Skywalker. The actual version of Rey we got? Rey f*cking Palpatine? That was a direct attack on the fans. To have The Galactic Emperor, strongest Sith Lord to date, triumph over the very line created specifically to destroy him by installing his seed, his lineage, as usurper of the Skywalker name, was a calculated, cruel, middle finger to everyone who loves this franchise. Not only that, but it was a straight up disservice to Daisy Ridley, who signed for something completely different than what she was eventually forced to perform. Rey Skywalker had so much potential and we as fans would have loved her. I’ve never heard one person who enjoys Star Wars say anything bad about these leaks on the original Sequel road map None of us would have objected to Rey Skywalker. By Episode IX, she’d have earned the level of strength she displayed at the end of VII. Instead, we got Rey Palpatine, the bestest evar! An OC of someone who hates Star Wars with an unearned and absurd amount of power. That’s what fans hated and we are right to do so. Rey Palpatine represents everything wrong with the Kennedy Star Wars. The force is, absolutely, female. It has been for years. We just want better females and Mando delivered that in spades this last season. Favreau showed us the way.

[clairen45]

Luke Skywalker: Biblical Hero?

While reviewing the photographs from TROS published in Vanity Fair, I stopped on the one featuring Luke with R2D2.

At first glance, I honestly thought it was teasing about finally getting the true story behind the infamous Jedi Temple massacre, that one fatal night that tipped the scale into the birth of Kylo Ren. But as was kindly reminded to me by @tricaurelie, nope, because this is “old Luke”, the one that Rey got to meet on Ahch-To. The picture can sure be misleading as it reprises key elements from the Jedi Temple massacre, mostly R2 and fire. And the planet where Luke decided to establish his temple does exhibit some traces of vegetation, as seen here:

But, nope, this shot is not supposed to be about a flashback that finally tells us all about what and how it all went down, something that is important about the premices of Kylo Ren. Even though, you could very well imagine Force Ghost Luke (in his old form as recorded) coming to tell the story all over again. I don’t really believe in that theory as I enounce it. It’s possible, but meh... How Luke will play out, and this particular scene, who knows, but still, I want to come back to the way Luke is portrayed here and the symbolism behind it. This is very obviously a Moses display. The bearded patriarch. The burning bush. Alright. Let’s pause. Come to think of it, there is more than one biblical figure that can be related to Luke Skywalker.

Some Luke’s superfans would vehemently argue the case for Luke as a Christ figure. Savior. Super powers. The son. The Force is with him... And maybe the EU pushed forward this notion of superhuman, godlike Luke Skywalker. Though, let’s be honest, the only one clearly designed to look like people’s most popular mental picture of what JC may look like is obviously young Obi Wan. Like come on. To the point that you find countless stories and memes of Obi Wan honestly mistaken by people for Jesus. Obi Wan, you will always be the one and only Space Jesus! For real.

Fun fact is the same people who will shout that TLJ was #notmyLuke! should ironically rejoice in the fact that, in a way, Luke achieved some Christlike dimension by sacrificing himself to “atone” for others’ sins and redeem the lost sheep, aka Kylo. And when I say atone for others’ sins, no, this is not solely for Kylo Ren’s sake. He says it very clearly when he tells Rey about the Jedi:

the legacy of the Jedi is failure. Hypocrisy. Hubris. At the height of their power they allowed Darth Sidious to rise, create the Empire, and wipe them out. It was a Jedi Master who was responsible for the training and creation of Darth Vader.

He is atoning, through his penance and death, not only for his own hubris and failures (his pride in the mighty Skywalker blood), not only for the sins of his father, but also for the sins of thousands of generations of Jedi teaching, that eventually failed. That’s a pretty big plate. Yet, I don’t think this is completely fair to see Luke as just straight Christlike figure. There are lots of other major biblical figures that ring truer to his personal arc, such as:

1.DAVID

As in David and Goliath. Why? obviously the shepherd/farmboy that gets to be God/The Force’s agent against an enemy so massive that the fight initially seems like a joke, and who eventually delivers the lucky strike that takes the enemy down.

Bonus point: the severed head from Goliath is evoked in ESB when Luke cuts off Vader’s head...

Also David is a key figure into the lineage that brings forth the Messiah, as exemplified through the symbolic of the tree of Jesse. Out of the house of David, a Savior is supposed to come that will usher in a new kingdom. Hence why it was paramount in the New Testament to have Jesus Christ being a descendant of David to establish his legitimacy as the Messiah.

In SW, the “mighty Skywalker blood” is also supposed to create a chosen one who will bring balance back into the Force. A prophecy that was at the core of the second draft script for ANH, in the piece that Lucas referred to as The Journal of the Whills: “ …And in the time of greatest despair, there shall come a savior, and he shall be known as THE SON OF THE SUNS."  If Lucas had clearly originally thought that Luke could be this one (binary sunset, the son), the OT does not totally play that out. It was even totally dropped out of the storyline. Luke is not Obi Wan and Yoda’s “only hope” after all... and there was no reference whatsoever to a prophecy, or a savior, in the OT. Though, of course, Lucas decided to come back to his initial idea in the PT, with the prophecy becoming the leitmotiv of Anakin’s rise to the status of Jedi and eventual demise into Lord of the Sith. Remains in the ST the mighty Skywalker blood and lineage, with Kylo at the seeming end of the line... (seeming because, eventually, more babies will be on the way). Thus the title, The Rise of Skywalker, could not be more clear, like the tree of Jesse rising high into the sky to bring forth a savior...

2.ST LUKE

Easy one. Don’t think names have no meaning, they do. And writers pick out names for their characters for very good reasons, though not always totally conscious. Case in point, Luke. Lucas may have been drawn to the moniker for obvious homophonic reasons: Luke/Lucas. Luke means light. Sure, son/sun, binary suns, only hope, yadi yada. Comes the ST. Very clever thing happens. St Luke becomes handy. As one of the Evangelist, he is thus entrusted with “recording” precious testimonies about Jesus’s life and God’s message to mankind. Cool thing for old Luke is that he plays the same role, kind of. He is the custodian of the Jedi teaching. He is the last custodian of their legacy. He is also very literally custodian of books. And also, as I pointed out many times in my metas, like this one, the way Kylo Ren is always portrayed as a bull, well, guess what animal is symbolic of St Luke’s? Would you? Right!

3.ABRAHAM

Note that Luke did not end up in an inverted scenario where he could have been Isaac to Vader’s Abraham if Satan, instead of God, had demanded the head of Abraham’s son. Palpatine did not specifically request the death of Luke. It was never expected of Vader. The Emperor wanted to have Luke and possibly turn him. No sacrifice was required. And when Luke refused to bow down, Palpatine did not ask of Vader to put him down. He just took matters into his own hand.

In the ST, though, the way we get to see Luke’s temptation to kill sleepy Kylo is very evocative of Abraham raising his knife to strike down his son.

Debating the will of the Force over Kylo’s dreams was pretty much akin to Abraham listening to God’s voice putting him to the test... With more dramatic consequences in Luke’s case...

4.MOSES

Ok, so that’s the first one I mentioned when bringing up that VF photoshoot. Moses is a good one for Luke. The burning bush is obviously a symbolic they had fun with on TLJ with the whole burning of the Jedi library tree, with Yoda playing the voice that talks Luke back into reason and send him onto completing his mission.

Moses is mostly about guiding people to a better world that you will never reach. Thus, in SW lingo, balance of the Force. Peace to the galaxy. Happy end in IX, right? You betcha!

5.ST JOHN OF PATMOS

That one is a great one. St John is the famed author of the Book of Revelation, the final book of the New Testament, and thus, one could say, the last apostle (wink wink). The Book of Revelation is of course better known as the book of the Apocalypse, which is not only about the myriads of horrible things likely to shower upon mankind and the world (like, the end of the world) but also about the promise of a new world ushered in, the new coming of Christ and a new Heaven and Earth coming to replace our current ones. No more suffering and death. And no more sin. Interesting piece of information about this revelation is that it came to St John on the island of Patmos where he was sent into exile....

Ummmm.... Exile on an island? Where have I ever seen that? I also love the way that St John is always represented with a bird...

And that, in fine, the Luke we get at the end of TLJ, is about to deliver a prophecy of sorts: “The Rebellion is reborn today, the war is just beginning and I will not be the last Jedi.” One that is about death and destruction (war is beginning) but also mostly about hope. Luke,the prophet, is also the first voice we hear in the teaser for episode IX. One that is very much about hope. And also very much reminiscent of the tree of Jesse:

A thousand generations live in you now. But this is your fight 

Mind you then who the son of suns is at this point...

[a-travels]

taken: 22 dec, 2019 AMC 34th Street 14, Manhattan, NY

this is where the fun begins

Yes, I’m going to do a review of the new Star Wars movie. 

Personally, I hate reading a review and reading endless fluff to hear their thoughts on a movie. So upfront, I did not like this movie at all, perhaps not entirely evidenced by the jubilant nature of this picture, but my views, nonetheless. If you want to stop reading, then by all means please do. This is unsurprisingly my longest post to date, and probably will be for some time so I don’t blame you if you don’t want to read through the text equivalent of a grown man crying.

I don’t know if I represent the classic Star Wars fan or not, but I think it makes more sense to hear my review with some context of my relationship with this franchise. 

Perhaps contrary to popular belief, I did not grow up a Star Wars kid. I was certainly aware of the franchise and knew the famous aspects of it. I knew about Darth Vader and lightsabers, I knew about the “I am your father” moment and the Force. I saw Episode III in theatres in 2005 and remember the Anakin and Obi-wan fight, but was asleep for most of the movie. Since then I had somehow seen all of the 6 movies and knew the basic story of the movies, but never had any deep interest in the lore like I do now. My story with Star Wars began in high school, watching the Clone Wars television show. I won’t bore you with how much I loved that show, but it really exposed me to the vastness of the galaxy, the deep emotional storytelling that Star Wars really built its core fanbase on. I found myself connecting to the characters and really encouraged the inner fanboy to latch on to every minuscule detail of the lore and finding the connections to the movies. Needless to say, it was what really awakened (no pun intended) my passion for this franchise and really recontextualized the prequels and original trilogy for me in a new and exciting way. I think it all culminated in this perfect storm before 2015 before The Force Awakens (TFA) came out in 2015 and with general fan fervor at an all-time high. It was a good time to be a Star Wars fan. 

Episode VII hits and fans are generally happy. It wasn’t perfect mind you, it felt like a retread, some iffy story points, but overall very satisfying and for many a return to “feeling like Star Wars”, which for many was distinctly absent from the prequels because it was so different. Rogue One was also positively received as well in 2016. I happen to like both of these movies as well. 

And then 2017 hits with Episode VIII, The Last Jedi. 

I won’t ramble too much about this movie, because I know this is something that divides a lot of people. I think most people in my sphere did actually enjoy this movie. It’s not a perfect movie, and I think everyone (including supporters like myself) would admit that. But for me, this movie recaptured that spark of surprise and wonder that really made me fall in love with this franchise to begin with. By all means, this is an unconventional Star Wars movie: the original hero (Luke) is a jaded cynical man, the whole B-plot is the world's slowest chase sequence, and plot-wise, very little actually happens. I think where this movie really sings was in its attempt to really focus on character and bring something new to Star Wars. It asked questions about the power structure of Star Wars, namely the force, and had you question its workings, matching the cynicism of Luke, but in turn making your conviction in it that much stronger, just like what happened with Luke and when he comes back and has that incredible Kurosawa-esque fight with Kylo on Crait. I think a lot of people who think of this franchise, fans especially, have such a fixed idea of what this movie and franchise should be, that anything that seems to deviate or challenge that can seem honestly jarring in some ways. It’s why the Holiday Special is reviled because coming right off the original movie, people didn’t still have that sense of what made Star Wars, Star Wars; but when people saw it, they knew that wasn’t it. It’s why people hated the prequels (at first) because rather than seeing a hero’s journey, good versus evil and more, you got clunky dialogue, droll politics, seemingly-idiotic and childish characters, and wooden acting. For all the wrong the prequels did, and the criticism it (rightfully) deserved, the prequels had a story to tell and told us something new (albeit in a largely ham-fisted way). Keep the prequels in mind because I’ll be touching back on it.

I’m going to be upfront, I’m writing this bit now almost two months after I started this post and saw the movie. All the stuff above this was from then, but I’ve really just taken a break to just let my thoughts congeal more on this movie because I was just in a bit of shock coming out of it. To be honest, I still can’t tell you my thoughts on this movie are fully formed, but I do think I’m finally ready to express my thoughts on this movie in some sort of coherent manner.

If it isn’t obvious, my review is obviously going to be colored by my view of this franchise. You are entitled to your own view on this franchise and view on this movie. Also, I have tried to link the deeper lore information with articles in this review. The links are the underlined words so feel free to check them out. Anyways, here we go.

So, I didn’t like the movie then; but having thought about now for two months, this film just makes me angrier and sadder with every passing thought. For me, this movie is not only a betrayal of the past two movies which I enjoyed but honestly a betrayal of the whole franchise which I love so much. There was an excellent video I just watched and I think it accurately sums up my views on this movie quite well. But this movie for me can be summed up in four words: unearned, unsatisfying, wasted potential. I think it makes the most sense to unpack this movie with those four words because, to be honest, I could go on for hours on this movie, and I think any of you who know me, know I could, but still probably will.

Unearned. 

This movie touts itself as an ending, holding all the answers to the questions we started off with from VII, and arguably, from I-VI. I was nervous when it was announced that the king of the mystery box, the notorious reviver and rebooter of franchises, J.J. Abrams, was tasked to not only write an ending but answer all these questions, many of which he set up. Seeing the ire he caused in the Star Trek community after Star Trek: Into Darkness, I can’t say I was all too shocked to see that these answers (among the few we actually got) unfolded in ways that made little to no sense with the story we were set up with. 

Let’s start off with the big one, (oh yeah also this post is going to be spoilerific. I’d say don’t read if you haven’t seen it, but frankly I don’t care if you just read this, don’t see it and just save yourself the time) Rey Palpatine, or Rey Skywalker?? Yeah, I have problems with both in massive, massive ways. But let’s tackle these one by one. Rey is our hero of this trilogy, a character we are introduced to, who we are told and who herself thinks is nobody, is whisked away on this journey on a story much bigger than her. Nothing new here, this is just Luke as a girl so far. Episode VII goes out of its way to seed us with this one big question: who is Rey? Our extensive Wookiepedia-esque knowledge of Star Wars dictates to us that, based on precedent, if she is the main character, she has to be someone we know. Anakin was our prequel protagonist and was related to Luke, maybe she’s related to Luke? That was what we wanted to know going out of VII and into VIII. So what do we see in Episode VIII? Rey struggles with trying to figure out who she is, “trying to find her place” and even dabbles with the dark side of the force in her “limited” training to try to uncover who she is. And what was the answer: she’s no one. A shock to the system. Impossible! How can this be? A protagonist this powerful is a nobody? She’s too overpowered! No force user with that little training could be that strong. But is it really that shocking? The Skywalkers started off as a family of nobodies. Shmi was a slave. Anakin was a child without a father, albeit with some freaky immaculate conception circumstances, but in all other senses, unremarkable and inconspicuous. The same could be said about Rey. And honestly, was it really all that surprising? The trailer we saw at Star Wars Celebration 2015 literally starts off with Maz asking Rey “Who are you?” and her replying “I’m no one.” I know a bunch of people were not so happy with Rey already being so force-sensitive and powerful, essentially being a “Mary Sue” character despite having no important lineage or bloodline. But to me, the democratization of the force was something that really intrigued me and seemed to set the stage for a new era of Star Wars, maybe with a new set of movies based on Rey’s lineage, the Rey Saga or something. This was an idea we saw with broom boy at the end of VIII, which fits with what we already know about the galaxy, that everyone is born with the force but some kids are force-sensitive, and that he could be among the next generation of “Jedi” or force users. And then IX comes and tells us, nope it was just Palpatine’s granddaughter. Where was that evidence (and do not point me to that fan theory video where some guy on YouTube who says that)? Where in any of the prior movies did we get any remote inkling of Rey’s connection at all to Palpatine? Hell, where was the hint that Palpatine was remotely involved with any of the scheming going on in VII and VIII? Even in the prequels, we got hints that Anakin would turn to evil (fear leads to anger, anger leads to hate, hate leads to suffering). Well I can tell you having scrutinized those prior two films myself, there was never any seeds of Palpatine’s presence. It was something just brought in because “OOO a name I recognize of a powerful force user.” How that happened, what that means for the story beats of her being no one in those other two movies, “Eh, just don’t worry about those, this is how it is”. Unearned. And oh boy, Rey Skywalker. Let’s talk about this in the context of Episode IX logic, apart from the logic I already presented, that the prior movies very clearly seem to imply Rey is a nobody. Episode IX is a movie about Rey ultimately discovering who she is, and how when she finds out her lineage, how she eschews her “nature” and stands for good and righteousness in the galaxy because she isn’t defined by a name or bloodline. Even beyond that, we’re told she’s nobody because her parents “chose to be nobodies” and didn’t want to be defined by the name of the reviled megalomaniac of the galaxy. Great! So, wouldn’t it be interesting to see our character find strength in herself and set aside the dumb importance of name and legacy (letting the past die ����) and honor her parents by choosing to be nobody herself? She buries Luke’s and Leia’s lightsabers on Tatooine (a planet that Luke hated by the way and Leia was on for maybe a few hours or days as a slave to a fat, gross, giant slug in a metal bikini and has no attachment to, a planet with no significance to Rey either) and is somehow asked randomly by this traveler “who are you”, who isn’t satisfied when she gives her name as “Rey”. Forgive me for being nit-picky here, but how weird is it to force a conversation to ask someone their last name randomly, especially when there are TONS of creatures in the galaxy with one-name names. Somehow, a vision of Luke and Leia is enough to convince her she is now a Skywalker, because....force ghosts, Tatooine, Twin Suns, Binary Sunset music, nostalgia-porn. Where in the hell does it make any sense that she adopts the name of Skywalker? How? Because it doesn’t make sense, because it is unearned. Nothing about her “choosing” to be a Skywalker jives with the internal logic this movie sets out, much less the logical flow of the prior eight movies as a whole.

What about Reylo. Oh boy. This is something I know a select few of my friends actually liked. Yes, I concede there was some sexual tension between Rey and Kylo in Episode VIII, but I do not think they were setting them up to be a thing. Kylo is a character who murdered his own father in cold blood, and then murdered his own master (Snoke). This entire time, we are led to believe Snoke is manipulating Kylo and his conflict isn’t given room to settle because its forced one way over the other. Now, Snoke is dead and Kylo is relinquished of this external force telling him what to do, and he still chose to be evil and rule the galaxy, despite Rey’s pleas to join her on the light. Any and all hope to redeem him in my eyes, vanished in that moment. Yes, Anakin fell to the dark side and did some terrible things, but he never was irredeemable because there was someone above him pulling the strings and orchestrating it all. This is a key story structure that makes us as an audience believe that is because of how our villains were set up. In these movies, you have your big bad villain, and then your sub-villain. The sub-villain is usually redeemable but is often dispensable, while the big bad villain is simply the embodiment of evil and can only be destroyed, not redeemed. The sub-villain is sympathetic because you get the sense they are being manipulated or played like a puppet, always leaving room to be redeemed or free themselves, if they can be free of those shackles. That is the nature of the relationship between Palpatine and Darth Vader, and that was the nature of the relationship between Snoke and Kylo Ren. The difference now is Kylo kills Snoke in VIII instead of IX and has now an entire other movie to live with the consequences. He is free of those shackles, and yet he still chooses to be evil. Rey’s connection through “force-time” was her connection to Kylo and her attempt to turn him. She literally leaves her training with Luke because she believes that, only to find Kylo betray her faith in him. Rey acknowledges he cannot be saved, and literally closes the door on Kylo, accepting he is now fully gone. Tell me, how does closing the literal and metaphorical door on someone who has murdered his own father, killed hundreds of innocent people, was given the full free choice to be good and choose evil, lead to love? Because it’s unearned. And frankly, their interactions in Episode IX doesn’t really do much to change that either. Kylo Ren is still moody and literally acts as a constant source of opposition to Rey, with little to actually show their relationship is romantic in any way. Oh yeah, but somehow getting stabbed by a girl and getting healed from almost dying really is such a turn on. I’m sorry, but it’s just unearned. (Hello from even further in the future, I am now writing this in April with updates to this bit. The novelization of Episode IX revealed that their kiss wasn’t romantic, in fact. They gave us this: “His [Kylo’s] heart was full as Rey reached for his face, let her fingers linger against his cheek. And then, wonder of wonders, she leaned forward and kissed him. A kiss of gratitude, acknowledgement of their connection, celebration that they’d found each other at last.” I don’t know what the hell is going on in Lucasfilm, but this is much, MUCH worse. Just a few months back, J.J. said their relationship was a “brother-sister” thing in a romantic way but not really. Can we go back to a half-baked romance again, please? Also, they revealed that Rey’s dad is failed clone of Palpatine.). 

Now, let’s talk about Palpatine himself. “The dead speak” “Somehow, Palpatine has returned.” Yeah so this is the big, big leap this movie asks you to take right from the get-go. I understood a lot of the trepidation around bringing back Palps back, mostly surrounding the fear that his return invalidates the sacrifice Anakin/Vader make at the end of Episode VI, bringing balance to the force, mortally electrocuting himself in the process saving his son out of love. I understood the concern, but I had enjoyed the first two films in the sequel and I’m always willing to give a movie a shot in the theater. As long as they explained his return in a satisfying manner, I’d be in. Once the lights dim, the Star Wars logo pops up and you hear John Williams triumphant score, regardless of the drama and bad press, everyone always starts with a clean slate. And then, of course, we get no explanation as to why he’s back beyond a cheeky quip from the prequels “The dark side of the force is a pathway to many abilities some consider to be unnatural.” Har har, +100 nostalgia, much memes. 

Yeah it just boggles my mind that the head villain, that for six movies our protagonists tried to defeat and who we thought was defeated (and who even the actor, Ian McDiarmid thought was dead), somehow came back to life. He was thrown down an energy shaft, and vaporized. Then the space station in which he was thrown down is subsequently destroyed and atomized, and somehow, we’re told he comes back to life. Perhaps the casual audience wouldn’t remember or notice or care, but beyond the fans, and anyone following a story deserves a little bit more than just a little tease with no actual explanation. For the record, yes, they did explain how Palpatine was saved, but in the visual dictionary, with his body retrieved by Sith Acolytes, brought to Exogol, and revived using “technology and the occult”. Say what you will, but that is not satisfying to me and still begs a better explanation for his return and undercut Kylo’s character progression, invalidating his choice to be bad without being beholden to anyone. Kylo was not going to be redeemed, and then Disney gave him a get-out-of-jail-free-card by putting him under the shadow of “the real villain” so that his redemption “made sense”. Except, it made no sense to randomly introduce a more powerful villain. It was narrative cheating and it was unearned to see Palpatine back, and eventually, Kylo/Ben redeemed because of it. It just is not good enough. I think more heinous for me, is that this move inarguably undoes the work of the past 6 movies. In the effort to create this breathing piece of nostalgia and love for George Lucas and the past 42 years of storytelling, it ends up betraying it in perhaps one of the most scathing ways imaginable, unintentional or not. 

(Hi, another update from two-month-future me. The novelization for this movie now revealed that Palpatine’s “essence” is what is alive and is now being transferred into clone bodies, of sorts. Here is the quote: “So the falling, dying Emperor called on all the dark power of the Force to thrust his consciousness far, far away, to a secret place he had been preparing. His body was dead, an empty vessel, long before it hit the bottom of the shaft, and his mind jolted to new awareness in a new body—a painful one, a temporary one.” Yeah, this novelization really isn’t making things better.)

Unsatisfying. 

Admittedly, this is a very subjective metric (though I guess so are the other two descriptors), but satisfaction is a unique experience for each person, more than the other two descriptors. I think one of the worst things a movie can do is be boring, where there is no excitement or energizing quality to a story that there it can’t illicit any emotion out of you. What I think is worse potentially, and what I think is the cardinal sin of this movie, isn’t just the fact this movie was bad, but how it is so far beyond a failure that it has retroactively affected how I view the prior movies now and has diminished their impact on me.

Let’s first talk about its failings as a movie itself. I think when discussing this movie, and this new era of Star Wars, it’s hard not to separate the shift in direction from its new relationship with its new owner, Disney. It’s actually shocking to see how Disney has overall mismanaged this franchise and created such a rift amongst the fandom from the five or so movies it has released over the past four years. This movie more than any other, even more than VII, feels uniquely like a product of corporate intervention and directing, rather than the voice and vision of an auteur. What is now known, is that Disney fired the original director of this movie and scrapped his plans for (in my mind) a far more interesting movie that took the characters and story in brand new directions, paying homage to the past without relying on it, but utilizing it in an effective manner to further the story and plot in a meaningful way. And yes, it importantly kept Rey a “nobody” and it kept Kylo Ren bad and unredeemed, and did not have them kiss. If you want to read more about this, I recommend searching for “Colin Trevorrow Dual of the Fates Script” and you’re bound to find it. I also have the full pdf script of it and would be happy to share it if you would like. I encourage you to read it if you’re interested and form your own opinions on it.

Speaking more to this movie, it objectively had three major goals: wrap up its own three-movie trilogy, wrap up the entire 42-year, nine-film saga, and of course function as its own movie. That is not an easy job by any stretch, and I think any filmmaker would have an incredibly challenging time accomplishing those three tasks, while under the scrutiny of a giant corporation and a rabid fanbase. Except, that is almost exactly the same position George Lucas was in when making his prequel films. Again, I’ll get back to that point in a little bit. I think there could be an argument of cutting this film some slack if it accomplished some of these goals. Maybe this movie didn’t end all nine movies nicely, but at least it worked in its own trilogy? Maybe this movie didn’t end either the trilogy or saga so well, but at least it was a fun movie itself? Somehow, J.J. Abrams and Disney succeeded in fulfilling none of these tasks in my mind. 

Like I mentioned, the Force Awakens is far from a perfect movie, but it too came in with a very similar set of goals, especially being Disney’s first Star Wars movie, those being: 

1. Establish a new story that connects with the prior six films 2. Set up the foundation for a new trilogy that will last the next 4-5 year 3. Reinvigorate the Star Wars fandom and get them excited about the new era of Star Wars entertainment on the way 4. Work as its own movie. 

I think in some ways, these challenges were harder than what Episode IX faced and yet in a lot of ways, it still succeeded in many, if not all of these respects. I think the major failing of Episode VII is its reliance and, often, copying of past story points without much of the finesse in “making it rhyme like poetry” which George Lucas loved to do so much. Episode VII really did reinvigorate the franchise, did introduce us to great cast and characters that left us wanting more from a trilogy, did connect in some satisfying (though sometimes a bit on the nose) ways, and did leave us feeling excited, hopeful and energized with Star Wars. Episode VIII came in and was arguably a lot more disruptive, asking us to challenge what we knew and what we thought we wanted to know and instead posed more basic fundamental questions about the foundations of this story, which I think was an important introspective moment for the saga and this trilogy as the penultimate chapter of both. It had us question the nature of the force, the importance of this “Skywalker” lineage, and the nature of Jedi in this universe where Luke truly is the only one left. It had us question our own conceptions of Luke as a swashbuckling do-no-wrong hero and showed us a more cynical, perhaps jarring, but a realistic Luke that blames himself and his belief in this ancient religion for unleashing Kylo Ren and a new era of darkness upon the galaxy. We also saw how Luke was struggling with how he was roped into this way of life from this old hermit he met for a day or two and then left to navigate reviving the religion of the Jedi on his own. We were also asked to question the nature of the force and whether this sort of power was isolated to a few people and families, or is truly something anyone can have? Again, whether fans agree or not with these story choices or not, The Last Jedi still functions as its own story and does (in my opinion) meaningfully connect to the prior story. Whether fans believe that meaning was eschewing the fabric of Star Wars or whether they believe these challenges strengthened the mythology (like I do), it was still meaningful in that it does draw upon the story from the last movie directly and progress it in some manner (whether a positive manner or not, I’ll let you decide). And regardless of how you like VIII or not, the movie left the door wide open for any kind of story to be told. Our heroes are starting from zero, the villain is now trying to learn the ropes. There is no real cliffhanger of sorts but rather an invitation for total freedom to tell the next story and wrap up this trilogy and saga.

Episode IX unfortunately comes across as one of the laziest ways imaginable to end this nine-story arc. In serving as the final movie of the saga, this movie seemed obsessed with callbacks, and nostalgia plays to remind us of the world we’re in and the “story” we’re watching, rather than relying on the story, character and narrative. I think to a fault, it incorporated elements of past movies, just to say it had it, and in many ways cheapened the overall character or object or story point. I think the biggest example again, is bringing the emperor back, which makes such little sense in the context of what we were presented in the prior two films because it wasn’t ever hinted or ever part of the plan to include him in the first place. The emperor was simply added because of the “nostalgia”. Using the remains of the Death Star on Kef Bir was super cool imagery, but didn’t we already literally see the Death Star completely disintegrated? Na, it’s ok, a huge chunk of the important bit just happened to land here fully intact for our heroes to find. There are many more callbacks in this movie, but almost every one of them, I’m left asking myself: “Why?” “Why did this callback have to be here?” “Could something else achieve the same effect?” Why did Maz give Chewie a Battle of Yavin medal? Why did we go back to Tatooine at the end? More often than not, none of those callbacks had to be there other than to try and excite fans, except doing so in the laziest manner by ultimately pandering. Callbacks are not a bad thing, mind you. Star Wars has been secretly calling back and seeding things in the background for ages, hinting and suggesting to us the vastness of this galaxy in terms of creatures and places. A recent example that comes to mind is Avengers: Endgame, and how it uses callbacks masterfully, calling back not just items and places, but character and relationships. It all works there because everything serves its purpose to drive that story forward in a manner that doesn’t feel cheap but feels necessary and important and something that wouldn’t work otherwise. This movie tried to be like Endgame in that regard but just failed to capitalize effectively on nostalgia and characters in the same way in way to emotionally resonate, but rather elicit a cheap, ephemeral reaction. This was a movie that lived from moment to moment of attempting excitement, but ultimately never establishes a through line for me to care about it as a cohesive piece of a nine-chapter story. 

(For the record, I am writing the rest of what is below in April, like those other parenthetical notes above.)

Beyond just my frustration with callbacks, I ultimately ask myself, “What is the drive of this trilogy? What was it trying to accomplish?” The whole premise of this movie is Palpatine is back and they need to stop him from taking over the galaxy. I’m definitely beating a dead horse, but how does that adequately connect to the goals of Snoke/Kylo from the last two movies? How do our character’s stories culminate and end in this movie, in the context of the prior two films? I’ve already talked a bit about Rey’s story making little sense, but my god did they squander Finn’s character. If you look at the “new” characters from this trilogy, Poe was our Han Solo-eque type, Rey obviously our Luke type, but Finn was someone totally new. The idea of a disillusioned Stormtrooper seemed inspired, a totally different perspective in these Star Wars, a regular grunt who didn’t like the side they were fighting on in this war. For all my love of Episode VIII, that movie did not do much for Finn’s story. In the three years since VIII released, I have increasingly appreciated Finn’s journey in VIII, starting as someone who only cared about himself and Rey, to caring about the overall cause of the resistance. It was intriguing, albeit not executed in the best manner. But I think back to IX and struggle to see what the whole point of his arc was. He was a key fighter, who becomes a leader, and finds a whole group of defected Stormtroopers, but we never explore it. And all the while, he has this “burning secret” he needs to tell Rey and never does, which we find out from press junkets is that he’s supposedly force sensitive. It’s just an absolute mess. Even Poe’s arc seems to revert this movie in some regards, where VIII was all about him learning to not be so trigger-happy and actually thinking through things like a leader, IX is the same story beat about him becoming a leader in the eventual shadow of Leia. The only character who’s arc makes some sense (apart from the nonsensical Reylo kiss), was Kylo Ren, because he seems like the only character JJ Abrams and Rian Johnson somewhat agreed on. It’s why undoubtedly the best scene in this movie was his vision of Han Solo, as a revisit of the original confrontation on Starkiller base where Han died. Even then though, look deeper and you realize Kylo’s arc is also filled with contradictions. 

Perhaps my view is a bit too colored by my view of Episode VIII, but in terms of following the narrative, Kylo was someone who was tired of being beholden to the past and killed Snoke in part as a refutation of the traditional power structure that had held the galaxy. At the end of VIII, he literally tells Luke “I’ll destroy her, and you, and all of it”, being Rey, Luke and all the remnants of this old way of life. Again, whether or not you like that story in VIII, as a storyteller, J.J.’s and Chris Terrio’s jobs were to continue the story in a manner such that there was consistency to the through lines. On the face of it, Kylo’s actions make some sense, again because I think there was some general agreement on him.  Think deeper and you realize this is someone who refuted his past, his “destiny” and decided to choose his own path, only to inexplicably come back to his past again. If he wanted to come back to his past, that should have been seeded in VIII, where the conflict still existed. Rey felt this conflict and that’s why she went to try and redeem Kylo. But, once she is with him in the throne room, Snoke articulates how he now senses Kylo’s resolve where there was once conflict. Kylo made his choice, and we bring back up again the idea that he’s conflicted simply because Disney wanted Kylo to be redeemed. It’s lazy and its narrative cheating.

I will say, I know some Episode VIII supporters were unhappy with Luke’s portrayal in this movie and were quick to jump and say how J.J. “undid” Rian’s take on Luke. Luke is actually someone else who’s character stays consistent with his arc from VIII to IX, where he learns to believe in the Force and the light side again and learns to accept his role as a Jedi. Looking beyond characters though, the trilogy set up various story points which we were hoping to get some kind of payoff for. Much like the movie, I’m not really going to delve into them too much other than just list them. Who are the Knights of Ren (idk, but they all died at the hand of their supposed leader)? Who was Snoke (just a test tube deformed clone I guess)? How did Maz get Luke’s lightsaber (“a good story for another time” 😒)? How did Snoke seduce Kylo and undo the work of the prequels and original trilogy (eh, look for it in a comic I guess)? How did the First Order come about and rise to power (¯\_(ツ)_/¯)? What did the galaxy look like once the rebels won and could bring democracy back to the galaxy (watch The Mandalorian, only on Disney+)? The only real question this movie was interested in answering for the trilogy was Rey’s identity, and really that’s it. And even then, we kind of already got an answer about that from the past two movies: Rey was “nobody”. 

Listen, a movie can suck in terms of connecting to prior movies, connecting to a full nine movie story, but hey if it’s a good adventure of its own then maybe there’s something redeemable about it. Unfortunately, this movie fundamentally fails to even service its own story properly. Any movie, no matter how good, needs to be self-contained and its own story in order to be effective. A storyteller cannot rely on a moviegoer to have seen eight other movies, read comics, books, etc. to know what’s going on. For all the praise I’ll give Avengers: Infinity War and Endgame, my one strike against them is that the emotional resonance and impact of these movies only hits fully when you’ve followed all prior 21-22 movies, like me. It relies heavily on intertextuality of prior movies, though not like Episode IX as a cheat to explain things. And even if you haven’t watched every movie, you can make some sense of what’s going on and get some of the impact, it just won’t hit the same way. It’s near impossible to balance that inclusivity with referential storytelling, but Avengers just about gets away with it because each story still does work on its own.  While the Avengers movies are enhanced with more background knowledge, they did still give you every relevant piece of information you needed to follow the story. Episode IX on the other hand, uses narrative cheats to hope you’ll buy into their story and go with it. Obviously, the big one cheat here is not explaining Palpatine’s return. Again, a villain who was thought to be dead and is crucial to the overall story should have his return be properly explained. They did it in Kingsman with Harry’s character, they did it in Avengers: Endgame with Gamora and Thanos, they even do it with Superman in the dumpster fire that is Justice League. When you leave something like that unresolved, it just leaves a giant asterisk above the whole movie, leaving you questioning the nature of it all, asking why it’s even happening, rather than being able to go on the ride. You know, even if the movie told us that “technology and the occult” story beat, or even showed it to us as a prologue to the movie, I would have been able to buy into this premise of this movie more and not just be left asking why or how the whole time. Again, I recognize that those questions may be more personal and not apply to everyone, but I think the criticism of a movie being its own story and explaining itself still holds. Beyond that, the movie just never has any time to breathe and appreciate its own emotions. With a majority of a movie seeming like a video game fetch-quest (that is just getting one item to get another item, repeatedly), the characters aren’t given the room to grow and are simply at the mercy of the next macguffin to find. 

One of the fundamental ideas of storytelling is the idea of a passive protagonist versus an active protagonist. The latter is a character that drives the nature of the story through their actions, whereas the former is driven by the flow of the story. Neither is necessarily better than the other and can be employed to excellent effect in both regards. Perhaps one of the best examples of passive protagonist is Jeff “The Dude” Lebowski in The Big Lebowski, a guy who just has consistently poor luck surrounded by moronic friends and people trying to take advantage of him, and really speaks to the kind of character The Dude really is. In an action or drama movie or a movie with a strong lead character, you generally want a balance of plot happening with the lead character forced to make consequential choices that add tension and weight to the story. Star Wars is a franchise driven by strong characters with their backs consistently against the wall and forced to make tough choices. It’s what drives the tension as Han Solo tries to escape Vader’s Star Destroyer by going through the asteroid field in Episode V, or compels Luke to leave with Ben Kenobi to go to Alderaan in Episode IV, or how makes Rey decide to leave her training with Luke to try and save Kylo in Episode VIII. This element of choice in a movie also works crucially to tell us about a character and their motivations. Han chooses to go through the asteroid field, an almost suicidal endeavor (the odds being 3,720 to 1), telling us how this is a man acting with a mix of desperation and bravado, perhaps overconfident in his abilities while also secretly trying to impress Princess Leia who he clearly likes. Rey goes back to Kylo out of a naïve sense of optimism and hope in other people and hasn’t had the experience Luke has, chiding his cynicism. This movie doesn’t give room for a character to decide much of anything. Rather there is a problem and somehow only one solution to the story. The whole goal of the characters this movie is seemingly to find this Sith wayfinder, to reach the Emperor and destroy his Final Order fleet. Conveniently, there happens to be one last clue of where to look, that leads to one thing, that takes them to a place, that leads to another place, where something just happens to work out and then the final battle takes place. If you’ve seen this movie, then you know I’ve just pretty much exactly described the order of events in this movie. There is no room for a character’s choice to dictate the flow of events here, there is no crossroads of destiny for someone to face. Ultimately, there is no tension and no stakes, because you’re left feeling like the heroes will just find the next clue to the next place or someone will tell them. It’s happened X number of times before, so why not have it happen again. It not only comes across as lazy but ends up hurting our characters’ progressions in the process.

I’ve also already talked about how the within-movie logic just seems to crumble on itself. This movie only seemed to be headed towards tackling the renunciation of bloodlines and the internal conflict between inherent nature and free will. Instead of seeing those story beats through, the story decides to instead shift away from that flow and gives us something we don’t expect but dripping with nostalgia. Obviously, the Rey story spring directly to mind, but even Kylo’s story does the same thing, like we talked about. So, I won’t go much further into all that again, but yeah. It’s pretty baffling how for me this movie just systematically failed on every level.

Wasted Potential 

When I drafted out this review, I had put my main points for each of these three descriptors for this movie. I guess in the course of my weak-sauce furor and passion, I inadvertently covered most of my points on this part in prior parts. I was going to talk here about Finn’s story arc being totally wasted and also the whole idea of Rey being nobody, wasted. The former I think I spoke to a sufficient amount and the latter I’ve practically beaten to death by this point in this seemingly never-ending review. All I’ll say on these two matters is that there was the potential to tell a very unique story about finding your identity alone from two unique perspectives. For Finn, it was someone who thought he was alone, but finding that he was one of many and found validation and strength in others, where he initially was fearful of others except for Rey. And on the flip side, Rey’s story could have presented the idea of accepting who you are, even if you are a “nobody”, anyone can become someone. In this case, Rey could have become her own person, a new hero to which the galaxy looked up to or someone totally different. 

Yeah, it’s really no wonder this is my longest post to date, but frankly I don’t imagine any of the five of you reading this are all too surprised. So, I’ll just touch a bit on the last point I wanted to talk about which had a lot of potential.

When George Lucas started this crazy Star Wars project back in the 70’s, he was a scrappy, young filmmaker really trying to push the boundaries and do something new with film on a shoestring budget. Doing something new was always at the forefront of George Lucas’s goal with every Star Wars film, through the prequels. I had mentioned back in the beginning of this mess how the prequels, for all the bold steps it tried to take, ended up making a lot of missteps as well. In a way, Lucas is in a similar position as Disney right now, begged by fans to make something new, and immediately angering fans with what they tried to do. Where I think Disney’s vision and Lucas’s vision differ is that one, Lucas had a clear vision and plan for his movies while Disney did not, but two, I think history will and already is looking back at Lucas’s films more favorably than we will on Disney’s trilogy. I think for all the missteps that the prequels made, a lot of the kids that grew up with those movies now champion it in the way Lucas intended them to. He was unapologetic in his approach to Star Wars being a space soap opera for children, teaching them good from evil through a basic hero’s journey. Disney for all its guts with the Marvel movies, trying new genres and championing new stories and heroes was playing it ridiculously safe with Star Wars. Very clearly, Disney’s goal was to make movies for fans and not necessarily children like Lucas did. So their primary focus to please fans was making movies that skewed perhaps a bit more mature, but “felt like Star Wars”. Once they re-established that “feel” with The Force Awakens and re-energized the fan base, they inarguably ended up losing a lot of that goodwill taking creative chances with Episode VIII. So rather than hold true to their Marvel formula of trusting the filmmaker and story, it seems that Disney caved and wanted to keep “pleasing fans” instead. A choice like that isn’t necessarily a wrong one, ultimately these movies are costly projects and they need to be made in a way that can generate the money back and actually make money. Where I think Disney was artistically and creatively bankrupt was relying on and weaponizing fan service and nostalgia to try and win back good will. And for what it’s worth, a lot of people did like Episode IX, because a lot of them said it “felt like Star Wars again.”

I mentioned that idea also in the beginning, “feeling like Star Wars”. To be honest, I thought I knew that feeling, but I honestly don’t know if I do anymore. In the past five years of Disney’s reign over this franchise, it seems to have evolved into something else entirely, something designed simply to please fans and focus on its past more than explore a lot of new ideas and themes. Arguably, Star Wars television has taken the biggest steps in that direction and that’s where my interest also seems to have shifted as well. And even then, our “new shows” are just fresh coats of paint on old ideas and concepts. The Mandalorian, for how much I loved the first season, is comprised of proxies of characters we as fans knew and associated with. Mando is the same as Boba Fett, IG-88 is the same as IG-11, we have the Empire (Werner Herzog and Giancarlo Esposito’s characters), and we have a force user in Baby Yoda. Even the return of Clone Wars these past weeks (which I am not complaining about), seems more of a reaction to give fans what they want rather than an idea borne out of creative inspiration or guts. And for however happy I am to see Clone Wars back and see its actual finale, I think a lot of fans and I had made peace with the way it ended with season 6, unresolved though it may have been. It’s not necessarily something new but revisiting something we know. The sequels were just a roundabout way to revisit the characters we knew and loved, just older. Rogue One was arguably a new angle on a story we already knew from the opening crawl of Episode IV. Solo was a backstory really no one wanted on a character we already understood fairly well. Maybe that’s what Star Wars has just become now. That “feeling” may now just be that simply be the sense Disney tries to evoke by drawing on nostalgia and old themes and ideas and characters and bits and bobs, and that’s really saddening to me. 

Lucas’s idea was always to tell a new story, something different and unexplored. He follows the philosophy that Nintendo does when making a new game in a series like Mario or Zelda, or Pixar when making a new film: if there isn’t something new (a game mechanic, a story idea, a new film-making technique), then what’s the point in making it. George was obviously interested in telling his story, but in a way that pushed the limit of what was possible and sparking a sense of amusement and awe in what we watch. By this point, audiences have become accustomed to the level of photorealistic computer graphics employed in major blockbuster movies. It’s not hard to imagine anymore and is generally easy to discern. Lucas was interested in doing something no one else could do or conceive of, and in turn audiences wouldn’t be able to believe was possible. It’s why he founded Industrial Light and Magic, the premiere VFX company in the world today, to realize his lofty goals of space wizards and impossible spaceships and laser swords. It’s why he made Skywalker Sound, the masters of sound mixing and editing, to construct this sonic tapestry to define this universe. It’s why he helped spin-off Pixar in the 90’s with Steve Jobs, albeit not related to Star Wars but still exemplifying Lucas’s ultimate drive for doing new things. That Star Wars feeling isn’t just sense of excitement from the clashing of a lightsaber or the recurrence of a familiar face, but the investment in a character’s backstory, the sense of wonderment of seeing something pure and unadulterated from someone’s wildest imagination. It’s the music, it’s the atmosphere and background characters. It’s why a lot of fans were averse to some of the choices Lucas made in the prequels, doing away with a lot of the practical sets that were common in the original trilogy. In Lucas trying to realize his vision for this bustling galaxy and universe with increasingly complex elements and ideas, it ultimately became easier to just add it in post than build it, but in turn sacrificed the grittiness and rough-worn down of the galaxy we were exploring. 

Before I’m accused of being a prequel shill, I will simply say that I don’t love all the prequels. I think Episode I is charming, II and III are messes for sure. But I think in all of the failures of execution, Lucas really did try to do something original and new with this story. You can fault a story for maybe not resonating or working, yes, but for trying, no. These were movies that were not trying to be “Star Wars”, but something new that was in that same universe, and I think fans rebelled because of that. It was something new that challenged us to look at this galaxy differently at a different time and didn’t match that same mold we were accustomed to from 1983 to 1999. I think A lot can be forgiven for Episode VII especially in how it was trying to get us back to that feeling that a lot of fans were missing. Also, it’s a very unique position it was in, as the characters in that story were a lot like us, subject to the tale and legend of the “Star Wars”, with the hero Luke Skywalker and the Rebellion and whatnot.  They were reverential to the past, because it was a movie that drawing in it to set up the future. Episode VIII took that and tried to set the stage for something totally new, and question what actually was and wasn’t important in this myth we thought we know. Episode IX instead then decides to revoke the thrust towards the future and decides to focus on the past to a far greater degree. But rather than show it the reverence it received from Episode VII, its ultimately stuck pandering to it, rather than adding to the conversation. It was a move very clearly to recapture the enjoyment the audiences found in VII, by trying to appease angry fans clinging to the past. Ultimately, this movie ends up appeasing so few because it is more focused on trying to win back the goodwill it lost from Episode VIII than focusing on its own story, and just ends up as a mess as a result.

It hurts to feel this way about Star Wars. This is the first mainline Star Wars movie I haven’t wanted to rewatch. It makes me feel upset and even angry at times. It took me so long to write this because I’d just get so bummed every time I’d start writing and thinking about this movie and just lose all energy to keep going till some time later. It’s a movie that has made me re-evaluate my relationship with this franchise and question whether I was even right to enjoy the last two movies, VII and VIII, since they’re all meant to be the same story. I think I just have to accept that this new Star Wars is not all made for people like me anymore. I think like a trip to the restaurant or a buffet, I’ll just pick and choose the bits I engage with now. I am quite happy with Star Wars on television right now, but I just hope at some point, somehow, the movies will connect with me again. I just hope the movies can connect with all the fans again eventually, remind us of that magic that defined each generation while not being beholden to the past. I hope it continues to fascinate and indulge our sense of childlike wonderment, building lightsabers, theorizing the physics of star ships, acting like we’re force choking our friends or able to grab the remote with the force across the living room. The Star Wars experience isn’t a solitary one, but rather one best shared with friends and loved ones. It has the power to bring together a disparate group of friends from across the country to one theater for two+ hours to eventually praise and/or criticize it. I just hope Star Wars can warrant such a jubilant reunion again, not relegating such occurrences to a long time ago, or far, far apart.

Also, Ben Shapiro liked this movie so I think that just validates why this movie is total garbage. Maybe that could have been my whole argument. Eh, four months too late I guess…

tl;dr – If into the recordings you go, only pain you will find.

P.S. If you made it to the end of this review, congrats. Perhaps you are nearly as crazy as I am, though honestly probably not. Nevertheless, I appreciate you sticking around to read through this all.

[boiledleather]

Ok, Sean. I don't know about you, but I'm already tired of arguing with Redditors on the "logic" issues of this season. How do you really feel about the vagueness of time in Beyond The Wall? Your voice seems to be in the minority with regards to the enthusiasm for the season. Personally, I think the pedants are overstating their case. As a long time watcher, this season is the first to feel truly epic from its start which I'm enjoying. What's your take on the whole Snag-A-Wight scenario, anyway?

Oh gosh. Back on July 31 I tweeted “Game of Thrones criticism will get more picayune, joyless, and uncompromising the closer we get to the ending & the bigger it becomes,” and I think that’s definitely turned out to be the case. There are many reasons for that  — not all of them organic. For example, this week in particular, Game of Thrones is the biggest business going on any pop-culture website; there’s literally nothing you can write about the show that won’t do huge numbers for the site, so the sites keep cranking them out, about every conceivable bone of contention or crackpot theory one could have. I’m in a position where I don’t have to participate, fortunately. (I actually turned down a paid gig to avoid being part of the problem.)

But it’s also a case of a pernicious tendency in TV criticism, which is the way so many critics (professional and amateur) line up behind a single idea and run with it as the conventional wisdom about a show. It’s much easier to regurgitate a complaint or plaudit you’ve heard elsewhere than to dig into a work yourself and see what you come up with – the template’s been established, you know there’s a readymade network of support for your idea, etc etc. Again, this isn’t entirely organic: TV critics are exposed to so much TV that they tend to overreact to novelty, which leads them to look for reasons to reject whatever the last big thing was and latch on to the new one. The problem with GoT is that it’s so unbelievably popular that they can’t quite quit it, which is a reason why the time-frame criticism has caught on. “Game of Thrones is misogynist” didn’t manage to dent the show’s viewership or that viewership’s interest in reading anything you can type about it, which means TV critics and pop-culture journalists have to keep covering it, which means they have to think of a new reason why it’s bad. (I know, I know, these are all generalizations, but they’re hard-earned through years in the field; I know I’m considered a GoT stan now lol, but I could make similar arguments about many, many other shows.)

Anyway, I also wrote on twitter about the timeframe issue in particular. Here’s how I see it.

The snarky, grumpy response is that people who complain about raven/dragon speed in Game of Thrones should spend their days calculating Santa Claus’s mph and leave art to adults. "By making me guess how long everything took to happen, the filmmakers violated their prime obligation: mileage.“ Go edit a wiki, you rubes.

Ah, I kid because I love. Now for the less rude answer:

The end of the kind of story Game of Thrones is telling requires massive, effects-heavy battles with zombies, dragons, huge armies, et cetera. The time and money required to pull this off in anything even close to a TV-show format and schedule means fewer episodes per year. Once that decision’s made, you have to prioritize how you spend your ever more precious screentime, especially when certain big points must be hit. So the creators chose to deemphasize the slog ‘n’ grind of travel and the remoteness of characters’ goals. (Which I loved! But oh well.) They’ve switched to time jumps that make travel look relatively quick & easy, which both saves screentime and builds up a sense of momentum and urgency—all equally valuable as we head to the climax.

Is the transition from the status quo ante inelegant at times? Yes, obviously. But the logic behind it and the value of it seem easy to grasp, to me. So when I sit down to write about an Game of Thrones now, it’s hard for me, personally, to imagine focusing on the speed/time issue. It’s a rich set of images, ideas, and characters on a literally unprecedented scale for TV. There’s plenty else to like or dislike there. 

That said, I share some complaints, to be honest. Regarding the time issue specifically: Simply for dramatic purposes, I would have liked the show to have emphasized how long Jon & company were stranded on that island—some fades to show passage of time, dialogue about how cold & hungry they are, make ‘em look extra haggard, that kind of thing. But to me that’s about one sentence’s worth of criticism (I just wrote it), not an essay, let alone the main thrust of how I interact with the show now. 

As for the snag-a-wight plan…I mean, look, that’s not a great plan. Nor is having a summit, or any kind of meeting at all, like brunch, with Cersei Lannister in King’s Landing. But y’know, Luke was more upset about Obi-Wan than Leia was about her entire planet, The Godfather’s baptism montage only showed Moe Greene and three of the rival family heads rather than four, you can’t blow up an oxygen tank in a shark’s mouth with a rifle, the Woodsmen look totally different in Fire Walk With Me and Twin Peaks Season Three, radioactive spiders give you cancer not spider-powers, yadda yadda yadda. The point is that if a work of narrative fiction is providing enough compensatory value, you can overlook any number of plot holes or storytelling fumbles. I get that Game of Thrones is not doing that for some people, but that’s been the case since literally day one. The idea that it’s suddenly crossed some Rubicon into Shit Land may be true for some, but it is not a truth universally acknowledged. 

[ramajmedia]

Star Wars: 10 Things About Darth Vader That Haven't Aged Well

Nostalgia counts for a lot, but sometimes it's not enough to save our most sacred icons from showing their age. Even the most dedicated Star Wars fans have noticed a few flaws from the original movies that go beyond vintage charm and into the realm of outdated or just plain silly. The characters aren't spared this scrutiny, especially the ones that we love and fear the most. Darth Vader, one of our most feared and terrifying villains, sure doesn't get the same reactions that he once did. When you sit down to enjoy some vintage Star Wars, this is the stuff you never even noticed as a kid from a long time ago that will make you cringe today. Here are ten of the ways you'll notice Darth Vader hasn't aged very well.

RELATED: Star Wars: The 10 Worst Things The Empire Has Ever Done

10 That Voice

When it was just a deep, ominous voice without a face, it had a lot more impact. Now everyone knows that it's James Earl Jones. Darth Vader is scary, but the King of Zamunda or that pacifist hippie writer from Field of Dreams? Not so much. And now Princess, we will discuss the location of your hidden rebel base...so Shoeless Joe Jackson can play baseball again! Now that we know about the face behind the dark mask, it just doesn't have the same effect as it once did.

9 Those Clothes

Luke and Leia have a lot to answer for here, too, let's be honest. Who thought of this simplistic black and white color scheme? It must have been a bad writer trying to compensate for his lack of talent by making the costumes painfully simplistic. What's with this cape? We can't have a villain without a cape? In the 1970s it was reminiscent of old school monsters like Dracula, but now it makes Darth look like a stunt double from the set of The Phantom of the Opera.

RELATED: Star Wars: George Lucas' 5 Best (& 5 Worst) Creative Decisions

8 An Absentee Father

I guess we could say better late than never, but Anakin still did pretty poorly in this department. We're less tolerant of him now that we would have been in the early 1980s, that's for sure. Back then it was more socially acceptable for a man to prioritize his work above his kids, so much so it was a popular movie and TV trope. Star Wars sure wasn't the first film to tackle the issue, even if it happened in a roundabout way, so kudos for that much.

7 Poor People Skills

Have you noticed today's more fashionable villain is always more on the charismatic side? Slick characters like Loki from the Marvel movies or Q from the Star Trek franchise come to mind. Darth Vader, on the other hand, isn't exactly a "people person." We know working with the Empire isn't for the faint of heart, but maybe choking people in the Monday morning breakfast meeting is a bit ham-fisted. Today's audience would be waiting for the undead minions to pop up, or maybe some kind of sophisticated spellcasting action.

6 "More Machine Than Man"

A few lights on a plastic console and padded plastic might have cut it in 1978 to make someone look like a robot. Now that we've seen the Borg, several Terminator films, and a Ghost in the Shell live-action movie, this is a much harder sell. And this doesn't sell. Darth Vader doesn't look like he's fighting for his humanity, he looks like he's wearing a snowsuit lined with garbage bags. Well, Obi Wan turned out to be a liar anyway.

RELATED: Star Wars: Obi-Wan WASN’T Lying About Darth Vader In A New Hope

5 Protected by Plot Armor

It was cool at the time, but these days only good guys are allowed to survive because they're essential to the plot. Darth Vader's convenient little field trip left him alive to fight another day because he has to appear in the next two movies. This is also connected to the deadly little exhaust port that can explode the whole Death Star. This famous plot-hole (pardon the pun!) had a whole movie made up to explain it. When do we get a movie as to why Darth Vader decided to take that lucky joyride?

4 The Swordfights

You're not going to see a lot of wire tricks or Jackie Chan style martial arts stunts with the Darth Vader fights, and that's the problem. For almost 40 years since the original trilogy came out, some extremely talented martial artists and stuntpeople have been pushing the limits of film, choreography, and the human body itself. Darth Vader never had to slow down because he was too fast for the camera to record him. Maybe he should ask Jackie Chan what it's like. The fight choreography in the original Star Wars was even rudimentary back in the day, just imagine how it looks now.

RELATED: Star Wars: 10 Characters Underused Throughout The Whole Series

3 His Force Powers

It's not just that his own kid owned him and he only survived the encounter because of his boss' big mouth. Darth Vader might have been a big deal in the first few decades of Star Wars, but how many other force users in the same franchise could levitate him into oblivion these days? Ever see Darth Vader lift an X-wing out of a swamp? Or grab a laser blast in mid-air? He can't even throw lightening. Then there are all the other epic franchises out there. In a world where we now do battle with the Umbrella Corporation and Queen Sylvanus Windrunner, a force-choke and a flying credenza aren't very scary.

2 Carbonite

Not just for using it on Solo, either. It seems like Darth Vader went through a phase where he wanted to put everything in Carbonite. He had a chamber planned for Luke, too. Is this really an efficient way to transport a prisoner? You've basically turned them into a massive brick. You might as well just knock them out and carry them over your shoulder. This was neat before we saw crazy stuff like the pods from The Matrix. Now it's low tech and just doesn't make sense.

RELATED: Star Wars: 10 Greatest Lando Calrissian Moments To Get You Excited For His Return

1 No Staff Diversity

We're not sure if Darth is the guy in charge of staffing, but he's pretty high up there in the leadership ladder, so can't he do something about recruitment? And wanting to hire your own son sure shouldn't count. The Rebel Alliance is a pretty diverse group, but the Empire is pretty much just a bunch of old white guys. It looks like the Empire doesn't hire women or non-humans. Just men, and for the most part, old men. How do they even have an army? With Darth choking the people that they do have, I'm surprised they could fill the chairs in that meeting.

NEXT: Star Wars: 10 Things From Empire Strikes Back That Haven't Aged Well

source https://screenrant.com/bad-things-about-darth-vader/