NeverarGreat

DrDre said:

NeverarGreat said:

DrDre said:

NeverarGreat said:

If Anakin can survive having his remaining three appendages cut off and burned up beside a river of lava, I don’t see why Palpatine, the galaxy’s most powerful Force user, couldn’t have survived falling down a shaft. It’s not like Jedi don’t have levitation abilities. He could have just hovered onto a catwalk, skeedaddled to a shuttle have been long gone by the time the station blew up.

Jedi and Sith didn’t have levitation abilities, until TROS. That is the problem with the ST, they just invented new Force powers as they go. Even death and injury are pretty much irrelevant now. It’s become a story with zero stakes. Had JJ directed ROTS, Anakin would likely just have grown those limbs back.

Are you talking about self-levitation? Because levitation has been a thing since Empire and even then Luke’s jump out of the Carbonite chamber could be construed as self-levitation. I would also think that if a Jedi can lift something with their mind, they would also be able to push against something to speed up or slow down their own momentum.

I didn’t mind the Force healing since Rey can only do it in this movie at the height of her power, and it also foreshadows Kylo’s bringing her back to life as a surprisingly apt thematic conclusion to the Anakin ‘save people from dying’ theme all the way back in Episode 2.

Yes, I’m talking about self-levetation. I would also say presenting Rey being brought back to life as a good thing, conflicts very obviously with the main theme of Lucas’ PT, where conquering death was clearly presented as unnatural, and an extreme exponent of the dark side.

Using the Force to cheat your own death is clearly a Sith thing, since the Sith think inwardly, only about themselves. Anakin wants to save those he loves, but clearly not at the cost of his own life. He only wants to save them because of his own fear of loss. However Kylo uses this ability for someone else at the cost of his own life, a fairly selfless act and in keeping with the Jedi way. Besides, there are countless fairy tales where the hero is brought back to life through magical means and it is rarely seen as anything other than good and miraculous.

DrDre said:

NeverarGreat said:

If Anakin can survive having his remaining three appendages cut off and burned up beside a river of lava, I don’t see why Palpatine, the galaxy’s most powerful Force user, couldn’t have survived falling down a shaft. It’s not like Jedi don’t have levitation abilities. He could have just hovered onto a catwalk, skeedaddled to a shuttle have been long gone by the time the station blew up.

Jedi and Sith didn’t have levitation abilities, until TROS. That is the problem with the ST, they just invented new Force powers as they go. Even death and injury are pretty much irrelevant now. It’s become a story with zero stakes. Had JJ directed ROTS, Anakin would likely just have grown those limbs back.

Are you talking about self-levitation? Because levitation has been a thing since Empire and even then Luke’s jump out of the Carbonite chamber could be construed as self-levitation. I would also think that if a Jedi can lift something with their mind, they would also be able to push against something to speed up or slow down their own momentum without it being considered a different ability.

I didn’t mind the Force healing since Rey can only do it in this movie at the height of her power, and it also foreshadows Kylo’s bringing her back to life as a surprisingly apt thematic conclusion to the Anakin ‘save people from dying’ theme all the way back in Episode 2.

It would be great if a fanedit could turn the Rey as Palpatine into just another one of Palp’s lies.

If Anakin can survive having his remaining three appendages cut off and burned up beside a river of lava, I don’t see why Palpatine, the galaxy’s most powerful Force user, couldn’t have survived falling down a shaft. It’s not like Jedi don’t have levitation abilities. He could have just hovered onto a catwalk, skeedaddled to a shuttle have been long gone by the time the station blew up.

Fair. I don’t think the first scene can be removed, I just really want it to be 😃 I also use the ‘I leave that to you’ line here.

NFBisms said:

Valheru_84 said:

NFBisms said:

I just don’t get it? Like, even if you didn’t like TLJ, it’d be better to at least try to follow up on that. What we got was transparently bad improv. Surely there was a better way to address the criticisms of the prior movie, while also doing something else that could feel like a continuation of it. Anything else!

As someone who loves TLJ, it’s honestly baffling. I mean, I had fun, but for all the wrong reasons. TROS was just ridiculous to me. I think I honestly would have hated it, if it wasn’t so cavalier in its capitalistic cynicism, honestly to the point of unintentional humor.

From Palpatine’s reappearance in the crawl, to when Rey was about to say “Rey Skywalker” I was laughing at how soulless and corrupt it dared to be. It was so shameless about everything it did. It reveled in it. I had fun watching the film eat itself alive. You could just see the puppeteers of every faux-emotional moment straining themselves, as well as you could their strings tied hastily to Carrie’s rotting corpse as a marionette. They couldn’t justify the existence of these movies at all.

Everything truly interesting and meaningful about the sequel trilogy was discarded in favor of what? Nothing here was genuine or good*. I’m only holding onto the idea that they made it as comically hollow as they did out of spite.

*well, save for babu frik. and genuinely threepio’s best movie imo

As someone that hates TLJ, I agree it is very odd to not logically follow on from TLJ at this point with TROS to try and salvage a narrative that could span at least 2 concurrent movies instead of this weird convoluted patchwork / director tug of war you get going on that ultimately makes the entire Disney Trilogy a pointless mess. Obviously they heard many of the criticisms aimed at TLJ but failed to understand the impact and lasting fallout from them which was that many fans have become outright apathetic to Star Wars altogether or entirely dismissive of the Disney Trilogy and you were never going to get them back into cinema seats anyway so why pander to their TLJ criticism to the point that you make the movie irrelevant to it’s own trilogy?

I like your line about watching the film eat itself alive and for me, I’d apply that to TLJ as well due to how meta it is. The whole trilogy is so self aware that it literally comes off at this stage as a spoof than any kind of respectful continuation to Lucas’s legacy.

This might veer a little off topic, but the biggest difference between TLJ and TROS for me is that their meta-natures come from different places. TLJ does it in earnest. Johnson is aware of our expectations, and basically begs the audience to scrutinize his work because there is something there. The result may be unwieldly but it’s not soulless. For as much as people say it ruins the originals’ legacy, it’s really just putting the same understood conventions under new thematic tests - by the end reinforcing Star Wars’ ideals of heroism and redemption through perhaps a now stronger, humanistic lens. He broke some rules, introduced some logical quandaries, but it came from a good place. And even if you disagree with his vision, I still felt like Johnson had a reverence for the franchise that permeated the film. Basically saying: This is why Star Wars matters, and how we make it matter moving forward. Like the capability for good in TLJ, Star Wars doesn’t have to be an exclusive club. It’s not a perfectly realized vision by any means, but the self awareness served a thematic purpose. Johnson’s vision at the very least had integrity.

TROS willingly shuns anything TLJ said that might justify why a sequel trilogy should exist, to vaguely placate fans. It doesn’t make any decision based on what it could mean or say about anything. Any exploration of why we should care is forgone to tie us onto a moving rollercoaster, with a villain audiences already know. The self-awareness is used as winks and nods. You can practically hear the “fuck it, this is what they want right?” It’s a product designed entirely by talking points we’ve all heard over and over again in the past two years. It’s cynical and manipulative. Where TLJ had a beating heart and lungs, TROS is barely a Frankenstein of calculated choices.

Agreed. TFA felt like a love letter, TLJ tried to move forward, and TROS regresses to the point that it sabotages even TFA. I think that the Rey as a Palpatine angle is what really does it in, so if that were removed as well as incorporating the Broom Boy into the ending somehow it would go a long way to making TROS less of a Frankenstein’s monster of fanservice and more of a Frankenstein’s monster in the sense of a synthesis of nostalgia and necessary message.

At least the surface level is full of fun banter and whiz bang action, which is more can be said for AOTC.

Thinking about the opening to TLJ, perhaps we could go crazy and break convention:

After the ‘a long time ago’, open on the blackness of space. A light appears in the stars, glowing red and getting larger. A beam of energy streaks across the frame, and descends on the world of Hosnian Prime. Sella and others look up in horror as the beam incinerates the planet. Cut to black.

STAR WARS

Catastrophe! On the eve of a declaration of war, the New Republic has been devastated by a mysterious weapon from beyond the stars.

Determined to complete their victory, the First Order has tracked the shattered remnants of the Republic fleet to the planet D’Qar, determined to capture General Leia Organa and the location of the last Jedi.

With not a moment to spare, Leia orders an immediate evacuation, desperate to preserve the last spark of hope for a return of galactic peace…

Also: Make it clear in the crawl for TLJ that the First Order is intent on capturing Leia instead of destroying her so that she can be compelled to tell them Luke’s location. This will require cutting some of Hux’s lines, but I think it would still track with the rest of the movie. Kylo intentionally avoids firing on Leia when he senses her on the bridge, and Snoke only decides to wipe out the Resistance after he has the location of the island from Rey.

This allows for the TROS scene of the planet destroying to stay in TROS as a visual reminder of what the mysterious weapon must have been. I also like that only the Emperor is able to actually destroy planets.

The plan of Palpatine comes into clearer view now. In TFA the goal is to corrupt Luke’s Jedi order with Snoke and kill Luke, and also corrupt the Senate. In this way he would win without ever firing a shot. However since Luke disappears and the Resistance is formed to find him, he is forced to send the First Order out looking. Hux actually throws a spanner in the works with his failed Starkiller idea, which turns the Senate to seriously declaring war on the First Order, and requires him to destroy the Senate and fleet altogether. Then with Luke’s death he feels able to openly declare his supremacy, not counting on Luke’s effect on the galaxy and the existence of Rey.

Valheru_84 said:

NeverarGreat said:

I liked it.

NeverarGreat said:
…

The crawl lands like a passenger airline on an L.A. expressway and crashes into the first scene, killing everyone. I don’t know if Kylo was fighting the Knights of Ren or helping them kill some other people and I don’t think it matters. What matters is that while rooting around in the garbage behind Rian’s apartment JJ also managed to rescue the pieces of Kylo’s mask and welded them back together with his own blood. An alien tells R2 via SATA cable that Sheeve is back and has to outrun some TIE fighters, but makes them so mad that they forget they can’t go into Hyperspace for a minute, but they can’t catch the Falcon because it has gone so fast that it is on fire.

Meanwhile Rey is in the jungle with too much Force power and little by little is going insane.

Everyone decides to get out of the jungle and go to the desert to find a magical D4 or a dagger or something that leads to Sheeve. Rey gets a nice necklace from an alien and then has it immediately stolen by Kylo despite him not being there, and who is apparently jealous that someone else is giving her jewelry. They find the Horcrux after conquering Devil’s Snare and befriending the Basilisk, but it is stolen by some bad Quiddich players who also make off with its bearer, Chewbacca. Rey shoots spells at them and blows them up and is sad about killing Chewie, whom she doesn’t sense in the transport during any of this despite that being something she can do effortlessly.

Kylo flies straight at Rey with an entire spaceship and loses. This is the most normal part of the scene.

Anyway, C-3PO needs to nuke his hard drive to read some Black Speech and to do that they need a hacker, so they go to a planet where the First Order is harvesting babies to meet Poe’s old buddy Mask Lady and her puppet friend. Mask Lady has a medallion that makes the First Order act extra stupid for one scene and gives it to Poe, who immediately spends it, and this makes Hux stupid for the rest of his dumb life. It also allows our heroes to rescue Chewie, who was only dead inside, and also steal the dagger from the prop department before they could finish it.

The Falcon crashes onto Endor because it has no landing gear and is too tired at this point to hover.

Rey goes to the complex of Extremely Expensive and Devastating Distractions (E2-D2) and is distracted by an evil version of herself into rolling a 1 on her magic D4, causing it to be picked up by Kylo who then fights her. She rolls another 1, and is defeated. Leia must spend her last action on an E2-D2, and when Kylo rolls to save he is defeated as well. Rey has a free action which she uses to heal Kylo, then takes the D4 and Kylo’s second spaceship to Luke’s island, where it bursts into flames. It is unclear whether this is simply how Kylo’s spaceships are designed to land.

Luke demands that Rey leave and throws his gross, waterlogged spaceship at her.

Rey finally faces Sheeve, champing at the bit to finally kill this monster. Sheeve gleefully cackles that he wants Rey to kill him so that his consciousness may flow into her and he will be immortal, and then checks himself with a ‘shit, did I really say that out loud’ expression. This ruins his whole plan.

Meanwhile, Rose, Finn and Jannah.

Meanwhile there are many Star Destroyers and, in keeping with their namesake, each one is capable of destroying an entire planet.

Meanwhile, the Falcon visits approximately 1,138 planets on its newly installed Recruitment Drive.

Kylo reminds everyone that he is still in the movie but he has foolishly thrown away his lightsaber after hallucinating an image of his dead father. Luckily, Rey has an extra one from where Luke was throwing things at her, and distracts the editor long enough to phase between locations and give it to him. They both face Sheeve, who drains them of their will to live and then gets to work on their life force. He throws Kylo down a big pit, knowing that this will surely kill him.

There is a cavalry charge on top of a spaceship. This is the most normal part of the scene.

Meanwhile, Klaud.

I forget how Sheeve dies. I blame Klaud. Maybe Klaud did it. Maybe he did all of this. I don’t know anymore.

Rey dies. Kylo emerges from the pit and brings Rey back to life at the cost of his own. Rey, upon awakening and seeking Kylo dead, brings Kylo back to life at the cost of her own. This continues for some time. They kiss. One of them dies, I don’t care which.

At the end there is a funeral for Snap Wexley and he posthumously gets the medal intended for Chewie. There are cheers and warm embraces, all live in the light of a new day for this, the galaxy reborn. The yoke of the First Order, which has lain heavy across much of the galaxy for a few weeks, has been lifted. The Rule of Palpatine, which lasted for thirty years and eight hours, is ended forever. Bask in this light, galaxy of peace.

Rey gets a yellow lightsaber. The camera falls to the ground, where it continues recording for several seconds.

One of these quotes is sarcastic as hell, from my understanding of the movie though I’m not sure which one it is…

Both statements are quite true. I liked it despite how it was a cavalcade of nonsense. I think ChainsawAsh and I liked it for similar reasons, actually. There is no serious defense of it. It’s just something that can’t be taken too seriously.

Here’s how I might restructure the villain’s plan for the trilogy:

TFA

The crawl establishes that the First Order is intent on killing the last of the Jedi. This is the most important thing for them, though it is unclear why.

The Starkiller is multi-purpose. The interior has been hollowed out through mining to supply the ores necessary for the First Order/Palpatine’s fleet. After this it has been retrofitted as an experimental weapon by ambitious First Order leadership spearheaded by Hux. The fact that it was first used as a forge could be a mystery in TFA or only hinted at, but explained later on.

After Kor Sella is sent to the Senate the base begins charging, and everything from Restructured happens as planned except that the base is destroyed before it can fire like in the original. The Republic is not destroyed.

There are hints as to the true size of the hidden fleet and their provenance, perhaps placed into one of Rey’s visions or in Kylo’s interrogation of Poe.

TLJ

The crawl establishes that Kor Sella’s mission to the Senate has been a success and the Republic is in the process of relocating its fleet to D’Qar to bolster the Resistance forces.

However a Star Destroyer appears before the fleet is fully assembled and wipes out the planet (This uses footage from TROS and TFA). Only a few ships escape to join the Resistance, and these, we later learn, were tracked.

Cut to the island where Rey tries to convince Luke to join the fight. She doesn’t know that the Republic is gone, so doesn’t tell him that the First Order is on the verge of victory. Since Luke isn’t connected to the Force he can’t feel such a loss anyway.

Cut back to the Resistance base and Hux’s forces arrive to cut off their retreat. Cut the jokey attitude of the Resistance characters to match the grave knowledge that the Republic has been destroyed.

The film carries on much as before except that the final scene shows Kylo Ren finding Palpatine and his fleet instead of showing the Broom Boy scene.

TROS (or THE FINAL ORDER)

The crawl states that the First Order is moving quickly to gain control of the galaxy.

The first scene is Palpatine’s message to the galaxy. The full threat of his fleet is revealed.

Our heroes rush to find the Sith artifacts required to locate the Sith planet, etc.

The defeat of the First and Final Orders shows a montage of planets rejoicing, prefaced with Broom Boy relating Luke’s inspirational visage which reignited hope in the galaxy. This is bookended by him walking outside and seeing a First Order Star Destroyer broken and burning in the night sky above.

Rey visits the homestead. End Credits.

Broom Kid said:

Star Wars was never a “niche” genre. It’s not a genre unto itself (despite various people’s attempts to make it as such) either. And if you see a similarity between superheroes and fantasy-based mythologies, it’s because they both draw from the same ideas. Jedi are, more or less, superheroes.

In 1977, what Lucas was doing with Star Wars was visually unlike anything ever tried within the sci-fi/fantasy genres, and it was also considered to be FAST. Very, very fast. It seems slow now, but in 1977 the editing and pacing of that movie was considered breakneck. You’re arguing it has to look and feel like it did in 1977 and that’s death. It’s got to speak to the kids who are watching the movies in the time period they’re coming out, so they can grab onto it without having to read a bunch of wikipedia entries or watch a bunch of YouTube videos to find a hook or an “in” for the movies.

Parts of Star Wars were fast for the time, but the first half of the film was fairly normal in pacing for the time, and even a bit slow at times in order to take the time to draw the audience into that world. You are acting as though filmmaking is fundamentally different forty or fifty years on, whereas there are movies being made right now which are paced and edited like Star Wars or to be even slower. Sure, most are faster, but take something like The Adventures of Robin Hood. That movie is a briskly paced breeze and came out decades before Star Wars. Immersing the audience in a world takes time, and to judge by popular consensus the new movie simply doesn’t allow for that in its breakneck pace.

If it shares the same visual language with other movies they like, and then uses that shared language to introduce new ideas on top of that, then it works! Part of the reason The Force Awakens made as much money as it did is BECAUSE it moved like an Abrams film while looking like a Star Wars movie, for lack of a better term. All the iconography people recognized for 40 years was being lit, shot, framed, and edited in a way they’d never seen it before, and that was EXCITING. It wasn’t JUST nostalgia at play. The filmmaking DID matter.

Everyone is different and has different tastes. For me it was a big turn-off to see the Abrams style and boilerplate blockbuster CGI effects applied to the Star Wars universe. Even the prequels had a more iconic aesthetic in their CGI than the sequel trilogy. Filmmaking does matter. Rogue One managed to get a ‘model’ look to most of their ships because Gareth Edwards worked hard with the art department to make the film feel of a piece with the universe and pushed the CGI in a new direction from what is usually seen, and people loved it. As for the rest of the elements at play in TFA, the choices are very much geared towards an action movie aesthetic and this can be hard to reconcile with the (at best) adventure genre of Star Wars.

There’s no real reason to handcuff directors and cinematographers who have more -and better- tools, to styles developed 40 years ago. Or even 30 years ago. It just doesn’t make sense. Star Wars can’t be hermetically sealed off like that, it’s going to suffocate that way. And it’s not like other films and filmmakers are going to sit around and decline using those tools to tell their own stories. People are going to go to the theaters not to hear new stories, because most stories have almost NOTHING new to them. But they will go to see new ways of telling them. Star Wars needs to be part of that. If that means whip pans, crazy camera moves, speed ramping… so be it. So long as the tool is right for the story element being executed, to quote a certain Chancellor: DEW IT.

Nobody is suggesting that Star Wars be handcuffed to an old way of filmmaking. George Lucas was pushing the boundaries of the technical craft all the way through the OT and the PT. Star Wars has always existed on the frontier of technology, in fact one of the reasons the ST feels so stale is because it stopped being innovative and started blending into the industry standard for effects. You can still innovate on effects while remaining true to the feeling of a classic tale.

Maybe Spielberg from 20 years ago could do it. I don’t know. With so many attempts, surely someone will figure out the precise formula that works. Since nobody has it all, it will probably be a team effort from writers like Filoni working on the worldbuilding and more film-centric writers being allowed to hone a script/storyboard until it becomes decent in a sort of Pixar development process. After going through an art director with a strong sense of simple, powerful design most directors would be able to make a decent film, but for a great one you’d need a director who could balance swashbuckling action with high romance and a dash of monster movie camp, among other things. These are after all fantasy fairy tales.

The original movies were all great because they were collaborative efforts from people at the top of their game and on the forefront of the craft of moviemaking. Disney needs to replicate that in some form.

I can’t think of a single director who would be a great fit for Star Wars. It’s clear after five films that nobody so far has the special sauce.

JJ has an eye for likeable characters and has a clear love for the universe, but is incapable of crafting a story around it.

Gareth Edwards makes gorgeous compositions and understands the importance of worldbuilding, but can’t seem to make an interesting character to save his life.

Lord/Miller/Howard made a passable popcorn movie but nothing that captured the spirit of the Star Wars universe.

Rian has an excellent grasp of theme and plot and cinematography, but seems so interested in crafting a postmodernist message that the overall story and characters suffer as a result.

All of these directors have brought something sorely lacking in the others, and none of them have it all.

The more I think about Palpatine’s survival, the more I like it. Here’s why:

• The act of Anakin which turns him back to the light does not result in a murder. The lasting legacy of his action is that of saving Luke, not in destroying the Emperor.

• Related to the first point, Anakin’s destiny is never to fulfill a prophecy. The balance that he achieves is an inward one, rather than outward.

• Anakin’s overthrow of Palpatine results in him being horribly mutilated beyond what happened in Episode 3, and requires him to be hooked up to machines for thirty years in a twisted act of cosmic justice.

• This turns ROTJ into a dark cliffhanger with the addition of something as simple as the Emperor’s laugh at the end of the credits.

• As I’ve said before, the explanation of Sheeve’s plan for immortality makes sense of the nonsensical Sith lore and goes a long way towards explaining his silly actions in the throne room scene from ROTJ.

Hal 9000 said:

I think JJ (not necessarily just the man but the collective of all the “filmmakers” and suits involved) felt inadequate and so self-sabotaged the story.

Sometimes you don’t have it in you to do something good, so you opt to do something intentionally dumb, hoping charm will pull it off.

I offer the following Christmas cookie as evidence:

atleastyoutried.gif

I was thinking the night before seeing TROS about a more radical version of this edit where I cut out the opening scene entirely and maybe a few other little scenes in an attempt to have a more gradual, atmospheric opening. It’s something I’ve wanted to do ever since making the mockup of the false starfield open but the first scene feels very important for a lot of characters. It is the introduction of Poe, Tekka, Kylo, and Finn. However, most of these character introductions are problematic in this scene and create slightly or mostly false impressions of future character arcs:

Poe - He’s fairly one-note throughout the film, so cutting his scene here doesn’t feel too destructive except that it removes even more of his character minutes.

Tekka - He dies in this scene and isn’t mentioned afterwards, so cutting this character doesn’t really hurt the film.

Finn - This is important stuff for him, but I’d argue that beginning his journey with shock at the death of a comrade paints a picture of a trooper now driven by conscience and compassion and refusing to take any life, especially those of his brothers and sisters in arms. This is proven false again and again throughout the film so taking out this moment might do more good than bad. I think the moment of him refusing to fire on the civilians is necessary to keep, but I have an idea about that.

Kylo - This edit paints Kylo in a more conflicted light. As such his cutting down of an unarmed civilian and ordering the murder of the whole village makes him far too villainous, especially considering later events in the saga. Other than Tekka’s murder, Kylo doesn’t kill anyone onscreen until Han so it’s more plausible that he will turn.

Removing this scene allows the edit to open on Rey and her life. BB-8 is a total mystery to the audience when Rey finds him, and only in the following interrogation do we learn of his importance. Cut from Rey and BB-8 walking home to the house at night, where BB-8 looks into the sky and bring in the opening shot of the film of the destroyer eclipsing the moon, sans transports. The interrogation could be expanded to include some voiceover from Tekka establishing the map and its importance. Cutting back to BB-8 at the house after the interrogation wouldn’t feel so out of place if it merely bookends the interrogation, then we move into the rescue and our first image of Finn.

As for Finn’s moment on the firing line, it could be placed after Finn’s big confession in Rey’s Force vision after the image of Luke and R2. Using the footage from the trailer without the added rain, move from that orange and firey scene to the burning village and Finn refusing to fire on the villagers. This would segue more cleanly into Rey’s past in the desert.

idir_hh said:

Is there any way of reinstating Hux’s speach?

^If you are referring to Hux’s rally about the death of the Republic, it’s still there, just after Han and Leia have their talk.

That’s actually not a bad idea.

That’s very cool, but isn’t it kind of nullified with Maz’s line ‘It will take the rest of Leia’s power to do such and such’?

DominicCobb said:

Nev, aren’t you using lines from Lego Star Wars in your edit? Did you just pull from what’s available on Youtube?

I am.

But the audio came from fishmanlee, I believe. I recall asking for the TFA soundtrack and he asked if I would like the Lego game audio as well.

https://originaltrilogy.com/topic/JOHN-WILLIAMS-Star-Wars-Episode-VII-The-Force-Awakens-Complete-Score-Edit-Some-SFX-REVISED-VERSION-AVAILABLE/id/49168

At least, I think that’s what happened. You could ask him and if he doesn’t have them available just shoot me a PM.

One thing that I really like about this movie is that it confirms this lorecrafting that I did in early 2018

https://originaltrilogy.com/topic/This-Snoke-Theory-is-Wrong/id/58545

While I didn’t think they’d go the Palpatine angle, they still had the core of the idea for this which makes a lot of sense out of the Sith’s nonsense rule of two.

I’m sure it’s not a particularly popular aspect of the movie with vast swaths of the fanbase, such as those who liked Anakin as the actual chosen one and those who disliked bringing back Palpatine. That probably accounts for most people, actually. But I liked it.

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

And even though this movie is so wonderful in its shlockiness…

https://youtu.be/fpRTyRdAwxM?t=20

I FORGOT TO MENTION THE SNOKE CLONES IN A VAT!

That was the best part.

I’m going to let this film sit a while before making a definite plans, but as it stands now this movie feels perfect. Even the trash opening is important to set the expectation for what is to come - a madcap rocket of maximum shlock. It’s kind of wonderful in that way, and I’ve been laughing at its beautiful absurdities for hours now.

This high will surely end sooner or later, but for now, I’m going to enjoy this film no edit required.

Perhaps, I never read those though.