Is The Mandalorian’s Midi-chlorian Plot Twist A Risk Worth Taking?

SPOILERS FOR THE MANDALORIAN AHEAD!

Yesterday’s episode of The Mandalorian was…not my favorite, for several reasons. I’m over Gina Carano as Cara Dune, I’m growing tired of so many repetitive side-quests, and I’m ready for Baby Yoda to become something more than Din Djarin’s adorable accessory…but one thing that I did find genuinely fascinating and admirable about the episode was showrunner Jon Favreau’s borderline-reckless bravery and confidence, on full display for everyone to see. With a single, subtle reference, he has brought back midi-chlorians, one of the most controversial and universally hated elements of George Lucas’ prequel trilogy, and managed to weave them so deeply into the story that they’re sure to be addressed more directly in the near future as they influence The Mandalorian‘s plot moving forward (if The Mandalorian‘s plot ever moves forward, that is): and now Favreau has to hope that the goodwill he’s built with fans will carry him unscathed through the inevitable firestorm. If he’s lucky, he’ll find the fandom more welcoming to his interpretation of midi-chlorians than they were to George Lucas’ introductory explanation of the concept twenty years ago.

The Mandalorian
forbes.com

Personally, I don’t expect Favreau to suffer any major consequences for bringing back midi-chlorians, though I do think he could risk damaging The Mandalorian‘s popularity with hardcore fans. Let’s just say, midi-chlorians aren’t something from the prequel trilogy that I think anyone was begging to be reminded of anytime soon, though they have popped up sporadically in Star Wars canon since their appearance in The Phantom Menace. They tend to lead to prolonged philosophical arguments about the nature of the Force: which you might think sounds like fun now, but trust me, you don’t want to be around when Star Wars fans start arguing about…well, anything really. Whether it’s a debate about midi-chlorians or the Skywalker surname, this is one fandom that has always had a massive and well-documented problem with toxic trolls, gatekeepers, bigots, and the like.

Before we go any further, though, I feel obligated to break down some midi-chlorian history and biology for you. Imagine for a moment that you’re Baby Yoda in school on Nevarro; grab a bright blue macaron cookie, and settle in for an explanation of one of Star Wars‘ most complicated, convoluted concepts.

Midi-chlorians, most in-universe scholars agree, are sentient microbes that concentrate inside the cells of every living creature in the Star Wars universe. Most people don’t have very high concentrations of midi-chlorians in their bodies: 2,500 or lower is agreed upon as the normal amount per cell for an average human being in Star Wars. But the more midi-chlorians you have living inside of you, the more attuned you are to the Force (Anakin Skywalker, for example, had over 25,000 midi-chlorians) and the more likely you are to be picked up by some random Jedi passing through town. In fact, during the reign of the Old Republic, that was one of the main objectives of the Jedi Order: taking blood samples from kids around the galaxy, and testing them for midi-chlorians. Now, something important to remember is that midi-chlorians aren’t actually the Force – rather, they act as a conduit between the Force and their host body, translating the will of the Force to their host. The host also has to put in work focusing their mind and looking inwards so as to be more attuned to their own midi-chlorians, and thus more open to the will of the Force. It’s unknown whether the midi-chlorians actually created the link between the Force and living creatures, or whether the Force created midi-chlorians to establish that link (if it’s the former, it leads to some disturbing questions about why the midi-chlorians have an agenda of their own that seems to overpower the free will of their host bodies; but if it’s the latter, why wouldn’t the Force have distributed midi-chlorians more fairly throughout the galaxy?). Midi-chlorians also have a wide range of other bizarre, and only vaguely defined, powers: such as the ability to create life. This has led to speculation that Anakin’s abnormally high midi-chlorian count was a result of him being conceived in his mother’s womb by the midi-chlorians, Immaculate Conception style – and again, we’re getting into troubling territory regarding free will and consent, since Shmi Skywalker doesn’t seem to have gotten any say in this matter.

The Mandalorian
wallpaperflare.com

It’s this ability to create and potentially preserve life that caught the attention of the Sith and led to them manipulating midi-chlorians for a variety of evil purposes. Eternal life, for instance, was one of several goals that Emperor Palpatine lusted after – and almost achieved. In The Rise Of Skywalker we discovered that Palpatine was able to survive his death in the explosion of the Death Star II, and since it’s never been fully explained how he managed that (except that it had something to do with clones), it’s been speculated that midi-chlorian manipulation was involved. Now, it looks like The Mandalorian may be trying to retroactively provide more information on this issue – as well as the backstory of Palpatine’s mutant science project, Supreme Leader Snoke (whom I mistakenly referred to yesterday as a clone of Palpatine, when he is in fact a clone created in someone else’s image by Palpatine).

When Din Djarin and his team infiltrated the ex-Imperial fortress in yesterday’s episode of The Mandalorian, they stumbled upon a top-secret cloning facility being operated by Dr. Pershing, a character last seen in season one, whose backstory is largely clouded in secrecy but involves the Kaminoan cloners. Pershing was a minor character, whose agenda in season one was being hindered by having to work alongside “The Client”, an Imperial bureaucrat who didn’t seem to have a very high regard for the doctor’s work, and was mostly concerned with finding Baby Yoda and killing him as quickly as possible. But it seems that ever since the season one finale, with The Client now dead, Pershing has found a more receptive audience in ex-Imperial killing machine Moff Gideon. Unfortunately for Din Djarin, both Pershing and Gideon are working towards a common goal: getting their hands on Baby Yoda, and using him – somehow – to bring about the return of the Empire.

Dr. Pershing isn’t at the fortress when Djarin and his team stage their attack, but they do find a hologram message from Pershing to Gideon’s headquarters, where the doctor gives a progress report on his work, and seems to confirm that, with just a single blood sample he was able to obtain from Baby Yoda back in season one, he’s been trying (so far unsuccessfully) to transfer the child’s midi-chlorians to other beings: all of whom now resemble deformed vegetables lined up in tanks. Pershing never utters the word “midi-chlorian”, but he specifically states that recapturing Baby Yoda is essential because the Empire is unlikely to find any other test subject with a higher “M-count” – a subtle, but unmistakable, reference to the midi-chlorian count. Pershing doesn’t state an exact number that we could compare to other notable Jedi (if Baby Yoda has a higher M-count than Anakin Skywalker, he’s by default the most powerful Force-user on record), but it seems that the child is extremely valuable to the Empire.

But why? What are they doing with all these experiments? Well, we don’t know just yet: but from the context, it certainly looks like Pershing and Gideon are trying to create a small clone army of Force-users, with a small assist from Baby Yoda’s midi-chlorians. The logistics of how a Force-user’s midi-chlorians can be transferred from one person to another is a subject of debate in the fandom – but as I mentioned, we have seen Palpatine successfully clone himself (or something) with his Force powers intact, and we know he created multiple clones of Snoke, a Force user. In The Mandalorian, we possibly even see the very first proto-Snoke in development on Nevarro: according to musically-minded Star Wars fans, his theme plays over a scene in the cloning facility where the camera zooms in on a distorted specimen who has a facial scar very similar to the one sported by Snoke. I have mixed feelings about the revelation that Snoke might have been created using Baby Yoda’s blood, but it’s a twist, alright. What’s more concerning about all this is the implication that this experiment on Baby Yoda was the Empire’s first step towards doing…whatever they did to bring Palpatine back in physical form…and that Baby Yoda’s blood might have been part of that process.

The Mandalorian
starwars.com

If all goes well, this might also be the first step towards making midi-chlorians popular with fans. When George Lucas introduced the complicated idea in The Phantom Menace, audiences were justifiably confused about why the Force – which, until that point, had seemed like an intangible, spiritual construct – suddenly had a nonsensical scientific explanation: one which seemed to contradict the guiding principle of the original trilogy by suggesting that the Force isn’t something that anybody can wield with the right training, but instead requires you to have a specific number of symbiotic microbes in your blood before you can even take the next step towards becoming a Jedi. It ruins the magic, in a way. And it’s so complex that nobody can figure out exactly what the midi-chlorians are or what they’re capable of, because nobody behind the scenes has ever conclusively answered either of those questions. If The Mandalorian is going to bring back midi-chlorians, it’s going to need to put in the work to explain what they are, what they do, and why we shouldn’t hate them.

So what do you think? Is this a good idea, or a bad one? Are you still trying to figure out the difference between a midi-chlorian and a Mandalorian? Share your own thoughts, theories, and opinions, in the comments below!

“The Mandalorian: Chapter 7” Review!

Minor SPOILERS For Star Wars: The Rise Of Skywalker Ahead!

The penultimate installment in The Mandalorian‘s (sometimes) epic journey dropped last Wednesday, so as to avoid having to compete with Star Wars: The Rise Of Skywalker‘s Friday release date, but I am only just getting around to reviewing the suspenseful episode today. And I’m pleased to announce that, while the series has moved too slowly up until now, director Deborah Chow once again manages to send a jolt of tension into the story’s creaking mechanics just in time for the season finale.

The episode opens with The Mandalorian (voiced by Pedro Pascal: it was revealed recently that Pascal himself only occasionally portrays the masked and armored mercenary physically) receiving an urgent message telling him to return to the city of Nevarro with his precious cargo, the adorable Baby Yoda. But Mando, still finding time for detours in all the chaos and fast-paced action, first makes brief stops to two other planets to recruit former ally Cara Dune (Gina Carano) as additional muscle, and blurg-herder Kuiil (Nick Nolte) as a babysitter for The Child. But things don’t go entirely according to plan, and everything that happens next is one big spoiler – and for once, I actually mean that. This episode actually does have some twists and turns, and one shocking cliffhanger ending.

"The Mandalorian: Chapter 7" Review! 1
thrillist.com

The first big surprise comes when Baby Yoda uses the Force to try and choke Cara Dune as she arm-wrestles the Mandalorian on his ship. The action is undeniably defensive on the Baby’s part, as he was obviously just trying to protect Mando from what he thought was real physical harm, but it still leaves the audience reeling: yes, Baby Yoda is capable of actually killing someone with the Force already, and isn’t afraid to use his powers. Not much later, he uses the Force to heal a wound dealt to Greef Karga (Carl Weathers) in a battle with giant bats. This is even more alarming than the Force-choke incident – Baby Yoda is one of only two (possibly three) characters in the current Star Wars canon to possess Force-healing abilities, the other(s?) being revealed in Star Wars: The Rise Of Skywalker. That would seem to suggest that Baby Yoda is very powerful and very unique, and it’s no wonder that the Empire wants him – we just don’t know what they plan to do with him.

But we will find out soon enough: after entering Nevarro and finding the city overrun with ex-Imperial stormtroopers, Mando, Karga and Dune come face-to-face with Werner Herzog’s mysterious character, still known only as The Client, while Kuiil takes Baby Yoda and rides as fast as possible back to the Mandalorian’s ship. But while Mando’s plan initially seems to be successful, as he guns down an entire squadron of stormtroopers and seemingly kills Herzog’s character, Kuiil isn’t so lucky. Stormtroopers intercept the mustachioed alien’s communications with Mando and hunt him down even as he tries to escape: the episode leaves us with a heartbreaking final shot of Kuiil’s tiny body, still smoking from a fatal laser blast, lying just a few feet from the spaceship. And Baby Yoda? The stormtroopers have him in their grasp.

Mando and his little team aren’t in great shape either, going into the finale. Their story leaves off with them barricaded inside Herzog’s lair, while dozens of stormtroopers surround them on all sides – far more than the “four” bodyguards that Karga had warned them about going into the mission. And that’s not even the worst of it: arriving in a majestic Imperial TIE-fighter, resplendent in military uniform, is Moff Gideon (Giancarlo Esposito) a new character to the Star Wars universe, but not wholly unfamiliar either: A New Hope introduced fans to Peter Cushing as the menacing Grand Moff Tarkin, commander of the first Death Star, and there have been a couple other “Moffs” here and there, grand or otherwise. Gideon, with his battalion of special death-troopers, certainly looks like one of the ex-Empire’s most senior officials. Whatever he is, his intentions are clear: he wants Baby Yoda, and, knowing the Moffs, he’s probably prepared to blow up the entire city of Nevarro to get his hands on the adorable little creature – I mean, can we blame him? Poor guy’s probably been scouring the internet for good-quality Baby Yoda plushies and has finally snapped and gone after the real deal. That’s a perfectly legitimate villain origin story.

Other highlights from the tense episode include the return of IG-11 (voiced by Taika Waititi), the assassin droid whom Mando slew in the very first episode. Kuiil reveals that he found and repaired the droid, and that the former bounty hunter no longer remembers his past life of brutality and violence, and is now a willing servant, farmhand and waiter. But the droid’s eerie interactions with his killer suggest that maybe IG-11 is just waiting for his chance to strike.

As we wait for the eighth and final episode in the series, I think it’s about time we started considering how many of our pressing questions can logically be answered in a forty-minute finale: will we learn who Baby Yoda is, and what the Empire wants with him? Will we learn anything about the state of the Empire at this point in time, and will it help to clarify certain elements of The Rise Of Skywalker? Will more of the Mandalorian’s former friends and enemies make an appearance one last time, or will it just be him, Dune, Karga and Yoda against the world? Will Mando remove his mask, give us a hint of his shadowy backstory, or explain why he hates droids so much? Was it Moff Gideon who approached Fennec Shand’s body on the sands of Tatooine in Episode 5, or was that another, as yet unknown character? We’ve got a lot of questions, and Episode 7, aptly titled The Reckoning, has only added more to the mix.

Fingers crossed that the finale can answer at least a couple of them.

Episode Rating: 8/10

“Star Wars: The Rise Of Skywalker” Spoiler Review!

The Skywalker Saga has concluded in fire, blood and Force lightning. After forty-two years of incredible journeys across the stars, from Naboo to Mustafar to Tatooine and Endor, from clone wars and intergalactic trade disputes to hopeless rebellions, empires, and the like, we have finally reached the story’s final, and defining, chapter. And that means it’s time to discuss all the major reveals, revelations and shocking surprises in a movie that is largely made up of such moments, in my spoiler review of Star Wars: The Rise Of Skywalker.

And, um, SPOILERS AHEAD, obviously.

"Star Wars: The Rise Of Skywalker" Spoiler Review! 2
themarysue.com

There is a lot to love in this film, and a lot of elements and plot-points that have already been generating arguments and heated debates throughout the Star Wars fandom. We’re going to go through each of the film’s most divisive surprises, from low-stakes squabbles to the-fate-of-the-universe-hangs-in-the-balance battles.

Let’s start the ball rolling with two moments that absolutely could have been high-stakes scenes, but were quickly undermined. The first involved everybody’s favorite Wookie, Chewbacca (Joonas Suotamo), and his fakeout death on the desert planet of Pasaana. Chewie is captured by stormtroopers and almost gets carried away in a transport shuttle, before Rey (Daisy Ridley) and Kylo Ren (Adam Driver) use the Force to drag the ship this way and that in a potentially fatal game of tug-and-war. This moment echoes an iconic The Last Jedi scene in which Rey and Kylo struggle for mastery over Luke Skywalker’s old lightsaber, but here the outcome is that Rey suddenly unleashes a fiery explosion of Force lightning to try and overcome Kylo’s grip, blowing up the shuttle and giving us a hint of her Sith heritage. Fortunately for Rey, Chewie wasn’t killed in the explosion after all, and survives all the ensuing violence to finally get rewarded with his very own medal, having waited forty-two years to get recognition for his help in destroying the Death Star. Later in the movie, the same sort of scenario involves C-3PO (Anthony Daniels), who has to have his memory completely wiped so that he can be made to speak Sith, so that Rey can find the ruins of the Death Star, so that she can discover a Sith Wayfinder which Kylo ultimately destroys in the palm of his hand, so…there was no reason for C-3PO to have his memory wiped at all. Thankfully the movie remembers this and has an irate R2-D2 (Hassan Taj/Lee Towersey) reverse the override and restore C-3PO’s fond recollections of his best friend. The moment when he “dies” is still emotional, and does lead to some funny jokes, as all good C-3PO scenes do, but all of those theories about “Sith-3PO” were making mountains out of one very small, unimportant molehill.

The relationship dynamics in Rise Of Skywalker are next on the list, not only because of how screentime is wasted on them, but because of how unbearably messy they are. It’s no secret anymore that director J.J. Abrams and The Last Jedi director Rian Johnson couldn’t ever figure out any sort of continuity between their films, but the whiplash of seeing our protagonists leap at light-speed from one relationship to the next here seems to imply that Abrams can’t even establish continuity with…himself. Rey and her possibly Force-sensitive friend Finn (John Boyega) were the sequel trilogy’s “original” love story, back when Finn was cool for about five minutes, but that was before the fandom collectively went crazy for “Reylo”, the popular coupling of Rey and Kylo Ren that finally gets payoff in Rise Of Skywalker with the pair’s first kiss and declarations of mutual love – sort of: Driver and Ridley speak volumes with subtle gestures, and don’t really need to say anything at all. Such is not the case for Finn, who spends a large part of the movie waiting to tell Rey something, presumably something romantic, before just…forgetting? Moving on? He clearly has some emotions for her at the beginning of the film, despite having been caught up in a romantic entanglement with fellow Resistance fighter Rose Tico (Kelly Marie Tran) in The Last Jedi, and with fellow ex-stormtrooper Jannah (Naomi Ackie) here in Skywalker. But then again, Poe Dameron (Oscar Isaac) also maybe has a thing for Rey, or was I the only one getting that from their weirdly flirtatious exasperated argument in the film’s opening scenes, which even features droid BB-8 humorously looking back and forth between the two characters as Rey reprimands Poe for lightspeed-skipping in the Millennium Falcon, and Poe tells her off for damaging BB-8 (even as relationships crash and burn around them, Poe and BB-8 are resolutely loyal to each other: there’s a love story for you, and it would still be less weird than whatever was going on between Lando Calrissian (Billy Dee Williams) and the much-younger Jannah during the film’s finale). Meanwhile the film continues to tease the idea of semi-romantic tension between Finn and Poe in the subtlest possible way, while also giving Poe a former female love interest of his own, one who doesn’t really have a whole lot to do except be Poe’s former female love interest. I think the crucial element here is that she’s female: after all, gotta squash all those gay rumors. Having a two-second lesbian kiss is surely enough to make up for no substantial LGBTQ+ representation in forty-two years (and for certain countries, it was apparently too much).

Let’s move on to female characters, who, with the obvious exceptions of Rey and Princess Leia (Carrie Fisher, in her final, posthumous appearance), tend to get the bare minimum of screen-time or development. I’d be hard pressed to tell you what I thought of Jannah, Rose Tico or Zorii Bliss (Keri Russell), none of whom actually has anything to do except look cool, stand around, or stand around and look cool. Both Jannah and Zorii are at least technically supposed to have a handful of emotional beats each, but Rose especially seems to exist solely to make sure angry audience-members don’t ask where she went. But she might as well just not be here at all – she has maybe two or three throwaway lines, few if any character-building moments, and seemingly no acknowledgement of the fact that she was Finn’s love interest in the previous movie. I didn’t even think they were a particularly cute couple, but after the nightmare that actress Kelly Marie Tran went through, experiencing bullying and harassment from toxic fans, it seems suspiciously convenient that she’s little more than an extra in this film.

Other characters who fail to make an impression (and don’t worry, we’re almost done with the film’s big negatives), even after being hyped-up in the marketing, include Dominic Monaghan as another extra whose name I have already forgotten; Lupita Nyong’o reprising her role as Maz Kanata (another female character pretty much wasted); the super-creepy alien assassin Ochi of Bestoon (Liam Cook), who killed Rey’s parents and was then devoured by a giant sand-worm; and, unfortunately, Rey’s actual parents, played by Billy Howle and Jodie Comer. Yes, the very same Jodie Comer who is one of the Hollywood’s biggest rising stars at the moment – how are we not talking about the fact that she is in Star Wars, people?

"Star Wars: The Rise Of Skywalker" Spoiler Review! 3
empireonline.com

J.J. Abrams was always going to have to struggle to come up with an explanation for how Rey’s parents could technically be nobodies, but also somebodies: what he devised is pretty complex, so stick with me here. Rey’s grandfather is Emperor Palpatine (Ian McDiarmid), and her father is Palpatine’s hitherto-unknown son. Before this extraordinary reveal, it was never indicated that Palpatine ever had a son, or a family, or a life, for that matter: not as the Emperor, not even as Sheev Palpatine, Senator from Naboo. Not only are we never told the son’s name, or when he was born, where he came from, or whether he was Force-sensitive himself, but we are never given the answer to the most glaringly obvious question that arises as a result of this reveal: who, dare I ask, was the poor unfortunate soul that birthed Palpatine’s son, and…um, why? Was he born when Palpatine was still a relatively human person, or after Palps had transformed into the ghastly, shriveled-up hobgoblin that we’re most familiar with? Anyway, Rey’s Father, it is revealed, chose to be a nobody instead of embracing his family name, and that’s why he and his wife sold their daughter into a torturous life of basically slavery, to protect her from Palpatine – because of course any good parent, knowing they’re about to die, would choose to sell their own child to an abusive community of junk-traders and scavengers rather than, oh I don’t know, leaving her with people who might actually care about her safety! And of course it makes sense that, after killing the parents, Ochi of Bestoon didn’t fly back to Jakku and hunt down the only human girl in a village that we saw in The Force Awakens was probably less than a mile wide. In other words, while the parents were marginally necessary, it would’ve probably made more sense to have her be, like Anakin, the result of Palpatine’s meddling with midi-chlorians (or are we still trying to ignore those were ever a thing?). She could still have been a Palpatine, and we wouldn’t be left with the horrifying implied revelation that Palpatine actually fathered a child.

Apart from the messiness of the Rey Palpatine reveal, the Emperor’s return is a welcome one. His resurrection is completely unexplained (“The dead speak!”, the film’s opening crawl reads, and that’s about as much explanation as you’re gonna get), but it’s nice to see that he isn’t totally back in shape after being tossed into the hellfire that was the second Death Star’s utter obliteration: now, the Emperor’s limp, skeletal body moves around on the end of a long metal crane-arm extended from the ceiling of his throne room on the Sith planet Exegol, like a creepy ventriloquist doll speaking with the voices of a thousand generations of Jedi. McDiarmid is obviously fabulous, and even gets to briefly return to a form we last saw him take in Revenge Of The Sith, as he sucks the life force out of Rey and Kylo Ren to repair his broken body and restore his strength. This time around he’s extra moody, having just discovered that his granddaughter doesn’t want to take part in the Palpatine family photo-op with his millions of ghostly Sith followers. And so, with no choice left to him but to destroy the universe, he unleashes the Final Order.

"Star Wars: The Rise Of Skywalker" Spoiler Review! 4
comingsoon.net

The Final Order is appropriately ominous at first, as we see hundreds of titanic star destroyers rise from beneath the ice of Exegol, each armed with a planet-destroying weapon, to wreak havoc on the galaxy and establish Palpatine’s dominion. But these weapons are only used, to obliterate a single planet, and as a result the Final Order is ultimately defeated by a cavalry of space-goats. For the record, I have no complaints about that – in Star Wars, the underdog always comes out on top, and we love to see it. The film’s epic finale has Lando Calrissian and about a billion other spaceships pop out of hyperspace to come rescue the goat-riders and put an end to General Pryde (Richard E. Grant) and his menacing fleet – though not before a couple more deaths, including that of pilot Snap Wexley (Greg Grunberg), who gets shot down just before the battle turns in the Resistance’s favor. Bad timing, Snap.

"Star Wars: The Rise Of Skywalker" Spoiler Review! 5
cinemablend.com

But few of the film’s scenes hit home quite like Leia Organa’s death, and the extensive use of ghosts, Force-ghosts and Jedi voice-overs. Midway through the movie, as Kylo Ren and Rey duel to the death amongst the shattered ruins of the Death Star, Leia finally reaches out to her son through the Force, using all of her Jedi training to find her son, the Ben Solo she knew and still loved, and bring him back to the Light Side. She succeeds, but has to use all of her remaining strength to achieve victory over the corrupting influence of Palpatine and his puppet Snoke (voiced by Andy Serkis), who had stolen Ben away from her and turned him into Kylo Ren. In the end, though Leia passes away in the attempt, she is a crucial element in the Skywalker Family’s victory over the Sith, just as we had all hoped she would be. There is no doubt that, if Carrie Fisher were still alive, then Leia would have had a much larger role in this film, but what we get is still powerful and emotionally satisfying – Luke Skywalker’s Force-ghost tells Rey that Leia actually trained to be a Jedi after the fall of the Empire, and he even gives her Leia’s very own lightsaber, which Rey subsequently uses, along with Luke’s a.k.a Anakin’s, to defeat Palpatine, symbolically uniting the power of all the previous Skywalkers against the Emperor. But it’s not just the Skywalkers who stand with Rey – it’s all of the past Jedi, who visit Rey as voices in her head as she lies, almost lifeless, on the ground at Palpatine’s feet: and I’m not even just talking Luke Skywalker (Mark Hamill) and Yoda (Frank Oz). A whole bunch of fallen Jedi give advice and courage to our protagonist in that moment, from Obi-Wan Kenobi (voiced by Ewan McGregor and Alec Guinness) Qui-Gon Jinn (voiced by Liam Neeson) and Mace Windu (voiced by Samuel L. Jackson), to some of the extended universe’s most notable heroes like Kanan Jarrus (Freddie Prinze Jr.) and Ahsoka Tano (voiced by Ashley Eckstein), who apparently died a Jedi despite (a) being alive the last time we saw her, and (b) leaving the Jedi Order in The Clone Wars. Fittingly, the final word is given to Anakin Skywalker (Hayden Christensen) himself, as the Jedi-turned-Sith-turned-Jedi tells Rey to restore balance to the Force and finish what he started. But even as a thousand generations of Jedi live inside Rey (something she acknowledges in an Iron Man-esque growl of determination, with her “I am all the Jedi” line), so too does Ben Solo have his own ghosts. Soon after being redeemed by his mother’s purifying love, Ben has a conversation with the ghost of his father, Han Solo (Harrison Ford), who actually appears physically – and, weirdly, also has audible footsteps, despite being intangible – and, in typical Han fashion, abruptly cuts his son off before he can start apologizing for all his sins with a quick “I know”, echoing his long-ago declaration of love to Princess Leia.

There are many echoes reverberating in The Rise Of Skywalker, from quick but powerful payoffs, to a number of startlingly poetic parallels. Even Luke Skywalker is still developing as a character even after his death, finally managing to lift his X-Wing fighter jet from the waters of Ahch-To even after infamously failing to do so on Dagobah in The Empire Strikes Back. Ben Solo echoes Anakin’s redemption arc by turning to the Light at the end of the movie, helping Rey to defeat Palpatine. And it’s Palpatine’s own Force-lightning which Rey deflects back into his hideous face, ultimately disintegrating the Emperor (in what appears to be a Raiders Of The Lost Ark callback) and preventing Rey herself from succumbing to the Dark Side. And then, she sort of dies.

"Star Wars: The Rise Of Skywalker" Spoiler Review! 6
rollingstone.com

But thankfully, all those Force-phone calls between Rey and Ben were actually leading up to something, and something big: while in The Last Jedi they mostly just provided the two characters a way to communicate, Rise Of Skywalker adds a new wrinkle to the relationship, allowing Rey and Ben the ability to transfer physical objects via telepathy, including a beaded necklace, Darth Vader’s helmet, and a helpful lightsaber. Ben, cradling Rey’s dead body in his arms after the battle, is able to take things one step further by physically transferring his own life to Rey, reviving her but also killing himself in the process. Rey is quick on the uptake and manages to steal a kiss from the redeemed Jedi, just before he fades away into the Force, leaving Rey Palpatine to carry on with the massive burden placed upon her by generations of Jedi, Sith and Force meddling.

One thing she will not be carrying anymore is the Palpatine family name, which she abandons in the film’s final scene in exchange for “Skywalker”. The scene is a poignant one: Rey goes to Tatooine and buries Luke and Leia’s twin lightsabers just outside the Lars moisture-farm where the story began back in 1977. The Skywalker siblings’ Force-ghosts, united in death, look on as she takes up their family name and sets out into the double sunset with BB-8 beside her, and a lightsaber of her own (a lightsaber that I and many others think is yellow, while others claim it’s white). This is undoubtedly the film’s most controversial move: on the one hand, it makes sense that Rey wouldn’t want to be a Palpatine, and it’s poetic for her to adopt the Skywalker name, making sure that their name never dies out from the galaxy. On the other hand, fans are upset that Rey didn’t simply choose to keep the Palpatine name and redefine her grandfather’s legacy, proving that you can still be a good person, no matter where you come from or who your family happens to be. Both arguments are understandable, but at the end of the day it comes down to the fact that Star Wars has always been the story of the Skywalker family – to let their memory die out, buried in the sands of Tatooine, would be a dishonor to their legacy.

"Star Wars: The Rise Of Skywalker" Spoiler Review! 7
artstation.com

And with that, the story of Skywalker is finished, once and for all. Peace has been restored to the galaxy. Balance in the Force has been achieved, through the actions of Rey Skywalker and Ben Solo, champions of the Light and Dark, who came together in what they called a “Force dyad” to become the “two that are one” – remember my Star Wars recap reviews, where I told you that duality would have a part to play in this last movie? I didn’t even expect that sort of shoutout in the film’s own dialogue (I expected it to be all in the subtext), but the confirmation was highly appreciated. The Empire, The First Order, and The Final Order have all been vanquished, and nobody needs to build any more Death Stars. For the first time, the galaxy is completely tranquil, and we no longer need to worry about what Sith Lord will rise next, because there won’t be another Sith Lord. This is it. This is the end.

We, the fans of this incredible franchise, have finally brought the story home. There will undoubtedly be much more Star Wars to come in future years, whether in the form of prequels or sequels, but I hope that Disney never feels the need to resurrect Palpatine once again, or bring the Skywalkers back. Any tampering along those lines would serve only to ruin the perfection of this pure, beautiful moment.

This is the ending we’ve been looking for.

“Star Wars: The Last Jedi” Review!

We are officially in the last leg of the long journey to Star Wars: The Rise Of Skywalker, which means that the mighty Skywalker Saga, a story spanning forty years across films, books, comics, cartoons and video games is finally coming to a close – which in turn means that it’s time to reflect on that nine-part saga and take a good long look at the films that predate and inform Rise Of Skywalker‘s epic conclusion.

To do that, we’re going to have to discuss spoilers for each of the eight films in the Saga, so…SPOILERS AHEAD.

Star Wars: The Last Jedi

"Star Wars: The Last Jedi" Review! 8
vox.com

If you’re reading this review, you’re probably aware that this film has sparked a very hostile, very aggressive reaction from both its defenders and detractors. The division in the Star Wars fandom over whether or not The Last Jedi is good, bad, or even an actual part of the series’ canon, has overshadowed many of those who attempt to talk about the film without suddenly veering into angry rants. You see, the thing is: there is no right answer, because opinions are subjective. Subjectively, The Last Jedi is the best Star Wars movie: there, I said it. I’ll also say this – it’s a masterpiece of cinema, and, apart from a few iffy bits, a great film. And you don’t have to believe, listen to, or even acknowledge what I’m saying.

I do hope you’ll at least take some time to listen, though, because Jedi is a film I feel passionately about, and I hope my arguments for why are at least understandable.

The movie came at a crossroads in the saga’s history, and it’s not surprising that the story reflects that, touching on themes of evolution, and the process of adaptation: if you read between the lines, it’s not hard to see that Jedi is speaking directly to the fandom, and addressing the glaring generational divides within its ranks. “They are what we grow beyond”, Master Yoda (voiced by Frank Oz) says at one point, and it’s like he’s talking about the new generation of Star Wars aficionados. If only the transition of power could be so peaceful in real life!

"Star Wars: The Last Jedi" Review! 9
esquire.com

Unfortunately, Star Wars has always had a problem with a particular group of fans known as “gatekeepers”. These are typically the fans who grew up with the films back in the 70’s or early 2000’s, and now claim to be experts on the franchise. They can probably recite the names of several obscure Outer Rim planets, or give you the entire history of the Old Republic with textbook accuracy, or tell you the life-stories of every single person and alien inside the Mos Eisley cantina in A New Hope. The problem comes about when they start lecturing new, less experienced fans about how they’re the “real” fans, the films were made for them and their enjoyment, and anything that disagrees isn’t canon. The character of Kylo Ren (Adam Driver), who lectures the film’s heroine with a long-winded tirade about how she’s “a nobody” who doesn’t belong in the illustrious saga of the Skywalker family – he’s like the ultimate worst example of a gatekeeper: the type who doesn’t want to see women or minorities in “his” story.

But it’s not just diversity that gatekeepers have been afraid of for years: but also a new group of fans and movie-goers in general, who want to see the story branch out in new directions or take bold, new risks, rather than repeating past hits and highlights for the next decade. And director Rian Johnson has made a film appealing to those people – The Last Jedi is strongly reliant on the idea that there is no one Star Wars story: everybody has their own opinion on the beloved series, and that’s good. There are no right answers. There is no right Star Wars. It’s a theme he reinforces in many different ways, sometimes loudly, sometimes more subtly: since I previously mentioned Kylo Ren as a gatekeeper, let’s turn the tables and look at the villain’s mirror image and moral opposite, the mysterious Rey (Daisy Ridley). She’s been asked time and time again who she is, where she comes from, what makes her so special – but what she learns to accept in this movie is that, yes, as Kylo said, she’s a nobody, probably nothing more than the daughter of some nameless pair of scrap-traders on the desolate heap of Jakku. She (and we, the audience) have been waiting patiently to see who Rey’s parents will turn out to be, but the big revelation is that they don’t matter: because in the original Star Wars, long before “I am your father” or much less midi-chlorians, had been conceived, anybody could be a hero, no matter who they were or what background they came from. At the very end of the movie, we see it once again in the shape of a young, Force-sensitive boy on Canto Bight, who looks up at the stars with eyes full of wonder: this movie is as much about him as it is about anyone, because it’s a story about passing the torch from generation to generation, and about the legends we inspire in our lifetimes that will influence a new group of heroes.

Many people claim that The Last Jedi‘s overarching theme is best exemplified by Kylo Ren’s singularly pessimistic line: “Let the past die. Kill it if you have to.” I could not disagree more. Jedi never once tells us to forget our past – in fact, on multiple occasions, it requires its cast of characters to confront their own pasts and learn from past failures. I mean, Yoda himself says it: “The greatest teacher, failure is”. That’s at least one of the themes of The Last Jedi – that you can’t run from your past, you need to embrace it and see if you can learn from it. If you can find a balance and live between your past and your future, then happy will you be.

"Star Wars: The Last Jedi" Review! 10
nerdist.com

And that word, “between”, is what will lead into the next section of this review, because I say so and I don’t have a better lead-in. The idea of duality has always been present in Star Wars, present in almost every aspect of the galaxy’s society, as we’ve discussed; but Jedi is the first film to tackle the theme head-on and explore the gray area in between any two things. It’s something most noticeable in the parallel journeys of Rey and Kylo Ren, who find themselves being pulled away from their respective sides of the Force and towards each other, in some neutral zone between the Light and the Dark, between Jedi and Sith, between Good and Evil. The struggle is great for both of them, as neither one truly understands what is happening, or why they are being called to each other. In their haste, they mistake it for a semi-romantic attraction (I don’t ship the “Reylo” pairing, and I think it works best when you look at it as merely an idea that Rey and Kylo got stuck in their heads during their many telepathic encounters: it’s notable that after they actually meet in person, neither one shows any romantic interest in the other). Rey and Kylo are very hesitant to inch away from their own separate corners of the Force, and even in their epic showdown neither one offers to turn, as they both had thought the other would: instead, they spout their own propaganda at each other. It’s Kylo who, surprisingly, comes closest to the truth when he begs Rey to join him in a world where there are no Jedi, no Sith, no First Order, no Resistance. But – surprise, surprise – his idea for how to achieve that perfect world involves intergalactic genocide. In the end, neither Kylo nor Rey is able to make the first move towards establishing a balanced universe, and Kylo ends up retreating back into the shadows, becoming Supreme Leader of the First Order and doubling down on his attempt to destroy the Resistance. But the meeting of these two champions still gives us reason to hope for a universal oneness someday – in their coup against Supreme Leader Snoke (voiced by Andy Serkis) Rey and Kylo stand back-to-back and fight side-by-side, without a side. They swap lightsabers for a minute, using opposing sides of the Force to fight. Even when they do move to fight each other, neither one is able to claim Luke Skywalker’s lightsaber for their own, to the point where the saber actually splits in half rather than choose an allegiance. These two are wholly separated, but also connected by a powerful bond. Whether we’ll see them stand together in Rise Of Skywalker or go their separate ways, is anyone’s guess.

But based on what Johnson started in his film, I wouldn’t count out the possibility of Rey and Kylo joining each other in the critical gray area between Good and Evil. In The Last Jedi, morality is a societal construct, and one that means little when held up to scrutiny: as codebreaker, jailbreaker and turncoat extraordinaire DJ (Benicio Del Toro) reveals, both the First Order and the Resistance are buying their weapons from the same suppliers, who in turn squander their money on the lavish – and possibly illegal – pleasures of Canto Bight. While we’re on the subject, I have to ask whether anyone actually likes the character of DJ, or wouldn’t have preferred if Finn (John Boyega) and Rose Tico‘s (Kelly Marie Tran) paths had led them to the person they were actually looking for in the first place, the Master Codebreaker all-too briefly portrayed by Justin Theroux?

Even heroes like the once-mighty Luke Skywalker (Mark Hamill) make questionable choices: arguably the biggest shocker in the movie is when it is revealed that Luke, in a moment of weakness, went to kill a young Kylo Ren as the boy slept. Many fans argue that this is a betrayal of Luke’s character, as we had previously seen him risk his life to try and bring Darth Vader back from the Dark Side. I get where they’re coming from, but it’s also not like Luke hadn’t exhausted much of his strength and stamina fighting Vader. He probably wasn’t too keen on the idea of spending the remaining half of his life struggling to redeem his nephew’s soul. And let’s not forget that, while under Palpatine’s corrupting influence, Luke did try to brutally murder Vader and started lopping off his limbs. Luke has always been a wild card: it’s in character for him to be conflicted.

"Star Wars: The Last Jedi" Review! 11
inverse.com

It’s the same situation within the ranks of the Resistance, where people are more concerned with doing the right thing than looking like heroes: the violet-haired Admiral Amilyn Holdo (Laura Dern) even has to squash a mutiny led by “trigger-happy flyboy” Poe Dameron (Oscar Isaac), after he decides to disobey her orders and make up a new plan on the fly, as he so often does. The film at first makes us think that Holdo is a villainous or morally questionable character because she doesn’t tell her plans to Poe, but ultimately turns the tables on us and reveals that it was Holdo, all along, who had the right idea, and that she didn’t reveal her plans because Poe had been demonstrated earlier in the film to be unruly and unmanageable, and she knew he would never follow through with her last-ditch, self-sacrificial plan. But with the help of a little Leia ex machina, everything gets sorted out and Holdo proceeds to enjoy one of the coolest death scenes in film history, as she flies a spaceship at light-speed straight through the attacking First Order fleet, cutting star destroyers in half with blinding accuracy. For more on why Admiral Holdo is actually the best character in The Last Jedi, you can check out this article here.

Sadly, there’s another prominent theme in this movie: that of saying farewell, and going out on a high-note. Carrie Fisher, who had portrayed the indomitable Princess Leia Organa since 1977, passed away at the age of 60 just a year before The Last Jedi opened in theaters. When the film came out, it was clear that Carrie went out on a high-note, finally getting to use the Force in one of Jedi‘s most memorable moments. While there is suspicion that she will have a small appearance in The Rise Of Skywalker, it’s comforting to know that at least she got to be a true Skywalker before her passing.

"Star Wars: The Last Jedi" Review! 12
nerdist.com

In-universe, however, it’s Luke Skywalker who gets an epic send-off, using the last of his strength to distract Kylo Ren long enough to let the Resistance escape through his fingers. His death, alone and at peace, watching the sunset just as he did forty years previously when his journey began on Tatooine, is poetic and beautiful. Though he had been troubled in life by his own failure to stop the spread of evil, he was able to leave the world knowing that he had done his best. Think of it this way: at least he got a death scene. Poor old Admiral Ackbar was simply pulled out into the frozen vacuum of space without any warning. Luke also had the good fortune to die in some of the best lighting Star Wars has ever produced – seriously, what happened to the days of moodily lit, smoky underground space-pubs and dark Death Star corridors? Nowadays, a respectable Skywalker wouldn’t be caught dead walking around without at least two different setting suns shining down on him and perfectly illuminating him from every possible angle. And I haven’t even mentioned the cloak: I mean, let’s be honest here, Aragorn and Harry Potter wish they had cloaks like Luke Skywalker’s – the final scene of it blowing away across the oceans of Ahch-To is so sad in part because that beautiful accessory is going to land somewhere in the water where it’s impossible to salvage. Most of the scenes of Luke’s beautiful island hermitage were filmed on the remote island of Skellig Michael, off the coast of Ireland. Everyone likes to rant and complain about Luke turning into a weird old man drinking green milk and hunting giant codfish, but why don’t we ever talk about the fact that he lived, undisturbed, for however many years, in one of the most gorgeous places in the Star Wars universe? I mean, seriously, if you’re going to get angry, at least get angry about the fact that he never had the courtesy to invite anybody to his island getaway!

Speaking of which, let’s just run through some of the locations visited in The Last Jedi. Aside from Ahch-To, which, admittedly, is pretty lonely aside from the random group of Jedi nuns and a couple hundred adorable porgs, we also visit the glittering vistas of Canto Bight, the Star Wars version of Monte Carlo, and the planet Crait, a snowy planet covered in blood-red soil which allows for some of the most family-friendly goriness we’ve ever seen in Star Wars, even under the Lucasfilm banner. Maybe you don’t like the movie, maybe you hate the themes, the characters, the whatever…but can we all agree that these locations are amazing?

The Last Jedi also includes some epic action sequences: most notably an opening battle that rivals the similar opening of Revenge Of The Sith, except that this one has the instantly lovable, resilient Paige Tico (Ngo Thanh Van) giving up her own life to save the Resistance, and not a bratty teenage nightmare named Anakin Skywalker. Thus, this battle actually tops the opening battle of Sith in my opinion, and gets the film rolling along at breakneck speed. To add onto that, why don’t we give enough credit to the complexity of Rose Tico’s character, at least at first? There she was, having just lost her sister, and she finds Finn trying to flee in one of the escape-pods to go look for Rey (as if she needs his help). While Rose really doesn’t have anything to do beyond that initial scene, it’s infinitely amusing to watch her zap Finn into unconsciousness to prevent him from “deserting” – and, even though we never actually see any real deserters, the scene indicates that multiple people have tried to run from the fight, making the Resistance feel like an actual army rather than just a bunch of the most perfect, fearless people in the galaxy teaming up to fight evil.

"Star Wars: The Last Jedi" Review! 13
syfy.com

There are multiple disappointing moments in the film beyond the usual ones that get brought up all the time, like about how “the escapade on Canto Bight serves virtually no purpose”, or “Snoke’s backstory was never explained”, two things that are certainly problematic. But in the name of originality, and mostly because I’m just a big Gwendoline Christie fan, here’s a complaint that doesn’t get brought up as much: the huge waste of a character that is Christie’s Captain Phasma. While it’s already frustrating that Christie was forced to hide under a heavy suit of metal throughout her time in the franchise, it’s even more annoying that, while male metal-clad characters like Darth Vader and The Mandalorian all get cool action scenes despite being helmeted and hidden, Phasma was never able to do anything truly impressive with her limited screentime. If they weren’t going to use her in any way in The Last Jedi, why didn’t they just leave her in some random trash-compactor on Starkiller Base back in the last movie? How did she even get off of Starkiller Base before it exploded? I have a lot of questions.

If you allow me to continue talking, I will begin to ramble, and rambling leads to meandering, which leads to whatever it is I’m doing right now. And that is why I must now say goodbye to you, dear reader. We’ve worked our way through more than four decades of Star Wars history to get to this point, and we’re finally here, at the end of all things. Very soon, I will have the pleasure of being able to see The Rise Of Skywalker, and I can only hope it lives up to not only my expectations, but those of fans around the world – some of whom have been waiting for this movie since 1977. Think about that, for a moment, and then consider the message of The Last Jedi, a movie that, at its core, is simply trying to make sure that the fire of rebellion never goes out.

Never stop watching Star Wars. Never stop sharing it with new people. Never stop fighting for hope and freedom, in any way you can. The Last Jedi reminds us that we are all part of the Skywalker Saga – no matter who we are, where we come from, or what we look like. Star Wars belongs to all of us, and that will never change.

May the Force be with you.

Movie Rating: 9.9/10