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Post by Ingram on Feb 8, 2020 20:59:09 GMT
Abrams and his teal. Lots of doubloon orange and ion teal happening in this thing.
 In fairness, Abrams was quite understated with his blues in TFA; while TROS, by contrast, clearly has an ice/blue theme. And in the example of Kylo, we clearly have a call-back to the Millennium Falcon hastily departing from the hangar bay of that freighter in TFA. I only ask that question after I've done it.
Of course, there, the bad guys are all knocked over like tenpins, much like the stormtroopers in the shot above. Kylo has to be dramatic and different. It's funny. In TLJ, Rian Johnson has him skidding across the floor when Rey first "Skype calls" him. He can be so out-of-control one moment, and so anchored the next. But yes, Abrams does seem to dig a teal effect. On the other hand, I don't recall a great deal of orange outside of the jungle and desert planets. Blue is the dominant colour of TROS from the logo on down. Abrams getting his teal freak on and really indulging himself the second time around... in my opinion. Often in film the collaboration between director and cinematographer (along with production design and FX supervisors) settles on a base or "vertebrae" color followed by a high-contrasting offset color, the latter often saturated in skin tones. There's lots of gold light, filtering or "kissing" in scenes on Ajan Kloss, Pasaana, and during the interiors of Kijimi; or just about everywhere that's counterbalancing the gradient baths of grey/teal via little accents of gold halos or surface reflections. There's certainly nothing wrong with how it was done technically. It was all very controlled and professional.
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Post by Subtext Mining on Feb 8, 2020 21:10:36 GMT
Favorite techno freak
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Post by stampidhd280pro on Feb 8, 2020 21:15:01 GMT
I mentioned earlier in the thread that the entire sequence in Exegol is blue, and the biggest contrast is the gold-lit interior of the Millenium Falcon with the brown/orange Chewie, Finn, and Jannah. But the whole blue thing was used for a very specific effect in the Romeo and Juliet ressurection/death sequence between Ben and Rey, so I have an easier time forgiving the whole orange/teal thing. It usually ruins movies for me completely. One recent film that overused orange/teal was Joker. It's just such a cheap trick that makes everything look the same.
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Post by Cryogenic on Feb 8, 2020 21:39:48 GMT
No posts for several days, then three posts in thirty minutes... Ah, the mysterious ways of the Force. Often in film the collaboration between director and cinematographer (along with production design and FX supervisors) settles on a base or "vertebrae" color followed by a high-contrasting offset color, the latter often saturated in skin tones. There's lots of gold light, filtering or "kissing" in scenes on Ajan Kloss, Pasaana, and during the interiors of Kijimi; or just about everywhere that's counterbalancing the gradient baths of grey/teal via little accents of gold halos or surface reflections. There's certainly nothing wrong with how it was done technically. It was all very controlled and professional.You sound like a certain George Walton Lucas. On TLJ: "It was beautifully made."  I forgot about the interiors of Kijimi, despite having them strongly in my mind earlier and posting that then-newly-released clip of Babu Frik working on C-3PO. Yep. I love that stuff in TROS. The whole movie has a strong look and is more interesting and ravishing -- at least, to me -- than TFA; even TLJ (which otherwise has a rather earthen/muggy palette and is pretty much its own thing). I think you're noticing the contemporary slanting of the movie more than I am. No doubt, yellow/gold/orange is an important set of tones in the film; even down to the very last scene. But, in my mind's eye, it's the blue that dominates its loyal colour subjects, taking no prisoners on the climactic world of Exegol, as our friend stampid has pointed out. No other planet in Star Wars is so intensely monochromatic. A good and striking way to end the saga. Ha! You really have this intra-thread punning thing down... Should Abrams be less proud of this technological terror he's constructed? I mentioned earlier in the thread that the entire sequence in Exegol is blue, and the biggest contrast is the gold-lit interior of the Millenium Falcon with the brown/orange Chewie, Finn, and Jannah. But the whole blue thing was used for a very specific effect in the Romeo and Juliet ressurection/death sequence between Ben and Rey, so I have an easier time forgiving the whole orange/teal thing. It usually ruins movies for me completely. One recent film that overused orange/teal was Joker. It's just such a cheap trick that makes everything look the same. Yeah. I'm only intermittently keen on it myself. Of course, if you invert the colours, you get something closer to Exegol's true nature: a sort of rose-wine red. It's Star Wars singing the blues for a red planet. And TROS starts off on a red world: bookended Sith realms. In this whole trilogy, Rey and Kylo feel like they've been on a pilgrim's progress. They are but pilgrims in search of a celestial city. A city? Can you take us there?
Jar Jar is the key to all this. |
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Post by Ingram on Feb 9, 2020 1:54:14 GMT
No posts for several days, then three posts in thirty minutes... Ah, the mysterious ways of the Force. Often in film the collaboration between director and cinematographer (along with production design and FX supervisors) settles on a base or "vertebrae" color followed by a high-contrasting offset color, the latter often saturated in skin tones. There's lots of gold light, filtering or "kissing" in scenes on Ajan Kloss, Pasaana, and during the interiors of Kijimi; or just about everywhere that's counterbalancing the gradient baths of grey/teal via little accents of gold halos or surface reflections. There's certainly nothing wrong with how it was done technically. It was all very controlled and professional.You sound like a certain George Walton Lucas. On TLJ: "It was beautifully made." I forgot about the interiors of Kijimi, despite having them strongly in my mind earlier and posting that then-newly-released clip of Babu Frik working on C-3PO. Yep. I love that stuff in TROS. The whole movie has a strong look and is more interesting and ravishing -- at least, to me -- than TFA; even TLJ (which otherwise has a rather earthen/muggy palette and is pretty much its own thing). I think you're noticing the contemporary slanting of the movie more than I am. No doubt, yellow/gold/orange is an important set of tones in the film; even down to the very last scene. But, in my mind's eye, it's the blue that dominates its loyal colour subjects, taking no prisoners on the climactic world of Exegol, as our friend stampid has pointed out. No other planet in Star Wars is so intensely monochromatic. A good and striking way to end the saga. The entire Sequel Trilogy is undoubtedly polished, no two ways around it. A slick and sexy modernism across the board. Compared to Abrams' constant light bending and Starburst flavors however I still prefer Johnson's overall look for The Last Jedi—a uniformed fusion of Medievalism with 'Craig-era Bond' Montenegro and a kind of Bram Stokeresque technocracy; and that's all before the Battle of Crait, which for me remains the boldest and most painterly standout setting/set-piece of the whole trilogy (Battle of Hoth 2.0 or not). The vast expanse of crystalline white streaked with hemoglobin red under a White Sands New Mexico-like sky makes for the most complete, singular gesture in imagery-and-palette, but it's also those ramshackle V-4X-D ski speeders that I really love from a design standpoint, or how the trench warfare setup affords such arresting lateral lines of panoramic action down to the littlest details of physicality, as when Poe slides into a trench under the blast of the superlaser cannon. The framing and editing of that whole extended sequence is also much cleaner than Abrams style of sensory assault. But that's just me. |
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Post by Cryogenic on Feb 9, 2020 4:08:16 GMT
The entire Sequel Trilogy is undoubtedly polished, no two ways around it. A slick and sexy modernism across the board. Compared to Abrams' constant light bending and Starburst flavors however I still prefer Johnson's overall look for The Last Jedi—a uniformed fusion of Medievalism with 'Craig-era Bond' Monte Carlo and a kind of Bram Stokeresque technocracy; and that's all before the Battle of Crait, which for me remains the boldest and most painterly standout setting/set-piece of the whole trilogy (Battle of Hoth 2.0 or not). The vast expanse of crystalline white streaked with hemoglobin red under a White Sands New Mexico-like sky makes for the most complete, singular gesture in imagery-and-palette, but it's also those ramshackle V-4X-D ski speeders that I really love from a design standpoint, or how the trench warfare setup affords such arresting lateral lines of panoramic action down to the littlest details of physicality, as when Poe slides into a trench under the blast of the superlaser cannon. The framing and editing of that whole extended sequence is also much cleaner than Abrams style of sensory assault. But that's just me. It's not just you... I'm right with you, Red Three.Look, I may have said that TROS is more ravishing and interesting, but it's swings 'n' roundabouts. I enjoy it as a series of reactionary choices coming off of the dour and grumpy but undoubtedly beautiful, visionary, and extraordinary stylings of TLJ. In terms of raw artistry, TLJ is streets ahead of its carb-laden, salt-and-sugar-enhanced, fast-food brethren. You describe it brilliantly. The great thing about the Sequel Trilogy (about all of Star Wars) is that you can have your cake and eat it, too -- if you want to. You're right that Abrams offers a sensory assault, while Rian Johnson goes (comparatively) under-the-radar and slips his artistry in under tardier, more focused conditions and dynamics. If Abrams offers ebullience, Johnson offers poise and restraint, punctuated by mad blasts of gorgeous expressionism. Kylo's crazed ordering of all the guns being turned on a not-really-there Luke Skywalker as a case in point. In this moment, a dozen things seem to be happening at once: texturally, thematically, emotionally, intellectually. It's a sudden "nova" event in the movie. Kylo losing control, the crystal foxes running off, everyone watching nervously back at base, Hux telling Kylo to cool it, the red "cloud of blood" that goes up, Luke brushing his shoulder, and Kylo flinging Hux across the room when he stiffly tells him not to get distract... It's an epic setpiece that tells a mini-story in itself. And the battlefield -- look how it transforms. It is scorched carmine-red as a result of Kylo's rage (the adrenal made physical; the mental, environmental), with swirls of smoke everywhere, and a blizzard of Order 66-like salt-flakes raining down. It's gorgeous and all-out stunning. I'm not sure TROS has anything quite like that. But it doesn't really need to. They're different movies doing different things. Further, the vast expanse of an endless plain of meth-white under an acid-bath sky, blood-red streaks or no blood-red streaks, may be ripping off Hoth, along with the ensuing battle, but the landscape still conveys its own feel, with a touch of brutalism in the architecture (big furnace-like door protecting the Resistance mine, the new "gorilla"-inspired AT-ATs glowering some distance away) adding to the bleak, no-way-out, end-of-days feel. The confrontation on Crait rightly feels like the end of the world; a moment where our heroes look seeming annihilation in the eye, before the return of a familiar legend and the sparking of hope, granting a much-needed flight to safety/security and the promise of transformation and transfiguration; all that is old being rendered new. It's a stirring end with masterful art direction, cinematography, and direction. And ol' war-horse John Williams pulls through splendidly in this act. Even the main "stags" facing off are at peak facial performance for the franchise here, with Adam Driver believably selling an operatically-hateful Kylo, and Mark Hamill taking the gold, with every inch of Luke's suffering etched on his worldly visage. And all credit to Rian Johnson and cinematographer Steve Yedlin (and the hair-and-makeup people) for giving us those awesome close-ups on Luke's wearied face. One is reminded, in these poignant shots that convey the weight of everything Luke has spent the film battling, of an incisive remark attributed to Ingmar Bergman: "The human face is the great subject of cinema. Everything is there." And yes, I love the creaky rebel vehicles, too. Admittedly, I didn't on a first viewing. I found them too rickety and dumb. Like: C'mon. We've regressed Star Wars this far back now? Is this a joke? The final insult after green-milk slurping and paper books? But then I went away and did some thinking (and reading; and more thinking; and more reading). Once more positive perspectives started clicking and working together, like devious cellular automata, my mind's eye started to awaken from a great sleep. I suddenly started to warm to the genius of it all. TLJ is, in fact, very much like the milk Luke drinks: i.e., it's an acquired taste; and maybe you can never "acquire" it exactly. But it's punk rock, baby. Or some kind of spiked black coffee. It's an incredibly artistic/avant-garde take on the entire Star Wars mythos. Even the minimal, samurai-esque title is to die for (and how Luke mouths it authoritatively to Kylo at the end of the movie -- perfection). I love it so much more than when Rian/Disney first beamed it across or into the force-field of culture. Now it seems particularly astute: bold, deep, real. Its oddly-beautiful, grungy aesthetic never lets up, and Rian deserves a lot of credit for being so sure of himself; and for being every bit as uncompromising as any artist following in Lucas' footsteps should be. However: I'm also a ten-year-old kid at heart, and I needed a film with the sort of colour, camaraderie, vivacity, urgency, silliness, surge-y-ness, and epic delivery of TROS as a return to familiar territory; yet, at the same time, a complete ricochet/rebound into somewhere new. Well, new-old, I suppose. TROS feels perversely fresh and invigorating to me. Yes, I know it's rather contrived and obvious in some ways, but there's a souped-up, turbo-charged flair to the movie that feels unique for the franchise, and it's a heck of a note to close on. The contrast between TLJ and TROS may disappoint and discombobulate some, but it makes me giddy. They make an odd, delightful, super-weird pair. Artoo and Threepio. Or better yet: Han and Threepio. No, wait: Han and Jar Jar. Actually, I got one that'll really blow you away: Jar Jar and Cassian Andor. Yeah, okay. I may have gone too far in a few places. |
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Post by Cryogenic on Feb 9, 2020 21:20:14 GMT
Yeah, yeah, I'm double-posting again, but this movie has pressed so many buttons for me... I said in my original/first-impressions review, back on Jan 6th, that some of the music in TROS is disappointing. Still gauging my feelings about it. However, the opening piece is wonderful, and pure Star Wars filth: i.e., John Williams firing on all thrusters. I love it. |
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Post by Ingram on Feb 9, 2020 21:53:36 GMT
Yeah, yeah, I'm double-posting again, but this movie has pressed so many buttons for me... I said in my original/first-impressions review, back on Jan 6th, that some of the music in TROS is disappointing. Still gauging my feelings about it. However, the opening piece is wonderful, and pure Star Wars filth: i.e., John Williams firing on all thrusters. I love it. There's a campy-kitsch quality to the Sith Wayfinder, introduced in this sequence. I'm not even sure it entirely works within the context of Star Wars (as I favor it) but rather complementing, totemically, the ST or at least Abrams' garish end of it. It looks like a toy; like a He-Man/Thundercats playset accessory circa 1980s, or Ninja Turtles circa early '90s. This whole movie in fact feels like a wrapped plastic prize retrieved from a cereal box. I mean that, default, as a negative but also with a degree of shamelessness as a positive. |
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Post by Cryogenic on Feb 10, 2020 0:46:05 GMT
There's a campy-kitsch quality to the Sith Wayfinder, introduced in this sequence. I'm not even sure it entirely works within the context of Star Wars (as I favor it) but rather complementing, totemically, the ST or at least Abrams' garish end of it. It looks like a toy; like a He-Man/Thundercats playset accessory circa 1980s, or Ninja Turtles circa early '90s. This whole movie in fact feels like a wrapped plastic prize retrieved from a cereal box. Well, as I said earlier in the thread, I love the jumping-straight-into-action dive-bombing at the start of TROS. Here's Kylo on Mustafar, raging against the emptiness of his own power, cutting down his enemies like butter. Here's Kylo finding a wayfinder. Here's Kylo flying to Exegol. Here's Kylo being bidden forth by Palpatine and receiving his "quest" to find and kill Rey. It's a great teaser sequence. No messin' about. Straight from the playbook of ROTJ. But JJ style. If you watch TROS straight after TLJ, I suspect the film starting out with Kylo in a forest, his theme blaring, has more impact. At the end of Episode VIII, we see him left alone and isolated, having failed to convince Rey to join him, been schooled in an epic way by Luke, and let the remainder of the Resistance slip from his grasp. So where/when we meet up with Kylo at the start of IX makes perfect sense. This is Kylo having ascended yet gotten nowhere, lost as he was when last in a forest, at the end of TFA. For what shall it profit a man, if he shall gain the whole world, but lose his soul? And the music and visuals here are just fabulous. The flight to Exegol is equally cool and cheesy-terrific. There's a great feeling of impatience and nothing-left-to-conquer on Kylo's part. No reverence for these hallowed locations. To Kylo, the world is a wasteland, and everything that isn't Rey is mere distraction and nonsense. But there's obviously something gnawing at him where his power is concerned, too. A feeling of incompleteness. If Palpatine has truly been dogging him all this time, then let's finish this, see what the evil old fool has to say, and put an end to him. I just love the pacing and the screw-it, let's-Flash-Gordon-the-shit-out-of-this, vibrant, gleaming, racing-car (renracing) start. I agree that the wayfinder has a kitschy quality. For one thing, in my opinion, it's very oversized. Very JJ-esque. Seems to hark back to all that cornball "red matter" doo-dah in his first Star Trek movie. And speaking of red, TheRedLetterMedia "Half In The Bag" review makes a different Star Trek reference: Time Index: 47:47It's seriously silly stuff. But glorious. It sort of had to happen once in these films. Some goofy trinkets had to get in there somewhere. The whole movie does feel like a wrapped plastic prize from a cereal box. Perhaps one of those endearing holographic card thingymajigs. |
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Post by Cryogenic on Feb 12, 2020 2:13:48 GMT
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Post by Cryogenic on Feb 12, 2020 20:16:15 GMT
Interesting little theory here:
(Be sure to read the comments, too)
https://www.reddit.com/r/starwarsspeculation/comments/eshds2/reys_birth_the_dyad_and_palpatines_return/
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Post by emperorferus on Feb 13, 2020 5:28:03 GMT
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Post by ArchdukeOfNaboo on Mar 2, 2020 8:45:15 GMT
Apparently Palpatine was a clone in TROS:
What's baffling to me now is that he wasn't referred to as Darth Sidious in the film. That's what Luke (quite rightly) called him in TLJ, after all, as the man known as Sheev Palpatine died aboard the Death Star at the hands of Anakin Skywalker. So it just goes to show how all over the place the Sequel Trilogy is - in contrast to Lucas' trilogies. And worse, there is now nothing to suggest countless other clones of Palpatine exist elsewhere in the galaxy. Pandora's box has been opened, the Chernobyl reactor has blown over, and there's no "undo".
I'm now going to treat the ST in the same way I've done with the Dark Empire books: optional, complementary stories for those interested.
Return of the Jedi will always be my ending 
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Post by Cryogenic on Mar 3, 2020 0:56:49 GMT
Apparently Palpatine was a clone in TROS:
People can read my thoughts via the above link, but I might as well lift them from the comments section and plonk them down here: Fascinating. There’s some really esoteric stuff in TROS surrounding the whole Jedi/Sith dichotomy/duality. Palpatine is clearly a kind of godhead for the Sith Eternal. Think of Neo confronting the machines and cutting a deal in “The Matrix Revolutions”. He faces an abstraction of the machine race. That’s Palpatine. He has been deified and is essentially the focal point for Sith loyalists and worshippers. They’re trying to make him whole so that he may speak for them, work miracles, and make the Sith dominant once again. Another sci-fi metaphor: Picard as Locutus. What’s really interesting to ponder is if Palpatine was even a clone back in the PT. TROS gives new meaning to Palpatine presiding over a clone army at the end of ATTACK OF THE CLONES. Maybe he was some Dark Side project in a similar fashion to Anakin potentially being willed into being by events set into motion by Darth Plagueis. It gives new resonance to a lot of prequel lines. Consider Obi-Wan’s warning to Anakin in ROTS about Palpatine staying in office “long after his term has expired”. He urges Anakin to recognise his feeling that “something is out of place”. Or Mace worrying about pairing Anakin off with Palpatine: “It’s very dangerous putting them together.” The Force Dyad thing. The most hilarious line is Obi-Wan asking Anakin on The Invisible Hand: “Do you have a Plan B?” Apparently, Palpatine did. “Fragmented and unstable state” is intriguing phrasing. So is “He has the spirit of the Sith”. Similar to what Snoke says to Rey: “You have the spirit of a true Jedi.” Fragmented and unstable could almost describe the ST itself. Palpatine on that long pincer arm is sort of the inverse of Vader’s crumpled mask atop that black obelisk in Kylo’s ship — which Rey and Kylo jointly smash in one of their Force Dyad-mediated tete-a-tetes. And that’s the scene where Kylo is working toward the revelation of Rey’s lineage. Some wonderfully bizarre stuff in the ST. Forget the “You are a Palpatine” revelation per se. I mean the way it is all strangely fastened together. The ST starts off a bit cold and callous, and gets better as it goes along, IMO. Along similar lines, if more minor, the engaging fangirl duo at Skytalkers, Charlotte Errity and Caitlin Plesher, in their epic six hour analysis of TROS, note a similar inconsistency: the way Rey strangely refers to Kylo as "Ren" after they re-establish contact in their first Skype call on Pasaana. They identify it as a tic of co-writer Chris Terrio, who supposedly kept referring to Kylo in interviews by his second name, or his title. I don't know if it's all that odd, however, since Rey is seemingly trying to keep some distance to Kylo for much of the third film, and using his first name would imply a personal connection or a sense of intimacy she presumably doesn't want to disclose to others. Here's where anyone daring and/or crazy enough can download and listen to both parts of their immense dissection (which they warn from the outset is fairly critical of the film in general): skytalkers.com/2020/01/21/the-rise-of-skywalker-a-critical-review-parts-1-2/Anyway... Palpatine/Sheev/Sidious... I think the thing in his case is that his machinations and his magniloquence are relatively inseparable and of-a-piece with subverting the Galactic Republic and creating the Galactic Empire, followed by the First Order, followed by -- as TROS contrives to have it -- the Final Order. In other words, Darth Sidious is also Emperor Palpatine, eternally. Palpatine actually gives little response other than a mildly irritated one when Yoda enters his office and sarcastically interrogates him in regard to his real identity in ROTS: "I hear a new apprentice you have, Emperor. Or should I call you... Darth Sidious?" And while Luke might not have known his alternate appellation in ROTJ, he must surely know there's more to Palpatine than his political title, yet he refers to him with an honorific that acknowledges his political supremacy, first and foremost: "You've failed, Your Highness." In that instance, Palpatine seems more displeased to hear that this young upstart is telling him he failed, like Daultay Dofine telling him his scheme has failed at the start of the saga, only to be deemed a "stunted slime" by Sidious and banished from his sight. I think the evidence points in the direction that a kind of cosmic emperorhood is the highest level of self-actualisation any Sith could actually achieve. In other words, Sidious has transcended his "Darth" moniker; which, in any case, is referred to sarcastically by Jedi on more than one occasion in the saga (in ANH, for instance, Obi-Wan mocks Vader by calling him "Darth"). Also, arguably, the word "darth" sounds a little too close to "death" or "dearth", both of which Sidious and his Sith Eternal acolytes, in installing Sidious (or Palpatine) as their figurehead, are trying to overcome. Put another way: Palpatine is the Sith to end all Sith. Luke, on the other hand, would plausibly refer to Palpatine by his Sith name in TLJ, believing he has rumbled the whole Jedi-Sith dichotomy and is fighting with himself over bringing to an end. I don't think there's anything bad in that. All of Star Wars is kind of opt-in. If something feels terribly amiss or inauthentic, life is too short to worry about trying to acknowledge it; especially if you feel that thing is not to your particular tastes. And, of course, there is a natural demarcation that suggests itself here, between prime-data-matrix Lucas-authored canon and a kind of ad-hoc post-Lucas extended canon. There's perhaps only so much chopping and changing and canon-expansion that any of us can stand. |
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Post by Pyrogenic on Mar 3, 2020 19:16:57 GMT
The Rise of Skywalker also has a clearly demarcated through-line celebrating the legacy of Star Wars (it only happens once every 42 years) that allows for an interpretation where extra-textual or extra-diegetic material is welcomed as a form of supplement or modification to the existing narrative. Whether or not one applies any of this sort of reasoning to the movie is another thing, but it does get interesting when one creates something, like an online post, in relation to the movie, in an attempt to *interact* with...something. Really, other people in the forum. "Oh, boy, did you see how that sentence really bounced off the shields?!" Not to get too dreary about misunderstanding the purpose of writing anything about movies at all, but what is the real point of discussion? Isn't it to imaginarily contribute ancillary annotations to the text itself? To improve one's and others' understanding of what's going on? I don't know. Maybe I just find some of the critical discussion draining because I have nothing to say. The movie speaks for itself. Anyone else feel that?
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Post by Cryogenic on Mar 3, 2020 19:52:09 GMT
The Rise of Skywalker also has a clearly demarcated through-line celebrating the legacy of Star Wars (it only happens once every 42 years) that allows for an interpretation where extra-textual or extra-diegetic material is welcomed as a form of supplement or modification to the existing narrative. Whether or not one applies any of this sort of reasoning to the movie is another thing, but it does get interesting when one creates something, like an online post, in relation to the movie, in an attempt to *interact* with...something. Really, other people in the forum. "Oh, boy, did you see how that sentence really bounced off the shields?!" Not to get too dreary about misunderstanding the purpose of writing anything about movies at all, but what is the real point of discussion? Isn't it to imaginarily contribute ancillary annotations to the text itself? To improve one's and others' understanding of what's going on? I don't know. Maybe I just find some of the critical discussion draining because I have nothing to say. The movie speaks for itself. Anyone else feel that?
-- F. Scott Fitzgerald |
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Post by stampidhd280pro on Mar 3, 2020 21:42:39 GMT
Speaking of premature endings, was it MeBeJedi who said his personal canon began and ended with Star Wars (1977)?
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Post by Cryogenic on Mar 3, 2020 22:52:32 GMT
Speaking of premature endings, was it MeBeJedi who said his personal canon began and ended with Star Wars (1977)? That guy again!  You might be getting him mixed up with zombie. Pretty sure he has hated everything since 1977. The Emperor talks about himself in TROS in ROTS: 2:38 --> "The attempt on my life has left me scarred and deformed. But I assure you, my resolve has never been stronger!"
"Nothing will stop the return of the Sith!" |
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Post by ArchdukeOfNaboo on Mar 4, 2020 0:11:06 GMT
Well measured critiques of TROS and the novelizations further contractions:
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Post by Cryogenic on Mar 5, 2020 2:09:40 GMT
JJ totally smoked it this time.
I don't care what anyone says. "The Rise Of Skywalker" f*cking rocks.
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