|
|
Post by Pyrogenic on Jul 9, 2020 3:33:13 GMT
Meanwhile, in the forests (!?) of Mustafar...Kylo Ren (Cryo Gen?) is really angry as he hacks and slashes those adorably pathetic mushroom men. It reminds me of Imperial troops slaughtering Jawas, except visible. He's so mad, because he's RAGING against THREATS to his POWER. The mushroom heads even have little plants growing off their caps. Can't spell "slaughter" without "laughter," I always say. It's a good thing the tilt down in the establishing shot of our favorite volcanic planet blocks out a huge chunk of the star field. Things got dark, and fast, and how. That next mushroom, it belongs to me! Like this one that I'm holding tight like a big teddy bear. There are a lot of sparks and embers and slashing effects applied to the clothed flesh of these mushrooms. You might even say Adam "Avatar" Driver is practically ON said mushrooms at this point. The KyloFireMoonWalk seals it. It's a cool scene. Raw, untamed power. And beyond that...something truly special. The ground in this scene reminds me of muddy ash. We also see yellow lasers. This is rare! Better flip that saber 'round! He even pulls a guy just so he can be spun as he is slashed. What a badass. Note the comical quick-cut thud of a stick to a face. He's so much like the bad aspects of his granddaddy! Similar to younglings being slain, except, again, we see it. PG-13. Perfectly spaced flames amidst the bodies. Well-composed, visceral. The motion is slow, fluidly chunky. Thematic music. Almost forgot the slam. 10/10 - would recommend.
|
|
|
|
Post by Cryogenic on Jul 17, 2020 16:33:35 GMT
I II III IV V VI VII VIII IX X Exactly six months later, I discovered something important: en.wikipedia.org/wiki/Tetractys
STAR
WARS
Why are you always so ahead of us, Py(thago)rogenic? |
|
|
|
Post by Ingram on Sept 2, 2020 8:30:07 GMT
You have to admit, it's a very shiny trilogy. If-and-where the play might suffer, Disny/Lucasfilm have nonetheless spared no costs nor curtailed any degree of artisanship in setting the stage. Production gloss has never been, well, glossier. Maybe Jackson' Hobbit trilogy is the only other escapist-fantasy opus in the past decade(ish) that matches it in such splendor. They're a photogenically healthy and robust set of films, Ep VII through IX; classier in pretense/presentation than the MCU while less alienating and severe than the DC Snyderverse ...all along the way: being Star Wars. Or, at least, coasting on the laurels of a distinctly cinema-born pop-mythology.
Maybe certain Star Wars fans have wider ranged dials of Integral vs. Flexible, thus allowing them to better enjoy a ride aboard a Star Wars production that, regardless of the GL vision that once was, is just so goddamn enveloping in commercial luster and supersized with all-purpose, instant, unchallenged, mass appeal. More strikingly than any prior cast of Star Wars characters do Rey, Kylo, Finn, Poe (and Rose) feel plucked directly from a current generation Star Wars audience (and BB-8 directly from a Pixar movie). Such A-to-B transparency is bound to find purchase.
I don't know what I'm saying here, really. I'm just riffing it. Speed thoughts.
But I'm feeling confident in my intuition all the same.
In short, I can understand the "how".
|
|
|
|
Post by Subtext Mining on Sept 2, 2020 11:24:39 GMT
^ the above post is in response to a now self-deleted post by another member basically asking how can one like the ST when it goes against the Lucas saga, as they had asserted.
|
|
|
|
Post by jppiper on Sept 3, 2020 17:24:29 GMT
|
|
|
|
Post by jppiper on Sept 9, 2020 20:31:58 GMT
|
|
|
|
Post by ArchdukeOfNaboo on Sept 9, 2020 20:36:39 GMT
Yup, It would indeed appear that Kathleen Kennedy (Disney) lied to us in the promotion of TROS with the Palpatine nonsense. Star Wars Theory has a good take on it here:
|
|
|
|
Post by ArchdukeOfNaboo on Sept 9, 2020 23:27:51 GMT
I agree with you on the lying part (it's hard not to believe Ridley here), but there is no need to engage in profanity like that. You need to communicate your frustration in a more respectful manner. Think of how Obi-Wan would critique Palpatine's takeover during his life on Tatoinne.
|
|
|
|
Post by jppiper on Sept 9, 2020 23:42:35 GMT
|
|
|
|
Post by Cryogenic on Sept 9, 2020 23:58:59 GMT
Yes, but can't you add a whit more content to your posts than inane insults? Try some humour or something. Say you've eaten moldy bread that's more palatable than the lies of Kathleen Kennedy. Something. Anything. I'm not above strong language, clearly, especially when roused to anger (just look back at the previous page), but you're only posting in a provocative, antagonistic manner when all you're doing is taking five seconds out of your day to bash someone with a hateful, drive-by insult. We can all do better than that. |
|
|
|
Post by Cryogenic on Sept 11, 2020 7:05:23 GMT
Then create one and stop spamming this one with irrelevant junk. EDIT (19th September):I apologise for the harshness of this comment one week later. Don't be afraid to create a new thread if you recognise one may be needed. I was just a bit irritated by the spammy nature of some of these comments. People should be free to discuss things at leisure here, but please do so with an eye to the integrity of existing conversations. |
|
|
|
Post by Pyrogenic on Sept 17, 2020 14:59:53 GMT
The idea that the Sequel Trilogy is a HUSK of Star Wars under George Lucas...I believe is false...because an audience actively priming the movies with any of an infinitude of worded concepts would readily see them echoed on full display...but they're not doing that. For example... "Schismatic Superpower Silhouette Spacecraft Succession"  |
|
|
|
Post by Somny on Sept 18, 2020 4:13:40 GMT
Can I play too?
"Flagship's Phallic Front Fearsomely Fractionalizing Frame"
|
|
|
|
Post by Cryogenic on Sept 19, 2020 0:44:25 GMT
You have to admit, it's a very shiny trilogy. It is a shiny trilogy, yes! Nice and new and crisp and squeaky clean. D-O has a squeaky wheel. Et voila. Squeak eliminated. Wonderful. He is now a part of the tribe. Though I've said for a while that the Prequel Trilogy -- prequels? (sleeker, more humble, less "market-ready" of a term?) -- exude(s) something I've termed digisheen. A sort of burnished digital perfection in look and feel that makes everything feel both joyously closed and open (a big storytelling sphincter) at the same time. The prequels have a stunning sense of completeness and compactness about them. The black hole of modern cinematic pop art. This is an interesting summation. I like where you've placed the new trilogy. It does feel, now you've pointed it out, that the sequel films -- that is, to use your moniker: Ep VII through IX -- sort of track or slip in the middle somewhere, as a sort of cinematic "third way": the energy beam between the binders of those contemporaries you named. For me, the anodyne aesthetic of the modern-day Marvel movies is offputting. I simply don't find those films especially cinematic or engaging. On the other hand, the early films, like the Sam Raimi Spider-Man movies (another trilogy) are highly enjoyable. I dig the Snyderverse. Sort of. It's not completely my bag, but there's a cinematic texture there to grab onto. The opening sequence on Krypton in "Man Of Steel", for instance, is gorgeous. I only disagree with you (to some extent) with regards to "The Last Jedi". Overall, perhaps the Sequel Trilogy is less alienating and severe than the Snyderverse. It's less of a reinvention. It produces less aesthetic whiplash. But Rian Johnson's movie really threw a proverbial spanner in the works and provoked a serious backlash. I mean, three years later, a lot of fans are still furious about it, looking around. Much like prequel bashing, aversion to the movie is expressed in the unlikeliest of places. That tells me it's the new crucible of Star Wars after the prequels. If prequel bashing has died down, we probably have "The Last Jedi" to thank for it in a lot of ways, oddly. Of course, "The Rise Of Skywalker" also provoked a backlash, but not as strong. Once more, the fan rabble, in its collective wisdom, has judged the new trilogy as lacking -- and it continues to furiously pound on Johnson's movie as the major problem. Though I might be seeing hatred of Disney or Lucasfilm and its alleged "lack of planning" as the new boogeyman. Heck, I can't say it's wrong to be mad about these things. I'm just saying these appear to be focal points: the new dogma to hurl at anyone who disagrees. Perhaps these films weren't designed to alienate (it's hard to see how a filmmaker like J.J. Abrams is the sort to deliberately court controversy or take serious risks), but alienation has, in large part, been the end result. So I love your summary, but read it with some qualification on that matter. True. It does seem they twisted the dials to a more contemporary setting. These character avatars are more real-world; almost like Twitter emojis. But I wouldn't say there's total A-to-B transparency; especially in the case of Kylo. However, the character dynamics, particularly in relation to the "legacy" characters, do seem to map on to contemporary politics and anxieties. In effect, Han, Luke, and Leia are fallen "boomers", while the younger characters are the angry and confused "millennials" trying to pick up the pieces and discover identities that aren't just tied to a constraining or evil past, or one that they perceive has done them harm. There is some sort of intermeshing here between what you might lazily term "identity politics" and classic storytelling values. After all, most stories have an allegorical nature; if not all. But again, the idea that this alleged transparency has found "purchase" is a bit simplistic, given the scope of the backlash. It was clearly designed to have mass appeal, but it hasn't quite worked out in practice. That actually leaves me more fascinated with the end result. I see certain layers and intricacies, especially in the trilogy's final lap, that others have either flatly rejected or doggedly claim isn't there. So that leaves me at something of an impasse. I'm once again (perhaps more than when I defended the prequels all those years) confined to one of those strange edges of fandom, having few serious takers. Right now, if anything, I would characterise the social environment as more hostile than the one that existed at its peak around the prequels -- or at least more hostile than the one that exists now for the prequels. People have begun trading in their game coins for prequel/Lucas hatred and have switched to sequel/Disney hatred. They've finally grown bored of the old arcade machines. They may even be about to riot and then slink out of the whole arcade. It's a strange time right now, on multiple levels. Keep being a Speed Racer, Ingram! We need ya. Honestly, we do. The idea that the Sequel Trilogy is a HUSK of Star Wars under George Lucas...I believe is false...because an audience actively priming the movies with any of an infinitude of worded concepts would readily see them echoed on full display...but they're not doing that. For example... "Schismatic Superpower Silhouette Spacecraft Succession" I cannot hope to match your eloquence, or your extremely eclectic insight, but I will say I love how this dark, dagger-like shape, in homage to the other trilogy openings/endings, is here a block of dark eclipsing a block of light. It perfectly expresses the trilogy's central hook about a troubled dude trapped in darkness but feeling "the pull" toward the light (planet's gravity "eclipses" the gravity of the spaceship, just as the host star's gravity "eclipses" the gravity of the planet). The visual gets a brilliant follow-up with Han and Kylo on the bridge on Starkiller Base when the last of the star's light goes out right before Kylo murders Han. It is also reprised for the opening of TROS when (as you pointed out to me) the camera pans down and there's a moment where the stars disappear and black fills the screen, only for the camera to pan further and reveal it was passing over the night-shadow of a planet. And, again, Kylo is the focus. Also, check out that smaller, more distant planet/moon. Or is it a space station? Maybe that can be added to your word string. |
|
|
|
Post by jppiper on Sept 22, 2020 21:50:23 GMT
|
|
|
|
Post by Cryogenic on Sept 23, 2020 3:14:36 GMT
LOL. That's funny. Although other people already noticed that "borrowing" a full five years ago: scifi.stackexchange.com/questions/102246/kylo-ren-vs-kybo-renOf course, it could be a coincidence, since " Kylo Ren" is clearly a cypher of "Ben S kywalker/So lo", emphasising his Force lineage and true bloodline. Moreover, Kybo Ben hails from several episodes of "Star Wars: Droids" -- among others, the eighth episode bears his name, "The Revenge of Kybo Ren": starwars.fandom.com/wiki/The_Revenge_of_Kybo_RenAnd Lucas himself borrowed from that same source multiple times for the prequels. See this article for more: www.starwars.com/news/from-boonta-to-baobab-droids-and-the-star-wars-prequelsVery little in Star Wars is actually unique. Most of it is a collage based on earlier sources and material that was discarded. How it goes together in new forms is the key. BTW, that episode (and all the others) has been up on YouTube since 2014 (the same year the aforementioned article was published on the official website): |
|
|
|
Post by Cryogenic on Sept 29, 2020 3:09:14 GMT
In before the Loctober. No, but seriously... From a comment underneath this video of Rey confronting Palpatine: Patrick Gogan
4 months ago
I like how the throne chamber is a twisted version of the Senate chamberIt's a neat observation that points to an interesting concept, and I hope someone else agrees (or, if not, I'm talking to myself, as usual). So, basically, the following happens: ROTS Palpatine: "I am the Senate." TROS Palpatine: "I am all the Sith." And a line from Anakin when he starts turning into Palpatine's agent at the mid-point of the PT: "The shifter broke." I guess what I'm trying to say, maybe, is that you can chart a shifting of emphasis (the Palpatine lines again), and it's like, with that shifting of emphasis, this whole new realm of meaning -- or cinematic vocabulary -- suddenly exists. The Senate chamber becomes the Sith chamber (an echo chamber: LOL) on Exegol. Like, wow. That feels important, and really cool, somehow. So, yes, Joe. Kybo Ren becomes shifted to Kylo Ren. That's not cause for lamentation; it's reason for celebration! We have these things/concepts/objects that become transposed and transmogrified across the saga. The Sequel Trilogy is the missing quark genus that puts a whole new "spin" on everything. But more than that: shifting imperfectly because the shifter itself broke. Palpatine's line where he both explains and deflects his re-emergence to Kybo -- sorry, Kylo -- Ren is fascinating in this regard: "The Dark Side of the Force is a pathway to many abilities that some consider to be unnatural." A regurgitated prequel line. Also consecrating Kylo as the New Anakin in that moment. It's also like Palpatine is reading off all the Sequel Trilogy titles at once: "The Force Awakens The Last Jedi The Rise Of Skywalker." Wait. Let's write that out properly: "The Dark Side of the Force""The Force Awakens""is a pathway to many abilities""The Last Jedi""that some consider to be unnatural.""The Rise Of Skywalker"LOL. "The Last Jedi" is literally a pathway between a "Force" component and a concluding entry that, ahem, some consider to be unnatural or illegitimate. Sequel Trilogy sucks! Corporate trash. SJW propaganda. They made it all up as they went along. Etc. But anyway, the shifting is a bit janky, kind of on purpose. Palpatine seems "stuck" in the groove. He's attached to the "mechanism" of the earlier films, just as "The Dark Side of the Force" (i.e., "The Force Awakens") is a "retro" movie mired in the past. But yet, both are still living, still capable of being dangerous and surprising you! It's this stuck-in-the-groove/shifting thing (sort of a paradox) I'm really taken by. Heck, that Patrick person said it's "twisted", and that's a word we hear from Yoda and Obi-Wan, with respect to Anakin/Vader, in ROTS and ROTJ. Palpatine is more machine now than man. And his Senate chamber is twisted and evil. All that chanting! So Palpatine sort of Darth Vader-ed himself or something. I dunno. But it is rather bizarre that the chamber should echo the Senate from the PT! Jar Jar Abrams basically blew up the New Republic in "The Dark Side of the Force" (sorry: "The Force Awakens"), and yet here he is, at the end of the trilogy, reprising those prequel motifs in a "twisted" form: twisted homage. This is where TROS unconsciously grabbed me from the start. It's all here. The strange beating heart of the trilogy: finally acknowledging the prequels in a more vigorous and sort of "psycho"-dark-fantasy way. Punktastic. Did you notice, for instance, that Threepio makes several references to the PT, and to Palpatine, when they're in that underground chamber on Pasaana? He starts babbling about how a decree passed by the Senate of the Old Republic forbids him from uttering anything in Sith (a sneaky allusion to the Jedi-influenced despotic nature of the Republic and how the politics of old are still playing a role in "needlessly complicating" the plot of TROS), and he does this right as a snake/serpent (alluding to Palpatine/The Sith) is rising up behind him. In the opera scene in ROTS, Anakin mumbles how the Jedi don't trust Palpatine, and Palpatine says back: "Hmm. Or the Senate. Or the Republic. Or democracy for that matter." Senate. Republic. The resurrected Palpatine of TROS also has some other lines that allude back to his ROTS self, including "The time has come", "Do it!" and his classic utterance: "Good!" So there's definitely some PT -- or, more spec-sith-ifically, some ROTS -- in TROS! Very satisfying. Perhaps it's just fanbait stuff. But I like to think, at the very least, there's some of J.J. Abrams' and Chris Terrio's own egocentric fascination with ROTS behind those same decisions. And Palpatine's throne chamber on Exegol seems a bit too... spe-sith-ic to ignore. I like the idea that Palpatine's ego grew so big because everyone in the Senate was cheering him on ("So this is how liberty dies: to thunderous applause") that he has essentially recreated a metaphysical version of it, or his followers have, on Exegol. It works well as a psychic echo of his former configuration. Like it is ludicrously designed to make him feel more "at home". Or is that former configuration a scam? Is this ampitheatre on Exegol the "real deal"? Was he always manipulating things in this fashion all along? Is his chamber on Exegol more like a video game interface where he was comfortably seated and controlling the events of the other films? Was he always trying to bring the dyad into being? I just think there's some freaky stuff in TROS and it's the most satisfying of the three Sequel Trilogy features. I would go a step further and say it's actually the most satisfying of all the Disney projects (oops: there I go -- like Palpatine!) because it features the "OG" himself. It isn't really Star Wars without Palpatine. That's why I don't share the dissatisfaction (never mind the contempt) shown by other fans that they went and brought Palpatine back for Episode IX. I think it needed to happen. The way it was done, it really does feel like Palpatine was behind everything, and Episodes VII and VIII were just stalling. When Rey goes to Exegol, it's like Dorothy discovering The Wizard is actually, well... a wizard, alright... but one that finally needs to be contained and eliminated so the saga can align and begin all over again. A banishment that leads to a regeneration. There's something about the final execution of the Sequel Trilogy that has made the whole Star Wars saga more cosmic and enjoyable: bigger, more expansive, and even weirder than before. I think it was a very good choice to bring back the very bad dude of the saga. If Jar Jar is the key to Episode I, then Palpatine, to echo Colin Trevorrow, must surely be the key to Episode IX. Jar Jar and Palpatine. What a team. Those are some fresh thoughts this late hour, anyway. |
|
|
|
Post by Somny on Sept 29, 2020 5:21:03 GMT
Ah, the soothing aroma of freshly-baked thoughts! Delectable as always!
I wish I could properly engage with added insight about TROS but I have to admit, topics like these prompt conflict in me as I seem to nurse a general lack of enthusiasm toward the ST. It's a strange relationship because I enjoyed each of the three films in theaters (all on their opening days to boot!) yet I've virtually never revisited them past their respective home video releases. And this is Star Wars we're talking about!!
What I can say about TROS and Palpatine is that I was ecstatic about the final Skywalker saga film in the run-up to the release and the teased return of the big, bad emperor himself! Who wasn't? I thought that the filmmakers were smartly going to wrap up the series with a proper and peaceably cohesive final 9th. To me, that would have made up for the relative absence of PT references in the first two ST films; a cause of much chagrin. And to add to my delight, rumors abound that Lucas had been more involved on a story level for this final entry had me positively giddy! It sounded good but maybe a little too good, in retrospect. Unfortunately, I foolishly allowed such enticing rumors to become the truth in my mind and so set myself up for a major fall.
The film came out and I subsequently learned that Lucas' involvement had been limited. And to add insult to injury, I didn't see or feel a peaceable extension of the olive branch toward fans of the PT.
It hurt.
But I don't mean to be a "Debbie Downer." I am here to admit my malaise toward the ST and seek to remedy my coolness toward the films by perhaps adopting the same wisened and heartened fascination that Cryogenic has with them.
I'd like to embark on a new path with new eyes and the above analysis and commentary are richly encouraging in that direction. Thanks, Cryo!
|
|
|
|
Post by Cryogenic on Sept 29, 2020 6:56:01 GMT
Ah, the soothing aroma of freshly-baked thoughts! Delectable as always! LOL. Fresh out of the oven. Although, truth be told, I think I'd been baking that little cake a while. I really tried to force myself (no pun intended) to like TFA. And I could never really do it. Well, like, perhaps. But certainly not love. However, it got better for me a year or so after TLJ came out. Episode VIII too, was equally challenging to love (even, for a time, like). But then I did a re-evaluation last year and started enjoying it more. It grew in my esteem and, as just mentioned, helped me appreciate TFA a bit more in retrospect. But the film that ties it all together (much like the OT and PT) is the last of the triptych. I don't think I could be very taken with the Sequel Trilogy without TROS. But I'll never deny that the ST was given a disappointing foundation. I'm just glad that something clicked for me at the end of the new trilogy. To be honest, TFA and TLJ feel like so much wheel-spinning. I think only TROS truly feels "Star Wars" and helps carve out more of a classic identity for the trilogy. Of course, the whole trilogy is in the shade of the originals, but TROS feels like a mini-oasis. Part of the issue, for me, is how recycled TFA is, and how grey and dour (if funny/offbeat) TLJ presents itself by comparison. The former is well-made and effective in its own context, while the latter is a solid and beautiful film, but both seem to be quite insular movies, bereft of a certain x-factor. I feel it's only when you get to TROS you have an experience that is more rounded and colourful and authentically "Star Wars". I don't blame you for not feeling moved enough to revisit the sequel films. The PT is really the peak of the Star Wars experience, in my opinion. However, I do like the ST as an optional add-on, and as another member here observed, it feels like the OT, in particular, benefits by being "expanded" into a second trilogy. As satisfying as ROTJ is, I have to say, it feels a little abrupt after the richness of the prequels. The ST, for me, allows for a softer, more graceful landing. If nothing else, it is like a gorgeous and lovely pillow. I can see how you would have felt bilked or cheated. On the other hand, I was under few illusions by the time Episode IX neared release that it was going to be some radical break with the strategy of the preceding movies. In other words, I was pretty confident it wouldn't offer much in the way of obvious prequel red meat. It doesn't seem to be within the successors to Lucas to pay full homage to his Prequel Trilogy. They are OT fanboys; and obviously not above pandering to that crowd. However, something about the TROS trailers drew me in; much more than the trailers for either TFA or TLJ. They really helped set the tone for me. There was something more palpably lush and epic about them, and that was also how I responded to the film. It is difficult to put the precise qualities of these things into words. There's just something about TROS that feels more comic book-y and more of a "Christmas feast" than the former entries. Perhaps I was just happy to have Palpatine back. I didn't feel manipulated in the same way other fans did. I suppose I did feel that way -- much more than other fans at the time (or 98% of the ones posting to the Internet) -- when TFA came out. So my little fan brain had been through that process already. I was ready for a different set of chemical responses. Perhaps it comes down to Kylo. Kylo is the kylo -- the key! Well, Kylo, Rey, and Palpatine: a strange triad. In TFA and TLJ, see, all the characters are just sort of "there", and no-one ties into an arch villain too well; perhaps because Snoke is too crummy an arch villain to leave much of a mark. But one relationship that does seem to grow in strength, power, and emphasis is the metaphysical bond between Rey and Kylo. So when Palpatine is put into the mix, and he even juices himself up by draining their connection, I go: "Okay, now this is interesting." And entertaining. TROS, for me, offers that magic triangle, while its forebears fall a little short. Another way in which TROS distinguishes itself, in my opinion, is in the anime-ish "mode" it depicts Rey and Kylo's powers through. I first mentioned this in my very first post when I gave my initial thoughts straight after seeing TROS, while Pyrogenic later followed this passing mention up in a more detailed exposition. Basically, the film embraces the fact that its lead characters are these sort of airbending "super kids", and it's fascinating to see how that plays out on screen: all the resonances, all the subtle touches, all the lyrical grace notes when they're tapping into the Force or fighting against (or healing and fighting alongside) one another. It introduces a new aesthetic into the saga, and I really like how it comes at the end, in what is technically (for now, at least) "the last" of the Skywalker films. It beautifully exemplifies a key prequel motif: "Much to learn, [we] still have." You go all the way to the end and you still run into new things. I love that. So TROS didn't so much hurt me as charm me. I liked seeing Abrams pushing himself this time and doing something a bit more esoteric. I also think, despite the fast pacing, or because of it, there's a more entertaining "jammed together" quality to TROS than the other films. It feels more like a collage. There's a nice paratactic effect that is generated. You get a very modern, very fluid, very trippy ambience. This goes hand-in-glove with the basic storytelling "logic" of the film. Objects getting passed between characters, characters just showing up somewhere without explanation. It's what one commentator has termed post-cinematic. Basically, it's a "proof of concept" for an emerging trend, and I like the idea that Star Wars is on the vanguard of something neat once again. I think it's pretty poignant how the end of the Skywalker Saga points to (and leans into) a new beginning. Don't worry! You're very kind. Based on some of my earlier posts, it may seem I'm against negativity or critical commentary. I'm not. I just prefer any input to be reasonably considered and "from the heart". There is no need to apologise for not liking something. It can help the things we do like shine all the brighter. But if I've given you some new "game coins" to feed into the arcade machine, and there's the prospect of you winning new prizes, I'm delighted. |
|
|
|
Post by Cryogenic on Sept 30, 2020 0:47:36 GMT
In before the Loctober. No, but seriously... From a comment underneath this video of Rey confronting Palpatine: Patrick Gogan
4 months ago
I like how the throne chamber is a twisted version of the Senate chamberIt's a neat observation that points to an interesting concept, and I hope someone else agrees (or, if not, I'm talking to myself, as usual). So, basically, the following happens: ROTS Palpatine: "I am the Senate." TROS Palpatine: "I am all the Sith." I can't resist another little riff. Yeah, I could have edited this into my earlier post, but just to keep that one neat and pure, I'll plop these additional thoughts here. So, basically... Palpatine gives a show of his imperial magnificence by casting his hands into the air from his podium/throne in both movies. In TROS, he zaps the ships. In ROTS, he ends the Republic. Damn, that makes the PT sound infinitely better, doesn't it? But the ships can represent things. Even Ingram created an echo to this effect when he said: Alas, we got the Emperor tasing all the space ships and blue-balled Reylo fans. Again, TROS Palpatine: "I am all the Sith." And, in fact, when Palpatine raises his arms into the air, about to cast his Sith magic over all the ships, he tells his "faithful" not to fear the attack, boasting, "Nothing will stop the return of the Sith!" This echoes Palpatine reassuring the Senate that his "resolve" has "never been stronger", as well as him belting out the words, "The Republic will be reorganised into the First Galactic Empire!" So you can see that TROS does take quite a lot from ROTS, especially where Palpatine is concerned. The final prequel obviously made quite an impression on the Star Wars fanbase, and it's a testament to George Lucas and Ian McDiarmid, I think, that its impact was so strong -- strong enough that it gets a remarkable reprise through the conceit of bringing Palpatine back, and the various touches around that concept, in TROS. This also allows ROTS to function as a sort of "double ending" for the saga. If you watch in "production order", ROTS is the sixth and final film of the Lucas Saga. Whereas, if you watch in "Story Order", ROTS is again the sixth and final film; or, rather, it takes six additional movies (Episodes IV to IX) until it is solidly reprised, through Palpatine, in TROS. Both films/trilogies also end with characters regarding the classic binary sunset at the homestead after so much transformation and turmoil. You can definitely detect some ROTS in the makeup of TFA and TLJ, too. The third and final prequel really did something to the saga and elevated it a whole notch. It's good to see the Disney films paying homage to it, however obliquely. And all the more striking that they do, given the way the prequels were none-too-subtly trashed in the PR campaign for the start of the Sequel Trilogy. In the words of Palpatine himself: "It's ironic." That's another echo, by the way, when Threepio says in the caverns on Pasaana: "Irony, sir." See? You can't outrun ROTS, or the genius of George Lucas, no matter how hard you try. |
|
