My complete review of The Mandalorian‘s season two finale went up earlier today, and I had plenty to say about my deeply conflicted feelings on the entire episode. As a loving and only slightly passive aggressive nod to the way in which The Mandalorian‘s showrunners and writing team have seemingly structured seasons two and three as a two-parter (because there’s no way the cliffhanger “ending” we got works for the self-contained story that the series liked to claim it was up until this point), I have similarly composed my thoughts into two separate posts, which exist symbiotically. The first dealt with the episode itself: the second, the one you’re reading right now, is all about that shocking post-credits scene.
A post-credits scene that, to be honest, I would have completely missed if I didn’t have a habit of watching through the credits – partly because, as someone who reviews films and TV, it’s important to know about the talented individuals who pour their heart and soul into making entertainment possible; partly because it’s an instinctive thing, from the days when Marvel movies still existed. I also had a feeling that, even though Star Wars hasn’t (to my knowledge) experimented with post-credits scenes before, there had to be something there, because the finale itself ended without any big stinger – whereas season one concluded with the iconic shot of Moff Gideon standing atop his wrecked TIE-fighter with the Darksaber in hand. No way was season two going to end with any less dramatic reveal.
What season two went for, however, was completely unexpected. The scene takes place back on Tatooine, presumably only a short while after the events of the finale, in a very specific location that Star Wars fans know well: the mountaintop monastery once possessed by Jabba the Hutt and transformed into his personal palace, den of vice, and center of his flourishing crime empire. I’d always just assumed the place was abandoned after Jabba’s death by strangulation and the destruction of his entire court, but apparently not – and even more shockingly, it seems that members of his inner circle outlived the Huttese crime lord: most notably Jabba’s former majordomo, the pale and sickly-looking Twi’lek, Bib Fortuna (voiced by Matthew Wood this time around, and easily one of the top ten most hideous Star Wars characters even before his transformation in this scene), who it seems survived the attack on Jabba’s pleasure-barge and took over for the deceased Hutt, carrying on his vile legacy. This is the first reference to Fortuna’s survival in the new Disney canon, but the outdated Legends canon long ago confirmed that the Twi’lek escaped the barge’s explosion in a sand-skiff and took control of the palace before his death.
Fortuna was tall and thin during the events of Return Of The Jedi, but in just the five years since the Empire fell, he has become a pale, bloated shadow of his master’s former glory, perched atop the Hutt’s dais with his massive lekku horns encircling his whole upper body. A few miserable-looking individuals wander around his palace looking bored, while a single Twi’lek slave sits chained to Fortuna’s throne.
And that’s where Boba Fett (Temuera Morrison) and Fennec Shand (Ming-Na Wen) suddenly come in, quickly defeating the slight resistance from Fortuna’s followers. As they come down the stairs, there’s a truly touching and memorable interaction between Fennec Shand and the Twi’lek slave, who struggles to unwind herself from the royal dais – a callback to the Twi’lek dancer who valiantly tried to strangle Jabba in Return Of The Jedi, before being fed to the Rankor beast beneath the palace floor. This time around, Fennec simply shoots the chains, exchanging a sympathetic and understanding look with the escaping Twi’lek before turning to the urgent business at hand.
Bib Fortuna briefly tries to plead his case, putting on an air of excessive friendliness when welcoming Boba Fett, who wastes no time shooting him in the chest and kicking his body off the dais. I imagine we’ve seen the last of this bizarre and truly repulsive character, but I guess it’s always possible we could see another story from Legends adapted: the one in which the ancient monks living below Jabba’s palace harvested Fortuna’s brain and transplanted it into a mobile spider-droid. It’s probably unlikely, but I thought you should know all the options.
What we know for sure is that Boba Fett, who settles comfortably into the throne vacated by both Jabba and Bib, is probably about to take the reins of Jabba’s once mighty empire, with plenty of help from Fennec Shand, who sits on the throne’s armrest, swigging from a flagon. The camera pans out, and a title card helpfully informs us that a new Disney+ series called The Book Of Boba Fett is coming in December, 2021. There are two distinct possibilities for what this means, both for Boba and for the future of The Mandalorian franchise.
The most popular and plausible theory is that The Book Of Boba Fett will be a new spinoff, a tenth new original Disney+ Star Wars series to add to the nine previously announced at the Disney Investors Meeting last week. There have been rumors that a Boba Fett spinoff is either in the works or actually already filming, and its absence from the official Disney lineup surprised many fans who have been following the news closely. Now it seems they may have been concealing its existence to preserve the surprise of this post-credits scene. I would love for this to be its own spinoff, because a Boba Fett miniseries gives us much more time to explore Fett and Shand’s new lair in Jabba’s palace, and for them to interact with all of the galaxy’s most dangerous criminals. The Mandalorian, which most of us originally thought focused on the bounty hunting business, has since become its own thing, freeing up this niche for The Book Of Boba Fett to fill.
The other possibility, and one that I don’t even want to consider, is that this “spinoff” is actually the third season of The Mandalorian, focusing on Fett and Shand rather than Din Djarin and Grogu. The strongest reason to believe this could be the case is the fact that both series’ are set to debut in December of 2021, and Disney+ hasn’t ever pitted two high-profile series’ from the same franchise against each other like that before (though, granted, The Mandalorian has been pretty much their only high-profile series from any franchise they own, so far). It would certainly be unusual if the two debuted against each other. It’s also convenient that Boba Fett, a Mandalorian, would be in a position to take over as the Mandalorian. His storyline is certainly compelling, and I’d watch anything with Ming-Na Wen in it, but I’m definitely not ready to give up Din Djarin and Grogu yet, especially not now that Djarin has just accidentally come into possession of the Darksaber, and Grogu is studying with Luke Skywalker at the newly rebuilt Jedi Academy. There’s still too much story left to tell with (and from the viewpoints of) those two characters. Or at least, I have to hope so.
What do you think? Is The Book Of Boba Fett going to be its own thing, or a continuation of The Mandalorian with a new and improved focus? Which would you prefer? Share your own thoughts, theories, and opinions, in the comments below!
How The Mandalorian‘s second season finale will be judged largely depends on what happens next, in either the sequel season it sets up with a not-so-subtle cliffhanger ending, or the spinoff it teases in an unexpected post-credits scene (or…are they are one and the same?), because what we got is very clearly not the resolution to a self-contained original story, but rather the prologue to a wider saga spanning the Star Wars universe. But right now, for this one blissful moment, my feelings are deeply conflicted yet generally positive…because you simply can’t do what The Mandalorian season two finale did in its closing minutes, and not excite the Star Wars fan in me.
Just as in season one, when Din Djarin (voiced and played by Pedro Pascal) had to assemble a team to defeat the unnamed Imperial client on Nevarro (the true identity of whom will likely remain one of the series’ many minor, irritating, unsolved mysteries), this season’s finale revolves around assembling a small gang of heavily-armed misfits and saving Baby Yoda – or Grogu, or The Child, or whatever you want to call him. Djarin had already gained the allegiances of Boba Fett (Temuera Morrison), Fennec Shand (Ming-Na Wen), and Cara Dune (Gina Carano). The last piece in the puzzle is the Mandalorian princess Bo-Katan Kryze (Katee Sackhoff), who plays a pivotal role in the events of the finale, even though…well, it’s complicated, in a weird and somewhat unsatisfying way.
It’s nothing, however, compared to the intricacies of Mandalorian societal structures, which continue to grow increasingly messier the more we learn about them – today culminating in a face-off between Bo-Katan and Boba Fett where the two are barely able to resist from killing each other on the spot. The reasoning for that goes back a long way, to the animated Clone Wars series, in which it was revealed that most Mandalorians regard the entire House of Fett as outsiders to their creed and community – and Boba specifically as something entirely alien, due to the bounty hunter having been created inorganically as an identical clone of his father, Jango. Bo-Katan, who cast stones at Din Djarin for unknowingly belonging to a group of religious fanatics, now taunts Boba Fett with questions about his “donor”, and comparing him to other clones she’s known (and yes, that’s extremely hypocritical and uncharacteristic of her, since clone armies were instrumental in putting her in power after the Siege of Mandalore), causing a scuffle between Fett and Bo-Katan’s second-in-command, Koska Reeves (Sasha Banks). Fett, in turn, is utterly dismissive of Bo-Katan’s goal to unite the Mandalorian clans behind her and retake their ancestral home planet of Mandalore, which the Empire supposedly desecrated. In the end, the promise of finally being able to confront Moff Gideon (Giancarlo Esposito) and win back the Darksaber is what convinces Bo-Katan to join: though Din Djarin valiantly tries the “they-took-the-Child” route with her. It’s worked for everyone else, and it seems to be almost be enough for Bo-Katan, but the show is painting her as a low-key antagonist to Djarin for whatever reason, so they can’t have her be too kindhearted.
This is one of two instances in The Mandalorian so far (the other being Ahsoka’s refusal to train Grogu because of attachments) that I would be tempted to classify as character assassination if the term hadn’t been hijacked by trolls who use it broadly to mean anything that ever happened in the sequel trilogy. There’s a difference between character assassination and character development that a lot of people don’t get: and Luke Skywalker’s journey in The Last Jedi, for example, is a textbook example of the latter. Character development is organic and typically serves a thematic purpose; whereas assassination is a shortcut used lazily to rush the story forward (in Ahsoka’s case), or to force a conflict where there was none (in Bo-Katan’s case). What’s particularly frustrating is that audiences who don’t know Bo-Katan from the animated series’ will now remember her best as the borderline ruthless, prejudiced, ambitious-to-a-fault schemer she is here.
Laying out an elaborate strategy for how to infiltrate Gideon’s star-cruiser, the gang sets out in a small Imperial shuttle stolen from its previous pilot (played by Thomas Sullivan, whom I immediately recognized from Agents Of S.H.I.E.L.D.). The Mandalorian somehow has time to flesh out his character, and give him a pointless back-and-forth with Cara Dune, where he manipulates what I guess are supposed to be her traumatic memories of the destruction of Alderaan. The event has now been referenced twice this season, and, leaving aside the fact that Carano’s acting does nothing to convey the trauma of its aftermath (the dialogue literally mentions her shedding a tear, while Carano’s eyes are dry), it’s honestly just weird that people keep bringing it up in-universe.
Omid Abtahi briefly reprises the role of Dr. Pershing, the other occupant of the stolen shuttle, but there’s no time to interrogate him about Grogu’s exact midi-chlorian count. The fact that he was on his way to and not from Gideon’s cruiser bodes well for Grogu, as it implies he may not have had a chance to extract any further samples from the child (Gideon later confirms he’s taken his own samples of the child’s blood, but, well, that will be insignificant in the long run).
Director Peyton Reed is at his best while orchestrating the high-stakes, action-packed break-in – a stark contrast to his Ant-Man movies, which have mostly been low-stakes, filled with comedic action scenes and sight gags. Between this and the exhilarating spider chase he directed earlier in The Mandalorian‘s second season, he’s definitely given himself an upgrade before his next Marvel film, Ant-Man And The Wasp: Quantumania. His exceptional use of each character’s individual strengths makes for a very memorable string of fight scenes, and there’s a real sense of urgency and danger, even though most of our heroes are encased in beskar steel, which is nigh on impossible to shatter, dent, or damage in any way.
Din Djarin finds this out the hard way when he singlehandedly takes on Gideon’s elite platoon of robotic dark troopers – even with one of these super-sized metal juggernauts repeatedly hammering his face backwards into a wall with the force of a small battering ram, it’s the wall that gets broken to bits and Djarin who escapes unscathed, thanks to his beskar steel helmet. Hilariously, he’s then able to temporarily eliminate the dark trooper threat by blasting them all out an airlock.
While Bo-Katan and her all-female team storm the ship’s bridge looking for Gideon, Djarin accidentally but predictably encounters the Moff personally guarding his most prized possession, Grogu, with the Darksaber in hand. Finally, we can see why Lucasfilm hired Giancarlo Esposito for this role, as the ex-Imperial sneakily manipulates the conversation, feigning disinterest in the Mandalorian political situation while freely offering the child to Djarin. Although Djarin initially buys into his lies, it takes all of five seconds for Gideon to reveal his true colors and start hacking ferociously at Djarin with the Darksaber. The beskar steel gifted by Ahsoka Tano finally comes in handy, allowing Djarin the means to fight back in one of the series’ most hyped-up duels. The whole sequence is over suspiciously quickly, however, and Gideon is soon captured and dragged up to the bridge after being disarmed by Djarin.
When they reach the bridge, we find out just how cunning Gideon has been – possibly at the expense of established Star Wars canon. It was revealed a while ago in Rebels that, to wield the Darksaber and claim it as one’s own, one must first defeat the previous owner in combat. Or, at least, that was the case until Sabine Wren yielded the Darksaber willingly to Bo-Katan…who soon after lost it to Gideon himself, and spent years hunting him down, trying to make up for her failure and render her claim to the sword irrefutable. Gideon, by intentionally losing to Djarin, has now created a situation where Bo-Katan “can’t” take the sword unless she wins it in combat…from Din Djarin. Except she can. Sabine Wren set the precedent. Djarin offers it to her several times, only for Gideon to interject each time with a gleeful reminder of how Mandalorian law supposedly works. My best guess is that Bo-Katan blames her willingness to defy tradition and take the sword freely for all her failures, and for that reason won’t do so again. This whole thing is weirdly reminiscent of the Elder Wand debacle in Harry Potter.
It’s at this moment that the dark troopers return, flooding back onto the ship and charging towards the bridge, all while Gideon gleefully torments his captors with quips and boasts. His menace is rather undercut, though, by the sheer stupidity that compels him to grab a blaster and aim for Bo-Katan, who, reminder, is wearing beskar steel. He gets knocked unconscious by Cara Dune, and that’s literally the last we hear of him. A humiliating defeat for a villain that had just come into his own.
In the chaos, a single X-Wing fighter appears out of nowhere, heading for the cruiser. At first, I assumed it had to be the New Republic, come to save the day and convince us that a Rangers Of The New Republic spinoff series is actually necessary, but once the ship is confirmed to be flying solo and lands without communicating with the bridge, I figured I knew who its occupant had to be. Reed draws out the big reveal, forcing you to agonize and wrestle with your emotions and your “this can’t be happening” impulses, even as all the visual clues add up. And the brutal, beautiful suspense makes it that much more conflicting when the smoke clears, each and every dark trooper has been obliterated, and the person standing there is indeed Luke Skywalker (Mark Hamill)…but is also very much not.
The CGI replacement for young Luke – which uses Hamill’s digitally de-aged voice and likeness – is perhaps not quite as unnerving as the CGI Princess Leia in Rogue One, but nowhere near the seamless, stately elegance of CGI Tarkin in the same film. CGI Luke’s eyes are haunting and slightly unfocused, and his voice doesn’t quite seem to match the movement of his lips. He is, of course, revealed to be the Jedi that Grogu contacted back on Tython, but when they meet at last, Grogu waddles over immediately – only to spend most of the scene talking to Luke’s sidekick, R2-D2, in an excited chirping language matching the droid’s beeps, boops, and bops, while CGI Luke stands to the side; his ghastly top half purposefully out of frame, his lower half standing too still, like a background character in an animated movie.
Disturbing digital effects aside, the Luke reveal is emotional and brilliantly executed, and it makes sense that he’ll be the one to train Grogu in the ways of the Force. But of course saying goodbye is hard: and so Djarin removes his helmet willingly, revealing his face to Grogu for the first (and hopefully not last) time. The puppet’s tiny claw reaches out to touch Djarin’s cheek, wide eyes take in every feature of his face…and yes, those muffled sobs you hear are mine. What can I say? I love character development.
And with that, CGI Luke sweeps Baby Yoda into his Ken doll arms, and takes off, concluding the second season of The Mandalorian. So much is still unresolved! Moff Gideon is defeated, Din Djarin commands the Darksaber and must now either embrace a new destiny or pass it on to Bo-Katan, and Grogu is headed to Ach-To, I guess. Oh yeah, and Boba Fett and Fennec Shand are getting a spinoff (or maybe just taking over The Mandalorian), which we’ll discuss in greater detail, in the second half of my finale review.
Because this show is so frustrating, one just wasn’t enough.
Lego’s holiday-themed parody of the Star Wars universe probably won’t become a cult classic like its predecessor, the notoriously unwatchable Holiday Special that aired in 1978, but…that’s probably okay. Lego’s Holiday Special is a brief, hilarious, and surprisingly action-packed story that takes us further forward into the Star Wars timeline (albeit, non-canonical and made out of animated building blocks) than ever before, and all the way back to its beginnings in the prequel trilogy, in a charming mini-adventure that allows characters from every trilogy (and even some of the expanded material) to interact, duel, or share memorable moments together. In so doing, the Special also very gently (and in some ways imperfectly) fixes some of the biggest problems that fans have pointed out about The Rise Of Skywalker, which is one of those movies that I’ll probably always have an irrational soft spot for, but definitely don’t feel as positively about now as I did when it came out.
The Special takes place soon after the end of The Rise Of Skywalker, during the Star Wars universe’s “Life Day” – an all-inclusive holiday that has existed on the peripheries of Star Wars canon since the original Holiday Special. In all that time, however, no one behind the scenes has done anything to sketch out the in-universe customs or traditions of Life Day, and so it still just borrows most of the standard trappings of Christmas anyway: the decorated tree, the lights, gift-giving, ugly sweaters. The Special’s setting on Chewbacca’s homeworld of Kashyyk is another throwback to the original Special, which centered around Chewbacca’s family on Kashyyk (and, side-note, also introduced the world to the Mandalorian bounty hunter Boba Fett). But Wookiees are less crucial to the overall plot in Lego’s version than they were in the original: most of the action revolves around a time-hopping quest to learn forgotten Jedi secrets.
Early on we find out that, in this timeline, Rey (voiced by Helen Sadler) has started mentoring her best friend Finn (Omar Miller) in the ways of the Force, and her apprentice has already begun training with a lightsaber, using the same time-honored methods as countless Jedi padawans before him – a natural part of his character arc that many of us hoped we’d get to see in live-action. Sadly, the Star Wars films mishandled and mistreated Finn’s character: only revealing him to be Force-sensitive after The Rise Of Skywalker‘s release, not unlike dozens of other crucial bits of plot information that were vaguely alluded to in the movie itself and then later confirmed by people behind-the-scenes or by tie-in material. Lego certainly tries to right that wrong by making Finn visibly (though non-canonically) Force-sensitive, but it still makes the same egregious mistake that the films did – by sidelining him, and all of the franchise’s living characters of color to a side-quest (better described as decorating duty and cooking, in this case) while Rey and BB-8 get to go on the actual adventure. And even though that adventure gives Rey plenty of opportunities to cross paths with characters like Mace Windu or a younger Lando Calrissian, both prominent and beloved Black Star Wars heroes, those encounters don’t happen (Mace Windu is present in the background, but never speaks). It’s simply unforgivable that Finn, at the very least, doesn’t get to participate in the action – his Force powers come in handy just once, and well…it’s not quite as epic as one would hope.
On the bright side, it is great to be able to welcome Kelly Marie Tran back to Star Wars as Rose Tico, after her character was treated so horribly by the franchise. Tran will soon be getting even more attention and recognition for her voice-acting talents with the upcoming release of Disney’s Raya And The Last Dragon, where she voices the film’s heroine, Raya. It would be hard to determine anything about her performance in that role from the cameo she has here, however – especially since, for some reason, it seems like every other line she delivers is “are you crying?”, while Poe (voiced by Jake Green), visibly in tears, tries to pass it off as allergies. Other notable Star Wars actors reprising their roles include Anthony Daniels as C-3PO, Billy Dee Williams as Lando, Matt Lanter as Anakin Skywalker, and James Arnold Taylor as Obi-Wan Kenobi.
Rey, meanwhile, discovers a magical Jedi gemstone that allows her to travel through time – a nod to the World Between Worlds, a mystical location outside of space and time that was first explored in Star Wars: Rebels, but never really reappeared until now…sort of. Rey’s misadventures start out slow, with her basically just listening in on conversations between various Jedi master/apprentice duos – going all the way back to her master’s father’s master and his master before him. But once she meets Darth Vader (voiced by Matt Sloan) and Emperor Palpatine (voiced by Trevor Devall), the action picks up and hilarity ensues. The duel between Vader and Rey has been one of the most hyped-up events in this Holiday Special, and luckily it does not disappoint: in fact, it takes place across several different planets, in several different eras, and eventually grows to become an all-out battle on Luke Skywalker’s farm back on Tatooine, involving three different Obi-Wan Kenobi’s, at least two Han Solo’s (and one Greedo), pod-racers, a bunch of very confused stormtroopers, and a legless (but no less fearsome) Darth Maul, among others. Baby Yoda is even featured, and neither Rey nor Darth Vader can resist pausing their fight to adore the infant alien – who is apparently just as much of a celebrity in-universe as he is in real-life.
But where the Special really hits its peak is when it unites Vader, Palpatine, and the First Order’s Supreme Leader Kylo Ren (voiced by Matthew Wood), after the Emperor decides to time-travel to the future and see what he’s managed to accomplish. Sure, it’s not a bizarre musical number by Jefferson Starship (yes, that really happened in the original), but for all the grumbling from Palpatine about “less talky-talky, more fighty-fighty”, the intensely awkward comedic interactions between Kylo and his Dark Side predecessors are the highlight of the entire Special and culminate in a dramatic shake-up of the Sith power structure – and some fabulous one-liners and sight gags. Fans of the Reylo romantic pairing, however, might be disappointed that Rey and Kylo don’t share many scenes – and when they do, the Holiday Special makes some…interesting choices regarding their dynamic, that are sure to have Star Wars Twitter in a bit of a frenzy. No spoilers here, though.
All in all, the Lego Holiday Special basically achieves what the original Special probably intended – and failed – to accomplish: which is to just be harmless fun for the whole family. It’s ironic, then, that the original’s failure to do that has given it a staying power it never should have had, but will continue to enjoy – probably until Disney releases it on Disney+ eventually, and it becomes that week’s most popular hate-watch before finally being allowed to rest in peace.
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.
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?
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.
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.
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.
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.
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.