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Rogue One vs. The Force Awakens — The Fault in Our Star Wars

Rogue One vs. The Force Awakens — The Fault in Our Star Wars


Hi, I’m Michael. This is Lessons from the Screenplay. Over the last year, many people have asked
me to analyze a movie with flaws. One that doesn’t quite hit the mark. While there are certainly some easy targets,
I thought it would be more valuable to apply some constructive criticism to my
favorite franchise of all time. I love the Star Wars films. They are the reason that from age two I knew
I wanted to make movies. And twenty-nine years later, the same holds
true… as The Force Awakens and Rogue One accounted
for eight of my trips to the movie theater in the last year and a half. But while I think the newest entries show
promise, they also have problems. So today I want to examine some of these problems. To analyze the importance of showing instead
of telling. To look at the difference between an active
protagonist and a passive one. And highlight the importance of a strong character
arc and meaningful consequences. Let’s take a look at Rogue One and The Force
Awakens. A common piece of advice in screenwriting
is “show, don’t tell.” By comparing how Rogue One and The Force Awakens
introduce their protagonists… we can see why showing is more powerful than
telling. Let’s start with Jyn. In Rogue One, Jyn’s character is first introduced
when she’s a little girl. We see young Jyn witness her mother’s murder
as her father is forced to return to work for the Empire. We experience this event with her, so we have
an understanding of who she was as a girl. But we never get to see who she is. When she wakes from this dream-memory, fifteen
years have passed. She’s an adult now, a prisoner of the Empire. But we don’t know why. We don’t see the crimes she committed or any
of the context surrounding them. Instead we’re told a list of her criminal
charges. Even as the list of her crimes is being read,
she has no reaction. We don’t know if she’s remorseful or has no
regrets. We don’t even get the simple line from the
teaser… “This is a rebellion, isn’t it?” “I rebel.” …which at least hinted at a personality
that enjoys resisting authority. “Yes, sir.” And while hearing an emotional backstory can
make us feel sympathy for a character… “The last time I saw you, you gave me a knife
and a loaded blaster and told me to wait in a bunker till daylight.” …it doesn’t make us empathize with them. Compare this with how The Force Awakens dedicates
six minutes—which is a lot of screen time— to showing us Rey’s life. We watch her scavenging for parts in the hot
sun, which she exchanges for small amounts of food. “What you brought me today is worth…one
quarter portion.” As she cleans the parts, we see her gaze at
an old woman performing the same job… suggesting that Rey worries she’ll end up
the same way. We see that she lives by herself, and as she marks off another day it’s clear she has been here a long time. And finally we see her watch a shuttle leave
the planet and head toward the stars… as she puts on a pilot’s helmet. Rey dreams of flying away. Being shown this sequence allows us to experience
this with her… which lets us understand her life much better than just being told about it. But the power behind “show don’t tell” isn’t
simply about visuals. In his book “Screenplay,” Syd Field writes: “Action is character; a person is what he
does, not what he says… Because we’re telling a story in pictures,
we must show how the character acts and reacts… to the incidents and events that he/she confronts
and overcomes (or doesn’t overcome) during the story line.” By spending time with Rey, we get to see her
make choices, which is critical to creating an active protagonist. Throughout the first half of The Force Awakens,
Rey takes action and faces dilemmas that reveal her true nature. When she hears BB-8 being captured by a scavenger,
she goes out of her way to free him. “He has no respect for anyone.” Later, Unkar Plutt offers her sixty portions
in exchange for BB-8. Despite being tempted, she makes a difficult
choice. “Actually. The droid’s not for sale.” And when she learns that BB-8 is carrying
a map to Luke Skywalker, she chooses to leave her home behind and make
sure BB-8 is delivered to the Resistance. “He’s going to get you home.” “We both will.” We understand Rey’s values because she is
an active protagonist for much of The Force Awakens. Jyn, on the other hand, is a passive protagonist. In “Screenplay,” Syd Field again writes… “If you’re writing your script and sense your
characters are not as sharp or defined as you think they should be… the first thing you must determine is whether
they’re an active force in the screenplay— whether they cause things to happen, or whether
things happen to them.” For the majority of Rogue One, Jyn doesn’t
cause things to happen, things happen to Jyn. She is rescued from the Imperial labor camp
by the rebels… taken to their headquarters on Yavin IV, and
presented with a non-choice choice. She can either do what they ask or go back
to prison. “We’re up against the clock here, girl. So if there’s nothing to talk about we’ll
just put you back where we found you.” And what they’re asking her to do is passive
as well. “What we need is someone who gets us through
the door without being killed.” The rebels simply need her to be with them
when they meet with Saw Gerrera, which is not a very compelling task. And the process of finding Saw is passive
as well. They wander around Jedha, only to get caught
in a firefight… caught by imperials, and then finally caught
by Saw’s rebels. Her character’s passivity prevents her from
making meaningful choices that reveal her true nature. But this is not to imply that Rey is a perfect
protagonist either. In most stories the main character has some
flaw or weakness that is preventing them from being their best self. Author K.M. Weiland describes this as, “The lie your character
believes.” In her book “Creating Character Arcs,” Weiland
writes… “In order for your character to evolve in
a positive way, he has to start out with something lacking in his life, some reason that makes the change necessary… He is harboring some deeply held misconception
about either himself, the world, or probably both.” The lie that Rey believes is established early
on in The Force Awakens. Rey naively believes the family that abandoned
her on Jakku will return someday. And her character arc is to accept the truth
and overcome this weakness that is holding her back. But the problem is that this weakness doesn’t
really hold her back. Most of the time it simply takes the form
of her telling people she has to get back to Jakku. “But I have to get home.” “Where, Jakku?” “I’ve already been away too long.” The only meaningful consequence of Rey believing
this lie comes after she has the force vision and encounters Maz Kenata. “You already know the truth.” “Whomever you’re waiting for on Jakku…” “They’re never coming back.” Rey refuses this new path and runs away, which eventually leads her to be captured by Kylo Ren. But soon after, her force powers grow and she’s
able to escape and ultimately overpower Kylo Ren. The lie that Rey believes has very few consequences. So overcoming it is not as powerful as could
have been. But consequences are not just helpful for
defining character arcs. The entire momentum of a film relies heavily
on meaningful consequences. I find that when I watch Rogue One, the second
half is much more engaging than the first half. In the second half, the characters have a
clear objective and the actions they take move the plot forward. But the first half of Rogue One is unnecessarily
complicated and filled with sequences that have little-to-no
meaningful consequences for the plot. For instance, Saw doesn’t trust the Imperial
pilot who carries the message from Jyn’s father. He subjects the pilot to a creature that causes
its victims to lose their minds as it determines their true intentions. “Bor Gullet will know the truth.” But afterward, Saw Gerrera still doesn’t believe
the pilot… “It’s a trap, isn’t it?” “What?” “The pilot!” …who regains his mind the next time we see
him. “I brought the message, I’m the pilot.” This scene doesn’t move the plot forward because
it doesn’t change anything. There are no consequences. The following trip to Eadu is similarly inconsequential. Jyn has already seen the message revealing
the Death Star’s weakness. She and we know the next step is to convince
the Rebellion go to steal the plans. But instead, they travel to Eadu, beginning
a thirty-two minute sequence… that has no lasting consequences and provides
them with no new information. It does function to let Jyn briefly reunite
with her father. But while the death of Jyn’s father should
be a significant moment for her and the story, it ultimately doesn’t change the trajectory
of either. Once Jyn has learned that Cassian had orders
to assassinate her father… “You lied to me.” …she’s even angrier at him and the Rebellion
than before. CASSIAN: “I had every chance to pull the trigger,
but did I?” JYN: “You might as well have.” “Those were rebellion bombs that killed him.” This kind of revelation might give her cause
her to abandon Cassian and forsake the rebellion. But instead, in the following scenes she’s
giving a stirring speech to the rebels… “Rebellions are built on hope.” …and teaming up with Cassian. This strikes me as a rushed, outside-in approach
to story design. I feel this is a symptom of trying to give
Jyn a personal connection to the Death Star plans via her father figures… without sufficient regard for logical character
motivation and evolution. While the first half of Rogue One has some
structural problems, once our characters take action to pursue a clear objective, the film regains a sense of momentum. “May the force be with us.” And here, I think, is where Rogue One really
shines. The premise is original in the Star Wars universe. A team infiltrates an imperial base and sacrifices
their lives for the Rebellion. Although I feel the emotion of this sacrifice
suffers from a lack of investment in the characters, the ending is executed in a way that feels
faithful to the original trilogy, and hands off the baton to Episode IV in a
fun and satisfying way. A great example of what “A Star Wars Story”
can be. And while The Force Awakens may have bitten
off a bit more than it could chew— introducing new characters, continuing original
trilogy storylines, establishing a new planet killer weapon only
to destroy it shortly after— I feel it does do a fantastic job of making
the audience invest in the protagonists. We understand who they are, and see them work
together to overcome obstacles… and share emotional losses. Making us eager to see what lays waiting for
them in Episode VIII. Overall, I love what Kathleen Kennedy and Lucasfilm
have done with Star Wars so far. I think they are taking interesting risks, and I appreciate that they have so prominently
featured female protagonists and a diverse cast of characters. And it’s because I love Star Wars so much
that I think it’s good to be constructively critical of the latest films. We all want these new stories to be as good
as possible, which means being honest about what works and what doesn’t. While neither Rogue One nor The Force Awakens
are perfect films, I do feel they’ve breathed new life into the
franchise and given the future of Star Wars films a very welcome gift… “Hope.” Hey guys, Michael here– STORMTROOPER: There’s one, blast them! [scream] Hope you enjoyed the video. As you know, I mention a lot of books in my
videos. Which is why I’m very excited to say that
this video has been brought to you by Audible. Since we’re talking about Star Wars, I’m going
to recommend the book “The Hero with a Thousand Faces” by Joseph Campbell. This is the book that made popular “the hero’s
journey”… And was the book that influenced George Lucas
when he was writing the original Star Wars. So it’s great if you want to understand the
foundation of modern narrative structure, or if you just want to learn more about the
mythological background of Star Wars. So if you’d like to support the channel, all
you have to do is go to audible.com/LFTS, where you can sign up for a free thirty-day
trial and you’ll get access to thousands of audiobooks to listen to, and you can also download one that is yours
to keep. If you want more suggestions, I created a
blog post with more Star Wars books as well as more screenwriting books, all of which are available on Audible. The link for that is in the description below. Thank you to Audible for sponsoring this video. Be sure to subscribe for more Lessons from
the Screenplay, and thank you for watching!

100 comments on “Rogue One vs. The Force Awakens — The Fault in Our Star Wars

  1. Hey guys! I just couldn't not do a Star Wars video. Hope you enjoy! What films should I do in a future video? Comment below to let me know your thoughts!

  2. I dont get it how peopl still likes this MOVIE even before I never get to like it.
    Especially those controlled mannequins.

  3. There's a critical difference between Rogue one and the force awakens. Rogue one is war movie.

    You really need to compare Rogue one to other war movies. In war movies you don't get the kinds of things that you do in other films. In war movies lots of characters die.

    Comparing Rogue one to the force awakens is like comparing a romance to an action film.

    Another key problem with the force awakens is that everything is just too easy for the protagonist. She is too good at everything without any explanation why. Quiet she's so good at repairing the Millennium Falcon? Why is she so good at flying in Millennium Falcon compared to train fighter pilots? Why is she so good with the force without training? Why does Leia have such a deep emotional connection to this random person who wandered up out of nowhere versus all of the other people in the movie?

    And the list goes on.

    Jen was a plausible human character that I could identify with. During her struggles I could see myself reacting the same way and succeeding and failing the same way as she did. Everything wasn't too easy for her.

  4. Rogue One is miles better than TFA. TFA is in my opinion even worth than TLJ. TFA is nothing more than a shitty progressive ripoff of A New Hope. Even george lucas voiced his dislike of it for its blatent copying. Its like JJ thought "People no like prequels therefore sollution = literally copy the original trilogy and reskin it with less likeable and interesting characters". TFA I only saw 1 time ever since it was so terrible. Where as other SW movies ive seen like 100 times. Idk I think Rogue one may be my favourite star wars ever tbh. It was so emotional and got me so invested in the characters and expanded the lore so much with something brand new to SW and very little Progressive bullshit in it. The action and story were fantastic. They had amazing actors and the villain Krennic was truly something fresh to the scene of star wars. The sense of scale of the deathstar and other things in the universe were never so truly fantastic. It set up a New Hope perfectly. The vader scene was pure joy to watch. EVERYTHING about it was so good. There was like 50 "OMG" moments. Idk why more people dont love it. Its literally the only enjoyable one disney has put out, apart from maybe Solo but even Solo had some major flaws.

  5. The thing about TFA is that Disney pretty much throws away the rules that Lucas created.
    In every one of the original and prequels, characters have the force but must be taught how to use it.
    In TFA, Ray pretty much starts off at an advanced level.
    Where I can understand tossing the EU stuff since it was mostly fan fiction and even Lucas ignored it, the world from the 6 movies is Star Wars. Isn’t one of those storytelling guidelines to have and respect the rules of your premise?
    And let’s be honest, TFA was just regurgitated plot and events while at least Rogue One had some original elements. It at least felt fresh.

  6. I respect your opinion on show don't tell… which is an applicable principle in so many movies and scenes… however I don't have a problem with the writer just telling us jyn's list of crimes as straight exposition. I think a lot of screenwriting gurus shit on straight exposition… such as Robert mckee disliking goodfellas because there is too much voice over… which is Ridiculous. I think at the end of the day if the rules or principles lead to the audience being emotionally impacted… that's the most important thing. I actually think some of the best movie moments in history are scenes or dialogue that don't have an overall purpose for the plot… and are just about enjoying the moment on film… without explanation. Such as j.k. Simmons kitchen table talk to Juno about love and relationships. It wasn't mandatory for the plot but was a chance for the audience to just not give a shit about plot or where its going for a few mins… breathe and enjoy the moment. I think where robert mckee and syd field get into being so strict about brevity and economy… is that they've read too many bad screenplays where bad writers are submitting 200 page journal entries as scripts. But I think a good sensible screenwriter will know when to move the plot and when to just let two characters just talk to each other like real human beings. Rules for the sake of rules is just an example of these screenwriting gurus being the hall monitors of screenplay theory. I love your channel though and it's a great platform for rational movie debate. Keep up the good work!

  7. i'm not disagreeing with the criticisms on Rogue One, but you should have put into consideration that it's painfully obvious that its screenplay was written by two different groups of writers and while a number elements and/or plot points doesn't quite work and deviates from conventional storytelling, Rogue One is–by far–a better Star Wars movie than the Force Awakens IMHO.

  8. I'm afraid you lost me with your Disney diversity waffle at the end. They have killed it stone cold dead for so many people I can't see how it can ever recover – and the worst part is I don't even care anymore. I strongly disagree with your concluding comments.

  9. Well let's just talk about characters. Rouge One is about rebellion of ordinary, not chosen people. That is why we don't need to see her rebel, she is just an traumatised child that doesn't conform authority, but the fact we haven't seen it is giving us clear sign that it is not important for her and that also she as an individual is not that important. The cause is. When they all sacrificed themselves in the end that would become clear. 
    Force awakens, in its retracing of the The New Hope went through hoops to show the life of a chosen one. Films don't have to have a single character as main one, they can be about collectives or even about places, ideas or anything else so dramaturgy should follow. 
    Remember Citizen Kane, the main character of that film in classical way is journalist-detective Thompson, of whom we only see and know his glasses, not even his face. Kane himself though we only know from the stories so he is this chimera constructed in the heads of people who knew him.

  10. Rogue One would have been better had it succeeded better in fleshing out the ensemble so their ends had real impact the way similar scenes in "Kelly's Heroes" or "The DIrty Dozen" had, but it is nonetheless an enjoyable film. Definitely the best Disney Star Wars movie, though I actually kind of enjoyed Solo personally, despite a bland script and a lead who didn't belong even remotely in the film. Both the the Disney Skywalker saga episodes have been nightmares.

  11. I think my problem is I don't like Rey. Sure she keeps talking about her family… but that never has much meaning as we have no clue about them, not to mention she's just made too strong and naive, and the film is jumbled. With Jin I feel she's meant to be passive, her life is one of someone largely without meaning, so that when she does finally find one (through her father figures and their sacrifices) she jumps at it HARD (to the point of dying for it). I agree they could have put more weight into him being sent to kill her father, that was somewhat underplayed.

  12. Rouge One is my favorite. This guy is a paid Hack. I must have missed the part of the movie that showed Ren being trained to do all that Jedi shit.

  13. I agree, I think the third act of R1 is phenomenal, but the lead up to it wasn't as compelling. Star Wars is almost always cool no matter what, but story wise it wasn't as exciting.

  14. in my opinion there are only two mistakes in Rogue One, 1. the constant cuts, I don't think there's any cut that lasts longer than 4 seconds in this entire movie 2. They should not have had darth vader in any of the film until the end

  15. Jyn is a classic passive-aggressive — that's me too, it's why I like the character.

    But frankly, I find your overall analysis to be self-contradictory and flawed ; and over-reliant on a poor reading of Campbell's Hero With a Thousand Faces.

    Campbell's book is *excellent* as an introductory level text, but proper analytical theory cannot be based on the norms that it proposes, as they are not a method of story telling, but a method of story analysis.

    Many of the worst post Star Wars films, including Episode VII, have naively applied Campbell's "formula" as a template, except that the ordinary result of doing so will be to make something predictable and boring.

    George Lucas' genius was that he used Campbell as a means of *understanding* what kind of story he wanted to tell, then to create something innovative from that basis, instead of slavishly applying Campbell's analysis as a "formula".

  16. Funny watching this in 2019. With hindsight, Jyn is a far, far better character than Rey. Of course, one can blame Johnson and Kennedy for that to a degree, but seriously? Rey was always a Mary Sue character. This was obvious from the moment she met Finn and started beating everyone in a fight, and piloting the Millennium Freaking Falcon when she'd never set foot off the planet before. Rey is a lie from beginning to end.

    Sorry, lad, but you don't really have any idea. Rogue One is the ONLY Disney Star Wars film I am willing to watch now, and it's a lot to do with MaRey Sue. Ih, and JJTrek. Oh, and Rian Johnson.

  17. I love that you called out Star Wars for inspiring you to make movies as a kid. I'm in the same boat! I saw the original when I was six and have been inspired ever since.

  18. I simply love all The comments like "Yeah, i know that everything in Force Awakens is far better than in rogue one… But i still prefer the crappy one"

    Force Awakens is, by far, the best Star Wars movie since The Empire Strikes Back!

  19. Your writing — I mean the words you write and then read during these videos — is always good, but here it was especially excellent. I even teared up once or twice as you expressed your love — that we all share — for the franchise. Thanks.

  20. Rogue One was great and The Force Awakens had potential as a continuation of the overall story…then The Last Jedi happened.

  21. Good take on Rogue One. I think too many people left the theatre having enjoyed the final battle and forgot how bleh the rest of the movie was.

  22. Hmm no
    Rey is just built from thin air
    The writers give her skills and traits out of nowhere
    They didn't even do something trivial I expected like oh "see how she's great in combat with a staff? Well she is going to use those skills to fight the villain to compensate for her present lack of skill with the force"

    Edit: Not only did they give her skill and overwhelming power with the force but they don't even emphasize her ability with a staff (which the Rouge One sort of Jedi used to great effect instead of a lightsaber). It was a basic step to make her abilities believable they just ignored

    As for her piloting abilities they should've had her home be an old rebel/empire ship that had training equipment she maintained and not an old walker

  23. Where does it show that Rey knows how to fly a spaceship? Just because I can ride a motorcycle doesn't give me the ability to fly an aircraft.

  24. Rogue 1 was a far better story! Your points are pointless force awakens is awful rushed and no character creation!

  25. Rogue had no likeable characters. TFA is a perfect film. Perfect character introduction and passing of the baton to the next generation of characters. Yes it has lots of similarities to ANH…but at this point isn't every SW film a rehash of itself ? SW has a formula for it to work.

  26. EDIT: I realize this is my second comment. Oblige it if you will. It’s great to hear from you and how deep you go into your analysis. I don’t know however if we were watching the same two movies. I hoped you’d tell me why passive characters are alright sometimes versus the troublemaker active ones (I’m a troublemaker active character/person so I’ve nothing against them. And I do realize how often it takes a passive character/person so I can slow down as needed, and reflect before making decisions.)

    Because of Jin, the Rebellion had hope, they got the plans so the Death Star could be destroyed. She was the world to her dad and I loved how he continued to believe she’d win and left her that clue.

    I loved the story arc and her character arc. She was not a Jedi and did not need to be for me to think her interesting and important. She moved from becoming a nobody who things happened to to being the only person who’d risk it all for a single chance and inspired a whole team to take that chance and thereafter the Rebellion to take the opening. — SPOILER — It is also not easy to tell a story about a martyr. Because many of us believe death means you lost. Jin was so full of hope she did not believe that. She made her criminal life and her opportunity to do something good turn into the fulcrum the rebellion needed to turn on.

    I also loved that she was a morally grey character and also a woman. There is such depth there because not often are female main characters created as being morally grey. To meet up with another morally grey character, Casian and a reformed Empire Drone with more emotional depth than a slew of “fully-fleshed out” and “important” main characters I can think of in that same franchise.

    It just goes to show that films and stories are so subjective. And what is one person’s garbage may be another person’s treasure.

  27. 7:44
    Gets captured, force powers ‘grow’, overpowers Kylo.
    This is why people hate rey and the force awakens! SHE DIDNT EVEN GO TO DAGOBAH FOR TRAINING!

  28. Loving all the Rogue One love in these comments.
    The only film that stayed faithful to the original three in its look and feel.
    I wish TFA was more original in its storyline and TLJ has built on some of the more interesting themes of TFA. Not just binned them all.
    If The Rise of Skywalker some how fixes the damage done to the franchise, it will be the greatest comeback since Jesus came out of the hole and said ‘what’s next?’

  29. Sometimes, a passive character IS the storyline. The character innocently and unexpectedly gets caught up in circumstances that are beyond their control. That is the story arc of Rogue One and it’s not a bad thing. Erso is dragged into the rebellion, the same way Luke is dragged into the rebellion.

  30. EVEN my 8 year old daughter thought Rogue One was much better than Awakens

    She actually thought Awakens was a kid’s comedy movie

  31. tbh the thing that bothered me a lot about tfa was how "weak" the enemies were, we didn't and still not have seen the "good side" struggle hard, it's too easy for them, I wish they would have made Kylo Ren stronger

  32. Both have bad issues on screen and off screen but I prefer Rogue One. You overlooked so many things about Rey that made her disliked,Jin may be boring but the story of Rogue One is not just about her but how the entire crew got together who later sacrificed themselves to get the Death Star blueprints.

  33. Totally agree with the passive nature of Jyn's character. That said, I don't agree that Rey is an active character in her story – she just gets caught up in it all in the same way. She doesn't have the agency that Luke had in A New Hope. She certainly isn't as likable or relatable as either Jyn or Luke as well, which for me made The Force Awakens really miss the mark.

  34. Stop shitting on The Force Awakens. The only reasons I hear people hate about The Force Awakens is because you guys think Rey is a Mary Sue and The Force Awaken is too similar to The New Hope, even though I don't think so. Even if that's true, it doesn't mean the script is bad and I've seen reboots better than the original.

  35. This videos shows the dangers of applying principles in isolation. Maybe there was more "showing" and lead character "agency" in TFA, but Rogue One still felt superior. But those differences may have been marginal and some other guiding principle may have been at work: Such as respect for the Star Wars universe.

  36. The Force Awakens is a disaster. Terrible story, terrible acting, terrible directing. Just terrible. I despise this abomination.

  37. Rogue one is the only star wars film made in the last decade. The force awakens is just a pathetic rip off with weak characters (seriously, Adam Driver Makes Hayden Christensen look like Lawrence Olivier, he is like a spoilt little shit petulant sulking child throughout.) and nostalgia beats every third second and the less said about the dogs breakfast of last jedi and solo, a star wars flop the better.

  38. I would argue that the character introductions in these two movies serve different purposes. Rey is the main protagonist of THREE MOVIES and her background and upbringing play a major part in the films (especially The Last Jedi) so it is important to establish who she is. Jyn, on the other hand, is still the protagonist, but the move is larger than her. I think that SHOWING all of her various crimes would take up important time that is used elsewhere in the film, and it's not strictly necessary. The purpose of the scene that you show (where Jyn's crimes are being read of in a list) is to establish the rebellion and why they need Jyn (she is Galen's daughter), they don't really care about her crimes – they hold no bearing later in the film. Rey's life on Jakku, on the other hand, is pivotal to the movie – she mentions over and over again that she has to go back and wait for her family. Which communicates to the audience that she is willing to put up with that life just for the CHANCE to see her parents again – you could also argue that it establishes Rey as a bit of a naive optimist.

  39. "We understand who they are." Referring to the characters of The Force Awakens? Do we know who Finn is? He went from growing up with fellow First Order Stormtroopers his entire life, fellow troopers who would have become the replacement family for the family he was taken away from as a baby and then just like that he is killing them indiscriminately without a single shred of anything.

  40. I think Jyn and Rey show two different outcomes to women who have had fight to survive their whole lives, and have been through the rough of it. Personally, I was able to relate to the grim, emotionally hardened, hopeless, and ultimately distant character that was Jyn Erso, more than the proactive and hopeful Rey. Like Rey, Jyn has had to claw for her survival since she was a child, however where Rey was able to hold onto an intact sense of hope that things will get better as long as she keeps going, Jyn has abandoned that hope and energy in favour of grim survival. She has nothing to latch onto that gives her anything to look forward to, her whole life has just been going from one moment of survival to the other, and to do this she has accepted that this is what her life is, and has abandoned the concepts of fighting for anything more than purely staying alive. And with this beaten sense of hopelessness, of emotional detachment, and fighting only to keep herself alive, the movie sets her up perfectly for a story about finding hope and fighting for causes more than yourself. Her starting the movie as a passive protagonist is a character development point, it is the start of her journey into becoming a character that sacrifices herself in the name of hope – the exact opposite mindset to how she started.

  41. Both films were meh to me. So far Solo(it’s not all that great, but I prefer it) is my favorite out of the Disney SW films.

  42. Star Wars Stans are funny, once they pass the threshold of intolerance, there's no going back. My mother is an old school stan, she says that the Star Wars Saga has been trash since Revenge Of The Jedi lol But, she says the first two in the Trilogy are masterpieces [a new hope and empire].

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