STAR WARS: THE LAST JEDI

If you have seen STAR WARS: THE LAST JEDI, how would you rate it?


  • Total voters
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This angle would have been fun to explore. The whole janitor thing is doing him no favors because it presents him as a very neutered storm trooper to begin with.

He's a failed character to begin with. Welcome to SJWars.
 
Yeah, he definitely put some effort into it. I share a lot of his thoughts, but i couldn't imagine myself spending the untold hours it took him to write his script, capture the footage, then compile/edit it all. He and a few others are filling the void Red Letter media left behind. Their deconstruction of the prequels was epic. Now they just sit in a circle and discuss, though I can't blame them lol

I understand Marvel's lack of stakes too, as we know they're not going to kill of main characters, but they do hurt potential drama leaning on bathos too often. It never took away from the films too much though, as we knew what to expect. I've mindlessly enjoyed most of the MCU films, until Guardians of the Galaxy 2 that is. I loved the first film, but they pretty much doubled down on humor and beat anything that worked like a dead horse. The whole movie felt mailed in. ALl I remember from it was Drax belly laughing constantly and Groot dancing/looking cute endlessly. I think they hamfisted too much 70's/80's tunes too and not picking great tracks.

We're getting a little oversaturated in the superhero film dept, but thankfully we can all still appreciate

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I love Favreaus leer. Exactly what I would do if I were there .
 
He certainly has the most original origin plot point out of the new characters. If the new trilogy characters were introduced as RPG characters his is the most interesting though he's lacking in the personal quest line department. Rey, Poe, and Rose are old hat. They should have given Rose a different origin and story line or just left her out.
I agree. Instead of sending FN off to do a thing, they should have developed his character more within the context of the action. Not that it didn't, but more. He's unsure of himself, yet heroic. Got it.
 
there is a near 500 million difference in foreign total intake between TFA and TLJ. more than half that sum is from 4 countries, UAE, China, Japan and Germany.

350 million difference domestically.

I don't think it has anything to do with western culture. the movie was just not good


Tied with Jurassic World for 2nd fastest to 600M.
 
We're on the same page here for the most part I think,. I like the use of humor in the MCU films and I thought Justice league used it well too. In TLJ it often felt odd and out of place. They could have removed a few of them and used those few minutes to explain how the first order came to be and why we should fear them. There's actually a pretty compelling story in their lore, but we have to go outside the film to find it.

It must have been a difficult position for Rian Johnson to be in though, having to follow up a script someone else established, from a universe another person created. In a way I admire him for having the balls to 180 so many established elements and try to make this film his own, but I'm not pleased with the way he portrayed Luke, along with a slew of other issues in the film, but I can't stomach typing more on that lol

Regardless, I soley put the blame on Disney and Kathleen Kennedy for not having the trilogy planned out, or the state of affairs in the galaxy explained (in the films) from the get go. I'd love to be a fly on the wall in their production meetings.

Humour wise I don't see much difference myself, TFA had plenty of highly questionable meta moments as well. The issue really I would say is how do you build them into your characters/setting? something like the recent Thor film for example I think clearly draws a strong influence from the 1980 Flash Gordon film where the whole setting is obviously an elevated reality and the jokes don't detract from it.

The original Starwars films humour was almost entirely in the form of wit and the same was true with Rogue One, any other moments tended to be from characters like 3PO. Luke was not throwing sassy putdowns our at the Emperor when facing him down.
 
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He's a failed character to begin with. Welcome to SJWars.

You say that as if the problem is his race and not just shitty writing/direction by JJ Abrams.

Star Wars started getting more chicks and more ethnically diverse since all the way back in Empire Strikes Back and Return of the Jedi. The casting of The Force Awakens was just in line with that.

Unfortunately most of the rest of JJ's filmmaking wasn't.
 
It might be worth it to regard TFA and TLJ as a single film.

If anyone can stand another break down of TLJ and flaws in the trilogy overall, this guy does an excellent job.



If I've taken anything away from the TLJ over the last few weeks, it's that audiences are constantly having to explain Rian's plot holes for him. That's the biggest crime of any story and they are generally slammed for it.

Real sorry to hear about your shit there, man. Maybe this rebuttal will provide some diversion that isn't too boring. (Promises promises.)
  • It's really well thought-out, but troubling at the same time because he seems to be a writer and the issues he enumerates shouldn't work against the film. In fact, for them. And by that I mean he should to be able to understand why things occur as they do.
  • However, there are some mistakes. He contradicts himself by positing a solution to a "problem" using a hastily-written alternative. When he explains what HOW his alternative succeeds, he fails to realize he simply missed it. He also uses the word "rules" far too often.
  • Lastly, Luke.
Space operas don't operate on rules, they operate toward story by the same principles as Greek or Norse myths. Sure there are superior options available, sure the laws of physics will be manipulated glaringly, yes a lot of it's not going to make sense when you step back from it. I think this guy understands space opera doesn't adhere to rules but does not care because he didn't like what he saw. My opinion is it's the wrong thing to think, that each event or outcome sets up a Rule in a space opera. A rule that says This Happened, therefore everytime circumstance dictates This Must Always Happen. The pitfall of the rule is how it retroactively affects the narrative, reshaping past events. Rules are not meant to be Reversals.

The bombers of STAR WARS are B-wings and Y-wings, therefore it is incorrect to introduce inferior technology.

Not only is that a bad rule this is a bad application of the rule. What if there were no available good bombers and they only had the shitty ones, could only spare the shitty ones? This writer seems to want lines of exposition explaining it along the way, rather than understand what's going on. He needs someone to tell him where he is in the story, but on his side he's like, "Because it doesn't make any bloody sense!"

The Space Opera question is: What does use of these shitty bombers serve to the story? One is that they are a symbol of film's theme of hubris. Created during the peacetime between dark uprisings, they are bloated and ill-equipped for not just this but ANY job. You don't like them, and IN-STORY the response is "What's to like? You never had to go to war with shit weapons?" Another is they're all they had, echoing the logistics in-story. We all know the film must portray our heroes in dire straits, but since bombs in space was too nonsensical the writer couldn't forgive the opening inciting action of space opera narrative. It's not the point to counter this guy's points point-by-point -- so much as adjusting perspective so that the meaning and entertainment isn't lost.

The meaning of the bombers was to give a history to Rose, and provide a lesson for Poe. It's shitty. Maybe it's shittily done, but you get how beginnings must be dire for our heroes.

To question why the imaginary XYZ isn't happening is to miss what does happen.

Tee video should know this, which should unshackle concerns like force fields, emplacements, air in space (museums or otherwise), bad tech, poor strategies being employed. Roll with these things, don't let them get in the way.

If you think it's stupid or looks like shit, that's all fair. But trying to insert reality physics into space opera is like trying to figure out how Loki tries to escape the gods by becoming a fish and when they catch him as a fish using fish-catching methods, he simply doesn't turn into something else and get away that way. Kids aren't bothered by this. That's why I hate the imaginary kid litmus test. It's always an adult that doesn't want to play ball.

Kids are like whatever, man, just show me something cool.

He spends times roasting each character over an open fire, opting against the Mythic Questions and opting to remain at the Rules Committee of Fouls, Gaps, And Holes Ltd..

Poe. He remixes the conversation to replace Hux with Tarkin. The dialogue he uses reveals his need for the film to spell out what he missed about the character. He needs Tarkin to say, "Your attempts at humor during this time reveal your weakness."

That's exactly right. That's the whole point. That's what Poe needs to realize about himself. And that's why he's joking with Hux (it's hubris) and why he perceives the admiral staff as being against him (hubris POV) and why he must learn to lead with his brain and not just his cockpit after everyone dies as a result of his bad plan and mutiny (hubrith HELLLOOOOOO). His weakness is the reason for all of the death in the rebellion. He wouldn't have believed Tarkin anyway.

This is lightly treated because, well, try using that terminology to a five year old wearing the porg beanie. No, the five year old already got it, without the horrific magnitude because the CHILD knows it's a STORY.

So excising the humor, what would they be talking about while Poe is trying to stall for time? That's within character? Or should they have used someone else to stall? Or skip straight to the one-man cavalry attack? He wanted more text crawl; he would. To me, it didn't seem all that egregious. Obvious and simple, sure, but funny and exciting without being too easy for the clever fox.

Snoke/Ren. The confusion of their dynamic is explained when Snoke reveals he's been grooming Kylo to be unhinged, which he used as cheese bait. Let's get that out of the way first. Now, let's go back to the beginning. Why would Snoke make a big deal about the ridiculous mask? He's fucking with him. Why would Snoke say conflicting things, making him all confused? He wants Ren to doubt his command. Why would Snoke risk losing Kylo through his nefarious deeds? He can see minds through space and bind bodies too. These are the Mythic Questions answered.

The Rules Questions don't really bother me. Like where they are in their training, and what's the dynamic between Hux and Ren. I get enough of their power dynamic as displayed, and I don't know how it serves the story to explain that Hux is a weak, obsequious ladder-climber who I believe is only there because he's Tarkin's nephew or someshit. (One contradiction being that the video needs certain things spelled out, but he doesn't bother with Snoke's run-down of Hux, in a line to Ren. Something like I keep that that useless POS around because I can manipulate his proclivities [LIKE I CAN YOURS, BOY! LIKE I CAN YOURSSSS].) I don't need to see any further influences from Snoke than there already are, as they are happening onscreen. Hubris fells him, just as it threatens everyone in the film.

I'm kind of running away with a point-by-point analysis, and that's gonna do me no good. I go through all of this and I don't overlook the notion that, yes, the meaning and purpose of each even was understood and grasped -- it's just that he didn't like it. It's not a matter of comprehension, but of taste.

At this point I'm just trying to use examples of how not to let annoying questions impede reception. By looking into what these poor shortcomings, as they are so perceived, by what these shortcomings do in service to this Story. Not to the Rules. Two great tastes don't always taste great together. But maybe on purpose.

The Rules govern that Luke must be an altruistic Jedi of hope. And let's forget for now that he dies doing that very thing, and concentrate on this stranger we meet at the beginning: Jake Skywalker.

Hi, Jake. I hear you suffer from a case of the Rules. Meet Luke. He's the real you, and he'll be joining us in this thought experiment. Standing right inside of you. The two of you will exist in the same place because neither of you are truly incorrect, and since everybody already knows Jake from this film and Luke from the others, we'll kinda focus on Luke in THIS film. Hope you don't mind. You're a good guy, if a bit gruff, and possibly given to bestiality.

Luke's been missing since however long ago a teenage(?) Ben nearly killed him. So he really hasn't been gone all that long, it just feels like it's been since 1983. So while Jake might have really been gone for a long time, Luke hasn't been hiding out for all that very long. In which case the depth of his hermitude isn't as great as we feared, which means he isn't masturbating as furiously may have been suspected by the mac&cheese sounds coming from through the door of our awareness. He isn't THAT emo. To prove this? Over the shoulder goes the lightsaber. Jake thinks he's deadly serious. He is not going to go back. The Jedi! They must die. Luke, on the other hand, knows this is the start of his inevitable return because, after all, he is Luke Skywalker. He's been on that island long enough. It's time to stop hiding. He'll strengthen Jake's petulant resistance, trying to compensate for the truth he cannot yet bear. Make a display. Go away, sexless girl.

Luke through Jake doggedly goes through the motions of his life, ignoring the sexless girl. He can't, really, but it's easy to act like it. It isn't till old friends Chewy and R2 make him relent. But he faces her as Jake, who kicks this bullshit about how the Jedi must die. Jake is wrong. And that's the hard part about forgiving Luke, because it's hard to fathom Luke as wrong, or weak, or hopeless. But here he is. And why? you cry. What possible reason could there be for making Luke hide out for a decade and some change? Answer: Like you, Luke can't forgive himself either. He's simply not himself. Not anymore. Maybe, never again.

But, not only is Jake wrong, Jake is a liar (doubly so, since I'm awkwardly and ham-fistedly talking about Luke, I case you missed it) -- it's not the Jedi he wants dead. Again, suicidal tendencies are not something you can easily discuss with the porg beanie.

Luke has had the propensity for suicide since EMPIRE. He's been a smarmy SOB since ANH. Whiny, petulant, hard to teach.

But of course Luke won't quit and in the movie Luke don't. And here is where two things collide. Rey is criticized for being OP without having earned it. Luke Skywalker is Ultimate RickRoll OP AF, and he earns that because he very nearly did give you up and for some of you let you down. We see the lowest point of his character and how he must find it within himself to become whom we already know him to be. It cannot be an easy journey, which would cheapen his death. If you want a character that peaks and peaks and peaks and goes out on a high note -- I suggest you watch a Peter North compilation video. What you want is porn. I don't want to see Luke chumped out at the end, do you? Given the Han?

Jake doesn't reduce Luke; he creates adversity. Forward propulsion into the story, not the history of what happened between films. As the history is being teased out like breadcrumbs, they are not to establish Rules and firmly root past plot points that never existed -- they serve the Myth of Luke Coming Back From the Brink of the Dark Side (without having to use heavy eyeshadow and a gay costume).

He's more Luke than he's ever been. Not just coasting on the oldie goldies but digging deep and coming back with mere seconds on the clock. I mean, to me.


As for shows I'm more of a trash tv guy, so I can only recommend WESTWORLD and this or that old show you've probably already watched, or else it's like IMPRACTICAL JOKERS and NATHAN FOR YOU and MTV CHALLENGE. Let me know if you have Movies Anywhere or VUDU, and I might be able to share my library of films with you. There is as good a sampling of my taste as anywhere.
 
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Finally saw it. How is it that Luke went through all this damn training to become a Jedi, yet by comparison, Rey "gets it" just like that? Its like she doesn't even have to try - just sits down and two minutes later feels the force ...Not to mention this little kid at the end can just use the force to grab a broom?
 
Finally saw it. How is it that Luke went through all this damn training to become a Jedi, yet by comparison, Rey "gets it" just like that? Its like she doesn't even have to try - just sits down and two minutes later feels the force ...Not to mention this little kid at the end can just use the force to grab a broom?

There was an awakening in the force.
 
There was an awakening in the force.
I get the last movie was titled as such, but when did they make that apparent? It never seemed to be a plot point. So suddenly everyone is in touch with the force?
 
I get the last movie was titled as such, but when did they make that apparent? It never seemed to be a plot point. So suddenly everyone is in touch with the force?

Yes, Snoke talked about it in the last one. So force sensitive people got extra XP to distribute to their force skills.
 
Finally saw it. How is it that Luke went through all this damn training to become a Jedi, yet by comparison, Rey "gets it" just like that? Its like she doesn't even have to try - just sits down and two minutes later feels the force ...Not to mention this little kid at the end can just use the force to grab a broom?

What?! Did you miss the line about her Midichlorian count? Jon Jones level brah.
 
I get the last movie was titled as such, but when did they make that apparent? It never seemed to be a plot point. So suddenly everyone is in touch with the force?

It was one kid at the end of the movie. I dont think thats everyone. As much criticism as I have of the movie, I never once thought there waas any problem with there being other force sensitive people in the galaxy, that can maybe move broom a couple inches. I dont even know how thats worth complaining about.
 
It was one kid at the end of the movie. I dont think thats everyone. As much criticism as I have of the movie, I never once thought there waas any problem with there being other force sensitive people in the galaxy, that can maybe move broom a couple inches. I dont even know how thats worth complaining about.
Who's complaining? I saw and liked it, was just asking for clarification. And I was simply asking if it applied to everyone. Luke told Rey it was in all living things so I was wondering. No need to get defensive.
 
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What?! Did you miss the line about her Midichlorian count? Jon Jones level brah.
I must have. Was that in TLJ or TFA? Cause I haven't seen the former since it was in theatres.
 
It might be worth it to regard TFA and TLJ as a single film.


Real sorry to hear about your shit there, man. Maybe this rebuttal will provide some diversion that isn't too boring. (Promises promises.)
  • It's really well thought-out, but troubling at the same time because he seems to be a writer and the issues he enumerates shouldn't work against the film. In fact, for them. And by that I mean he should to be able to understand why things occur as they do.
  • However, there are some mistakes. He contradicts himself by positing a solution to a "problem" using a hastily-written alternative. When he explains what HOW his alternative succeeds, he fails to realize he simply missed it. He also uses the word "rules" far too often.
  • Lastly, Luke.
Space operas don't operate on rules, they operate toward story by the same principles as Greek or Norse myths. Sure there are superior options available, sure the laws of physics will be manipulated glaringly, yes a lot of it's not going to make sense when you step back from it. I think this guy understands space opera doesn't adhere to rules but does not care because he didn't like what he saw. My opinion is it's the wrong thing to think, that each event or outcome sets up a Rule in a space opera. A rule that says This Happened, therefore everytime circumstance dictates This Must Always Happen. The pitfall of the rule is how it retroactively affects the narrative, reshaping past events. Rules are not meant to be Reversals.

The bombers of STAR WARS are B-wings and Y-wings, therefore it is incorrect to introduce inferior technology.

Not only is that a bad rule this is a bad application of the rule. What if there were no available good bombers and they only had the shitty ones, could only spare the shitty ones? This writer seems to want lines of exposition explaining it along the way, rather than understand what's going on. He needs someone to tell him where he is in the story, but on his side he's like, "Because it doesn't make any bloody sense!"

The Space Opera question is: What does use of these shitty bombers serve to the story? One is that they are a symbol of film's theme of hubris. Created during the peacetime between dark uprisings, they are bloated and ill-equipped for not just this but ANY job. You don't like them, and IN-STORY the response is "What's to like? You never had to go to war with shit weapons?" Another is they're all they had, echoing the logistics in-story. We all know the film must portray our heroes in dire straits, but since bombs in space was too nonsensical the writer couldn't forgive the opening inciting action of space opera narrative. It's not the point to counter this guy's points point-by-point -- so much as adjusting perspective so that the meaning and entertainment isn't lost.

The meaning of the bombers was to give a history to Rose, and provide a lesson for Poe. It's shitty. Maybe it's shittily done, but you get how beginnings must be dire for our heroes.

To question why the imaginary XYZ isn't happening is to miss what does happen.

Tee video should know this, which should unshackle concerns like force fields, emplacements, air in space (museums or otherwise), bad tech, poor strategies being employed. Roll with these things, don't let them get in the way.

If you think it's stupid or looks like shit, that's all fair. But trying to insert reality physics into space opera is like trying to figure out how Loki tries to escape the gods by becoming a fish and when they catch him as a fish using fish-catching methods, he simply doesn't turn into something else and get away that way. Kids aren't bothered by this. That's why I hate the imaginary kid litmus test. It's always an adult that doesn't want to play ball.

Kids are like whatever, man, just show me something cool.

He spends times roasting each character over an open fire, opting against the Mythic Questions and opting to remain at the Rules Committee of Fouls, Gaps, And Holes Ltd..

Poe. He remixes the conversation to replace Hux with Tarkin. The dialogue he uses reveals his need for the film to spell out what he missed about the character. He needs Tarkin to say, "Your attempts at humor during this time reveal your weakness."

That's exactly right. That's the whole point. That's what Poe needs to realize about himself. And that's why he's joking with Hux (it's hubris) and why he perceives the admiral staff as being against him (hubris POV) and why he must learn to lead with his brain and not just his cockpit after everyone dies as a result of his bad plan and mutiny (hubrith HELLLOOOOOO). His weakness is the reason for all of the death in the rebellion. He wouldn't have believed Tarkin anyway.

This is lightly treated because, well, try using that terminology to a five year old wearing the porg beanie. No, the five year old already got it, without the horrific magnitude because the CHILD knows it's a STORY.

So excising the humor, what would they be talking about while Poe is trying to stall for time? That's within character? Or should they have used someone else to stall? Or skip straight to the one-man cavalry attack? He wanted more text crawl; he would. To me, it didn't seem all that egregious. Obvious and simple, sure, but funny and exciting without being too easy for the clever fox.

Snoke/Ren. The confusion of their dynamic is explained when Snoke reveals he's been grooming Kylo to be unhinged, which he used as cheese bait. Let's get that out of the way first. Now, let's go back to the beginning. Why would Snoke make a big deal about the ridiculous mask? He's fucking with him. Why would Snoke say conflicting things, making him all confused? He wants Ren to doubt his command. Why would Snoke risk losing Kylo through his nefarious deeds? He can see minds through space and bind bodies too. These are the Mythic Questions answered.

The Rules Questions don't really bother me. Like where they are in their training, and what's the dynamic between Hux and Ren. I get enough of their power dynamic as displayed, and I don't know how it serves the story to explain that Hux is a weak, obsequious ladder-climber who I believe is only there because he's Tarkin's nephew or someshit. (One contradiction being that the video needs certain things spelled out, but he doesn't bother with Snoke's run-down of Hux, in a line to Ren. Something like I keep that that useless POS around because I can manipulate his proclivities [LIKE I CAN YOURS, BOY! LIKE I CAN YOURSSSS].) I don't need to see any further influences from Snoke than there already are, as they are happening onscreen. Hubris fells him, just as it threatens everyone in the film.

I'm kind of running away with a point-by-point analysis, and that's gonna do me no good. I go through all of this and I don't overlook the notion that, yes, the meaning and purpose of each even was understood and grasped -- it's just that he didn't like it. It's not a matter of comprehension, but of taste.

At this point I'm just trying to use examples of how not to let annoying questions impede reception. By looking into what these poor shortcomings, as they are so perceived, by what these shortcomings do in service to this Story. Not to the Rules. Two great tastes don't always taste great together. But maybe on purpose.

The Rules govern that Luke must be an altruistic Jedi of hope. And let's forget for now that he dies doing that very thing, and concentrate on this stranger we meet at the beginning: Jake Skywalker.

Hi, Jake. I hear you suffer from a case of the Rules. Meet Luke. He's the real you, and he'll be joining us in this thought experiment. Standing right inside of you. The two of you will exist in the same place because neither of you are truly incorrect, and since everybody already knows Jake from this film and Luke from the others, we'll kinda focus on Luke in THIS film. Hope you don't mind. You're a good guy, if a bit gruff, and possibly given to bestiality.

Luke's been missing since however long ago a teenage(?) Ben nearly killed him. So he really hasn't been gone all that long, it just feels like it's been since 1983. So while Jake might have really been gone for a long time, Luke hasn't been hiding out for all that very long. In which case the depth of his hermitude isn't as great as we feared, which means he isn't masturbating as furiously may have been suspected by the mac&cheese sounds coming from through the door of our awareness. He isn't THAT emo. To prove this? Over the shoulder goes the lightsaber. Jake thinks he's deadly serious. He is not going to go back. The Jedi! They must die. Luke, on the other hand, knows this is the start of his inevitable return because, after all, he is Luke Skywalker. He's been on that island long enough. It's time to stop hiding. He'll strengthen Jake's petulant resistance, trying to compensate for the truth he cannot yet bear. Make a display. Go away, sexless girl.

Luke through Jake doggedly goes through the motions of his life, ignoring the sexless girl. He can't, really, but it's easy to act like it. It isn't till old friends Chewy and R2 make him relent. But he faces her as Jake, who kicks this bullshit about how the Jedi must die. Jake is wrong. And that's the hard part about forgiving Luke, because it's hard to fathom Luke as wrong, or weak, or hopeless. But here he is. And why? you cry. What possible reason could there be for making Luke hide out for a decade and some change? Answer: Like you, Luke can't forgive himself either. He's simply not himself. Not anymore. Maybe, never again.

But, not only is Jake wrong, Jake is a liar (doubly so, since I'm awkwardly and ham-fistedly talking about Luke, I case you missed it) -- it's not the Jedi he wants dead. Again, suicidal tendencies are not something you can easily discuss with the porg beanie.

Luke has had the propensity for suicide since EMPIRE. He's been a smarmy SOB since ANH. Whiny, petulant, hard to teach.

But of course Luke won't quit and in the movie Luke don't. And here is where two things collide. Rey is criticized for being OP without having earned it. Luke Skywalker is Ultimate RickRoll OP AF, and he earns that because he very nearly did give you up and for some of you let you down. We see the lowest point of his character and how he must find it within himself to become whom we already know him to be. It cannot be an easy journey, which would cheapen his death. If you want a character that peaks and peaks and peaks and goes out on a high note -- I suggest you watch a Peter North compilation video. What you want is porn. I don't want to see Luke chumped out at the end, do you? Given the Han?

Jake doesn't reduce Luke; he creates adversity. Forward propulsion into the story, not the history of what happened between films. As the history is being teased out like breadcrumbs, they are not to establish Rules and firmly root past plot points that never existed -- they serve the Myth of Luke Coming Back From the Brink of the Dark Side (without having to use heavy eyeshadow and a gay costume).

He's more Luke than he's ever been. Not just coasting on the oldie goldies but digging deep and coming back with mere seconds on the clock. I mean, to me.


As for shows I'm more of a trash tv guy, so I can only recommend WESTWORLD and this or that old show you've probably already watched, or else it's like IMPRACTICAL JOKERS and NATHAN FOR YOU and MTV CHALLENGE. Let me know if you have Movies Anywhere or VUDU, and I might be able to share my library of films with you. There is as good a sampling of my taste as anywhere.
Holy crap dude! Not sure how I missed this post, though I was preoccupied making bad memes :D

I appreciate the kind words and the detailed response. I'll dig into this shortly!
 
The whole time? You didn't catch on? I liked a season and a half. Watching the end, thank GOD I realized it was going nowhere. Embarassing.
Catch on to what, exactly?

Quite coincidentally, I've just finished a gonzo ass novel by Haruki Murakami called KAFKA ON THE SHORE. I don't know if I'm making this up, but I believe a Murakami novel served as a sort of Easter egg on the show. If not I would still venture to say it's a major if not the main influence on LOST.

There are things that are almost one to one identical. Not saying that reading it will provide answers to the show; KAFKA barely answers for itself. But the effect the show and the novel were trying to achieve is notably more comprehensible in prose.

LOST definitely tries to jazz it up more by making it more television friendly: deepening the mystery, rounding out characters, refining images with stories. I think that's where it lost control of audience expectation and ergo itself in the audience's eyes. Pardon the pun.
 
Kind of missing the point, no one really cares about the "duplicate" jedi trick. The execution of it was poor along with the poorly written emo Luke. I didn't have a problem with what they did but how they did it. The majority of complaints have been about the writing, poor plot, depiction of luke. I haven't seen too much backlash on the "force projection", only him dying anti-climatically afterwards.

I've seen/heard a lot of people complaining that Force projection isn't cannon (though not really in this thread). It's a weak argument because the Force isn't a real thing (so who can really say what it can or can't do?) and also, Luke just did it in an official Star Wars movie therefore by definition it is now cannon.

That doesn't mean you have to like the scene of course.
 
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