Star Trek Picard – Series 1 Episode 7 – A Mix of the Magical and the Moronic

Okay, this episode was annoying, because this episode contained some magical moments, but also some unbelievably crap writing.

I’m going to start with the good stuff – a lot of other people have pointed out this stuff.

Firstly, seeing Marina Sirtis as Deanna Troi again and Jonathan Frakes as Will Riker again was a genuinely magical part of the episode. They completely brought the characters back to life. While they were each given a few out-of-character lines to say, for the most part the characters we saw on screen really seemed like Deanna Troi and Will Riker.

Furthermore, a lot of the scenes between those two and Picard were incredibly reminiscent of TNG at times. Somehow, when those actors are put together, they just seem to talk in the right way. As has been the case throughout this entire series, the new characters have nothing on the old. (And as much as it seems as though Jonathan Frakes doesn’t want to do any acting anymore (preferring to direct), he is still very good at it.)

Secondly, this episode genuinely had a lot of tension. A lot of this show so far has had no tension – the episodes have dragged on and a lot of what’s happened has seemed pointless. But this episode genuinely had suspense. And it did this in a very simple way – one half of the gang was being pursued by a member of the Zhat Vash. We cut between the slower scenes on Nepenthe and the more tense scenes on the ship – it was very simple.

(Oh, and as a minor third point, Tamlyn Tomita continues to perform Commodore Oh well.)

Now for the bad. There was one aspect of this episode that I found particularly annoying. Several episodes ago, we were told that the Zhat Vash hate all artificial life, and we were told that the reason why they hated artificial life and AIs was because of something so horrific that if you knew it, it would, essentially, drive you insane. That was a big promise. What could it possibly be? we wondered. What was it about AIs that was so Lovecraftian?

In this episode, we found out. Commodore Sunglasses shows Tilly 2.0 via Mind Meld. And it turns out that the reason why the Romulans hate AI so much is because some robots are going to do a Star Wars on a planet and blow it up.

How … … … dull. What an uninteresting answer to that question. We were promised something so shocking that it would make someone go insane. We were promised something Lovecraftian. Instead, we got the whole blowing-up-a-planet thing, which has been done ad nauseam not only in Star Wars but also in Star Trek itself.

Now sure, Jurati does go kind of mad after learning this – she kills Maddox and then tries to kill herself. But here we arrive at a point of dramatic dissonance, because while the characters in the story may find the idea of a planet blowing up more shocking than us the audience, destruction of that scale is not unknown so far in the Star Trek universe (the Romulans, after all, are in their current predicament because their home planet was destroyed, albeit by less malevolent means), and it’s difficult to believe that anyone in the Star Trek universe would be as shocked by the idea of such destruction as Jurati appears to be. I think if she’d just been told this information, rather than given it via Mind Meld, her response would have been very different.

And all of this actually opens up something much darker than I think the writers were intending. Normally, Mind Melds are only done if both people consent. Here, Commodore Sunglasses just does it, without permission. This is very, very rapey. I’m actually surprised that this was allowed into the show because of that – I think it’s because the writers didn’t think about the implications.

So what we have seen is a member of the Zhat Vash Mind Meld with someone without their consent, and then impress images into their mind of some horrific event. The imagery is so visceral that it immediately wins over that person to the Zhat Vash. There is no proof that androids will do what the Zhat Vash say they will do – how do they really know that the robots will do that? They don’t. So is this all that the Zhat Vash is? It’s just a series of people forcibly Mind Melding with other people and impressing images to them?

The implication of all of this is that there’s actually nothing wrong with the robots at all – the Zhat Vash just represents a problem with Mind Melds. Mind Melds can apparently be used to instantly radicalise people. If Star Trek Picard goes with this idea, it would actually be very interesting, but I suspect that they won’t.

Furthermore, after this very rapey Mind Meld, Commodore Sunglasses insists that Jurati swallow a tracking device. Jurati is clearly in no state to consent to this either – this is coercion – and I am again very surprised that they decided to add this into the episode.

That stuff was what really stuck out, and that was right at the beginning. There were many other annoying moments, but they’re not really worth several paragraphs of explanation each, so here they are as a big list:

  • There’s lots of dialogue at the start of the episode that’s just exposition. Its purpose is clearly to inform the viewer what happened in the last episode, but I don’t know why they need to do that in the dialogue, since they have a ‘Previously, on Star Trek Picard …’ bit at the beginning.
  • At one point, Chris Rios says to Raffi ‘Can’t you hack the traffic control system?!’ and Raffi says ‘The underlying code’s all freaky Borg machine language!’ while looking and sounding as though she is indeed attempting to hack it. If it’s in a completely different language that she doesn’t understand, how does she have even the slightest chance?
  • Rizzo continues to be insufferably over-the-top.
  • Chris Rios and Raffi immediately forget about Elnor, and when they are reminded about him, they don’t really care, and are fine with letting him stay (probably to die). They don’t give a shit about him, and it just makes them look like the terrible people they are. The decision about whether to stay and rescue Elnor or leave and get to Picard should have been far harder for them.
  • Picard just tells Soji ‘Your sister is dead.’ and it’s unintentionally hilarious. Why must the plot of this show depend on characters making faux pas? Surely Picard would know not to say this so bluntly?
  • Will Riker accuses Picard of ‘classic Picard arrogance’. Err … when in TNG was Picard arrogant? Wasn’t humility one of Picard’s defining traits?
  • Soji doesn’t trust Picard and there is no reason for this. It seems to be simply so that the other characters can give Picard a ‘dressing down’.
  • Will Riker says to Deanna Troi ‘Easy there imzadi!’. I’m pretty sure ‘imzadi’ isn’t supposed to be used this way. I never got the sense that it was supposed to be used angrily, or when there were other people around.
  • Deanna Troi says to Picard ‘Pretend that our dinner table is the ready room of the Enterprise.’. This is weird, desperate, and patronising. Also, they proceed not to actually do it.
  • Hugh is killed off – seems like they kind of wasted the character – they could have done loads more with him.
  • Why are the medical and hospitality holograms so inconsistent at appearing?
  • Also, the medical and hospitality holograms have no personality. Remember when a holographic doctor had so much personality that he was a fan favourite character?
  • Soji ‘gives Picard purpose again’ and it makes no fucking sense.
  • Alison Pill continues to be an outstanding actor. She is by far the best of all the new cast and is orders of magnitude ahead of the rest of them. Put. Her. In. Series. Two. And. Don’t. Give. Her. Shit. Lines.
  • At least Picard is aware of the ridiculousness of all the drama.
  • Picard says to Riker ‘They seem to be carrying more baggage than all of you ever did.’. This is a meta-line from the writers and it pisses me off. This line is a criticism of TNG – it’s saying that TNG did not have enough in-fighting between the characters and that the characters didn’t have enough tragic backstories. The writers could not be more wrong, and this is why Star Trek Discovery was shit.

Star Wars Is Dead – Part 1: Fan fiction pretending to be a reboot pretending to be a finale

Okay, it’s taken me longer to get round to the first part of this series than I expected, but let’s go.

This film is a massive fuck you to The Last Jedi.

This film was filled with retcons. I was actually almost impressed with the number of retcons in this film. I was also amazed at the kind of retcons we got. Some of the retcons were of the kind we’re used to seeing, where something that was possible in a previous film is now just not possible, and next to no explanation is given. Some of the retcons were of a different kind – which I’ve been calling ‘narrative retcons’ (which may not be the best name), where the act of undoing or replacing something is woven into the narrative – this kind of retcon seemed to be used to change the direction and style set-up by The Last Jedi. I didn’t even realise such ‘narrative retcons’ were possible before watching this film.

Now, before I start going through all of the retcons in this film, I want to assert that all retcons are bad. Having retcons in your film or television series or book is always bad – having them always makes your creative work lower quality than if it did not have them. Because fundamentally, a retcon is a discontinuity. (‘Retcon’ is an abbreviation of ‘retroactive continuity’, and was originally used to describe when the creator of a creative work – whether they’re an author or a film director or a film producer – either added something into a sequel work, or said something outside of any of the creative works in the series, that changes the meaning, or the sequence of events, the history, or the underlying physics or metaphysics, seen by the audience in the creative work, so as not to contradict something that is seen in the sequel work. Retcons are an attempt at providing continuity across the series of works. Because of this we might naïvely see them as continuities, rather than discontinuities. But the very fact that we the audience have to change our understanding of a part of the original creative work, so that on second viewing of the series as a whole it appears to have a continuity, means that there IS a discontinuity in our understanding of the story. In short, a retcon asks the audience to pretend they didn’t notice a thing from the previous parts of the story. A retcon is an attempt at giving the story continuity at the expense of the continuity of the audience’s understanding. So it is a discontinuity. In addition to this, the overwhelming majority of retcons are imperfect, and in their attempt to remove an inconsistency in the story, they just end up creating one or more other inconsistencies – as was the case with this film.) Discontinuities pull the audience out of the story – whether it’s a book or a television series or a film, a discontinuity reminds the audience that the world of the creative work is not real. Discontinuities lessen the immersivity of a story – they are the antagonists of immersivity. (This is why world-building is such a big part of writing science fiction and fantasy – you’ve got to make the audience believe that the world they are reading about could be real. If there are inconsistencies in your world design, it makes your world less believable.) Every time I see a discontinuity in a film, I am reminded that I am sitting in a cinema. This is not what I want. In a science fiction or fantasy film (or quite frankly any film), I want to forget that the real world exists – for between one and a half and three hours I want to imagine that the world of the film is all that exists, and I imagine that this is what a lot of the fans of these films want. Thus, all retcons are bad.

This is why I said, in the video I made about Episode IX before it came out, that I thought there was no possibility of this film being a good film. It either had to go with what it had been given from The Last Jedi, which was shit (that’s for another rant), or it had to retcon lots of things from the previous films, which would also have been shit because retcons are always bad. Whatever this film did, it would end up being shit.

But okay, onto the actual retcons. The main thing to point out here is that this film retconned all of the big things introduced in The Last Jedi. I would have thought that anyone who liked The Last Jedi would have hated this film because of that.

Firstly, the obvious one: in The Last Jedi it’s revealed that Rey’s parents are not anyone of significance within the galaxy. It’s also implied that they weren’t Force-users. This was massively, massively retconned in The Rise Of Skywalker (fuck I hate that title). Not only were Rey’s parents not ‘nobody’, they were very much ‘somebody’ – in fact they were some of the somebodiest ‘somebodies’ in the entire galaxy, because Rey is a grandchild of Emperor Palpatine.

Now, I personally don’t dislike this idea (other than the fact that it is a retcon – I would have liked this had they done the proper setup for it, but they didn’t, and now it’s a mess), but for those people who did like The Last Jedi, this must be pretty annoying. Defenders of The Last Jedi often exclaimed that it was a good thing that Rey was not related to any of the big Force-using families – why did everyone have to be related to everyone in this galaxy? Why did Force powers have to be inherited? Are the defenders of The Last Jedi annoyed by this change?

I don’t dislike the idea of this – I think had they intended this to be the case from the beginning, I think it could have been done very well. But the execution is hot trash. In TROS, after Rey finds out that she’s the grandchild of Palpatine, Kylo Ren uses the ‘true from a certain point of view’ angle (it’s pretty lazy writing to just do that one again) to show how what he said in TLJ wasn’t technically wrong. This means that Kylo Ren knew who Rey’s parents were back in TLJ – so he lied … … but … why? What reason did he have for lying at that point? As far as I can tell, there is none. (Also, if indeed Kylo Ren did find this out in TLJ, his reaction to it was remarkably unsurprised. This shows again how retcons are bad – expressions given by actors in previous scenes now no longer make sense.)

The problems go further than this. This film tries to retroactively explain Rey’s astonishing Force powers by linking her to Palpatine. Of course, one of the main criticisms of Rey from the last two films is that she’s a Mary Sue – she can just use the Force very well despite having no training. Connecting Rey to Palpatine, and indicating that that’s where her extraordinary powers come from is an attempt to un-Mary-Sue-ify Rey. But Episode VII is called ‘The Force Awakens’, and the message from that film is very much that the Force has ‘awoken’ in Rey (something which they continue leaning into in TLJ). But if Rey’s powers are inherited from Palpatine, how did they awaken? She had them all along. This change undermines the premise of this trilogy.

Okay, secondly: Snoke. This is one of the retcons that I class as a narrative retcon. Snoke remains dead in this film – they didn’t undo that. But they did undo the big thing that was done in TLJ. In TLJ, the Big Bad, the final boss, was killed using a very unsubtle play on words. This was hailed as revolutionary by film aficionados. We all expected that Snoke was going to be killed off at the end of the third film – that’s how it always goes – that’s one of the tropes of these kinds of films. Shock, he dies in the second film.

This film didn’t bring Snoke back, but it did undo the effect of killing him off. Killing Snoke meant that there was no Big Bad for Episode IX. Except … in the end … there was – this film just decided to bring back Palpatine instead. One Big Bad had been killed off, so they just brought in another one instead. The effect of killing off the Big Bad was nullified.

So this is a ‘narrative retcon’. They didn’t just straight-up bring Snoke back, but they changed the narrative to put the overarching story back into the place that it would have been had Snoke’s death not happened.

But this retcon goes deeper than this, almost in a way that suggests J. J. Abrams was insulted by the killing-off of Snoke, because this film completely removes Snoke as a character from these films. Early on in TROS, when Kylo Ren goes to visit Sheev in hospital, we see a large tank in the dark room where they keep Palpy. In this tank, we see several Snoke bodies. This means that Sheev literally created Snoke. And when Sheev says ‘I am every voice you’ve ever heard.’ (something like that – it’s been a few weeks), he must either mean that Snoke was a real person but who was Palpatine’s puppet, or Snoke was just under the direct control of Palpatine, using some other new Force power. Either way, Snoke only existed for the purpose of swaying Kylo Ren, probably only existed for a few years, and had no free agency. He effectively didn’t exist. That’s quite a monumental retcon.

Thirdly, the Holdo Manoeuvre. This was a full-on retcon. It was also a fuck you to fans, because they actually had a character ask a question that they knew fans would ask if they didn’t do this retcon: ‘Why not just use the Holdo Manoeuvre against Sheev’s fleet?’.

The response to this, from Finn, was ‘That’s one in a million.’ (something like that). This is the laziest fucking writing I’ve ever seen. He might as well have just said ‘Nah’. The Last Jedi introduced something into the Star Wars universe that was world-breaking. The existence of this as a thing that can happen means that a large number of events should have turned out differently, if this is to be a consistent universe. And the explanation we’re given as to why this thing doesn’t happen all the time is essentially just ‘it doesn’t’, which isn’t a fucking reason at all.

I have never seen such lazy fucking writing – why do you bother making films at all if you can’t be bothered to think about these things?

Those were the three big things from The Last Jedi that were retconned, but there were lots of other retcons too.

The biggest retcon of the entire film, of course, is Palpatine. At the start of this film, Palpatine is not dead. He did not die at the end of Episode VI (or he died and came back to life – since we don’t know the details the distinction is somewhat arbitrary).

Now, even before this film came out, I said, as did many others, that bringing Palpatine back was not a good idea. Palpatine being alive means that he didn’t truly die in Episode VI, which undermines the plot of Episode VI. At the end of Return Of The Jedi, all of the main characters celebrate the destruction of the second Death Star and the death of Palpatine (and consequently the fall of the empire). But this is now a hollow victory, because they didn’t truly kill Palpatine at all. This film completely changes the context and tone of the ending to ROTJ – the characters may be celebrating, but now we the audience know that they should instead be looking for Palpatine, either to kill him properly or to prevent him from coming back. The characters celebrate, but we the audience do not.

No explanation is given for how Palpatine survived – in true J. J. Abrams fashion. All we get is a repeat of Palpatine’s earlier line: ‘The Dark Side is a path to many abilities that some would consider unnatural.’ While this is not an explanation, it does reveal another (partial) retcon. This means that Sidious used the Force to stay alive – he did not just happen to survive by natural means. In the Prequels, Sidious says that only Darth Plagueis knew of how to cheat death using the Dark Side of the Force. So apparently, Sidious figured it out on his own at some point between the Prequels and the Originals. That’s not impossible according to the Star Wars universe’s own rules, so it’s not a full-on retcon, but we the audience know that this is a recent change, rather than a fact of the universe that was intended all along, so it still sticks out.

The main side-effect of Sidious being alive is that it undermines the finality of death in these stories. This is a problem that can exist in any story that brings characters back from the dead – either by making that physically possible in the world of the story, or by pretending that they were never dead in the first place. This is advice that writers are often given. Tension and suspense are created in your story because the reader or viewer does not want the characters to fail or to lose or to die – the audience has investment in the characters. Bringing characters back to life in your story ultimately removes death as a possibility – after all, if one character can come back once, surely any character can come back any number of times. It removes the stakes, and thus undermines the tension. We no longer fear that our protagonist may die in their fight, because if they do they can just come back to life.

And this is a problem we see in this film too. Sidious dies again in this film, but is there anything to stop him coming back again? Will he just come back whenever the franchise is in trouble? Death can no longer be a permanent victory against evil – the protagonists cannot win.

More on character-based retcons: this film gave us General Pryde. This I think is by far the most interesting, and funniest, of the retcons in the film. One of the complaints about The Last Jedi was that it undermined General Hux as a threatening villain. Hux was used as a comedy character. This made it very difficult to use Hux as a true villain in TROS, because we wouldn’t have taken him seriously. I think J. J. Abrams knew this, and that’s why we got General Pryde, played by Richard E. Grant. General Pryde is just another menacing First Order commander – on paper he is no different to Hux – but because we haven’t seen him be the butt of jokes in TLJ, he can actually be menacing – we the audience take him seriously. Pryde is a replacement for Hux.

This is another ‘narrative retcon’. The existence of Pryde doesn’t contradict anything we’ve seen before, nor does it change the meaning of anything we’ve seen before, but it does reverse the effect of TLJ by giving us a new secondary villain. It seems two villains from the previous film were replaced: Snoke was replaced with Palpatine, and Hux was replaced with Pryde. We now have our new primary and secondary villains.

The existence of Pryde isn’t interesting just because it is this different kind of retcon, but also because in this film, General Pryde shoots and kills General Hux. This was amazing when I saw it in the cinema (not in a good way) – they actually had General Hux’s replacement shoot General Hux! The replacement killed off the original! As retcons go, that is bold.

They killed off Pryde at the end of the film. (I don’t know why – he could have been a good villain for future films – maybe he’ll come back from the dead too.) But I wonder if there’s a hidden meaning here. The Last Jedi made Hux an unusable character; in the end it was Pryde / pride that killed him, and then Pryde / pride dies. Is General Pryde a jab at Rian Johnson? Johnson has aggressively defended The Last Jedi on Twitter ever since it came out – he has, it seems, always been proud of the film. Is Abrams saying that it was Johnson’s pride that killed Hux, and in the end pride dies because TLJ was hated by a lot of fans? I’ve heard stranger fan theories, and it would explain why this new general is called Pryde of all things.

While I’m on The First Order, there was another retcon there, and in some ways this is the worst one. In this film it is revealed that Palpatine has got a huge fleet of ships on Exegol. This fleet is bigger and more powerful than any other ever seen at any other point in the Star Wars films. Every ship in it is both a Star Destroyer and a Death Star (I’ll come back to that issue later). This fleet is more powerful than The First Order fleet was even before the destruction of Starkiller Base (gosh that seems like a long time ago now), since every five ships of this fleet is essentially another Starkiller Base. This fleet is part of what’s called The Final Order.

But what’s confusing is that Snoke, who apparently created the First Order, was a literal creation of Palpatine. Everything Snoke is and was was given to him by Palpatine. So was the First Order just part of the Final Order all along? As far as I can remember they have the same uniform. And when Palpatine reveals his fleet, thereafter there appears to be no difference between the First Order and the Final Order. General Pryde somehow gets from a First Order ship onto a Final Order ship – we never see how, and no-one in-universe seems to question it, so apparently none of them see any difference between the two. The Knights of Ren (when they make an appearance) also apparently switch from the First Order to the Final without any confusion. As far as I can tell, the First Order and the Final Order are one single organisation.

And this makes me wonder: do the people in the First Order know that they’re part of the Final Order? Some of them must do, surely, but apparently not Kylo Ren, otherwise he’d’ve know that Sidious was alive since Episode VII. This is a massive great inconsistency right in the middle of the film.

Also, how on earth does the Final Order survive out there on Exegol? They appear to have thousands of enormous ships. I know some people have done calculations for how many people must be on those ships – I can’t remember what they’ve said, but it could easily be tens of thousands on each one. There are potentially tens of millions of people living out there on Exegol, waiting for Sidious to do whatever he’s going to do. How do they live? Exegol doesn’t look like a planet that produces much food. And are all of these people people that they’ve taken from other parts of the galaxy and brought to Exegol to be trained as Stormtroopers? Is this film telling me that Sidious and his gang were able to bring tens of millions of people to Exegol over the years, and no-one either followed them or tried to escape once there? No-one sent out a covert signal to the rest of the galaxy?

Also among the retcons were the Knights of Bloody Ren. They’re back … although actually, are they? Have we ever even seen them? I think we saw them in a flashback in TFA or TLJ – they didn’t really do anything – they just stood there, as far as I can remember. I think that’s all we’ve ever seen of them. And I think we only see them in two scenes in this film – once on Kylo Ren’s First Order ship, and then once on Exegol, fighting Kylo Ren. This is sort of a retcon, in that they’ve been retconned into existence after being conspicuously out of existence. I’d reckon they were included in this film just because fans would have questioned it if they weren’t, but their inclusion is just baffling. We still know nothing about them. We don’t know who they are or what they want. And we can’t figure out what they want here, because their decisions don’t seem to make any sense. In the previous two films we were given the sense that they were very loyal to Kylo Ren, even though we never saw them. In this film, apparently, even though I don’t know how they know that Kylo has changed sides, they somehow do, and instead decide to serve the Emperor – so apparently not that loyal to Kylo in the end. So in the end, the Knights of Ren were completely fucking pointless. We still don’t even know what ‘Ren’ means.

And then finally (yes, we’re finally there), there were some retcons to Luke and Leia. Leia was now a Jedi all along, apparently, which explains how she was able to train Rey, but is not sufficient for how she was able to survive in space without any kind of spacesuit. Luke was also made more Jedi-master-like in this film, perhaps in a direct response to fans.

Furthermore, as part of this film’s ‘fuck you’ to TLJ, when Rey throws her lightsaber into a fire, Luke catches it, and they have him say the line ‘The weapon of a Jedi deserves more respect.’ – that’s a direct response to fans hating it when Luke threw his lightsaber over his shoulder in TLJ.

I’m sure there are more retcons than that, but those are all the ones I wrote down. You see why now I’m having to write out my thoughts on this film over several blog posts and videos – this blog post is almost 4000 words long, and this is just the retcons in the film.

These retcons alone mean that this film is incoherent, and the Star Wars universe is broken. This is not a universe where things make sense. You cannot anticipate what characters might do, because it is not based on the things that have so far been possible in the universe, any reasonable approximation of realistic logistics, or previously established character traits and motivations. It all just happens. Any future films and television shows cannot receive any of the benefits of being part of a shared universe, because they aren’t – a shared universe depends on consistency.

If there had been no other problems with the film, the existence of all of these retcons alone would have made it a disastrous film. As it was, there were loads of other problems.

Star Wars Is Dead

Two days ago I went to see Star Wars Episode IX: The Rise of Skywalker.

Now, for well over a year, my plan has been that after this film came out I would make a video on YouTube about it. As I said in my recent video Star Wars Episode IX: A Morbid Fascination, I thought it was very unlikely that this would be a good film, so I thought I was going to be making a single video about this film – mostly about what made it a bad film.

Now, this is a bad film, but now that I’ve watched it there’s so much to say about this film that I’ve realised I’m going to have to make multiple videos about it. If I tried to make one single video going over everything in the film that was bad, it could easily be two hours long. It often takes me an hour to record a fifteen-minute video – I don’t really want to spend eight hours trying to record a two-hour video – I think I’d die from the effort.

So I’m going to have to make several videos about it. In order to give some structure to the videos, I’m also going to write posts about it on here (the first of which is this) – a lot of the things in this film that were bad were bad in various different ways, so grouping them together into videos is going to be difficult, and I’m going to try to use these posts as a way of structuring the videos before making them.

But anyway, onto the actual film.

This film was a mess. It was a mess of retcons, deus ex machina, fake-out deaths, pacing problems, suspense problems, arbitrary nostalgia, and nihilism. It is just astonishing how much of this film was trash film-making, trash world-building, or trash story-telling. Things just happened – there was no reason for them to happen, no need for them to happen, and no meaning to them.

This film resorted to the most basic of fantasy tropes. I remember seeing in a headline for a review before the film came out, someone said that it had a ‘video-game plot’, and that was very true: a series of levels for the main characters to pass, a series of battles for them to win, all essentially disconnected from each other, before going on to fight the boss at the end. The film was stuffed with nostalgia and fan service – not necessarily bad things on their own – in fact many of these moments were quite good – but they were just disconnected moments, and they did not redeem the film as a whole, and often just seemed completely out-of-place.

This film tried to be a massive course-correction, but with only one film left in the trilogy, it was too late. Had they decided to make this a four-film series, or even a six-film series, they might have been able to do it. If they wanted to course-correct, then it was a bad decision to limit this series to only three films. Almost every decision they made in making this film was the wrong one. As much as I didn’t like The Last Jedi, this film would probably have been better if they’d continued in the direction that that film sent them – it still wouldn’t have been good – it would have just been not as bad.

I originally wanted to call this series (or rather the one video that it was supposed to be) ‘Star Wars Is Dead’ because I suspected that this film would be another outright disaster, like The Last Jedi, and that the franchise would be seen as no more special than, say, the DC film universe, or the X-Men film universe. It would just be another generic sci. fi. / fantasy film series with no greater status than any other. But while this film was an omnishambles, and while I think many of the fans of the franchise will abandon the franchise because of this film (those that didn’t leave after The Last Jedi, at least), I’m not sure whether the franchise will continue to have appeal for very casual viewers – it might, and if it does, perhaps Star Wars is just in a coma.

At the end of this series I’m going to return to this idea of whether Star Wars is dead, but first, we’ve got to go through this trash-fire of a film in detail.