Bunch of boring useless shit happens for a while. Kilo Ren is apparently supreme commander now. Rey follows Kilo Ren to some planet where I guess one of the Death Stars came to rest and they fight. In the middle of the fight leia was just like fuck living im going to lay down to die. Kilo Ren pauses mid fight because he senses that Leia is dead. Rey murders Kilo Ren to death, then HEALS HIS LIGHTSABER STAB to the heart because she can see the light in him. Guess all Jedi could do this. LOL @ Darth Vader. Emperor could’ve just healed him The whole time I guess.

Rey steals kilo Rens ship and goes to some other planet where the Emperor is suddenly thrust back in the picture halfway through the last film in a 3 part series. Kilo Ren sees Han Solo who Forgives him and posthumously brings him to the light. Not sure how that will go since he murdered like 25 billion people already.

Emperor apparently can raise like 10,000 destroyers with the force. How is this is possible is never really explained. Where did the resources come from to build this? Who is manning them? Who paid for it? Oh, and they all apparently have the ability to blow up a planet. One ship blows up a planet for some reason then never does anything again.

It’s kind of complicated, but somehow the rebels deduce that the shops are all controlled by a tower on land and decide to attack it. Like 50 ships attack the 10,000 destroyers at once to destroy the signal. Main ship transfers signal control to it, then proceeds to forget to transfer it to other ships once its overrun.

Anyways, the emperor apparently has like 10,000 ghosts that live in an auditorium watching his every move. Not sure who these guys are or what they do. They just wear hoods and root for the emperor. Emperor tries to convince Rey to kill him so she can become evil. Oh, and she’s his granddaughter now. Somehow he couldn’t sense where she was before.

Kilo Ren shows up and they confront the emperor together. Oh, first he kills the knights of Ren, who serve no purpose and do nothing the entire movie.

Emperor sucks their life out, throws kilo Ren off a cliff then uses his lightening power to electrocute the 10,000 reinforcements who suddenly showed up w no plan to attack 10,000 ships that could each blow up a planet.

While he’s doing this, Rey comes back to life and uses 2 swords to reflect the lightening back to the emperor. He gets blown into dust and all his ghosts leave. Kilo Ren crawls out of the hole. Rey is now det from reflecting the lightening. Kilo Ren then Uses the force to BRING HER BACK TO LIFE. Then, because the director had no idea what to do w a good guy who murdered 25 billion people, had kilo Ren die then disappear before Rey could heal him lol.

Movie ends.

In sum, bad ending to terrible series. There’s no coherent bad guy the entire time. It’s snoke, no it’s kilo, no it’s the emperor now. Rey is more boring than Superman. The force can do everything now.

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40232857)

It’s like the current generation of Star Wars movies have to one up each other on the number of planets the bad guys can blow up. Death Star could do 1 planet. Star killer 5 planets. Emperor fleet 10,000 planets. It’s like our society where we want to one up each prior generation by 10,000 because we have technology. We end up doing so, but it was unearned and doesn’t feel satisfying when we do.

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40232963)

how does she die tho?

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40232899)

did the emperor will the crew out of nothing-ness with the Force too? or did they somehow go on some underground recruiting drives for the guys swabbing the decks n shit

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40233107)

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40233501)

By Nathalia Holt

Dec. 22, 2017

Princess Leia is tough, idealistic and frequently sardonic. Yet she is also quiet. Women in the original “Star Wars” trilogy spoke fewer than half as many words as their male colleagues did. Leia’s limited dialogue in “Star Wars” went unchallenged in 1977, but 40 years later, the lack of meaty roles for women and people of color in Hollywood is under new scrutiny. While those in the film industry ponder how to better reflect the diversity of human experience in their scripts, at Lucasfilm, a small group of women and men may have found one answer.

Five days a week, in the foggy hills of San Francisco, 11 writers and artists discuss the minutiae of storm troopers. This is the Lucasfilm story group, and its members hold the keys to everything “Star Wars”: Under their guidance, the franchise’s narratives are linked no matter the platform, whether it’s television, games, theme parks, publishing, merchandise or, of course, film. With their ideas shaping each character and setting, they don’t see themselves as gatekeepers but as partners furthering the stories their creators want to tell.

Kathleen Kennedy founded the group in 2012 when she succeeded George Lucas as president of Lucasfilm, putting Kiri Hart, a former film and TV writer, in charge of the unit. Ms. Hart’s first move was to make the story group entirely female, starting with Rayne Roberts and Carrie Beck. Both women had experience in film development but had also worked in other arenas — Ms. Roberts in magazine publishing, and Ms. Beck with the Sundance Institute.

Their other qualification: a shared love of “Star Wars.” Ms. Hart, now senior vice president of development at Lucasfilm, grew up in Los Angeles a passionate fan of the first “Star Wars” film and especially Princess Leia. “She was doing a bunch of things that women in movies didn’t usually do,” Ms. Hart said.

In Los Angeles, before they made the move to the Bay Area, the three women sat around a fire pit in Ms. Hart’s backyard, along with John Swartz, a producer at Lucasfilm, and talked about their hopes for the future of “Star Wars.” They wanted to tell beautiful stories, fulfill the expectations of loyal fans and create meaningful female characters.

“As a writer I was very hungry to create female characters who felt real, and I was interested in telling stories from an outsider’s perspective,” Ms. Hart said, recalling Hollywood in the early 2000s. “There wasn’t a lot of receptivity to the things I really wanted to write about at the time. I think there is increasing openness to those things now, which makes me really hopeful.”

ImageMs. Hart’s first move was to make the story group entirely female.

Today, the Lucasfilm story group is a diverse outlier in Hollywood: five of its members are people of color, and the team includes four women and seven men. This is a rarity in 2017, where women account for 13 percent, and minorities represent 5 percent, of all writers working on the top-grossing films. In addition to maintaining the continuity of the “Star Wars” universe, they aim to increase its diversity. This goal has sometimes led to struggles over their female characters.

Early on, the story group fought for the character Ahsoka Tano, a 14-year-old girl created by George Lucas and further developed by the director, producer and writer Dave Filoni. Not initially popular, she had a high, whiny voice and all the self-control of a bratty teenager when she was introduced in 2008 in the animated film and subsequent series “The Clone Wars.” In his review, Roger Ebert called her “annoying,” and angry letters and emails flooded in from fans.

Yet Mr. Filoni and the story group were insistent that there was more to Ahsoka Tano. Even after the series was canceled in 2013, the team would not let her die. Instead they included her in a new animated series, “Star Wars Rebels,” taking her on a journey from adolescent to compassionate 30-year-old adult, one whose nuanced arc reveals flaws in the Jedi order and insight into Anakin Skywalker’s descent. She now has a considerable fan following, including many young women who treasure their “Ahsoka Lives” T-shirts.

Characters like Ashoka Tano are gaining prominence in the “Star Wars” universe. A new, unpublished analysis of “Star Wars” films shows striking progress in their representation of gender and race. Using computer software that analyzes the content of movies, Shrikanth Narayanan and the University of Southern California’s Signal Analysis and Interpretation Lab found that women spoke 6.3 percent of dialogue in “A New Hope,” the 1977 film that kicked off the franchise. In contrast, women accounted for 27.8 percent of all dialogue in “The Force Awakens” in 2015. Even more promising, in “Rogue One” (2016) nonwhite characters accounted for 44.7 percent of all dialogue, a marked increase from zero in the 1977 original.

Dr. Narayanan, however, is quick to note that the percentage of dialogue spoken by women in “The Force Awakens,” while a peak for the franchise, is comparable to what his team found after analyzing more than 1,000 popular film scripts from the last several decades.

Where his research distinguishes the “Star Wars” saga is not in its lines of dialogue, but in the centrality of its female characters. The laboratory’s character network visualization software is able to tease out each individual character interaction. The more interactions characters have, the more vital they are to the plot. The team found that in the vast majority of Hollywood scripts, women play mere accessory roles, their characters inessential to plot development. In contrast, preliminary research has found that the “Star Wars” franchise has an unusually high degree of female centrality, indistinguishable from that of men in the films, and one that appears to be increasing over time.

While writing “The Last Jedi,” the writer-director Rian Johnson moved to San Francisco, spending three months working closely with the story group to develop ideas for the film. Ms. Hart credits Mr. Johnson with the decision to introduce diverse characters for “The Last Jedi.” Of the new cast members, several are women, including Rose Tico, played by Kelly Marie Tran, the first Asian-American women to star in the saga.

“The characters that end up on screen are there because there is a groundswell of energy around this idea of creating a more honest reflection of the world around us,” Ms. Hart said, “and it’s coming from people all over the process. That feels miraculous, and really hopeful, not just for ‘Star Wars,’ but for movies in general.”

Correction: Dec. 22, 2017

An earlier version of this article misspelled the surname of a producer at Lucasfilm. He is John Swartz, not Schwartz.

https://www.nytimes.com/2017/12/22/movies/star-wars-last-jedi-women-run-universe.html

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40233532)

lost it here lol, so glad i didn't watch this dreck. (watched the 8 previous films and used to be a huge starwarsmo)

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40233606)

Imagine Rey needing to use the dark side to get there. Then when the Emperor asks her to take his place, she might actually be tempted because she touched that power and understands its potential. Then when redeemed Kylo Ren gets there, it’s him fighting the Emperor over Rey.

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40235420)

I never got the wayfinder thing in the first place. Also, what was the point of that knife with the outline of the crashed death star built into the handle. Like who made it? Why was it made? What happens if you're not standing in that exact spot?

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40235433)

Like apparently imperial star destroyers aren't designed to defend against a single x wing fighter despite the fact that x wing fighters comprise the most common ship that they will face.

Or that you can apparently drive one ship through another going light speed and blow up that ship. Why didn't they just do that through the death star? Or why didn't the "resistance" do that against the Emperor's 10,000 ships in this movie?

Luke Skywalker's character is forever ruined. He attempts to murder a child in his sleep because he had a vision that the child would be evil, then flees to some remote planet. He did leave a map to tell people where to find him if they need him. Then, when people need him to solve the problem he created (Kilo Ren), he refuses. At the end, he is "redeemed" by showing up as a projection, giving his sister projection dice, then with no explanation to anyone, walks out to confront Kilo Ren. He then proceeds to taunt Kilo Ren-the child he attempted to murder- before disappearing forever. All to give the "resistance" an extra 5 minutes to find an escape that they should've already found since they had been at that base for hours prior to Luke's arrival. Now when you watch the original Star Wars movies, you have to know that hopeful and optimistic Luke would go out like a bitch for no purpose.

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40235796)

There was a throwaway line in Rise of Skywalker where upon learning of the 10k ships, one Resistance dood was like, “We need to do some Holdo maneuvers (lol),” to which Poe responded something like, “Nah, that only works once.”

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40235836)

Boomer: "Nah, that only works once."

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40235848)

If all the characters were truly diverse, ie every one of them were black, gay, women and trans women, it would hav been a stunning success

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40235819)

There is apparently a spy in the First Order. They get some sort of plans or something from the alleged unknown spy. At one point, Finn, Po, and that Asian Chick get caught by the First Order and are about to be executed when GENERAL HUX shows up and kills the stormtroopers about to execute them. He then reveals that HE IS THE SPY because he HATES KILO REN. Po and company then escape the ship with Hux's help.

Like 5 min later, the guy the Emperor put in charge of his 10,000 ships randomly turns around and MURDERS HUX TO DEATH and says "We know who the spy was." And that's literally the end of one of the two major bad guys in the last 3 films LOL.

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40236078)

Still, it seems like a lot of effort and risk to load up a spaceship with horses in order to shave 20 seconds off your time to target once you land

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40237018)

lol what?

(http://www.autoadmit.com/thread.php?thread_id=4537180&forum_id=2...id.#40237023)