Michael Tucker of "Lessons from A Screenplay" is an absolute gun at examining the techniques used to tell great stories - and also looking at those that didn't quite work.
Like *cough* Finn and Rose's adventure in the Last Jedi.
Poe Dameron deserved so much more than a light slap on the face in response to his gross insubordination during Star Wars: The Last Jedi, which is part of what makes this blooper supercut of the multiple times Carrie Fisher had to dramatically hit Oscar Isaac while filming so satisfying. Clearly, they were both having fun.
If any one thing about The Last Jedi has been contentious -- actually, no, strike that, everything about The Last Jedi has been contentious, including its approach to space combat (the Holdo Manoeuvre, anyone?). But according to one fan and critic, Rian Johnson's epic actually makes space combat in the Star Wars universe more explicable, not less.
The home media release of Star Wars: The Last Jedi is jam-packed with goodies, many of which we've covered on the site already, such as Mark Hamill and Rian Johnson's different opinions on Luke Skywalker, the Captain Phasma deleted scene, and Johnson's motivations behind some of the film's bigger, more controversial moments. But there's a lot more.
From porgs to fathiers to, uh, green milk-dispensing thala-sirens, Star Wars: The Last Jedi had its fair share of unique fauna. Topping that list in the elegance department are the breathtaking crystal foxes of Crait. While entirely CG in the film, designers took a very low-tech approach when trying to get a "feel" for the fictional creatures.
The Last Jedi takes aim at some of the most deeply-held establishments and tenets of the Star Wars saga, laying the ground for a new generation to build something different in their place. That's all heady stuff, but it also broke another Star Wars tradition that was a bit easier to miss: It's the first film in the main saga not to use the infamous "Wilhelm scream."
Taking Supreme Leader Snoke from a vague hologram to a physical presence was one of the biggest challenges for the visual effects team on Star Wars: The Last Jedi, and the process was a complex push and pull between the director, the effects artists, and Andy Serkis, who portrayed Snoke in motion capture and voice.
When The Last Jedi's official novelisation comes out next month, it will include a few extra moments that weren't just cut from the movie, but added specifically for the book. That list includes a glimpse at how Leia and the resistance marked the fall of a Star Wars hero - a moment that, the director says, he just couldn't fit into the final film.
It's very rare to see contemporary versions of Star Wars and Star Trek make similar creative choices. After all, part of what's fuelled the age-old Wars v. Trek debate are the series' wildly different approaches to scifi. But with The Last Jedi in theatres and Discovery airing online, both franchises seem to be tackling something fascinating, questioning institutions in each world that fans have held dear for decades.
It's hard to comprehend given how we just went through the release of The Last Jedi, but in just over four short months, a new Star Wars movie will be out. While Last Jedi honoured Star Wars' legacy by passing the torch to a new generation, with new possibilities, Solo will rosily indulge in Star Wars' past. And I think I might have had enough of that.
For all that was rumoured about The Last Jedi before its release, one of its greatest surprises was a brief, but special appearance by a very familiar Star Wars face. But bringing back such a beloved character was a daunting prospect for the team behind the film - not just for story reasons, but from a physical design standpoint.