The Rise of Skywalker and the decline of Star Wars

The new trilogy has been plagued by mediocrity and woke worthiness.

Alexander Adams


Ever since its launch in 1977, the Star Wars franchise has held a special place in popular culture worldwide. The first three films (the ‘Original Trilogy’, 1977-83), guided by director George Lucas, are regarded as classics. They created the most valuable film franchise in history. But the follow-ups to them have been less loved, particularly among core fans. The Rise of Skywalker, the final instalment in the latest Disney trilogy, is likely to leave many of them cold.

The ‘Prequel Trilogy’ (1999-2005) divided the fandom. While younger viewers were receptive to it, older fans found the films poorly written, stiffly acted and generally unsatisfying. Although profitable, it was less popular than the Original Trilogy. In 2012 Lucas sold his production company, Lucasfilm, and the rights to produce new Star Wars products to Disney. Disney set out to make a series of blockbuster movies to make back the hefty $4.05 billion price tag for Lucasfilm. But from the very start, Disney got things very wrong.

George Lucas handpicked as head of Lucasfilm a long-time colleague, Kathleen Kennedy. Kennedy had produced blockbuster movies for Lucas and Steven Spielberg. She was an industry insider with a track record of working on blockbusters. She was appointed as steward for Lucas’s vision for Star Wars.

Kennedy passed directing and writing responsibilities for the first Disney Star Wars movie (and the plot outline for the entire new ‘Sequel Trilogy’) to JJ Abrams. Despite his commercial success as a director with a distinct style, Abrams is regarded as a weak screenwriter. He is most interested in set-pieces, striking visuals and emotional story beats, and so finds it difficult to plot and finish stories satisfyingly. The visually lush Star Wars was already set up for stirring spectacles – what it needed was a writer-director who could helm a series of movies that built emotionally engaging stories through character drama in well-plotted scripts. Abrams was a bad fit.

Meanwhile, Kennedy stamped her mark on the sequels politically by assembling a Star Wars story group predominantly made up of women. She was famously pictured with a group of women wearing a t-shirt with the slogan ‘The Force is Female’. A certain antagonism towards the male-majority fandom of Star Wars became more apparent over the years, from Kennedy and those she brought on board. What also became apparent was that Kennedy has little feeling for Star Wars and did not understand its unique character and status.

She seems to be one of a growing number of people who see filmmaking as, in part, political. In her case, she was interested in using Star Wars to empower girls and actresses. She has said that Rey, from the Sequels Trilogy, and Jyn, from the spin-off film Rogue One, are ‘empowered women that are not necessarily just taking on male characteristics. These are genuinely female heroines. I think that’s really important, and I think it will make a difference.’

Too often over the years, the new Star Wars films have been poorly made, with little more than vague, insubstantial identity politics left to justify them.

In the first of the new sequels, The Force Awakens (2015), Abrams played it safe. It was almost a remake of the original Star Wars movie (A New Hope). It set up promising protagonists, a main villain and a shadowy overlord. But it was compromised by the inclusion of Original Trilogy characters (the main attraction for fans), which bloated the cast. Consequently, new characters were underdeveloped. Much of the story used existing elements and characters, like derivative fan fiction.

The movie was a box-office smash. It made over $2 billion. But structurally and tonally it was second rate, which angered loyal Star Wars fans. Worse was ahead for them.

Despite the flaws of the first sequel, the trilogy had potential. But fans became more concerned when Kennedy gave complete control of writing and directing the second sequel to Rian Johnson, an indie-movie and television director. He had never written or directed a franchise sequel, and he apparently disregarded notes Abrams had given for the story of The Last Jedi.

The film was another financial success, but it was tonally ‘off’. It included inappropriate humour (see the juvenile prank-calling of Poe at the start of the movie) and some ill-fitting forays into anti-capitalism (see the contempt characters express for the rich at the casino of Canto Bight). Plot holes were numerous; the structure was deeply flawed. (The Last Jedi is now taught in classes as an example of bad screenwriting.) Finn – the Stormtrooper turned hero of the first film – is reduced from a character with dramatic potential to a comedy sidekick, sent on a pointless errand. Princess Leia is shown to have credulity-stretching powers with no indication of her having received Jedi training.

Even worse was the humiliation of Luke Skywalker, one of cinema’s most beloved heroes. From a man who had overcome his weaknesses to defeat an evil tyrant in the Original Trilogy, he is reduced in The Last Jedi to a petulant recluse driven by anger and despair. It left diehard fans aghast. Even Mark Hamill was unhappy at the way Luke was portrayed.

Johnson prided himself on making films that divided audiences and subverted expectations. And his subversion of Star Wars generated a huge backlash from fans. Though it still made money, the film was much less profitable than the previous film.

When The Last Jedi was praised, it was praised for things that had little to do with the storytelling or craft. It was lauded, for instance, for giving more lines to women and non-white actors.

Meanwhile, Johnson took an aggressive approach to fan criticism. In interviews and on social media, he described fans critical of the film as ‘manbabies’ and ‘unhealthy’. Many colleagues joined him in abusing and taunting fans. And many fans announced that they would never spend money on Star Wars films again.

Still, the claim that these fans were just bigots went unchallenged. Actress Kelly Marie Tran withdrew from social media after The Last Jedi’s release. Numerous articles stated (without providing evidence) that this was in response to sexist and racist abuse. Mainstream media called this an outbreak of ‘toxic fandom’. And the more criticism was portrayed as racism and sexism, the more antagonising fans seemed justifiable.

Core fans rejected these distortions. They formed a loose alliance called ‘The Fandom Menace’, a nod to the title of the first prequel. Their concerns and complaints were voiced on YouTube channels such as ‘Geeks and Gamers’, ‘World Class Bullshitters’, ‘Nerdrotic’, ‘Overlord DVD’, ‘ComicArtistsPro Secrets’ and ‘Thor Skywalker’. Websites such as ‘Disney Star Wars is Dumb’ were formed and alternative-media sites such as ‘Bleeding Fool’ and ‘Bounding Into Comics’ took up the side of dissident fans.

Anger at The Last Jedi, and how its makers had handled that criticism, led The Fandom Menace to call for a boycott of the 2018 spin-off movie Solo. The film flopped, largely owing to escalating costs due to extensive reshoots. But it still served as a bit of a wake-up call for Disney to do better by their fans.

Disney commissioned a standalone television series, The Mandalorian, which premiered last month. It has already gone some distance to restoring faith in the franchise among fans, telling the story of a bounty hunter. Its makers eschewed politics and flashy set pieces, and it was seen as a ‘solid’ series. Responses – so far – suggest enthusiasts are particularly happy that there was no progressive agenda attached to the series.

The Rise of Skywalker, the final part of the Sequel Trilogy, opened in cinemas yesterday. It has also been through production hell. Its first director, Colin Trevorrow, departed early, and JJ Abrams was brought in to direct and co-write it. Abrams had to fix the massive story problems Johnson had left behind him, but Abrams’ screenwriting limitations seem to have surfaced again.

There have been rumours of early test screenings going catastrophically wrong, with viewers even walking out. A desperate Lucasfilm arranged multiple cuts to solve problems. They even invited George Lucas back to work on the film. The revised versions required extensive reshoots that continued into October – less than two months before release.

Script leaks were met with incredulity. Many of the early reviews have been poor. The jumbled episodic structure, resurrection of dead characters, and revision of in-universe lore look likely to make The Rise of Skywalker a massive let-down for long-time fans seeking consistency and answers to story questions. The modular approach to editing and reshooting shows that Abrams and Kennedy had no idea how to use characters or fix plot problems.

The Rise of Skywalker is a desperate attempt to save the world’s most valuable film franchise from mediocrity and worthiness. But for many fans, it will be too little too late.

Alexander Adams is an artist and writer. His book, Culture War: Art, Identity Politics and Cultural Entryism, is published by Societas.

Watch the trailer for Star Wars: the Rise of Skywalker:

To enquire about republishing spiked’s content, a right to reply or to request a correction, please contact the managing editor, Viv Regan.



23rd December 2019 at 3:37 pm


zack knight

22nd December 2019 at 10:25 pm

“Meanwhile, Kennedy stamped her mark on the sequels politically by assembling a Star Wars story group predominantly made up of women. She was famously pictured with a group of women wearing a t-shirt with the slogan ‘The Force is Female’. A certain antagonism towards the male-majority fandom of Star Wars became more apparent over the years, from Kennedy and those she brought on board.”

This is the big problem and it isn’t just Star War, you see in the same thing happening in tons of Sci-Fi/fantasy properties. I have no problem with people creating feminist Sci/Fi, I have a problem with the reasons they are changing existing properties and shows.

Look at how the SJW reacted when Jodie Whitaker was cast as the new Doctor. I lost count of the number of nasty posts aimed at males fans, talking about making middle aged men weep in their mother basement. Really vile stuff.

Lets be honest there are probably are a few social awkward men who are fans of such shows. These guys may not be popular but they are also harmless. They don’t hurt women, so the way feminists take so much joy in taking something they love and trashing it, is distasteful. It is a powerful group picking on a weaker group. There is a term for that, it is called bullying.

Of course all this WOKE non-sense is now backfiring. Kicking the s**t out of your audience and calling them scum is not the best way to get viewers and sell tickets.

James Knight

21st December 2019 at 3:39 pm

So in short:

1) you can have the budget of NASA but without a decent plot and identifiable characters, it is for nothing
2) wokeness is the kiss of death for all art forms

ThePigman Cometh

20th December 2019 at 10:21 pm

I don’t know why anyone bothers with these movies. Even the decent FX can’t make the hassle worth it. It would be like being given a cherry after eating a whole plate of shit — it’s not going to make much of a difference.

Ven Oods

21st December 2019 at 10:46 am

Yeah; I’d definitely go mouthwash, not cherry.

Joseph Brown

20th December 2019 at 8:55 pm

Watched it last night. It’s enjoyable enough, but it comes with a lot of issues and unfinished plot lines. For example: “Rey, I meant to tell you something…”

We never find out exactly what that something is.

It could have been a lot worse considering the mess JJ had to work with, but it also could have most definitely been a lot better. Rather amusingly, however, is that TLJ is now a completely redundant film. RotS has turned Disney’s new Star Wars “trilogy” into a two-parter.

Ven Oods

21st December 2019 at 10:44 am

For example: “Rey, I meant to tell you something…”
We never find out exactly what that something is.

Perhaps the ‘something’ was to remind the writer to finish off the screenplay dialogue before the beginning of shooting?

Dean Laccohee

20th December 2019 at 5:30 pm

Sounds a bit odd but I was immediately put off by the prescience of an exclamation mark in the opening crawl. Struggled to stay awake during the tedious first hour. Threw in the towel when the Woke female ex-Stormtrooper made a speech about laying down their arms & refusing to kill civilians. The LGBT rebel alliance celebration at the end was the icing on the cake.

I liked Kylo Ren’s new red stripy helmet though.

ThePigman Cometh

20th December 2019 at 10:25 pm

I didn’t mind the exclamation point in the crawl, what pissed me off was the excessive use of OMG! and WTF?

Jim Lawrie

20th December 2019 at 9:58 am

It is about standing by your principles. With other people’s money.

The delay in the next James Bond film is down to the producers wanting to direct, select and write the whole show based on their political message, piggy backed on a big name director and writer. Who, having succeeded in landing Danny Boyle as director and John Hodge as writer, 4 months later jettisons Mr Boyle because he won’t sack Mr Hodge?

The choice for the next Bond is even more fraught. I’d go for a smoking, drinking, womanising, angry, red headed, Northern, Brexit voting, working class thug who has risen up through the ranks on merit. Scripted by Catherine Tate. And possibly played by her too. Just to save on hair dye.

Matt Ryan

21st December 2019 at 1:37 pm

That would be an awesome Bond movie.


20th December 2019 at 9:12 am

Go woke – go broke. Taking some time to sink in, it seems

Dean Laccohee

20th December 2019 at 5:31 pm

Appealing to a tiny but loud minority, ignoring the quiet majority.

Matt Ryan

21st December 2019 at 1:38 pm

See Always and Mumsnet for a very pertinent example.

Mark Houghton

20th December 2019 at 7:51 am

And once again we see someone take a massive steaming dump on a once fantastic franchise. well done Hollywood.

Philip Humphrey

20th December 2019 at 7:02 am

To me, the rise of “wokedom” and identity politics in familiar film franchises and films generally is a symptom of one thing, bankruptcy of imagination and originality. Not that the 1970s Star Wars film was entirely original, you can see that it borrows sequences from such films as The Battle Of Britain, The Dambusters and many others. But at least it was exciting and fun. Which cannot be said for “woke” filmmaking.

Jonnie Henly

20th December 2019 at 3:44 am

“She seems to be one of a growing number of people who see filmmaking as, in part, political.”

That would make her just like George Lucas then. His original trilogy was partly political as well. His prequels even more so.

Ed Turnbull

20th December 2019 at 9:13 am

Please, enlighten me: in what way was the original trilogy ‘political’? Even partly political? I’m not being snarky, I’m genuinely interested in where you perceive the politics in the original SW trilogy.

When Lucas was writing Star Wars he researched which mythic themes would most resonate with audiences, and we see many of them in the movies: young man growing to maturity, reconciliation of estranged father and son, sacrifice and redemption, and so on. A classic tale of good versus evil. I struggle to see any politics in it – I can’t find any analogues for capitalism or socialism, and there’s certainly no identity politics (that wasn’t even a thing in 1977, thank Cthulhu). You could, perhaps, argue the Empire was a proxy for the Third Reich, but it could equally have represented the Romans or the Ottomans. Or any other ‘evil empire’ from history.

I’ll agree that the prequel trilogy contains some overt politics, which is probably why it was so awful (and everyone thought it was solely down to Jar Jar Binks that it sucked…).

Jackie Hammerson

20th December 2019 at 11:23 am

Not only the original SW trilogy was so obviously political to anybody with a slight hint of common sense and a passing understanding of George Lucas, but Lucas himself had stated so in numerous interviews.

Here, educate yourself

Ken Loach’s Parrot

22nd December 2019 at 10:24 pm

Jackie Hammerson the only education to be gained from that article is that you don’t understand the concept of politics.

Nowhere does Lucas state that his inclusion of political themes relating to dictatorship and autocracy were meant to morally instruct the audience like woke films do. Referencing Nazi iconography and taking inspiration from your own (and surely in Lucas’s case only) personal experience of a leader with an autocratic streak like Nixon are surely standard practice when seeking sources for such a film.

And if it is all a big propaganda-fest are we supposed to emerge from the cinema with a burning hatred for King Phillip IV of France for wiping out the Knights Templar?

Leave a comment

You must be logged in to comment. Log in or Register now.