|STAR WARS: THE RISE OF SKYWALKERTHE RISE OF SKYWALKERRISE OF SKYWALKEREXTRAORDINARYJ.J. ABRAMSSKYWALKERSTAR WARS|
Even three months after its release, Star Wars: The Rise of Skywalker refuses to leave the national conversation. Perhaps that’s because so much supplementary material keeps coming out after the fact to fill out the plot gaps in the film’s ever-so-complex narrative. The latest from the Star Wars: The Rise of Skywalker novelization is all about Kylo Ren and his arc form Big Bad to big softie, and how exactly it happened.
Kylo Ren’s redemption arc was arguably one of the most dissatisfying parts of Stars Wars: The Rise of Skywalker, primarily because all the motivation for his turn from the Dark Side to the light took place offscreen and in supplementary materials. But here is a little more supplementary material to explain why Kylo Ren turned out the way he did. The Star Wars: The Rise of Skywalker novelization fills out some of the plot holes in Ben Solo’s arc from the Skywalker heir apparent to fallen son.
First, there’s an explanation of Kylo Ren and Rey’s first fight in The Force Awakens, when the new Force wielder was able to beat a trained Jedi in a lightsaber duel. We can thank Chewbacca for that, according to the novelization, which reminds us that the Wookiee shot Kylo Ren after he killed Han, putting him at a disadvantage in the fight with Rey. The book reads per CinemaBlend:
‘I have not forgotten that you shot me,’ Kylo said. That wound had resulted in a defeat at Rey’s hands. Had he been in top fighting form, the scavenger never would have gotten the best of him.
Yep, this sure is an explanation that doesn’t take away from Rey’s victory at all, because how could a girl who had been forced to survive on her own on a desert planet all her life eke out a win against a trained warrior? Uh, huh.
But that’s not all that has been revealed about Kylo Ren in the novelization. The retcon of Kylo’s “lie” about Rey’s parents being no one in Star Wars: The Last Jedi is further explained, writing per Digital Spy:
“He’d glimpsed her parents in a vision, a poor, frightened couple eking out a meagre existence, surviving on the edge of desperation. He hadn’t been lying when he’d told her they were nothing, nobodies. But Force visions were filled with tricky truths and potential realities. Maybe he had missed something. Bringing all the power of the Force to bear, Kylo Ren demanded, ‘Who is she?’ The rotting remnant of Emperor Palpatine smiled.”
The last revelation digs into Kylo Ren’s pivotal turn, when he lays down his lightsaber and finally embraces his identity as Ben Solo. In the film, it appears to be his mother Leia’s death that leads him to make this turn, at the of his battle with Rey, when she mortally wounds then heals him. In the...
The Rise of Skywalker went through more rewrites than Chris Terrio has ever experienced. Terrio co-wrote the story with director J.J. Abrams. To put things into perspective, Terrio co-wrote Justice League, and we all know how that turned out. Joss Whedon even ended up with a writing credit on that one after $25 million reshoots lasted over a month. Regardless, there are still a lot of Star Wars fans who were very satisfied with the way the final installment in the Skywalker Saga unfolded, even if it was seemingly written on the fly.
Colin Trevorrow was originally on board to write and direct Star Wars 9, but he later left after running into some creative differences with Lucasfilm and Disney. So, J.J. Abrams was brought back to the fold and he brought Chris Terrio along to help write a brand-new story, which could not have been easy, especially because it seems like they never really stopped writing, even when the cameras were rolling. Terrio had this to say about the experience.'I've never rewritten a film as much as this one. It's like a tide. There's a new script every morning. But we just keep going at it and going at it, loosely thinking that it's not good enough. It's never good enough.'
The Rise of Skywalker hit theaters in December and a lot of fans still have unanswered questions. However, much like the Wayfinders used in the movie, hardcore Star Wars fans can seek out novels, comic books, and video games to help fill in the blanks. As far as the rewrites are concerned, Chris Terrio says they were lucky to have a flexible crew with them. He explains.'Luckily, the production team is so good that they can shift and adjust. We're course-correcting as we go - we're trying things, and some things don't work and some things aren't ambitious enough. Some things are overly ambitious. Some things are too dense. Some things are too simple. Some things are too nostalgic. Some things are too out-of-left-field. We're finding our balance.'
Since The Rise of Skywalker is out digitally and coming out on Blu-ray tomorrow, we have been getting a lot of behind-the-scenes looks at what could have been. The Art of Star Wars: The Rise of Skywalker book is out tomorrow too, and it features a wealth of concept art, along with several interviews with the cast and crew. The concept art within the book shows some of the material that was originally written for the movie, but ultimately did not make the cut.
Once Star Wars fans started to hear about the concept art and ideas that didn't make it into the final cut, rumors started to circulate about the J.J. Abrams cut. The concept art, paired with Abrams' on words about cutting the runtime down helped to spread these rumors. But, there is no J.J. cut since most of the things that were written and unused were never completed or even shot. Adding to this idea is the fact that there are no deleted scenes included in The Rise of Skywalker digital or Blu-ray release. Chris...
France’s Warner TV has acquired NBC’s drama Zoey's Extraordinary Playlist from Lionsgate. Starring Jane Levy, the show will premiere in France on May 19 after launching in the U.S. earlier this year. It was created by Austin Winsberg and centers on a San Francisco coder who starts to hear other people’s thoughts through popular songs. “This new Lionsgate property is a truly innovative idea brought by a world-class creative team. Musically adventurous, heartfelt and intriguing, the show has everything to entertain Warner TV fans,” said Julien Borde, head of kids and general entertainment channels at WarnerMedia France and Africa. Channel 4 has previously picked up Zoey's Extraordinary Playlist in the UK.
HBO Europe’s first Spanish original drama Patria is to debut in the U.S. and 61 countries across Europe and Latin America on May 17. Set in Spanish Basque Country and taking place over thirty years during the separatist terrorism of ETA, Patria tells a story through the eyes of two families divided by the violent conflict. It is written by Aitor Gabilondo El Príncipe and directed by Venice-winning Pablo Trapero The Clan and Goya-winning Félix Viscarret Four Seasons In Havana.
Toronto-based production company Media Headquarters has exited the collapsed Kew Media Group after CEO Robert Cohen completed a management buyout. Cohen will continue to lead Media Headquarters, while the company's executive team, production staff and slate of projects are unaffected. Media Headquarters is best known for making the Smartest Person franchise for CBC and was originally acquired by Kew in 2017. “This deal represents the next stage for Media Headquarters and a new opportunity for further growth,” Cohen said.
UK sales company Jinga Films has sold Flavio Pedota's virus horror Infection to Dark Sky Films who have scheduled a U.S. VOD and DVD release for April 14, 2020. The film follows a doctor’s search for his son amid an outbreak of a new strand of the rabies virus which turns the population of Venezuela into bloodthirsty cannibals. The film has also been picked up by Tema Spain, Cinema Novo Portugal, New Select Japan, MovieCloud Taiwan and First Wave Vietnam. The pic has played at Guadalajara Film Festival, Sitges Spain, Fantasporto Portugal, Utopiales France, Popcorn Frights U.S., Fantaspoa Brasil, Morbido Mexico, Raindance UK and Festival Of Fear in Canada where it won best film.
Quarantined viewers tuned into Saturday’s all-day, virtual ScreenCraft Screenwriting Summit were treated to a special surprise in the evening when filmmaker and TV titan J.J. Abrams crashed the party as the surprise special guest. He arrived just after his fellow “Star Wars” scribe Tony Gilroy “Rogue One” and the upcoming Cassian Andor series finished his conversation about the craft of screenwriting.
Abrams’ Q&A touched on a range of topics, from the origins of 2015’s “The Force Awakens” to scaling “the mountain,” as he called it, of writing a screenplay, and to the Golden Age of television happening now. It’s an era Abrams helped to launch with his ABC mystery series “Lost.” “I know my role in that. I’m not talking as if I had nothing to do with this,” he said.
“It’s the Golden Age of television, as they call it, even though I don’t know what television really is anymore,” Abrams said. “That’s because huge chances are being taken. Talent that might not have gotten the chance otherwise suddenly have the opportunity. For me, when I watch a show like ‘Atlanta,’ which takes the most spectacular risks in point of view, in genre, structure, and character […] every story has been told, it’s kind of all been done before,” remarking that the FX series tells its stories in unique ways.
Abrams also praised the Emmy-winning Prime Video series “Fleabag,” created by and starring Phoebe Waller-Bridge.
“You see ‘Fleabag’ and you’re like, well, yes, the fourth wall has been broken [before], but not like that,” he said, referring to the protagonist’s tendency to face the camera and address the audience. “Yes, there have been amazing love stories, and stories of family, but not like that. What I love is the thing that makes you feel like, ‘Oh my god, this is so amazingly specific.'”
Abrams pivoted to discussing Hollywood’s place in a moment dominated by streaming content with originality that far exceeds what’s being reproduced on the big screen. “Hollywood used to be a place where something would happen, there’d be a movie where people would see it and think ‘Oh my god, that’s amazing. Here’s my answer to that,’ or ‘here’s my version,'” he said.
“Hollywood has become a place where, for the most part, studios say, ‘Oh my god, that’s amazing. Let’s do that literally again.’ And that’s OK, and I think that will continue, but I really hope that all the writers who are here and others in the guild are as excited as I am about this new opportunity with streaming platforms. How many different stories are going to be...