The WIRED Guide to Star Wars

A long time ago, in a small town far, far away, a young man named George Lucas had an idea for a narrative 😛 TAGEND

A simple young farmboy gets a magic sword from an age-old wizard so he can defeat an evil knight, rescue a princess, and save the world.

Actually that wasn’t truly Lucas’ idea. Everybody has that idea. Granted, they don’t ever do it with knights. Sometimes it’s cowboys; sometimes it’s samurai. Sometimes the farmboy is a farmgirl. Sometimes the wizard is a scientist and sometimes the evil knight is a dragon or a cyborg. Sometimes it’s guns instead of swords.

But Lucas knew all that. He was a Northern California kid who grew up watching movies and racing cars, a tyro moviemaker at a few moments when American film had become very serious. The movies of the 1970 s had genre goofs like The Exorcist and Rocky, but the gold-standard stories were adult things about violence, sexuality, and the treachery of dreams. Taxi Driver, The Deer Hunter, The Godfather. Heroes in these movies lost–like, all the time. Sometimes the whole movie got you to like bad guys, and sometimes these men died anyway!

Lucas rebelled against all that. He seemed back to the Flash Gordon serials and campaign movies of his youth, and grabbed all his favorite irreducible elements of boy-hero-king chosen-one stories–a historian named Joseph Campbell had helpfully assembled a list. Lucas retained the swords, the magic, and the knights.

Then–and this was, perhaps, his greatest innovation–Lucas maintain everything else, too. Wizards, dragons, princesses, horses, automobiles, motorcycles, aircrafts, ships, ray artilleries, teddy bears, his family dog, pirates, car chases, Nazis, crooks, samurai, dogfights, gunfights, swordfights, fist combats, gladiators, spies, castles, and robots. In space, traveling at hyperspeed.

Star Wars, the universe George Lucas generated, embraces as of this writing nine feature films, with several more at different stages of production as well as at the least a half-dozen television series, hundreds of volumes and comic books, dozens of computer game, and a vastly profitable empire of licensed merchandise, including, perhaps mostly famously, dolls and Lego situateds whose popularity literally rescued that beloved toy corporation from bankruptcy.


A Musical Number

Composer John Williams’ justifiably famous orchestral music for Star Wars masks an biding secret: The movies are actually musicals. Or rather, they’re paced like musicals, with solo( Luke staring at Tatooine’s twin determining sunlights) and duos( “I Love You”/ “I Know” ), and big Busby Berkeley/ Gene Kelly-Stanley Donen numbers( Death Stars, husk races, etc .). Except the movies actually have straight-ahead musical numbers, too. Episode IV’s Cantina scene is the standout–those big-headed jazz players are Figrin D’an and the Modal Nodes, and they sway through two numbers. A disco version of the Cantina theme moved platinum.

But that’s not all! How about Sy Snootles and the Max Rebo Band, playing in Jabba the Hutt’s palace in Episode VI? Or the de-canonized “Yub Nub, ” sung by Ewoks to celebrate the Rebel victory, which passed from recollection into the West with the publication of the Special Edition.

In Force Awakens, our heroes once again find themselves looking for info in a wretched hive of scum and villainy( and booze ). But this time the music diverged at long last from Williams’ brass and strings. Why? The song, a sprightly Huttese rap number called “Jabba Flow, ” was written by Lin-Manuel Miranda, the creator of Hamilton. Star Wars is musicals! The secret is out at last.


The fourth, fifth, and sixth movies take place, timeline-wise, before the first, second, and third movies … and the eighth movie takes place between the sixth and first. The various ancillary narratives in volumes, comics, and plays tell stories from a history spanning tens of thousands of years and an entire galaxy, but the official posture of Walt Disney Studios, which bought Lucasfilm in 2012, is that everything other than the movies rendered up to that point are non-canonical–apocrypha among holy texts, albeit still beloved by some fans.

Star Wars is, in short, a vast, familiar, astonishingly well-executed narrative that emerged from the mind of one filmmaker and is now worth billions of dollars, drives entire industries and subindustries, and has become a apparently permanent facet of world culture. It’s profoundly silly, yet likewise profound–a grand , nostalgic intrigue full of wisdom and desire that three generations liken inextricably with childhood, escapade, and the definition of good and evil.

The History of Star Wars

The story, in broad strokes, is this: Two noble knights from an ordering called the Jedi detects a son destined to be a powerful wielder of the mystical energy that are linked the universe, called the Force. One of them dies protecting him from the Jedi’s evil equivalents, the Sith, but the other–Obi-Wan Kenobi( along with his lord, a wise gnome named Yoda )– tries to develop the son, Anakin Skywalker, to fight on the side of good.

It doesn’t take. The movies aren’t wholly clear on this level, but at this moment at the least, Jedi aren’t supposed to succumb to feeling or form attachments–the Dark Side of the Force, which the Sith worship, relies on “negative” emotions like fury and dread, so maybe it has something to do with that. Unclear. At any rate, Anakin nevertheless falls in love with and marries the good Queen Amidala. That devotes an evil politician named Palpatine, himself secretly a Sith Lord conspiring to become Emperor of the galaxy, leveraging over the powerful Anakin. After some confusing political and military machinations, Palpatine becomes Emperor and has most of the Jedi exterminated. Obi-Wan defeats Anakin in duel, wounding him so badly that he requires a mechanical suit of armour to continued him alive. Anakin becomes the Sith Lord Darth Vader.

Amidala dies before Vader finds out that she has given birth to two children: Luke and Leia. Yoda and Kenobi escape the carnage of the Jedi. They send Leia to live on the peaceful planet of Alderaan and Luke into disguising on the desert world of Tatooine, where Kenobi watches over him.

Years afterwards, Leia becomes a leader in the Rebellion against Palpatine’s Empire, and sends term to Kenobi that the conflict necessity his help. Kenobi recruits Luke( without telling him about his family history) and together with a disreputable rascal named Han Solo and Solo’s partner, a tall, shaggy alien named Chewbacca, they travel on Solo’s spaceship, the Millennium Falcon, to rescue Leia from a planet-destroying combat station called the Death Star.

This accomplished–despite the demolition of Leia’s adoptive homeworld and the apparent death of Kenobi–Luke, Leia, and Han continue to fight the Empire and its eternally replenished ranks of white-suited Stormtroopers. Luke travels to Yoda’s hiding place, a swamp planet, to continue his train as a Jedi. Yoda’s admonition to Luke–“Do or do not. There is no’ try’”–has gotten more geeks through more hard tasks than any other bit of self-help.

In a duel on the floating city of Bespin, Vader tells Luke that he is Luke’s father.( This was a formative disclose for fans at the time, though anyone who’d read Campbell probably ascertained it coming from several parsecs away .)

Han and Leia fall in love. Eventually, Luke manages to turn his father away from the Dark Side of the Force just in time for him to save Luke from Emperor Palpatine. The rebels blow up a second Death Star and save the galaxy.

Or so it seems, because nearly four decades after that movie, Return of the Jedi, the rebels, restructured into a “resistance, ” are fighting the First Order, apparently reorganized from the dregs of the old Empire. Han and Leia’s grown son Ben has taken the epithet Kylo Ren, and uses the Dark Side of the Force. New kids–a remorseful former Stormtrooper named Finn and a junk scavenger with Force abilities named Rey–join Leia , now a general, in the fight. Kylo kills Han, but the Resistance destroys yet another planet-killing weapon, and Rey manages to situate the missing Luke Skywalker and become a Jedi herself.

To little avail. The First Order kicks the crap out of the Resistance, knocking them down to simply a small fleet on the run. Rey and Kylo eventually find that they are alike, in a way–both fighting against the weight of all the narrative that has come before them. Eventually all that’s left of the Resistance can fit on the old Millennium Falcon, on which Rey and her friends escape–thanks in part to Luke sacrificing himself to buy them time. Kylo kills the apparent president of the First Order and accepts command.

Where We Are Now

That was all canon–the story of Star Wars in so far. There’s more, of course. Various cartoons and other substance made after the Disney purchase, like the generally terrific animated Tv indicate Star Wars: Rebels, are also canonical, monitored by a “story group” at Lucasfilm that approves names, places, events, and generally attempts to keep the vast warp and weft of the universe raveled, or at the least knotted off until some other novelist can get to it.


About That Holiday Special

It’s awful. That’s what you have to know about the Star Wars Holiday Special, which aired around Christmas of 1978 on CBS. A crew of 1970 s Tv slapstick and variety show novelists dropped in to gin up something about trying to get Chewbacca back to his home planet for “Life Day.” The entire original cast is there, but they don’t look happy about it, or even sober. It never aired again, and is only available in bootleg form.

Except, hang on a second. Because you know how a subset of Star Wars fans inexplicably enjoy Boba Fett, a badguy reward hunter in blue armor who has all of five lines across the first trilogy and then dies in the pit of the Sarlacc on Tatooine? And in the prequels turns out to be the cloned son of the guy who gets cloned into the first stormtrooper legion? And watches a Jedi chop his dad’s head off?

Well, the Holiday Special explicables that inexplicable enjoy. It introduced the character, in a cartoon that ran as interstitials during the broadcast … and then, before Episode V “re coming out”, the Boba Fett action figure was a special giveaway. As advertised, it was supposed to have a missile-launching backpack–a feature that Kenner scotched for panic of putting a kid’s eye out. But longing for that doll was palpable in the late 1970 s. If you have one in mint condition today, you are able to sell it. It’s worth $150,000.

Yes, the Holiday Special was terrible. But without it, the prequel movies wouldn’t have made any sense.


But more than perhaps any other recreation brand, Star Wars also has a meta-canon. The behind-the-scenes tale of its creation and continuation are in many ways as much a part of global culture as the movies and ancillary substance themselves. George Lucas, who grew up of limited means, reads to exert a magical lantern–filmmaking–from Francis Ford Coppola, an old master, and challenges the Hollywood establishment to take over “the worlds”. The tale of Star Wars is important; so is the story of the story of Star Wars.

The fact that Lucas constructed the first movie, Episode IV in the cycle, is on its face astounding. No one would produce it. Studios turned it down. Alan Ladd Jr ., a scion of Hollywood who was running 20 th Century Fox at the time, concurred. Lucas thought the movie, remarkably, would induce most of its fund on toys and tchotchkes.

To realise the various kinds of visuals he required, Lucas started a special effects production division that came to be called Industrial Light and Magic. Inventors there–first outside Los Angeles, and later in Marin County–invented or reinvented many of the technologies that have become their own kind of canon in filmmaking. They resurrected the widescreen movie format Panavision; they learned to create detailed simulates and computers that could control cameras swaying around them in repeatable maneuvers, so that they could overlay multiple shootings to simulate swarms of spaceships. ILM’s work with intricate simulates eventually dedicated lane to the computer-generated digital images that now predominate visual effects.

But before the effects were done, Lucas screened a rough cut of the movie for a few associates. His fellow young-upstart administrator Brian DePalma reckoned the weird Flash Gordon throwback wasn’t going to work, and built fun of him relentlessly. But Lucas’ other close friend, director Steven Spielberg, disagreed. Spielberg thought it was going to be huge.

Lucas’ then spouse, Marcia, was a well-known and respected movie editor; her work on the movie during production and post-production has moved largely unheralded except among cinema geeks. While Star Wars is partially known for silly cross-screen wipes to transition from scene to scene, the lightning-quick act sequences and a tempo that allowed for suspense, intrigue, and humor seem more likely to have come from her than from Lucas’ own script. Harrison Ford–who played Han Solo–famously quipped on determined, “You can type this shit, George, but you sure can’t say it.”

The movies likewise benefited from a winning casting. Ford hadn’t starred in much when he made Star Wars–he has a small its participation in Coppola’s Apocalypse Now, playing a military officer named Lucas and nicknamed “Luke, ” and a major role in Lucas’ nostalgic ensemble movie American Graffiti. Mark Hamill, who played Luke, had done Tv. Carrie Fisher was Hollywood royalty, the daughter of actress Debbie Reynolds and singer Eddie Fisher. Before she played Leia she played a precociously sexual teenager in Warren Beatty’s Shampoo. Fisher’s audition for Leia–like so much other Star Wars ephemera, it has been made public–is a revelation; she was, indeed, one of the few actors who could say that shit.

When the first Star Wars actually did come out, in May of 1977, it was a massive make. Lucas famously watched the lines crawl around the block at Hollywood’s Chinese Theater from a Hamburger Hamlet across the street. Together with his friend Spielberg, whose masterpiece Jaws had come out two years prior( and his other masterpiece Close Encounters of the Third Kind likewise came out in 1977 ), the two men had created the modern summertime blockbuster.

They were movies that constructed so much money that studios couldn’t not build more. When blockbusters hit, they find themselves, by the standards of any industry, extraordinarily profitable, but barely half a dozen major studios can assemble the means and capital to attain them. Plus, there are 51 weekends, roughly, in a year for them to come out, narrowing the bottleneck even further. With an occasional exception, blockbuster pressures relegate the serious, adult-oriented movies that Lucas had rebelled against to permanent indie, small-potatoes status. They had rewritten the economics of filmmaking. Lucas’ rebellion was a success.

Their new math wasn’t limited to the box office. Lucas’ willingness to trade his cost for merchandise turned out to be … prescient. The demand for Star Wars toys at Christmas in 1977 was so great that stores sold empty boxes with rain checks. The market for toys licensed from movies and comic book was, at the time, is characterized by a small company called Mego that principally attained 8-inch-tall plastic, posable figurines with cloth costumes–competitors to Hasbro’s GI Joe, all these so-called action figures were basically Barbies aimed at boys. Mego held the licenses for DC Comics, Marvel Comics, Universal Studios’ monster movies, Planet of the Apes, Star Trek, and various cowboy properties. But Mego declined to add whatever the inferno Star Wars was, forcing Lucas to go to an even smaller company called Kenner.

Kenner decided to build dolls half the size of Megos, far less posable, induced exclusively of vinyl rather than including garb. They were cheap enough to attain that instead of following the then-customary practice of building dolls simply for the hero, his sidekick( it was almost always a human ), the villain, and a minion, Kenner made dolls for every character and alien in the movie, in multiple attires. And all the spaceships. And most of the situateds. Because children wanted all of them. As a make, Kenner achieved industry dominance, Mego disappeared, Hasbro rebooted GI Joe along the same lines, and Lucas got very, very rich.

Spielberg mostly escaped the trap of constructing sequels; Lucas embraced it. And why not? His largely incomprehensible therapy for The Star Wars began long before Episode IV and aimed long after it. So more Star Wars was inevitable. Lucas involved other filmmakers in the next two movies and then turned over to one-man-band status for the prequel trilogy, Episodes I through III, which came out starting in 1999. They were technical triumph, but audiences and critics received them poorly. The humor didn’t land; the actors didn’t sell the weirdness. Lucas’ near-total sovereignty in the movies’ production, combined with the vast amounts of fund spent and attained on them, indicated not so much a Rebellion anymore but an Empire.

In the 2000 s, Walt Disney Studios went on an acquisition orgy, buying the computer animation studio Pixar in 2006 and the comic-book company Marvel in 2009. Both prospered under the Disney shingle, and in the latter occurrence helped Disney expand its audience among boys and men. So Lucasfilm made sense as an acquisition target, too. It was by then a home for the preeminent visual impacts mansion Industrial Light and Magic, and ancillary Star Wars products like cartoons, games, and books–but no movies. Disney paid$ 4 billion for the company in 2012.

Kathleen Kennedy, a longtime Spielberg collaborator, became head of Lucasfilm’s head, and rapidly green-lit more Star Wars–movies, TV depicts( to air on Disney cable channels, of course ), books, and comics( published by Marvel, natch ). All the Star Wars.

The Disney-era plans for the overall brand come at a fraught period, culturally. Kennedy explicitly set out to bring women and people of color into the dealership as fully-developed characters, something people rightly criticized Lucas for failing at. It widened Star Wars’ audience–more kinds of people being able to see characters who look like themselves deepens Star Wars’ universality, and anecdotally, fan conventions now have as many girls as boys cosplaying their favorite characters. Kennedy’s diversification likewise, it turned out, alienated a small but vocal segment of the fanbase that had been emboldened by other counter-revolutionary movements in nerd-dom like Gamergate and kerfuffles over science fiction awards.

Restarting the franchise after a mainly fallow decade came with another challenges. Children and teenagers–a primary audience–knew it largely from Lego specifies , not movie theaters. Kennedy’s challenge would be to reinvigorate Lucas’ vision, update it for the 21 st century, but also retain its fundamentally retrograde intrigue, stacking it up against a half-dozen other studios who’d all learned the blockbuster lesson. Thus far she has been a cold-eyed defender of the faith, supplanting one administrator for extensive retooling on one movie and outright firing the directors off two others.

Science fiction and fantasy epics had become, in the years since the first Star Wars , not a puzzling anomaly for studio execs to take chances on but, in fact, the norm.

What’s Next for Star Wars

Carrie Fisher succumbed abruptly in 2017, after completing her scenes for The Last Jedi, the second movie of the new trilogy that began with The Force Awakens. By some accounts this threw the narrative into some chaos, as Leia was to be central to its plot. Thumbs intersected that Billy Dee Williams will show up to reboot his roguish Lando Calrissian from Empire and Jedi; Donald Glover plays a younger version in the upcoming prequel movie about a young Han.

Also in various stages of pre-production or production are movies about a young Boba Fett( an immorality, armored bounty hunter) and an wholly separate trilogy to be run by Rian Johnson, who wrote and directed Last Jedi.

The animated Tv demonstrate Star Wars: Rebels is coming to a conclusion after four seasons, but Disney is in the process of creating its own streaming service similar to Netflix or Amazon Prime but exclusively for Disney-created content. It may also, according to rumor, feature another Star Wars Tv indicate, the first to be live-action as opposed to animated.

At the Disney theme parks in Anaheim and Florida, Star Wars Lands are under construction; the Florida park will also have a Star Wars-themed hotel. According to advertising substances, visitors will be able to presume a Star Wars character, and the “cast” of the Land and inn will react to them in-story. Since the Star Wars Land is regulated by the Story Group and, ostensibly, in canon, this means that our universe now at least crosses over with–and in fact may be a sub-universe of–Star Wars. We are all canon.

The particular strength of the Star Wars shared universe–as opposed to, say, the Marvel shared worlds, the DC Comics-based shared universe at Warner Friend( Superman, Wonder Woman, Batman, etc .), or the ones that other brands have tried to spin up–is its depth. Perhaps because of the nostalgia Lucas built into his very first movie for the days before the dark hours of the Empire, the Star Wars universe is like it exists even when you’re not looking at it. In its own language of psychology, Star Wars is a paracosm, a complete world populated with autonomous characters. That’s why it’s possible for young-adult volumes about teenagers training to be Rebel pilots to coexist with half-billion-dollar movies about Rey and Kylo Ren, comic books about Darth Vader, augmented-reality apps that let you insert Stormtroopers into Instagrams, and Barbie-like fashion-play dolls of Jyn Erso, the hero of the Disney-era prequel Rogue One.

That paracosm is so vivid, so enduring, that Kennedy and Lucasfilm can continue to pursue an aggressive liberate schedule, one movie a year, for … well, eternally, actually.

To genuinely understand the importance of that vision–of that Force, if you will–you have to watch another movie. It’s not a Star Wars movie. It’s called Reign of Fire, and it’s a kind of wonderfully dreadful postapocalyptic story–the last remnants of humanity are fighting the scourge of , no kidding, a sky full of fire-breathing dragons. Christian Bale, Gerard Butler, and Mark McConaughey, before they were better than this, play the heroes. It’s as dopey as it voices. People skydive from helicopters to assault dragons.

In the middle of it all, there’s a quieter scene. Inside the medieval castle that’s one of humanity’s few remaining fortress( stone being fireproof ), the battered adults put on a play for “their childrens”. A white prince is swordfighting a Dark Lord who exhales with a scary, mechanical rasping … and the Dark Lord says, “I am your father! ” All the children gasp and screaming. At the end of days, humans are teaching the last children on Earth one of the great myths of our people.

Sometimes the dopeyest movies get things the most right.

Learn More

‘Phantom Menace’ Bears, Annoys
In 1999 George Lucas liberated the first “prequel, ” Episode I( 13 times after Episode VI came out ). The Phantom Menace told the story of a young Obi-Wan Kenobi encountering the child who will grow up to be Darth Vader. The movie introduces a very good bad guy, the double-bladed lightsaber-wielding Darth Maul, but likewise( seemingly) kills him. It likewise features a comic-relief character named Jar Jar Binks whose dumb slapstick and ethnically offensive accent were not absolutely amazing, frankly. WIRED’s 1999 review of The Phantom Menace agrees.

In 1999 George Lucas released the first “prequel, ” Episode I( 13 years after Episode VI came out ). The Phantom Menace told the story of a young Obi-Wan Kenobi encountering the child who will grow up to be Darth Vader. The movie introduces a very good bad guy, the double-bladed lightsaber-wielding Darth Maul, but also( seemingly) kills him. It also features a comic-relief character named Jar Jar Binks whose dumb slapstick and ethnically offensive accent were not absolutely amazing, frankly. WIRED’s 1999 review of The Phantom Menace agrees.

Life After Darth
In 2005, on the eve of the freeing of Revenge of the Sith–we’re up to Episode III here–George Lucas committed a rare interview to WIRED’s Steve Silberman. Lucas reflects on three decades of Starsing and Warsing, and talks about his desire to expand beyond the dealership with programmes like Red Tails, his movie about the Tuskegee Airmen. But old projects still call to him; Lucas was working on the( poorly received) fourth Indiana Jones movie and on yet more tinkering on the original Star Wars cinemas. He’d already released “special editions” of the original trilogy, adding in more visual effects with new digital tools. By the time of this story he’s converting them into 3-D.

In 2005, on the eve of the liberate of Revenge of the Sith–we’re up to Episode III here–George Lucas dedicated a rare interview to WIRED’s Steve Silberman. Lucas reflects on three decades of Starsing and Warsing, and talks about his desire to expand beyond the franchise with programmes like Red Tails, his movie about the Tuskegee Airmen. But old projects still call to him; Lucas was working on the( poorly received) fourth Indiana Jones movie and on yet more tinkering on the original Star Wars movies. He’d already liberated “special editions” of the original trilogy, adding in more visual influences with new digital tools. By the time of this story he’s converting them into 3-D.

You Won’t Live to Appreciate the Final Star Wars Movie
Star Wars coming home to movie theater a decade subsequently, in 2015, with The Force Awakens. By now Disney owns the dealership, Kathleen Kennedy is in charge, and Lost creator( and cinematic Star Trek rebooter) JJ Abrams is in the director’s chair. Because he is the director. But what Kennedy and the Disney machine are planning for Star Wars is something entirely new: a Forever Franchise, an eternally expanding, interconnected universe of movies, Tv depicts, volumes, and cultural rights cruft.

Star Wars comes back to movie theater a decade afterward, in 2015, with The Force Awakens. By now Disney owns the franchise, Kathleen Kennedy is in charge, and Lost creator( and cinematic Star Trek rebooter) JJ Abrams is in the director’s chair. Because he is the administrator. But what Kennedy and the Disney machine are planning for Star Wars is something entirely new: a Forever Franchise, an eternally expanding, interconnected cosmo of movies, TV presents, books, and cultural cruft.

What Rogue One Teaches Us About the Rebel Alliance’s Military Chops
The more Star Wars that gets induced, the more canon there is to do exegesis on. And if Star Wars is a sort of ever-expanding decide of biblical text, nerdy books like WIRED are its Talmud, where canadian researchers and the faithful come together to try to comprehend the Word. Sometimes the Word is … disorient. Because for a heroic band of iconic, lawful-good warriors, the Rebellion is very, the worst at doing military things. In the Disney-era prequel movie Rogue One, that’s painfully clear in the dumb lane a team of nominally heroic commandos try to storm a fortified Imperial base.

The more Star Wars that get stimulated, the more canon there is to do exegesis on. And if Star Wars is a sort of ever-expanding determined of biblical text, nerdy books like WIRED are its Talmud, where canadian researchers and the faithful come together to try to comprehend the Word. Sometimes the Word is … confounding. Because for a heroic band of iconic, lawful-good warriors, the Rebellion is very, very bad at doing military things. In the Disney-era prequel movie Rogue One, that’s painfully clear in the dumb way a team of nominally heroic commandos try to storm a fortified Imperial base.

Inside the Battle of Hoth: The Empire Strikes Out
On the other hand, the Empire isn’t actually that great at dominating the galaxy. Two classic WIRED instances: First, in The Empire Strikes Back, Imperial forces have a chance to crush the Rebellion once and for all on the frozen world of Hoth. But the Empire makes a series of mistakes, including the inexplicable reliance on vulnerable ground forces instead of space or aerial bombardment.

On the other hand, the Empire isn’t actually that great at dominating the galaxy. Two classic WIRED examples: First, in The Empire Strikes Back, Imperial armies have a chance to crush the Rebellion once and for all on the frozen world of Hoth. But the Empire makes a series of faults, including the inexplicable reliance on vulnerable ground forces instead of space or aerial bombardment.

Defense Geek Strike back: A Symposium on the Battle of Hoth
That story makes a series of important tactical criticisms of Imperial armies as is presided over by Darth Vader–so much so that multiple military experts answered. Their overall takeaway? Other Imperial overcomes, like the destruction of not only one but two Death Stars, were far worse. And The Empire constantly constructs the mistake of letting Vader and the Emperor focus all their resources on Luke instead of, you know, beating the Rebels.

That story makes a series of important tactical criticisms of Imperial forces-out as is presided over by Darth Vader–so much so that multiple military experts responded. Their overall takeaway? Other Imperial defeats, like the ruin of not just one but two Death Stars, were far worse. And The Empire constantly builds the mistake of letting Vader and the Emperor focus all their resources on Luke instead of, you are familiar with, thumping the Rebels.

Architects and Engineers Shove a Lightsaber through the Death Star’s Bad Design
Speaking of Death Stars, according to a bunch of very good designers and architects, the Death Star is a very bad intend. And plus, hey, wasn’t blowing it up a war crime? Most of the people on board can only be grunts and contractors.

Speaking of Death Stars, according to a bunch of very good designers and architects, the Death Star is a really bad designing. And plus, hey, wasn’t blowing it up a war crime? Most of the people on board can only be grunts and contractors.

Leia Organa: A Critical Obituary
WIRED isn’t the only place writing metafictional essays that simultaneously criticism and revel in the Star Wars universe from inside. Possibly the best instance of the kind is this obituary for Leia Organa, written in honor of Carrie Fisher’s fatality, sums up everything wonderous about Star Wars. It recasts the stories in a more adult illuminate and tells them from an virtually Rosencrantz and Guildensternian( or Zepponian, if you’re a Buffy fan) perspective, asking what the adventures of Luke, Han, and Leia must have looked like to citizens of the Republic/ Empire/ New Republic/ First Order. More importantly, though, it dedicates Leia her due as the tactician and leader that, candidly, only books, comics, and devotee fiction get right until the Disney era. This lovely piece of writing will induce you smile-cry, which is what Star Wars is supposed to do.

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