'The diminishing returns are clearer than ever in the wide-ranging quality (from the brilliant 'The Last Jedi' to the atrocious 'Rise of Skywalker') and what feels like corporate demands for more, more, more,' reporter John Wenzel writes
May the 4th, the unofficial Star Wars holiday, also feels more official with each passing year — like an in-joke that’s become public, and less funny for it. Significantly, “Return of the Jedi” is celebrating its 40th anniversary, having been released on May 25, 1983. That can’t help but remind me of watching Star Wars movies on my belly in my grandparents’ carpeted living room, or taping them on VHS and poring over them endlessly at home.
By contrast, my kids, ages 6 and 10, sail right past the Star Wars movies and TV series on Disney+ because they’re just one of many eye-popping, instantly consumable entertainment products battling for their brains. Shared universes are easy to find, as are shows with race- and gender-diverse heroes and stories. The Star Wars brand, until fairly recently, was none of these.
From left, Mark Hamill, Carrie Fisher and Harrison Ford sit in the Denver Post lunchroom at 15th and California streets on June 14, 1977, during a visit to Denver. Is it still a brand, though? Or an interconnected, wide-ranging morality tale? Or a design style? With each new iteration, the aesthetic gets thinner as pill-shaped lights, clunky androids, blinking 1970s control panels, and other signifiers of what creator George Lucas called the “used future” pile up. The quality control is high, with entertaining series such as “The Mandalorian” packed with dopamine hits of fan service. The endless visual and narrative mirroring is clever.
Even if Star Wars feels like an organized religion, it’s really just supposed to be entertaining. One kid’s “The Phantom Menace” is another’s “Return of the Jedi,” depending on how old they were when they first saw it. Star Wars is straightforward serial storytelling, and even its career highlights (such as the
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