What Went Wrong With The Rise Of Skywalker Script?

Man, what a rollercoaster that finale was! After all the chaos—Palpatine’s creepy resurrection, Kylo’s redemption, Rey’s identity crisis—the final showdown felt like a fever dream. Rey and Ben teaming up against ol’ Sheev was visually stunning, but man, that 'kill me and I’ll possess you' twist? Cheesy yet weirdly satisfying. And then Ben yeeting himself into the pit after reviving Rey? Brutal. The whole 'Rey Skywalker' bit at the end had me emotional, even if it felt a little forced. Like, sure, she earned that name, but after the messy pacing of the trilogy, it kinda landed with a thud for me. Still, the lightsaber duel in the wreckage of the Death Star? Pure eye candy. And C-3PO’s sacrifice (even if temporary) hit harder than I expected. Overall, it’s a flawed but heartfelt ending—like the entire sequel trilogy, really. I left the theater buzzing, even if I spent the next week arguing about it online.

I’ve always been fascinated by their journey. The band’s initial breakup in 2005 was a shock to fans, and it stemmed from a mix of creative differences and personal tensions. Tom DeLonge’s increasing focus on his other projects, like Angels & Airwaves, and his interest in UFO research didn’t sit well with the others. Mark Hoppus and Travis Barker wanted to keep the band’s sound more grounded in their pop-punk roots. The lack of communication and growing resentment led to Tom leaving, which left fans heartbroken. The band tried to move forward with Matt Skiba, but it never quite felt the same. The magic of the original trio was undeniable, and their reunion in 2022 proved how much fans missed that dynamic. The lesson here is that even legendary bands struggle with balancing individual ambitions and group cohesion.

The original Star Wars sequel trilogy had a lot of potential, but it stumbled in a few key areas. One of the biggest issues was the lack of a cohesive vision across all three films. 'The Force Awakens' felt like a safe retread of 'A New Hope,' which was fine for reintroducing the franchise, but 'The Last Jedi' took massive risks that divided fans—some loved its subversion of expectations, while others felt it disregarded established lore. Then 'The Rise of Skywalker' tried to backtrack on some of those choices, resulting in a messy, rushed conclusion that didn’t feel earned. Character arcs like Finn’s were underdeveloped, and villains like Kylo Ren had fascinating starts but fizzled out. The trilogy also sidelined legacy characters in ways that didn’t always feel respectful (Luke’s arc, in particular, was controversial). It’s a shame because the cast was phenomenal, and there were glimpses of brilliance—Rey and Kylo’s dynamic, for instance, was magnetic. But the lack of a unified plan made the whole thing feel disjointed instead of a satisfying continuation of the saga. Another problem was the overreliance on nostalgia. While callbacks can be fun, the sequels sometimes felt like they were banking too hard on reminding fans of the original trilogy instead of forging a new identity. Starkiller Base was just Death Star 3.0, and Palpatine’s return undermined Anakin’s redemption. The new characters deserved more original stakes rather than rehashes of old conflicts. Even the visuals, while stunning, often mirrored past films instead of expanding the universe in fresh ways. I still enjoy moments from these movies—the throne room fight in 'The Last Jedi' is gorgeous—but overall, the trilogy felt like it was torn between paying homage and trying something new, without fully committing to either.

I stumbled upon 'What Went Wrong with Perestroika' during a deep dive into Soviet history, and it left me with mixed feelings. The book dissects Gorbachev's reforms, arguing that while the intentions were noble—modernizing a stagnant system—the execution was flawed. The author highlights how rapid liberalization without proper economic foundations led to chaos, from empty store shelves to rampant corruption. It’s a grim reminder that even well-meaning changes can backfire when they ignore systemic realities. What stuck with me was the human cost. The book doesn’t just focus on policies; it weaves in stories of ordinary people caught in the upheaval. Families losing savings overnight, workers stranded by collapsing industries—it makes the political theories feel painfully personal. I walked away thinking about how often history repeats itself, with leaders underestimating the fragility of societal trust.

The DC Extended Universe feels like a cautionary tale about rushing into a shared universe without laying the groundwork. Marvel took years to build up to 'The Avengers,' but DC wanted to skip straight to the team-ups with 'Batman v Superman' and 'Justice League.' The tone was all over the place—'Man of Steel' tried to be gritty, but then 'Aquaman' was a full-on fantasy adventure, and 'Wonder Woman' struck a balance that the others couldn’t match. It’s like they couldn’t decide if they wanted to copy Marvel or be the darker alternative, and that inconsistency alienated fans. Another big issue was studio interference. 'Justice League' was famously hacked apart and reshot by Joss Whedon after Zack Snyder left, and it showed. The theatrical cut was a mess, and even the 'Snyder Cut' couldn’t fix all the problems. Meanwhile, Marvel kept a tight ship with Kevin Feige calling the shots, while DC kept changing direction. Now, with James Gunn rebooting things, it feels like they’re finally learning—but it might be too late for some fans who’ve already checked out.

Captain Phasma's limited screen time in 'The Rise of Skywalker' still stings a bit for me. She was such a visually striking character in 'The Force Awakens' and even had that epic showdown with Finn in 'The Last Jedi,' so it felt like a missed opportunity to not give her more to do in the final chapter. From what I've gathered, a lot of it came down to narrative priorities—the film was juggling so many plotlines, and Phasma just wasn't central to the main conflict. Even her role in 'The Last Jedi' was more about Finn's arc than her own, so it makes sense (though it's disappointing) that she got sidelined. That said, I also wonder if there were behind-the-scenes factors. Gwendoline Christie’s schedule might’ve been tight, or maybe the creative team just didn’t have a compelling way to integrate her into the story without it feeling forced. It’s a shame because the character had so much potential—imagine if she’d had a proper arc about loyalty or survival after her fall in 'The Last Jedi.' Instead, she kind of fizzled out, which feels like a waste of such a cool design and actor. Maybe one day we’ll get a novel or comic that fleshes her out more.

The way 'The Last Jedi' and 'The Rise of Skywalker' connect is kinda messy, honestly. Rian Johnson took some big swings in 'The Last Jedi'—Luke’s disillusionment, Rey’s parentage being a non-issue, Kylo’s power grab—but 'The Rise of Skywalker' backpedaled on a lot of it. Suddenly, Rey’s lineage matters again, Palpatine’s return feels tacked on, and Kylo’s arc gets rushed. It’s like two directors playing tug-of-war with the story. That said, some threads do carry over. Kylo’s conflict, the Force dyad concept, and even the Resistance’s struggle continue, but the execution feels disjointed. I wish there’d been a clearer plan from the start, because the whiplash between 'subverting expectations' and 'fan service' is real. Still, I’ll always have a soft spot for Kylo’s helmet glue moment—that was peak chaos energy.

Collaboration in music can sometimes be a hit or miss, don't you think? With Blink-182, it feels like they’ve had brilliant moments but also some that didn’t quite land as they hoped. One aspect that stirs some discussion is their partnerships in the pop-punk scene. For example, their collab with rapper Lil Wayne in 'California' was a bold move, aiming to merge genres. While some fans loved the experimental vibe, others felt it was a departure from Blink's roots, creating a rift between old-school fans and those eager for something fresh. Then there's their work with artists like Travis Barker branching into hip-hop. It sometimes overshadows the punk essence that many have loved about Blink. It's fascinating to see the band try to evolve, yet there seems to be this tug-of-war between nostalgia and innovation. Those changes can make or break the vibe for certain fans. I can't help but feel that some of these collaborations could have benefitted from a more cohesive vision, blending their style with others without losing what made them iconic. In contrast, collaborations with bands like My Chemical Romance and their contributions to tracks like 'Not Now' really showcase that sweet spot where synergy flourishes. It's all about balance, I guess! These moments prove that when it clicks, magic happens. But, that also makes you ponder, could the dubious collabs have done without the extra flash? It’s basically a treasure hunt for that golden connection, and sometimes they miss the mark in exciting yet confusing ways.

The finale of 'Star Wars: The Rise of Skywalker' delivers emotional gut punches with key character deaths. Kylo Ren’s redemption arc culminates in his sacrifice—reviving Rey after their duel against Palpatine, dying as Ben Solo, his true self restored. Emperor Palpatine, the saga’s ultimate villain, perishes when his own dark energy backfires, obliterating him in a storm of lightning. Chewbacca mourns the loss of Leia Organa, who fades into the Force after reaching out to Kylo across galaxies, her final act of love. C-3PO’s memory wipe feels like a symbolic death, though he’s later restored. Even the Sith cultists meet fiery ends as Exegol collapses. These deaths aren’t just shock value; Ben’s mirrors Anakin’s unfinished atonement, Palpatine’s demise closes a cosmic cycle, and Leia’s passing honors Carrie Fisher’s legacy. The film balances spectacle with quiet, character-driven farewells.