This is probably the first time the U.S. is having such a hard time offering its citizens emergency and health services due to the coronavirus outbreak.
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In Pixar’s Ratatouille, we meet Remy, who has big dreams of becoming a chef. The only problem is, Remy is a rat, and in Paris, France, one of the premier dining destinations in the world, rats are never, ever allowed in the kitchen. While digging through trash cans and garbage dumps with his family, Remy likes to create different flavor combinations with what he finds on the street, while the rest of his family doesn’t stop to taste much.
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Remy knows he could be a great chef, if only he could get the chance to work in a real kitchen. As fate would have it, Remy meets Alfredo Linguini, and he may just be the one who can help make all of Remy’s cooking dreams come true.
While on an adventure to find the perfect spice for his latest creation, Remy and his brother, Emily, break into an old lady’s kitchen to steal her saffron. The two rats carefully make their way through the counters and shelves, trying their best not to get caught. The two brothers make the most out of their adventure, stopping to check out the old lady’s things. At one point, Remy reads a label, to which Emile asks, “You read?” When Remy admits that he does, Emile is disappointed and has a follow-up question, “Does dad know?”
Emile and Remy eventually give themselves away while in the old lady’s kitchen, and the old lady is not happy about it. She chases the rats with a shotgun and eventually, the chase causes the entire ceiling to cave in, revealing Remy’s family and their home.
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The rats must flee quickly with the old lady on their tails. Remy does his best to keep up during the escape, but eventually loses his family in all of the chaos and is left alone and without a home.
Remy’s idol is the late, great chef, Auguste Gusteau. Remy loves Gusteau’s recipes and cooking shows and idolizes everything he did during his life. Once Remy is separated from his family and it feels like there’s no hope left for him, Gusteau magically appears right in front of him, in a tiny floating ghost form, and insists that Remy leave the sewers and explore Paris. Remy does as he was told, but even out of the sewers, it’s hard for Remy to break his old habits. When Remy tries to steal food from a kitchen, Gusteau reminds him, “You are cook! A cook makes, a thief takes!”
We first meet Linguini when he comes to the kitchen at Gusteau’s, a very fancy, well-known restaurant in Paris. Linguini is clumsy and unsure of himself. With him, he carries a letter, from his mother who has died. Linguini explains that he has trouble holding down a job and that no one really expects much from him, so his mother wrote this letter and said it should help him get a job at this restaurant.
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The mean boss, Skinner, takes the letter and makes Linguini a garbage boy, but as we eventually find out, that letter contains valuable information that makes Linguini much more than just an average garbage boy.
On his first night on the job, Linguini manages to find himself in a bit of trouble. As he cleans the floors of the kitchen, he spills some soup. Instead of telling a chef what happened, Linguini decides to fix the problem himself, as Remy looks on, horrified. Linguini has no idea what he’s doing and he’s ruining the food, so Remy jumps into action and fixes the soup himself, but not before the two are caught and Linguini takes the blame, which turns out to be a good thing because the soup is delicious and Linguini gets promoted to a chef position. The only problem is, Linguini has no idea how to cook.
After the soup incident, Remy thinks the coast is clear, but it’s not. While still in the busy kitchen, Remy is discovered, and it doesn’t look good for him. Linguini scoops Remy into a jar and turns to his co-workers. Skinner instructs Linguini to kill Remy, so Linguini excuses himself and takes the trapped rat outside.
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Once they’re alone, Linguini tries to get the nerve to do as he was told, but he can’t. He sits down, looks at the rat, and realizes that the rat can understand what he’s saying. Linguini lets Remy out of the jar and the two quickly become friends.
Once Remy and Linguini make it back to Linguini’s home, they have a lot of work to do. Linguini is now expected to cook at his new job, but he has no idea what he is doing in the kitchen, so Remy steps up to help his new friend. A montage plays out as Remy instructs his new friend. The biggest hurdle is that though Remy can understand Linguini, he can’t talk to him, so there is a lot of body language and sign language being used between the two, which is hysterical for viewers to watch.
Skinner, the head chef of Gusteau’s and Linguini’s very mean boss, finally gets around to reading the letter Linguini brought with him when he first asked for a job. Skinner’s eyes read over the words and widen as he takes in the new information. It’s later revealed that this letter from Linguini’s deceased mother explains that Linguini is Auguste Gusteau’s biological son.
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This could mean a lot of bad things for Skinner, the greedy little man who doesn’t want to give over control of the very popular restaurant. So, Skinner hides the information, thinking no one else will ever get their hands on this big secret, not even Linguini himself.
Remy figures out that if he climbs under Linguini’s toque, he can control Linguini like a puppet, using Linguini’s hair as the puppet strings. If he pulls a little hair on Linguini’s right, his right arm will raise, and the same happens on the left. After a little bit of practice, the two seem to have the routine down and are ready to get to work. In fact, they get so good at it, at one point, Linguini sleeps standing up at Remy controls his movements and cooks in the kitchen at Gusteau’s, while a very confused Colette watches Linguini move.
Linguini and Remy have a disagreement and around that same time, Remy is reunited with his family. When Remy’s family learns that he has access to a kitchen with all that food, they decide to take advantage. The rats sneak into the kitchen and start taking and eating whatever they can get their hands on, thinking no one is around, but Linguini comes back to the kitchen to apologize to Remy for their argument and discovers Remy and his whole family have broken in. Angry, Linguini kicks Remy out and it looks like he really wants Remy to stay out.
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Luke Skywalker’s most dramatic moment in the entire Star Wars saga took place on Cloud City after he found out that the biggest threat in the galaxy, Darth Vader, was in fact, his father. A new Star Wars comic will bring Luke back to Cloud City in what’s surely to be a dramatic return.
In Marvel’s current Star Wars series, Luke is having visions of his unforgettable encounter with Darth Vader. He recalls his hand getting cut off and his lightsaber falling down the reactor shaft, but there’s a new wrinkle to the moment, as it’s picked up by a yet-to-be-revealed character. Luke is returning to the scene of the battle to find his lightsaber to get back on the path of becoming a Jedi Master.
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In previews for Star Wars #3 by Charles Soule, Jesus Saiz, Arif Prianto, and R.B. Silva, Luke will be returning to Cloud City in hopes of finding his father’s lightsaber. The question is, what will happen when he goes back to the place that changed his life? If that wasn’t enough, Princess Leia also is going to try to pull off her own mission, while Lando is also concocting his own plan to take back the city from the Empire. Luke’s return to Cloud City is surely going to be an emotional experience. Will he find out who the robed figure is who caught his lightsaber after the fight with Vader in his visions? There’s a lot of loose ends that could potentially be tied up in the issue.
Lando is very eager to regain control of Cloud City, as he thwarts himself, Luke, and Leia into more danger. Thankfully, he’s got a few tricks up his sleeve that will help them get into the city much easier – however, whether his plans continue to works remain to be seen. Check out the cover by Silva and preview pages.
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Colin Trevorrow’s script for Star Wars 9 has leaked – and here are all the ideas that were ultimately developed in Star Wars: The Rise of Skywalker. Lucasfilm began development of Star Wars: The Force Awakens back in October 2012, and by the time it released, the studio was working all three films in the sequel trilogy at once. Rian Johnson was hired as writer/director of Star Wars: The Last Jedi in 2014; Trevorrow was recruited just a year later, in August 2015.
Trevorrow’s script, titled “Duel of the Fates,” was full of shocking story choices. It featured a near-defeated Resistance making a last-ditch attempt to strike at the galactic capital of Coruscant, using a stolen Imperial Star Destroyer. Although there’s no hint of Palpatine, Kylo Ren does receive training from an ancient dark side being who apparently trained the Emperor himself, an alien named Tor Valum. General Leia Organa has a central role, successfully persuading the entire galaxy to mobilize against the First Order. It’s that last detail, perhaps more than any other, that explains why the script had to be changed; there was simply no way to make this work after Carrie Fisher’s tragic passing in 2016.
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And yet, there is still a loose relationship between “Duel of the Fates” and Star Wars: The Rise of Skywalker‘s final theatrical cut, after it was rewritten by Chris Terrio and J.J. Abrams, as well as directed by Abrams. It’s clear Terrio and Abrams liked some elements of Trevorrow’s script, while in other cases they seem to have used loose ideas as a launchpad to do their own thing.
An early scene in “Duel of the Fates” sees Kylo Ren visit the planet Mustafar, where he enters Darth Vader’s Tower. In Trevorrow’s script, Mustafar has been deserted since the fall of the Empire, but the tower – introduced in Rogue One: A Star Wars Story – still stands. Haunted by Luke Skywalker’s Force ghost, and in truth partly goaded by him, Kylo Ren discovers a Sith Holocron Vader had been left by Palpatine. “Lord Vader,” Palpatine instructs, “Young Skywalker will soon be ours. I have foreseen it. But we must prepare for the unforeseen.” The message was recorded just before the events of Return of the Jedi, and Palpatine is planning for the possibility Luke will succumb to the dark side and strike him down. In that eventuality, he tells Darth Vader to take Luke to the Remnicore System, to meet Tor Valum – described as the “Master of the Sith Lord who instructed me.” Unfortunately for Kylo Ren, the Holocron conducts a basic scan partway through delivering its message, and realizes he isn’t Darth Vader; it initiates a defensive protocol, one that leaves Kylo Ren badly scarred although alive.
Clearly Terrio and Abrams liked the idea of returning to Mustafar. Star Wars: The Rise of Skywalker saw Kylo Ren head there, this time in search of a Sith Wayfinder to guide him to the Sith redoubt of Exegol, where he would learn the truth of Palpatine’s resurrection. This time round the scene was played for action, with Kylo Ren engaging a Force cult who venerated his grandfather and were attempting to protect the Wayfinder. Darth Vader’s Tower is never seen – which, frankly, is an odd decision, given it would have created a thematic and conceptual link between Rogue One and Star Wars: The Rise of Skywalker.
In the final script, the Wayfinder guides Kylo Ren to an ancient Sith Temple at the planet Exegol, hidden deep in the Unknown Regions. Described as the last Sith redoubt, this has become the center of the Emperor’s power, with the cultists who live there building a fleet of terrifying new Xyston-class Star Destroyers. Beneath the surface of Exegol lies a vergence in the Force, a nexus of dark side power that is home to the mysteriously-resurrected Palpatine himself.
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There are basic similarities between this and “Duel of the Fates,” in which Kylo Ren goes to the Remnicore system to receive training from Tor Valum. The key difference, though, is that Kylo Ren himself is the primary antagonist in “Duel of the Fates.” Thus, Trevorrow’s script sees Kylo Ren enter into the vergence on Remnicore, where he is overwhelmed by a vision of his grandfather; a dark mirror of Luke’s own experience in The Empire Strikes Back. It’s far more effective, and a lot more thought-through, even if Tor Valum’s existence does sit very uncomfortably with the Rule of Two.
J.J. Abrams’ Star Wars: The Rise of Skywalker featured powerful new Imperial Star Destroyers, modified to carry superlasers. It was initially assumed these were modified Death Star technology – prompting the name “Death Star Destroyers” – but in reality they used very different technology. According to the Star Wars: The Rise of Skywalker Visual Dictionary, each one is equipped with “a reactor-fed axial superlaser.” The same concept appears in Trevorrow’s “Duel of the Fates,” although in this draft there’s only one superlaser-equipped Star Destroyer rather than an entire fleet of them.
Lando Calrissian’s role is strikingly similar as well. In “Duel of the Fates,” General Leia Organa goes to the planet Ollaforn to recruit Lando, and she finds him in a smoke-filled cabaret club. The two briefly flirt, before Leia makes an appeal to Lando to help her recruit pilots from across the galaxy. Lando refuses, fearing the First Order’s military might is too great, and “the grip of this empire is tighter than the last.” In spite of his reluctance, however, later in the script Lando turns up leading a vast fleet of reinforcements for the Resistance. “Thought you could use a few scoundrels,” Lando observes, flying his own ship, the Lady Luck. The broad thrust of Lando’s narrative is consistent between “Duel of the Fates” and Star Wars: The Rise of Skywalker.
One of Star Wars: The Rise of Skywalker‘s strangest retcons was the revelation Poe Dameron used to be a spice runner. This retcon directly contradicts Poe’s established backstory, which has been detailed in comics by Charles Soule and novels by Rebecca Roanhorse. Curiously enough, the inspiration may actually come from “Duel of the Fates,” which contains a subtle hint Poe had a more troubled backstory than had previously been revealed. In one scene, Poe guides Rey to a Force-sensitive pilot who used to work for spice runners, helping them find spice deposits on asteroids.
Star Wars: The Rise of Skywalker featured a key scene in which Palpatine demonstrated a power never seen before on the big screen; Force Drain. This allows the Emperor to drain the strength of the bond between Rey and Kylo Ren in order to rejuvenate himself. Curiously enough, this power was effectively set up – and far better explained – in a tie-in novel published back in 2015. “Did you know that the Sith Lords could sometimes drain the Force energy from their captives,” a Sith cultist told a prisoner. “Siphoning life from them and using it to strengthen their connection to the dark side? Extending their own lives, as well, so that they could live for centuries beyond their intended expiration?“
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The Force Drain power is featured prominently in “Duel of the Fates” as well, albeit in a very different way. There, it is the power Kylo Ren learns from Tor Valum, and he becomes skilled in its use; he kills Tor Valum himself using it, and later drains Rey as well, almost killing her. Just as Abrams had Force Drain restore the Emperor’s body, it also healed Kylo Ren’s wounds. Trevorrow’s script is smart enough to predict the question of why Darth Vader never used Force Drain to heal his own broken body; it seems he was too far gone. According to Palpatine’s Holocron message, this power is “beyond what you could hope to command in your damaged state.“
In Colin Trevorrow’s script, General Leia Organa successfully sends out a request for help across the galaxy – and this time, it is heard. The entire galaxy rise up against the First Order, and Lando Calrissian leads a ramshackle fleet of crooks and smugglers to Coruscant to reinforce the Resistance. Abrams follows almost the same story-beat, although this time he has Lando send to make the appeal. What’s more, although Lando is at the forefront of the galactic fleet who arrive at Exegol, this time he’s in the Millennim Falcon – the fastest hunk of junk in the galaxy.
Star Wars: The Rise of Skywalker finally gave Chewbacca a medal, correcting a problem since the very first Star Wars film. There, the award ceremony saw medals presented to both Han and Luke, but Chewbacca himself was curiously omitted. George Lucas himself had attempted to explain it away, no doubt surprised by the controversy. “Medals don’t really mean much to Wookiees,” he’d suggested. “The Wookiee Chewbacca was in fact given a great prize and honor during a ceremony with his own people. The whole contingent from the Rebel Alliance went to Chewbacca’s people and participated in a very large celebration. It was an honor for the entire Wookiee race.“
The whole thing was rather odd, especially given Chewbacca did receive a medal in the novelization. Tie-in comics have suggested Lucas was right, and in fact showed Chewbacca giving it away. Abrams evidently decided to deal with the issue once and for all, with the dying Leia holding a medal for Chewbacca in her hands as she passed away. And so, in a sense, all these years later Leia got to present the Wookiee with a medal – a thank you for decades of bravery and courage. Trevorrow too wanted to deal with the Medal controversy. “Duel of the Fates” features a scene that’s an echo of the medal presentation in the first Star Wars film, with Leia presenting medals to the various heroes; Finn, Rose, Poe, and Chewie. Naturally, this scene was impossible after Fisher’s passing, and instead Abrams had to find a more subtle way to pull off the same kind of idea.
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After a rocky couple of years under Disney’s guidance, the Star Wars franchise ended its mainline series, dubbed “the Skywalker saga,” with The Rise of Skywalker. This saga was a nine-part giant, or a “trilogy of trilogies” as some have termed it, and it was 42 years in the making.
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The first six parts were guided by a singular creative vision as George Lucas steered the ship, and the last three were all over the place as Kathleen Kennedy hired a committee to design a horse, but one thing that all nine movies have is a healthy dose of humor. Here are the funniest moments in each Skywalker Saga movie, ranked.
Although Star Wars fans initially reacted negatively to The Phantom Menace, and it’s far from a perfect movie, there are a few highlights. The pod race is one of them. It’s a visceral action sequence brought to life by rhythmic sound design and kinetic camera movements.
At the end of it, Anakin manages to take down his rival, Sebulba, who’s been trying to sabotage him throughout the whole race. As Anakin rockets past the finish line, Sebulba’s racer slides to a halt in the desert and he cries out, “Poodoo!”
The unfunniest moment in The Rise of Skywalker is definitely when the line “They fly now!” gets spoken three times. It’s kind of funny the first time C-3PO says it, because he’s a serial panicker and it’s worth a chuckle, but when Poe and Finn both say it too, it just becomes tiresome. The funniest moment, on the other hand, lands.
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At the end of the movie, as the Resistance celebrates its victory over the Final Order, Poe Dameron gives Zorii Bliss a look that suggests that he wants to get back together, but she gives him a look that quickly shuts that down, and he gives her a look that says he accepts it. It’s a small moment, but Oscar Isaac and Keri Russell play it beautifully.
As Attack of the Clones takes us into the climactic third-act set piece, Anakin, Obi-Wan, and Padmé are all chained to posts in a gladiatorial arena, waiting to be fed to a trio of Lovecraftian beasts.
When Obi-Wan asks Anakin for an explanation, he says, “We decided to come and rescue you.” Obi-Wan looks up at the shackles on his wrists and, with pitch-perfect timing from Ewan McGregor, dryly quips, “Good job.”
A couple of the comedic moments in The Force Awakens are kind of cringeworthy (although not quite as cringeworthy as some of the comic relief in the prequels), but this one brought the house down. Arriving on Starkiller Base, Han asks Finn what the next step of his plan is. Finn says he was never really a Stormtrooper and actually worked as a janitor, saying they should use the Force to get inside. Then, an incensed Han cries out, “That’s not how the Force works!”
Okay, this line undid all of Finn’s character development, turning him from a soldier who fought on authoritarianism’s side and doubts he can redeem his past mistakes into a harmless custodian — but it’s still a funny moment.
In the second act of Return of the Jedi, Han, Leia, and a few other Rebels travel down to the forest moon of Endor to knock out a power station keeping the second Death Star safe.
As Han sneaks up behind a Scout Trooper, he accidentally steps on a twig, alerting the Scout Trooper to his presence. Han has always had awkward run-ins with Stormtroopers; it’s practically a running gag throughout the original trilogy.
A lot of the humor in The Last Jedi doesn’t land, including the “your mother” joke that opens the whole movie. And there’s a lot about Luke’s characterization that doesn’t work either as he’s become a bitter old hermit who doesn’t care about the fight against evil. But the scene in which Luke begins Rey’s training is really funny.
He tells her to close her eyes and reach out, then brushes a plant across her hand and asks if she feels anything. She thinks she’s tapping into her Force sensitivity until Luke snaps her out of it by slapping the plant across her hand.
After losing his lightsaber during his battle with General Grievous, Obi-Wan finds himself hanging from a ledge, with the Jedi-killing tyrant rapidly approaching. He uses the Force to summon a blaster and shoots Grievous in the chest until his exposed beating heart catches on fire and blows out his eyes.
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As he leaves the arena of combat, Obi-Wan tosses the blaster and says, “So uncivilized.” From a Jedi’s point of view, a blaster is an ugly, messy way to kill someone, far removed from the elegance and precision of a lightsaber.
At the beginning of The Empire Strikes Back, as Han prepares to leave the Rebel base on Hoth to pay off a debt he owes to Jabba the Hutt, he decides to stay when it becomes clear that Luke is in danger.
While Luke recovers, Han flirts with Leia and she says, “Why, you stuck-up, half-witted, scruffy-looking nerf-herder!” Han’s reaction is priceless: “Who’s scruffy-lookin’?” Of all the insults that Leia has just hurled at Han, “scruffy-looking” is the one that got to him.
Harrison Ford reportedly improvised the line, “Boring conversation anyway,” after an Imperial officer on the intercom figured out that Han was an outsider who’d infiltrated the Death Star and simply shot the control panel with a blaster.
This line established Han as the king of quippy one-liners, long before the moviegoing public would meet Tony Stark, and it’s a perfect example of the unique and curious tone of Star Wars — a tone that Disney struggled to recapture over the past five years.
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Fans of Princess Leia in the original Star Wars trilogy might’ve felt a sensation of déjà vu during the season 1 finale of The Mandalorian. Premiering on Disney+ at launch, The Mandalorian has been widely celebrated by fans old and new for its modern interpretation of Star Wars mythology, but Jon Favreau’s series has also been dripping in references and callbacks to the past, in particular the beloved original trilogy from George Lucas. The Mandalorian has reintroduced a variety of classic droid and aliens, as well as featuring an AT-ST, repeatedly making fun of Stormtrooper aim and utilizing original trilogy Star Wars visual effects.
In The Mandalorian‘s season finale, Din Djarin, Greef Karga and Cara Dune are trapped in a building by a battalion of Stormtroopers led by Moff Gideon and, with a massive canon pointing straight at them, there appears to be no means of escape. After Mando suggests heading into the sewers via a nearby duct, the trio try desperately to gain access. After failing miserably, Gina Carano’s Dune tells the boys to step back, grabs a blaster and begins shooting the pesky grate in order to try and carve an opening.
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Although the blaster barrage fails to have the desired effect, this moment is a direct lift from the original 1977 Star Wars movie. After Luke, Han and Chewie rescue Princess Leia on the Death Star, they encounter a group of Stormtroopers and find themselves pinned down, just like the aforementioned trio on Nevarro. Once again, the only viable route out is into the sewer system and Leia grabs Luke’s blaster, complaining how “someone has to save our skins” and shoots open the grate, before instructing Han and the others to go down. It might not seem like much now, but this moment was significant in 1977, as it solidified Leia as far more than a generic damsel in distress.
There’s a deliberate parallel between the scene in The Mandalorian‘s season finale and Leia’s heroics in A New Hope, and seeing Cara Dune echo one of Leia’s most famous and defining moments is a clear nod to both the character’s influence on female characters and the unforgettable Carrie Fisher. The fact that Dune actually fails where Leia succeeded puts a neat Mandalorian twist on the original, made even funnier because where Leia’s assertiveness broke stereotypes, Cara Dune acts exactly how viewers would expect given the badassery displayed by the character thus far.
Favreau is clearly a massive fan of the Death Star material in the original Star Wars movie, as The Mandalorian has included many callbacks to that very mission. The trash compactor brace pops up in a backstreet during episode 3, Dune, Djarin and Karga mimic the Han, Luke and Chewie ‘fake Wookiee capture’ ruse and Burg does his own version of Leia’s “aren’t you a little short for a Stormtrooper?” when first meeting the Mandalorian in episode 6. Perhaps The Mandalorian season 2 will more continue the theme and more closely honor The Empire Strikes Back.
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The Mandalorian season 2 premieres in Fall 2020.
With the release of Star Wars: The Rise of Skywalker, the epic nine-film Star Wars saga that began in 1977 has come to an end. From the rise and fall (and redemption) of Anakin Skywalker to Luke Skywalker embracing his destiny to Rey’s self-actualization, the saga has told a grand story in only the way that Star Wars can.
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Now that the saga is complete, let’s take a look back at the most iconic moments from each film of the saga (so no Rogue One, Solo, or The Mandalorian). Not necessarily the coolest moments from each film or the most important moments in Star Wars canon (although there will likely be a lot of overlap), but the moments most vital to telling the tale of the Star Wars saga. And just for fun, let’s rank them for impact. Here are the most iconic moments of the Star Wars Saga, ranked.
Attack of the Clones was a slight improvement on the disappointing Phantom Menace, but only marginally. The fight between Jango Fett and Obi-Wan was definitely a cool moment in Clones, but the battle between Count Dooku and the tandem of Anakin and Obi-Wan was a more significant sequence, as it leads Anakin further down his path to the dark side (he also loses his right arm, the same arm that Luke would lose a hand from in The Empire Strikes Back).
Dooku’s defeat of the two Jedi is then immediately followed by one of the coolest, if not strangest, lightsaber duels, as Dooku battles Jedi Master Yoda. Yes, Yoda! Seeing Yoda wield a lightsaber and flip around in battle was a sight to behold. And it’s just as weird now as it was then.
Let’s face it: The Phantom Menace didn’t bring a whole lot to the table. But it did introduce us to Darth Maul, who is without a doubt, the coolest villain in the prequel trilogy. So it stands to reason that he would be involved in the most iconic moment in The Phantom Menace.
His 1-on-2 battle with Jedi Master Qui-Gon Jinn and his padawan Obi-Wan Kenobi was a thing of beauty. Maul managed to take out Jinn, but his celebration was quite literally cut short by Kenobi. A riveting sequence that laid the groundwork for the rest of the prequel trilogy.
One of the main storylines in The Last Jedi is Luke Skywalker’s failed mentorship of his nephew, Ben Solo. Luke failed to prevent Solo from being seduced by the dark side, leading to Solo destroying Luke’s Jedi Temple and fleeing to become Kylo Ren. When the Resistance is pursued by the First Order and seemingly trapped in an old rebel base on the planet Crait, Luke arrives to confront the First Order and Kylo Ren.
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A lightsaber duel between the two takes place on the salt plain outside of the old mine/rebel base, ending in Luke revealing himself to be a Force projection and allowing the Resistance fighters to escape. Skywalker, still physically on the planet Ahch-To, collapses due to exhaustion from the projection and fades away, a la Obi-Wan and Yoda before him.
In the 19 years between Revenge of the Sith and A New Hope, Anakin Skywalker/Darth Vader became one of the most powerful Sith lords in the galaxy and a key member of the Galactic Empire while Obi-Wan changed his name to “Ben Kenobi” and became a desert hermit.
When the two finally meet again, Vader is more than ready to face his former mentor. As Vader puts it, “When I left you, I was but the learner. Now I am the master.” Although Vader technically defeats Kenobi, it is Ben/Obi-Wan who achieves victory by transitioning into a Force spirit and guiding Luke Skywalker on his journey to defeating the Empire.
This was a tough one, as there were two major moments in the film that could have qualified. In the end, though, the final lightsaber battle between Kylo Ren and Rey wins out over Rey’s final confrontation with Emperor Palpatine. The duel between Rey and Kylo on the ocean planet Kef Bir aboard the wreckage of the second Death Star advances the main story arc of the sequel trilogy to near its conclusion.
It is also significant for two main reasons outside of the Kylo/Rey confrontation: It is the moment where we see Leia sacrifice herself in one last call out to her son Kylo/Ben, which in turn saves Rey from certain death at Kylo’s hand, and it marks the final appearance of Han Solo, who appears in a vision to his son and, following Rey’s Force healing of a mortal wound she inflicted on Kylo, convinces him that there is still good left in him and that he can now return to being Ben Solo, sending him on his path to redemption.
Without a doubt, one of the most satisfying moments in The Force Awakens is the return of Han Solo and Chewbacca. As the pair stands in the cockpit of the Millenium Falcon, Han remarks “Chewie, we’re home.”
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This heartwarming return to the franchise by Harrison Ford is then contrasted by the shocking moment where the villainous Kylo Ren, who we learned earlier in the film is Ben Solo, son of Han and Leia, murders his father Han via lightsaber impaling. Chewie, who witnesses his best friend’s death, cries out in agony and fires off a couple of blasts at Ren.
This climactic battle between mentor and student caps off the solid third entry of the prequel trilogy, Revenge of the Sith. Easily the darkest of the prequels (Anakin literally murdered a bunch of kids in the film), the battle on Mustafar between Kenobi and Skywalker ends with Anakin losing his legs and being badly burned by the planet’s volcanic lava.
This leads to his physical transformation into Darth Vader. However, it might be best remembered for the line Ewan McGregor’s Obi-Wan shouts at Hayden Christiansen’s Anakin just before his fateful leap: “Don’t try it, Anakin! I have the high ground!” Classic.
Anakin Skywalker’s six-film arc, which began in The Phantom Menace, comes full circle here in Return of the Jedi. Anakin prophesied to be the chosen one by the Jedi as a child, instead chose the path to the dark side and became Darth Vader.
As he watches his son Luke pushed to the brink of death by Emperor Palpatine, the good that Luke still saw in his father prompts Vader to save his son and kill the Emperor. The rise, fall, and redemption of Anakin Skywalker is complete.
This is the most iconic moment not just of the saga but of anything Star Wars-related. The twist at the end of The Empire Strikes Back, wherein our main baddie, Darth Vader, reveals to our beaten and battered hero, Luke Skywalker, that he is his father, contrary to what Obi-Wan led him to believe, was a truly shocking reveal at the time.
It capped what many feel is the best Star Wars film and elevated the stakes of the entire nine-film saga, often referred to as the Skywalker saga, to Greek tragedy levels. Even non-Star Wars fans know this line, even if they have never seen any of the films. It doesn’t get any more iconic than this.
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IT scared the hell out of audiences in 2017, but its best creepy moment happened in the background of a scene, and may have been overlooked. While many would argue that 2019 sequel IT Chapter Two failed to match the quality of its predecessor, that doesn’t mean we still can’t look back and continue to love the first film. Raking in over $700 million worldwide on a budget of $35 million, IT was one of the most profitable horror films in recent memory, and transcended genre limitations to become a widespread pop culture phenomenon.
IT, directed by Andy Muschietti, was of course the second attempt at adapting Stephen King’s beloved novel for the screen, although the first to play in theaters. This gave it a lot more resources to work with than the 1990 TV miniseries starring Tim Curry, leading to much more complex scare scenes, and the freedom to have Pennywise transform into more things. As good as Bill Skarsgard is as Pennywise itself, the ancient IT creature’s other disguises were an extremely cool element of the book that didn’t really get explored much in the miniseries.
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The Losers’ Club gets scared in many creative ways in IT, which makes sense, as their fear is a sort of seasoning for when Pennywise ultimately devours them. However, the best scare in IT actually takes place in the background, and there’s a good chance many viewers missed it on first glance.
One of the oddest changes made from the IT book and miniseries to the 2017 movie was the change to having Ben Hanscom (Jeremy Ray Taylor) be the Loser obsessed with Derry’s history, as opposed to Mike Hanlon. This change was made all the stranger by the decision to still have Mike be the group’s “lighthouse keeper” that draws them back to Derry, a natural progression from being the Losers’ Club historian. Still, this plot change explains why partway through the first IT, Ben finds himself sitting in the Derry public library, doing research into the town’s tragic past.
As Ben begins to flip through a book just handed to him by a librarian, that’s where things begin to get weird. A different librarian, who was briefly seen sorting things on a bookshelf in the background prior to this point, quietly turns to look straight at Ben as he turns pages. The images Ben sees in the book begin to grow more upsetting, and then the librarian is shown leering at Ben with a creepy smile, having moved considerably toward camera. After Ben gets to the shocking picture of a boy’s decapitated head, the librarian is shown again in the background, almost looking like she’s enjoying Ben’s terror.
A balloon then appears to lead Ben down to the records room, but if one looks closely, the menacing background librarian has vanished from the spot she just occupied. Before Ben heads downstairs, the librarian is then seen back doing her job sorting books like she was at the beginning. The whole sequence is bone-chillingly creepy, and made all the more so by the fact that it isn’t explained. Does that librarian even actually exist, or is it just a Pennywise manifestation? If she does exist, the librarian is never seen being normal and frightening at the same time, begging the question of whether Pennywise is somehow controlling her mind for a bit. Yet another reason to continue to love and re-watch IT.
More: IT: All Of Pennywise’s Appearances In Other Stephen King Books
“Not Penny’s Boat” is the moment that changed Lost forever, not “We Have To Go Back”, as many fans believe was the turning point for the story. For three seasons, Lost explored the mysteries of the island, including the Others, the hatch, the smoke monster, and more, but this critical scene changed everything for the characters and for the series.
In the Lost season 3 finale, “Through the Looking Glass”, Charlie (Dominic Monaghan) tries to come to terms with his impending death, which was foreseen by Desmond (Henry Ian Cusick). When rescue becomes a possibility, the survivors try to find a way to contact a boat in the area. The boat supposedly belongs to Desmond’s girlfriend, Penny (Sonya Walger), who has been searching for him for years. In order to speak to Penny, Charlie has to go on a suicide mission and shut down a signal jammer in the underwater Dharma station. After Charlie is successful, he manages to make contact with Penny, who shocks Charlie by saying that the ship isn’t hers. When Desmond arrives, Charlie writes on his hand the words, “Not Penny’s Boat”.
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The scene culminated in the death of the show’s most important character (at the time), but this isn’t the extent of the impact of Charlie’s parting message. After Desmond shares the shocking news with everyone else, the show is never the same again. It leads to a dark turn in the Lost season 4 premiere that divides the core group into two camps, one led by Jack (Matthew Fox) and one led by Locke (Terry O’Quinn). Locke and the others believe that the people on the boat have no intention of rescuing them, while Jack’s group is determined to leave no matter what. It’s a split that the characters never completely come back from, and this is something that’s acknowledged at a later point in the series. Everyone on Lost had their own opinion on what Charlie’s message meant, with some choosing to ignore it, while others decided to heed Charlie’s warning and avoid the boat.
This split between the characters leads to great levels of conflict between the main characters, as they’re more divided than ever on what to do next. Season 4 replaces flashbacks with “flash-forwards”, which deal directly with the repercussions of what they all decide. These flash-forwards put characters like Jack in extremely dark places which takes them nearly the rest of the series to recover.
This is also the moment that sets the stage for the story that plays out across the next three seasons and finally ends in the Lost series finale. The twist sets up the introduction of several new characters who join Lost, and makes Charles Widmore (Alan Dale) – the actual owner of the boat – a key part of the story, as his search for the island has grim consequences for many of the main characters, particularly Ben (Michael Emerson). All things considered, “Not Penny’s Boat” put Lost on a dark, irreversible course.
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Man of Steel‘s third act and final battle is Superman’s greatest movie moment. It contains three distinct sections, each of which speaks on one aspect of Superman’s character. Full of hope, brimming with spectacular action, and challenging the character in a unique way, Zack Snyder’s sci-fi superhero epic made the perfect Superman third act.
Man of Steel has its share of incredible, visually stunning moments, including some divisive ones. The film was DC’s attempt to reboot Superman in a similar fashion to Christopher Nolan’s The Dark Knight trilogy. Man of Steel launched debates across the world about Superman’s character and the film’s choices, most feeling the departure was too discordant with Christopher Reeve’s Superman. What many missed was how the film honored the past and embraced the future at the same time.
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Superman has stood the test of time with eight appearances on the big screen throughout the last 40 years. Man of Steel, however, takes the top spot as the film with Superman’s greatest movie moment through its third act, which brings out the best qualities of Superman’s character.
Man of Steel‘s final battle begins with Superman, Lois Lane, and the U.S. military forming a plan to stop Zod. Lois Lane discovers how to stop them and Superman suggests using the ship he arrived in to send the Kryptonians back into the Phantom Zone. While this particular scene highlights Clark Kent becoming Superman, exuding the same confidence that the character is known for having in the comics, what truly makes him shine comes shortly thereafter when he quickly travels to the other side of the planet.
It had been established that the World Engine was terraforming Earth to be like Krypton, which means that Superman – having grown up on Earth – was weaker around the device and would lose his powers that are granted to him by the yellow sun. So with the World Engine’s power beaming down on him, Superman is forced to overcome the one object stripping him of his power in order to save humanity. Faced with death, Superman pushes past all his fears and self-doubt to find that extra strength and power through the World Engine. This moment shows heroism and hope. Hans Zimmer’s brilliant score, Amir Mokri’s eye for cinematography, and Zack Snyder’s vision combine perfectly to create a stunning scene that would make any Superman fan feel chills.
If the World Engine sequence showed Superman’s heroism, then his fight against Zod showcased his power. Before Man of Steel, Superman didn’t have many great action scenes on film. Richard Donner’s Superman: The Movie, while brilliant, didn’t feature much in terms of action. Superman II had some neat moments in the fight between Superman and Zod but was weakened by replacement director Richard Lester’s infusion of campy moments. Superman III and IV, as well as Superman Returns, continued the trend of not showcasing Superman’s power in a meaningful way.
Man of Steel delivers that in spades. Superman vs Zod was divisive, to say the least; many viewers lamented the fight scene for being too destructive and violent for their tastes. Detractors seem to miss that most of the destruction in Metropolis occurred before their fight even started due to Zod’s World Engine’s destruction. Still, the scene is equally touted as thrilling and one of the best superhero action sequences seen on film.
Displaying Superman’s powers with the same kind of visual flair that 80 years of comics delivered is no easy feat – and something that superhero movies are starting to do more of nowadays. The fight between Superman and Zod covered most of Metropolis, a brief stint in space, and began as far back as the streets of Smallville. With a combination of an anime fight aesthetic, incredible sound design, bombastic score, and crisp choreography, Man of Steel brought out Superman’s greatest fight sequence in his cinematic history. A superhero and supervillain – two characters who have godlike powers – fighting each other shouldn’t be a street brawl but rather an earthshaking event.
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Man of Steel’s final battle showed Superman’s heroism and his powers in fantastic ways; the final last step was to push the character further than ever before. After all, that is what Superman is all about, challenging the audience by challenging himself. Overcoming obstacles and answering questions in ways the superhero landscape mostly avoided, Man of Steel tackled the idea of a hero killing. Through technicality or large CGI destruction, virtually every single superhero film features the hero killing. Whether it be mowing down aliens or leaving thugs in the crossfire, there is surprisingly more death and destruction in these films than most give credit to. The primary difference between Man of Steel and the others – aside from it featuring Superman – is that it shows the hero choosing to kill his enemy with his bare hands.
Normally, Superman doesn’t kill. While he doesn’t have the code that Batman or Spider-Man tend to live by, most of the time, Superman doesn’t kill his villains. In Man of Steel, audiences are met with a Superman who is in his first moments the Superman. Most of the events of Man of Steel happen in the span of a day or two, so he’s inexperienced. In the final battle, Zod is hellbent on killing all humans, which he swore to do. Zod also quickly acclimatizes to Earth’s atmosphere and becomes stronger, evident by his fast adjustment to the sun and natural battle skills. Left with the choice of letting Zod kill innocent bystanders or executing him with his own hands, Superman lets out a scream and kills Zod in a moment that left audiences shaken. Superman then falls to his knees, crying in pain at the fact that he took a life. Here, Snyder challenged Superman in a way that hasn’t happened to the character before. At the same time, Snyder challenged audiences, showing them their hero – the definitive superhero – in tears after saving the world but taking a life in doing so.
Superman has killed multiple times in the comics, often in similar situations with the fate of the world; he’s even killed Zod in the comics as well. So even Man of Steel‘s final battle wasn’t without precedent. The big difference is that it happened in live-action and it could’ve been equated with murder. But Superman’s willingness to sacrifice his own humanity so that humanity as a whole could live to see another day highlights what it means to be a superhero. Beating bad guys to a pulp doesn’t always work, especially when the bad guy is an opponent who’s equally as strong – if not stronger – than the hero. Overall, Man of Steel‘s final battle is Superman’s greatest moment on film. That is in no way an indictment of what came before. While Man of Steel has the best Superman moments, the films that came before are exceptional as well – each in their own way.
Next: The Most Controversial Superhero Movie Moments Of The Decade
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