Apparently, there are fans who are “livid” about the lack of Rose Tico in The Rise Of Skywalker. Those fans should probably be busy scooping up all of the clearanced Rose Ticos that are still rotting away on the shelves of discount chains two years later. But I digress.
Co-Writer Chris Terrio hilariously blamed CGI for the lack of Tico.
The blatant reduction of Rose’s role to a side note in the movie, in light of the lengthy and heinous hate campaign against Tran, seemed like a signal that the movie appeased trolls.
But the film’s co-screenwriter, Chris Terrio, has responded to these claims by asserting that Tran’s diminished screen time was not the product of malice, but of editing and bad CGI.
“We wanted Rose to be the anchor at the rebel base who was with Leia,” Terrio told Awards Daily in an interview after the movie’s release, in which he was asked about Rose’s slim role. “As the process evolved, a few scenes we’d written with Rose and Leia turned out to not meet the standard of photorealism that we’d hoped for. Those scenes unfortunately fell out of the film.”
“I do think that TROS shows Rose changing, growing, evolving. Rose begins her journey in TLJ as just about the lowest person on the Resistance totem pole,” Terrio told The Hollywood Reporter. “In TROS, Rose is at the right hand of the general, working on military plans and helping to call the shots.”
So for SJWs it’s not about whether or not more or less Tico would be good for the story. For them, it’s about what people who they hate might think, and whether those people were satisfied or not.
Update, December 30: In a statement to Vulture, Terrio clarified that Tran’s cut scenes had nothing to do with the work of The Rise of Skywalker’s visual-effects team. Rather, it was a narrative decision. “I badly misspoke if in an earlier statement I implied that any cut scenes between Rose and Leia were the fault of our VFX team and the wizards at ILM,” Terrio said. “In that earlier interview, I was referring to a specific scene in which Leia’s emotional state in Episode VII did not seem to match the scene we wrote for use in Episode IX, and so it was cut at the script stage before the VFX work was done. If we had chosen to use the scene, ILM would have made it look perfect. They always do. ILM performed actual miracles at every stage of the creative process in Episode IX. I remain in awe of their work.”
So the absence of Rose Tico was due to a deep narrative decision. Yet Dominic Monaghan got a role from a soccer bet with JJ Abrams. I guess Kelly ought to gamble more often.
But fret not SJWs, for you may get a show featuring a character that no one is interested in. Deadline reports:
Jon M. Chu Lobbies For Disney+ ‘Star Wars’ Series For Kelly Marie Tran’s Rose Tico
Crazy Rich Asians director Jon M. Chu is squarely in Rose Tico’s corner. Chu has taken to social media to urge Disney+ to make a Star Wars series revolving around Resistance member Rose Tico, played by Kelly Marie Tran in the Star Wars films The Last Jedi and The Rise of Skywalker.
“Ok @disneyplus. Put me in coach. Let’s make this series happen. #RoseTicoDeservedBetter @starwars,” Chu tweeted Friday.
I’m sure that everyone at Hasbro is jumping for joy over the thought of more Tico merchandise.
SyFy Wire reports:
According to Chris Terrio, who wrote The Rise of Skywalker with J.J. Abrams, this plot point came from on high at Lucasfilm. According to McDiarmid, Lucas told him that Palpatine was dead. What changed? Well, Lucasfilm changed hands over from Lucas’ control to Disney and the managerial purview of president Kathleen Kennedy and senior vice president Michelle Rejwan — two executives and producers that Terrio, in an interview with Awards Daily, credits with shaping the end of the Star Wars saga.
Palpatine’s Return in Rise of Skywalker Was Apparently Kathleen Kennedy’s Idea
Though Colin Trevorrow, who was originally tapped to helm Episode IX, had credited J.J. Abrams with having the idea to bring the Emperor back for the conclusion, a new AwardsDaily interview with Rise of Skywalker co-writer Chris Terrio seems to shift the narrative a bit.
In it, Terrio possibly credits Lucasfilm President Kathleen Kennedy with wanting to bring back Palpatine. “Kathy Kennedy and [SVP] Michelle Rejwan had a clear plan for where they wanted things to end,” Terrio said. “They had clear plans about certain narrative marks they wanted us to hit. They also gave us a lot of freedom within that. We knew that Rey and Ren were utterly key to this trilogy, but we also felt that there was no way that we were going to not find a path to redemption for Kylo Ren, the son of Han and Leia.”
“That’s when we really started aggressively pursuing this idea that there is old evil that didn’t die,” he continued. “The source of the evil in the galaxy is this dark spirit waiting for its revenge and biding its time. The entity known as Palpatine in this version – his body died in Return of the Jedi – is patient and has been waiting. He dug his fox hole and has been waiting for his chance to re-establish his total domination.”
When asked if Palpatine had always been the plan, prior to Episode IX, Terrio said “Well, I can’t speak to Kathy’s overall intent. That was certainly discussed and was discussed before I ever came on. Kathy had this overall vision that we had to be telling the same story for nine episodes. Although from the sleight of hand of Episode VII and Episode VIII, you wouldn’t necessarily know immediately that we were telling the same story. She thought it would be a very strong end for the ninth movie. This fits well with J.J. because he loves magic tricks.”
By “clear plan” they mean “pulling out old ideas from their ass.” It’s like a Mexican Finger-Pointing Stand-Off.
Star Wars may not have had much “cultural cache” in China during the Prequel Trilogy era, but it’s got even less now. CBR.com reports:
Apparently, the Force is not strong in China.
According to Variety, Star Wars: The Rise of Skywalker is set to become the least successful installment of the franchise in China by a large margin. After opening to $2.2 million last week, the film brought in another $2 million over the past weekend. It is now projected to earn just $19.7 million over its theatrical run in the Middle Kingdom.
This is a drastic decline from previous Chinese Star Wars outings. The Force Awakens earned a total of $126 million, while Rogue One and The Last Jedi earned $69.4 million and $42.6 million, respectively.
The Practical Economics blog has recently posted an article about Disney’s finances with regards to the Star Wars franchise. He starts off the piece with noting some notables:
One of the Proprietor’s favorite procrastination outlets is listening to Star Wars YouTubers carrying on about how Disney has wrecked the franchise. Lucasfilm President Kathleen Kennedy and The Last Jedi director Rian Johnson are favorite targets.
It’s hilarious, search YouTube for Comic Artist Pro Secrets, Geeks + Gamers, and World Class BS for a great laugh.
The writer does some back-of-the-envelope logic to walk the reader through his reasoning, but his conclusion is this:
The bottom line is that Disney has to date suffered a $2.22 billion loss in 2012 US dollars from its LucasFilm purchase. Certainly not close to recovering its costs as claimed in the media article linked above.
What is also interesting is what would the movies had to have made for Disney to be within striking distance of recovering its costs. Had The Last Jedi and Solo performed as well as The Force Awakens and Rogue One (nominal film profits only), then Disney would still be down US$1.37 billion. Still some work to do but more than possible to break even or better.
To recover such a large purchase price Disney needed its early films to deliver consistently large profits. Unfortunately for Disney it hasn’t managed this.
The financial loss from Solo is well known, but this analysis makes it apparent just how badly The Last Jedi performed. While it was profitable it made far less than Disney needed from films in its flagship Star Wars trilogy. Even The Force Awakens just did barely enough.
Once again, these figures are unlikely to be accurate to the last dollar, but it’s show it’s unlikely Disney will ever recover the cost of its investment in Lucasfilm.
I’m guessing the fading toy and merchandise sales don’t help matters either.
Thanks to Odin’s Movie Blog for the tip.
According to Box Office Mojo:
Box Office: ‘Star Wars: Rise Of Skywalker’ Plunges 71% On Friday
Star Wars: The Rise Of Skywalker has passed $300 million domestic and $600 million worldwide, and it’ll likely end the weekend neck-and-neck with The Last Jedi’s $368 million ten-day domestic cume.
Disney and Lucasfilm’s Star Wars: The Rise of Skywalker earned $26.2 million on Friday, soaring past $300 million in North America and $600 million worldwide. The film fell 71% from its $90 million Friday, which neither an emergency nor exceptionally strong. Rian Johnson’s The Last Jedi dropped 76% on its second Friday, while Rogue One fell 67% on its second Friday and J.J. Abrams’ The Force Awakens dropped 58% on Friday number two, which just happened to fall on Christmas Day. As presumed for awhile now, The Rise of Skywalker opened well below Last Jedi but is having stronger post-debut legs.
How the 2nd weekend of Rise of Skywalker will compare to the Last Jedi’s 68.9% drop in its second weekend, is yet to be seen.
Thanks to Mike.H.M. Rogers for the tip.
Previously the Star Wars franchise used a dating system that was centered on The Battle of Yavin. But no more. Now, the Disney Trilogy is the center of the galaxy.
According to ScreenRant:
Disney Changes Star Wars Timeline To Center On Their Movies (Not Lucas’)
Lucasfilm has revealed a new Star Wars calendar system – and this time it’s dated around the sequel trilogy, not A New Hope.
Disney has reset the Star Wars timeline around the sequel trilogy. Every event in Star Wars history has traditionally been related to the Battle of Yavin 4, which took place in the first Star Wars movie. Thus Star Wars: The Force Awakens is dated 34 ABY (After Battle of Yavin).
Of course, the in-universe calendar is different – but, amusingly, it’s still linked to the Battle of Yavin 4, just in a more esoteric way. Pablo Hidalgo’s in-universe reference books use a dating system referred to as CRC, dates the Battle of Yavin as 7977 – the 1977 release of Star Wars, plus 6,000. According to this calendar, Star Wars: The Force Awakens takes place in 8011CRC, and Star Wars: The Rise of Skywalker is just a year later, in 8012CRC.
Surprisingly, the Star Wars: The Rise of Skywalker Visual Dictionary unveils a new dating system oriented around Disney’s sequel trilogy. Star Wars: The Force Awakens is referred to as the “Starkiller Incident,” meaning the calendar divides around BSI (Before Starkiller Incident) and ASI (After Starkiller Incident). So the movies are dated like this:
- Star Wars: Episode I – The Phantom Menace – 66BSI
- Star Wars: Episode II – Attack of the Clones – 56BSI
- Star Wars: Episode III – Revenge of the Sith – 53BSI
- Solo: A Star Wars Story – mainly 44BSI
- Rogue One: A Star Wars Story and Star Wars – 34BSI
- The Empire Strikes Back – 31BSI
- Return of the Jedi – 30BSI
- Star Wars: The Force Awakens and Star Wars: The Last Jedi – 0
- Star Wars: The Rise of Skywalker – 1ASI