A Comic Book Telling George Lucas’ Original Vision For The Sequel Trilogy

Over the decades, Mark Hamill has been the one to listen to for hints and clues as to how the future of Star Wars would take shape.  He’s always been very forthright and genuine, and overall the best kind of movie star that a fan could ask for.

Way back in 1983, Hamill discussed the possibility of a future Sequel Trilogy:

Hamill asked Lucas what he would be doing in it according to nerdreport.com:

 I said, ‘Well, what do you want me to do?’ He said, ‘You’ll just be like a cameo. You’ll be like Obi-Wan handing the lightsaber down to the next new hope.’”

More interesting than that however, was Mark Hamill’s statements in an interview with Maria Shriver, also back in 1983:

“It’s either going to be on another plane of existence, or not the same character.  When  you see the ending, you’ll see why it has to be the last one. Period.” ~Mark Hamill, 1983

On another plane of existence.  That sounds very interesting.


George Lucas seems to echo some of those thoughts, hinting at a much more deeply metaphysical and perhaps a more mature Star Wars Trilogy.  Lucas stated according to starwars.com:

“The other one — what happens to Luke afterward — is much more ethereal. I have a tiny notebook full of notes on that. If I’m really ambitious, I could proceed to figure out what would have happened to Luke.”


It’s possible that this young Force-sensitive woman would have been a teenager according to ScreenRant:

[Abrams] said Lucas’s treatment had centered on very young characters – teenagers, Lucasfilm told me – 


Kira and Skyler

According to Arndt:

Early outlines for the movie centered around the characters Sam and Kira. Arndt described them, respectively, as “pure charisma” and a “loner, hothead, gear-headed, badass.” [1] While its been widely reported that Vanity Fair said the leads of George’s outline were “teenagers,” George himself said they were in their 20s, which fits the early concept art better. He also said the story was about the grandchildren of Anakin Skywalker.

However, Lucas himself stated:

“The original Saga was about the father, the children, and the grandchildren. That’s not a secret to anybody, it’s even in the novels and everything. The children were in their 20s and everything, so it wasn’t The Phantom Menace again.”

Kira would later find Luke exiled in a Jedi Temple:

Lucas himself showcased art of where the first Temple (and Luke) was located. His plan was for Luke to slowly regain his faith by training a new pupil, Kira (who would later become Rey), meaning Skywalker factored in Lucas’ sequel trilogy much earlier than in actuality.

Accoding to ScreenRant:

The book also reveals Lucas’ initial plans for Episode VII and possibly the rest of his Star Wars sequel trilogy. As it turns out, Luke exiled himself to a remote location where the first Jedi temple existed decades after the fall of the Galactic Empire. Over the course of the film, Luke would slowly regain his spirit and, eventually, start to train the new Jedi, named Kira.

According to Arndt:

So, the late-2012 idea of a Luke Skywalker haunted by the betrayal of one of his students, in self-imposed exile & spiritually in “a dark place”, not only precedes Rian Johnson’s involvement in Star Wars but J.J. Abrams’, as well.


According to slashfilm.com:

In the book, we learn that one of the first meetings to visualize The Force Awakens happened on January 16, 2013 at Skywalker Ranch with George Lucas himself. Among the pieces presented at the meeting were portraits of an older Luke Skywalker training a new disciple named Kira (who was later renamed Rey). The idea was that, 30 years after the fall of the Empire, Luke had gone to a dark place and secluded himself in a Jedi temple on a new planet. The paintings show Luke meditating, reassessing his whole life.

Apparently, the initial plan for Star Wars: Episode 7 was that Luke, over the course of that movie, would rediscover his vitality and train this new Jedi. 

Temple Interior

Leia would also have been trained by Luke according to screenrant.com:

Shortly after Episode VIII premiered, Hamill shared that Leia’s Force sensitivity was a plot point in Lucas’ outlines for the sequels. He did not state specifics of how exactly that would manifest, but said it would be a “waste of innate talent” if Leia never tapped into that side of her.

Mark Hamill also stated:

“This is always something that interest me because we can communicate telepathically and I tell her in one of the movies, I guess the third one, you have that power too. So I always wondered, and I don’t read the fanfiction, why she wouldn’t fully develop her Force sensibilities and I think that’s something George Lucas addressed in his original outline for 7, 8, 9. I was talking to him last week, but they’re not following George’s ideas so we’ll have to wait and see on that one. But it seems like a waste of an innate talent that she should utilize in some way.”

More recently, Hamill has made this comment regarding Luke’s fate in George Lucas’ version of the Sequel Trilogy as reported by ign.com:

“I happen to know that George didn’t kill Luke until the end of [Episode] 9, after he trained Leia. Which is another thread that was never played upon [in The Last Jedi].”


In this 1983 interview with Gene Siskel, it’s hinted that Luke Skywalker would be a father in the Sequel Trilogy:

Again Hamill states that “it wouldn’t be on the same plane of existence.”  I have to wonder if at least a portion of the Sequel Trilogy might have taken place in the afterlife that the Force Ghosts inhabit.

According to thewrap.com, in his unauthorized biography of George Lucas, Dale Pollock said back in 2012 that he was fortunate enough to read Lucas’ outlines for the Sequel Trilogy, and beyond…

The stories for “Star Wars” episodes seven, eight and nine, which George Lucas has outlined and the Walt Disney Company will produce and release, are “the most exciting” in the series, the filmmaker’s biographer told TheWrap on Wednesday.

While researching his book, Dale Pollock, author of the unauthorized Lucas biography, “Skywalking: The Life And Films Of George Lucas,” was allowed to read the outlines to the 12 stories written by the filmmaker but was required to sign a confidentiality agreement.

“It was originally a 12-part saga,” Pollock told TheWrap. “The three most exciting stories were 7, 8 and 9. They had propulsive action, really interesting new worlds, new characters. I remember thinking, ‘I want to see these 3 movies.’”

I’d be very interested to read what Dale Pollock might have to say on the matter of the Sequel Trilogy now.

According to Owen Likes Comics:

Likewise, the thematic inspiration for the possible sequel trilogy were outlined by George Lucas himself, in an interview published in Denise Worrell’s 1983 book Icons: Intimate Portraits. In the chapter entitled “The Dark Side of George Lucas”, Lucas is reported to have only a vague notion of what will happen in the three films of a sequel trilogy. He is quoted as saying:

If the first trilogy is social and political and talks about how society evolves, Star Wars is more about personal growth and self realization, and the third deals with moral and philosophical problems. The sequel is about Jedi Knighthood, justice, confrontation, and passing on what you have learned.”

Here is some additional concept art for the Sequel Trilogy, though I’m not certain if these were produced before or after Lucasfilm’s sale to Disney.  Either way, they look far more interesting than anything that actually ended up in Disney’s Sequel Trilogy films:


A tormented Anakin Force ghost torn between the light and the dark.


A Jedi killer character


Another Jedi killer concept.



Alas, poor Yorrick, I knew him [well]!


Junk Castle


Kira in training.


Female protagonist Kira.


Darth Talon

According to Naboo News, Darth Talon from the Extended Universe appears to have played a role in the Sequel Trilogy as one of the primary villains, who seduces Han Solo’s son to the dark side of the force.  According to Futurism:

Among them comes a member of the One Sith under the name of Darth Talon. In the One Sith, Darth Talon served as a personal assassin for the Emperor and Sith Lord Darth Krayt. Trained as a child to be a Sith Lord, Darth Talon finished her training after many years, and slew her former mentor in cold blood under Darth Krayt. With her dedication at hand, Talon was anointed as a Sith Lord of the One Sith.

Not only did her power arise from a lifetime of training, it was furthered by her desire to serve under Darth Krayt alongside Darth Nihilus and Darth Maladi, among many other.

As a member of the One Sith, Darth Talon was not one to give up on her hunt. Due to her failure to capture Princess Marasiah Fel because of Cade Skywalker, Darth Talon went to every way possible to ensure she would find her mark. Through her hunt to take down Emperor Roan Fel, Darth Talon went to every means necessary, including killing Princess Fel’s personal mentor and guardian by the name of Elke Vetter. That, of course, didn’t happen till after cutting off Vetter’s arm and leg to obtain what information she needed about the princess’ whereabouts.

She even attempted sabotage of a Jedi ship after sending the planet Vendaxo’s wild life after them. Due to her failure to kill Princess Fel, Darth Talon’s life was spared, and ultimately, her orders were to hunt down Cade Skywalker. The ultimate goal would be to turn the last scion of the Skywalker bloodline into a Sith Lord due to his ability to control the Force.

Though it’s not clear how close to the EU mythology the Sequel Trilogy incarnation of the Darth Talon character would be.

According to The Art of The Last Jedi, Han Solo’s son was to become a Jedi Killer.


The lower panels in this concept art seem to show a steaming love scene, suggesting that the Sequel Trilogy may have been meant for older audiences.


Fire & Ice Double Lightsaber


Death Star

Kira exploring submerged Death Star 2.0 wreckage.


Emperor’s throne room under water.


Han solo



In terms of visual design, the Prequel Trilogy had a kind of World War I era motif, where the ships and designs looked largely hand made, or made in a fabrication shop.  The Original Trilogy had an industrial World War II motif, what people now refer to as Diesel Punk.  But in some of the designs that we see from George Lucas’ Sequel Trilogy, it appears that he may have intended to push the art design forward to a more Viet Nam era motif, similar to the Viet Nam era motif of the designs that we see in James Cameron’s Aliens.  This in turn makes me wonder if the art design for any potential Episode X through XII might have had a more 1980s Cold War era motif, to further demonstrate the passage of time through changing design motifs.

Given what has been said about George Lucas’ Sequel Trilogy being “ethereal” and “on another plane,” I have to wonder if he intended to expand on material that was explored in The Clone Wars episodes, Overlords, Altar of Mortis, and Ghosts of Mortis.

George Lucas has made some statements in regards to focusing on the Whills in the Sequel Trilogy.


According to Naboo News, the Whills were referenced in a line from an early draft of The Revenge of the Sith screenplay:

QUI-GON: (V.O.) The ability to defy oblivion can be achieved, but only for oneself. It was accomplished by a Shaman of the Whills. It is a state acquired through compassion, not greed.

What are the Whills?  According to George Lucas:

“Originally, I was trying to have the story be told by somebody else; there was somebody watching this whole story and recording it, somebody probably wiser than the mortal players in the actual events. I eventually dropped this idea, and the concepts behind the Whills turned into the Force. But the Whills became part of this massive amount of notes, quotes, background information that I used for the scripts; the stories were actually taken from the Journal of the Whills.”

According to Slashfilm.com, Lucas stated:

“Back in the day, I used to say ultimately what this means is we were just cars, vehicles, for the Whills to travel around in…We’re vessels for them. And the conduit is the midi-chlorians. The midi-chlorians are the ones that communicate with the Whills. The Whills, in a general sense, they are the Force.”

The Whills sound suspiciously like a soul.

This concept seems to be touched upon in The Clone Wars episodes, Voices, Destiny, and Sacrifice, where Yoda travels to the center of the Galaxy to a planet which holds the wellspring of the Force, and the source of midi-chlorians.  The Living Force, the Unifying Force, and the Cosmic Force are explored here.

I also wonder, if the Sequel Trilogy was meant to be much more mature than the preceding films.  Episode I was very much for little kids.  Episode II & III, for older kids, but still for kids.  Episode IV, V and VI, were mainly an all ages affair, but probably primarily aimed at early to mid teenagers.  So if the Sequel Trilogy continued that trend, and matured into more adult material, that would mean that a person could start with Episode I as a little kid, and watch continuing episodes as they grew up.  The material in the movies would mature along with the viewer as the episodes went along.

It’s likely that we’ll never know the full extent of what we missed out on.  But there may be more hints and tidbits about George Lucas’s Sequel Trilogy out there in articles and Mark Hamill interviews for those willing to hunt for the material.  Perhaps together as a fan base we could piece together the real Sequel Trilogy story.  A great place to start looking would be the old Starlog Magazines, the entire library of which is now available online for free courtesy of archive.org, right here.

Mark Hamill wished hey had stayed closer to George Lucas’ vision for the Sequel Trilogy, according to Metro:

Mark Hamill has now admitted that he is a little disappointed that Lucas is no longer involved, while also registering his disappointment that the powers that be over at the studio weren’t “more accepting of his guidance and advice.”

“What I wish is that they had been more accepting of his guidance and advice. Because he had an outline for ‘7,’ ‘8,’ and ‘9’. And it is vastly different to what they have done.”

Wouldn’t it be nice to get a comic book series telling the story of George Lucas’ intended vision for the Sequel Trilogy?  It wouldn’t be out of the ordinary, since the Star Wars franchise has already previously published alternate versions of the Star Wars Saga.  Maybe folks reading this can send Mark Hamill a friendly tweet, and ask him what the chances are of getting such a comic series.



Han Solo Novel Last Shot Unintentionally Retcons The Force Awakens

Among the tales of Han Solo’s baby sitting, and Lando Calrissian’s admiration of his own genitalia, Last Shot readers also get treated to the high adventure of Han Solo’s mid-life crisis.

James Whitbrook of i09 reports:

Daniel José Older’s new Star Wars novel, Last Shot, was bundled up with the recent wave of Solo: A Star Wars Story-themed book announcements. But while there are parts of it that deal with the early lives of Han and Lando, it’s at its best when it’s set decades after the upcoming movie, as the two come to terms with leaving their past—and their youth—behind.

…set approximately two years after Return of the Jedi and the Battle of Jakku, with Han pulled away from his family by Lando into a new adventure tying up the other arcs of the book through its mysterious villain, a sort of Dr. Frankenstein-for-droids figure named Fryzen Gor. That contrast is to starkly remind us of one thing: Han and Lando grew up.

From Han’s point of view in this time period, getting old is a petrifying and new thing to him, as he tries to balance his new homelife looking after a 2-year-old Ben Solo with a wife constantly caught up in the bureaucratic quagmire of establishing the New Republic (a New Republic that frequently wants Han to get caught up in its administration as well, much to his chagrin).

Han’s unease, so potent that it almost feels uncharacteristic for the smuggler-turned-Rebel-hero who helped bring down the Empire. How does a guy who’s spent most of his adult life on the run, solving problems with lies and deals and liberal amounts of blasterfire, know how to be a parent? Can he be the father he never really knew, or the husband he never thought he’d be, to a child and wife who unquestionably, thoroughly love him?

Han finds himself worryingly holo-calling home every time he has a moment to check up on Leia and Ben, and at one point late on in the novel he admits that he has no idea if he’s comfortable being out among the stars as a pilot anymore, doing the things he’s loved his whole life, when he knows should be back home raising Ben—despite the fact he has no idea if anything he’s doing with his son is actually good for the child.

But it’s also important reminder that these characters we’ve known and loved for years—decades, rather, of learning more and more about them over years of books and comics and movies, as we’re about to do so again with Solo next month—are not trapped in amber. They are confronted with maturity and aging and realities of lives outside of spaceship battles and daring rebellions, just as we all eventually become (well, at least without the spaceship battles and daring rebellions bit). And in confronting those very real emotions in Han and Lando, Last Shot becomes far more interesting than you might expect a supposed Solo tie-in novel to really be.

Okay.  So riddle me this: if Han Solo “grew up” 2 years after Return of the Jedi, and becomes a boring suburbanite dad while eschewing a life of adventure, then how come we see him in Episode VII as the same smuggler character we first met in Episode IV before his arc was finished in Episode VI?

More Details On Han Solo’s Babysitting Emerge

I’ve previously written about Han Solo’s adventures in babysitting, as told in the new novel Last Shot.


The franchise was always destined to end up in the hands of Jerry Springer.

Now we’re getting some more details on Han’s baby sitting trials and tribulations, and it turns out that fretting over choking hazards takes up a big chunk of Han’s day.

According to Chris Agar at ScreenRant, author Daniel José Older writes in the novel:

“Two years in and no matter what, nothing he did was right. He brought Ben a play blaster from Burundang and he was encouraging his violent side; took it away and the boy wouldn’t stop crying. He tried to replace it with a build-a-space-center set and there were too many small pieces Ben could choke on. The worst part was, it wasn’t like Leia was just nagging or inventing stuff to one-up Han; she was right about all of it. So he couldn’t even properly resent her for it!”

Babysitting, toddlers crying, building play sets, and choking hazards.

Gee, that’s so much more entertaining than smuggling stolen goods, or chasing after some ancient Sith artifact worth a fortune, or piloting starships to the remote corners of the galaxy, or fighting in wars.  I never would have guessed that 6 out of the 8 feminists in Kathleen Kennedy’s Story Group were women.  Who could’ve guessed that, after Poe’s adventures in seamstressing?

“And Han Solo… you feel like he’s the father you never had. He would have disappointed you.” – Kylo Ren

He’s certainly disappointing fans thanks to the Lucasfilm Story Group.  No question about that.


Keep this out of Kylo’s hands.

But I want to focus on one particular sentence from the novel, that should be read in the context of the blasterless Solo posters:

He brought Ben a play blaster from Burundang and he was encouraging his violent side;

Disney would never ever rebrand Star Wars as Star Peace, now would they?

The New Han Solo Trailer

I have to say, this trailer is a lot better than the previous one.

There’s a lot of cool things in this trailer.

Chewie looks good.  Donald Glover as Lando looks to be pretty interesting.  Heavy hitters Woody Harrelson and Paul Bettany add some gravitas.  The special effects look far better than any of the effects in previous Disney-era Star Wars films, although Rogue One’s special effects look pretty good too.

But I still think seeing Alden as Han Solo is going to be a major hurdle for many fans.  Unlike James Bond, which routinely changes actors, only Harrison Ford has been known as Han Solo for 40 years.  Those are pretty big shoes to fill.  I’m not sure if we see enough of Alden delivering lines to offer a real judgement on that.

We don’t see much of Qi’Ra.   But I would caution fans to remember the bait and switch marketing that Mad Max: Fury Road pulled with their early trailers.  Knowing and seeing Kathleen Kennedy’s agenda in the franchise thus far, I still suspect that Emelia Clarke will turn out to be the primary star in the film.  But then again, maybe Ron Howard was able to use his clout to offer some much needed push back.

It’s missing a smattering of classic aliens from both the OT and the PT that I would have liked to seen peppered here and there alongside the new aliens, to help give it more of a solid connection with the other films.

There is a line of dialogue that I find very interesting however, delivered by Woody Harrelson’s character.  He says, “Let me give you some advice.  Assume everyone will betray you, and you will never be disappointed.”  To me, this seems to add weight to my prediction that Enfys Nest will turn out to be Qi’Ra.  Qi’Ra will betray Han, and reveal herself to be Enfys Nest at the end in a big twist as I predicted earlier.

I’m willing to give this a chance.  But I’m highly skeptical.

Given the previous Disney films, and statements made by Disney representatives, I fear this too will be filled with social justice messaging. I expect they’ll show Han fighting Enfys Nest throughout the film here and there.  I suspect that the big reveal/twist at the end with Qi’Ra turning out to be Enfys Nest will be the moral of the story and a lesson for the chauvinist Han Solo; that girls can be just as rough and tumble as men can be, perhaps even more so.  Of course, normal people understand how that turns out in reality:

I still remain completely disinterested in Episode IX.

Feminist Has Difficulty With Character Arc

Kimberly Kerasali writes at The Mary Sue:

Perhaps the greatest failing of Star Wars is its treatment of Leia Organa (and, by extension, Carrie Fisher), despite how much we love her. Though a feminist icon and one of the great female characters of the saga and beyond, Leia was never given much focus or a defined character arc over the first three movies, and she still deserves better now, even though Carrie Fisher is gone.

Well sure she did.  Princess Leia started out as spoiled royalty who went out on “diplomatic missions,” and ended up getting her hands dirty engaging in battle for the Rebellion on the front lines.  She started in one place, and ended up in another.  That’s a defined character arc.

A New Hope’s portrayal of Leia is still lauded as revolutionary, and I am inclined to agree. While she does kiss Luke twice and has sexual tension with Han, their relationships are mostly based on friendship, and her main goal is always the rebellion, with her being a representation of what Luke aspires to be: wise, courageous, clever, selfless, heroic, and a symbol of hope. Many Star Wars story leaders and fans also cite Leia as the whole reason the saga started, with her being the reason the plans/R2-D2 got to Luke and Obi-Wan. However, despite seeing her planet destroyed in front of her, no time whatsoever is spent on her emotional trauma, while she comforts Luke over Obi-Wan’s death and Han’s abandonment, instead.

She’s not that kind of person.  She almost confides in Han on Endor, but ultimately tells Han that she can’t tell him what she was talking to Luke about, and just wants him to hold her.  She doesn’t whine.  She keeps it inside.  She’s stoic.

Empire Strikes Back is arguably the best of the Trilogy when it comes to Leia’s treatment, though that isn’t saying much. This is the movie in which Leia has the closest thing to character growth, but even then, it’s mostly a “defrosting ice queen” arc, with hints of the typical romcom trope that growing to love a man is the most important thing in life. The Leia/Han romance is also peppered with predatory undertones, as outlined by Pop Culture Detective (https://www.youtube.com/watch?v=wWoP8VpbpYI).

It’s a little deeper than that.  She reveals the reason behind her reluctance to get involved with Han when she says to Han, “Then you’re as good as gone, aren’t you?”  She doesn’t know if she can really trust him to stick around.

He made passes at her.  That’s predatory now?

That brings us to the worst of the worst: Return of the Jedi. I could go on for a millennium about everything wrong with the gold bikini, from how it was used to silence both Carrie and Leia, to how it poisoned relations between Star Wars and its female fans for years to come by attempting to brand it a boys’ story.

You could, but you’d be incorrect.  What feminists are apparently incapable of understanding, is that the gold bikini was a reflection of the gangster Jabba the Hutt who forced her to wear it when he held her in captivity.  I’m not sure that the Jabba character would have been quite as ruthless if he had feminist sensibilities.

But perhaps the worst part is how, after Luke got focus in Empire and Han got his arc in A New HopeReturn of the Jedi should have been Leia’s movie. 

All three characters received a full arc over the course of the three films.  I explained Leia above.  Luke started out as a naive farm boy, transitioned into a hot headed impatient fighter, and ended as a wise Jedi.  Han started out as a unreliable rogue, but after being frozen and rescued by his friends, volunteered to become General of the ground forces at the Battle of Endor as a changed man.

She should have been leading the charge to get Han back. She should have been the General in charge of the assault on the shield generator (there are implications in the new Canon that she was a ranking General at this point, but that’s not shown in the movie), and most importantly, she should have had some reaction to Darth Vader being her father, as she arguably has spent more time with him than Luke.

Well, no.  She shouldn’t have been.  Because the Original Trilogy was an ensemble piece, and didn’t focus on any one character.  But for goodness sake, she strangled her captor with the very chains that he held her captive with while in the gold bikini that he forced her to wear.  How much more feminist can you get than that?

After the Original Trilogy, there came a period of retroactive recognition for Leia.

Some would say that it was merely the next logical step in the character’s development, rather than anything as dramatic as “retroactive recognition.”

Now, we have the ongoing Sequel Trilogy. In The Force Awakens, we don’t get to see Leia being a General until the third act. Even then, a good portion of her character is still based around her relationships with men, whether it be a sister trying to bring her brother home, a wife trying to repair her relationship with her husband, or a mother trying to save her son. All worthy pursuits, but also somewhat unsatisfying from a feminist perspective, especially for someone who started out as independent as A New Hope Leia.

Are you arguing that Leia shouldn’t have any relationships with men, like Holdo?

1. A Leia anthology movie about her early days in the rebellion. Leia, Princess of AlderaanStar Wars RebelsRogue One; and even the upcoming Han Solo movie have already laid the groundwork for this to work. This would be a difficult one, as it almost feels blasphemous to continue Leia’s story after Carrie’s death, since she and her character are in many ways a “Möbius striptease,” as she once said.

That’s actually not a bad idea, but it would be a mostly political movie, since Leia didn’t engage in battle until she fired that blaster on the Death Star.  To depict her as battling before then, would undo the defined character arc that she had in the Original Trilogy.


Han Solo: Adventures In Babysitting

Does the new SOLO movie have you itching to read a ripping good yarn about Han Solo and his fellow scoundrels in their latest caper?  Too bad for you.

What you get instead, is a novel about Han Solo’s poor child rearing skills.

Joe Anderton of Digital Spy reports in an article entitled, New Star Wars story features Han Solo looking after a crying baby Kylo Ren:

An upcoming novel called Last Shot is going to be released just before the movie, and will feature Han as a new father looking after the baby Ben Solo (who later becomes known as Kylo Ren).

The official Star Wars website has uploaded an excerpt from the novel, in which #daddy Solo is trying to get his son to stop crying and complaining about having to go to New Republic meetings before being visited by a hologram of Mon Mothma, and it ends with him getting punched in the face by Lando Calrissian.

For those with a strong stomach, the excerpt can be found here:



Maybe in the next novel, Han Solo will get involved in a drunken domestic dispute.

Harrison Ford ‘Didn’t Give A Rat’s Ass’ About Passing Any Torch

Harrison Ford was recently asked by The New York Times, what it felt like passing the Star Wars Torch on to a new generation.  He responded:

 “I don’t know that I thought of it that way at all,” Mr. Ford said, sounding very much like Mr. Boyega’s impression. “I was there to die. And I didn’t really give a rat’s ass who got my sword.”

Many fans also no longer give a rat’s ass.

Timothy Lammers of ScreenRant writes:

It’s not like he was in The Force Awakens for the paycheck…

However, previous statements made during the publicity for The Force Awakens may contradict that:

Ford made an appearance on “The Tonight Show” last night and host Jimmy Fallon asked if the 73-year-old star got emotional from putting Solo’s costume on again.

“No, I got paid,” Ford responded.


Free at last.