Btw If I Was Obiwan, And I’d Just Spent The Last 3 Days Nearly Dying In A Space Battle, Then Nearly

I know a place where no one's lost I know a place where no one cries Crying at all is not allowed Not in my castle on a cloud

screaming

Padmé’s death is the most clear cut suicide in the franchise. She has no indication that her death will benefit anyone, nor has she been told by anyone that death is on the horizon; and yet, she wants to. The love of her life has become master of Hell, the father of her children has set the galaxy aflame, and the ruling body she gave her life to has gone obsolete—indeed, always was. How could we talk Padmé off the ledge at this moment? How could anyone? Ultimately, the film doesn’t ask us to. This is a tragedy. The point is not to berate our protagonists into healthier living choices, but to watch them fall into the abyss. At the end of every good tragedy, there’s nothing else left.

So Padmé falls neatly into the canon of self-annihilating tragic heroines. Her death is not inspiring, or productive, or well-adjusted, but it is her death. The means, the reasons, the aftermath, all belong to her. Padmé, the victim of multiple assassination attempts from the ages of fourteen to twenty-four, warrior on the frontlines of the battles of Naboo and Geonosis, survivor of Nexu claws, force choking, and a difficult trauma-informed birth, dies firmly and exclusively because she wanted to. If she wanted to live, she would’ve lived. This is not a weakening death, especially when compared to oft-cited “strong” deaths like having Anakin kill her. One wonders: how is Padmé choosing to die less empowering than having that choice taken from her?

-“The Skywalker Suicides Part I: The Case For Padme”

revenge of the sith rerelease means people are talking about padme’s death again so i’m promoting my essay

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Star Wars Episode I - The Phantom Menace (1999)

one star war viewing experience that i think has been totally 100% lost to time / cultural dominance: obi-wan being a mysterious and lowkey dubious figure in a new hope. he’s introduced doing this absolutely terrifying screech (which he never does again? before or since?), in a cloak with his face covered (classic villain coding, also very close to the emperor’s exact look) and this comes after a build up of him being some “old wizard” luke is told is dead, that he shouldn’t be going to see at all—and his dialogue only raises more questions than answers. a big part of it is alec guinness’ expert ptsd performance, of course, but there’s such a real strangeness to obi-wan’s debut. he’s a mentor, but he’s also a hardened warrior, also a deliverer of some incredibly ominous lines, also a disembodied voice, an undead, unkillable entity. i don’t think it was some accident that the “fake twist” used to hide the real twist in empire was that obi-wan killed luke’s father, is all i’m saying really. i think there’s an undercurrent in anh that, as the jedi/obi-wan/star war grew in popular culture and the light side/dark side lore got more ironed out, isn’t really accessible now. but it’s fun

— George Orwell, Shooting an Elephant

Anakin Skywalker // Sheev Palpatine // Hego Damask

Darth Vader // Darth Sidious // Darth Plagueis

Text from Darth Plagueis by James Luceno

Rogue One and Catalyst in a nutshell:

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