Still, those fans who hated The Last Jedi and claimed to prefer Abrams’ supposed fidelity to the Star Wars ethos don’t seem to have much to say about The Rise of Skywalker these days. Abrams then made things worse with his terrible script, the end result of which remains a blight on all of cinema. Unfortunately, Disney’s need to create a sister juggernaut to the MCU that churned out at least one, if not several, Star Wars entries a year trumped all considerations for the studio. I do think he accepted an impossible task to make a huge movie on quick turnaround that should have had its release date extended by at least a year the moment it lost its original director, Colin Trevorrow. I’m one of the defenders of his Star Trek Into Darkness, which has taken its share of heat over the years. In fact, the critical and popular success of Knives Out felt a bit like cosmic justice for the hash Abrams made of Johnson’s vision by thoroughly retconning it with The Rise of Skywalker (“It’s such a complete rewrite of The Last Jedi, it actually feels vengeful,” wrote one critic). However, while award-giving is inherently subjective and doesn’t prove artistic superiority, it certainly bolstered the opinions of some that Johnson was the true auteur of the Star Wars sequel trilogy. If Johnson felt any special satisfaction earning an Oscar nomination for his Knives Out screenplay around the same time that critics were demolishing Abrams for Star Wars: Episode IX: The Rise of Skywalker and pronouncing Star Wars dead, he was gracious enough not to crow about it publicly. Surviving The Last Jedi’s ‘retcon’ Image used with permission by copyright holder
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