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    Prequel Trilogy 
  • The Original Trilogy had all the elements that would come to be widely criticized in the Prequel Trilogy and the Sequel Trilogy. This includes wooden dialogue, Ship Sinking in The Empire Strikes Back, Dashed Plot Line, underdeveloped characters, out-of-nowhere Retcon (i.e. the big one), Wacky Wayside Tribe Kid Appeal Characters in Return of the Jedi, as well as shallow World Building. What made it work then, was that since it came first, the Willing Suspension of Disbelief wasn't stretched too far, and audiences accepted that Star Wars was intended as a Genre Throwback to serial films that were if anything far less immersive on this front. By the time the Prequel Trilogy and the Sequel Trilogy came, the Star Wars franchise became respectable and serious, and the expansion and rise of the internet meant that the criticisms people had once made about the Original Trilogy were forgotten, while the same criticisms given to the follow-ups now had a bigger audience to disseminate and spread.
  • Star Wars pushed effects-driven technology a lot further along than it'd ever been, and as far back as Empire, there were stories of actors finding those conditions difficult. However, the limitations of the era by nature constrained how much work the computers could do, meaning that most scenes still involved actual sets, costumes, and props. The prequels, on the other hand, became notorious for entire areas being nothing but bluescreens and countless characters being entirely CGI (even characters like the Clone Troopers, which absolutely could have been men in costumes), a lot of which hasn't aged well. Though the films didn't stop using practical effects, and even by some metrics made use of more than the Original Trilogy, the focus very much shifted away from them, and it seems to have contributed to the notoriously wooden performances.
  • When criticizing the Prequel Trilogy, many fans are likely to moan about the theatrical films' focus on politics at the expense of action, often citing long scenes in the Galactic Senate chamber. It's easy to forget that A New Hope incorporated a fair bit of politics into its story: Princess Leia uses a diplomatic mission as a cover for transporting the Death Star plans, several characters discuss the Imperial Senate's growing support for the Rebellion, and there was barely concealed backbiting in the office politics aboard the Death Star between the Moffs, the other Imperials, and Vader. The Empire Strikes Back also has Lando Calrissian explaining Cloud City's neutral status and how his responsibilities as a leader conflict with his friendship with Han and his civic duty. Unlike the Prequel Trilogy, though, the politics in the Original Trilogy are a backdrop to the fight of good-versus-evil, at best being helpful in understanding the motivations of some secondary characters or plot devices, rather than central to the plot (it's telling that several of these scenes were deleted). It also didn't help that while the political elements in the original trilogy were fairly basic and understandable, Palpatine's byzantine schemes came across as either inscrutably complex or downright idiotic.
  • The movies have suffered from inconsistent continuity from the very beginning, but it didn't start to get really noticeable until the franchise's later years. The first step was the iconic revelation about Darth Vader's identity in The Empire Strikes Back, which wasn't initially planned, and explicitly contradicted everything that we'd learned about Luke's father in the first movie—but that was easy to forgive, since it was a genuinely powerful twist that completely worked from a dramatic standpoint. It was a bit more glaring when Return of the Jedi similarly retconned Luke and Leia into being siblings, despite them kissing in two earlier scenes—but that was similarly forgivable, since it provided a cozy resolution for the main trio's love triangle. Then the prequel trilogy introduced multiple retcons to major plot points, none of which could really be called "improvements". Just to name a few: there was the revelation that Luke and Leia's mother died in childbirth, that Obi-Wan wasn't really Yoda's apprentice, that Owen Lars wasn't really Anakin's brother and they barely even knew each other, and that Boba Fett was actually a clone of a different Mandalorian bounty hunter. In some fans' opinions, the interquels Rogue One and Solo were even more guilty of this, since their stories were essentially built entirely around major changes to continuity (like establishing that the weakness in the Death Star was intentional, that Leia was personally present at the battle where the Death Star plans were stolen, that Han really did make the Kessel Run in less than 12 parsecs...).
  • A common complaint about Anakin's characterization in the Prequel Trilogy was that he did too many horrible things to deserve being Easily Forgiven. To an extent, this was already true of his identity as Vader in the Original Trilogy; he was complicit in the destruction of an entire planet, and had no problems with wanton torture and murder, including Luke's best friend Biggs Darklighter, and his mentor Obi-Wan Kenobi. However, Vader was a Fallen Hero and it was stated often that he had been a decent person at one point, and from the sorrow in his voice when he considers redemption in Return of the Jedi, we could only assume that the man inside the mask was worth saving. However, the Prequel Trilogy showed Anakin to be seriously flawed from the get-go, and largely bungled his fall — he essentially decides to wipe out an entire religious order, create a dictatorship, and kill all his friends because he had bad dreams about a woman whom he's Strangled by the Red String with. Far from showing the person worth saving in Vader, it cast doubt on the idea of there being one in Anakin. Further blunting the blow of his actions as Vader was that he managed to wrap his evil deeds in the absurd theatricality and impersonal scale of a supervillain, making them easier to accept. Anakin, on the other hand, murdered children and then strangled his wife to death when she asked him about it, throwing him well past the Moral Event Horizon for many people.
  • The Phantom Menace was rebuked for several unpopular alien characters — Jar Jar Binks, Watto, and the Nemoidians — who were seen as offensive caricatures of Jamaicans, Jewish people, and Far-East Asians, respectively. But this criticism also applies to virtually every species in the Original Trilogy; the practice of modeling fantasy species on Real Life stereotypes was part and parcel of the Speculative Fiction that inspired Lucas. The Tuskens, a savage tribe of desert-dwellers who attack and abduct human settlers, were evocative of Native Americans from classic westerns; the Jawas, a race of disreputable nomads who live in caravans and make their living by stealing and reselling machinery, are Space Romani and/or Bedouin. Jabba the Hutt, the decadent, obese, hookah-smoking ruler of a desert planet with a harem of half-naked slave girls, is a coded Orientalist portrayal of a Turkish Sultan. This is even true of many Rebel-aligned aliens, such as the Ewoks, who evoke the Noble Savage trope; even Yoda (easily the more well-rounded of all the aliens), was intended to evoke wisdom from the east. Such coding didn't get wide scrutiny in the Original Trilogy, largely because it was eclipsed by the good-versus-evil plot, and the villains were "space fascists" portrayed by white actors. The Prequel Trilogy put greater focus on World Building, which made it more obvious. And when the aliens had expanded roles (while remaining coded with dated stereotypes), it made it obvious how underwritten they really were.
  • The franchise was known for having underdeveloped villains all through the original trilogy, but it wouldn't become a glaring handicap until the prequels came along. The Imperials were cartoonishly-evil Space Fascists with a simple and self-explanatory motivation: destroy the rebels so that they can retain their power. They were anchored by charismatic performances from screen legends like James Earl Jones and Peter Cushing, they invoked real-world dystopias enough that they actually seemed threatening, and they had enough Kick the Dog moments that it actually felt cathartic when the heroes won. But in the prequels? The Trade Federation just gets a throwaway line about protesting "taxation of trade routes" and a lot of Offscreen Villainy regarding the people of Naboo to establish them as the bad guys (forcing the Expanded Universe to show us some actual villainy from them, like massacres and slave trading), and the Separatists just get some vague mumblings about "intentions to leave the Republic" and being led by the Sith, without any real mention of why the Separatists want to secede or what's so particularly evil about leaving the Republic. Hell, the most memorably "evil" act in the whole trilogy is Order 66, which is done by the Republic. There's a reason why Rooting for the Empire is a time-honored tradition among Star Wars fans, but Rooting for the Separatists most definitely isn't.
  • The franchise's habit of playing up Force powers started in Empire, which had characters showing off large-scale telekinesis, enhanced skills, and spiritual existence rather than the mental influencing and vague "sensing" of the first film. In Return of the Jedi, Palpatine added lightning to the mix. Lightsabers also saw more and more use as the films went on. Most people didn't really mind it, though, as those powers still only showed up in a few pivotal scenes, were mostly used by characters meant to come across as unbelievably powerful, and kept the mystical and ethereal feel largely intact (Coconut Superpowers also played a role, since the powers from the first film could be adequately demonstrated by simply having one actor repeat after another or pretend to have difficulty breathing). By the prequels and Expanded Universe, though, these powers were being used regularly and casually, New Powers as the Plot Demands became more frequent, and lightsaber fights became borderline constant. Many felt this demystified the whole concept and made the Jedi come across less as wise sages and more like superheroes, something that even the sequels (which earned their own controversies for adding new powers) called out.
  • In his review, Marcus of The Cosmonaut Variety Hour states that the biggest mistake that Revenge of the Sith makes is splitting up the Bash Brothers team of Anakin and Obi-Wan, right when we finally get to watch the two in their prime. He admits that splitting up characters in the first two prequel films was also a problem, but in Revenge, it's even more noticeable because the opening scene spoils the audience with their amazing chemistry only to immediately take it away. Furthermore, splitting up characters with great chemistry has been a problem since at least The Empire Strikes Back. In that film, Luke splits off from the rest of the team, thus removing the The Hero/The Lancer dynamic that worked so well in A New Hope; but it was forgiven in that movie because it allowed us to witness Luke's training with Yoda (who became another memorable character) and gave Han and Leia a chance to fall in love. Return of the Jedi then repeated the same problem. While this decision was complained about at the time (most people felt the Endor scenes were entirely unnecessary and that Han should have been flying the Falcon in the space battle), few fans could argue that watching Luke confront Vader and Palpatine wasn't what they'd been waiting for. Again, this problem was simply more noticeable in Revenge because the splitting-up had no satisfying payoff, unlike its predecessors.

    Sequel Trilogy 
  • The Happy Ending Override that started with The Force Awakens is cited by detractors as one of the biggest reasons why they don't like the Sequel Trilogy, but that wasn’t the first time that Star Wars undid or at least rolled back its happy endings. After A New Hope had the Rebels destroy the Death Star, The Empire Strikes Back showed that The Empire was still around and the Rebels get trounced in battle in the first act. But the first film never implied the Empire was gone along with the Death Star, but rather ended with the promise of further adventures with Vader escaping (see the early Expanded Universe materials). Furthermore, the primary accomplishment of Hope –the destruction of the Death Star—wasn’t undone, and it made sense that the Galactic Empire didn’t collapse in one day just because one space station was destroyed. A more direct example is Return of the Jedi bringing back the Death Star, but the fact that it was still being constructed showed that the destruction of the first one still meant something, and it is explicitly bait set by the Emperor to lure the Rebels in. Attack of the Clones slightly undid the previous film's ending due to Nute Gunray still being in a position of political power, but the main achievements of The Phantom Menace—getting rid of the blockade on Naboo, and Anakin beginning his Jedi training—weren't undone. In short, the happy endings were undone, but no one cared because the films continued the story in a logical manner, and they didn't retroactively make the previous films feel pointless.
  • The Writing by the Seat of Your Pants nature of the Sequel Trilogy became one of its most notorious aspects, but in truth, the Original Trilogy was written the same way: even its status as a trilogy wasn't locked down until Return of the Jedi was in production, as Lucas had such an awful time making The Empire Strikes Back that he decided to wrap the story up. But the three-year gaps between each of those movies allowed time for the scripts to be polished, while the Sequel Trilogy only had two-year gaps between each movie, resulting in rushed and underdeveloped scripts that caused the quality to suffer. Compare the infamous Luke, I Am Your Father that both trilogies have, with neither Vader being Luke's father nor Rey being Palpatine's granddaughter planned from the start. The difference, however, was execution; the Vader twist came at the climax of The Empire Strikes Back, and the following movie was able to find a way to efficiently spin the original inconsistency as a Death of Personality issue. In the sequel trilogy, Rey being Palpatine's granddaughter is revealed half way through the very last movie, giving the plot no time to do anything but hastily explain it away. Additionally, while the unplanned nature of the original films was fairly reasonable when many were expecting the first film to be the last, the sequels were always built around the knowledge that they were both a trilogy and intended to complete the Skywalker Saga, making the lack of forward planning hard to justify.
  • The single most common criticism of The Force Awakens is that it recycles way too many ideas and plot points from the Original Trilogy, to the point that it sometimes feels like a remake of A New Hope with the characters' names changed. To wit: a young desert dweller from a backwater planet gets pulled into a war between the evil Empire and the noble Rebels after a chance encounter with a diminutive robot carrying secret information that could save the Rebellion, then goes on a quest across the galaxy to Bring News Back with the help of a dashing space pilot and a grizzled Mentor Archetype, climaxing with a scene where the mentor is killed, the Rebels destroy an armored battle station that destroys planets, and the heroes rescue the female lead from captivity in the Empire's fortress.

    One can nearly say the same about Return of the Jedi, where the writers decided to end the trilogy by having the Rebels blow up a second Death Star instead of coming up with a new action sequence — not to mention that the first act had the heroes returning to Tatooine for a rescue mission that easily could have taken place on a new planet. The Call Backs there worked with the mythical Hero's Journey concept (where a return to home is a classic theme), and the actual story (Luke attempting to redeem his father) was entirely new, and the Death Star climax was rehashed precisely so that it didn't overshadow the super-dramatic confrontation in the throne room, which would have been harder to cross-cut with an action set-up that wasn't instantly familiar. People were less patient when The Force Awakens seemed to follow the Original Trilogy beat-for-beat, particularly since the writers had nearly thirty years to think of something different, didn't have the production hassles that Lucas had to deal with when he decided to condense everything for the finale of Return of the Jedi, and enforced a rather extreme Happy Ending Override that many felt basically undermined the struggles and Character Development of the Original Trilogy's heroes (let alone those of the Prequel Trilogy) to be All for Nothing, just for the sake of going through the same motions. (Though this last sentiment gained more traction after The Last Jedi continued the trend, as many other fans adopted a wait-and-see attitude at the time.)
  • The villains have always had as many resources as the plot wants them to have, but no one's Willing Suspension of Disbelief was broken over it until the First Order came along. In both of George's trilogies, the names of the Galactic Empire and Confederacy of Independent Systems alone told the audience that they had control over several planets off-screen, which gave them a plausible explanation for how they could afford all their weapons, armies, and fleets. On the other hand, the First Order is explicitly stated to be what remained of the Galactic Empire, making it far less believable that they could have ships, armies, and super-weapons even bigger and more powerful than their predecessors.
  • One of the most criticized parts of The Last Jedi is the Canto Bight sequence, an extended plot detour where Finn and Rose get into wacky misadventures in an alien casino while looking for a hacker; many viewers found the scene overly long and indulgent, and saw it as an unnecessary distraction from the battle against the First Order. As a few critics have pointed out, though, nearly every previous Star Wars movie has had at least one similar sequence, where the plot screeches to a halt while the heroes get into a scuffle that serves as a temporary distraction from important plot points. The original Star Wars had the trash compactor sequence (which distracts from Leia's rescue), The Empire Strikes Back had the "space worm" sequence (which distracts from the escape from the Empire), Return of the Jedi had the heroes getting captured by Ewoks (which distracts from the mission on Endor), The Phantom Menace had the pod race (which distracts from the journey to Coruscant) and Attack of the Clones had the fight in the droid factory (which distracts from Anakin and Padmé's mission to find and rescue Obi-Wan). But not only is the Canto Bight sequence much longer and more elaborate than those previous sequences, it ultimately feels like a pointless "Shaggy Dog" Story — since Finn and Rose don't even accomplish their mission, and they're forced to settle for recruiting DJ, who betrays them. Not to mention that unlike every other side plot that the heroes get into, the Canto Bight sequence seems to end with a rather glaring Author Tract that many audience members thought was out of place in a Star Wars movie.
  • Captain Phasma was popular in The Force Awakens and The Last Jedi, and thus many fans were angered by her possible anticlimactic death during the climax of The Last Jedi. In this, she's merely following in the footsteps of Boba Fett, a hugely popular character who likewise appeared in two films only to be anticlimatically knocked into a sarlacc's maw by a blind man with a stick. But it was a bit more understandable with Boba Fett, since ultimately he wasn't that important to the overarching conflict, being just one of the many bounty hunters whom Darth Vader hired to apprehend our heroes, and just so happening to be the one who actually succeeded in capturing them. Phasma, on the other hand, was a hugely important part of The Force Awakens, being Finn's commanding officer in the First Order before his defection. It doesn't exactly help that Fett was played by the mostly obscure British character actor Jeremy Bulloch, for whom Boba Fett was his best-known role, not to mention his lines were dubbed over and he got the part because he was the half-brother of producer Robert Watts and was cast because they needed someone to fit the suit. By contrast, Phasma was played by Gwendoline Christie, who already had a huge fan following in 2015 thanks to her role as Brienne of Tarth on Game of Thrones; with such a popular actor playing her, it was natural to expect Phasma to have a bigger role. Also, while it could easily be dismissed as naivete in a pre-Internet era that Lucas simply didn't realize Boba had a growing cult fanbase, it's a lot harder to justify in 2017, when a single Google search could unveil hundreds of people and articles grumbling about Phasma getting punked out.
  • The Force seemingly being able to do whatever the plot needs it to do and increasing its potency has been a slowly growing sticking point for a long time coming, but it really hit the fan in The Last Jedi and The Rise of Skywalker, wherein the former has Force Ghost Yoda calling down lightning to destroy a temple and Luke using an Astral Projection across light years to confront the First Order and the latter has Force Ghost Luke being able to interact with physical objects and use the Force, Palpatine in particular doing three of these things (being revealed to have spoken in Kylo Ren's head in the voices of Snoke and Vader to corrupt him, draining energy from Rey and Kylo to heal his deteriorating body when Rey refuses to participate in his body transferring ritual, and unleashing a thunderstorm of Force lightning capable of disabling entire fleets), items being able to be transferred through spacetime communication (Kylo Ren stealing Rey's necklace from the desert world she visits, a duel across spacetime causing the deteriorated helmet of Darth Vader to fall from Kylo's quarters to the planet below where he is, and Rey using this to hand the redeemed Kylo a lightsaber while she refuses to undergo the above ritual), and the usage of Force Healing. Such escalation was present even back in the Original Trilogy, with A New Hope originally making it out to be just some form of Combat Clairvoyance, Jedi Mind Trick, and limited Telepathy and premonition, The Empire Strikes Back adding on Telekinesis, increased physical ability, and even Force Ghosts (having bodies, as opposed to Obi-Wan's disembodied voice), and Return of the Jedi giving the signature Force Lightning of Sheev Palpatine. The thing was, such escalation felt more natural because the plot followed Luke coming into his own in mastering the Force, with the particularly noticeable displays of power coming from Old Masters well-versed in the arts and the feats weren't too outrageous. The Prequel Trilogy followed up on that and kept the potency of the Force to consistent levels (the one-time usage of Flash Stepping in The Phantom Menace notwithstanding), and while some found the displays a bit silly or being similar to magic, the fact that the time period spanned the Jedi's peak at least meant it was understandable why such powers may have existed and were lost by the time Luke was being trained. The Sequel Trilogy's escalation, however, retroactively makes the feats and struggles of the Original and even Prequel Trilogy look redundant when viewed in hindsight.
  • In The Rise of Skywalker, Palpatine's return was criticized as an Ass Pull since the film never explained how he could survive falling down a bottomless shaft and getting caught in the exploding Death Star II aside from vague references to Sith magic.note  However, one could say the same about Darth Maul's similarly contrived survival in Star Wars: The Clone Wars. Despite getting bisected at the waist and falling into a bottomless shaft in The Phantom Menace, Maul managed to survive for over a decade before having his strength and sanity restored by Mother Talzin. The only explanation behind his revival was his rage towards Kenobi and space magic. While Maul's resurrection was ludicrous even by Star Wars standards, fans excused it because the series actually put Maul to good use. Since Maul was a flat villain with wasted potential in The Phantom Menace, bringing him back further fleshed out his personality and provided more cool action scenes. As Maul killed Qui-Gon Jinn and fought Obi-Wan previously, he fulfilled the role of a personal archenemy for Kenobi. In contrast, Palpatine already had plenty of screen-time and characterization throughout the first six movies, meaning that he doesn't have the excuse of being a wasted character to justify his return out-of-universe. Furthermore, while Maul's resurrection didn't really undo the outcome of The Phantom Menace, bringing Palpatine Back from the Dead undermines the ending of the first six movies, resulting in much less enthusiasm for his revival. It didn't help that Palpatine had very little screen time or memorable moments in the film overallnote , resulting in him not contributing much, whereas The Clone Wars greatly utilized Maul by giving him plenty of acclaimed story-lines.
  • The Rise of Skywalker was criticized for retroactively making the Star Wars saga about Palpatine's bloodline instead of the Skywalkers due to Palpatine returning and Rey being revealed to be his granddaughter. In reality, the Prequel Trilogy was where Palpatine's increased spotlight began as he was running both the Separatists and the Republic while making everyone his pawns. The difference is that the Prequel Trilogy sacrificed nothing for his increased screen-time, but the Sequel Trilogy's increased spotlight of his bloodline came at the cost of characters getting sidelined, plots going nowhere, and the message of the the previous film about how a nobody can be a hero being undermined due to the reveal that Rey's abilities and relevance result from being Palpatine's granddaughter.
  • The Rise of Skywalker was seen as too reliant on supplementary material for audiences to understand its plot and characters. In truth, as far back as the Original Trilogy, Star Wars has always relied on its Expanded Universe to help fill in narrative gaps with the novelizations elaborating on Palpatine's personality and background. Despite this, the Original Trilogy can be enjoyed as its own standalone saga with the tie-ins being extra bonuses that aren't necessary for understanding the goals and motivations of the main heroes. However, as pointed out by film critic Darren Mooney, the tie-ins are absolutely necessary for understanding the character motivations and relationships in The Rise of Skywalker. Most notably, Lando's backstory of his daughter being kidnapped by the First Order is completely absent in the main film. Without having read the Visual Dictionary, Lando's motivation and inter-generational friendship with ex-stormtrooper Jannah is rendered empty. Likewise, the message that Palaptine broadcast to the galaxy, announcing his return, was revealed not in the film itself but in a Fortnite live event.note  Without these details, The Rise of Skywalker becomes incoherent and confusing.
  • Common complaints of The Rise of Skywalker include overusing fanservice, copying storylines from the Original Trilogy, having a villain that pops up out of nowhere with minimal explanation and failing to explain other things (particularly around the backstory and context-providing worldbuilding). These elements were all present in The Force Awakens, which was more highly praised by both critics and fans; the basic plot is very similar to A New Hope, the origins of the First Order and Snoke are vague, many mysteries are left unsolved and so on. Because The Force Awakens was the first film in a new trilogy and it had been ten years since a Star Wars film was released note , people were more willing to accept this as a way to appeal to long-time fans and draw in new fans, believing that the sequels would address these mysteries and subsequently go in new directions. The Rise of Skywalker is the final film in the trilogy and the Skywalker Saga itself, and by this point viewers were not as forgiving of these elements; the lack of explanations is frustrating rather than intriguing, the fanservice comes off as cheap pandering, Palpatine's sudden return reeks of Ass Pull and the plot feels less like a homage and more like an unimaginative rehash.
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    Anthology Movies 
Many of the complaints about Solo could be traced back to the first anthology film, Rogue One.
  • Rogue One caught some mild flack for a few gratuitous references to Disney's animated Star Wars TV shows, which were completely lost on people who had only watched the live-action movies. Among other things, Chopper and the Ghost from Star Wars Rebels both made background cameos, the supplementary materials established that Cassian Andor was a former "Fulcrum" informant and Saw Gerrera from Star Wars: The Clone Wars played a major supporting role. Overall, though, those references were just bonuses for savvy fans and weren't too distracting or confusing for casual viewers who hadn't seen the shows. Most references were kept to the background for eagle-eyed fans and even Saw Gerrera's role (as Jyn Erso's mentor and surrogate father) was perfectly understandable to people who had never heard of the character. People weren't quite as forgiving when Solo took things a step further with The Reveal that Darth Maul was the leader of the Crimson Dawn crime syndicate. Rather than just being a small bonus, that reveal was a hugely important plot point, and it was actively baffling to anybody who hadn't seen The Clone Wars or read Darth Maul: Son of Dathomir — which revealed that Maul survived his apparent death back in The Phantom Menace and explained how he rose back to power as an independent villain. Furthermore, (Darth) Maul is an iconic character, making him stand out more compared to a minor figure like Gerrera.
  • You could also credit Rogue One with the start of giving backstories to self-explanatory things like giving origins to the Death Star's weak point or the Rogue Squadron callsign (and even a bit of Techno Babble to explain the superlaser). Audiences had accepted for decades that the Death Star was just a really big gun whose design flaw was easy to shrug off as the product of the same Awesome, but Impractical style that the Empire favors, and the Rogue Squadron callsign sounding cool was all the explanation it needed. That said, the origins of a vast superweapon or the Rebel Alliance's elite squadron had some meat on their bones; these things were major in-universe, after all, and therefore developed into story beats naturally enough. Solo, however, decided to focus more on giving origins to trivial background items like Han Solo's blaster, Chewbacca's bandoleer, Han's last name, and the little notch on the nose of the Millennium Falcon, none of which have any bearing on larger plot developments, themes, or characters. The backstory of these minor objects, if anything, turned out to be a rich well of Narm, because there really couldn't be, nor was there, a story to, say, Chewbacca's bandoleer besides "he put it on" — not only is it silly to draw attention to it, but if anything, it raises questions as to why Chewie apparently wore the same bandoleer for over 40 years.

    Other 
  • George Lucas has always had a tendency to retcon elements in his own franchise via rereleases, and some fans have always found it annoying, but it didn't lead to too many distracting or controversial changes until the later installments. It started when he changed the title of Star Wars to Star Wars: Episode IV — A New Hope in 1981, and even removed home videos and workprints with the old title from circulation — but most fans shrugged this off, since he at least kept the movie's content unaltered. He attracted more complaints when he released the "Special Edition" versions of the original trilogy in theaters, featuring numerous unnecessary CGI alterations to major scenes. These changes were much more obtrusive, but they were outweighed by the many long-lost Deleted Scenes that were also reinserted, many of which (like Luke and Biggs' reunion) provided more meaningful context for key scenes. When the Special Editions ran out of redeeming qualities but continued introducing negative ones, fans finally got fed up with them. Eventually, it got to the point where by the time the Blu-ray Special Editions rolled along, even those who prefer the original versions started to miss the original Special Editions.


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