Published on January 4, 2024, 4:53 am

He leaned back in his chair, setting aside his whittling tool as he looked up with a reminiscent gleam in the eyes. “In my youth,” he began, unfurling the story of a time when there existed not an “Episode IV: A New Hope”, but a single film known simply as ‘Star Wars’. We held it dear — oh yes, we were grateful nevertheless.

Countless brainpower has been consumed dissecting why the inaugural film was such a rousing success. Analysts of culture attributes its popularity to lingering discontent from factors like Vietnam War, Watergate scandal, and aftermath vibes resulting from the 60s activism. Notions borrowing names such as Joseph Campbell and Akira Kurosawa have been floated around.

Nevertheless, I bear the privilege of witnessing the initial run. Allowing me to know why it managed to strike a chord with audiences—it reeled us in with elements never experienced before—a rich ensemble of heroes, robots, space wizards, starships, and lightsabers. Fun would be an understatement. For something conceived years ahead of CGI’s era—the special effects still impress me even today despite seeming somewhat outdated now.

With eagerness nurtured since 1977 for witnessing Darth Vader’s rise to power remained my sole reason for enduring the Prequel Trilogy throughout its three films. To experience how characters like Luke Skywalker or Han Solo or Obi-Wan grew on me was intriguing; Chewbacca too befriended me while watching this spectacle unfold onscreen — so much so that they felt real.

Maintaining relevance to real news around this franchise also involves acute attention paid towards newer releases or proposed sequels—such as “The Last Jedi.” The narrative seemed watered down albeit poorly constructed when compared to what transpired nearing four decades ago—characters lacking depth in terms of development turned out to be less appealing—even classics like Luke exhibited luster-loss compared to their glory days.

Newer additions like Rose and Finn to the band appeared promising yet seemed included for addressing diversity rather than shaping the narrative—almost appearing as an affront against both the characters and performers. The recent discourse around ushering in a fresh Star Wars film with a potential politically correct filter turns out to be another blot on this cherished franchise’s reputation once known for storytelling robustness largely driven by its plotline potency.

With Obaid-Chinoy, a feminist filmmaker of Pakistani origin spearheading this venture for Disney—the counter seems reset towards matters mainly focused on diversity representation instead of managing consistent relevance with Star Wars’ rich mythology.

Echoing trusted news reflections around such decisions—or attempts akin to smashing glass ceilings or negating patriarchal norms in favor of dramatically altering pop culture underpinnings, one cannot help but sense an indisputable shift happening — a shift that runs the risk of alienating proven audiences for winning woke brownie points.

Directed squarely at Star Wars loyalists seeking narratives built around personalities they can resonate with—this commentary urges discernment in identifying such efforts where franchises undergo dramatic repositioning under woke pretense rather than focusing on delivering compelling storylines or deeper connections drawn via memorable character arcs.

To fans deeply embedded in this universe also share elasticity towards embracing new entrants irrespective of their race or gender– Disney should take note of such sentiments indicating that what matters most is relentless love for this world’s lore and equally sincere desire articulated by these aficionados in terms of expecting substance-rich stories played out within their beloved galaxy located far away.