The best example of this was Chretien de Troyes’ introduction of the Holy Grail and the cuckolding

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Whether you loved it or hated it, chances are you have some thoughts about the latest Star Wars film. But what if we consider the film in the greater context of historical epics? Let's find out in this latest Wisecrack Edition on Star Wars: An Apology.



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The Rise of Skywalker burst into theaters and, perhaps unsurprisingly, left public opinion

Like The Last Jedi before it, The Rise of Skywalker seems to be a “love it or hate

Regardless of which camp you fall into, though, there are probably some choices in the movie

Maybe it was the new narrative reveals, or maybe it was the way the film handled, or

mishandled, the choices of the previous installments.

But what if all of these arguments miss the real point?

What if the way to look at Star Wars is not as a series of good and bad choices designed

to make us eternally rage, but as part of a long storytelling tradition.

That is to say, what if we view Star Wars as... an Epic.

And could dusting off some King Arthur manuscripts help us all finally come to terms with the

Let’s find out in this Wisecrack Edition on The Rise of Skywalker.

And, heads up, spoiler alert for pretty much all of Star Wars ahead.

While the Sequels were generally better received than the Prequels, they’ve still attracted

Fans and critics alike have been vocal about a lack of originality, an apparent disrespect

to what came before, an overabundance of fan service and a lack of character development

This ongoing discourse has manifested in increasingly less-impressive box office earnings for each

With all that said, it’d be natural to have a somewhat pessimistic view for the future

With a warring fanbase, a burned-out audience, and sketchy corporate overlords, is Star Wars

And not just because we’re reckless optimists.

That’s because the so-called problems that have, and likely will continue to plague,

It could even be argued that our biggest complaints about Star Wars aren’t flaws in fact,

they’re firmly established aspects of epic storytelling.

By epic, we not only mean the long narrative poems like Beowulf and the Odyssey, but the

other non-poem stories that resemble them and have a knack for being retold over and

First, let’s get the similarities between The Skywalker Saga and historical epics out

Star Wars has captured our collective attention for more than forty years.

And there’s every reason to assume that it will continue to be passed down from generation

to generation, much like the tales of old.

The story and its characters are so thoroughly integrated into pop culture that everyone

knows what Darth Vader sounds like when he breathes, or what a lightsaber is, even if

It’s kind of like how… even if you’ve never read Homer or Virgil, you know what

But that’s not the only way The Skywalker Saga mirrors ancient epics.

It borrows classic epic storytelling techniques as well.

To understand how, let’s look to scholars Barbara Graziosi and Johannes Haubold, and

As you may know, Homer was the author long-attributed to ancient Greek stories such as The Odyssey

We once thought that Homer was a single person, a one-man story machine churning out culture

But now scholars mostly believe that Homer was in fact a pseudonym for a group of storytellers

who built upon, strengthened and further developed each other’s work.

Graziosi and Haubold developed a theory of resonance to describe the way these disparate

They argue that, in order to maintain a consistent world and a single authorial voice, the various

storytellers employed specific narrative features in each new tale.

These techniques included: starting a story mid-scene or repeating specific phrases like

“high-hearted men,” and “swift-footed Achilles,” or using precise formulas to

Even the precise way a hero undressed was ritualized and repeated from story to story.

The use of resonance told the audience that this story was part of the Homeric tradition,

and connected to past and future Homeric stories.

At the same time, it implicitly promised the audience a specific experience.

Like the Odyssey, Star Wars is a saga helmed by various authors, namely George Lucas, George

Lucas but worse “I don’t like sand,” JJ Abrams, and Rian Johnson.

And like the Odyssey, Star Wars uses resonance to remain coherent.

This is instantly apparent the moment a Star Wars film begins, and the bright yellow text

scrolls inexplicably through space while the iconic score plays.

More examples of resonance are peppered throughout each film.

These range from scene transitions, to character archetypes like the tragic hero or the sage

mentor, to visual homages that deliberately evoke earlier films in the series.

First Lucas, and now his successors, deliberately use these resonances to establish Star Wars

as a modern epic playing out right before our eyes.

In fact, Abrams relies heavily on resonance in The Force Awakens, and even more so in

The Force Awakens hewed close to A New Hope.

Both Luke and Rey are orphans from a desert planet, both the Death Star and Starkiller

Base are destructive man-made planets, and both the Empire and the First Order are wanna-be

Similarly, The Rise of Skywalker mirrors Return of the Jedi.

Both feature a young Jedi training with a dying mentor, both begin with the Rebels struggling

after a crushing defeat, and both feature a Palpatine-concocted showdown between good

Detractors might dismiss this as fan-service, or at best, an overreliance on nostalgia-driven

But the way Abrams mirrors Lucas actually forges crucial thematic and structural links

Abrams actually spoke to this during the promotion for The Force Awakens, stating “...we very

consciously tried to borrow familiar beats so the rest of the movie could hang on something

Resonance also explains Abrams’ strategic repetition of everything from central themes

But it doesn’t account for the second complaint lodged by Star Wars fans: Why so many inconsistencies?

Test your pronunciation!

“introduction”