Rogue One is setting out to become a very important chapter in the Star Wars franchise. The film is the first in a series of standalone anthology films set within the Star Wars universe and having the ability to focus on new/old characters.
While we’re excited about things like the standalone films focusing on Han Solo, Boba Fett and possibly Obi-Wan Kenobi, there are more stories to tell outside of the threads to the original trilogy. I think for the sake of fans Lucasfilm could really use a wave of films set in a different era and allowing a lot more creative freedom for their writers and directors.
I love fans, but trying to suggest we need a Darth Vader anthology film when he’s a focal point of seven films (plus both cartoon series Clone Wars and Rebels) seems ridiculous to us when they could be creating new stories and characters instead.
The inclusion of Jedha in Rogue One suggests a better avenue for future projects.
The setting with the most creative potential is the pre-rule-of-two era of The Old Republic, which could be a blank canvas for the studio allowing them to create an entirely new wave of mythology and help expand the Jedi/Sith lore beyond the small tidbits rolled-out in Clone Wars and Rebels.
Along with full-scale wars between armies of the Jedi and Sith finally done cinematically.
I also think it’s about time we saw some women of color taking lead roles and this is the perfect kind of project for it, as there aren’t expectations of these main characters to be white or male.
Not just a supporting character, but a woman of color possibly being the centric hero of their own Star Wars movies.
As Lucasfilm has the ability to make these films blank slates for writers and setting them as far back as they want to.
Expanding upon the fantasy elements and showing the Jedi as actual knights and protectors of the republic, sort of rebooting/retconning whatever George Lucas tried to attempt with his messy prequels. I know the idea of the rebooting the prequels will freak out a section of fandom, so this is a kind of compromise to that.
Lucasfilm has already retooled Death Star origin mythology setup in Revenge of The Sith with Rogue One, they might as well show off a more interesting take on what the Jedi and Sith were like in ancient times with a Knights of The Old Republic trilogy.
Deadpool director and Blur Studio head Tim Miller has proved the worth of exploring the Old Republic era with his recent stunning cinematic trailers for the video games. I’m not saying the films need to focus on these characters specifically, but the imagery does paint an interesting picture for a more fantasy-focused adventure than we’ve seen previously.
It could quite possibly be the Lord of The Rings trilogy of the Star Wars universe if handled properly. Previously, we mentioned that the existing material from Tales of The Jedi could be retooled to fit a batch of movies. Using the many different wars and battles within the material as a blueprint for a brand new saga.
We’ve seen the Star Wars films take from other mythology focused films using elements from tales of sorcery, knights, and samurai, so it might be interesting to see that yet again for this set of films as well. Dealing with themes of power and corruption while keeping in the mysticism that everyone holds dear.
Here’s some source material to consider for potential Old Republic films.
THRONE OF BLOOD (1957): A transposition of Shakespeare’s ‘Macbeth’ to medieval Japan. After a great military victory, Lords Washizu and Miki are lost in the dense Cobweb Forest, where they meet a mysterious old woman who predicts great things for Washizu and even greater things for Miki’s descendants. Once out of the forest, Washizu and Miki are immediately promoted by the Emperor. Washizu, encouraged by his ambitious wife, plots to make even more of the prophecy come true, even if it means killing the Emperor
HAXAN: WITCHCRAFT THROUGHOUT THE AGES (1922): A historical view of witchcraft in seven parts and a variety of styles. First, there are a slide-show alternating inter-titles with drawings and paintings to illustrate the behavior of pagan cultures in the Middle Ages regarding their vision of demons and witches. Then there is a dramatization of the situation of the witches in the Middle Ages, witchcraft, and witch-hunts. Finally, the film compares the behavior of hysteria of contemporary (1921) women with the behavior of the witches in the Middle Ages, concluding that they are very similar.
ONIBABA (1964): As feudal war rages in 14th-century Japan, those left behind are struggling to survive. The wife and the mother of a soldier make their meager living by preying upon hapless samurai who comes their way, killing them and selling their armor for food. When a friend of the soldier returns to the women’s hut, they learn the fate of their soldier and are forced to deal with this survivor. Tensions build as the young widow gives in to her loneliness, and the older woman fears abandonment, feels jealousy, and plots revenge.
JULIUS CAESAR (1953): Brutus, Cassius, and other high-ranking Romans murder Caesar, because they believe his ambition will lead to tyranny. The people of Rome are on their side until Antony, Caesar’s right-hand man, makes a moving speech. The conspirators are driven from Rome, and two armies are formed: one side following the conspirators; the other, Antony. Antony has the superior force and surrounds Brutus and Cassius, but they kill themselves to avoid capture.
EXCALIBUR (1981): The myth of King Arthur brought once again to the screen. Uthur Pendragon is given the mystical sword Excalibur by the wizard Merlin. At his death, Uthur buries the sword into a stone, and the next man that can pull it out will be King of England. Years later Arthur, Uthur’s bastard son draws Excalibur and becomes king. Guided by Merlin, Arthur marries Guenivere and gathers the Knights of the Round Table. Arthur’s evil half-sister Morgana sires a son with him, who may prove his downfall.
13 ASSASSINS (1963): A sadistic Daimyo (feudal lord) rapes a woman and murders both her and her husband, but even when one of his own vassals commits suicide to bring attention to the crime, the matter is quickly hushed up. Not only will there be no punishment, but because the Daimyo is the Shogun’s younger brother, he will soon be appointed to a high political position from which he could wreak even more havoc. Convinced that the fate of the Shogunate hangs in the balance, a plot is hatched to assassinate the Daimyo. The two most brilliant strategic minds of their generation find themselves pitted against each other; one is tasked to defend a man he despises and has a small army at his disposal. The other is given a suicide mission and has 12 brave men. They are the 13 Assassins.
RAN (1985): Japanese warlord Hidetori Ichimonji decides the time has come to retire and divide his fiefdom among his three sons. His eldest and middle sons – Taro and Jiro – agree with his decision and promise to support him for his remaining days. The youngest son Saburo disagrees with all of them arguing that there is little likelihood the three brothers will remain united. Insulted by his son’s brashness, the warlord banishes Saburo. As the warlord begins his retirement, he quickly realizes that his two eldest sons selfish and has no intention of keeping their promises. It leads to war and only banished Saburo can possibly save him.