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(The texts weren’t there, but safe on the Millennium Falcon, where Rey had hidden them.) Luke’s false bravado fails. He is determined to destroy the past and the root of Jedi arrogance along with it.īut Yoda beats him to the punch, seemingly destroying the texts with a bolt of lightning.
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The Jedi had fallen to hubris, as had Luke when he fell victim to his own legend and almost killed his nephew. In a conflicted state, Luke rushes to destroy the original texts of the Jedi Order. A Painting of a Rice Cake Does Not Satisfy Hunger This moment haunts Luke for years, until he comes to terms with the past and meets the present head-on. Luke’s actions, as Rey points out, created Kylo Ren. Unfortunately, Ben wakes, mistakenly reads murder in his uncle’s eyes, and attacks. Luke cannot kill his nephew any more than he could his father. He ignites his saber to destroy that darkness, but then the fear passes. Luke senses great darkness in Ben and is afraid. In a flashback, we see Luke considering killing his nephew, Ben Solo - who would become Kylo Ren. Luke also bears the consequence of his past actions. We see this burden when he hesitates to fire on his mother’s ship, and when Luke says, “If you strike me down in anger, I will always be with you. The murder of his father, Han Solo, weighs heavily on him in The Last Jedi. Kylo Ren’s past actions define him as well. Her actions and choices define who she is, not her ancestors. Rey seeks the identity of her parents, but there is no answer other than herself reflected back. Rey’s trippy experience in the dark side cave (where countless iterations of herself repeat endlessly ahead of and behind her) symbolizes how one action begets another, and another, and another, until the flow of actions returns to the actor. Destiny and Karmaĭestiny got a lot of play in the previous Star Wars films - but the law of cause and effect was strong in this one. Supreme Leader Snoke reiterates this theme later in the movie: “The darkness rises… and the light to meet it.” Snoke may have been thinking dualistically, but he touches on truth: you can’t have one without the other. This comes much closer to the Buddhist notion of non-dualism: not one, not two. It’s a single existence, unified by the Force. It’s not violent tension between good and evil, but complementary opposites. Luke calls this “balance” -light complementing dark. “Just breathe,” he says, before asking, “What do you see?” Rey sees light, dark, life emerging and dying, the cycle of birth and death. Except it’s now presented in a broader sense. In The Last Jedi, balance comes up again. It wasn’t until his son, Luke Skywalker - out of compassion - reminded Anakin of his true purpose that he finally fulfilled his destiny. In a twist, the light champion fell into the darkness. To bring balance, Anakin Skywalker, as prophesized, was to destroy the evil Sith. The Force was out of balance because the dark side had grown too strong, obscuring the light. The prequels coined the phrase “balance of the Force,” getting us thinking in terms of duality (light vs. Among them, I took notice of a few Buddhist themes. In The Last Jedi, we got a bold tale that turned the saga’s established tropes inside out, pushing them in surprising directions. The Force Awakens was a safe Star Wars movie that expertly wove the themes of the original trilogy into a familiar narrative. I doubt Buddhism was on Johnson’s mind when he crafted The Last Jedi¸ but the legacy of Lucas’s mythology is very accommodating to a Buddhist interpretation. In Star Wars: The Last Jedi, writer-director Rian Johnson cranks up the volume on the Buddhist chords first strummed by George Lucas in the earlier films. Rey makes rocks float while meditating on the Force.