Like I said last time, Rian Johnson used The Last Jedi to explore and mess with Star Wars tropes. I found it frustrating, but other people loved it because it gave them wonderful moments that weren’t possible in the old framework.
If you listen to the folks who love / appreciate the movie, you’ll find all sorts of comments like, “Star Wars never showed us [thing] before, and it’s exactly what I’ve always wanted to see!” My favorite is this video from Jill Bearup, who basically went out and pursued stage fighting as a new career / hobby based entirely on her love for the throne room fight against the Praetorian Guard in The Last Jedi. I didn’t appreciate the movie, but I do appreciate how much other people appreciated it, if you see what I mean.
In any case, Johnson’s fondness for punking the audience with their own genre expectations creates room for a sort of meta-level analysis that pokes fun at the genre itself. “Yes, you expected A to happen because A is what these stories always do, but really B makes more sense, except it feels like it doesn’t because we’re used to A, but doesn’t B sort of render the whole thing nonsensical? But does that mean the genre itself is nonsensical?” It’s a style of movie that draws attention to its own genre and deliberately breaks your immersion to think about the fact that you’re watching a movie. See also: Spec Ops: The Line.
Q: Why do I have to stupidly drop white phosphorus on these people?
A: Because you always do this kind of thing in these sorts of games, except here you’re getting a “more realistic” outcome.
I love this sort of thing. I think it’s fun to examine a genre through trope perversion / subversion. Heck, half the jokes in DM of the Rings were pitting the tropes of High Fantasy against the completely incompatible tropes of tabletop gaming.
Having said all of that…
Genre demolition is not the sort of thing you do in the context of the second act of an ultra-traditionalist story, you absolute LUNATICS!