In Rian Johnson’s sequel, to The Force Awakens, a value is a difference that exists because of a uniformity. In alternate but no less complicated terms, a value in The Last Jedi is made up of a uniformity that owes none of itself to a uniformity.

If a uniformity owes none of itself to a uniformity, it is the same as saying that a uniformity owes itself to a difference; seeing as how any image is a uniformity, it is in effect the same as saying that an image owes itself to the absence of an image.

In comparison, to an image, the absence of an image can’t be seen. The inability to see is then the force that creates an image, and thus, in The Last Jedi a value is an image that owes itself to the inability to see.

Being indebted to the inability to see is being free from the ability to see; being free from the ability to see is being indebted to sight itself (the ability to see is not the same as sight in and of itself). In The Last Jedi, a value is an image that owes sight – the absence of image that doesn’t owe sight (an inability to see that is free from sight).

In general, the inability to see is the ability to not see, which in turn changes into sight – ergo, a value in The Last Jedi is a sight that is free from sight.

Sight is a power. And power is because of uniformity; the condition of uniformity is a different non-condition – a different non-condition is a different freedom.

A different freedom which is free from a different freedom is a uniform oppression which owes itself to a uniform oppression. A uniform oppression is just a difference, and is therefore just an oppression.

An oppression that owes an oppression is an oppression that is free from a state of peace (and finally, the real point emerges).

In The Last Jedi, the state of peace, and the state of balance and justice are actual obstacles. The state of injustice, and the state of tyranny are on the run from peace and tranquillity.

With this in mind, it begs to wonder what the state of action is: if tyranny is the force causing the action, as it’s causing the action in order to escape the real tyranny of peace, what then is the composition of the action itself?

It’s because of this sort of evaluation, and because of this sort of DNA of the product that I’m inclined to suggest that Rian Johnson’s instalment of the Star Wars saga is not only the most philosophical instalment, but that it’s also eerily similar to the Tom Ford masterpiece Nocturnal Animals.

The Tom Ford drama Nocturnal Animals is legitimately one of the best movies ever made – perhaps only beaten by the 1977 horror thriller The Sentinel – which is what makes it feel really surreal and exciting to connect the Rian Johnson sequel to it.

Traditionally, Star Wars films have always been fluff and no substance – what a leap!