Once one pop cultural property is abstracted from its original creators and becomes a stage upon which the tension between technical or legal ownership and spiritual ownership plays out, fans are emboldened to claim spiritual ownership of properties that remain within the custody of their original creators.
The seemingly-eternal youthfulness of rock music came to a realisation: death doesn’t come at the wrong end of a revolver, or at the tip of a needle, or in the fireball of a crashed private jet — all at the age of 27. No. Death, even for rock music, comes from disease, from erosion, from the clock’s placid march down to zero.”
Ultimately, the events of any Star Wars movie are pretty silly. The enjoyment of this silliness is tied to belief that for characters we care about it’s meaningful, and that the results of these events will shape other silly events in more movies. However, for Rogue One, even the silly events are inconsequential, a standalone film from which no one will escape to meaningfully effect other movies. We already know what will happen. It’s written in A New Hope’s Crawl after all. The biggest error of Rogue One is believing that we’re showing up to watch a series of events (of which we’re already privy) happen.
The intricate dance of Cruelty and Heart in The Office (UK) allowed it to sneak in under the radars of audiences on either side of the Atlantic. The Brits saw Cruelty and happened to be warmed by Heart where the Yanks saw Heart in constant conflict with Cruelty. The series met expectations to then exceed and change them, altering the face of Anglophonic comedy.