Lights... Camera... ACTION!!: A Hollywood Quest

IMPORTANT ANNOUNCEMENT
Hi Magoose here one of the guys helping Duke.

So we have some bad news.

The quest has been canceled as duke does not want to write it anymore.

I'm going to ask if I can take over for it, because I like this quest, and it would be a shame to kill it
TBF, Mags, you have been doing a lot of the heavylifting for the quest, so this will be in good hands. :)

To be clear to everyone, this is just me burning out on imagination of the quest, since my muse has been hitting me over the head a lot with so many different ideas that I just can't find myself too interested in this.

I'll still hang out here, though, since this still does have a sepcial place in my heart.

I'd like to thank you all for making this a wonderful experience while it lasted.

I'd also like to thank @Magoose, @Fluffy_serpent, and @Martin Noctis for doing so much to help prepare and write this quest. I couldn't have done it without you all. :D

I'll see you all around.

With so many regards, Duke William Of.
 
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I agree with Nova. Trying to placate China is stupid right now and India is a far better use of our time to expand our markets in Asia.

Investing in Hong Kong and/or Macau is not placating China. It is an attack on the CCP. Right now they are under the rule of UK and Portugal- and the CCP seems almost ready to let them stay with those countries. We just have to increase the influence of Lucasfilm in those locations and make them Lucasfilm-loving consumers.

I prefer Hong Kong/Macau investment because there is a definite deadline, China has a kill order on Bruce, and we can alter the fate of Hong Kong and Macau if we do it early enough and with enough force. Plus, would be nice to have the Hong Kong movie scene under Lucasfilm's influence and to help out Jackie Chan, who is an acquaintance of Bruce.

Edit:
In other words: Invest in Hong Kong and Macau as soon as possible to start influencing the Hong Kong Macau culture more as soon as possible. We can invest in India a little later once we did our knockout blows to the CCP. India will still be a democracy- Hong Kong and Macau will not be if we don't do something.
 
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Investing in Hong Kong and/or Macau is not placating China. It is an attack on the CCP. Right now they are under the rule of UK and Portugal- and the CCP seems almost ready to let them stay with those countries. We just have to increase the influence of Lucasfilm in those locations and make them Lucasfilm-loving consumers.

I prefer Hong Kong/Macau investment because there is a definite deadline, China has a kill order on Bruce, and we can alter the fate of Hong Kong and Macau if we do it early enough and with enough force. Plus, would be nice to have the Hong Kong movie scene under Lucasfilm's influence and to help out Jackie Chan, who is an acquaintance of Bruce.

Edit:
In other words: Invest in Hong Kong and Macau as soon as possible to start influencing the Hong Kong Macau culture more as soon as possible. We can invest in India a little later once we did our knockout blows to the CCP. India will still be a democracy- Hong Kong and Macau will not be if we don't do something.
I don't disagree with pushing more films towards Hong Kong and Macau, but what you originally said was
Also, perhaps we should start a targeted plan to get China to not want to kill us. Perhaps by making more movies to spread freedom and by investing in countries in asia to try and increase our influence and film distribution. Heck, if we are feeling gutsy, we can invest in Hong Kong and Macau. Help increase our influence, help distribution, and make a more thriving asian film industry.
which confused me as it seemed like you wanted to get China to not want to kill us by....doing the exact thing that led to them wanting to kill us? On top of that, your word choice for Hong Kong and Macau and how you prefaced that sentence gives the impression that it wasn't part of the "package deal" so to speak and was more of an optional afterthought in your estimate. It's entirely possible I misunderstood, and indeed it seems that I did. But overall, yeah, I don't disagree with targeting Hong Kong and Macau, but I also prefer targeting India first, considering that it's a far larger untapped market and I'd like to move in on that as fast as possible, but I don't disagree with what you're saying overall.
 
probably less urgent than hong cong/macau/india but we could also bring more movie from the homeland ?
I looked quicly for a few ones that are considered great and we could do right now.

-Flight of the Doves 1971
-Odd Man Out 1947
-The Rocky Road to Dublin 1967
-Mise Éire 1959
-The Quiet Man 1952
-Darby O'Gill And The Little People (1959)
 
which confused me as it seemed like you wanted to get China to not want to kill us by....doing the exact thing that led to them wanting to kill us? On top of that, your word choice for Hong Kong and Macau and how you prefaced that sentence gives the impression that it wasn't part of the "package deal" so to speak and was more of an optional afterthought in your estimate. It's entirely possible I misunderstood, and indeed it seems that I did. But overall, yeah, I don't disagree with targeting Hong Kong and Macau, but I also prefer targeting India first, considering that it's a far larger untapped market and I'd like to move in on that as fast as possible, but I don't disagree with what you're saying overall.

I understand that India is a large market, but it is not time limited. With China's stance on LucasFilm, if Hong Kong and Macau go back to China, we lose those markets and also the footholds into China for as long as the CCP exists. So, really, it is the difference between starting on a large, but constantly available market a bit earleries vs tappingt into and preventing a still-large market from disappearing (and maintaining democracy in those locations).

Honestly, we could do both if we took one or two less personal actions for a turn. If we want to invest in those markets, I would suggest first upgrading our legal to lower the chance of a disaster occurring.
 
I understand that India is a large market, but it is not time limited. With China's stance on LucasFilm, if Hong Kong and Macau go back to China, we lose those markets and also the footholds into China for as long as the CCP exists. So, really, it is the difference between starting on a large, but constantly available market a bit earleries vs tappingt into and preventing a still-large market from disappearing (and maintaining democracy in those locations).

Honestly, we could do both if we took one or two less personal actions for a turn. If we want to invest in those markets, I would suggest first upgrading our legal to lower the chance of a disaster occurring.
I get that, I just don't place all that much value on the Hong Kong and Macau market over India's, even if they are more time sensitive. But yeah, there's no reason we couldn't pursue both at once.
 
Neat, this shows our standing with both the different players within the film industry and within the political entities around the world. Let's take a look-
Wow. Apparently, the USSR, who we've actively been a thorn in, actually developed a sort of fearful respect for us, while China, the power that is trying to form new ties, actively hates us. Well now I want to start investing into Hong Kong and Macau, if only to spite the Chinese.
 
I'd be down for that...and now I have an idea for Bruce learning how to homestead because Mary wanted fresh tomatoes.
I mean if you choose to spend an action you can do it.
4) From what I read from Magoose is that the PRC really REALLY hates/fears us and our influence but India is against us just due to soviet influence and US politics. So it would be easier for us to improve relations with India then with China, maybe we can start a new era of Goose diplomacy
The ccp have put a kill order on Bruce.

That is something ducking incredible because last I checked, most nations don't publically reveal who they want to assasinate.
Investing in Hong Kong and/or Macau is not placating China. It is an attack on the CCP. Right now they are under the rule of UK and Portugal- and the CCP seems almost ready to let them stay with those countries. We just have to increase the influence of Lucasfilm in those locations and make them Lucasfilm-loving consumers.
And hey it would be fun to do some more adding the the Wikipedia page for Bruce.
Wow. Apparently, the USSR, who we've actively been a thorn in, actually developed a sort of fearful respect for us, while China, the power that is trying to form new ties, actively hates us. Well now I want to start investing into Hong Kong and Macau, if only to spite the Chinese.
Well the thing is, we did that by accident… plus you know. It's not like we're a government spy.

Now for China… they uh… are actively threatening the goose and his family. Bruce will not take that lying down.
@Magoose How much would it cost to buy Paramount and its sad-sack TV station?
They are not interested. Mostly because they are making money.
 
Imagine we tell china to fuck off it leads to a civil war between the parties factions due to them feel humiliated at being beaten by the Goose and it causes the entire state into chaos
 
So I looked for some nice projects abandoned by Hollywood or Destiny and that we could save, sorry if some have already been mentioned.

1: "the little prince" by Orson Welles in the 40s orson welles wanted to make an innovative animated adaptation of the little prince and went to see disney but disney wanted artistic control on the film welles refused and left furious, the project was never done.

2: an adaptation of "The Masque of the Red Death" by Edgar Allan Poe by Akira Kurosawa under the name "The Masque of Black Death" he would have started writing the screenplay in 1975, he subsequently sought to produce but had a very hard time apparently finally planning to do it in 1998 but he died in 1998 and therefore didn't have time

3: (future project) Megalopolis by francis ford coppola, to quote the wiki "Francis Ford Coppola started writing Megalopolis in the 1980s, as a passion project. Coppola stated his agreements to direct Bram Stoker's Dracula (1992), Jack (1996), and The Rainmaker (1997) were done to get out of debt and fund Megalopolis. Jim Steranko, who previously created production illustrations for Bram Stoker's Dracula, produced a dozen color works for Megalopolis in the mid-1990s at the director's behest to create stark "architectonic panoramas of content and imagery."

By 2001, Coppola began holding table reads with actors including Russell Crowe, Robert De Niro, Leonardo DiCaprio, Nicolas Cage, Paul Newman, Kevin Spacey, James Gandolfini, Edie Falco and Uma Thurman,and recorded roughly 30 hours of second-unit footage of New York City with Ron Fricke,all of which he discarded after 9/11. In response to this, Coppola stated "It made it really pretty tough... a movie about the aspiration of utopia with New York as a main character and then all of a sudden you couldn't write about New York without just dealing with what happened and the implications of what happened. The world was attacked and I didn't know how to try to do with that. I tried". In 2007, Coppola stated he had abandoned the project."

4: the dune by alejandro jodorowsky, abandoned for budget reasons it seemed to be a great project with stunning and truly alien visuals "In December 1974, a French consortium led by Jean-Paul Gibon purchased the film rights from APJ, with director Alejandro Jodorowsky set to direct. Along with French producer Michel Seydoux, Jodorowsky proceeded to approach, among others, Virgin Records with the prog rock groups Tangerine Dream, Gong and Mike Oldfield before settling on Pink Floyd and Magma for some of the music; artists H. R. Giger, Chris Foss and Jean Giraud for set and character design; Dan O'Bannon for special effects; and Salvador Dalí, Orson Welles, Gloria Swanson, David Carradine, Mick Jagger, Udo Kier, Amanda Lear and others for the cast. Jodorowsky intended his son Brontis, 12 years old at the start of pre-production, to star as Paul Atreides.

Herbert traveled to Europe in 1976 to find that $2 million of the $9.5 million budget had already been spent in pre-production and that Jodorowsky's script would result in a 14-hour film ("It was the size of a phone book", Herbert later recalled). Jodorowsky took creative liberties with the source material, but Herbert said that he and Jodorowsky had an amicable relationship. After two and a half years in development, the project ultimately stalled for financial reasons since $5 million was still missing to round off the $15-million total budget.

After the film rights lapsed in 1982, they were purchased by Italian producer Dino De Laurentiis, who eventually released the 1984 film Dune, directed by David Lynch.",i don't see why we couldn't do the jodorowski and the de laurentiis version ?,it's just two diferent point of view ?

sorry if it was a little long
 
The ccp have put a kill order on Bruce.

That is something ducking incredible because last I checked, most nations don't publically reveal who they want to assasinate.
I don't think the American goverment/public is thrilled that a foreign (COMMIE!) state has publicly given a kill order on a US citezen much less a beloved celebrity, this may chill relation between the USA and China. Is this Deng Xiaoping's idea or is this an idea from the more conservitive faction led by Hua Guofeng. Because no mater how much China may hate Bruce they should know that that order will stop (or at the very least hinder) any cooperation with the West. So are they trying to mend the Sino-Soviet split or are they still hoping that isolationism will help them?
 
Is this Deng Xiaoping's idea or is this an idea from the more conservitive faction led by Hua Guofeng. Because no mater how much China may hate Bruce they should know that that order will stop (or at the very least hinder) any cooperation with the West. So are they trying to mend the Sino-Soviet split or are they still hoping that isolationism will help them
Most likely Huas group.

And that has frosted over relations. And that will be fun.
 
Nah one global conflict caused by Lucasfilms is enough.
Never enough we need to cause revolutions everywhere so the world can progress for better or for worse also I want one to happen in china due to how they neglected the poor because they don't actually fix the lower class then the upper class making them an actual First Nation then a third nation in disguise
 
Movie Pitch: Inside Out
Movie Pitch: Inside Out
GENRE
: Animated/Coming-of-Age
FORMAT: Movie​

Set Up: Within the mind of a 11-year-old boy named Lawrence are the personifications of the five basic emotions that influence him: Joy, Sadness, Fear, Disgust, and Anger. Lawrence's experiences become orbs tinged with the emotion that he associates with them, and the orbs are logged into "long-term memory" every night when he sleeps. For as long as they can remember, Joy has been the leader of the inner "core" emotions of the group, but since Lawrence moved to a new home because of his dad's job, sadness and anger have become more and more predominant, much to Joy's concern. The movie follows Joy as he ventures into Lawrence's mind, seeing his imaginary friend "Blobby Bob" and as he comes to understand the importance of all the core emotions- but also the need to keep the emotions from overwhelming him.

This film was written by Bruce as he was teaching Brandon Lee, and how he dealt with the emotional strain of dealing with the death of his father, his legacy, and building close relationships and new memories with Bruce and his family.

Director: Brad Bird
Written By: Bruce "The Goose" O'Brien
Music: Randy Newman

Joy: The personification of Joy who sees the purposes of Fear and Distrust, but not of Anger and Sadness. He travels deep into Lawrence's mind in an attempt to return him to his more joyful state of mind. Along the way, he learns that all the emotions are important, and that non-stop Joy could be harmful.

Sadness: The personification of Sadness, who is the comedic counterpoint to Joy. Thinks of himself as useless, but eventually learns that he plays an important part of Lawrence's health.

Fear: The personification of Fear who is seen as a valued member of the mind as he pinpoints and foresees danger. Often works together with Disgust when it comes to new foods and, especially, Brussel Sprouts.

Disgust: The Personification of Disgust who works together with Fear. Initially has a pretend dislike of "girly" things but by the end of the movie has softened due to Lawrence's like of playing tea parties or dollies with his younger sister.

Anger: Voiced by Clint Eastwood, anger is quiet but threatening. Also can go of at inopportune times, hurting the feelings of those who love him. However, he is also a feeling that can cause focus as Lawrence harnesses and controls his anger to encourage him to work towards a goal (as he works with Joy).

Blobby Bob: Lawrence's forgotten imaginary friend, who wants to save some of the memories that are now set to be forgotton. Sacrifices itself to help Joy and the others help Lawrence deal with his sadness and anger. Has some of his memories placed into long-term memory. Voiced by Robbin Williams

Lawrence: An 11-year old who is sad and angry that he has moved homes and has left his friends behind. The movie shows how he learns to open up to his family about his sadness and harness his anger to score a goal and study for his tests. Also to temper his fear of how other perceive him to play with his younger sister and her dollies. Voiced by Brandon Lee.

Lawrence's Parents: Caring couple who wants to do right for their family. Also shows a comedic insight into their inner lifes.

Lawrence's Sister: A toddler who constantly wants to be around her older brother and play dollies with him. Also shows a comedic counterpoint to her inner life, which is the same feelings, though female versions, who just grab the reigns depending on what is before her.
 
Starzan
Well that took longer than I would've liked. But I present you...STARZAN!


I wanna' know about the strangers like me
Title: Starzan
Director: Wes Craven
Genre: Action/Adventure​

The vast landscapes of Mars shimmer under two dim suns, revealing an intriguing blend of rust-red dunes, ancient crystalline structures, and the remnants of floating Martian cities, relics of a bygone advanced civilization. The air is dense with silence, occasionally disturbed by sandstorms and the distant howls of the planet's enigmatic wildlife.

In the shadow of one such floating city, a small human shuttle crash-lands, tearing up Martian dust and creating a small crater. Within the smoke and debris of the wreckage, baby Starzan's cries pierce the stillness. Kala, a graceful Martian with luminescent skin and elongated limbs, approaches the scene, her heart filled with both curiosity and compassion. While the advanced Martian tech in her eyes scans the surroundings and confirms the infant's terrestrial origin, her maternal instincts override any reservations she might have.

Amidst the wreck's twisted metal and broken equipment, she finds a locket, warm and pulsating, suggesting some significant link to the infant's past. Pocketing it, she cradles the baby, shielding him with her protective aura against the harsh Martian conditions. Her decision to bring him to her tribe is met with a mix of fascination and apprehension. Kerchak, the tribe's stern leader with a scarred visage and a history of defending his people against various threats, voices concerns about adopting an alien species. Still, Kala's plea about the sanctity of life prevails.

Growing under the watchful eyes of his Martian family, Starzan soon becomes an expert navigator of this alien world. With grav-boots crafted from Martian tech, he swings and soars between the ruins, intertwining his human intuition with Martian teachings. The sounds of his laughter mix with the tribe's harmonious Martian chants, painting a portrait of a boy torn between two worlds yet intrinsically a part of both.

However, the equilibrium of Starzan's world trembles with the approaching hum of human spacecraft, heralding the onset of a new chapter, filled with revelations, challenges, and the eternal quest for identity.

Jana's spacecraft, sleek and shimmering with a polished silver hue, touches down gracefully on the Martian terrain. An emblem of Earth's crescent moon shines brightly on its side. As the hatch opens, out steps Jana, her suit reflecting the latest in Earth's technological achievements, adaptive to Mars' unpredictable environment. She's not just any researcher; she's a dreamer, always chasing the mysteries of the universe. With a diary in one hand and a multi-dimensional scanner in the other, she begins her expedition.

Mars, to Jana, is not just a desolate neighbor of Earth. Every grain of sand, every gust of wind, tells a story. As she uncovers ancient Martian artifacts and sketches unfamiliar flora, an unusual set of footprints draws her attention. A footprint undeniably human, yet surrounded by patterns she recognizes as Martian. The mysteries compound as she stumbles upon a makeshift toy – clearly a blend of Earthly materials and Martian craft.

Unknown to Jana, Starzan observes her from the shadows of a nearby ruin. He is captivated. Her movements, her form, her curiosity – it's like looking into a human mirror of himself. Drawn by an inexplicable pull, he follows her, always from a distance. That is until one fateful evening when Jana encounters a Narsa beast, a massive creature with translucent scales and glowing eyes, known to the Martians as a territorial predator.

In the ensuing chaos, Starzan's instincts and his Martian training kick in. With agile maneuvers, using his grav-boots and the environment to his advantage, he distracts the beast, allowing Jana a narrow escape. The initial moments after their direct encounter are thick with tension. Jana's eyes, filled with gratitude and astonishment, meet Starzan's, which radiate a mix of curiosity and confusion.

Utilizing her state-of-the-art translation device, their communication starts shaky but soon flows like a river. Stories are shared, songs are sung, and slowly, barriers begin to crumble. Jana introduces Starzan to the fragments of Earth's culture she's brought with her – an old photograph, a piece of music, a fragment of a book. With every artifact, Starzan feels the pull of a world he's never known, but somewhere deep down, recognizes.

However, the serenity of their growing bond is disrupted by the roaring engines of another spacecraft. Far larger than Jana's, its design screams authority and dominance. The ship's side reads "E.A.R.T.H Expedition: Resource Acquisition". Out steps Clayton, a burly man in a militarized spacesuit, accompanied by an entourage of equally imposing figures. His eyes, unlike Jana's, don't seek to learn – they seek to conquer.

Clayton, seeing the potential in Starzan's unique position between two worlds, attempts to befriend him. With sly words and deceptive promises of revealing Starzan's true origins, he lures the young man into his web. But Jana, having seen the likes of Clayton's ambition before, senses the looming danger. She tries to warn Starzan, leading to internal turmoil within him.

The Martian horizon glows with the first light of dawn, casting elongated shadows over the ancient ruins. The atmosphere is thick with tension as Clayton, with his crew, sets up a massive extraction drill. Its purpose: to mine a rare, luminescent mineral sacred to the Martians, believed to be the source of their unique energy. As the drill's hum permeates the Martian air, it's clear that the landscape, once serene, stands on the precipice of irreversible change.

Starzan, caught in Clayton's manipulative web, stands beside him but remains deeply conflicted. Each rotation of the drill reminds him of the Martian lullabies Kala would sing, the stories of a world that thrived on balance and respect for every grain of sand. He recalls his adventures, swinging between the ruins, the sound of Martian children laughing, and the warmth of his adopted family. A growing realization dawns upon him: his true identity isn't bound by where he came from, but by the bonds he's formed and the values he holds.

Jana, having formed an alliance with Starzan's Martian family, devises a plan. Using holographic technology, they project illusions of Martian warriors, hoping to distract and disorient Clayton's crew. Simultaneously, Starzan taps into the planet's ancient communication system, rallying various Martian tribes for a united front against the impending threat.

As the battle unfolds, it's not one of brute force, but of strategy and wit. Starzan and the Martians use the environment to their advantage – creating sandstorms, manipulating the gravitational fields, and employing the mysterious powers of the Martian minerals. Jana, leveraging her scientific expertise, sabotages the drill, causing it to malfunction and destabilize.

In the climax, a face-off between Starzan and Clayton ensues. As they grapple, Clayton tries to exploit Starzan's human emotions, taunting him about his lost heritage and uncertain future. But Starzan, fueled by the love of his Martian family and the teachings of his upbringing, overpowers Clayton, leaving him and his crew stranded amidst the vast Martian dunes, far from their extraction site.

The immediate aftermath is a blend of relief and sorrow. Kala, injured during the confrontation, is on the verge of joining the ancient spirits of Mars. In a touching moment, she hands Starzan the pulsating locket she found with him years ago. It projects a hologram – a young couple, clearly his parents, holding a baby version of Starzan, with the backdrop of Earth behind them. Their message is one of love, hope, and a plea to find his own path.

With Clayton's threat neutralized and the sacred Martian minerals safe, Starzan stands at a crossroads. Jana, having decided to extend her stay to help restore and study the Martian civilization, offers Starzan a chance to return to Earth and discover his roots. But Starzan, with the horizon stretched before him, realizes his heart belongs to both worlds.

The story concludes with Starzan and Jana, side by side, looking towards the vast Martian skies. They're not just looking at stars; they're looking at possibilities, adventures, and the infinite tapestry of interstellar mysteries, symbolizing the journey ahead.

Starzan: The protagonist, Starzan is a human who crash-lands on Mars as an infant. Raised by Martians, he navigates the challenges of growing up in an alien world while grappling with his human heritage. His journey revolves around self-discovery, loyalty, and the eternal struggle between two identities.
Played by: Arnold Schwarzenegger
Alt: Ron Pearlman

Kala: A compassionate and graceful Martian, Kala discovers baby Starzan amidst the wreckage of his crashed shuttle. Defying norms and conventions, she adopts him, becoming his Martian mother. Kala symbolizes the nurturing aspect of the Martian culture and instills in Starzan the values of empathy, respect, and love.
Voiced by: Angela Lansbury
Alt: Audrey Hepburn

Kerchak: The stern and protective leader of the Martian tribe that adopts Starzan. Scarred from past confrontations with other alien entities, he is initially hesitant about embracing Starzan. As the story unfolds, his role evolves from a skeptic to a protector, and his dynamic with Starzan is one of mutual respect.
Voiced by: William Marshall
Alt: James Earl Jones

Jana: An inquisitive and passionate researcher from Earth, Jana's curiosity about Mars is profound and genuine. She introduces Starzan to fragments of Earth's culture and becomes his human connection, leading him towards the path of self-discovery. Her bond with Starzan deepens as they navigate the challenges brought by Clayton's arrival.
Played by: Olivia Newton John
Alt: Glenda Jackson

Clayton: The antagonist, Clayton is a cunning and ambitious astronaut from Earth with a militarized mindset. He arrives on Mars with intentions of exploitation, seeking to mine its rare resources for personal gain. His interactions with Starzan are manipulative, attempting to use the latter's unique position for his own benefit.
Played by: BRIAN BLESSED!!!!!!!!
Alt: Max Von Sydow

Martian Tribe Members: Various characters with distinct personalities that collectively represent the diverse Martian culture. These individuals play significant roles throughout Starzan's upbringing, teaching him the skills, values, and traditions of the Martian way of life.

Clayton's Crew: An assortment of astronauts and miners who accompany Clayton. They reflect varying levels of loyalty to Clayton, with some merely following orders, while others wholeheartedly believe in the exploitative mission. Their interactions with the Martian environment and inhabitants provide contrasting perspectives on colonization and exploration.

The Martians are all puppets. Think The Dark Crystal and how the urSkeks look to give you an idea, only not as huge and without the big ass crystals for a headdress. Also the entire soundtrack is done by Genesis, because I'm like one of five people who liked the Phil Collins soundtrack

Here's a poster I like better but doesn't really scream ACTION for the 1980s
 
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Now for China… they uh… are actively threatening the goose and his family. Bruce will not take that lying down.
Maybe in the third Star wars movie, we include references to how the dictatorship like the Empire rose to power similar to how the chinese came to power. How the ordinary citizens of the galaxy who were suffering from war and hunger fell victim to the promises of a dictator or extremist, which in turn laid down the path to madness. This can also serve as an important lesson in the third Star Wars film for the Rebel alliance, particularly on them trying to avoid the mistakes of the past in order to prevent themselves from becoming like the Empire, and how public vigilance is needed to prevent the rise of tyranny and insanity.
 
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