Quoth the scholar:
Everything about the films, from the opening text crawls to the out-of-order production of the two trilogies, foregrounds the question of plot. As an audience, we grapple with not just the intricate clockwork of a complex and interwoven narrative, but, in postmodern fashion, with the fundamental mechanics of storytelling itself.Yeah, I suppose all this could be a massively layered, intricate work of planned postmodern genius. Or it could be a guy trying to retroactively fit five other movies around the only one he originally got a chance to make. You be the judge. Just how subtle and crafty an intellect is it who gives his evil characters names like "General Grievous" and "Darth Sidious"?
As Star Wars works to make us aware of its own narrative structure, other odd things about the films start to come into focus. Most significantly, we start to notice that the films are an elaborate meditation on the dialectic between chance and order. They all depend upon absurd coincidence to propel the story forward. Just what are the odds, in just one of near-infinite examples, that of all the planets in that galaxy far, far away, the droids should end up back on Tatooine, in the home of the son of the sweet (if annoying) boy who had built C-3PO decades before? Throughout all six films there are scenes of crucial serendipity.
And millions of tuition-paying parents are shelling out beaucoup greenbacks for this kind of crapola.