Beginning with the omission of its opening crawl, if Gareth Edwards’ Rogue One aspires for one thing it’s to not be the same. Which, with a cavalcade of media properties ranging from film to video games to an R2-D2 thermos, not to mention the incalculable $$$ at stake and soul-crushing “creative committee” involved, one can ask without a hint of irony: how can you afford to be different? Well, this becomes a bit of a gray area, as Rogue One is a peculiar product of dueling ambitions. It exists within the spectrum of a massive industry complex defined by arranged sequels when its intentions are, surprisingly, much more noble. Instead, it’s defined by a sense of finality. And to suggest anything conclusive within the Star Wars Universe™ is most assuredly an act of not being the same.