Must. Resist. Urge. To. Watch. Again. The still preview image that I get is of Anakin and Obi-Wan atop the collector arm, which has turned vertical, and is soon to sink/be dismembered (shades of "Titanic" in ROTS, alright). Perversely, it also looks like they're feuding -- with beams of light -- on a distorted and super-enlarged lightsaber hilt (specifically, Luke's from ROTJ). A lava setting was also planned to climax the OT/ROTJ (the Emperor's original abode). ROTS/ROTJ = Revenge Of The Sith/Return Of The Jedi (originally called REVENGE Of The Jedi) That earlier film, and its earlier designs, or the mental perturbations that gave rise to its embryonic form, are powerfully (re)birthed in ROTS: a very delayed and tightly-coiled "tragedy/reckoning" installment, indeed. Camille Paglia is right to cite the final lightsaber duel as epochal. Even for the trilogy in which it is situated, it has a surprisingly operatic/Wagnerian bent. Almost to the point of capsizing the trilogy, but it works brilliantly, even on that level, I think. The wailing music, played off against the Jedi combatants, clumsily swinging their garish batons at one another, almost makes it seem like they are little puppets crudely conducting this final passage of film-time. I like that: the hare-brained, monumental quality of this final action piece. But beyond all that mental masturbation, what Paglia rightly spotlights is just HOW the sequence was executed: with a forbidding blend of physical and digital. A very sophisticated miniature was built for this sequence and a lit in a bold, moody way. The lava flows are not CG, but a physical substitute. And the colour tones are so stark that it has great cinematic atmosphere: every bit as evocative as the sands of Tatooine or the lush gardens of Naboo (it is rather like a hellish Naboo/Theed). This kind of scope is not the scope of the everyday, but far beyond. I think Paglia wants people to consider that in more detail than they yet have.