![]() This show boldly depicts the heroes as failures, the moral high ground proving to be a dead end. That being said, the tragic twist really distinguishes the Age of Resistance from other children’s stories, most of which show the heroes halting the environmental apocalypse and overthrowing the villains through the power of love, or whatever. That’s the trouble with worldbuilding as the fantasy world increases in size and complexity, metaphor begins to buckle under the weight. But in the context of the prequel series, the innocent Gelfling are about to suffer a genocide, just so their oppressors can one day find peace with themselves. ![]() Obviously, there’s a point to the conjoining of the Skeksis and urRu, the implication being that the Skeksis are not inherently evil, but simply lacking something. It’s heavy stuff, with a crystal-clear moral pacifism is for losers. Viewers who have seen The Dark Crystal will see it differently, knowing that all seven Gelfling clans will soon be systematically slaughtered by the Skeksis, once they’ve had enough time to engineer an army. ![]() As the Skeksis flee, outgunned and outnumbered, the Gelflings cheer, under the impression that they’ve achieved a great victory. Thus, the Gelfling hero outright refuses to slay the Skeksis, proudly stating, “I’m no killer.” The story of the Gelflings in Age of Resistance, however, demands an upward trajectory the Gelflings do succeed in uniting their clans and forming an army capable of destroying their oppressors once and for all. But that presents a problem, as The Dark Crystal depicts the Gelflings as functionally extinct, having been crushed by the Skeksis long ago. The events of Age of Resistance are leading up to that big moment. Once the two species recombine, balance is achieved. The finale of the film explains why the Skeksis are so twisted they are missing their other halves, the urRu, a gentle race of nomads. But the situation is further complicated by the existence of the original 1982 movie, The Dark Crystal. It’s a depressingly realistic take on rebellion, especially sophisticated for a children’s story. ![]() This terrible secret sparks the titular resistance, but spreading the word proves difficult, as most Gelflings are far too comfortable with the way things are. Stealing vitality from the Gelflings is an unsettling concept, a little too “Jeffrey Epstein” for comfort one scene sees a Skeksis literally slobbering over a young Gelfling. To keep their crumbling bodies intact, the creatures invent a hideously immoral way to drain Gelflings of their “essence.” Their quest for eternal life results in the squandering of natural resources, creating an environmental catastrophe. Like the pharaohs of Ancient Egypt, the Skeksis are immeasurably wealthy, but they cannot buy immortality, and thus, are utterly obsessed with death. Their faces resemble vultures, their clothes are both gaudy and decrepit you can practically smell the creatures on screen. Of course, the Skeksis are a glorious caricature of the ultra-wealthy decadent, short-sighted and self-serving. The Skeksis exert control by ensuring that the Gelfling matriarchs, the Maudras, are provided for, while the general Gelfling population is under the impression that the Skeksis are protecting and enriching them. The Gelflings and the Skeksis are clearly divided into oppressed and oppressor, the Gelfling often shown to be complicit in their oppression. The finale of the series, however, is hindered by Henson’s memorable ending.
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