There was no chance that The Force Awakens director J.J. Abrams and his co-writer Lawrence Kasdan were going to throw R2-D2 himself in their narrative garbage can. He's too much of a fan favorite, and they're too aware of Star Wars history. But that kind of grim-and-gritty updating wouldn't be completely out of the realm of possibility given Abrams' track record. His Star Trek films have reached for the same cynical, aggressive tone, with their arrogant, entitled Jerk Kirk facing off against a perpetually seething Spock. And they did throw out plenty of other things about the Star Trek mythos, from the austere adult tone to Spock's heroic sacrifice.
The Force Awakens isn't affected by that particular insecurity, and confidently tears off in the opposite direction, at hyperdrive speeds. It wastes no time in introducing a new, younger generation of protagonists — characters with their own agendas, and with relatively little sense of the history that created them. But in spite of the new faces, The Force Awakens worships at the feet of the original Star Wars trilogy on a beat-for-beat, moment-for-moment, even prop-for-prop basis. Much like Abrams' 2009 Star Trek, Force Awakens is a stealth remake, with a certain amount of narrative squirming done to make it into a sequel.
"an alternate-universe version of A New Hope that just happens to be set in the same universe"
The approach has its problems. It's too easy at times to predict where The Force Awakens is going, because it follows 1977's Star Wars: A New Hope closely enough to tread on its Jedi robes from behind and trip over its own feet. This time around, the lonely hayseed living on a backwater desert planet and pining for escape is a woman, Rey (Daisy Ridley). The adorable bleeping astromech droid carrying crucial data to the Resistance is the globular BB-8. The intercepted-and-captured courier who sends BB-8 on with the data, the black-masked-and-caped villain who captures him, the vast and powerful organization this villain serves — they all have different names now, but they're all fundamentally intact from A New Hope.
And so is virtually every other element in the movie. Luke Skywalker has become his mentor, Obi-Wan Kenobi, the bearded old hermit in hiding. Princess Leia has become Mon Mothma, weary leader of the Rebellion. Han Solo ... has reverted to being Han Solo, the rakish smuggler whose mouth and overconfidence keep getting him into trouble. And of course it all comes back down to blowing up another Death Star. Even the effects harken back to 1977, with those corny retro wipes, those familiar music cues, a wide-scale return to physical effects instead of digital ones, and even a Wilhelm scream thrown in. Some narrative elements have been moved around and reimagined, but the spine of the story, and most of its nervous system, are intact from the origin story we all remember. This is an alternate-universe version of A New Hope that just happens to be set in the same universe.