There’s a useful literary concept that comes from the world of fanfiction: fix-it, a term for stories that “fix” the canonical version of a given tale to make it more satisfying. A fix-it is a subcategory of the concept of the retcon — the act of retroactively overriding or reframing an existing story in a subsequent work. Sometimes, it means outright rewriting a bit of plot so a beloved character doesn’t die, or a distasteful narrative beat never happens. But more interesting are the fix-it stories that don’t seek to change the original work, but rather to fill in the blanks.

The rest of the movie is primarily concerned with Jones’s Jyn “looking up” rekindling her rebel girl spirit to lead the resistance in search of those Death Star plans. Having cut his teeth on the character-led sci-fi of Monsters, Edwards allows Jyn ample time to find her feet. Like James Cameron’s Aliens, Rogue One is essentially a war movie built around the evolution of a punchy heroine, and Jones has that same blend of pain and chin-forward resolve that characterised Sigourney Weaver’s Ripley. Even as the gung-ho battle scenes evoke iconic images of the chaos of Normandy and Vietnam, Edwards keeps us focused on the faces of his core cast – a dazzlingly diverse array who provide the film’s true heartbeat.

Enter Galen. He informs Jyn  and loyal longtime fans that the exhaust port was his idea. During his captivity, he realized that, even if he died, the Empire would still finish the Death Star, so his best move was to use his unenviable position for the greater good. Over time, he carefully and covertly inserted that Achilles’ heel into his loathsome cosmic WMD. It was so well hidden that the only way one could find out about it would be to personally hear it from him, so he gives the information to Jyn in the tape, as well as instructions on how to find the plans. Spoiler alert: She does, and the way is cleared for the Rebellion’s success in A New Hope.

It’s so fantastically simple and makes all the sense in the Galaxy. Not only does the fix tie up the loose ends, it also provides Rogue One’s most interesting connection to the existing films. It’s not empty fanservice like the various unnecessary cameos scattered throughout the run time, nor is it a cheap laugh line designed to make us proud that we can get insider-y references. It genuinely fleshes out this beloved mythos. The revelation is also a true surprise: The whole point of the movie is that it explains how the Rebels got the plans, but you don’t see Galen’s secret coming. The news also doesn’t interrupt the flow of the story; indeed, it pushes the story along with renewed urgency, since there’s suddenly hope for the characters that the Death Star might be destroyed. Plus, we get to hear the expository information intoned with classily restrained urgency by a truly great Dane.

Let the scene be a lesson to future Star Wars installments, especially prequels like the forthcoming Han Solo solo film. Hell, given that every studio’s clamoring for continuity-filled cinematic universes these days, there’s going to be plenty of opportunity for fix-it retcons. We already got another good example earlier this year, when Tony Stark told us in Captain America: Civil War that he was back in his armor in Avengers: Age of Ultron, despite ostensibly quitting in Iron Man 3, because he went back on his promise to Pepper Potts, just one of the many times he’s done so. So it’s not impossible to do well. We live in a strange new world of byzantine pop-culture tapestries, and any tapestry is going to have flaws in the stitching. An expert hand will reweave with great care and graceful precision; a lesser stroke will tear the whole thing up.

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