The Star Wars saga has encompassed Gothic tropes both in its thematic concerns and its visuals since its inception in 1977. The figures of Darth Vader, Emperor Palpatine, Darth Maul and Count Dooku clearly represent various versions of the Gothic villains that populate eighteenth- and nineteenth-century novels. Simultaneously, the representation of an evil empire intent on the annihilation of any form of resistance is allusive to the eternal fight of good against evil as much as the threat to individual freedom portrayed in many Gothic novels and horror films. This essay examines Disney’s “sequel trilogy” of Star Wars (2015–19), focusing on its continuation of Gothic themes from the previous six films (including the treatment of dysfunctional families, emotional excesses, corruption and images of the uncanny), but also studies in detail the films’ connections with the hybrid genre of horror science fiction and its relocation of contemporary anxieties in the future. Indeed, as is the case of the Alien (1979–2017) and the Terminator (1984–2019) film sagas, Episodes VII, VIII and IX of the Star Wars franchise exemplify the subgenre’s opposition between humanity and technology and sustain the abhorrence for the mingling and hybridisation of the two. This is specifically epitomised by the characters of Kylo Ren (who desires to be part-machine) and the Emperor (who has become a hybrid, mechanised being). Simultaneously, the representation of figures such as Supreme Leader Snoke (the result of an experiment as Frankenstein’s creature) and General Hux (the uncompromising fascist officer motivated also by ambition and personal revenge) further reinscribes the trilogy produced by Disney within the Gothic tradition. My argument—which shall be further demonstrated through a brief analysis of some sequences from the spin-off films Rogue One (2016) and Solo (2018)—will also be based on an examination of the three films’ visuals (specifically, the insistence on a dark mise-en-scène dominated by shadows and drab colours).