20 Points That Slumming Through SJW “Think” Pieces Teaches Us

So I’ve been pouring over SJW “think” pieces for several months now.  Given that SJWs mostly all think alike, there are some common themes that run through their articles.  So there’s something of genuine value to learn here, with regards to increasing the effectiveness of our arguments.



I’ve written here about the waning box office for The Last Jedi immediately after the opening weekend.  I’ve pointed out that in China, where people have no nostalgic attachment to the franchise, it was perceived as garbage.  The waning toy and merchandise sales point to further problems.  Not one SJW is able to acknowledge any of this.  They’re somehow under the impression that Star Wars is too big to fail, that it will always be around no matter what, and that it will always make money.  This may be that many of them aren’t old enough to remember a time without Star Wars, so they can’t imagine life without it.  They haven’t seen the Flash Gordon and Buck Rogers franchises come and go.  They haven’t witness the slow fading of the Star Trek franchise from its height in the mid 1990s.  So they think that Star Wars is forever, when in fact, nothing is.


When someone criticizes Disney Star Wars for its heavy handed feminist messaging, the SJW will use that as an opportunity to call the critic a sexist and/or misogynist.  But remember, in 2018 feminism and the female gender are no longer inextricably linked.  Thanks to SJW activistsmen now routinely and proudly proclaim themselves to be feminists.  So feminist ideology and the female gender are two different things in the modern era.  Criticism of feminism, does not automatically translate into de facto criticism of the women in the 21st Century.


Time and time again they talk about diversity in the Sequel Trilogy as though it’s a brand new thing in Star Wars.  When discussing diversity in Star Wars, they almost never mention Samuel L. Jackson, or Temuera Morrison.  They rarely mention Billy Dee Williams.  This is why they stupidly call critics racists, sexists, and/or misogynists; they don’t think females or minorities have ever been in the films before 2015.  Some of the brighter ones will argue that they’re talking about a primary character.  But that betrays the fact that they haven’t really watched the films, because the films were always ensemble pieces without a singular primary character.


Early on, few if any of them refused to acknowledge that the backlash even existed.  But as the backlash grew louder, and they were forced to acknowledge it, they then attempted to dismiss it as a “tiny vocal minority.”  The truth is more likely that it is they, who are in the minority.  And that’s why just as of this week they’ve taken to openly attacking and admonishing backlashers.  They’e gone so far as to mischaracterize Backlashers as racists and misogynists, despite the fact that the Backlash itself is diverse.


Many of them seem to feel that the Star Wars franchise was going nowhere until Disney purchased it.  They feel this despite a highly successful Clone Wars television series on the air, and the Sequel Trilogy already being developed by Lucasfilm prior to the Disney purchase.


This after they screamed to the high heavens with their own entitlement for equal representation and gender equality when Disney bought the franchise.  This despite the fact that a war time setting doesn’t really warrant perfect gender equality, since it’s primarily men who fight wars.


It’s a sad fact that Lucasfilm currently employs political activists rather than artists.  We’ve seen this truth not only in the new material they’re producing under Disney, but also in the public comments from Lucasfilm representatives as well.


This goes both for SJW fans and professional critics.


A number of articles have called for a “ceasefire” from the BacklashWhen so doing, they start taking this authoritative tone, instructing Backlashers what is or is not acceptable forms of criticism.  As amusing as it is, it’s important to remind them of the reality that they have no authority over anything.


They’ll attribute The Last Jedi audience score to Russian bots and racist/misogynist hackers, but can’t explain why Black Panther’s score and public reception wasn’t also affected by the same phantoms.  They’re unable to comprehend, that one was a bad movie, and that they other was good.  Occam’s Razer and all of that.


Both the SJW fans and the SJWs within Lucasfilm, think they’re “Resisting” President Trump. What’s Trump’s agenda?  The GOP/Republican agenda.  What’s the GOP/Republican agenda?  Smaller limited government.  So they’re resisting smaller limited government, which they apparently think is authoritarian fascism.  But let’s translate this into Star Wars to demonstrate how nonsensical this all is, and ask some simple questions:

So the First Order is a fascist government complete with stormtroopers. Would a fascist government support small limited government? How does one impose a fascist state with small limited government? Don’t you need big government in order to impose a fascist state?  How can you be authoritarian without a big government to back up your authority?  Who is it that supports big government?

So they’re political understanding is absolutely upside down.



Far too often fans forget that the word “wars” appears in the title of the franchise.  Most of these SJW fans seem to think that the franchise is about cute cosplay outfits.


Feminist writer after feminist writer type out silly sentences such as this:

But in the context of a franchise that has been known to use women’s bodies as an enticement for viewers it’s also a clear sign that the creators know that straight white men aren’t the only audience they’re catering to anymore.”

Not one of them seems to understand the proper context or intention of the gold bikini, which was not male audience gratification.  I’ve explained the context of Leia’s gold bikini here.


SJWs happen to like getting indoctrinated with politics that they already agree with.  It gives them a sense of affirmation.  But with no fundamental understanding of basic economics, they don’t understand that paying customers walking away means that their political propaganda will no longer be funded.  So they tell you to go “find something else that brings you joy” or some such nonsense.  A few of them however do understand this, which is why those few attempt to shame critics into silence so they can continue to have their political propaganda funded.


Lucasfilm is currently staffed with political activists rather than genuine artists.  This is self evident to any educated thinking person.  The SJW though, sees what Lucasfilm is currently producing as art, not having any real experience or education into what political propaganda looks like.  This is why the silly Bechdel Test will determine for them whether or not they like a movie.


When feminists attempt to be “gender equal,” many of them will put on their best performance as to what they think men act like.  We see this expressed in the character of Holdo, and to some extent, Rey.  They seem to think that men in the military go around slapping each other in the face and holding back cocky pilots all day long.  But, men don’t really act this way by and large, unless it’s really necessary.  It is truly bizarre though, that out of one side of their mouths they’ll prattle on endlessly about “toxic masculinity,” but then out of the other side of their mouth they’ll whine that they want equal representation in a war movie.  I’m not sure how they reconcile that.


Part of this is that they have some pre-rehearsed rhetoric that they’re dying to spew.  Part of it is that they want to deflect the conversation into some other area where they’re better prepared.  Part of it is that they seek to mischaracterize what you actually have said or written, into what they want people to think that you’ve said or written.  In either of these cases, it’s always equally bizarre.


Nearly all of their articles cite the straight white male in some form, along with an accompanying pejorative.  That form of bigotry seems to be not just acceptable, but also highly fashionable among today’s SJW ignorati given how commonplace it is in their work.  Make no mistake, the SJWs within Lucasfilm have the same problem.


They’ll often prove this by attempting to compare Rey to Luke, and claiming that if Rey is a Mary Sue, then Luke is one too.  It’s more of that equality nonsense that they try to force onto every aspect of life.  As I explain in my review of The Force Awakens, this comparison is ridiculous, if you’ve actually watched the films.  Clearly, many have not, and are basing their opinions on brief clips, what they’ve seen at conventions, or what they’ve heard other people say or read other people write, etc.

20. SJWs will never be happy or satisfiedNot ever.

And there you have it.  These 20 points pretty much describe the main talking points in any Star Wars related SJW written article that you’ll read at any point in the future.

Freddie Prinze Jr. Convinced Me Not To Buy Rebels On DVD

I enjoyed David Filoni’s Clone Wars animated series immensely, and actually rewatch it from time to time.  The artwork is stunning and unparalleled.

I tried Rebels, but after the first few episodes, I just couldn’t get into it.  It was mainly because the Sabine character was just far too silly to me.  So I dropped out.

But since then, I’ve read a number of people who have generally good things to say about the series.  And since I’ve enjoyed David Filoni’s previous work on the Clone Wars, I thought I’d give REBELS a shot, and buy it on DVD.  I was about to change my mind on REBELS.

But that thought was cured instantly after I read the massively ignorant tweets of REBELS voice star, Freddie Prinze Jr.

It all started with Freddie Prinze Jr. tweeting a comment about how Pablo Hidalgo needs a raise, because someone complained to him that Alden Ehrenreich doesn’t look or sound anything like Harrison Ford:

Am I missing something here?  Was Pablo Hildago the casting director for Solo?  Why would he deserve a raise for this?  For being forced to consider the criticism?

But that’s not the comedy gold that changed my decision as to whether or not to purchase REBELS.  The conversation continued in that thread on Twitter, and then Freddie dropped this bomb:

Beyond the fashionably bigoted remark about white people that is all the rage among today’s SJW ignorati, what the hell is Freddie Prinze Jr. talking about?

Admittedly, I’m an out-of-shape average middle aged man myself, but I’ve never fantasized about Han giving me the Falcon.  Not once.  When I’ve thought about what a genuine Sequel Trilogy might look like, Han and the Falcon don’t show up at all.  In my mind, it would have been a new trilogy that wouldn’t try to ride on the coat tails of the Original Trilogy.  It would have all brand new ideas, and maybe include Luke Skywalker as an Obi-Wan type supporting character.  I never thought of Han giving the Falcon to….anyone.  30 years later, I figured the Falcon would be sitting in an intergalactic boneyard, having been towed away by a Corellian AAA long ago.

Has anyone fantasized about Han giving them the Falcon?  Anyone?

But beyond that, the fact that Freddie Prinze Jr. tells others to take joy in someone else’s pain and grief (whether real or imagined) tells you just about all you need to know about the SJW mentality at today’s Lucasfilm.

The conversation continued on Twitter, and a fan made the following perfectly rational comment in response:

To which Freddie Prinze Jr. stupidly replied:

Imagine pulling up at at a Burger King drive thru.  You order a Whopper, done your way, right away.  You pull up to the window, and the teenager hands you a chicken sandwich instead.  You complain, but the teenager shrugs his shoulders and tells you, “Burger King has a business plan and it’s working, so your opinion doesn’t matter.”  And then imagine that the teenager then proceeds to insult you with some adolescent body shaming and ageist slurs.  How likely would you be to frequent that business in the future, or recommend that others frequent that business?  Probably not very likely.

Only now, you’re getting this adolescent rant from a graying has-been tween beefcake, who really ought to know better at his age.


Business Guru Freddie thinks that people will buy his ship no matter what.

It probably doesn’t occur to Freddie’s microscopic pea-brain, that the resorts he speaks of are largely sold out to the very average out-of-shape guys that he insults.  Average out-of-shape guys who bring their whole family.  And some of those average out-of-shape guys are even as lily white as Freddie himself appears to be.  Freddie might think that Lucasfilm is appealing to a new generation of kids.  But kids of any generation, don’t generally buy their own toys, or make their own reservations at resorts.  Kids generally tend to rely on their average out-of-shape parents to do that for them.  Of course, the average out-of-shape parents have to be willing.

The box office for The Last Jedi, and the waning toy and merchandise sales demonstrate that normal people are not frequenting the Star Wars franchise as often as they used to.  Lucasfilm can have the perfect business plan all they like, but it doesn’t amount to a hill of beans if people start walking away from their franchise.  And it appears that people are.

When I said that writing Lucasfilm and Hasbro wouldn’t work, I honestly wasn’t trying to be contrary or difficult.  This is the mentality that you’re fighting.  You’re writing to people who don’t care about your opinions.  So the only thing that might work, is to simply walk away from the franchise altogether and deprive Disney of revenue, and then sit back and watch what that does to their business model.

The only thing that stalker Freddie is slaying here is his own fading D-List celebrity.

Maybe Freddie needs to watch the following video:



SC Reviews found some additional humdingers from Freddie:


This gentleman has some great insight on this matter:


Geeks + Gamers adds their own commentary:


Another Response to Freddie from Abu Nas:


World Class Bullshitters has their own say:

Is this the year that Marvel’s superheroes finally topple Star Wars?

That’s the question that Michael Cavna at The Washington Post asks:

IS THIS the year that Marvel finally tops Star Wars?

Judging by early box-office figures and a new Fandango movie poll, this could indeed be the turning point when the Avengers prove more popular than the Rebel Alliance.

Ever since Disney-owned Lucasfilm rebooted the space movie franchise in 2015, the biggest Star Wars film of each year has outdistanced the biggest release from Disney-owned Marvel Studios.

This year, however, Marvel has come loaded for bear.

Hurtling toward summer, “Black Panther” remains the year’s biggest film by a long shot, having grossed $676 million domestically — a high bar to cross for any Star Wars film being released this far along into the franchise.

But the plot twist is, this month’s “Avengers: Infinity War” is tracking even higher than “Black Panther.” The mobile-ticketing platform Fandango announced last week that “Infinity War” was outselling the past seven Marvel Cinematic Universe movies — combined — in presale tickets.

Fandango follows that announcement up this week with news of a seasonal blockbuster survey that polled 4,500 fans. According to the ticketing site, the season’s most anticipated release is “Infinity War” (opening April 27), followed by “Deadpool 2” (May 18), with “Solo: A Star Wars Story” (May 25) sliding into third place ahead of “Jurassic World: Fallen Kingdom” (June 22).

When “Infinity War” opens next week, it will try to top the $248 million opening weekend of “The Force Awakens” (the biggest domestic debut before adjusting for inflation). Star Wars is not going to give up any box-office crowns easily. (Current projections have “Infinity War” opening as high as $235 million.)


Professional Critics Look Down On Those With No Indoctrination

JV Chamaray writes a piece at Forbes.com entitled, Why You Hated ‘Star Wars: The Last Jedi’ But Critics Loved It.

In it he writes:

Wallisch’s research reflects a broader question in society: who should make decisions: a judge or jury? Critics are effectively judges, perceived as experts with the authority and credibility to assess whether a movie is ‘good’. But the collective opinion of a group instead of a single individual — the wisdom of the crowd — can also produce reliable judgements.

Explaining the divide

Why is there a large divide in ratings between critics and the public? The answer to that question involves some speculation.

One explanation is that the two groups have opposing cognitive goals or motivations, such as intellectual stimulation versus emotional engagement, leading to contrasting priorities when they appraise a film. “My guess would be that critics look for different things in a movie than a regular person,” Wallisch suggests, adding that a critic might be more concerned with factors like dialogue and lighting.

In other words: critics see films as art, while people mainly watch movies for entertainment. Like other kinds of art critic then, film critics might assess a movie as a work of art, so their scores are not a metric for its entertainment value.

Critics also consider factors that aren’t inherent to the movie itself, such as whether a director was successful in achieving their aims, whereas audiences are more concerned with the execution of the final product. That leaves the ‘quality’ of a film open to interpretation: just as some people will interpret a piece of modern art as making an important statement about society, others will see it as trash.

There’s also another, much simpler explanation.

Having attended film school myself, I am fully aware of the curriculum that professional critics are subjected to during their “education.”  It’s a heavy indoctrination into what is called Critical Theory, which is a concoction of Marxist philosophy and Freudian flim-flam, and it thoroughly pollutes modern film scholarship.  So when they are subjected to political indoctrination that they’ve been conditioned to react agreeable to, they give glowing reviews.  Actual film craft is never a consideration.

Appraising movies from an artistic perspective helps explain why one sub-plot in The Last Jedi, a mission to the casino city of Canto Bight, is so polarizing. Considered by some to be a disposable sequence, the storyline includes scenes in which characters discuss inequality and the ethics of arms dealing.

“In the Star Wars movies lately, the issue of social justice has been raised,” says Wallisch, who suspects that some viewers don’t appreciate being lured into a cinema to listen to a lecture on politics or morality. Such a commentary on problems in modern society might be a little too on-the-nose for those who expect escapism while watching a science-fiction film. “Most people go to the movies to escape reality,” says Wallisch.

Wallisch conflates intellectualism with social justice, when in fact the two are mutually exclusive.  What viewers actually don’t appreciate being lured into, and the uneducated nature of social justice lecturing that has no value or application in actual reality.  The dialogue in Rose Tico’s deeply moronic lectures were on-the-nose yes, but bore no relationship to reality whatsoever.

When he presented his research to a conference of film critics, they weren’t surprised. “The public thinks a critic’s job is to see all the movies, and tell them which ones are good,” Wallisch explains. “Critics don’t agree with that, they think their job is to educate the public on what a good movie is — and that’s where the tension comes from: it’s a misunderstanding about the role of the critic.”

That misunderstanding comes from the critics themselves.  If critics knew what good movies were, they’d be making them instead of criticizing them.  Until critics can abandon the worthless Marxist/Freudian Critical Theory that forms the basis of all their opinions, they will not serve a valuable function in that regard.

Regardless, I’m sure they’ll continue to lecture normal people on how to watch movies correctly.

Wallisch was also told that critics only give scores because the public demands them. He thinks their ratings often match one another because they receive similar training. Where he works at NYU, students who follow a film theory course take the same classes and read the same books, so they reach a consensus of how to evaluate movies based on their education.

Groupthink is ignorance incarnate.

If you can’t rely on critics, who should you trust for advice on a movie?

Just see the movie for yourself, and make up your own mind.  It’s not any more complex or nuanced than that.


There’s not enough rotten tomatoes in the whole galaxy.

The Social Justice Repulsion Effect Takes Hold Of The Star Wars Franchise

SJW politics naturally destroys any cultural institution that it infects.  SJW ideology is quite literally a cultural cancer; a fact that is easily demonstrated.

We’ve seen that truth expressed in the lowest rated televised Oscars in history.  We’ve seen it in the waning sales of Marvel Comics, and the subsequent replacement of Marvel’s SJW Editor in Chief as a result.  We’ve seen it in the slide of NFL viewership, and the MLB replacing the NFL as America’s most popular sportWe’ve seen it in the decline of Sports Illustrated subscriptions.  We’ve seen it in the declining ratings of ESPN, which had to fire 100 employees as a result.  We’ve seen it in the plummeting ratings of Late Night talk shows which have taken to lecturing their audience rather than entertaining or enlightening them.  We’ve seen it in declining Box Office at the cinema which has also increasingly chosen to lecture its audience with deeply ignorant SJW politics.  Anyone who doubts that people in the American entertainment industry are political activists rather than artists, can read about how Hollywood screenwriters are now coaching progressive political candidates.  We’ve seen it in SJW controlled universities and colleges which are experiencing big drops in enrollment.  We’ve seen it in East Berliners risking their lives to cross the infamous Berlin Wall in an attempt to escape East Berlin.  We’ve seen it in the SJW controlled city of Detroit, from which so many people have fled that their downtown skyscrapers are abandoned.  We’ve seen it in the blue state of California, from which the middle class is fleeing.  We’ve seen it in nations like Venezuela where thousands of formerly well-to-do people are fleeing the disastrous effects of the nation’s newly formed leftist SJW government.

Wherever SJW politics are imposed, normal people will understandably flee.  It’s a universal constant both in the micro and in the macro.

And this isn’t just anecdotal hyperbole.  Matt Philbin from NewsBusters.org reports:

According to new data from a McLaughlin & Associates/Media Research Center national poll of 1,000 likely voters:

75% agree with the statement, “When I watch live sports or entertainment shows on television I am trying to get away from politics and do not want to be bombarded with partisan political messages.”

Given that normal people also sought to escape the same kinds of worthless cultural re-education in Soviet gulags, this should come as no surprise.

Since the SJW contagion has now metastasized within Lucasfilm, we can fully expect to see what I call the Social Justice Repulsion Effect happen with the Star Wars franchise as well.  In fact, it has already begun.

Martin Daubney of The Telegraph writes in an editorial entitled, Liberal identity politics has ruined Star Wars for the fanboys:

Has the peculiarly Earthling curse of liberal identity politics infected even galaxies far, far away? It would appear so, if a growing fanboy backlash to Star Wars: The Last Jedi is to be believed.

Since its release at the weekend, a remarkable gulf has emerged between professional critics and the general viewing public’s scoring of the movie – as illustrated by that modern barometer of movies, Rotten Tomatoes. On the review aggregation site, the professionals give the movie an impressive average score of 93pc; while fans score it a more Luke-warm 55pc.

What’s going on? It appears this huge discrepancy can be attributed not to its plot – described as “having more holes than a Swiss cheese that shared a wedding bed with a porcupine” – but a claim the movie is no more than “social justice warrior propaganda”.

In media land, one critic gushed The Last Jedi is “the most triumphantly feminist Star Wars movie yet,” concluding it a masterpiece that possesses a “celebratory inclusiveness that seems entirely in the Jedi spirit”.

The Last Jedi has also been heralded as the first Star Wars movie that passes the Bechdel Test, a rule of thumb that asks whether a work of fiction features at least two women who talk to each other about something other than a man.

This type of analysis isn’t new. Entire books have been written on the identity politics of Star Wars, pointing out that creator George Lucas once spoke of his duty to wield a “moral megaphone” in his filmmaking. “Somebody has to tell young people what we think is a good person,” he said.

However, some feel that, since Disney bought the rights to the Star Wars franchise, this moral megaphone has become deafening.

Analysis of user comments on Rotten Tomatoes is telling. While most lasers are locked on the flick’s “terrible plot holes”, its “un forgivable” treatment of Luke Skywalker, and it being “little more than a very long Disney advert vehicle to sell merchandise,” a large voice of dissent decries its use of identity politics as a serious Force of disgruntlement.

The comments are littered with one-star reviews that read, “Politically correct to the point of boredom”; “SJW propaganda” and “I’m frustrated that feminism and diversity have made their way into this film. This has ruined Star Wars for me as well as my kids. Keep liberalism out of it and stop ruining once good things”.

Certainly, watching the movie can feel like you’re playing identity politics bingo.

Perhaps these fanboys ought to get over themselves. It’s just a movie, after all.

But the truth is that identity politics is the kryptonite that saps the joy out of all it touches. How long before Harrison Ford comes out as Trans Solo? What price a zero-emissions Millennium Falcon? Will Jabba The Hutt be called out for “fat shaming” the obese?

Will any of this make the slightest difference one of the highest-grossing movie franchise of all time? Only time will tell, but for now a social media war is raging between critics and diehard fans, an increasing number of whom seem to be saying “dead to me, the franchise is”.

The truly amusing part of this whole biofeedback machine, is that the SJWs currently staffed within Lucasfilm will see the backlash as a great success.  SJWs will delude themselves into thinking that they’re pissing off all the right people.  Who are all the right people?  I have compiled the unabridged SJW gripe list and provide it here for your convenience:

“Deplorable rich intolerant bitter clinging hate-mongering war-mongering fear-mongering privileged middle-class micro-aggressing triggering patriarchal straight sexist misogynist cisgendered hetero-normative transphobic homophobic homogeneous hegemonic racist xenophobic jingoistic nativist tea-bagging redneck hillbilly reptilian-brained binary-thinking white supremacist euro-centric male Zionist Evangelical Christian Far-Right Extreme-Right Uber-Right Ultra-Right Alt-Right NeoCon so-called conservative Republican bourgeoisie capitalist colonialist imperialist fascists.”

Of course, none of that makes any kind of coherent sense, but that’s the inherent nature of the uneducated SJW mentality that normal people have to cope with.  They’re pre-programmed to involuntarily squawk these words in response to various stimuli without regard to what the words actually mean.  In any case, the above list represents how the SJW employees at Lucasfilm view every backlasher who writes a letter, posts a blog, or uploads a video in protest to their content.  Just ask them.  They’ll tell you, if they can bear to acknowledge your existence at all.  So they’re almost guaranteed to double down on social justice messaging.

Jack Kenrick from squawker.org also identifies this phenomenon in an article entitled, Star Wars Fans Seem To Hate The Last Jedi And SJW’s Couldn’t Be Happier About It.  In it he writes:

What’s been interesting to watch in the hours since its release, is that the general public seems to be finding this the most divisive Star Wars film yet. While almost universally lauded by professional pop culture and film critics alike. The Last Jedi is seemingly not doing quite as well with the average American moviegoer. A fact many Progressive types somehow seem to be actively celebrating as proof of their own moral superiority.

Case in point this article written for Wired magazine entitled, “The Last Jedi Will Bother Some People. Good.” In which writer Angela Watercutter not so subtly informs us all that “The movie isn’t here to Make the Galaxy Great Again.” We are are told that those who don’t like “diversity” should not see the film. Of course as is now standard practice for today’s modern liberals, by diversity they don’t mean a variety of thought but rather simply superficial differences in skin color. None of this is too surprising however when you consider the original title of the now modified story was actually, “The Last Jedi Will Be To Inclusive for Some People. Good.”

It would seem that the average moviegoer doesn’t appreciate an obviously politicized half hours worth of pointless subplot. Which is frustratingly what the film provides, as almost the entirety of the genuinely forced “Progressive” parts of the movie take place in an oddly out of place subplot, that ultimately feels like it lacks any real purpose beyond simply pleasing SJW types. 


Immediately upon publishing this blog post, I discovered that SC Reviews was discussing another article that echoes many of the same things I’ve been writing about on this blog.  Paul Cheung writes an article at fee.org entitled, “The Last Jedi” and the Politicization of Storytelling.  In it, he writes:

Has identity politics created a dilemma for the Disney Empire?

There’s been a disturbance in the franchise: Ambivalence, rather than anticipation, has characterized the online response to Disney’s announcement of the deluge of new Star Wars projects we are to be saturated with over the next several years. And while the trailer for Solo: A Star Wars Story (scheduled for May) was expected to be received with some misgiving, many fans are actively rooting for it to flop.

There’s already an over-abundance of online rants analyzing The Last Jedi’s shortcomings as a piece of entertainment. But it is in the realm of the ideas where the division between critics and audiences is most stark. Dozens of articles praise the film’s perceived socio-political commentary while countless viewers decry it for the very same reason.

One reason is that archetypes and the mythic storytelling form never lose relevance. They are timeless and universal. By contrast, loading a film with political messaging for 2018, using it as a vessel to comment on current events, makes its relevance transient. Ironically, Johnson’s attempt to “update” the saga is precisely what caused his entry to feel dated at an accelerated pace.

And it isn’t just the film’s detractors who observe the current American political climate’s bearing on the way it was written. GQ UK gleefully claims “The Last Jedi takes on Trump”. Other articles, such as these in The Independent, The Guardian, and Wired, insinuate that anyone not on board is an “alt-right” hater of diversity.

While the controversy may appear to be an inordinate fuss over “light entertainment,” Star Wars (whether by chance or intention) has come to represent something far more significant than that.

Throughout history, stories have functioned as one of the most effective societal-shaping tools. The themes, ideals, and values communicated in stories have simultaneously reflected and molded the cultures which produced them. This is what Victor Hugo was alluding to when he wrote, “England has two books: the Bible and Shakespeare. England made Shakespeare, but the Bible made England.”

Descriptions of Star Wars as “generation-defining” are also allusions to the power of stories to shape who we are. And therein lies the problem: Johnson’s work, while managing to imitate the aesthetic of Star Wars (stormtroopers, lightsabers, etc.) is a hollow husk bearing only surface similarity to its parent material. Its shallow identity politics reflect a cultural hegemony adrift from deeper moorings.

Such an incoherent set of half-baked ideas wouldn’t matter if not for the fact that they are being propagated on an industrial scale, becoming almost ubiquitous in U.S. and UK entertainment.

In a scene in The Last Jedi which practically invites the type of historical parallelism above, there’s an attempted book-burning (ignited by Yoda, no less) broadcasting the film’s overarching theme of abandoning the past.

“Let the past die. Kill it if you have to,” Kylo urges Rey, even as Johnson urges the audience to “let the past die” so that we can embrace his Star Wars and, at a broader cultural level, the ideas his film promulgates.

With the backlash to The Last Jedi, the values in the background of Johnson’s film have been inadvertently thrust into the spotlight, exposing greater popular discomfort with them than anyone anticipated.


SC Reviews offers his own perspective on the Telegraph article:

Great Movies Let Us Down

The mental gymnastics being performed to apologize for the steaming pile of social justice propaganda that is The Last Jedi are absolutely amazing.

Jason Burke from fansided.com tells us that Rian’s movie was great because it showed us how everything we liked about the franchise really just sucked in an article entitled, Star Wars: The Last Jedi is the ultimate letdown movie and that’s why it’s so great.


The greatest movie of all time.

In it he writes:

Tasked with the impossible expectation of repairing, rebooting and continuing the most beloved franchise in modern history, J.J. Abrams didn’t shirk away from his responsibilities. 

The franchise wasn’t in need of repair.  It was trucking along just fine with The Clone Wars and was already preparing to produce the Sequel Trilogy before its sale to Disney.

So careful in his execution to get “that” feel of the classics, once discarded by George Lucas quicker than Anakin’s limbs tumbling into a molten lava river, that his new version of our heroes and their adventures bordered on plagiarism.

Wow.  So SJWs have fallen in love with Rian Johnson’s propagandist subversion so much, that they’re now turning on JJ Abrams.  JJ certainly has his work cut out for him in Episode IX.

Whatever you think, it worked.

No.  It didn’t.

Disney could give you 2.068 billion little green pieces why they would agree.

Well sure, but they cooked the Golden Goose.

Accepting The Force Awakens for what it was on the surface, a reboot/sequel akin to A New Hope, maybe on some subconscious level, we all were hoping for The Empire Strikes Back Redux. We didn’t get that movie.

No kidding.  Tell that to all the people dredging up old criticism of The Empire Strikes Back in an attempt to liken the two.

Rian Johnson’s script made sure to crap all over whatever Abrams tried to recapture and your childhood at the same time. 

Gee, thanks Rian Johnson.

 He made sure to show you that the Force was more than mind tricks and moving rocks, a la, Leia morphing into a crystalline Star-Lord in the dark chasm of space before performing her best Mary Poppins impersonation.

Which is why the Force is now gobbledygook, as Lucas feared it would become.

He made sure to show you that allegiance is just a strange synonym for whoever gets you through the moment as DJ (Lando-lite played by Benicio Del Toro) plays both sides only to live and get paid — means to an end.

Kind of like the allegiance of fans to a franchise…

And, that legends are just propped up myths, flawed and human and still prone to making the same mistakes that beset them on this journey.

And just think, if fans had only come to that realization 40 years ago, they never would have bothered with the Star Wars franchise to begin with.  Fans could have saved themselves a whole lot of money over the decades.

The Last Jedi is a beautiful letdown

The Last Jedi is a complete letdown and beautiful one at that. 

Is a beautiful letdown anything like a grotesque uplifting?

Written from the perspective of a man who walked into Kathleen Kennedy’s office and said, “You know, the script seemed to take off about halfway through when I dropped enough acid to kill an actual Wookie.” And, she said, “Ok, great!”

That actually makes some sense.

We were expected to get answers to questions like: What is Rey’s mysterious lineage?  How did Snoke manage to corrupt Ben Solo and create The First Order?

How did Rey become so flawless in everything she does?

Who cares, he said.

Many of the fans are saying that now.

“Well, where were the Knights of Ren we’ve waited to see? Where was the ultimate lightsaber showdown that has become the staple of all Star Wars films? It was deeper than that.

One man’s depth is another man’s shallow.

All the characters, like Disney’s version of the franchise, are struggling to move forward.

Disney’s version of the franchise is struggling to move forward all right.  Ha!

Caught up in the cosmic ordeal of light and dark, of bloodlines and perpetual war. Stuck in an endless loop –The Jedi and the Sith have waged the same fight over and over, only the names and the combatants have changed.

Which is what kept people coming back to the franchise for 40 years.

Poe has the looks and heart of a natural leader, unrivaled as a pilot, but he wants to play the hero.

He’s also a seamstress apparently.

He shows an absolute lack of discipline and focuses when taking out a dreadnaught, another superweapon with flawed engineering, that he sacrifices an entire bomber fleet against Leia’s wishes.

To his disappointment, he loses rank with his general, but he still hasn’t learned a valuable lesson: he can’t win the war by himself, not in one moment, and not by himself. Instead of reflecting, Poe goes on a rogue and treasonous run, until finally, in the end, watching Luke, he understands that sacrifice and living another day can be the spark for the rebellion.

Yes.  Rebellions are often won by turning tail and running away.  What a fine lesson indeed.

Finn finds life outside the conflict is more gray than black and white. Rose tries to show Finn what the fight is truly about as the Star Wars galaxy’s version of the one percent on Canto Bight, the arms dealers, live lavishly, profiting from war and slavery. Even The Resistance funnels payments to them to acquire weapons for the fight. But, more than that, Finn is still trying to reconcile his place within this new life as a person and not a number before Rose shows him the things worth fighting for.

Rose Tico’s moronic social justice lectures to the audience do not apply to the real world.  The whole point of myth is to teach lessons that have applications in the real world.  They’re a way for youth to gain wisdom, without having to live through those experiences themselves.  There’s no wisdom in Rose Tico’s lectures because they don’t apply to reality.

The holy triumvirate of the force; Luke, Rey, and Kylo are essentially struggling with what has weighed us all down at one time or another: the past.

Rey finally meets Luke, a man who was revered through the galaxy as a mythical hero, a space god with a laser sword, only to find a cynical old hermit who has cut himself off from the Force altogether. Give him a bottle of Jack, some Lucky’s and the best Mark Hamill Joker voice, and he’s the perfect hobo.

He believes that the galaxy’s dysfunction stems from the hubris of the Jedi and Sith and that he was complicit in that arrogance by believing in his own legend — that he failed a boy with that mighty Skywalker blood. Through Rey’s persistence and a little help from your friendly neighborhood force ghost, Yoda, Luke realizes that the Jedi can endure as long as they evolve.

So the Jedi never really returned at all, rendering the title of Episode VI utterly meaningless.  Great.

Rey deals with the past in her way. She, like, the audience, believe there is more — that her parents must be someone. She must be a Skywalker, a Solo, Ben Kenobi’s granddaughter or the reincarnation of Anakin Skywalker (an idea I love but would never work). Sadly, unexpectedly, quite shockingly, we find out she’s nobody, and it’s brilliant.

Boy, are you SJWs going to be pissed when JJ Abrams retcons that in Episode IX by revealing to us that Kylo lied to Ren just as Ben lied to Luke about his parentage, and that Rey is really Luke’s niece as he claims in the novelization.  Or maybe it will all still be brilliant.

See, before the midi-chlorians and the Jedi temples, before the sequels and prequels and the expanded universe, Star Wars was much simpler. In some ways, it was about something more relatable, our place.  We were all Luke Skywalker. A farm boy who felt stuck with what his uncle and the universe thought he should be — gazing out amongst double sunsets with the comprised posture of someone just waiting for the opportunity to bust out of his own skin and jump on the first cruiser, laser beaming him straight off the planet.

What George Lucas accomplished is making you believe that the energy that flowed through him flowed through us all. That anyone from any walk of life, with the proper training, direction and focus could wield it while being guided by it—that we all played a part in destiny.

No.  He didn’t.  Rather, what George Lucas did accomplish instead, was showing that if you had the inner motivation and optimism and merit, you could accomplish great things.  Not everyone has those things.  So equal equality equally equalized equitably was never part of George Lucas’ message.  Rather, that’s a social justice reinterpretation, and therefore worthless.  You can see what would happen if just anyone could use the Force here.

Then came the prequels and the force became clinical, sterile in feel—just a swab of your blood and, maybe, just maybe, you could be a force wielder, too. 

This is where watching the films becomes important when commenting on them.  The Midi–Chlorians were never a stand-in for the Force.  They were microorganisms in the cells of a person’s body, that facilitated access to the Force.  The Force was still the Force. Red blood cells carry oxygen.  Red blood cells are not oxygen itself.

On some levels it would make sense that they would have a greater scientific understanding of the Force and how it operates within a person before the fall of the Republic after which much Jedi knowledge was lost.  Everyone had Midi-Chlorians.  But some had higher or lower counts of them, just as in real life the count of red blood cells varies from person to person.

While, as fantastic as The Empire Strikes Back and nearly as good Return of The Jedi were, the force took a dynastic turn.

That is part of the core of the hero with a thousand faces.  It’s why Star Wars struck such a deep chord and lasted for 40 years, and why abandoning that for the political fashion trends of the moment will kill the franchise.

But, in Rian Johnson’s Star Wars, the inclusion that Rey’s parents are, in fact, junkers and drunks who sold her for a fix, meant that someone from the meekest background could change destiny.

Luke started out as a naive farm boy.  It doesn’t get much meeker than that.  Rey goes from junker to universal expert in everything in about 5 nano-seconds.

Then, there’s Kylo Ren. Say what you want about Adam Driver and his portrayal of the unstable antagonist, which has been the joke of many YouTube videos, Twitter feeds and countless memes, but Driver, Johnson, and Abrams have crafted something in the character that the MCU and DCEU have not: a complex villain.

Driver plays the character with a ferocious intensity, his face always wears an unsure look, as if he’s ever dangerously close to falling off the edge of a cliff. He’s a villain who accepts being a monster, not because he’s sadistic and enjoys the brutality in death, but only because he believes it’s the only way forward and the only way to break from the path that Luke and Snoke set upon him.

With his helmet smashed to little black bits on the floor, Kylo has chosen to move on from Darth Vader.  But he’s still unsure. Rey can see the good in him, Snoke, the raw dark power. In familiar Star Wars fashion, he needs to rectify the two. Johnson gives him a third option, an escape; himself.

He’s like the quarterback bully with emotional issues in some WB drama for teens.

Let the past die

Kylo wants merely to obliterate the past (Kill it if you have to). Not realizing that the rage that moves him forward is rooted in the past, he’s doomed to repeat the sick cycle until his death or everyone else’s.  Unlike Luke, who accepts his failures and faults, especially with Ben, and moves forward from the force like a Skype Obi-Wan Kenobi.  And, Rey, who accepts the past and can move towards the present, just the latest last Jedi.

You’re the first apologist I’ve read that hasn’t quoted “let the past die” as though it’s genuine wisdom.  I sincerely applaud you for that.

We all had a vision of what this film would be.  I know I did.  I was happy with the formula.  Disney could’ve been, too.  I’ve heard the cries about Snoke but what was Palpatine but a shadowy, influential figure named The Emperor by Return of the Jedi.

He was the despotic ruler of the Empire who Grand Moff Tarkin tells us swept away the final remnants of the Republic when he dissolved the Imperial Senate.  The novelization of Episode IV gave us the history of Palpatine in the first few pages.

Rey could’ve been the long-lost descendent of Darth Bane, hell, she still might be, we don’t know anything except the letdown of her origin lifted her to great heights.  And, we could’ve had the clash of titans, with red and blue lights whirring and cracking each time Luke and Kylo’s sabers met but we’ve seen that story seven times already.

Rian Johnson took all your tropes, set up your expectations and subverted all of them with stunning visuals and multiple twists that we’re all still trying to work out. He tore all our heroes down, stripped them, and made them question everything just as he asked the audience too. In some ways, we’ve got wonder if Rian Johnson is the last Jedi because he just played the greatest mind trick on us all.

Yeah, it’s all one big Jedi mind trick.  One that had us paying ridiculous admission ticket prices.

Lucasfilm Rep Astonishingly Believes They Are Putting Out Quality Product

Brandon Katz from the observer.com asks the question, What Happens When a ‘Star Wars’ Movie Finally Bombs?

In it, Brandon interviews Bryan Young for his take on the current state of Lucasfilm and the Star Wars franchise.  Bryan young is touted in the article as an “author, filmmaker, journalist and uber-Star Wars fan.”  He’s also a contributor for starwars.com.

Here’s what Bryan has to say:

“I think Lucasfilm is working to find the best people for the job.”

The Last Jedi discredits that thinking.

“Kathleen Kennedy is essentially casting directors for the stories that she and her group want to tell.”

That’s the problem.  The stories that Kathleen Kennedy and her group want to tell are awful.

“When those people aren’t providing the job that she expected, they’re going to get replaced. I think the behind-the-scenes shakeups are a result of Lucasfilm wanting to make the best movies possible, and those shake-ups will continue if they feel they aren’t getting what they want.”

Are the behind-the-scenes shakeups the result of Lucasfilm wanting to make the best movies possible?  Or are they the result of Kathleen Kennedy wanting things done in her own special social justice way?  There’s a significant difference between the two.

“Perhaps they’ll be more judicious in who they choose, but I don’t think anyone is safe if they’re not turning over a quality product.”

I’d argue that they’re not safe if they are turning over a quality product, given the content in Disney’s Star Wars thus far.


Disney/Lucasfilm’s quality product.

“I don’t think there’s anything they can do to hurt the brand, honestly.”

Bryan Young is unfamiliar with the concept of “cooking the golden goose.”

“We’ve lived through the holiday special and the Ewok Adventures… I’d argue the Special Editions and the prequels were actually more divisive than any backlash for The Last Jedi, and Star Wars made it through that era just fine… “

You might argue that, but you’d be incorrect.

I’m old enough to have actually watched the Holiday Special live when it first aired on network television.  I’ve seen the very first film in the theaters during it’s original theatrical run in 1977, and have been a part of the fan base ever since.  I can tell you from first hand experience, that I’ve not seen any backlash even remotely on this level, not even with the Prequels.  With the Prequels, the OT Special Editions, and even the original OT itself, the criticisms were always just that; criticisms of something that folks still loved, warts and all.

Though Lucasfilm would undoubtedly love to convince the public otherwise, the reality is that this backlash is something entirely different.

“As long as they’re turning a profit for Disney, I think they’ll be left to their own devices.”

“This really is a team of people looking to tell stories first.”

No.  It’s not.  It is a team of political activists wanting to use the Star Wars franchise as a vehicle to propagandize a moronic political agenda.  They are not artists or storytellers.

“That they get to slap a Star Wars logo on it all just means it’ll make money.”

Not according to the toy and merchandise sales as of late.

“The Last Jedi is the seventh highest grossing film of all time.”

Yes, but there’s much more to consider than just that, such as all of this.

“I don’t think they’re sweating it.”

The Heroic Musicians of the Titanic continued to play as the unsinkable ship sank into the icy waters, in an effort to calm the passengers…


SC Reviews offers his own great perspective on the observer.com article.  Thanks for the shout out!


Twitter terms of service.

Patience On The Last Jedi DVD/Blu-Ray Sales

Many outlets are breathlessly reporting on The Last Jedi video sales, such as Star Wars News Network:

In its first week of release The Last Jedi topped the charts. Jumanji was in second place selling only 29% of the copies of Episode VIII. That bests the release week market share for most recent films including Jumanji, Justice League, and Thor: Ragnarok. The last movie to do better was the February release of Coco which had less competition and the inherent advantage of being a release aimed at children (kids’ movies generally do well in home video releases).

Geeks and Gamers also reports on The Last Jedi being Number 1:

But let’s slow down here.  Whether or not The Last Jedi is number one over Jumanji, or Thor, or Justice League, isn’t really what’s important here.

Rather, what is important here, is how video sales compare with its predecessor, The Force Awakens.  Currently, video sales for The Force Awakens can be viewed at the-numbers.com.  



The DVD/Blu-Ray sales have not been published yet for The Last Jedi.  But they soon will be.  By using a recently released film, American Made, we can see that the numbers are published about 8 weeks behind.  If we can use that as a gauge, then the numbers for The Last Jedi ought to be released somewhere around May 22nd, shortly before or after the release of SOLO.  Once the numbers for The Last Jedi DVD/Blu-Ray sales are released, they can then be compared to the DVD/Blu-Ray sales of The Force Awakens.  That’s what will tell us the real story.

So until then, keep your powder dry my peeps.


Great for skeet shooting.

Let’s also keep in mind that purchasing a DVD/Blu-Ray is far cheaper than a night out at the movies, and even a matinée.  That ought to be considered in the growing trend of movie goers abandoning cinema for their home theaters.  What also ought to be paid attention to here, is how many people keep the DVD/Blu-Ray, versus how many sell it at their local 2nd hand media shop after watching it.  Remember, purchasing a DVD rather than renting it means not having to worry about late fees.  But how you’d track any of this, I have no idea.

The Last Jedi De-Fans This Man

Garrett York writes an article at The Federalist entitled, How ‘The Last Jedi’ Ended My Love Affair With Star Wars For Good.

My fandom is over not because I grew up, but because they tried to grow up Star Wars. The results are disappointing to some, but to those like me, they’re disillusioning.

I kept my optimism simmering, and went to my local Galaxy IMAX to see “The Last Jedi” at the midnight premiere …

… Luke is still a narcissistic crybaby. Incompetent admirals with no sense of battle tactics whatsoever. A quest to free horsies and yet leave slave children right where they are. Oh yeah, that was a quest about something else and it failed. Leia Poppins. Snoke is no one. Rey’s parents are nobodies. Hyperspace tracking and fuel are now a thing. And where the Empire was an omnipresent force of evil that meddled with everyone in the galaxy, including the residents of Tatooine, the First Order is nowhere to be found; two on Jakku, none on the planet where Maz Kanata’s bar was obliterated, none on the Casino planet. It’s like 50 First Order fighters are battling about 30 Resistance fighters while the rest of the galaxy doesn’t seem to care.

And then I found myself no longer caring.

I walked away tired, because it was 3 a.m. I also walked away disillusioned, because “Star Wars” wasn’t “Star Wars” any more.

At 47, I find I am no longer looking forward to the next episode of the franchise. I’ve still got a couple of collectibles and the original trilogy on Bluray. I’ve got my original “Star Wars” poster so I can look back and remember when I believed in heroes. Yesterday I found myself wondering if Luke Skywalker ever really was a hero.

It took “The Last Jedi” to cause me to look back and wonder if his leaving the mission, his friends, and the Rebellion in jeopardy to go try and turn his dad back to the light side was a heroic thing or just a selfish thing. After all, can there be redemption for a genocidal monster who saves his confession until his deathbed? By tossing the Emperor over the railing, wasn’t Vader just clearing the way for himself to take power? Or his son?

My own son is 26, serving his country in the military, and doing his own thing. I have no grandchildren, but if I did, I would be taking them to see an animated film, or a superhero movie, or just about anything that doesn’t involve Jedi, the Force, and heroes that — thanks to the power of “The Last Jedi” — perhaps were never actually heroic to begin with.

Some have said that Kathleen Kennedy is deliberately attempting to purge the fanbase of the older fans, in favor of appealing to newer younger fans.  If that’s the case, then I’m not sure that Kathleen Kennedy has thought this through.  Because in the case of very young children, they’re going to need an older person to take them to these movies and buy the merchandise.  That older person has to be willing.


All good things…