Ian Harris writes a piece in The Michigan Daily entitled, ‘The Last Jedi’ and the state of film criticism.
I find myself in the same place, but for different reasons.
I’d have to disagree. Rather, it seems to be the Sequel Trilogy that is now generally loathed, with the Prequel Trilogy having mixed opinions.
Before it was released in theaters worldwide, “The Last Jedi” boasted a stellar 94 percent on the critical aggregate site Rotten Tomatoes. That number has since gone down to a still impressive 90 percent. But for whatever reason, audiences didn’t take to the film in the same way. The audience score on the same website currently sits at a middling 49 percent, the worst ever for a “Star Wars” picture.
That reason is politics. As the recent Oscars demonstrated, those working within the industry are ruled by the political fashions of the day. It affects absolutely everything they do. Critics are no different; they have based their reviews of the film on the political lectures they received which they found agreeable, to the exclusion of genuine film craft considerations.
But rather than a productive debate about the merits of the movie’s themes, commentary on its characters or possibly what it was actually trying to say and whether or not it succeeded in it, much of the discussion that surrounds “The Last Jedi” resembles that of a political debate or a Twitter feud between celebrities.
That’s because the Star Wars franchise has now become the latest skirmish in the much larger cold culture civil war.
One of the prominent narratives that surrounds this film is that the people who don’t like “The Last Jedi” don’t like it for one of the following reasons: All of its main characters are either women or people of color, it doesn’t respect white males and makes all the male characters stupid and they can’t let go of the old “Star Wars” they remember from when they are kids.
That of course is entirely incorrect. No such narrative exists, prominent or otherwise. Rather, that is a purely imaginary point that SJWs have wholly fabricated in order to have something to argue against, in an effort to defend the political messaging in the film.
Think about this logically for a moment.
What sense would it make for long time fans to be upset over the inclusion of female or non-white characters, when both female and non-white characters have been in Star Wars throughout its entire 40 year history, going back to the very beginning.
What sense would it make for any fans to be upset over the inclusion of female or non-white characters so suddenly with The Last Jedi, when its predecessor The Force Awakens was generally well received? Why would they suddenly become enraged over such things now?
Of course it doesn’t make any sense, which is why SJWs believe it to be true. None of what Harris is contending here has any basis in factual reality. I understand that SJWs believe that it’s still 1968, and really want it to be. But in reality it’s actually 2018. These battles were fought and won 40 years ago or more.
Now let me preface this by saying that by no means are these the only criticisms being leveled at the film’s detractors, but they are the ones making the loudest splash and the ones that are most dangerous for allowing us to have a meaningful discussion about the film itself.
No. What’s actually making the loudest splash are the SJWs arguing against these non-existent points, much in the same way that they virtue signaled one another over the equally imaginary black stormtrooper controversy.
That’s one of the more fascinating aspects of SJW psychopathology. SJWs are compelled to argue against points that no one is making.
The author’s argument essentially boils down to this: “Because there is no central criticism of this film that everyone agrees upon, the reason people don’t like it must be sexism.” She points to the prequel films as examples of films everyone agrees are bad for the same specific reasons and uses that to explain that if “The Last Jedi” were actually a bad movie, everyone would have the same criticisms of it.
To which I explain:
Not necessarily. This assumes that there’s a heated disagreement as to why The Last Jedi is bad. Rather, what this merely shows is that there’s multiple reasons why The Last Jedi is bad. Moreover, movie viewers are allowed to have differing opinions as to why they might not like a film, just as they are allowed to have differing opinions as to why they might like a film. This really isn’t evidence of anything more than the existence of differing opinions. Differing opinions are what happens when people aren’t forced to comply with the consensus of the collective.
Actually, that is entirely incorrect. The notion that art is entirely subjective is a myth that is pushed primarily by those with no education or training in the arts. Art has objective standards that one can be trained in and judged by. Therefore, art cannot be entirely subjective. It’s that simple.
Taste is subjective, art is not.
It’s perfectly reasonable to like bad movies. Many people do; the fans and producers of MST3K for instance. But it’s important to recognize that a movie is bad, even when it’s liked. One of the worst movies ever made, Highlander II: The Quickening, is one of my favorites. It’s such a clusterfarkle of bad ideas that I find it wholly entertaining to watch. But I’m able to recognize that it’s not a good film despite the pleasure it brings me. I don’t allow my personal taste to affect my objectivity.
I think that it is important that we as liberals not (to quote “Revenge of the Sith”) become the very thing we want to destroy. If we attack anyone who criticizes a movie that features a woman in the starring role simply because the movie features a woman in the starring role, we do ourselves a disservice.
Yet that’s what you do anyway. Read the sentences you wrote above about the purely imaginary points that you’re arguing against. You cannot help yourselves.
Do I think there are probably some crazy people out there who hate “The Last Jedi” because it’s about a female Jedi, a Black stormtrooper and a Resistance led by women and people of color? Yes, of course, there are those people. But those people probably also hated the similarly diverse “The Force Awakens” and “Rogue One” and neither of those movies created the kind of division that “The Last Jedi” did.
And yet, genuine posts that openly state such things can’t be found. We can’t be certain that the few that have been pointed to aren’t posted by SJW activists perpetrating a hate hoax in order to prove a point that doesn’t exist, as was the case with the De-Feminized Fan Edit.
My issues with “The Last Jedi” involve basically every single part of the film, but what I do not have any issue with is the casting or the nature of the characters. Far from it, I believe these characters and these actors have been severely underserved by the story they were given.
I agree, and have said so multiple times on this blog.
Her character really wasn’t any better in The Force Awakens, once the nostalgia goggles are removed.
Rey basically sits on the sidelines for the entire third act of the film, in which Luke Skywalker and Kylo Ren take center stage. Her entire storyline revolves around needing a man to bring back to the fight (first Luke, then Kylo).
Yes, but she then gets to lecture that man about what he’s done and why he did it, as though she were there or has any wisdom of her own, then prances off as Yoda informs the audience that she already knows everything in the Jedi books. But remember, she’s not a Mary Sue.
Nobody does. But it probably makes you feel bold to type that sentence out anyway.
I believe that it is bad because it doesn’t feature its main character (who happens to be a woman) nearly enough. It makes Rey into an agent of Luke and Kylo’s storylines, rather than using them as supporting players in hers.
All Luke did was milk some alien nipples and project a Force Doppelganger. Are you sure that you understand the distinction between main and supporting characters? Do you know what an ensemble is?
“The Last Jedi” wants to be seen as the most progressive and forward-thinking “Star Wars” yet, but in the last act of the film, it gives up on all of that to fall back on everything it claims it wants to forget. The film purports to be about realizing your heroes were flawed and not looking for an old man to come and face down an entire evil army, and then at the end of the movie Luke Skywalker comes out of hiding to face down an entire evil army.
Seemingly the entire point of Benicio Del Toro’s character was to show that this isn’t a conflict with straight lines of good and evil, but one filled with shades of grey. And yet at the end of the movie, we are left with good guys vs. bad guys, one side that blows up planets and one side that saves lives. Rey and Kylo Ren are supposedly conflicted characters grappling with the darkness and light inside of them, but at the end of the movie Rey is unquestionably good and Kylo is unquestionably evil. There is no moral ambiguity about the ending of “The Last Jedi.”
That’s the result of stupidly insisting on a fan-ficish “remnants of the Empire” scenario. Good vs. evil is the only possible outcome in that setting.
Even the movie’s attempts to critique the Han Solo archetype Poe Dameron fell flat on its face. While he is chastised early on for having a dumb plan that gets a few people killed, he later initiates an even dumber plan that leads to all but 10 members of the Resistance getting killed and nobody seems to care.
Not even the women in charge who lead all but a dozen or so Resistance fighters to their deaths.
Ahh. The commonly parroted “space wizards” remark. The remark that demonstrates that SJWs should never have been allowed anywhere near this franchise. Before the Sequel Trilogy was released, Lucasfilm advertised TFA as “The Cinematic Event of a generation.” Now that the franchise sucks thanks to ridiculous things like Kal-Leia, it’s just a movie about “space wizards with laser swords.” Go read some Joseph Campbell for Pete’s sake, will ya?
Seriously though, a reasonable conversation with people who make and perpetuate false accusations in an effort to protect political messaging is highly unlikely.
Or that you’re racist, sexist, and/or misogynist.
I understand that Harris is trying to articulate his dislike of the film from his liberal point of view. But pay close attention to the nature of his complaints. For Harris, the film wasn’t liberal enough. If Harris had his way, the film would be far far worse. So much so that he might have even named the main character Rey Bechdella.
Thanks to SC Reviews for finding this article.
A purported “insider” tells New York Daily News, that Yoda’ will return in Episode IX in service of this dying franchise.
“The success of the scenes featuring Yoda in ‘The Last Jedi’ were huge,” says our insider. If all goes according to plan, the sci-fi space sage will rejoin the series in spirit to mentor a young warrior played by British actress Daisy Ridley, we’re told.
The insider does not define success.
No doubt Yoda will gush with unconditional praise for Rey’s ability to use the Force to learn about the Force and train in the Force. It’s just the sort of thing that a fan-fic propagandist would contrive.
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.
In it he writes:
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.
No. It didn’t.
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.
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.
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 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.
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.
How did Rey become so flawless in everything she does?
Many of the fans are saying that now.
One man’s depth is another man’s shallow.
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.
He’s also a seamstress apparently.
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.
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.
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.
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.
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.
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.
Germain Lussier at i09 writes a piece entitled, All the New Things We Learned From the Star Wars: The Last Jedi Blu-Ray. In it, he describes some tidbits for those who are unwilling to buy the Blu-Ray themselves:
SJW politics at its silliest. Trump is a one percenter you see, because Trump owns casinos. The truth is, one percenters tend to stay close to seats of government, where they can make deals and get kick backs and kiss the behinds of those in power.
Six months to design a scar. That explains a lot.
A nice metaphor for how he’s taken down the franchise.
Creature designer Neal Scanlan said that The Last Jedi has more special effects work in it than The Force Awakens and Rogue One combined. Much of it ended up on the cutting room floor, but you can see some of it on the home release.
And far less screenwriting work than The Holiday Special.
Rian takes good direction from Kathleen Kennedy. Clearly.
Daisy Ridley is so brilliant. You wouldn’t want the eye to be damaged or scarred from the shrapnel of the helmet or anything.
Which means that Lucafilm was falsly touting the “practical” effects of the crystal foxes when they released this The Evolution of the Crystal Fox:
So apparently they’re making practical effects solely for marketing purposes now.
Johnson recorded his director’s commentary before the movie was released, so he never addresses some of the more “controversial issues.” However, even then he already had an idea they would be polarizing.
Not to worry. There’s plenty on record from Rian Johnson’s Explanation Tour.
Rob Hunter writing at filmschoolrejects.com, tells us what we’ve learned from that director’s commentary. Rob stupidly starts out with some ignorant snark:
Well, no. There’s not. Rather, what there is a backlash against instead, is the moronic feminist and SJW politics in The Last Jedi. Remember, feminist ideology and the female gender are no longer inextricably linked thanks to male progressives who now claim to be feminists. Criticism of feminism no longer automatically translates into criticism of women.
Even in a fantasy setting, there are a set of rules one must follow, a kind of physics you set up when world building. Otherwise, why not have Mickey Mouse fight alongside Rey? They’re both Disney properties in a fictional universe after all. Unfortunately, uneducated morons such as Rian and this writer won’t really ever be able to understand this, which is why they produce inferior products like The Last Jedi.
In any case Rob, you may want to consult other experts in your field who contend that there isn’t any backlash at all.
I’m not sure what any of that had to do with the commentary on the Blu-Ray, but I suppose the idiot activist inside of him just had to get those virtue signals out so that he could feel better about himself.
In any case, here’s what he purportedly learns from the commentary:
The opening joke — General Hux’s (Domhnall Gleeson) issues during his call with Poe Dameron (Oscar Isaac) — was something Johnson insisted on keeping as he wanted the film to be fun despite the expected heaviness of being the trilogy’s second chapter. “It’s gonna be okay to laugh at this movie.”
Unless you laugh at it in the wrong way, in which case you’ll get accused of being part of an irrational and childish backlash.
“Ruthless” military officers are often humorous. If only Grand Moff Tarkin had been more like Frank Burns.
The idea that Luke Skywalker (Mark Hamill) would toss the light saber away made sense to Johnson. It stems from him thinking about why Luke would be on this faraway island in the first place. “He knows his friends are fighting this good fight. He knows there’s peril out there in the galaxy, and he’s exiled himself way out here.” He knew the answer couldn’t be mere cowardice and instead would be something more positive.
I didn’t perceive any positivity in Jake Skywalker.
Regarding Leia Organa’s (Carrie Fisher) space walk Johnson recalls Kathleen Kennedy’s reminders that Leia is a Skywalker too. She has powers, presumably beyond just sensing the loss of a loved one, “and we never see them manifest.” He says she realizes at this moment that she has more work to do, “and almost through instinct, almost like you hear about parents when their kids are caught under cars being able to get Hulk strength and lift them up, that’s kind of what I wanted this moment to be.”
More direction from Kathleen Kennedy. Great.
She’s still pretty dippy hippie.
He wanted to approach the idea of “the Force” by explaining that it’s not a super power. “It’s not like making things float, it’s not like an Iron Man-type superpower that you get, or Iron Man doesn’t have super powers, I know I know I know I know. Iron Man’s suit does everything.” So he gave a gentler, more spiritual explanation of it all, “a little bit of a reset on it.”
And as a result he turned the Force into gobbledygook, just as George Lucas feared.
They shot a “teachable moment” sequence where Luke mentally fabricates an attack on the island village for Rey to respond to and then get angry about, but they decided it was unnecessary. It’s available on the deleted scenes.
Of course it was unnecessary. Yoda even tells us that as a Mary Sue she already knows everything contained in the sacred Jedi texts. No training is necessary, and we certainly wouldn’t want to have Luke mansplain the Force to Rey anyway.
Well, he certainly heard what Kathleen Kennedy thought about it.
DJ’s “true cynicism” regarding the galaxy’s arms dealers and how they supply both “sides” in the eternal war “felt dangerous” to bring into the Star Wars universe, but he felt it was important to the film and Finn’s journey.
For political purposes.
That concept existed long before 2004. What the hell is he talking about?
Ridley and Driver did an immense amount of training for their big shared fight against the Praetorian guards, and their efforts paid off in that Johnson didn’t have to use long lenses or editing trickery to conceal their inadequacies or the faces of stunt performers. He was able to shoot wide and show the two of them actually doing the fights.
He knew he wanted walkers as they’re one of his favorite designs “in all of movie history,” and while they wanted to update it they didn’t want to change it too much. They eventually settled on the “gorilla walker” style to imply their greater strength.
Good thing he avoided derivatives.
Jewel Queen from The Mary Sue writes a piece entitled, The Inclusive Illusion of Star Wars: The Last Jedi.
In it she writes,
Except that absolutely no one decried that. It was a completely fabricated controversy.
This too is a completely fabricated controversy. No one is decrying the increase of women in Star Wars media. Rather, what some fans are decrying instead, is the injection of the pure idiocy of feminist ideology into Star Wars media. That’s an important distinction to make. I explain that in greater detail here.
But that’s one of the primary problems we find in SJW psychopathology. They instantly react to anything they dislike by calling it racist, sexist, misogynist, xenophobic, homophobic, etc. etc. etc. They do this whether or not the word actually applies, and indeed, whether or not they actually have an understanding of the definition of the word they’re using. It’s actually really interesting to study this particular behavioral aberration.
You’re one of the very few feminists who has been able to see this. I’d highly recommend reading articles by Erin White from Afropunk, and Lelanie Seyffer at Hypable, to learn more about your forbidden point of view.
When The Force Awakens came out, Rey was a shining light for female fans of Star Wars. While Rey was not the first important woman in the franchise, she was significant in being one of the main protagonists like Luke and Anakin.
Well, that’s part of the feminist misunderstanding of Star Wars right there. There was never a main protagonist. The Star Wars films were ensemble pieces:
It was heartwarming to see Rey have agency andhumanity. However, The Last Jedi strips these elements from her. Rather than the focus of Rey’s arc being on her Jedi training and character development, Rey is relegated to attempting to make Luke Skywalker return to the Resistance and trying to “save” Kylo Ren, even if he shows no signs of remorse.
It’s amazing how nonsensical and ridiculous things that can be contrived in a screenplay, isn’t it?
The issue here is that the story focuses more on how Luke feels about his past failures, and Kylo’s “reasons” for turning against Luke. It does not give any consideration to Rey’s emotions and choices, and even when it does, it is very weak.
Do we really need to learn about Rey’s emotions in a war movie?
It is? How many times has a female lead excused a threatening and violent white man just because of his tragic backstory? I mean, specifically. What specific instances are you referring to. I’m asking, because I know that you composed that sentence thinking that it sounded wise, while not having any idea as to whether or not it represents an accurate reflection of factual reality.
The situation worsens as Rey goes on a suicide mission to save “Ben Solo.” Rey speaks of how she saw a vision of Kylo’s future in the Light Side, but we are simply told instead of shown. Even in the throne room sequence, Rey’s decisions are not at the center, as the big twist is Kylo choosing to kill his master, Supreme Leader Snoke.
Feminists always have to be at the center of everything.
That’s because Rey’s not a compelling character that can be expanded upon in any genuine way.
Fighter pilots do sometimes die in battle.
The damage grew worse with Finn’s treatment. Despite getting an injury so painful it put him in a coma, Finn wakes up, bangs his head, and walks around in nothing but a bacta suit on in his first scene, all for comedic relief. He’s demoted from a protagonist to side-character throughout his seventeen minutes of reduced screen time.
How are the SJW activists working in the Lucasfilm Story Group going to accomplish that exactly?
I don’t think anyone understands what they were doing all along.
You mean like Lando Calrissian, from 38 years ago?
It’s what needed to happen, so that Holdo could teach him a deeply stupid feminist lesson.
You’re starting to think like a normal person.
It kind of makes you wonder why so many feminists think this film passes the worthless Bechdel Test, doesn’t it?
Rey’s job is to sway Luke, then Kylo, to her side. Rose has the job of teaching Finn something he already knew. Holdo exists to make Poe listen to women. And what about Leia Organa, who only hours ago lost her husband and, by the film’s conclusion, her brother? Leia is put in a coma after her Shooting Stars sequence, and no insight is given into how she feels, nor does she get to make meaningful decisions.
Well, the women in charge made the decision not to gas up before they left, which led to two days worth of failed missions and all but a dozen or so Resistance soldiers to their deaths. I’d say that might be meaningful.
But this was feminism on screen. That’s precisely why it was so incredibly stupid.
Admiral Holdo is killed off to complete Poe’s character arc. It’s quite telling how one of the most memorable shots of the film is a woman sacrificing herself after she’s outlived her usefulness to the story.
When did Holdo have any usefulness?
Rose is left in a state of limbo at the film’s conclusion, and it’s implied that there might be a competition between her and Rey for Finn’s attention, because how feminist is it to have two women fighting over a man, right?
Actually, folks are thinking that Rose is going to get Jar-Jared and dropped from the narrative almost entirely. But really, who cares either way?
This is probably news to Rian Johnson and Kathleen Kennedy, who worked so hard to bring you their diversity fashion show.
You can see what would happen if everyone was a part of Star Wars here. Seriously though, Star Wars could never properly be about everyone. Because everyone doesn’t fight in wars. And that’s what Star Wars is about; war. Hence the “wars” in Star Wars.
But the men who called Rey a Mary Sue had a legitimate point too.
They’re going to repeat many mistakes, because Lucsfilm no longer employs wise storytellers. Rather, they employ naive political activists instead.
I’m willing to bet that most fans don’t give a hoot about Rey, Finn, Poe, Rose or Holdo. But only the box office for Episode IX will tell us for sure.
Andrew Whalen of Newsweek writes:
Solo: A Star Wars Story has a character named Therm Scissorpunch. We thereby award the Han Solo movie The Elan Sleazebaggano Memorial Worst Name Trophy, created in honor of the Star Wars Episode II: Attack of the Clones character who tries to sell death sticks to Obi-Wan.
There’s always a danger that a Star Wars name will be too on-the-nose, hewing too directly to a word’s English-language meaning, instead of slippier evocations. This can be especially dangerous when real-world titles are involved. For me, General Grievous is just on the wrong side of that line, Count Dooku just on the right side. Grand Moff Tarkin, with his made-up but weighty honorific, is better than either.
So far, Disney’s new Star Wars movies have played it safe. Rey, Kylo Ren, Poe Dameron, Jyn Erso, Finn: all names that work but don’t dare any goofiness. That looks to change with Solo: A Star Wars Story. A recent Denny’s promotion (don’t ask), revealed several characters from the upcoming Han Solo movie, many of which we’ve seen or heard of in other promotions or trailers (including the badly named Moloch, which doesn’t even bother to cover its Biblical badness in anything alien). But while I can get used to Argus “Six Eyes” Panox (who has double the typical Gran ocular complement), Therm Scissorpunch exhibits many of the worst Star Wars naming traits.
Therm is a lobster-thing, which means it literally has scissors for hands, presumably also useful for punching… scissor-punching. I’ve got a bad feeling about this: when Star Wars gets this literal, it’s always a bad sign.
Therm’s scissorpunch is no match for Lobstor’s.
In The Last Jedi, Finn and Rose Tico shared the most awkward chemistry-lacking kiss in cinema history. Episode IX just may top that.
The big news of the week so far is that Episode IX will reunite Finn and Daisy, and won’t keep them apart. At this point, only a handful of fuming SJW dimwits even care. But I’m sure that Lucasfilm is hoping to generate interest in the film by manufacturing some sort of sexual tension between the two characters.
“I haven’t read the script for Episode IX. But Daisy did shoot me a text saying, ‘Oh my gosh, I just heard from J.J. [Abrams], and we’re back together.’ That’s what I’m really excited about, is Finn and Rey back together again,” Boyega said during a panel at Awesome Con, /Film reports.
I could be wrong, but I’m skeptical that Lucasfilm would allow Mr. Boyega to let that spoiler slip. I suspect that he was directed to let that tidbit slip in order to generate interest in the film.
He also spoke to what he hopes to see for his character in Episode IX, saying, “One question I’ve always had as an actor being involved in Star Wars is why Finn decided to defect in the first place. I still don’t understand. I would love to know more, to go into his life as a Stormtrooper.”
You’re not alone, John. Nobody understands it.
Planned Parenthood has piggybacked Star Wars before to further their political agenda:
— Planned Parenthood (@PPFA) December 17, 2015
So Planned Parenthood’s latest antics should come as no surprise.
Tyler O’Neil from PJ Media reports:
Here’s a screencap of the tweet that Planned Parenthood has since deleted:
Why did Planned Parenthood delete the tweet? Josh Hafner of USA Today reports on Planned Parenthood‘s response:
“Today, we joined an ongoing Twitter conversation about the kinds of princesses people want to see in an attempt to make a point about the importance of telling stories that challenge stigma and championing stories that too often don’t get told,” said Melissa Reed, Planned Parenthood’s president and CEO. “Upon reflection, we decided that the seriousness of the point we were trying to make was not appropriate for the subject matter or context, and we removed the tweet.”
If you can decipher that gobbledygook, more power to you. But not so fast here. Let’s look at this a bit more.
It could be argued that we already have our union worker princess in the way of Rose Tico, given her drab jumpsuit and silly social justice lectures. So we know that Disney is not at all adverse to delivering on these SJW demands.
Although, I’m not sure how a princess could be an “undocumented immigrant” in the Star Wars franchise. Would it have anything to do with the Trade Federation? I’m sure that the activists writing Lucasfilm propaganda will sort it all out.
So that leaves us with trans, pro-choice, and having had an abortion. Got that JJ and Rian?
Melia Robinson of Yahoo News reports:
During his talk at the SXSW film festival on Monday, Johnson responded to a fan’s question about why there are so many close-up shots of hands in “The Last Jedi.” The director said it’s always “tempting” to make a simple scene over-the-top, especially when the budget permits, but it’s more rewarding “if you can get a satisfying beat out of the intimate.”
Having let the past die, or having not seen the Original Trilogy films, Rian is unaware of the sequence in TESB when the Falcon flies into the center of a hollowed out asteroid. While there, Leia works on the Falcon and hurts her hand in the process. Han grabs Leia’s hand and starts rubbing it. Leia says, “Don’t, my hands are dirty.” Han Says, “My hands are dirty too.” I understand that everything is brand spanking new in the neo-Victorian age of the SJW where they’ve let the past die. But that TESB sequence is a bit more steamy than merely showing close-up shots of hands, or two fingers touching. But apparently in Rian Johnson’s parallel universe, pulling someone’s finger is akin to a sex scene.