Liberal Wanted The Last Jedi To Be More Liberal

Ian Harris writes a piece in The Michigan Daily entitled, ‘The Last Jedi’ and the state of film criticism.

But what I take even more of an issue with than the film itself is the discussion surrounding it.

I find myself in the same place, but for different reasons.

The originals are generally loved and the prequels generally loathed, with “The Force Awakens” and “Rogue One” both falling somewhere in the pretty-good-or-maybe-great-but-not-amazing range.

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.

One article that was making the rounds over this past weekend was titled “Why So Many Men Hate ‘The Last Jedi’ But Can’t Agree on Why.”

Yes, I’ve commented on that silly article.

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.

“If everyone is thinking alike, then somebody isn’t thinking.” ~George Patton

Ian continues:

Art is, by its very nature, subjective.

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.

She is a gifted actress who had a great character in the first movie that I believe was wasted in “The Last Jedi.”

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.

I don’t believe that “The Last Jedi” is bad because it stars a woman.

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. 

In the lamest fashion possible.

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.

Regardless, we should be able to have a conversation about a movie about space wizards who can make rocks move and fly through space without becoming mortal enemies in the process. 

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.

But then again, I hated the movie, and from what I understand that must mean I just didn’t get it.

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.


Some fashion glasses would help make The Last Jedi more liberal.

Thanks to SC Reviews for finding this 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 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.

What Did People Learn From The Last Jedi Blu-Ray?

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:

Before he even wrote the movie, writer-director Rian Johnson had these very specific ideas in his head: The idea of a casino planet where the one percent of the Star Wars universe lives.

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.

It took the make-up team almost six months just to design Kylo Ren’s scar.

Six months to design a scar.  That explains a lot.

The hand that pulls the dice down from the Millennium Falcon mirror belongs to Rian Johnson. It’s his cameo.

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.

In editing, Johnson almost cut out the lingering shot of the baby porgs in the Millennium Falcon many times. But every time she saw it, Lucasfilm president Kathleen Kennedy laughed, so it stayed in.

Rian takes good direction from Kathleen Kennedy.  Clearly.

There was a lot of discussion of what Captain Phasma’s exposed eye would look like when Finn breaks her helmet. Johnson credits Daisy Ridley for telling him to just make it normal.

Daisy Ridley is so brilliant.  You wouldn’t want the eye to be damaged or scarred from the shrapnel of the helmet or anything.

While writing, Johnson considered having Luke use the Force for some massive attack at the end, but felt it went against his idea that the Force is not a superpower.

So instead he had Leia fly through space like Superman, with a superpower.

Despite many attempts to make them practical, from animatronics to dressing up dogs, Crait’s crystal foxes are all digital. Digitally, though, each one has 25,000 strands of CG hair coming off it.

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, tells us what we’ve learned from that director’s commentary.  Rob stupidly starts out with some ignorant snark:

As you undoubtedly know, Episode VIII in the ongoing Star Wars saga is one the highest-grossing films of all time and is universally loved by everyone whether they’ve seen it or not.


There’s definitely no irrational and childish backlash against its female-led heroics…

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.

…or interpretation of the film universe’s fictional psychic ability, the Force. Nope.

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.

He saw a lot of potential for humor in the character of Hux and admits to playing with him “in a slightly more comic way.”

“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.

Vice Admiral Holdo (Laura Dern) was originally much more “hippie dippy,” but they readjusted her character in editing and with pick-up shots.

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.

The commentary was recorded before the film opened, “so I haven’t heard what anyone actually thinks about this.”

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.

Regarding the tension between Poe and Holdo, he credits the Battlestar Galactica reboot (one of the top five shows ever IMO) with inspiring the idea that there can be discord between the good guys.

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.

Feminist Almost Sees Reality Through Her SJW Haze

Jewel Queen from The Mary Sue writes a piece entitled, The Inclusive Illusion of Star Wars: The Last Jedi.


If only feminists understood what reality looks like.

In it she writes,

While many critics and large numbers of fans have praised the film for its “new direction,” an undeniable backlash has grown against it. 

Undeniable?  We might think so.  But there’s plenty of people in the process of denying just such a thing.  Some folks are even openly calling for denial.  Read, here, here, here, and here.

Many fans of the movie have lumped all this criticism together as the same racist and misogynist fanboys who decried the inclusion of Finn from the first Force Awakens teaser…

Except that absolutely no one decried that.  It was a completely fabricated controversy.

…as well as the increase of women in Star Wars media.

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.

Those hateful detractors certainly exist…

Actually, no, they don’t.

…but the limited perspective that all criticism is in that bad faith has masked the flaws of The Last Jedi in terms of feminism and diversity.

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.

The movie diminishes the role of its own female lead, mishandles its characters of color, and gives women and POC no meaningful impact on the final story.

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?

In our current times, it’s disturbing how our female lead is expected to excuse a threatening and violent white man just because of his tragic backstory.

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.

Rey’s screen time even dropped from 43 minutes in TFA to 30 minutes in TLJ. She didn’t go on a compelling journey that expanded her character in any genuine way.

That’s because Rey’s not a compelling character that can be expanded upon in any genuine way.

In the first space battle, I was thrilled to meet Paige Tico, a Vietnamese female space pilot, only to get crushed after seeing her die without so much as one line of dialogue.

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.

And those who haven’t let the past die, know when this sort of thing has been done before.

Rose is denied proper writing, as most of her time is spent preaching to Finn about how things like child slavery are bad—to a former child-soldier.

Don’t you understand?  She has to fem-splain things to Finn.

This has caused many fans to hate Rose, but imagine what could have been if she had been well written!

How are the SJW activists working in the Lucasfilm Story Group going to accomplish that exactly?

She’s also given a flat romance with Finn, after she sacrifices himself to save him to show how we must save what we love, which … he wasn’t already doing all along?

I don’t think anyone understands what they were doing all along.

Part of diversity is actively putting your characters of color in impactful roles and allowing them to live as most white leads do. 

You mean like Lando Calrissian, from 38 years ago?

Poe Dameron is also changed from the responsible and caring person he was in The Force Awakens to a reckless, disobedient, and glory-obsessed pilot. 

It’s what needed to happen, so that Holdo could teach him a deeply stupid feminist lesson.

Poe is forced to deal with his new leader, Admiral Holdo, who he has a right to question, as she denies any of the Resistance information about her plan.

You’re starting to think like a normal person.

Finally, The Last Jedi does not give the female characters and characters of color any other role than supporting their (white) male counterparts. 

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.

Like diversity, feminism is more than just having women on the screen.

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?

The end product leaves all the female characters and characters of color without any meaningful impact on the story. 

This is probably news to Rian Johnson and Kathleen Kennedy, who worked so hard to bring you their diversity fashion show.

This is disheartening because two years ago, Lucasfilm promised that everyone would be a part of Star Wars with the Sequel Trilogy. 

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.

Fans who disliked this movie ought to be taken seriously, not lumped in the same boat as the men who call Rey a Mary Sue.

But the men who called Rey a Mary Sue had a legitimate point too.

If people do not listen to these concerns, Lucasfilm may repeat these mistakes with Episode 9.

They’re going to repeat many mistakes, because Lucsfilm no longer employs wise storytellers.  Rather, they employ naive political activists instead.

The fans need to rise up this time to give Rey, Finn, Poe, Rose, Leia, Holdo, and more the story they deserve.

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.

Explaining Things To Star Wars Explained

A short time ago, Alex Damon of Star Wars Explained released a video criticizing the public reaction to the blaster-less Han Solo posters.

In it, Alex states:

“…everyone is acting like Disney and Lucasfilm are trying to take the wars out of Star Wars.”

In all fairness, why wouldn’t some people react this way?  Let’s go over some of the past, before we let it die.

In the The Last Jedi, the audience was treated to a lecture from Rose Tico, about the weapons trade, and how evil it is.  So it’s clear that the writers of the film are now using the Star Wars franchise as a vehicle to push an anti-gun agenda.

That lecture gives new light to The Force Awakens, in which the protagonist Rey fights off armed assailants through half the film with a stick.  The writing of this perplexing scenario now makes much more sense in the context of the writer’s anti-gun activism.

Additionally, we can look to the overseer of Disney-era Star Wars, Kathleen Kennedy, and the history of her heavy involvement in films.  For instance, Kathleen Kennedy was a producer on the 20th Anniversary E.T. The Extraterrestial DVD.  In that updated film, the handguns held by police officers were digitally replaced with walkie-talkies.

Fast forward to 2008 and Indiana Jones and the Kingdom of the Crystal SkullRed Letter Media does an interesting analysis on that franchise, comparing the number of people that Indy kills in each film:

In short, while Indiana Jones kills multiple enemies in the original three films, he only kills one person in Crystal Skull; the Indiana Jones film that Kathleen Kennedy worked on as producer.

Given this historical track record, along with the now widely known SJW agenda driven material throughout the Disney-era Star Wars franchise, it was perfectly reasonable for many to suspect that “Disney and Lucasfilm were trying to take the wars out of Star Wars.”  In fact, I’m not entirely convinced that the current writing staff at Lucasfilm (or indeed many in the fanbase) are at all aware that the word “wars” appears in the title of the franchise, as I’ve written about many times here.

Alex continues:

“What nobody was talking about or mentioning was the fact that these were international posters.”

In fact, I was talking about and mentioning the fact that these were international posters.  I wrote in my original post:

Collider reported in a March 15th article, that the blaster-less posters are the international posters, which goes back to my previous update.  In an article entitled, ‘Solo: A Star Wars Story’ International Posters Get Some Noteworthy Changes.  Allison Keene writes:

In the posters below, you’ll notice that the big block lettering has been removed, and replaced with a more standard logo for the movie. And instead of being identified as “Solo,” Han is now just Han. Those are fairly minor changes, and not surprising given the potential lawsuit, but there’s another noteworthy adjustment — no guns. If you’re wondering why Han looks so weird it’s because his arm was moved down and his gun taken away, resulting in a very odd pose. Qi’ra and Lando come out looking fine, though Chewie now looks like he’s having a class photo taken

Some apologists are defending these posters, by saying that they’re for international markets.  According to them, European and other international markets can not show people holding guns whether real or imaginary on movie posters.

This changes nothing, because the motivation for doing this remains the same.

The international markets that don’t allow depictions of people holding guns on movie posters, are dictated by governments which are run by people who have the very same SJW mentality.  In essence, Lucasfilm is appeasing foreign SJW bureaucrats.

Alex continues:

“Not only that, but the posters being compared are from two completely different countries.”

So what?  Whether or not the two posters in question are from two completely different countries or not, means less than nothing.  The political motivation for removing the weapons in the Brazilian posters, is the exact same political motivation that wrote Rose Tico’s anti-gun lecture in The Last Jedi.  More on that later.

Alex continues:

“So, no poster was ever changed.  The quote unquote original poster is in Spanish, and the supposedly changed poster is in Portuguese.”  

The fact that one poster was in Spanish while the other was in Portuguese doesn’t serve as any kind of evidence that the posters weren’t changed, so I’m not sure why Alex would make that point.  Of course they were changed.  One had weapons, one didn’t.  Alex contends that they changed the posters to suit different markets, but the reality is that they changed the posters to suit political agendas.  More on that later.  But the reasons for the change, doesn’t erase the fact that it is still a change.  If I’m sitting at Photoshop, and I have a picture of Han Solo pointing a gun in a PSD file, I have to change something to get his arm to hang down without a blaster in his hand.  That’s a change.

Alex continues:

“So rest assured, this change [air quotes] has nothing to do with gun violence in the United States.  It might have something to do with gun violence in Brazil, I just don’t know.”

I do know.  Sometime around March 24th or 25th, I emailed Alex a link to this follow up post.  In it I discuss a purported response from Disney on this matter:

Stephen M. Colbert from ScreenRant states that the blaster-less posters are specifically for Brazil:

First of all, the posters arent for the United States. They’re posters for Brazil. Brazil has had its own recent national debate over firearms, but that’s not even the reason their posters look different. Screen Rant has spoken with Disney about the posters in question and they’ve verified that the posters are specific to Brazil, and they are likely that way because Brazil is trying to push a more family-friendly image for Solo (or “Han Solo” as it’s marketed there) in that region. The posters aren’t distributed in the US, and the change has nothing to do with the gun issues in the US.

That’s really quite interesting, if that’s what Disney is claiming.  Because according to an article entitled, People Are Ready to Buy Some Guns in the World’s Murder Capital, written on March 20th 2018 by David Biller at Bloomberg:

Desperate Brazilians are wondering whether they’d be better off armed, given that around 60,000 of their compatriots are killed each year. Polls show support for gun ownership gaining ground. In an election year, politicians are paying attention.

“Everyday, everywhere you look, the criminal is armed with a high-powered weapon as the citizen tries to hide,” Rogerio Peninha Mendonca, the lawmaker behind the proposal, said in an interview. “What we want is for the citizen to be more capable of defending himself.”

The idea runs counter to recent calls in the U.S. for greater gun control, as well as the global trend towards restricting access to firearms that’s seen Australia, the U.K, Canada, New Zealand and Germany tighten their laws in recent decades.

Forty-two percent of Brazilians believe gun ownership is a citizen’s right, according to a November survey by pollster Datafolha. That’s up from 30 percent four years earlier. And of the lower house lawmakers who have expressed opinions publicly, slightly more than half support the proposed legislation, according to a scoreboard maintained by Peninha’s staff.

Stephen M. Colbert at ScreenRant continues:

Second, the “changes” to the posters aren’t actually changing anything. The controversy is mostly based on the comparison of two sets of posters (example above) that appear identical other than the fact that one set features the characters with guns and the other doesn’t. Not only were these posters released at about the same time, but the posters in question are the first Solo posters for Brazil, meaning it’s impossible for them to have been “changed” as there were no previous Brazillian posters to change from. The only reason people think they were changed is because they’re comparing them to the Spanish posters, where the characters all still have blasters. The casual eye may not be able to differentiate between Spanish and Portuguese, but it’s clear they’re different languages as one movie is titled Han Solo: Una Historia de Star Wars and the other is Han Solo: Uma História de Star Wars. Other words are also different, such as the Spanish “cines” and the Portuguese “cinemas.”

Nonsense.  If the posters really were specifically for Brazil, then they were changed (or customized if you prefer that word) to appease like-minded SJW bureaucrats in Brazil who oppose loosening their guns laws in the midst of a contentious public debate.  The last thing they want to do, is give their political opposition potential inspiration through a movie like Solo.

It’s worth noting that Stephen M. Colbert doesn’t really supply any direct quotes or official statements from Disney, only claiming that they’ve “spoken with Disney.”

So in fact, the posters were changed to appease the same “liberal agenda” in the firearms debate in Brazil.  Disney’s purported statement is questionable given the political realities of the situation.  It’s possible that my email to Star Wars Explained fell into his spam folder, but I haven’t seen any corrections or updates on this matter from Star Wars Explained since.

Alex continued:

“But even if these were American posters, I would have the same reaction, and that would be; who cares?  It’s not like they’re going to go through, and remove all of the blasters from Solo digitally.”

Why not?  They removed the guns in E.T. The Extraterrestrial.  And 80% of the Solo film was reshot.  That leaves significant room for such changes, digitally or otherwise.

Additionally, Gareth Edwards has stated that Lucasfilm ordered extensive reshoots of his version of Rogue Onebecause they were unhappy with the darker grittier wartime documentary style of the film.  So making such changes would fall within the known spectrum of Lucafilm’s actions, if Gareth’s account is to be believed.

Alex continued:

“To steal a joke from Wookiepedia left on my Twitter about this topic, yeah, Star Wars is rebranding itself into Star Peace.  It’s absurd to make that kind of assumption based on international posters, and marketing that you clearly did not take even a second to fully research or comprehend before you cranked out a video on it.”

How about making that assumption based on the statements made by Laura Dern:

“In their minds, and in their understanding of the origin story, we know that she was a true rebel in the Resistance, and in our culture we might have called her a hippie,” Dern tells EW. “But she was longing for peace, and a revolutionary in that way, and wanted to be trained by and led by Leia, who taught her everything she knew. She wanted to come up in the ranks to support Leia’s mission, but also had this otherworldly side that does involve the Force.”

“Yeah, her primary goal was to protect the light, to protect the Force, and to keep the revolutionaries alive,” Dern tells EW. “And I think the film speaks so beautifully to that with this last image of the next generation of the Resistance, you know?”

And there was also this:

“Holdo’s homeworld, Gatalenta, is essentially a planet of space hippies, studying astrology, meditating and valuing serenity above all things.”

So how absurd is it to consider the possibility, that a franchise which creates a hippie peacenik character as a commanding vice admiral, might rebrand itself as Star Peace?  After all, this new character values serenity above all things.

At one point in Alex’s video, he calls out another YouTuber for admitting that “he doesn’t know.”  Yet Alex himself in his own video admits that he just doesn’t know if the posters have anything to do with gun violence in Brazil.  He admonishes the other YouTuber for reacting on incomplete information, yet Alex is doing much the same in his own video without any knowledge of the political debate over guns raging in Brazil, or of the larger political agendas which cross national boundaries in our global 21st Century world.  All one had to do was watch the recent Oscars to understand that the people in this industry are politically motivated in absolutely everything they do.

If you’re going to take it upon yourself as a self-appointed authority figure to lecture others about reactionary behavior, then it would behoove you to do your own research into matters outside of Star Wars.  The world is a big place, and many things influence the actions of movie studios and the actions of the individuals running them; politics in particular. Failing to do this could likewise be considered irresponsible.

Alex hopes the other YouTuber learns a lesson from all of this.  How magnanimous of him.  But frankly the other YouTuber did nothing wrong in my opinion.  He reacted to information that was given to him in an honest manner.  He cautioned his viewers that the article may or may not be legit.  He allowed for the possibility that he could be wrong on this.  There’s nothing irresponsible about that whatsoever.  In fact, offering those warnings was very responsible.  He didn’t pass himself off as some know-it-all with confirmed concrete information.  And many folks turn to crowds of people for research.  It’s called crowdsourcing.  Thousands of eyes can find more than just two.  So I’m not sure what lesson he has to learn here, or indeed that Alex has any lesson to teach him.  In fact it’s the other YouTuber’s raw honesty that makes his videos far more compelling to watch than listening to the recitations of well-rehearsed propagandists.

But at the end of the day, hopefully Alex learns a much needed lesson of his own here.  And that lesson is that Alex has the exact same stinky brown hole as every other human being on the planet.  Remember, self-appointed know-it-all authority and massive stupidity always walks hand in hand.  Because a truly thinking person understands that no one on Earth knows it all.  Not anyone.


And after all of that, the United States character posters end up having the same blasterless images as Jeremy from Geeks + Gamers pointed out:


Interestingly, the international Brazilian market that the blasterless posters were supposed to appeal to, performed the worst out of the Top 10 box office territories, according to


While the box office territory that performed best, had blasters in their posters, which can be read about here.


Holdo Can Use The Force Too

Matt Miller of Esquire reports in an article entitled, Laura Dern Just Revealed a Key Detail That Changes Her Star Wars Character:

“In their minds, and in their understanding of the origin story, we know that she was a true rebel in the Resistance, and in our culture we might have called her a hippie,” Dern tells EW. “But she was longing for peace, and a revolutionary in that way, and wanted to be trained by and led by Leia, who taught her everything she knew. She wanted to come up in the ranks to support Leia’s mission, but also had this otherworldly side that does involve the Force.”

Dippy hippies leading men into battle?  Sure, why not?  “It’s Star Wars.  Let’s not worry.  Let’s move on.”

Laura Dern Continues:

“Yeah, her primary goal was to protect the light, to protect the Force, and to keep the revolutionaries alive,” Dern tells EW. “And I think the film speaks so beautifully to that with this last image of the next generation of the Resistance, you know?”

So if Leia can use the Force to fly through the empty airless vacuum of outer space, you can bet that Holdo can use the Force to save herself from her own disastrous decisions too.

Feminists will undoubtedly be swooning over Holdo’s glorious return in Episode IX, and will fold their arms with righteous satisfaction as Poe Dameron apologetically grovels to her.


Thanks to John Talks Star Wars for the shout out:

John raises some interesting questions.

Does the Force need protecting?  How does one protect the Force?  Why would a peacenik pursue a career as an admiral?  How peaceful is the Holdo Maneuver?


She believes she can fly. She believes she can touch the sky.

Laura Dern Threatens Fans With The Return Of Holdo

Fans may be forced to endure the return of Vice Admiral Holdo.

Alistair Foster from Evening Standard reports:

Her death is not seen on screen and a fan theory has emerged speculating that she could have survived in an escape pod. 

Dern said: “This is the message to send to the world: I am absolutely comfortable with that theory. I’m thrilled to be a hero but I remember a long time ago, someone saying, ‘No one dies in space’.

“I’m eager to learn about the future — or the past — of this character only because I loved playing her so much it would be heartbreaking not to have an experience of playing her again. Whether or not there’s an escape pod — unfortunately I’m not the one that knows!”



Let the past die…

Last Jedi Box Office Worse Than Thought

I’ve previously discussed the details of the box office for The Last Jedi, and why the 1.3 Billion figure isn’t what many think it is.  Now, World Class Bullshitters provides further analysis in their latest video:

Holdo Was Changed To Be Less Antagonistic and Overbearing

That’s right.  Less.

Chris Agar from ScreenRant writes:

In Holdo’s introductory scene (her speech to the Resistance), Johnson described the initial version of the admiral as “hippy dippy” in order to illustrate how her leadership style contrasts with others we’ve seen. Later on, he became concerned Laura Dern’s performance was “too spacey” and decided to retool her characterization to make it stronger. Johnson maintains Holdo still has the “feminine energy” he envisioned, but it’s simply dialed back so it doesn’t become overbearing. What’s interesting about this is that Holdo is a primary supporting character in the canon novel Leia: Princess of Alderaan, where these oddball qualities really shine through. The book depicts Holdo as almost Star Wars‘ answer to Luna Lovegood from Harry Potter, but those traits aren’t as apparent in the movie. This could be chalked up to the fact Holdo is a teenager in Leia and an older woman in Last Jedi. People change as they age, as Luke Skywalker proves.

A previous reason given for the Holdo reshoots was to make her dynamic with Poe Dameron less antagonistic. While she didn’t see eye-to-eye with the hotshot pilot, Johnson still wanted to make her a likable figure so her sacrifice had some weight to it. Both that and this temperament change seem like smart decisions. In The Last Jedi, Holdo was filling in for Leia and had to be believable as someone in command. Poe didn’t agree with her methods, but there were those who followed her lead. The Resistance is supposed to be the vulnerable underdog, but it would be questionable even for them to place an off-kilter person in charge of the operation. Holdo needed some authority.

Hippies are antagonistic and overbearing, not to mention spacey, so I guess they would have had that part right.

Feminist Identifies Last Jedi Feminism As Racism

Erin White from Afropunk wrote a thoughtful review where she identified poor treatment of characters of color in The Last Jedi, which seemed to align with my own thoughts on the matter as well.  Lelanie Seyffer from Hypable also identified this problem as well.


Who knew?

Now we turn to a post written by The Past And Future Queen on her blog A Really Well Known Bitch entitled, “Feminism” in The Last Jedi (Or in Other Words, How Racism Has Been Cloaked in a Way to Appeal to the ‘Woke’ Millennial Demographic).

She also identifies the same problem with the depiction of people of color in the film:

In The Last Jedi, both Finn and Poe Dameron are written into racist caricatures and justify the mistreatment they face at the hand of these women of the film. Finn is written in a way that embodies various racist stereotypes of black men: incompetent, gullible, and meant only for comedic relief. Poe is written to embody various racist stereotypes of Latinos: hot-headed, irrational, and misogynistic. 

This racist mistreatment of these characters is quite obvious to those who are familiar with canon, who know the basics of racism, and who take more than a quick surface level look at the interactions themselves. However, to those that are not familiar with these characters, these stereotypes, or do not take more than a ten second look at the film, it is easy to miss the racism and be convinced into applauding the alleged “feminist” themes this film can claim to be. This is particularly so for the millennial demographic, which has popularized social justice to the point where actual analysis of social issues can be met with disbelief and even acts of defensive attack. 

It is through this way that the racism of the film can be brushed off under the cheap guise of “feminism.” 

I’m not sure that I agree that they’re consciously using feminism to cover the inherent racist nature of the stereotypes depicted.  As I have contended previously, I think this is really just an unintentional side effect of letting the past die.  They are unaware of the racial stereotypes in cinema history, and so are oblivious to the fact that the ideas they’re coming up with emulate those old stereotypes.

I think the feminism in the film is a separate and distinct issue that is not directly related to the racial stereotype issues, or that it’s not intersectional as the kids say these days.  Though I’m open to considering arguments to the contrary.

However, like Lelanie Seyffer, The Past And Future Queen also has issues with the supposed feminism in the film, which she contends is really just racism:

The Last Jedi premiered on December 15th, 2017. The roles of Leia Organa, Rose Tico, and Amilyn Holdo and their interactions with Finn and Poe Dameron has led many journalists to conclude that this latest installment in the Star Wars franchise as a win for feminism.  I say this claim is absolute bullshit.

Leia slapping Poe, someone who is under her power and command, for a cheap cut scene and striking him so hard he hits a wall is the brutal exploitation of Latino pain and literal abuse. This is not feminism.

Rose tasing Finn on sight and then dragging him for ‘comedic effect’ is a perpetuation of stereotypes of black criminality and exploitation of black pain. This is not feminism.

Holdo, someone who we’re supposed to respect as a leader, refusing to tell those under her command of a plan that places all their lives at stake due to pettiness and the matriarchal need to teach Poe a lesson is a practice of infantalization and uplifts the alleged moral superiority of white women. This is not feminism.

Holdo and Leia, two white women in positions of power, looking at each other and speaking suggestively of a Latino man twenty years their junior while he’s unconscious is a practice of fetishization and perpetuates harmful stereotypes of Latino hypersexuality. This is not feminism.

Rose and Holdo continuously belittling, undermining, and treating two black and Latino men like literal children are acts of infantalization and uphold racist stereotypes of black and Latino incompetence and irrationality. This is not feminism.

“Feminism” that derives from racism is not actually feminism. It’s just plain racism.

She does a pretty good job explaining what feminism isn’t.  And I have to say that I think I agree with her mostly on these points in regard to them not really representing what many refer to as genuine feminism.  But I would also be interested in reading her take on what feminism is, or how feminism ought to be depicted properly in the context of these characters and situations and setting.

However, I’m not sure that I see that these scenes were deliberately put together with racist intentions.  Whatever racism there may be in the film would be unintentional.  I think the primary focus of all of these scenes, was depicting the feminist vision of females in charge.  That superseded all other considerations, including basic character and plot.