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

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



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


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


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


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


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


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


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


This goes both for SJW fans and professional critics.


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


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


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

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

So they’re political understanding is absolutely upside down.



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


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

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

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


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


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


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


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


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


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

20. SJWs will never be happy or satisfiedNot ever.

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

SJW Attempts To Shame Normal Person

Remember Neil Harrington?  He’s the wise sage from dorksideoftheforce.com who called for everyone in fandom to just get along.

What’s he doing now?  Well, he’s now got a new piece up at fansided entitled, Crybaby Star Wars fan’s boycotting Solo: A Star Wars Story due to ‘feminazi agenda’ of Star Wars.


Gee, I never read anyone refer to Backlashers as crybabies before.  How original.

In his article Neil comments on a very well articulated YouTube video which can be seen here:

Neil stupidly writes:

A crybaby, Star Wars fan is boycotting Solo: A Star Wars Story for all the wrong reasons, proving once again how out of touch with reality some people genuinely are.

Let’s get something straight here.  SJWs are wholly unqualified to comment on the nature of reality.  This of course is because their modern ideology originally stumbled out of the LSD-laden piss holes of Woodstock back in the late 1960s.  So their entire ideology is founded on distortion of reality.  But Neil continues anyway.

Solo: A Star Wars Story is nearly a month away, and many Star Wars fans are excited about another film within a galaxy far, far away. Others, not so much — and that’s okay.

As long as they’re not interested in it for reasons that you approve of apparently.

Meanwhile, a Star Wars “YouTuber” is not happy with the direction of what he has termed “Disney’s Star Wars,” making a “look at me” video in response.

“Look at me” is the whole point of the video format.  It’s a visual medium at which people look.

Before I get started, I want to make something (kyber) crystal clear.

Self-appointed authority and massive stupidity always walks hand in hand.  It’s a universal constant.  How’s that for crystal clarity?

It’s perfectly acceptable to not like all of the Star Wars content. That’s not the point of this response, not in the slightest. It’s the reasonings and entitlement of some Star Wars fans, like this guy, that’s garnered this response.

So it’s perfectly acceptable to not like all of the Star Wars content, as long as people don’t like the content for reasonings that you approve of.  Got it.  Who exactly appointed you to make this determination for everyone else?

Honestly, the only people that I’ve seen express entitlement, are the SJWs who have been screaming their moronic demands for equal representation and gender equality to Disney ever since George Lucas sold his company.  Normal people were always perfectly fine with accepting whatever stories that George Lucas wanted to tell in whatever form they took, warts and all.

Also, his hateful remarks about women really got my Midichlorians boiling.

His hateful remarks about women are a figment of your imagination.  He never made any such “hateful” remarks.

Though, I have to admit, I’d be interested to see what happens to your blood boiling point when you read one of my “Vagi-Chlorian” comments.

Also, this particular fanboy is making all sorts of claims against Disney and its direction which are flat out wrong.

Actually, it’s your own comments that are flat out wrong.  And I’m happy to correct you.

Right off the bat, the camera angles and long, dramatic shots of Gabriel (the creator of this video) walking languidly up and down bleachers show what this video is really about. It’s about him. It’s not about presenting a topic of conversation or facilitating a civil debate. He wants us to look at him and, Gabriel, you’ve got your wish.

Well yeah.  He’s about to express his opinion.  So it is about him, and how he feels towards the Star Wars franchise.  What exactly is wrong with that?   I mean, besides nothing whatsoever.

“Never thought I’d say this, but I’m boycotting Solo: A Star Wars Story. The only way to get Star Wars back to where it was, is to simply say. No.”

Cool, bro. You don’t have to see it. No one is “Forcing” you to do so.

He never claimed that anyone was forcing him to see the film.  So why would you respond to a comment that he never made?

“Disney continues to shove down their SJW feminazi agenda down our retinas.” 

You mean creating characters, such as Daisy Ridley’s Rey, meant to empower women is a bad thing? Women holding an equal place within the Star Wars universe is bad? I don’t know where you get your delusions, laser brain.

Well no.  He doesn’t mean that creating characters, such as Mary Sue Rey, meant to empower women is a bad thing.  That’s why the sentence that he actually spoke doesn’t contain those words in that order.  He also didn’t say that holding an equal place within the Star Wars universe is bad either.  That also is a fabrication of your own making.  So the reason that you don’t understand where he gets his “delusions,” is that you’re consistently responding to points that he’s not making.

Rather, what he did say instead, was that, “Disney continues to shove down their SJW feminazi agenda down our retinas.”  Pay particular note to how the sentence that you wrote, and the sentence that he spoke, contain different words.  This of course means that the two sentences contain different meanings and intent.

It’s always important to respond to what people actually say and write, rather than to respond to what you wish they had said and written, just because you have some well-rehearsed pre-fabricated counterpoint to recite.

Why would he even make such a comment when women have had an equal place in Star Wars from the very beginning, for 40 years now?

The real problem as I see it is that women, or more accurately feminists, are more equal than others in the current state of the franchise.  A great reason to abandon it for something else that SJWs will barnacle to in 40 years.

Gabriel even claims that he’s not sexist.

Um, yes you are. News flash: if you use the term “feminazi” you’re a sexist.

Um, no.  He isn’t.  News Flash: feminist ideology and the female gender are no longer inextricably linked in the 21st Century.  This of course is thanks to male progressives who now claim to be feminists.  So criticism of the pure idiocy of modern feminist ideology does not automatically translate into criticism of women.

The recent trend of inclusion within a galaxy far, far away is a necessity (true there is still room for improvement, but they’re moving in the right direction) and kudos to Kathleen Kennedy for embracing it. Speaking of which, he lets the President of Lucasfilm have it.

Recent trend?  Where have you uneducated SJWs been for the last 40 yearsAre you even remotely aware that it’s 2018, and not 1968?

He goes on to complain that Rey is powerful “without any training,” and that any character can now be powerful for no reason. You mean like Anakin Skywalker, who is mysteriously created by the Force?

Well no.  Anakin had a strong connection with the Force.  But he still received training from Obi-Wan.  That was the whole point of the Prequel Trilogy.  Anakin was Obi-Wan’s apprentice.  Have you watched the films?

A nobody, like Rey?

Ha!  Aren’t you going to be surprised when JJ Abrams retcons that in Episode IX and makes Rey Luke’s niece.

Or, Luke Skywalker, who was able to blow up the Death Star with five minutes of training with an aging Jedi?

Well that’s a pretty stupid argument.  Luke’s ability to blow up the Death Star had little to do with Jedi training.

Luke flew his T-16 back home on Tatooine through Beggar’s Canyon in which he shot womp rats which were about as big as the exhaust port on the Death Star.  That effectively acted as a real world simulation of the Death Star Run.  This was all stated by Luke during the presentation to the pilots showing them how to attack the Death Star.  Obi-Wan’s voice guided him through at the end, but primarily to encourage Luke to believe in his own abilities and experience.

Again, have you watched the films?

If you’re going to criticize Rey, then you have to slam the Skywalkers, too.

No, you don’t.  Not if you’ve actually watched all the films.

When we first meet Luke, he’s a naive inexperienced farm boy, who complains about wanting to hang out with friends, gets scolded by his Uncle, gets knocked unconscious by a Tusken Raider, gets pushed down in a bar by a drunkard, has to be defended by an elderly Jedi, gets insulted and his hand slapped by Han, gets insulted by Leia, gets mauled by a Wampa, gets shot down in his snowspeeder by an AT-AT, crash lands on a swamp planet, and gets his hand cut off during his very first lightsaber duel.

Not Rey though. She gets to skip the first phase of the hero’s journey so hear her roar! Somehow, she can pilot the Millennium Falcon and use a lightsaber all without any training at all. Sure she fumbles a bit getting the Falcon off the ground, but in only a couple of minutes, she’s evading Tie Fighters and deftly flying through the tight spaces of wrecked Star Destroyers. Not only is she Han Solo, but she’s Luke Skywalker too! Effectively fighting off a trained Knight of Ren, whatever that is, in her very first lightsaber battle. But don’t you dare question her girl power you misogynist, even though it doesn’t leave much left for Finn to shine with.

If your only criticisms are leveled at the female characters who receive the exact same character development as the male characters…that’s sexist.

They didn’t receive the exact same character development.  Watching the films makes this self evident.

He even claims Disney delayed the novel and Blu-ray release due to “plot holes” in The Last Jedi. Really, now? How did you get that insider information, Gabriel?

Reading the novels and comics is insider information now?  Anyone who can rub two brain cells together can see from the released material in novels and comics that they are being used to plug up what some call plot holes.  It’s transparent.

Don’t present opinion and conjecture as fact.

See the above linked facts.

The plans for both releases were well known before The Last Jedi premiered (we even wrote up an article on it); and before the complaints of some fans.

Great.  That doesn’t change the nature of the actual material within those releases.

Of course, Disney wants to make money. They only forked out $4 billion to buy the franchise. That does not mean that they aren’t committed to producing high-quality films or that they don’t care about the franchise whatsoever. If you don’t like the material, don’t buy it. You’re a real hero for doing your small part to take down Disney!

Well, that’s the real trick, isn’t it?  But let’s be perfectly honest here.  What you’re doing is attempting to shame this man into financially supporting a political agenda you approve of, and at the same time trying to discourage others from following in his footsteps.  You’re doing this, because you’re painfully aware that there aren’t enough of you SJW dimwits to financially support the franchise yourselves.

But, Gabriel’s complaint that Ehrenreich doesn’t sound or look anything like Harrison Ford, thus making him unworthy of being Han Solo, is ridiculous.

Far from being ridiculous, convincing the audience that Alden is Han Solo is the biggest challenge this film has.  One that could have been easily overcome by simply casting the right man.

Ron Howard has been very clear that he wasn’t looking for Ehrenreich to give his imitation of Ford, but present us with his own take on the character. He doesn’t have to sound or look exactly like Ford — Ehreinech needs to embrace his inner scoundrel.

Sure, Ron Howard has been very clear on that.  But it doesn’t matter if Ron Howard has been very clear on that.  What matters in the end, is how the audience perceives the work.

Last and certainly not least. The “boycott” on Solo: A Star Wars Story isn’t actually a boycott. Gabriel says that he might see it once it comes on Blu-ray DVD. So, how is that a boycott (you keep using that word but I don’t think it means what you think it means)? Your 11-minute video, Gabriel, has more plot holes than any movie you complained about.

The non-boycott “boycott” is proof that this Star Wars fanboy is out of touch with reality and displays, in a nutshell, all that’s wrong within the fanbase of a galaxy far, far away.

He’s not going to see it theatrically.  That’s a theatrical boycott.  So you shouldn’t be lecturing others about the definitions of words, when you yourself don’t understand the ones that you’re typing out.

Heck, it’s clear that you haven’t even watched the films, so you really shouldn’t be commenting on them very much at all.

But here’s the bottom line:

Normal people don’t organize boycotts in the same frenzied manner that SJW savages do.  Sure occasionally a few of the normals try to start a boycott when they’re passionate about something.  But generally speaking, normal people will simply shrug their shoulders, and walk away from the franchise.  No organizing will be necessary.  SJW politics will do all the heavy lifting in pushing normal people away from the franchise.

In fact, the box office and the waning merchandise and toy sales demonstrate that this has already begun.


The talented filmmaker who created Gabriel’s video has posted his own response to Neil Harrington’s dorksideoftheforce.com article:


The brilliant Ethan Van Sciver just took Harrington’s article on:


Gabriel provides a follow up video:


Jeremy from Geeks + Gamers adds his own commentary:

SJWs Predictably Unsatisfied

As predicted, SJWs are using the hiring of Victoria Mahoney as a soapbox to push their moronic politics.  They certainly can’t be happy just celebrating the inclusion of a woman of color.  Because also predictably, there’s plenty of fashionably bigoted remarks against white men which are all the rage among the SJW ignorati these days.

Behind the camera, the writers and directors of all eight Star Wars films have almost exclusively been white men.

Normally, the hiring of a second-unit director — responsible mainly for shots that don’t feature the major characters — wouldn’t be newsworthy. However, Lucasfilm has been on the receiving end of some negative attention for hiring a steady stream of white male writer-directors for its biggest Star Wars projects, including Abrams for The Force Awakens and Episode IX; Gareth Edwards for Rogue One; Ron Howard (replacing previous white dudes Phil Lord and Christopher Miller) for Solo; Rian Johnson for The Last Jedi and an upcoming film trilogy; Game of Thrones creators David Benioff and D.B. Weiss for another upcoming trilogy, and Jon Favreau for the first live-action Star Warsseries. 

~Gwynne Watkins, Yahoo Entertaiment

George Lucas is out of the scene, and Lucasfilm president Kathleen Kennedy has shepherded in a new crop of directors to steer this mighty ship. So far, the results have been mixed, and much has been made of the internal conflicts and firings. Yet throughout all this, there has been a constant: all of the directors have been white men. Whether they stuck around or not, every name chosen by Kennedy has fit that painfully narrow mold. Mahoney is a refreshing exception, but as a second unit director, she still won’t get to be the brains of the operation.

~Kayleigh Donaldson, SyFy Wire

Putting a black woman in charge of a Star Wars film’s second unit is an incredibly important step in the right direction toward diversifying the latent pool that studios tap into the helm major projects—and making Hollywood a more inclusive space overall. But it’s important to bear in mind that there’s still a lot of work to be done, because one black woman heading up one Star Wars film’s second unit will not solve the industry’s larger issue of excluding people who are not straight white men from positions of power. 

~Charles Pulliam-Moore, i09.com

While the ever-expanding movie franchise has been taken to task plenty of times for its repeated hiring of exactly one type of filmmaker — white males, including recent turns from Ron Howard and Rian Johnson — “The Force Awakens” director J.J. Abrams is bringing someone brand new into the fold: filmmaker Victoria Mahoney.

~Kate Erbland, IndieWire.com

J.J. Abrams is walking the walk, not just talking the talk. There’s a lot of discussion in Hollywood right now about inclusion, and opening up positions that are traditionally held by white men to a more diverse range of individuals.

Not to mention the fact that white male directors who make a $5 million Sundance indie are handed the reigns to massive franchises like Star Wars or a Marvel movie straight away.

~Adam Chitwood, Collider

The news was trumpeted today by filmmaker Ava DuVernay, a friend of the film’s top director, J.J. Abrams, who was clearly thrilled at the thought of a black woman making inroads in a franchise that’s frequently struggled to get people who aren’t white men in leading positions behind the camera.

~William Hughes, AV Club

Following criticism that every Star Wars director has been a white male, Lucasfilm has done a game changer, announcing Victoria Mahoney as the Second Unit Director for Star Wars 9. Mahoney will be the first African American and first female director to work as any kind of director on a Star Wars movie, so this is a historic move for Lucasfilm.

The criticism of Lucasfilm and Star Wars first surfaced earlier this year when Variety reported a statistic that 96% of the writers and directors for Star Wars are white males.

~Trevor Norkey, MovieWeb.com

Some people are increasingly critical of the film industry for being composed primarily of white men. Star Wars has dealt with a lot of this rage since all of the franchise’s films have been helmed by white men. However, it appears they are starting to turn that image around to be more diverse both in front of and behind the camera.

~Tomy Williams, geekyrant.com


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

Yes, Episode IX is off to a fine start.


Chinese Movie Goers Not Excited For Solo

The Chinese Box Office for The Last Jedi was a dismal disaster.  It looks as though Solo may be heading for the same fate in China.

Variety reports on the May 25th release date set for China.  In their article, was this little tidbit:

Chinese moviegoers do not seem to be impressed by the arrival of a new chapter. One wrote on Douban: “Two-star expectations only. Better safe than sorry.”

So we can expect a multitude of apologist articles talking about the great cultural divide and a lack of nostalgic ties to the Star Wars franchise, despite Black Panther doing very well in the same nation.

Unless of course Lucasfilm fails to deliver on Hando.  If they don’t, then SJWs will join in the cacophony of bitter criticism too.


Don’t act so surprised.

Professional Critics Look Down On Those With No Indoctrination

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

In it he writes:

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

Explaining the divide

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

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

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

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

There’s also another, much simpler explanation.

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

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

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

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

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

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

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

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

Groupthink is ignorance incarnate.

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

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


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

Great Movies Let Us Down

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

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


The greatest movie of all time.

In it he writes:

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

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

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

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

Whatever you think, it worked.

No.  It didn’t.

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

Well sure, but they cooked the Golden Goose.

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

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

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

Gee, thanks Rian Johnson.

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

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

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

Kind of like the allegiance of fans to a franchise…

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

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

The Last Jedi is a beautiful letdown

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

Is a beautiful letdown anything like a grotesque uplifting?

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

That actually makes some sense.

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

How did Rey become so flawless in everything she does?

Who cares, he said.

Many of the fans are saying that now.

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

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

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

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

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

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

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

He’s also a seamstress apparently.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Let the past die

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

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

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

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

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

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

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

Entertainment Journalist Blames JJ Abrams For All Of The Problems That Make The Last Jedi So Awesome

James Hunt at whatculture.com writes an article entitled, The Biggest Problem With Star Wars: The Last Jedi Is J.J. Abrams.


If he keeps scratching that mystery box, maybe an idea will come out.

In it he writes:

There are a plenty of criticisms for the movie, but a lot of them stem from the way Episode VIII does – or doesn’t – follow on from The Force Awakens. 

Many of them do,  but there’s also solid criticism for the concept of the Sequel Trilogy as a whole, particularly it’s poorly defined macro-story, boring characters, and silly plot lines.

Johnson forges his own path in a lot of ways, and after two years of speculation and build-up, not everyone was happy with what he came up with.  Rather than directing ire at Johnson, though, perhaps it would be better aimed at Episode VII helmer J.J. Abrams. It was his threads that Johnson decided to either drop or take in different directions to those expected, but a large portion of the blame lies with Abrams as a storyteller because, we’ve seen in his other work, he’s great at ideas and concepts, but not so much with the answers.

I think I agree with you.  While Rian Johnson is certainly a shoddy filmmaker, many of the glaring problems with the Sequel Trilogy can be attributed to the foundational work that Abrams supplied in The Force Awakens.  Contrary to myself, most folks seemed happy with the film at the time, but I think they were watching it with nostalgia goggles on, and just happy to see Harrison Ford in his Han Solo costume.  The film has not aged well at all after only a few years, and the problems in it are much easier to see the further we get away from the nostalgic hype.

While the movie’s narrative structure closely follows A New Hope, its bigger ideas are the new ones: the mysterious Supreme Leader Snoke, the parentless Rey, the Knights of Ren. Abrams may or may not have had answers to who these people are but, since he knew in advance that he’d be leaving the trilogy behind, it didn’t matter. Like with Lost, he never needed to open the mystery box; he could, as he prefers, keep it firmly shut.

Johnson, then, took possession of these boxes he’d never created, and had a peak inside. With Snoke, he’d have found a powerful figure but one who, despite the theories, there was nothing known about. He was nothing, really, but a hologram who could use the Force. Johnson made him even more powerful, and then cut him down, sensing that he could serve the story better dead than alive.

Snoke was always empty to me, and held no mystery whatsoever.  Apart from being obviously derivative of Emperor Palpatine, I’ve watched every episode of LOST, and knew that JJ Abrams had no rabbit in his hat.

It’s not just a huge shock, but one that pushes Kylo Ren into becoming the new leader of the First Order and the unrivalled Big Bad. We’d already had one Palpatine, so it makes sense that we didn’t need another and, after all, Palpatine got no backstory in the Original Trilogy either.

Yes, but it was understood on some level that the Emperor had risen to power somehow, and that was part of his backstory.  We see the final gesture of his rise to power when Tarkin tells the audience that the Emperor has disbanded the Imperial Senate.  In 1977, the general story of the tyrant or the dictator was widely understood, much more than it is now, so not much more needed to be said.  Additionally, most folks who were very interested in Star Wars read the novelization of the first film, which contains the Emperor’s backstory in the first few pages, so it was really common knowledge.

What matters most in Snoke’s story is that he lured Kylo Ren over to the Dark Side, that he led the First Order, and then that he was killed by his own apprentice. All of which we get on screen. The rest is superfluous and, if there were anything TRULY important, it should’ve been in The Force Awakens, while the decision to kill him off means he avoids simply being a Palpatine redux.

I’m not sure if Snoke avoided that anyway.

Likewise, Rey was revealed in The Last Jedi to be a ‘nobody’, which came after two years of speculation that she was a Skywalker or a Kenobi or a Palpatine or a Jinn or an Erso or product of any other family line in Star Wars. She’s left alone on Jakku, and that’s all we know about her past. It makes complete sense, then, that she’d be a nobody: for starters, anything else would be too convenient – and Lord knows there were already enough Skywalkers in this saga – and yet also feel shoehorned in. Being from nothing is not only what hurts the Rey the most, but given the pieces Johnson was left to play with, is the best fit, and one that allows the saga to move forward with a new hero that breaks free from that one special family, and instead shows you can rise from nothing to save the day.

Of course, it’s entirely possible that Kylo lied to Rey about her parentage, much in the same way that Obi-Wan gave Luke “another point of view.”

The Knights of Ren are largely left out of things in The Last Jedi due to time constraints, but even that is just one line of dialogue from Snoke in The Force Awakens, and one that Johnson gives us an answer to by confirming they were among the pupils at Luke’s Jedi Academy.

But the reason that there’s time constraints is that we wasted roughly a half hour on Canto Bight and worthless social justice lectures, the boring mutiny against Holdo’s horrible decision making, among other things.

All of these things are used to drag down Johnson and The Last Jedi, but the problems originate from Abrams’ focus on creating mystery boxes rather than actual characters.


Luke Skywalker has vanished. After the title – and, of course, ‘a long time ago…’ – that is the first thing we see at the start of Episode VII. J.J. Abrams sets out his stall early with the disappearance of Luke, and – while Han gives us a clue – we don’t get any sort of definitive answer of where he is until the very end of the movie.

I believe stalling is the correct word.  JJ Abrams was asked by Kathleen Kennedy, “Who is Luke Skywalker?”  Unfortunately, the writers were so obsessed with passing the moronic Bechdel Test, that they had no idea how to answer that question, and maybe even no interest in answering it.  At the end of the day, they couldn’t figure it out and punted it to the next filmmaker in the trilogy.

What we know going into The Last Jedi is that Luke has clearly exiled himself from the galaxy, including those closest to him, but why? And that leads to a further question: What could’ve happened to Luke that, when Han Solo is in such grave danger, he doesn’t come to the rescue? It’s exactly what the old Luke did, after all.

Since Luke DIDN’T return to save or avenge Han, nor to comfort his sister Leia, nor join the fight against the First Order, there had to have been something drastically different. Luke had to have changed into the weary, cynical version we meet in The Last Jedi, who has cut himself off from the Force, because if he were still similar to the hero of the galaxy then his absence from The Force Awakens would be much harder to swallow. It’s precisely because of what we know of Old Luke that we needed this New Luke, which becomes one of the strongest arcs in the film and gives us Mark Hamill’s finest performance in the saga.

There’s nothing wrong with these ideas in and of themselves.  It was the execution of them that was so bad.  For instance, the backstory of Luke’s failed Jedi School could have been interesting, and really should have been the primary plot of the Sequel Trilogy.  Instead they tell us what happened to Luke rather than showing us and taking us on that journey through the course of the narrative.  As a result, it was far too jarring, and just didn’t work.  Ultimately, I’m not sure that alien nipple milking could qualify as Mark Hamill’s finest performance.

Of course, there are other issues people have with this: the tossing of the saber, and even more so his non-return to face Kylo Ren. The saber is crucial in that it immediately let’s the audience know that this isn’t your dad’s Luke Skywalker; he’s a different person now, setting up his arc across the movie. As for the end, it means Luke Skywalker can once again save the day, having realised the importance of his legend to the galaxy, and makes it a victory: Luke dies as a result of the astral projection, rather than being killed by Kylo Ren, which likely would’ve happened had he physically gone to Crait. Abrams put the legend of Luke Skywalker into a box, and Johnson is the one who brought it back.

the Force projection was handled in a silly manner.  It’s the kind of Jedi power you want to see early on in a film, like Ben’s Jedi Mind Trick.  Not something you want to see as part of a climax.  It would have been far better to have Luke show up physically.  No one waited 35 years to see this.

As we’ve seen, a lot of the biggest problems with The Last Jedi stem from decisions J.J. Abrams did (or didn’t) make, from making Snoke such a blank canvas that you could project just about anything on to him, to leaving Rey’s parentage as vague as possible, and various other kernels of ideas without much substance to them. It would’ve been easy for Johnson to take this template and simply mirror The Empire Strikes Back, have Snoke be Palpatine, have Rey be Luke’s daughter and so on. Instead, he took those kernels of ideas, those mystery boxes, kept the most interesting ones and turned them into actual character arcs: Rey becomes a hero despite not being from a special family, Kylo Ren becomes so much more than a Darth Vader wannabe, Snoke becomes one of the most stunning twists in recent blockbuster history.

Despite it’s much touted attempts at subversion, The Last Jedi remains quite derivative indeed.

But where this gets really interesting is the fact that, unexpectedly, J.J. Abrams is returning to the saga. It’s not a position he ever expected, but after Colin Trevorrow’s firing and Lucasfilm’s issues with directors, he’s back in the hot-seat, and will find himself needing to actually deliver answers himself. He is a good filmmaker, and with Chris Terrio co-writing the script there should be a decent balance there, but the jury is nonetheless out.

If you’ve watched LOST, then you really ought to know that this isn’t a possibility.  Abrams likes set-up, and has no clue how to deliver pay off.  He’ll pull the same thing off here and then accuse critics of not understanding nuanced subtly.

The Last Jedi means there are numerous possibilities for Abrams with the trilogy closer, because – with Episode VIII containing elements of both Empire and Return of the Jedi along with lots of its own new ideas – there’s a chance to continue to do things differently. Johnson started it, but now Abrams needs to let the past die, stop with the mystery boxes, and give us some proper resolution.

If only they could let this Sequel Trilogy die.

Tony Gilroy Craps On Gareth Edwards

For those who may not know, Tony Gilroy was the man that Kathleen Kennedy chose to aid Gareth Edwards in the direction of Rogue One.  Gilroy stepped in and righted a the production which Lucasfilm felt had veered off course, much like the situation with Solo.  Tony Gilroy has recently made some statements on the matter.

Aaron Couch of Hollywood Reporter quotes Gilroy as saying:

“If you look at Rogue, all the difficulty with Rogue, all the confusion of it … and all the mess, and in the end when you get in there, it’s actually very, very simple to solve,” Gilroy said of the film. “Because you sort of go, ‘This is a movie where, folks, just look. Everyone is going to die.’ So it’s a movie about sacrifice.”

Choosing his words carefully, Gilroy signaled how much of the project was changed after he boarded. (Star Ben Mendelsohn has said “an enormously different” version of the film exists.)

“I came in after the director’s cut. I have a screenplay credit in the arbitration that was easily won,” said Gilroy.

“I’ve never been interested in Star Wars, ever. So I had no reverence for it whatsoever. I was unafraid about that,” said Gilroy. “And they were in such a swamp … they were in so much terrible, terrible trouble that all you could do was improve their position.”

Rogue One debuted to strong reviews (85 percent on Rotten Tomatoes) and earned more than $1 billion at the global box office, but Gilroy doesn’t have plans to return to a galaxy far, far away.

“It doesn’t appeal to me,” he said of making another Star Wars film. “But I don’t think Rogue really is a Star Wars movie in many ways. To me, it’s a Battle of Britain movie.”


Now let’s hear Gareth Edward’s side of the story…

I’m wondering if the backlash to The Last Jedi, might serve as a catalyst for more candid remarks from those on the inside, particularly given Simon Pegg’s recent remarks.

I’m also wondering if Kathleen Kennedy is deliberately hiring directors with no interest or reverence towards the franchise, because they’d be easier for her to control.

Simon Pegg Has Lost That Lovin’ Feeling

Lots of commenters are making hay over Pegg’s comments regarding Rey’s parentage.  Apparently JJ Abrams had something else planned, and Rian Johnson undermined that.  Big whoop.  I couldn’t care less about Rey’s parentage, or about anything regarding any Sequel Trilogy characters.  So I’m going to focus on a more interesting statement that Pegg made.

Adam Chitwood of Collider reports on a statement made by Pegg:

“When I saw The Force Awakens I had an odd sense of ennui during it. I felt kind of disappointed and I couldn’t figure out why. It ended at the premiere and I felt down and I was like, ‘Why do I feel down?’ And I realized it was because I’d been in it, I’d read the script, and I’d even contributed a little bit to the script here and there, so I’d been involved in it so it wasn’t a big surprise. So I watched the movie knowing everything that was gonna happen, so when that big thing happens to one of our favorite-ever characters, it wasn’t a surprise. I realized that the payoff for being in it was to have the experience of seeing it removed, and I wouldn’t swap that because it was an amazing experience, but it was a strange one.”

If being involved in the production of a film was a universal catalyst for “ennui,” then Mark Hamill would not have been able to maintain his undiminished enthusiasm for the franchise all these decades.  True, people do react differently.  But I think a much better and simpler explanation, is that The Force Awakens was just an awful movie.  A fact that many are only now discovering, now that The Last Jedi has shattered fandom’s nostalgia goggles.  I’m not sure that Pegg is willing or able to admit that.


The rose tinted fashion glasses have lost their luster.

Rian Johnson Prayed To God For This Reaction

Hugh Armitage of Digital Spy reports on the status of Rian Johnson’s new trilogy:

“I’m looking at everything right now,” he said when we asked what parts of Star Wars lore he might be drawing from. “I’m honestly just in this very nice ‘OK, what is this thing going to be?’ phase.

“Really, the only goal I have is to think about how Star Wars made me feel as a kid. And that’s it. I’m trying to capture: what is that, if it’s not iconography that we recognise, necessarily, from the original trilogy? What captures that spirit? What can be that for a kid who’s never heard of Star Wars?

“It’s getting back to the very fundamental questions of what makes this what it is.”

“When you make a movie, you only pray to God that you get this kind of passionate reaction to it,” he added. “It’s been really cool.”


Conflates passion with revulsion.

It’s interesting to note however, that Hugh Armitage is perpetuating the sexism and/or misogyny myth in his piece.  He writes:

The true essence of Star Wars is very much up for debate, as has been shown by the small but vocal minority of fans who took offence at the film’s portrayal of Luke Skywalker and the inclusion of women in the story.

No one took offense at the inclusion of women in the story.  It would be silly to, given that women have been included in the story of Star Wars since 1977.  But in parroting the standardized “tiny vocal minority” rhetoric, Hugh links to a story about The De-Feminized Fan Edit, not realizing that it was created by a feminist attempting to satirize Men’s Rights Activists.  This is the kind of problem that we have with media outlets distorting the truth.