#although I do think Harry's BTA is great

[cuethetommo]

2018 Grammy Nominations

*this is only a reflection of those categories that Solo OT5 were nominated in (except Best New Artist, I just wanted to include it), for the full list, click here.

GENERAL FIELD

Category 1 - Record Of The Year (Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist.)

Redbone - Childish Gambino (Ludwig Goransson, producer; Donald Glover, Ludwig Goransson, Riley Mackin & Ruben Rivera, engineers/mixers; Bernie Grundman, mastering engineer)

Despacito - Luis Fonsi & Daddy Yankee Featuring Justin Bieber (Josh Gudwin, Mauricio Rengifo & Andrés Torres, producers; Josh Gudwin & Jaycen Joshua, engineers/mixers; Dave Kutch, mastering engineer)

The Story Of O.J. - JAY-Z (JAY-Z & No I.D., producers; Jimmy Douglas & Gimel "Young Guru" Keaton, engineers/mixers; Dave Kutch, mastering engineer)

HUMBLE. - Kendrick Lamar (Mike Will Made It, producer; Derek "MixedByAli" Ali, James Hunt & Matt Schaeffer, engineers/mixers; Mike Bozzi, mastering engineer)

24K Magic - Bruno Mars (Shampoo Press & Curl, producers; Serban Ghenea, John Hanes & Charles Moniz, engineers/mixers; Tom Coyne, mastering engineer)

Category 2 - Album Of The Year (Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s) credited with at least 33% playing time of the album, if other than Artist.)

"Awaken, My Love!" - Childish Gambino (Ludwig Goransson, producer; Bryan Carrigan, Donald Glover, Ludwig Goransson, Riley Mackin & Ruben Rivera, engineers/mixers; Donald Glover & Ludwig Goransson, songwriters; Bernie Grundman, mastering engineer)

4:44 - JAY-Z (JAY-Z & No I.D., producers; Jimmy Douglas & Gimel "Young Guru" Keaton, engineers/mixers; Shawn Carter & Dion Wilson, songwriters; Dave Kutch, mastering engineer)

DAMN. - Kendrick Lamar (DJ Dahi, Sounwave & Anthony Tiffith, producers; Derek "MixedByAli" Ali, James Hunt & Matt Schaeffer, engineers/mixers; K. Duckworth, D. Natche, M. Spears & A. Tiffith, songwriters; Mike Bozzi, mastering engineer)

Melodrama - Lorde (Jack Antonoff & Lorde, producers; Serban Ghenea, John Hanes & Laura Sisk, engineers/mixers; Jack Antonoff & Ella Yelich-O'Connor, songwriters; Randy Merrill, mastering engineer)

24K Magic - Bruno Mars (Shampoo Press & Curl, producers; Serban Ghenea, John Hanes & Charles Moniz, engineers/mixers; Christopher Brody Brown, James Fauntleroy, Philip Lawrence & Bruno Mars, songwriters; Tom Coyne, mastering engineer)

Category 3 - Song Of The Year (A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.)

Despacito - Ramón Ayala, Justin Bieber, Jason "Poo Bear" Boyd, Erika Ender, Luis Fonsi & Marty James Garton, songwriters (Luis Fonsi & Daddy Yankee Featuring Justin Bieber)

4:44 - Shawn Carter & Dion Wilson, songwriters (JAY-Z)

Issues - Benny Blanco, Mikkel Storleer Eriksen, Tor Erik Hermansen, Julia Michaels & Justin Drew Tranter, songwriters (Julia Michaels)

1-800-273-8255 - Alessia Caracciolo, Sir Robert Bryson Hall II, Arjun Ivatury & Khalid Robinson, songwriters (Logic Featuring Alessia Cara & Khalid)

That's What I Like - Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars)

Category 4 - Best New Artist (An artist will be considered for Best New Artist if their eligibility year release/s achieved a breakthrough into the public consciousness and notably impacted the musical landscape.)

Alessia Cara

Khalid

Lil Uzi Vert

Julia Michaels

SZA

FIELD 1 - POP

Category 5 - Best Pop Solo Performance (For new vocal or instrumental pop recordings. Singles or Tracks only.)

Love So Soft - Kelly Clarkson

Praying - Kesha

Million Reasons - Lady Gaga

What About Us - P!nk

Shape Of You - Ed Sheeran

Category 6 - Best Pop Duo/Group Performance (For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.)

Something Just Like This - The Chainsmokers & Coldplay

Despacito - Luis Fonsi & Daddy Yankee Featuring Justin Bieber

Thunder - Imagine Dragons

Feel It Still - Portugal. The Man

Stay - Zedd & Alessia Cara

FIELD 2 - DANCE/ELECTRONIC MUSIC

Category 9 - Best Dance Recording (For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.)

Bambro Koyo Ganda - Bonobo Featuring Innov Gnawa (Bonobo, producer; Bonobo, mixer)

Cola - Camelphat & Elderbrook (Mike Di Scala, Elderbrook & David Whelan, producers; Mike Di Scala, Elderbrook & David Whelan, mixers)

Andromeda - Gorillaz Featuring DRAM (Damon Albarn, Jamie Hewlett, Remi Kabaka & Anthony Khan, producers; Stephen Sedgwick, mixer)

Tonite - LCD Soundsystem (James Murphy, producer; James Murphy, mixer)

Line Of Sight - Odesza Featuring WYNNE & Mansionair (Clayton Knight & Harrison Mills, producers; Eric J Dubowsky, mixer)

FIELD 4 - ROCK

Category 12 - Best Rock Performance (For new vocal or instrumental solo, duo/group or collaborative rock recordings.)

You Want It Darker - Leonard Cohen

The Promise - Chris Cornell

Run - Foo Fighters

No Good - Kaleo

Go To War - Nothing More

Category 14 - Best Rock Song (A Songwriter(s) Award. Includes Rock, Hard Rock and Metal songs. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.)

Atlas, Rise! - James Hetfield & Lars Ulrich, songwriters (Metallica)

Blood In The Cut - JT Daly & Kristine Flaherty, songwriters (K.Flay)

Go To War - Ben Anderson, Jonny Hawkins, Will Hoffman, Daniel Oliver, David Pramik & Mark Vollelunga, songwriters (Nothing More)

Run - Foo Fighters, songwriters (Foo Fighters)

The Stage - Zachary Baker, Brian Haner, Matthew Sanders, Jonathan Seward & Brooks Wackerman, songwriters (Avenged Sevenfold)

Category 15 - Best Rock Album (For albums containing at least 51% playing time of new rock, hard rock or metal recordings.)

Emperor Of Sand - Mastodon

Hardwired...To Self-Destruct - Metallica

The Stories We Tell Ourselves - Nothing More

Villains - Queens Of The Stone Age

A Deeper Understanding - The War On Drugs

FIELD 20 - MUSIC FOR VISUAL MEDIA

Category 61 - Best Song Written For Visual Media (A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.)

City Of Stars - Justin Hurwitz, Benj Pasek & Justin Paul, songwriters (Ryan Gosling & Emma Stone)

How Far I'll Go - Lin-Manuel Miranda, songwriter (Auli'i Cravalho)

I Don't Wanna Live Forever (Fifty Shades Darker) - Jack Antonoff, Sam Dew & Taylor Swift, songwriters (ZAYN & Taylor Swift)

Never Give Up -  Sia Furler & Greg Kurstin, songwriters (Sia)

Stand Up For Something - Common & Diane Warren, songwriters (Andra Day Featuring Common)

FIELD 29 - MUSIC VIDEO/FILM

Category 83 - Best Music Video (Award to the artist, video director, and video producer.)

Up All Night - Beck (Canada, video director; Laura Serra Estorch & Oscar Romagosa, video producers)

Makeba - Jain (Lionel Hirle & Gregory Ohrel, video directors; Yodelice, video producer)

The Story Of O.J. - JAY-Z (Shawn Carter & Mark Romanek, video directors; Daniel Midgley, video producer)

Humble. - Kendrick Lamar (The Little Homies & Dave Meyers, video directors; Jason Baum, Dave Free, Jamie Rabineau, Nathan K. Scherrer & Anthony Tiffith, video producers)

1-800-273-8255 - Logic Featuring Alessia Cara & Khalid (Andy Hines, video director; Andrew Lerios, video producer)

Category 84 - Best Music Film (For concert/performance films or music documentaries. Award to the artist, video director, and video producer.)

One More Time With Feeling - Nick Cave & The Bad Seeds (Andrew Dominik, video director; Dulcie Kellett & James Wilson, video producers)

Long Strange Trip - The Grateful Dead (Amir Bar-Lev, video director; Alex Blavatnik, Ken Dornstein, Eric Eisner, Nick Koskoff & Justin Kreutzmann, video producers)

The Defiant Ones - Various Artists (Allen Hughes, video director; Sarah Anthony, Fritzi Horstman, Broderick Johnson, Gene Kirkwood, Andrew Kosove, Laura Lancaster, Michael Lombardo, Jerry Longarzo, Doug Pray & Steven Williams, video producers)

Soundbreaking - Various Artists (Maro Chermayeff & Jeff Dupre, video directors; Joshua Bennett, Julia Marchesi, Sam Pollard, Sally Rosenthal, Amy Schewel & Warren Zanes, video producers)

Two Trains Runnin' - Various Artists (Sam Pollard, video director; Benjamin Hedin, video producer)

[revolutionaryjackelving]

Do you think the '90s Spider-Man Animated Series still holds up? It's gotten kind of a bum rap after Spectacular came out, not to mention all the stories of it being heavily censored even by the standards of the time (though John Semper has claimed otherwise). I was shocked at just how influential its version of the Symbiote/Venom storyline is, to the point where some fans just assume all those story beats are what happened in the original comics.

I was never a fan of the 90s cartoon because I didn't like the art-style and character models and designs. I discovered Spider-Man through the newspaper strip and for me the Fox cartoon had no say in my introduction to the character and being the introduction to the characters is, I think, 90% of the reason why people like that cartoon or value it so much. With that taken away, the cartoon has to stand on its own and I don't think it does. Let me say that I've not seen every episode of the series. I've seen all the ones with Green Goblin/Norman Osborn and some that people see as highlights, so I had taken a sample. For me the storytelling in the cartoon is too serious and melodramatic as well as hyper-serialized, like there's virtually no standalone episodes there (although I am sure those exist anyway, just none that stick out). The use of inter-dimensional nonsense and so on (even before the final episode) was annoying. And Madame Web was made too prominent. The characterizations never sat right with me, like Harry Osborn in that cartoon is lame, Mary Jane isn't engaging there and Peter in that is voice-acted well but he's lacking something. And yeah I didn't like how they did Venom there. Obviously Spectacular has influence but I prefer their take (at least the suit before Brock becomes host). As for John Semper's claims that censorship has no effect, well I think he's saying that out of aggrieved pride at seeing something he worked on being diminished for not being good as BTAS and so on. But quite obviously censorship affected that cartoon, and for me outside of Spider-Man fandom it's not a great cartoon or a great adaptation.

[ssfoc]

I think the another difference may be that interviewers haven't really asked Harry questions about 1D or their solo efforts during HS1 promo (I could be wrong though!). I don't know if it's just not being asked or if it's blacklisted by HSHQ. Niall has been asked several times about whether there is any "competition" between them. Maybe that's NHHQ's strategy. I don't claim to know anything. But I think it's just how HSHQ has chosen to launch Harry's solo career in this manner and also because +

+of the OT3 v Harry narrative. I agree, that on stage he has fun with the band and he is a goofball and all that. But his solo promo has a different spin, more aloof or something. He hasn't said anything bad about the band because he hasn't said anything about the band since the hiatus. And I think that is also where people start to over analyze. We don't have the stage interactions to counter pr stories. Anyhow, I can see both sides of the argument. I don't particularly care for how HSHQ has ++++gone about his promotion but it has served Harry well. So good on them. I have enjoyed Niall's promo and I liked what Liam did when STD first came out. I hope for Louis to get a fair shake too with BTY (please no repeat of JHO non-promo!). As I said, Harry's promo was just very in your face and high profile. Again - it was great for him and his launch. Thanks for always being willing to have open discussions.__________Thank you for these thought. You're right. Not seeing them together certainly makes us over-analyze. We've only seen one album launch so far. It seemed jarring to see Harry making music by himself, with a new (and by implication, BETTER) team-- writing with a group of people we don't know, seeming to love it, saying Jamaica was the first time in a long time he's truly felt happy-- in contrast to his life before. But if we were to see BTA clips for all the guys (and we might), they would all be making music on their own, with new people, in new locales. They probably wouldn't talk that much about One Direction, because they're now solo artists and more important, they're performing new genres of music. They don't want to be tied to their old image or music. Harry has tried to do this delicately, by defending the taste of his 1D fans while writing and performing music that appeals to a broader demographic. His fashion and style reflect that change as well. If I remember correctly, Harry had been asked several times about his bandmates and about a 1D reunion. I don't think the question was blacklisted. But his answers were so vague and rote, maybe interviewers got bored of asking. Harry does not want to focus on 1D-- but none of them do. Niall has spoken most effusively about the band, but does he want to give up his solo career? No, he doesn't. I would be very surprised if the other boys' singles do not come up in Louis's interviews. He will be enthusiastic and generous, but he is there to promote BTY, and only BTY. If Harry never mentions Louis or BTY during TG promo, that is not on him (although I think inevitably it will be mentioned). My opinion is that they want to focus on the new music. The snippet I heard from BTY was so good, I think it won't be hard for the music to speak for itself.

[ferryboatpeak]

*chants* headcanons headcanons headcanons ! Also I'm loving all of your little observations on the Jamaican idyll so far!

Bless you for your interestin my Cocosan headcanons. In gratitude, I am answering this inquiry with ficlets.

First, let’s talk for amoment about Harry getting the master suite (the only Cocosan bedroomassignment that is #confirmed by HS:BTA). I see at least two options for how this went down.

Option A:

Harry claims the mastersuite without a second thought, like it’s his due. When he arrives, he lopesupstairs and straight out onto the balcony, spreading his arms wide to touchboth edges of the view over the ocean. It feels like his chest isn’t big enoughto contain his happiness at being here, hidden away but still the center ofattention, doing exactly what he wants to do.

Option B:

When they arrive, Harryleaves Jeff Azoff to oversee unloading the van and heads through the housetoward the pool. He strips to his pants and jumps in, washing away the planeflight and feeling his body settle into Jamaica.

After a few laps, he pullsup on the side of the pool and rests his chin on his forearms, looking outthrough the tops of the palm trees toward the ocean. Harry hears the slap offlip-flops approaching, and turns to see Jeff rolling up his cuffs at the topof the pool stairs. He wades down to the second step and sits on the edge ofthe pool, feet submerged and a bottle of Red Stripe in his hand.

“Your stuff’s in the master upstairs,”Jeff says.

That feels a little weird.“Should we save it for Jeff?” Harry asks, brow furrowing. “Or do you want it?”

Jeff rolls his eyes. “Harry,you’re in charge here,” he says. “You’ve got to act like it.”

Now, onward to the othersuites. Photos and hitch ficlets below the jump…

Comparing interior andexterior photos, I have reached the following conclusions about the locationsof the six named Cocosan suites:

There is also anunadvertised seventh suite,which is almost certainly on the lower level.

I’m assuming that big dogJeff Bhasker got the Junior Master, the second-best suite after Harry’s. I alsothink that Jeff Azoff orchestrated the room assignments but knows his place,and would therefore claim the Veranda Suite, the third-best suite because it’sthe only other room with a balcony. (The Veranda Suite is also in closeproximity to Harry, which I believe to be a priority for Jeff.)*

Here’s where it getsinteresting. There’s one room left upstairs: the Rock Suite. It has a view aaaaaaaandis conveniently next door to Harry. There are two more rooms on the main floor– the Garden Suite and the Pool Suite – and the secret seventh basement suite.

Our remaining personnelinclude Tyler Johnson (Grammy-nominated songwriter, clearly next in thehierarchy after Jeff B.), guitarist and producer Alex Salibian, engineer andMitch’s roommate Ryan Nasci, and Mitch (who needs no introduction).

So what does Harry Styles dowith this? And by “Harry Styles,” I mean “Jeff Azoff, acting either underHarry’s orders or with a well-honed instinct for what will keep Harry happy.”Giving Tyler the Rock Suite and putting Mitch and Ryan (roommates, bandmates,friends) together on the main floor would be logical. Alex takesthe basement.

But Harry Styles is not acreature of logic. He is a creature of emotion. And his emotions are tellinghim that Jamaica is the perfect time to make a move on Mitch, because Harry,who came of age with his hand on at least one bandmate’s dick at all times,does not understand that it is possible to work collaboratively and admiresomeone’s talent without crossing all that person’s boundaries and stickingyour tongue down his throat. So the other possibility is that Harry insistsupon Mitch being right next door in the Rock Suite.

OptionA:

The sky over the ocean is faintlypink when Mitch pulls on his pajama bottoms and pads down the stairs, gritsticking to the bottoms of his feet.

He’s right in the center ofthe staircase, nowhere to hide, when the swinging door to the kitchen thumps openand Ryan emerges with both hands wrapped around a coffee mug. Mitch suppressesa cringe.

Ryan stops when he seesMitch. “Really?” he says, eyebrows raised.

“We were watching a movie,”Mitch says, trying not to break stride on his way through the front hall. “Ifell asleep.” (The truth, although a highly selective version of it.)

“Sure,” Ryan says, drawingout the vowel. “That’s just happened every night for a week, right?”

“What do you care?” Even asthe words come out of his mouth, Mitch knows they’re not fair. He’s only herebecause of Ryan, and Ryan’s here at the whim of Tyler and Jeff. He can’t blameRyan for being worried about his own ass.

Ryan sighs. “Just don’t fuckthis up.”

And that’s the last thingMitch wants. He’d feel terrible if he ruined anything for Ryan just becauseHarry Styles can’t keep his dick in his pants for two months and Mitch can’tsay no, wouldn’t want to say no, is more overwhelmed by Harry than he’s everbeen by another human being, is later than usual coming downstairs this morningto his own cold and comfortable bed because he kept telling himself justanother five more minutes and then he’d unwrap his arm from around Harry’s waistand unbury his nose from the back of Harry’s sleep-scented neck.

So he can’t blame Ryan for worrying about Mitch fucking up thiswhole situation. It’s just that ever since Harry leaned over the guitar inMitch’s lap to kiss him, with his wide mouth warm and his rings cool againstMitch’s cheek, there hasn’t been a single option that doesn’t seem likely to fuckit up somehow.

Option B:

It’s a little strange whenJeff Azoff points Mitch up the stairs and sends Ryan to the back of the groundlevel, but Mitch isn’t going to question the room assignments. He’s not goingto question anything. Jeff could tell him to sleep in the driveway and Mitchwould smile and thank him.

He finds the room Jeff described,just off the top of the stairs. It’s got three windows that look out over thepool to the ocean. Mitch opens one to see if there’s a sea breeze. Then he turnsup the air conditioner. What the hell, he’s not paying the electric bill.

Someone knocks on the doorframe while Mitch has his nose pressed to the window screen. He turns to seeHarry leaning against the doorway. He’s either on his way to the pool or he’s justcome from there, based on his yellow trunks. They’re somehow smaller than swimtrunks ought to be.

Mitch reminds himself tomake eye contact. It seems less dangerous than the swim trunks.

Twelve seconds later, Mitchremembers that eye contact with Harry is exhausting. “Do you like the room?”Harry finally asks.

“Yeah, it’s great.” Mitchseizes the excuse to turn back toward the window. “Love the view.”

Harry joins him, leaning hisbare shoulder into the window frame, closer to Mitch than there’s any reasonfor him to be.

“If you need anything,”Harry says, rubbing his thumb and index finger along his lower lip, “I’m rightnext door.”

*note: I am aware that Jeff Azoff may not have hungout in Jamaica for a full two months. More likely, he visited briefly and didnot stay at Cocosan. (Probably he and Glynne stayed someplace even nicer, certainlysomeplace with a bed big enough for Harry to join them for a night or two.) Buthe’s in the BTA Jamaica footage, so I’m going with Jeff A. as the roomassignment sergeant.

[aimmyarrowshigh]

Anyway, here are Finn-, Poe-, and Rey’s Hero’s Journeys leading up to TLJ. It should be said that in their LARGER Hero’s Journeys, TFA only constitutes Act I for each of them, but it also has its own mini-sized Hero’s Journey for each of them as well because that’s how monomyth-based franchises work. (The HP series works the same way -- each book has its own Hero’s Journey for Harry, but they all work together to create a larger Journey within the Ring Composition [which SW doesn’t have because it’s trilogies, etc].)

Of note, a big part of why the Prequel Trilogy movies aren’t as good as the OT or TFA is that they don’t follow the Hero’s Journey model for any of the main trio (Anakin, Padme, and Obi-Wan, fwiw, not Anakin, Padme, and Palpatine or something), which goes against the story type that SW fans from the OT were expecting. Also their act structure is Not Great because of the massive time jumps and stuff -- AOTC kind of starts all over again as a new Act I and then there’s never a satisfying conclusion because ROTS basically ends with The Ordeal.

tl;dr here’s wonderwall

---

Copypasta from this post for @morethanonepage

Responding in bullet-points to save time and address everything worth addressing.

All I’m saying is his arc is important to the story, and is the only one that intersects with both Finn’s, Poe’s, and Rey’s.

That does not make him “part of the trio,” it STILL MAKES HIM ANCILLARY TO THEIR STORIES AS THE PROTAGONISTS. In fact, it strengthens the argument AGAINST his inclusion in “the trio” that he does interact with all three – he does so as the antagonist, to all three of them, and 2/3 in exactly the same way (mind rape) and the third in a grievous and equivocal physical attack.

He is the antagonist BECAUSE he diametrically and directly opposes the three protagonists. Or, in SW parlance, the trio.

It’s an indisputable fact that Poe does not interact with Rey onscreen. It’s very odd for a protagonist to not interact with another protagonist.

They interact in the novelization, though, so if we’re gonna count things like “a version of the movie that never saw the light of day at all and was scrapped long before filming even started or casting was complete,” then I feel like… we can count the official novelization.

Poe also does not go through any character development in the film in the way that Finn and Rey (and arguably Kylo) do. He remains the same charming, good guy he was at the beginning of the film.

…And Finn remains the same emotionally aware, afraid-but-brave, stronger-than-his-peers, willing-to-do-what’s-right guy that he was at the beginning of the film. All of that, despite his character development, because that is the core of Who Finn Is.

…And Rey remains the same woman who is determined to find belonging and assert her own value despite its emotional and physical tolls, unwilling to show vulnerability to others but clearly feeling it and it showing anyway, strong-as-nails and CLEARLY Force Sensitive woman that she was at the beginning of the film. All of that, despite her character development, because that is the core of Who Rey Is.

…And Kylo Ren remains the same self-interested, emotionally volative, violent, bloodthirsty, amoral, sadistic fuck that he was at the beginning of the film. All of that, despite his (dubious? I… don’t see it, to say the least; he’s introduced by murdering an old man for no reason other than a mention of his family and he exits with the murder of an old man for no reason other than being his family… with a bunch of kidnapping and mind-rape in between…) character development, because that is the core of Who Kylo Ren Is.

Are those all oversimplifications?

Yeah. Absolutely. Because you vastly oversimplified Poe and his character arc, and I’m making a point. You can make it look like ANY character had no development if you only look at a superficial level.

But they aren’t like, incorrect. The view of Poe as nothing but a “charming, good guy” is, though, and if that’s all you see in Poe then you don’t get Poe at ALL and CERTAINLY not enough to write meta or make pronouncements about his value in the story OR franchise as a whole. Good lord. Poe is… INFINITELY more than that, both IN THE FILM ITSELF *and* in all of the supplementary material that WAS INTRODUCED ABOUT HIM FOR A REASON, TO MAKE UP FOR THE LACK OF SCREEN TIME AND TO ASSERT HIS IMPORTANCE TO THE SEQUEL TRILOGY.

You can’t just ignore 70% of the Poe material and then say that you don’t know anything about him like that’s not your own fault.

Poe is not a protagonist in The Force Awakens. We don’t follow his story the way we follow Rey’s and Finn’s and Kylo’s. He is, however, a member of the heroic trio (a la Luke, Leia, and Han in the OT, and Padme, Anakin, and Obi Wan in the PT).

We literally do, except for the part they cut in which he escapes Jakku. He still undergoes a Hero’s Journey, the same as Finn and Rey do, and MOST of it happens within TFA as a film – although NONE of the three of them entirely has their Hero’s Journey in the film; they all begin in Before The Awakening, which is, again, why that book was released and serves to have an impact on the story. You can’t ignore “hey, here’s where their stories all start!” and then be like, “but their stories didn’t start in a way that pleased me.”

Also, Poe is a protagonist in TFA because his actions and reactions create and propel the narrative. That is what a protagonist IS and DOES. If Poe did not go to Jakku to find Lor San Tekka and the map to Luke, the entire plotline literally doesn’t happen. The inciting incident of TFA belongs to Poe. If Poe did not show up to the battle of Takodana, Finn and Han would be dead, and Rey would not have been saved from the First Order in time – as such, 1/3 of the climax of the film belongs to Poe (and 1/3 to Finn, and 1/3 to Rey… because they’re a trio). And if Poe didn’t blow up Starkiller Base, not only Finn and Rey would be dead, but so would the entire Resistance and, with it, eventually the entirety of a noncompliant Galaxy.

So.

Like.

Poe just is literally a protagonist. He is 1/3 of the forward motion of the story and his actions create the plotline. Again: literally what a protagonist is.

and yes poe was originally meant to kill poe off. you don’t believe us? look up JJ abrams comments.

You know who else was originally supposed to be killed off? Han Solo in ANH. Does that mean that since that DIDN’T HAPPEN AND THAT VERSION WAS SCRAPPED VERY EARLY ON, that Han isn’t a main character?

Things that do not matter: stuff that literally was given up on because they realized that wasn’t the story they wanted to tell.

Things that do matter: all of the stuff that they’re choosing to include because it DOES matter.

Of course I’ve seen those comments; what am I, new? I just don’t think the rough draft as opposed to the final draft that actually exists means shit to what we read into and out of the story, for pete’s sake. ORIGINALLY, Luke and Leia weren’t siblings. ORIGINALLY, Han died. ORIGINALLY, it was a one-off movie and not a franchise at all. It don’t matter, babe. Fuck.

And just to put to bed the inane idea that “Poe doesn’t have an arc in TFA”:

Here is Finn’s Hero’s Journey: [BIGGER]

Here is Rey’s Hero’s Journey: [BIGGER]

Here is Poe’s Hero’s Journey: [BIGGER]

All three of them begin in Before the Awakening, because THAT IS LITERALLY WHEN THEIR STORIES BEGIN, UNTIL OR UNLESS EARLIER CANONICAL SUPPLEMENTARY MATERIAL IS RELEASED, IN WHICH CASE, THAT WOULD BE WHEN THEIR STORIES BEGIN (BUT, crucially, NOT necessarily when their Hero’s Journeys begin – they can exist as characters/people in the Galaxy without having a a Hero’s Journey; most of the SW characters do and that’s what makes them… dun-dun… not the Heroes).

Poe’s arc includes Before the Awakening, the ongoing Poe Dameron comic, and TFA, so far. BtA and the Poe comic exist for a reason, and that reason is to flesh out his hero’s journey so that he is better balanced with Finn and Rey in canonical material going into TLJ.

It’s… not that deep, guys. He’s a protagonist who didn’t have as much screentime, so they’re making up for it, because he is an intended and existing protagonist.

Finn. Rey. Poe. Are the trio, period, of the Star Wars Sequel Trilogy. They are the Han, Luke, and Leia of this generation. That’s why all of the marketing has been like, “every generation has a story: HERE’S SOME FINN, REY, AND POE, THE EMBLEMS OF THIS GENERATION’S STORY.”