#in the reboot she always seems like she’s grouchy for some reason

[a-spacecadet]

More clone chibis!!!

-

Oh to hold them in the palms of my hands…🥺

[mylittlegemlins]

Hello tumblr, during my childhood I was really obsessed with smurfs and since I found out that they released a reboot, which unfortunately I haven´t yet been able to see, I think I had some inspiration and ended up writing this.

I don't usually post this kind of blog about series unless I'm too immersed in it because I feel like it's too childish but to hell, blogging about-analyzing series for kids is my entertainment method and if I can't post about my likes on Tumblr I don't know why have an account.

So I present:

How to catch the Smurfs

This is the definitive tutorial on everything Gargamel ever did to catch the little blue critters.

It is based mainly on the animated series from the 80s and the 3 films that were produced between 2011-2017, I watched several episodes again to write this, but I still hope I don't forget some important information.

Following these steps:

1. Why catch the Smurfs?

During the comics, the series and the recent movies there were many reasons why Gargamel and other humans wanted to capture the Smurfs that change over time, among its main uses we have:

- They are ingredients for exotic dishes.

-Turn them into gold

- Ingredient for the Philosopher's Stone

- Use its essence to obtain magic

- Their tears serve as an ingredient for spells

-Their skin serves as a treatment to cure diseases

2. Points to consider:

This is a set of rules that fall between the lines when using a Smurf for any of the recipes mentioned above.

2.1 How many are needed:

In some episodes Gargamel was about to cook a single Smurf, so 1 is enough to eat them.

To turn them into gold you need at least half a kilo, about 6 smurfs.

2.2. They don't need to be alive

I didn't remenber any place where it said that Smurfs must be alive to use them in recipes.

2.3. Smurfette doesn't always count

She has to be a real smurf or else it won't work, during her first appearance before the papa smurf spell and the episode "smurfette unmade" where she reverts to her original form she is not a real smurf, so it wouldn't work unless that is in its blonde form.

2.4. Fake Smurfs:

The reason Gargamel can't just create another Smurf and use it in his recipes is because his creations are blue clay with a conscience, to turn them into real Smurfs you need the “true blue”spell

2.5. Artificial Smurfs:

Smurfette, Sassete, Kactus, Vicky and any other Smurf they come up with in the future, count as real Smurfs only after their transformation.

To clarify the points, these are the steps:

3.Locate them

The Smurfs are in a village protected by a magical force that makes it invisible or unreachable, it is only possible to find the village if a Smurf guides you to it, even after finding the exact location it will have disappeared if you try to return, so the best It is marks the surroundings of the village and look for them in the places that the Smurfs frequent.

It is possible to capture them when they leave the village, force them to guide you, enter the village using teleportation spells or hoaxes.

4.Traps

Catching smurfs is relatively easy, you can chase them with butterfly nets, catch them with your bare hands, using a cat or any other hunting animal, now that I think about it a hound would be very useful to track their scent.

Using some classic traps to hunt animals also works with Smurfs, traps with cages or hidden holes in the ground, or camouflage in a bush until a Smurf is close enough to catch it, you can't use traps like an obvious cage with food in it, they are too smart to fall for that.

It is more effective if they are placed in strategic places such as a field of smurfberries which is outside the village.

Small female creatures are also used as decoys, such as female smurfs, little mermaids and lymph to make a smurf fall in love and thus leave the village to a point where they can be captured.

5.Which Smurfs to capture

Personally I think there are Smurfs that are easier to catch, although Gargamel could not have a list of all with so many times that they have passed by his house, he should already recognize one or another Smurf and I remember that there is a episode where he knows some of his names.

The main cast, Smurfette, Hefty, Brainy, Clumsy, Greedy, Grouchy, Jokey and Handy as far as i can remember, they´re the ones that have been captured the most times and also the ones that have escaped the most, since they're easy to capture, it would be convenient to take advantage of this, but since they know how to get out, they should change the cages with them, put the cages in another place, move the objects that previously used to get out, and above all not to fall the same tricks again.

Papa smurf has been captured many times, he is the one who most leaves the village and if in one of his trips they capture him, maybe the others would not notice his absence, it is something difficult because he already knows how to escape and he can use spells against you, but if you manage to kill him the others would be lost without their leader, and with the disaster they would be easier to capture.

Lazy smurf takes naps during his work outside the village so it's a good chance to catch him, hopefully he might still be asleep while preparing the recipe and he won't try to escape.

According to his debut episode sickly smurf was never able to escape from Gargamel and Azrael; it is so easy that he catches him with his bare hands in 20 seconds.

Baby Smurf is more vulnerable for obvious reasons, the negative side is that there is always a Smurf looking after him, but if they manage to separate the baby it would be easy to cook , considering the life expectancy of the Smurfs is more than 500 years, it may remain a baby for the next 10 years so there is time to execute your plan.

Nat, Snapy, Sassete and Slouchy, the 4 children Smurfs that appear in season 5 are in almost the same circumstances as Baby Smurf.

In Wild Smurf's first appearance he kicked Gargamel in the face and easily made Azrael afraid of him so it might not be a good idea to mess with him.

I guess Smurfs like scaredy would never leave the village unless they forced it so the only times he gets caught is when they capture all 100 together.

6.Don't let them escape

In many occasions the Smurfs escape when they have already been captured by Gargamel, either from his hands, cages and in their closest attempts they escape from the pot.

These are the points to keep in mind:

6.1 Capture only one

If you capture a single Smurf than two or more as it will take a while for them to realize that one is missing and they will not come to their rescue, the more they are, the more likely they will find a plan to escape, so keep them in mind. separate cages.

6.2 The others will come

Once Gargamel has one or more Smurfs, it is 100% certain that the others will come to rescue him at his house, so it would be convenient to go to another place away from the forest where he can cook the Smurfs without others being able to find them. Gargamel has a basement with a secret door, he was able to hide there and pretend he didn't have them until the rescuers leave.

6.3 catch rescuers

Knowing that more Smurfs could come, you could use it to your advantage by placing traps on the doors and windows, or on the contrary, closing everything so that it is impossible to enter without having a key.

6.4 They will leave him for dead

In the episode "the tear of a Smurf ", it seems that if they don't find a missing Smurf it only takes a week for them to surrender and prepare for his funeral. You can hide the smurfs with their mouths tied up in a drawer and pretend you don't know what they are talking about until they give up, then it will be time to execute the recipes. If Gargamel had enough brain cells to keep the secret, he could eat the Smurfs and the rest would think they were eaten by birds or something and would not take revenge.

6.5. Do not look any further

If you already have 99 it is enough, even if you have only one, it is not worth risking it to find one more, it is a trap.

6.6. Don't open jokey surprises.

The characters always forget that gift.

6.7. Don't listen to them

On several occasions they try to make conversation to buy time, they trick him into thinking that he will bring more Smurfs or that he cannot eat him, everything is a trap.

6.8. Just kill them

He never did that but it's a very obvious choice, I don't remember somewhere saying that smurfs have to be alive for recipes, Gargamel has repeatedly expressed his desire to destroy them. Wouldn't it be easier to kill them before throwing them into the pot? if you can't, they don't even have to be dead, just unconscious or asleep. Gargamel has drops of lava in his lab for some reason, how come he doesn't have substances to knock them unconscious? In case he have many captured you could use classic techniques such as placing the cage in a tub of water until they drown, even stepping on them would be enough since they are very small.

6.9. Papa Smurf's books

If Gargamel tries to kill them with an epidemic, papa will have the cure, if he casts a spell, papa has the antidote, since he has been in the village on several occasions, he should take the opportunity to steal or destroy their books, he could look for the true blue spell and perhaps find another useful spell.

7.Enjoy your smurf soup

If that's all i came up with, you can already eat or become a millionaire at the cost of a smurf's life, hopefully you'll have to face a horrible revenge from papa smurf, but i'm not responsible for that.

8.Other methods to get smurfs:

This is a set of theories for alternative ways to get smurfs without capturing one from the village.

8.1. create smurfs:

In the second live action movie gargamel gets the formula for the true blue spell, so from here technically he could create smurfs, then transform them into real smurfs and do whatever he wants with them, during the series he had to look for the formula instead to look for smurfs.

8.2. Clone Smurfs:

In the episode "the hundredth smurf" Vanity creates a clone of himself that eventually integrates into the village, it is a genetically exact clone so there is no doubt that it is a real smurf. He just needs to place a mirror in front of a smurf and get it struck by lightning, Gargamel could capture a smurf and make clones that will work, he wouldn't even have to keep the original and he would have an infinite smurf machine.

8.3. Kidnap Baby Smurfs:

During the blue moon it is possible that a zork came to the village bringing a baby smurf, it can take up to 200 years without bringing one but if you are alive when that happens, you can try to hunt the zork and capture the defenseless baby.

8.4. Repeat the fake smurf technique:

If it is possible to create fake Smurfs like Smurfette, it might work on a second try, Smurfs are not very cautious around strangers, once Smurfette arrives in the village no one wonders where she came from or why she was in the forest, but rather Immediately they offer him a house, Gargamel could create a smurf and this time instruct him to lead all the smurfs in the village into a trap and make sure he does not turn good, he can also turn himself into a life-size smurf costume, Nobody will notice that there is an extra Smurf and he can repeat the same trap,third time’s a charm

9.Conclusion:

Surely there are many other methods to catch Smurfs but I can't see the whole series again even if I wanted to, because it is a series for children Gargamel never learns from his mistakes I think that catching Smurfs is not that exaggeratedly difficult, especially for someone who has access to magic may be as difficult as capturing a talking rabbit, Gargamel is just stupid.

The end.

[fapangel]

So you finally watched The Last Jedi. Thoughts?

It is worse than I could have possibly imagined.Sit down and buckle up, because this one’s a doozy. (Spoilersabound.)

AsI’ve previously detailed, it was clear the movie was a trainwreckeven before I watched it due to simple structural issues with thebasic plot, much of it inherited from The Force Awakens (which I didsee.) To wit, the movie is a sequel to the original trilogy, butcompletely ignores everything that happenedin the original trilogy. Having seen The Last Jedi, it’s nowblatantly clear thatthe new trilogy  was intended as a reboot - but that’s impossible todo when it’s shamelessly mining the OT for characters, concepts, andinformation. I’m not talking about the shameless density of nostalgiareferences and even aped plots in The Force Awakens, either - I’mtalking about The Last Jedi considered in a vacuum. (Just one exampleis Leia’s use of force power to pull herself back into her ship,which makes no sense without the original trilogy context.) Giventhe high praise some of my friends had paid the show, I’d been opento the possibility of it having merit as a movie, ifnot as a Star Wars sequel, butits inability toescape the structural/sequel critique presaged its complete and utterfailures in writing.

Thisis a point I must make explicit: TheLast Jedi is such a horribly written movie that it transcends merefailure; it is actively harmful and offensive, “problematic” inthe sense that the much-maligned “SJWs” use the term. Thisis the unassailable core of the offense that The Last Jedi (“TLJ”)offers. Much of what I’m about to bitch about, especially anythingto do with pre-established Star Wars canon, could have been glossedover, or even forgiven, if the core storytelling was solid enough. Ifit looks flashy and cool, adheres to rules that the audience knowsfrom prior films, oreven rules the film itself laid down earlier, anyaction sequence or detail of spaceships and tech can be made to work.Star Wars is classic Space Opera centered on Space Wizards; youcan get away with a lotifyou’re making one big concession to enable the plot and not justjerking the audience around every five minutes. But TLJ not only doesthat, it also has no story worth making concessions to enable. Theinescapably lethal flaw of TLJ is that none of the characters areworth a damn, and their arcs simply do not work.

That’sit. Without that, you have no story, period. Withthat,any number of flaws, errors, and plot holes might be forgiven, if thecore story is strong enough. Even if the core story isn’tstrongenough, one could at least acknowledge that the movie wasn’t a totaldisaster, it was just dragged down by too many errors, a death of athousand cuts. TLJ manages to have allof the ancillary problems, andno character story at all to make it worth a flying fuck.

Thiswon’t be a comprehensive dismantling of TLJ, as there’s more thanenough out there - I suggest seeing MauLer’sreviews, either the 30 minute “Unbridled Rage” or thethree-part,multi-hourtakedown for a truly exhaustive treatment. This is mostly Planefag’sPerspective (becuase people like it when I say the funny fuqq wordsapparently,) an explanation to my writer friends (which they’ll  findinteresting, as it’s rare for our opinions on works of fiction todiverge so strongly), and presentation of what seems to be aheretofore unmade argument - that TLJ is morally reprehensible bydint of the biases, prejudices and twisted ideas it perpetuates.

Yes,it is that fuckingbad. ButI’m saving the best for last. In order of magnitude, why TLJ is apile of steaming, utter shit:

NOT ONE SINGLEFUCKING CHARACTER ARC WORKS AT ALL.

Thisis the core, unforgivable failing - the complete absence of anyfucking story. This isespecially notable with Rey and Kylo, the lead characters of themovie around which everything else revolves. WhenRey and Kylo first spoke to each other across lightyears, I stood upand shouted “THE FORCEIS NOT A FUCKING SKYPE CALL!” Iwould’ve forgiven the Space Wizard liberties had the interactionsworked, but my wrathproved sadly prescient, as Kylo and Rey’s every interactionthereafter seemed like two teenagers awkwardly flirting over Skype…except they had far lesschemistry than that. As I write this, I find it difficult to evenrecall what they fucking talked about- the first time was Kylo surprised it was happening and Rey callinghim an evil murdering prick (for good reason,) the second time sherang him up when he had his shirt off and he told her to “let go ofthe past, kill it if you must,” and the third time she told him shesensed conflict in him, they touched hands through The Force, and she“saw his future” through this, because Rey Is Very Good At TheForce.

Onthe basis of these three interactions, Reygoes from Kylo Ren’s sworn enemy to moist and thirsty for histhrobbing red lightsaber. I shit you fucking negative. Uponthese three brief conversations,the central character story of the entire movie rides- and they come nowhere close topulling it off. There’s so many reasons for this that it’s hard tosummarize them. Rey’s shown to be pining for her family again(despite having moved past this in her character arc in The ForceAwakens, but Rian Johnson can’t keep shit consistent in his ownmovie, much less thesame fucking trilogy.) She’s angry at Kylo for killing his father,Han, whom she was adopting as a father figure herself (their firstchat takes place after Luke asks after Han and Rey accuses Kylo ofit, so this is expressly brought forward into TLJ.) So when Kylo ripsinto Rey over her parents; pointing out that they were white trashthat sold her into servitude for drinking money and never cared abouther, before telling her to kill her past, he’sonly reminding her that he had something she never did and alwayswanted (a loving family,) and that he fucking murdered saidfamily. There’s no wayRey could empathize with Kylo over this.

Butwe’re supposed to ignore this, and believe that Rey now feels someempathy for Kylo because she 1. saw him with his shirt off and 2.touched his hand and Sensed The Good In Him Through The Force.

Whata load of complete and utter fucking horseshit.

Thereare other arcs, and they all fall flat on their fucking faces aswell. For starters, Luke.Luke’s arc, especially, cannotbe insulated from continuity criticisms because he’s the mainfucking character of the Original Trilogy, andTLJ leans heavily onthat lineage for its setup. The climax of Luke’s character arc wasachieving the seemingly impossible - redeeminghis father, Darth Vader, who had fallen to evil decades ago andcommitted untold numbers of atrocities. Andin TLJ, Luke actually contemplates CHOPPINGHIS OWN NEPHEW’S FUCKING HEAD OFF becausehe “sees darkness in him.” The man who’s crowning, definingachievement was redeeming his Father from the dark side isconsidering NEPOTICIDEbecause the kid mightfall.

Evenif you ignore that, why Luke’sinsists that“the Jedi should end” is never explained, as he never says itoutright and never finishes a single lesson with Rey which issupposed to teach her why.Why does he extrapolate hisfailure to mean the entire galaxy isbetter off without them? His interactions with Rey accomplishnothing; he basically tells her to fuck off for a while, decides to“teach her,” promptly tells her she’s supor haxx0rz powerful likeKylo, watches her master lightsaber-ing because she knows how toswing a metal quarterstaff, and is then told by Yoda himself thatthere’s nothing in the ancient Jedi tomes Rey needs, because she’s sofucking special she knows it all already. Yoda fucking torchesthe ancient temple-tree-library to make his point that Luke’s always“staring at the horizon instead of at what’s in front of him” andthat he needs to focus on the here and now; implicitly saying thatRey was right, and he shouldhump his ass out there to “face down the First Order with a lasersword”…

…but instead of doing that, he literally phonesit in from half a galaxy away with The Force, puttinghimself in (almost) no danger, but fucking dies anyways,meaning he died as he lived; agrouchy old coward who never did face down his own apprentice andanswer for his mistakes. Luke’sarc makes no fucking sense, achievesnothing, and goes fucking nowhere.

Finnand Rose was portrayed as a budding relationship, except there wasn’ta single fucking hint of it being romantic till she kissed him at theend of the show after a pat speech about “saving what we love.”In the beginning of the movieshe tazes Finn (yes, the black man got tazed) for trying to skip townin an escape pod, which she found personally offensive because hersister had just died in the opening battle to defend The Resistance.At the end of the movie, Finn is willing to sacrifice his life todefend that same Resistance, his character having actually grown -and Rose rams him off-course before he can do so, despitehaving tazed him earlier in the movie for dishonoring hersister’s sacrifice to defend the exact same cause. Atbest, this means shewas only truly concerned with her personal loss, which would make hera self-centered, selfish cunt, willing to sacrifice the lives of manyothers (and potentially the freedom of the entire Galaxy) for her ownemotional needs. But it’s not portrayed as a selfish decision - it’sportrayed as the right one,which taps into an entire larger problem of its own I’ll touch onlater. It’s the same problemthat’s entirely responsible for crippling Poe’s character arc. Finnand Rose were simply dealt the coup de grace by it, as theirpreceding scenes together were sparse; involving them coming up witha plan to save the rebel fleet (seconds after Rose had tazed him,bro, and had no reason to do a 180 and start trusting him without anexplanation that he never did give,) a monologue about how shitRose’s life was and How Capitalism Is Bad on the casino planet, and abrief “well we’re fucked and by extension THE ENTIRE GALAXY but westuck it to the man, how cool,” and Rose has a moment where shesets an animal free and says that was superior to making baddieshurt, setting up her closing line later.

Andthat’s it. That’s fucking it. Comparethis to Princess Leia in the original trilogy. Her response to aStormtrooper walking into her cell - someone who she has every reasonto assume is there to take her to a torture session (as she wasclearly shown being tortured some minutes earlier in the movie,) isto comment wryly on his height. Andseconds after breaking out of the jail cell, she’s shouting orders atpeople, spraying the air with energy from a stolen blaster rifle, andin fact leading themout of the immediate danger (“Someone’s got to get us out ofhere!”) And during this entire sequence herrepartee and rivalry with Han Solo is already being established, the“excuse me Princess” cranked to the max. The friction that beginstheir relationship is Han butting heads with her before witnessingthat she’s dangerous,composed, and competent in emergency and combat situations. Notonly is their relationship developed during actionsequences of real consequence, as well as down-time chats, but italso takes three entire moviesto build to a climax. Comparedto that writing, Rey jumping on Kylo’s dick after three Skype callsand Rose giving one rusty fuckabout Finn are egregiously bad.If you criticize the OT andthink TLJ is superior, you have a lot toanswer for, right there.

However,Finn himself had potential - if only because his character was theleast tampered with, so one could assume his character developmentfrom TFA was intact, and TLJ’s script hinted gently in support of itand never against it. He started TFA just wanting to run like abitch, and by the end had come to care, at least, about defendingRey. He was trying to hare off after Rey in the beginning of TLJ, andby the end had committed fully to a cause, the opposite cause of theone he’d abandoned at the opening of TFA. It’snever really covered why hegrows like this - at the very beginning he goes from wanting to legit to forming a plan with Rose to save the fleet instantly. He wastalking his way out of being shoved in the brig at the time, but henever takes a subsequent option to duck out; in the space of a fewseconds he’s committed himself to a dangerous recon mission that willend with infiltrating an enemy capital ship withapparently no qualms whatsoever. If this was ever covered indialogue, it was so brief I completely missed it - and this isprobably why his arc “worked” the best; it wasn’t the focus, so Ididn’t care much about how it happened… plus, by the end, Finn isthe only halfway relatable character at all, beating Rose by alandslide because we have awhole movie of development for him (TFA) as opposed to one briefboo-hoo monologue from Rose (oh and her sister died boohoo.) He’s nota fucking Mary Sue like Rey, he’s not entirely certain about his rolein things, and so at the end, when he makes the decision tosuicide-run the Very Big Gun, there’s actually some investment andaudience-character empathy there. Finn,alone, is the only character we can empathizewith.

Andthen fucking Rose putson a stellar display of Asian Driving Skills and robshim of his moment,because-

EVERYBODY WITHA PENIS IN THIS MOVIE IS ALWAYS WRONG ABOUT EVERYTHING ALWAYS,BECAUSE FUCK MEN

Thisis not an exaggeration. In my priorcomments I mentioned that just because everyone saidthis was the case didn’t mean Ibelieved it, because I’ve seen the CHUDs hurl the same complaints atobjectively excellent movies (the latest Mad Max, forinstance,) and that’s before theGamer/pol/Gate crowd made counter-bitching at the SJW bitching apastimefor casual amusement. I wasexpecting some token casting, some throwaway GRRL POWER lines, etc.

Instead,I got the most misandrist movie I have ever seen.

It’snot just a matter ofwriting every male character to be stupid and every female characterto be smart - the laws of probability themselves bendover backwards to make everything a woman does the right choice, andeverything a man does the wrong one… except even when the Universedoesn’t do that, theman gets his ass chewed out anyways for making the rightcall.

Butthat came later. My first exposure to the misandry came in the formof Admiral Holdo, a purple-haired, ballgown-clad fleet Admiral wholooked like she walked out of Tumblr SJW Central Casting. But despiteThe Internet having named this character as egregiously bad manytimes, nothing, nothing prepared me for the actualperformance.

LauraDern deliberately portrays Holdo as a venomous, imperiousbully.

Onehas to actually see the performance to appreciate howdeliberate and well-done it is. Laura Dern crosses her arms, doesn’tface the person she’s addressing, literally looks down her nose whenshe does, and even does that particular kind of sneer whereone bites their lower lip and looks at someone like they’re dogshit.Laura Dern’s delivery perfectly matches the scripted lines - sheresponds to a straightforward request for information from Daemon Poeby insulting him, then attacking him- “My plan? Like yourplan which destroyed all our bombers?” She then proceeds to attackhis manhood, calling him a stupid little gung-ho flyboy, and advisinghim to “stick to his post and follow my orders” with the exactsneering tone of someone saying “sit down and be a good littleboy.” The soft-spoken volume of the delivery just drives it home -it’s the “oh, honey” condescending shitpost meme made manifestand played entirely straight.

Theworst part of this performance is that Hold is supposed tobe an Admiral, a military officer. Poe eve drops a line about herbeing the hero of such and such battle to establish that she’ssupposedly respected and famous - and then she proceeds to shredthat impression by acting like anything but a militaryofficer. Captain Janeway on Star Trek: Voyager wasn’t verynice - in fact, she could be an outright rude asshole - but shealways sounded like a Captain when Kate Mulgrew delivered herlines. She didn’t deliberately humiliate or insult people by saying“sit down like a good little boy;” she’d say “I’m the Captain,get the fuck off my bridge before I brig your ass forinsubordination.” That’s how the military works; there is achain of command, and those who challenge it are reminded thatthey’re pissing on God’s leg, and God does not fuck around. Todeliberately portray Holdo as literal stereotype of a “nastywoman” suggests that Rian Johnson actually thinks this is what a“strong woman” should look like. And in fact, Laura Dern saidthis explicitly:

Speaking about her character’sstylish-yet-firm leadership, Dern told VanityFair: “[Rian is] saying something that’s been atrue challenge in feminism. Are we going to lead and be who we are aswomen in our femininity? Or are we going to dress up in a boy’sclothes to do the boy’s job? I think we’re waking up to what wewant feminism to look like.”

So apparently CaptainJaneway wasn’t a real woman, because women simply can’t beauthoritative and direct, and if they are, they’re just playing asthose toxic men. From the director’s point of view, a “strongwoman” is a viscous, venomous bully who replies to peoplerequesting information by insulting, mocking, humiliating andsneering at them instead of firmly asserting their lawful authorityand citing their own reputation for competence.

Rian Johnson bothdirected and wrote the movie, so in this one scene, everythinghe believes is coming out - the epitome of an entire plot ruledby the iron fist of misandrist horseshit. The scene itself isan example. The movie opens with the Resistance evacuating a planetas the First Order fleet (led by a massive dreadnought with an“autocannon”) closes in. Poe Dameron, the aforementioned “flyboy”attacks and destroys the dreadnought, against Leia’s orders, just asit is explicitly shown to be locking its Big Scary Gun ontoLeia’s command cruiser (there’s even a cut to Leia’s face toemphasize the point.) There’s nothing to suggest that Leia’s cruiserwould’ve gone to lightspeed before then if not for Poe’s attack;despite him landing in a hurry, we know X-Wings arehyperspace-capable themselves (within this movie, in fact, as we’reshown an X-Wing underwater on Luke’s island; presumably his ridethere,) and as a Captain and, apparently, the Resistance’s fieldcommander, Poe would know the rally point the Resistance isevacuating to.

The movie itselfshows that Poe saved the command cruiser, and with it, the entirecommand staff of the Resistance - and for this he is first demoted byLeia for disobeying orders, and then viciously insulted by Holdo whenhe simply asks her for information. When the First Order follow theResistance through hyperspace with some newly-invented trackingdevice, Kylo Ren and his fellow Spess Fighters zoom in and blow upthe cruiser’s launch bay with torpedo-like missiles… and are thenimmediately ordered to retreat because the capital ships “can’tcover them that far away.” This makes absolutely no fuckingsense, as in the battle scene immediately prior, Poe attackedthe dreadnought to take out its “surface cannons” to clear theway for the Resistance’s bomber ships to attack, and the captain ofsaid ship explicitly says that those guns can’t hit fightersand that they should have their own fighters out there - “fiveminutes ago,” no less, as if lampshading the plot convenientincompetence makes it okay. And since two torpedo-like missilesutterly destroy the command cruiser’s launch bay, you can surmise theFirst Order doesn’t require huge, plodding, and stupidly vulnerable“bombers” as the Resistance used to take out the dreadnought.Said dreadnought didn’t have any visible shield protection during thefirst battle; (especially obvious because we’re later shown capitalship fire hitting the shielding of the command cruiser with verydistinctive special effects,) and in fact the command cruiserexplicitly “focuses its shields aft” to fend off thepursuers capital-class weaponry, just to create the opening for Kyloto nuke the hangar bay (and blast Leia into space as well.) Thereis absolutely no fucking reason the First Order fighter-bomberscouldn’t have finished off the command cruiser right then and there,but we’re simply shown Kylo’swingmen being shot down (by what, we never see,) as he’s told “theycan’t cover him out there” as an excuse. The movieviolates its own rules just to take away Poe’s X-Wing and put Holdoin charge.

Andthis is just the fucking beginningof the Universe itselfbending over backwards to invalidate everythinganyone with a penisdoes. Poe is the one that authorizes Finn and Rose’s sidequest tofind a “master codebreaker” at the Gold Saucer (to sneak on thebad guy’s ship to disable their tracker so the fleet can escape,) buttheir plan fails because Fuck Anyone With A Penis. But that’s not theoffensive part. Earlier, Poe sees Holdo’s fueling the transports, andangrily points out that said transports will be sitting ducks for theenemy’s guns. He asks Holdo againfor a plan, and shefeeds him some fucking bullshit non-answer about “hope being aspark that lights a fire.” With the entireResistance Fleet nowdown to one cruiser (outof three starting ships), Poe intelligently determines that Holdo isfucking useless and stages a mutiny so he can see his own planthrough. Holdo defeats her captors by not getting shot the moment shetwitches and winning a point-blank firefight with much younger combattroops because fuck you. Nowback in command, she sees off Leia (just awake after her impromptuspace-walk) and on thetransports, Leia tells Poe that “Holdo knows the First Order won’tbe scanning for small ships like this.”

Yes.That’s the explanation. Poe Dameron - the fleet’s combat commanderand fighter pilot, someone who’s fucking job isto understand the capabilities of the ships in their fleet - didn’tknow this, but Admiral Holdo did because she has a vagina andtherefore is perfect. They’re boarding the transports to “slipaway” to another planet - visiblethrough the fucking window - andyet the First Order - WHOWATCHED THESE PEOPLE EVACUATE THE LAST PLANET ON THESE TRANSPORTS -“won’t know to lookfor small ships like these.”

Butwait - it gets worse. Finn and Rose’s mission failed, not becausethey were simply caught by security or because they were attemptingsomething that Ben Kenobi, an experienced Jedi knight had to give hislife to accomplish in Ep. 4 whenthe enemy was letting them go, butbecause a traitor betrayed them, who also, conveniently, tells thefirst order about the transports, so they’re revealed by a“decloaking scan” (which implies the transports have cloakingdevices; i.e. an inherent designed ability of the vessels, not just asmaller sensor signature inherent to their size, ergo something POEDEFINITELY SHOULD HAVE KNOWN ABOUT.) TheFirst Order starts blasting transports out of the sky, and of coursethis is all Poe’s fault.

Andthen there’s the Robbing of Finn. Admiral Holdo kamikazes the commandcruiser into the First Order fleet with the hyperdrive (itself afucking massive, retarded plot hole to end all plot holes), thussacrificing herself to Save The Resistance. And yet when Finnattempts to do THE EXACT SAME FUCKING THING not20 minutes later in the movie; a kamikaze self-sacrifice to save theentire Resistance, Rose rams into him to stop because “we shouldsave what we love instead of destroy what we hate.” This line isdelivered as the Big Gun blows up the base’s doors, thus sealing theResistance’s Fate… but wait! They all escape through a back doorbecause Rey shows up just in time to use her never-trained,never-practiced Force powers to clear a rockslide for them. Rose hadno way of knowing this would happen; meaning her ramming of Finn was,as far as she knew, condemning everyoneto death and her andFinn, at best, tocapture and execution by the First Order. But as usual, the Plotitself bends over backwards to make her choice the correct one, andFinns the wrong one.

Shortlyafter this, Poe “completes his character arc” by acting on whatLeia told him (“you have to run not fight sometimes”) andparroting that fucking arrogant bully bitch Holdo’s fortune-cookieAesop about sparks lighting fires, finally acknowledging the WisdomOf The Females, despite everychoice he made in this movie beingthe objectively correct ones, given the knowledge that he as acharacter possessed.

Andwe haven’t even talked about Rey yet.

Ohmy fucking god, Rey.

Reyis the biggest fucking Mary Sue I have ever seen. This,like every other blunt statement in this piece, is not anexaggeration, as much as it saddens me. Rey can fail at nothingshe attempts. Rey has towork for absolutely nothing she gains. Rey has as much raw power asKylo, at least (by Luke’s own judgment,)and she is moreskilled than he is at lightsaber fighting as evidenced by her savingKylo afew times during the throne room fight. This,despite having notraining in the weapon(which has no mass and can lop off her limbs easily, unlike the metalquarterstaff she’s experienced with) compared to Kylo, who trainedunder Luke himself foryears before moving on to whoever the fuck Snoke was supposed to be.Rey can just touch Kylo’shand and “see his future” isn’t all dark, when the much moreexperienced Luke did the same and only saw darkness. Rey can temptKylo to betray his master and move towards the light after threefucking awkward Skype calls. WhenLuke ignored his master and left in the middle of his training torescue his friends, he got his fucking ass kicked, his handcut off, and his lightsaber lost. WhenRey does the exact same thing, SHE BEATS LUKE MOTHERFUCKINGSKYWALKER IN A MELEE FIGHT, FLIES OFF INTO SPACE, AND SUCCEEDS ATTURNING EDGELORD MCSITHBOI AT LEAST HALFWAY AND SAVES THE ENTIRERESISTANCE BY LEVITATING A WHOLE FUCKING ROCKSLIDE WITH NO TRAINING,WHEN LUKE, WHO WAS ACTIVELY BEING TRAINED, STRUGGLED TO MERELY STACKONE ROCK ON ANOTHER AND COULDN’T HOIST AN X-WING THAT WEIGHED LESSTHAN THAT WHOLE ROCKSLIDE PUT TOGETHER.

Reyis a stupid boring nothing, who’s emotions and struggles I can’t finda single fuck to give about because she’s never in any realdanger, never has to work for anything she gets, and never developsas a person at all. I didn’t criticize her character arc because shenot only lacks one, she’s arguably not even a character at all -there’s seemingly no limit to her abilities, no flaws or pitfalls forher character, since everything she does turns out to be the rightcall (sound familiar?) and only the barest suggestion of whatpersonal goals she seeks (and those aren’t sold one fucking bit bythe story development.) For all effects and purposes Rey is a walkingavatar of the Plot itself, or as Rian seems to call it, The Force.

FuckRey and the bantha she rode in on.

THE PLOT IS THE MOSTNONSENSICAL, LAZY PILE OF FUCKING SHIT EVER PUT TO PAPER BY MORTALMAN

Muchof the plot’s problems originate from what I described above; thevery rules of the universe bending over backwards to serve RianJohnson’s twisted misandrist worldview. But they don’t stop there,by a fucking long shot.

Muchhate has been thrown at those “bombers” in the movie’s opening,but as I said before, TLJ cannot stand on its own even in relationto itself. Ignoring all of pre-existing Star Wars canon, eventhings belonging to the “new movies” like Rogue One, within TLJitself, fighter-bombers are shown delivering grievous damage to acapital ship when Kylo’s wingmen blow the shit out of Leia’s bridge,using torpedo-like missiles that can strike at a distance, launchedfrom fast, maneuverable craft. Said cruiser’s bridge was explicitlyunshielded at the time, since its shields were “focused aft” tofend off turbolaser fire - something that’s shown with distinctivespecial effects that were totally absent when Poe was blasting lasercannons off the First Order Dreadnought in the beginning (ergo, itwas unshielded for some reason.) So the movie itself has shownthat unshielded targets can get the shit blown out of them byfighter-bombers firing torpedoes and that the dreadnaught wasunshielded.

Ionly mention this because it really pissed me off personally, andbecause it showcases Rian Johnson’s dogshit sense of drama andaesthetics, as he had a hardon for “WWII bombers” and apparentlythought it’d make for a better, tenser combat scene than Y-Wingsweaving and dodging through AA fire and enemy fighters like VT-8making their courageous, doomed run at the Kido Butai atMidway. The actual plot itself doesn’t have “holes,” asthat implies an otherwise cohesive structure with missing bits. Theplot is 90% holes and 10% substance, a sieve trying to hold meaning.

Theentire movie’s plot is set up by a “low speed chase,” theResistance fleet fleeing from the First Order’s fleet at sublightvelocities, because the First Order is using a “hyperspace tracker”that’ll allow them to chase the Resistance at FTL anyways. TheResistance’s cruisers are faster, which allows them to pull out oflethal range of their enemies, but - as a First Order officer says -“they’re faster and lighter but they can’t get away from us.”

Thismakes no fucking sense. If they’re faster - even by a smidgen -they’re faster. If they can pull out of laser cannon range tostart with, they can keep pulling out of range. They mightsimply maintain range once clear, to save fuel (because ships needfuel and they’re low, of course - something never, ever mentionedbefore in any Star Wars film ever,) but this makes no sense when youconsider that the objective of Admiral Holdo (which she won’t tell tofucking anyone) is to reach a planet with an old Rebel base with atransmitter powerful enough to “contact our allies in the Outer Rimand call for help.” In which case it’d make sense to haul ass forsaid planet, so they have some time to call for help and wait for itsarrival without the First Order launching a ground assault almost assoon as they land, right?

Butwait! Rey delivers herself to the First Order’s flagship via zippingin from Hyperspace with the Millennium Falcon, very close - beggingthe question of why the First Order (apparently not low on fuel)can’t use Hyperspace themselves to zip ahead of the Resistance fleet(even if they’ve got to bounce to a neighboring system due tominimum-range reasons) and cut them off, or just do a direct jump tocatch up. Worse, Finn and Rey take a hyperspace-capable shuttle toCasino World to execute their convoluted plan, which begs thequestion - why didn’t Holdo order an engineering team onto theshuttle and send it ahead to the old Rebel base? HOW MANY FUCKINGPEOPLE DOES IT TAKE TO WARM UP A REACTOR, BLOW THE DUST OFF A CONSOLEAND PLACE A FUCKING COLLECT CALL?

Thesecomplete failures of intellect - yes, even the infinitely stupidhyperspace kamikaze thing - all have one thing in common: they orientaround plans and facts that aren’t revealed to us till the lastminute, so we won’t notice these problems. It’s also because RianJohnson only cared about “subverting expectations” and provingthat his super special women were so clever and right all along, sohe clearly pulled plot elements out of his ass as he deemed themconvenient.

Ifyou’re one of my Twitter followers who usually tunes in for my vagueranting about defense-related matters, some necessary context isneeded: I’ve written literally thousands of pages worth of “quest”fiction; where I write anywhere from a few paragraphs to a few pagesof fiction, then have my audience vote on what the main characterdoes next - and the content itself is anime fanfiction. And Iam dead serious when I say that, at my worst, when Iwas pulling shit out of my ass on the spot, writing almost inreal-time and posting updates without stopping to proofread or editat all, I never did anything this fucking lazy. At myworst - writing that was so awful I wouldn’t wipe Assad’sass with it - I put more effort into my plot and consistency thanRian Johnson did with his titanic budget and multi-billion dollarstewardship of a beloved brand and franchise.

Andthat’s why I don’t find the hyperspace kamikaze moment offensive onits own merits. It’s horrific, yes - it invalidates space combat inthe entire setting, as well as begging questions specific to themovie (why didn’t Holdo use it outright, for instance?) but thesearen’t any worse than the numerous other stupidities that belabor theplot. What makes the hyperspace thing stand out to me is the attemptto excuse it - two throwaway exchanges. A First Order bridgeofficer notes that Holdo’s cruiser is spinning up its FTL drive, andthe commander dismisses it as an attempted diversion to lead themaway from the transports they’re potting like ducks. This isapparently the excuse for why Holdo didn’t do it earlier - she neededa distraction to allow time to turn. Nevermind that the other twoships with them - that ran out of fuel and were destroyed, afterevacuating their crew to the command cruiser - could’ve providedthis option hours earlier. The two lines make it clear that RianJohnson was aware of this plot hole, and he tries to paper it overwith two brief dialogue lines, as if that’ll excuse everything.

Theentire fucking movie is riddled with lines like this; barebreaths that have to carry the entire movie’s fucking plot setup. Reymentions to Luke that the First Order will “control all the majorsystems within weeks” at the beginning. The Order officer’s singleline that explains the Low Speed Chase the entire movie revolvesaround. Leia’s offhand mention of the old base with the Transmitterof Sufficient Power to reach Their Allies In The Outer Rim. Etc. TLCis demonstrably lacking “downtime” as a movie - think Luke, Hanand Leia chatting in the base on Hoth (“laugh it up, furball,”)the briefing in Episode 4 laying out the Death Star attack, etc.Fiction writing calls it pacing, and scriptwriting calls this “storybeats;” you need the right tempo of fast and slow to properly pacea movie. TLJ never slows down long enough to fucking explainitself, compared to the earlier movies - and the OT didn’t domuch of that to begin with! But it did more than enough to ground theentire story in a larger framework of what the situation was, andwhy the character’s actions mattered. We don’t get that in TLJ.Even the fucking opening scroll narration is inferior in termsof information density. It’s almost like there isn’t a plotworth a damn, just whatever horseshit excuse Rian Johnson squeezesout of his anus next, and if the movie stops cramming glossy CGI andaction figure product placement down your throat for five fuckingseconds, you’ll probably catch on.

Thekorn kernel atop this turd sundae was the ending - with the entirefucking Resistance reduced to maybe a dozen or so personnel - andnone of the command staff, save Leia - on board the MillenniumFalcon, which is only a light freighter, capacity-wise. The “outerrim allies” never show, so this is the entirety of the Resistanceforces. They have no combat fleet, no combat personnel, nobases, no resources, no guns, no ammo, no snub fighters, nothing buta single light freighter and their own limp dicks.

Butthe end of the movie shows them flying around handing out secretResistance rings to force-sensitive kids, as if cereal-box decoderrings are enough to overthrow a vast evil galactic empire. Your AR-15can’t stop a government with tanks and fighter planes, but RianJohnson expects us to believe that the ability to levitate rocks andplace intergalactic Skype calls without paying ComStar can overthrowSpace Nazis.

RianJohnson couldn’t write his way out of a Naruto fan forum.

THIS MOVIE IS AMORALLY REPREHENSIBLE SHITPILE THAT NORMALIZES LIES ABOUT ABUSIVEBEHAVIOR BY MALES TOWARDS FEMALES IN ROMANTIC RELATIONSHIPS

That’sright. I said it.

Thismovie is actively harmful and insulting to women and girls.

Theblatant misandry is bad enough, but the messages it teaches girls areeven worse, the chief one being the normalization of Kylo Ren,the mass-murderer and fratricide “bad boy,” as someone who’s“good, deep down,” If Only The Right Woman Could Cure Him. Thisis a misguided fantasy that dates back to Wuthering Heights, and wasrecently resurrected by Twilight, the fantasy of “saving” a manwho’s violent, misogynistic and cruel. Fantasies aren’t realistic bydefinition, and they all feature in fiction because they’ve an appealto a certain audience - what makes them good or bad is the damagethey do to readers in real life who don’t discern the differencebetween fiction and reality until their misunderstanding leads theminto serious harm. The classic “beauty and the beast” theme of“taming” a  “bad boy” stands chief among the offenders inthis category - but don’t ask me, just sample what countless others have written on the topic. Rey going from angry, grief-stricken accusations ofKylo the Fratricide to longing for his lightsaber after three briefskype calls, a look at his Rock Hard Abs and touching his hand once?It’s textbook Beauty And The Beast bullshit, and apoorly-written example, at that.

Thisis in addition to Rian’s explicit view that - as elucidated byHoldo’s own actress - a venomous, sneering bully is what aStrong Female Leader looks like; reinforcedby how the plot bends over backwards to portray Holdo as a hero. Inretrospect, the liberties taken to put Leia into a coma for most ofthe movie was probably done because Carrie Fisher just couldn’t actthe role of a bullying bitch, and that’s the character Rian Johnsonwanted to showcase as a feminist icon. Again, quoting Holdo’sactress, “[Rian is] saying something that’s been atrue challenge in feminism. Are we going to lead and be who we are aswomen in our femininity? Or are we going to dress up in a boy’sclothes to do the boy’s job?” The message here isn’t that girlscan be hot-shot fighter pilots or gunslinging heroes too - it’s thatmales are toxic, testosterone-driven fools and Real Women are “womenin their femininity.” Not “youcan be anything you want to be” but “feminimity is good andmasculinity is smelly dumb mansplaining scum.” Thisis fucked in the head, andI challenge anyone- especiallythose who recommended I watch this movie - to deny the charge Ijust leveled.

Andfinally, there’s the actions of Rian Johnson himself, the misandristfuckhead who wrote this pile of shit. He was building off the workand script of JJ Abrams, including all the character development that went into it - and now we can see what he decided to do with it.Rian didn’t just fail to make a movie - he actively threw away anopportunity to write a script with realprogressivesensibilities, substituted cheap “subversions” instead, and thenjerked off on Twitter about how fucking woke and progressive he is toget all the fawning accolades anyways.

RIAN JOHNSONPISSED AWAY THE MUCH BETTER STORY SET UP BY JJ ABRAMS IN THE FORCEAWAKENS, AND STILL HAS THE FUCKING GALL TO ACT LIKE HE DIDN’T

I’vebeen told - in various articles and in person - that TLJ achievesbrilliant subversion of expectations and fights against tired oldtropes that reinforce social status norms by bucking the Chosen Onewith Significant Bloodlines thing, most notably with Rey’s parentagerevealed to be of no consequence and Kylo’s focus on “killing thepast” and rejecting moral binaries to forge his own path.

So,on that note, let’s talk about Finn.

Finnwas a brilliant character in concept, the kind I often try to write -a common man, a faceless member of the rank-and-file who finds thecourage to step out of line, think for himself, and eventuallybecomes a hero in his own right. The opening of TFA, with the bloodyhandprint on Finn’s helmet serving to identify him and give a “faceto the faceless,” was a brilliant bit of visual storytelling, andFinn himself has a difficult and dangerous journey as a character.He’s limited in his abilities - he can’t pilot a ship, for instance -and for the longest time his only desire is to run as far away fromthe First Order as he possibly can, to live his own life in peace. Bythe end of TFA, he’s grievously wounded fighting an opponent he knowsdamn well outmatches him, all to defend the life of his new - andonly - friend, Rey. Goinginto TLJ, Finn is poised both as Rey’s most probable love interestand as a walkingrefutation of the Chosen Heroes trope; having gone from randomfaceless goon to the man who was responsible for destroying the DeathST- I mean Starkiller Base. Heknew the way into and out ofsaid base because he used to be on the sanitation detail, aquirk that makes perfect sense andemphasizes how the “little people” in inglamorousjobs often know cruciallittle details like that (like the back door the smokers use.)

Andwhat did Rian Johnson do with this setup?

Finnwakes up and is immediately used for comic relief, smacking his headon the medical scanner, then staggering around in a bacta suitleaking fluid everywhere. Thenhe tries to hare off after Rey, only to get tazed for trying to steala vehicle. Then he’squickly shuffled off to the side with Rose while Rey is suddenly, andwith very poor setup and justification, set up with Kylo and hisneon-white abs as her love interest.

Is now a goodtime to remind you that Finn is black? Yes,the black man gets 1. played for comic relief, 2. don’t tazeme bro, 3. shuffled offscreen while Rey is set up with a white boy toavoid any possibility of an interracial romance. Andall that’s in additiontoFinn’s noble sacrifice being portrayed as bad and wrong, while MightyWhitey Kami-Kaze Holdo is made out as a huge hero for the exactsame act.

Comparewhat Rian Johnson did with what he couldhave done, and thentry to tell me thismovie had any redeemingthemes, arcs, or execution. I fucking dareyou.

AVALON HAS FUCKINGFALLEN

TheLast Jedi is a towering monument to the rot at the heart of ourartistic society. The Force Awakens was a shameless regurgitationdesigned by a soulless corporation to bilk our nostalgic childhoodmemories for every penny we were worth, but at least it had acompetent writer/director at the helm that had some pride in hiswork. By contrast, The Last Jedi had that same greedy, scum-suckingcorporate machine at the helm and a writer-director thatepitomizes the creature that now infests Hollywood:  an arrogant, self-congratulatory prick concerned onlywith vigorously stroking off his fellow wealthy cultural elites, sothey may take smug satisfaction in their moral superiority over theproles. Therecent spate ofself-described “male feminists” who’vebeen revealed to use their professed politics as cover to prey onwomen illustrate the forces at work here - if one utters theApproved Doctrine, everything else can be overlooked and forgiven.Portray Women as Good, Men as Bad and with a few cheap shots atCapitalism in the middle, and you can get away with not writing aplot at all, lazy and poorly-storyboarded CGI scenes that pushmerchandise, and even reducing a black man to comedic relief. This iswhat our corporate-run entertainment industry now rewards - to thetune of tens of millions of dollars - and what countlessleft-wing culture-war publications vigorously and viciously defendwith endless column inches of simpering praise and even asinineconspiracy theories about the Vast Right Wing Conspiracy “gaming”Rotten Tomatoes user review scores to cover up how much audienceshated this fucking trash.

Asa writer, I happen to believe that Art means something. It matters.It nourishes the soul and teaches us lessons about why to liveour lives, not just how. Mankind has been telling stories forthousands of years before anyone figured out how to write them down,much less make a profit off them. As a species we are wired to thinknarratively, which is why stories have power - never a righteouskingdom nor a vile dictatorship has existed that didn’t invest greateffort in fashioning myths and legends to justify and strengthen itslegitimacy with the people. Stories can help, and they can even harm.

Storiesare serious fucking business. And Rian Johnson’s betrayal anddesecration of his art and craft is emblematic of what the very, verybig, wealthy and powerful entertainment business thinks isacceptable. The business of multimillionare serial rapists that arealso major political donors, the business of complicit yes-men actorsthat routinely use their fame, wealth, and cultural influence to tipthe scales of our national political debate - that business.

Ifyou’re like me; if you dream of telling stories that matter,stories that change peoples lives and give them hope as other’sstories have done for you - prepare for dark times ahead. It’s clearnow that Avalon has fallen; that the existing establishment is toothoroughly corrupted to serve society any useful purpose. We’ll haveto use the internet, vanity presses and small websites - as long asAmazon, Google, and the other West-coast headquartered monopoliesallow us them, that is - and do the best we can. Whatever Hollywoodin particular and the entertainment industry in general is puttingout anymore, it sure as hell isn’t art, in any sense ofthe word you might imagine. The real artists will have to starve,scrape, beg, and struggle - but what they make will be worthwatching, instead of an affront to common sense and common decency.Call them Rebels, or perhaps the Resistance - just don’t callthem surprising, because I FUCKING TOLD YOU SO.