#tlj negative

[galacticvampire]

The Acolyte showrunner just gave an interview talking about how the show will be "jedi critical" because "that's the story george lucas was trying to tell" and I'm about to commit a crime

[antianakin]

Yo. What are your thoughts on people who unironically claim that - prior to his talk with Yoda - Luke was right about the Jedi Order in TLJ?

There's definitely other people who can probably discuss this more eloquently than I can, but basically the argument I've seen that works the best for me is that the whole point of Luke's journey in TLJ is that he's WRONG. Luke loses himself to his own fear and grief, and that turns him into a bitter, resentful person. And what we often see when people hit that sort of rock bottom point is that they refuse to be truly mindful and self-reflective and instead turn their fear into anger and then lash out at someone else just to have someone to blame that isn't themselves. And, within the context of Star Wars, the Jedi so often end up that scapegoat. There's even a pattern I've pointed out in other posts of Jedi choosing to turn on their own when they lose themselves to darkness (Krell, Barriss, Malicos, even Bode to some degree, and obviously Anakin).

But just because the Jedi often end up scapegoats for other people's failures doesn't actually mean these people are RIGHT to blame the Jedi for the galaxy's woes.

It also would quite honestly just make zero sense if Luke was right because he talks about wanting the Jedi to all die out, he wants there to be NO MORE Jedi at all, and then the end of the film is that Rey goes on to continue being a Jedi and Luke makes the big declaration that he won't be the last Jedi as a triumph over Kylo and the First Order. None of that seems to indicate that Rey continuing to become a Jedi is a BAD THING the way Luke would have thought earlier in the movie. So if Rey becoming a Jedi is a good thing, then it automatically means Luke thinking all the Jedi should die with him was WRONG. This is basic media literacy.

Luke is unkind and cruel and insensitive throughout the entirety of his interactions with Rey. And he is very DELIBERATELY written this way, you're supposed to be sort-of taken aback and cringing away from this version of Luke. This version of Luke is broken and warped from the person we last knew him to be. This is not a kindly master of any kind, so why would we listen to anything he has to say while in this mindset?

One of the other things done in TLJ to really slam home that Luke's perspective on things isn't always trustworthy is the comparison between the two flashbacks to Kylo's turn. Luke and Kylo both have very different versions of that night and so it's implied that we cannot necessarily just take Luke at his word when he says things. Luke is not an inherently trustworthy person anymore. So when he says shit like "The Jedi should die with me" it's said within the context we are being given that Luke is now untrustworthy and consumed with bitterness, so EVERYTHING HE SAYS has to be taken with a bucket of salt.

Luke isn't right about the Jedi, he can't be in order for any part of his story to make any sense and for the ending of the film to be in any way satisfying.

What I WILL say though is that this entire storyline is pure bullshit anyway and executed in the worst way possible. It's written in such a way that it's not hard to see WHY people would jump to the interpretation that Luke was right about the Jedi. I hate that they have Luke saying these things to begin with, I hate that his entire relationship with Rey consists of Luke being an asshole and refusing to teach her anything except how awful the Jedi were when he barely even ever KNEW the Jedi. This feels like a character assassination of Luke for no good reason. Making Luke into a broken hero completely sidelined Rey in her own story and made that entire plot about LUKE'S growth instead of Rey's. So not only is it really jarring and uncomfortable to see Luke as a bitter old man instead of a wise master, it's an absolutely shit writing decision that sidelines the first main female character of a Star Wars movie in order to focus on a man. Making Luke a kind, wise master would have forced the story to focus on REY and REY'S fears and doubts and REY'S growth and development into being a Jedi because Luke has ALREADY HAS HIS FUCKING STORY TOLD AND DOESN'T NEED TO GO THROUGH IT A SECOND TIME.

There's just so much that is badly done about this storyline, so I can't really blame people for reading it as "Luke was right about the Jedi being bad and it's good that Rey is going to be a Jedi only because she's going to be a different KIND of Jedi that is better." It's so so awful and I appreciate that TROS tried to fix it by making ghost!Luke a kindly master who retracts some of his statements about the Jedi when he sees Rey again, but the damage was already done and it was too late. That being said, I do think that despite how badly it's written, the intent is that Luke is WRONG and he is very much an unreliable narrator in TLJ and people don't really pick up on that in their interpretations.

[swsequelsalt]

"Why The Last Jedi Isn't Just Bad - It's Toxic" by M. Krasava

DISCLAIMER: This editorial was originally published on Scavenger's Holocron, a sadly-now-defunct Star Wars news site. I feel like it's a tragedy to have it deleted from the Internet and only accessible to dedicated parties who know about it via the Wayback Machine, so I'm reposting it here as a form of greater preservation/availability.

Currently being regarded as the most controversial Star Wars film to date, fans of the popular franchise seem to have settled into two groups: this is either the best Star Wars film ever made, or the worst. Cinematically speaking, the movie has stunning visuals and a great cast of actors, but that’s not the problem.

The problem is that while The Last Jedi is being branded as the most feminist Star Wars film to date, its “feminism” seems like a cheap marketing ploy to appeal to a wiser audience and downplays some of the key problems within the film itself: it’s built on a foundation of sexism, misogyny, and racism. In other words, if you’re anything other than a white male, this film isn’t made for you.

And director Rian Johnson hasn’t exactly been shy about his opinion regarding the film’s white male villain, Kylo Ren. Rian told Empire Magazine that, “We can all relate to Kylo: to that anger of being in the turmoil of adolescence and figuring out who he’s going to be as a man.”

The only problem is that we can’t. Despite Rian’s insistence that this film is about the “transition from adolescence into adulthood,” Kylo Ren is already a well-established adult with a history of bad choices. We know from the canon Star Wars novel Bloodline, written by Claudia Gray, that Kylo Ren was at least 23 years old when he destroyed Luke’s Academy. At this point, he’s already an adult capable of making his own choices.

The film reveals that the final push towards the “dark side” was when Ben Solo awoke to see Luke standing over him with his lightsaber while he was sleeping. Without considering the possibility of a miscommunication, Ben Solo brought the roof down on the last Jedi, and then systemically went about converting or eliminating the rest of the students in Luke’s school before burning it to the ground. From there it can be presumed that he officially took on the role of Snoke’s apprentice, dubbing himself Kylo Ren as he joined the ranks of the First Order.

The problem is that it doesn’t matter. There’s nothing relateable about being a white adult male who decides to sign up with a Nazi organization and the very premise that we should try to have sympathy for such a character is chilling, especially when you consider that he murdered Han Solo not more than a week prior in film time.

(PUTTING THE REST UNDER A CUT)

But there’s another element to Kylo Ren that makes him harder to relate to. He comes from a place of privilege in society. Ben Solo was born to two war heroes, and while those might be big shoes to fill, there’s nothing that would indicate that Han and Leia were terrible parents to their son. In The Force Awakens, Leia admits that she sent Ben to train with Luke because she feared Snoke’s growing influence on her son (turns out, she had a right to be concerned). In Chuck Wendig’s canon novel, Empire’s End, from the Star Wars: Aftermath series, we see Han excited, if not a little daunted, about the possibility of becoming a father.

In other words, there’s nothing relateable when you think about a wealthy white male growing up sure of his place in the world and deciding to leave it all behind to join a fascist organization.

Compounding on this, there is someone who is relateable: Finn. Finn was not born from a place of privilege. If anything, we still know very little about Finn’s origins aside from the fact that he was abducted from his parents and raised to be a Stormtrooper. Despite years of conditioning and being ranked as the top cadet in his class, Finn was able to maintain his sense of self and when it came down to his first battle, he decided not to shoot and kill an unarmed villager.

This is the character that most people should be able to relate to. Finn is a character that isn’t sure of his place in the world. He grew up with the First Order and left everything that he knew behind him in order to try to do what he thought was right. Although he initially planned to seek a quick exit from the conflict at Maz’s castle, he didn’t hesitate to rejoin the struggle when he discovered that Rey was in danger. Finn spent most of his time in The Force Awakens running away from something – the First Order, from Jakku, from delivering BB-8 to the Resistance, but we see his progression throughout the movie to the point where he risks his life for Rey and helps the Resistance destroy the Starkiller base. At this point, Finn has rightfully earned his status as a hero.

Until The Last Jedi where Finn is again painted as selfish and cowardly, and the film does not shy away from this fact. Initially branded as a traitor by Rose when he tries to get the beacon as far away as possible to prevent Rey from falling into a trap, he is consistently belittled by Rose throughout the film. She consistently calls him cowardly and self-centered, and Finn’s characterization seems to shift in order to fit this description. When Finn is explaining his plan on hyperspace tracking to Poe, he is excited and confident: he can do this. When he gets to Canto Bight, he suddenly regresses, becoming immature and distracted by the glitz and glamour all around him. Finn knows what’s on the line. Rey is on the line. Poe is on the line. The Resistance has less than 24 hours, and yet he suddenly becomes bumbling and distracted.

This becomes Finn’s character throughout the rest of the film. Brash, impulsive, and worse, being frequently portrayed as the butt of everyone’s jokes. When we first see Finn, he is wandering about the halls of the Resistance in nothing but a bacta suit, as if Finn has suddenly forgotten how to care for himself. The film plays into the stereotypes that many people have about black male individuals. Instead of being treated as the hero of the Resistance, Finn is relegated to a comedic side role based on slapstick humor and unfunny comedy that ultimately doesn’t contribute anything to the plot.

In other words, Finn’s side plot reflects the film’s stance of diversity: we’ll wave it in your face for a few minutes before we wave it aside to make way for the two white protagonists. It’s a bold statement, but not untrue. Rian Johnson first joked that it would be “funny” to leave Finn in a coma for the entire film: “We did at some point joke that it would be great to just have him be in a coma for the whole movie and keep cutting back to him.” He explains that each of these cuts back to Finn would have him uttering some nonsense in his unconscious state, and at no point in the entire run time of the movie would the former Stormtrooper wake up. 

When John Boyega first accepted the role of Finn, JJ Abrams told him that he was going to be the new star of Star Wars. Rian Johnson blatantly admitted that it would be “funny” to simply delegate the black lead to the sidelines, where he doesn’t have more than a few scenes of incoherent babbling to serve as comic relief.

Not to mention, it’s Rose who ultimately has to teach Finn about the seedy belly of Canto Bight and how it operates: through slave labor. Another character shouldn’t have to explain to Finn, of all characters, the tortures and ills of slavery. After all, that’s the only life Finn’s known, taken as his family and raised in a life of servitude as a Stormtrooper to the First Order.

The underlying racism in The Last Jedi does not, unfortunately, stop with Finn’s character. We know a lot more about Poe Dameron’s character from the popular Poe Dameron comic series that highlights Poe’s adventures with Black Squadron before they find Lor San Tekka.

In fact, Poe’s arc is highlighted by its racism, as Poe’s character is reduced to a mere stereotype of his ethnicity. From the Before the Awakening, piloting flight logs, and comic series, we have a complete picture of who Poe is as a character. He tells L’ulo, “I’m the best. But you’re the best too” which highlights who he is as a person. He is a gentle soul that sees the best in people, trusting Finn not only to help him escape, but to lower the shields on the Starkiller Base when he said he could. Poe is a genuine nice guy who would give the shirt, er, jacket off their back to help a stranger.

And we see absolutely none of this in The Last Jedi. 

Poe is described as rash, dangerous, and aggressive by Vice Admiral Holdo, played by veteran actress Laura Dern. She’s dismissive of him, and while a part of it does play into more harmful stereotypes that I’ll get into later, in this instance, it’s hard not to. In the opening first scene, Poe is prepared to let everyone, everyone die just to take out a First Order Dreadnought. Even though successful, Poe seems more focused on the success of his mission than the countless deaths of his fellow Resistance fighters.

And that is not who Poe Dameron is. To say so makes a complete mockery of a fantastic character whose character has already been set and esteemed by fans. Changing his character to comply with stereotypes in order to try to advance the plot isn’t “moral ambiguity” or “challenging the character” – it’s just bad writing.

In short, Poe becomes aggressive, dangerous and hotheaded, all to fulfill the stereotypical role that the narrative wants him to play. His character attitudes are changed in order to fulfill a plot device, and that’s the conflict set up between himself and Vice Admiral Holdo.

This conflict is disappointing. It focuses on a female leader putting an aggressive, chauvinistic male in his place. It’s supposed to be empowering, but it’s not, especially when you have to have one character act so differently in order to get to that point. The problem is that the kind of feminism this movie is preaching is white feminism, which is dangerous in and of itself.

But what does white feminism mean in this case? Vice Admiral Holdo, and even Rose, both undermine and belittle Finn and Poe, treating them like children. This concept of infantalization upholds racist stereotypes of black and Latino men being both incompetent and irrational. In Poe’s case, it works to also uplift the alleged moral superiority of white women over people of color. And it’s not feminism.

It’s just disgusting.

Holdo is held up as someone that people in the Resistance are supposed to respect as a leader, and yet she refuses to tell the very people she’s leading what their plan is, citing Poe’s earlier reckless actions as an excuse. Even according to the Navy’s Leadership Principles, keeping your people informed is the second principle on the list. In other words? It’s pretty important. Vice Admiral Holdo’s refusal to do so is driven by petty motives, and while Poe is painted as ridiculous and childish the entire movie, he’s actually proven right when the First Order does the very thing he was afraid they would do.

One of the “lessons” from Poe’s story line is you should always blindly trust authority figures even when they provide no valid reason for doing so, and this is an extremely dangerous and topic example to set, especially in today’s society when people of color are so often made targets of police brutality, which again feeds back into the movie’s underlying theme of systematic racism.

Holdo herself seeks redemption from her mistakes by turning around and ramming her ship through theirs – an admittedly cool move, although it would be cooler had we not seen Admiral Raddus suggest the idea of plowing through a ship no more than a year earlier – and dies so that Leia can explain to Poe that Holdo was a good leader (without really stating how) because she was more concerned with fulfilling the mission without getting credit for it.

The problem with this? It means that Holdo had to die in order for Poe to “understand” what it meant to be a leader. This doesn’t work for two reasons. For one, Poe is a decorated Commander who had already served as a leader in the Republic Navy before joining the Resistance. Painting him as a cocky flyboy with a chip on his shoulder just doesn’t work when it goes against everything we’ve been told about his character. The “lesson” Poe was supposed to learn was one he already knew.

The second problem is that it meant that Holdo had to die in order for Poe to learn this lesson. In other words, we’re back to that age-old trope: a woman had to die in order to advance the plot/characterization of a male character.

And that’s where we get to our final topic: sexism. For a movie that preaches itself as so overtly feminist, it is rich with sexist undertones that are immediately apparent on the surface. Most of these are notably in the interactions between Rey and Kylo Ren, but there’s another character that I wanted to touch upon first. Rose Tico.

Despite Kelly Marie Tran’s boundless enthusiasm for her role, Rose Tico is ultimately underwhelming as a character. Despite mourning the death of her sister, her ultimate presence in the film seemed to be reduced to a girl with a bad crush on Finn.

I’ve already touched upon how poorly Rose treats Finn, but Rose herself seems to have gotten the short end of the stick in terms of the plot. Her character exists only to serve Rian’s image that your heroes aren’t what they seem, tazing Finn when she sees him trying to escape. From then on, Rose’s status seems to be downgraded to “Finn’s crush” as seen in the description of this deleted scene:

Originally, the film spent some more time clarifying the dynamic between Rey and Finn, and further setting up Rose’s crush on the Resistance “hero.” Rose chastises Finn for “pining for Rey,” which Finn quickly denies, claiming that he was “raised to fight” and that he finally found something to fight for in his friend, Rey. “Whatever,” responds Rose with a hint of jealousy.

Rose’s constant nagging of Finn and being catty about Rey enforces a negative female stereotype that has no business in a Hollywood blockbuster that claims to be catered to young girls, especially when it seems that Rose’s role has been reduced to working the love triangle dynamic between Finn and Rey. This seems like it could only lead to a destructive end for the character, especially considering how she attempts to save Finn’s life by almost sacrificing her own at the end of the film. Rose presents us once again with the trope that a female character must sacrifice herself in order to advance the plot of the male character, in this case, to prove her love for him. It’s a frustrating trope, made all the more exhausting when you consider what her role might be in the next film.

If you focus on the look Rey gives Finn putting a blanket over the unconscious Rose, it sets up tension for the next film: assuming Rey and Rose engage in competition for Finn’s attention, putting the two girls at odds with one another.

Because if the sexism in this movie wasn’t blatant enough, that’s just what Star Wars needs: two girls fighting over a guy. While frustrating to watch, it’s also extremely degrading to both characters and reduces both of their arcs into nothing more than instruments to direct the story of a male character.

Hopefully JJ will take the next episode in a different direction, but the damage that has already occurred in this film cannot be understated. There is, unfortunately, a lot of ground to cover regarding Rey’s story, so I’m going to start with the most visually striking one: Rey’s costume.

In The Last Jedi, Rey adopts what has been dubbed her “Jedi Training” outfit, trading out her three signature buns for a simpler hairstyle and trading out her light Jedi garb for a bit of a darker color. It’s a way for Rey to separate herself from the girl we saw crying desperately over her parent’s retreating ship on Jakku, keeping the same appearance a decade later in the hopes that they would come back to recognize her.

Many who speculated that Rey would undergo this physical transition after she discovered the true origin of her parents and worked to free herself of that disappointment found themselves disappointed. Rey didn’t change her clothes and her hair after she learned about her parentage from Kylo Ren, she learned about it after.

Despite being wet from the rain, another reason for this change is that she was shipping herself off in a box to see Kylo Ren, prompting those who want them to be romantically involved to start citing the Snow White parallels. It’s not hard to believe that the reason for this change was to make Rey appear more feminine. With her hair down, she looks more like a girl and less like the hardened warrior who had to fend for herself back on Jakku.

But wait, wouldn’t that mean that Rey’s entire role in the movie basically focused on developing Kylo Ren as a character? It does, and you wouldn’t be wrong to think that way. Even during Rey’s training sessions with Luke, the conversation is always geared back to Kylo Ren in some way, whether it’s Luke talking about his past or Rey assuring Luke that she won’t end up like Kylo. Either way, we hear Kylo’s name spoken more times between them than we actually hear anything about the Jedi or the things that Luke learned about the Force on his travels (say, Pillio, perhaps?)

It becomes clear early on that despite Rian Johnson saying that the film isn’t about what the fans want, that certain scenes were added in to appeal to a certain demographic. For example, Adam Driver’s uncomfortable shirtless scene?

Rian himself says that the scene had a “specific purpose” of creating an increasing feeling of “uncomfortable intimacy.” In other words, Kylo Ren’s shirtless scene is basically synonymous with a dick pic: no one asked for it, but there it is, one of the most subtle forms of sexual harassment. Think about this another way: if Rey’s character was really a boy, would the shirtless scene still be present? Or necessary?

Hint: it’s not.

The fact that Rey’s character only seems to exist to play a role in Kylo’s story is concerning, considering that she is touted as the protagonist of the sequel trilogy. Even though she witnessed him murder Han Solo no more than a few days prior, she becomes emotionally intimate with him pretty quickly, opening up to him about the strange experiences she had in the “dark place” beneath the island.

And therein lies the problem. When they touched hands, Snoke gave her a vision of Kylo Ren turning back to the light side to compel her to rush off to the Supremacy in the hopes that she could turn Kylo Ren back to the light and turn the tide of the war.

There’s only one problem with that.

It’s not her problem.

Rey was a civilian. As Kylo Ren himself told her, “You have no place in this story.” She has no part in the conflict between the First Order and the Resistance, and yet she was swept up in it all the same. It shouldn’t be necessary for her to rush off and turn the tide of the war, and while it fits with the Star Wars theme of how one person can make a difference, the trope that a woman must rush off and sacrifice herself in order to progress a man’s character and offer him redemption has been a long-running frustrating trope. If Rey wants to help the Resistance, that’s her choice, but it shouldn’t be necessary to rush off and try to save the person who kidnapped and abused her.

It’s one of the things that makes any sort of Kylo Ren and Rey team-up so off-putting. In The Force Awakens, he kidnaps her and invades her mind in order to try to find the location of the map. After she escapes, he confronts her in the forest, throwing her into a tree several feet up in the air in a move that could have potentially killed her. Then she wakes up just in time to watch him slice through Finn in a move that could have killed him.

Oh, and did I forget to mention how she watched him murder a defenseless Han Solo right before her eyes only moments before? The man who, as Kylo himself taunted, presented a father figure that she never had?

In other words, Rey has absolutely no reason to trust Kylo Ren. She has no reason to even want him to get redemption. For all of Rian’s talk about how he wanted to keep this film “morally grey,” trying to make a genocidal murderer relateable, or even redeemable, was not a step in the right direction. Wouldn’t it have been more compelling to watch Rey wrestle with the ramifications of eliminating Kylo Ren once and for all? Instead of trying to find redemption for the dark side, wouldn’t it have been far more interesting to explore a situation in which Rey realizes that good people must sometimes do bad things for an overall good to result? 

Perhaps, but that’s not the film we got. Instead we got a team-up between Kylo Ren and Rey where, moments after they work together, their alliance is quickly severed. Rey asks Kylo to call off the attack that is sure to eliminate the Resistance, including Finn. Kylo, however, refuses and tells her to move on and join him in ruling. He tells her, “You come from nothing. You’re nothing. But not to me.”

Fortunately Rey grabs the lightsaber and rejects his offer, and the final scene of her closing the Millennium Falcon doors on him seems to confirm that she has severed her connection for good. The problem? The damage has already been done.

Rian Johnson has already set up the Kylo Ren and Rey dynamic to be potentially romantic, between the shirtless scene, the hand touching scene, to be filled with an uncomfortable kind of sexual tension between the girl that declared to Maz, “I don’t want a part of any of this” and the man that murdered his father.

As troubling as that notion is, it does get worse. Kylo Ren tells Rey, “You come from nothing. You are nothing. But not to me.”

The problem is that Kylo Ren’s frequent gaslighting and emotional manipulation throughout the two films reaches its climax: he has discarded Snoke and wants to use the powerful, yet naive Rey, to further his own power. Still, the sexual if not romantic implications are there, pushed along by a group of shippers that call themselves “Reylos,” who desperately seek for Rey to redeem Kylo through, well, you get the idea.

There are several problems with this. One of the first ones is the fact that Kylo Ren is 32 years old, whereas Rey is only 19. While many are quick to claim that age is just a number, Rey is emotionally immature, having been isolated on Jakku for most of her life. There is absolutely no good reason to try to push her into any sort of relationship with someone who is so destructive, especially when the sole reason for doing so is to help Kylo Ren find redemption.

The line, “You’re nothing…but not to me” is a quote that unfortunately most women have heard far too often. It’s an emotional manipulation tactic in order to try to isolate a woman from her friends and family until she only relies on her abuser for support, and this is exactly what Kylo Ren is trying to do here. With Luke unwilling to teach her, Kylo wants Rey to rely on him, and solely him, so that he can use her power and manipulate her to further his own goals (which is to lead the First Order to…conquer the galaxy? It’s not quite clear.)

It’s a frightening message, especially when you think about who this movie is supposedly marketed to. Think about how many children dressed up as Rey for Halloween. How do we explain to girls that the man who killed Han Solo, the man who emotionally manipulated her and tried to use her just to validate himself, is the person that she should ultimately fall in love with? It paints a dangerous picture that girls internalize before they have enough experience to make their own decisions regarding their own relationships.

Remember Edward Cullen’s creepy manipulation in Twilight? Apparently that’s crept into Star Wars as well.

And this gets to the heart of the overall problem. The Last Jedi is ultimately soaked in sexism, misogyny and racism, and yet Kathleen Kennedy and Bob Iger widely praised the film before its release. How can Kathleen Kennedy, who said that she was proud to have a feminist icon in Rey, be willing to reduce Rey’s entire story to “the love interest?” If the executives and storygroup approved such blatant racism and actively worked to rewrite characters in order to fit their stereotypical narrative, what hope do we have that the next trilogy will be better, especially when they gave Rian Johnson full control over its content?

Rian himself believes that Darth Vader was worse than Kylo Ren, and while that is probably a conversation as controversial as the movie itself, Rian still wholeheartedly believes that despite what happened in The Last Jedi, that Kylo Ren can be redeemed. It shows that the storyline that JJ Abrams set up has been reduced to simply furthering the narrative of the white villain, and the rest of the characters are simply players in his story, which is why they exist as nothing more than stereotypes in Rian Johnson’s version of Star Wars.

And that’s the disappointment. While The Force Awakens received criticism for being too similar to its predecessor, A New Hope, JJ did set up some interesting and mysterious characters. While Captain Phasma’s role was ultimately underwhelming, fans were assured that she would have a much bigger role to play in Rian Johnson’s world.

Unfortunately, we all know how that turned out. 

Phasma’s quick dismissal wasn’t the only disappointment. Snoke was killed off without any satisfying explanation to who he was or even what he wanted the First Order to do. The Knights of Ren, which were mentioned in The Force Awakens and played a role in Rey’s vision, disappeared from the narrative entirely, instead being replaced by Rian’s Praetorian Guards.

For many, Luke Skywalker’s return was the biggest disappointment. Mark has made no secret in recent weeks citing how he didn’t agree with Rian Johnson’s vision of Luke and how he wished George Lucas had directed the sequel trilogy instead, a mere three days before The Last Jedi hit theatres. It fits into Rian Johnson’s grim version of reality: our heroes can be defeated, and idolizing legends is ultimately unsettling and disappointing when faced with reality.

But by disappearing into the Force, did Luke not himself become a legend, the very thing that Rian seems to chide against? The film’s “message” seems to give audiences such mixed signals, it’s not surprising that audiences claim that the film seemed better after a second viewing: basic elements of the plot just doesn’t make sense, like how the First Order has suddenly developed hyperspace tracking despite the film only taking place a few days after the events of The Force Awakens. 

There are other plot holes that point out the flaws in logic in the story: where did Rey learn to swim on Jakku? How can bombers drop bombs in space when there’s no gravity for the bombs to fall? Since space exists in three dimensions, why didn’t the First Order just have a ship drop out into hyperspace in front of the Resistance Star Cruiser and blow it to bits? And why was General Hux, a serious, straight-faced villain in The Force Awakens, who ordered the destruction of the Hosnian System, delegated to a comedic side role who’s only function was to serve as a cheap laugh and be the butt of an awkward your mom joke? Instead of using the antagonism between Kylo Ren and General Hux to show the crumbling of the First Order and how the small band of Resistance heroes we’re left with at the end of the movie might stand a chance against them, it seems that the First Order’s army, which was flowing with Nazi imagery in The Force Awakens has just been reduced to campy slapstick humor.

Despite these obvious problems, the most glaring ones still remain in the fact that Star Wars is a film that claims to market itself to the people it exploits and ultimately rejects. It’s no wonder that merchandise and ticket sales have dropped when the movie is back to focusing on a white male lead, like so many other before it. Kylo Ren tells Rey that you have no part in this story, that she doesn’t belong – something that minorities, women, and the LGBTQ+ community have been hearing their whole lives.

But if this movie isn’t made for these people, then why does Disney keep trying to insist that it is? Most people who have been critical of the film have been met with the chorus of, “You’re just upset that you didn’t get what you wanted” as if it’s somehow wrong to expect more from what you receive. The story was set up so that we would get answers. How someone as powerful as Snoke managed to manipulate Kylo Ren from the womb and grow the First Order from the seeds of the Empire, Phasma’s increased involvement, and especially the question of Rey’s parentage, has been dangled in front of us like a carrot on a stick for the past two years, and it’s ultimately unsatisfying to see all those threads being clipped off and brushed aside with a, “Oh! It didn’t even matter!”

If it didn’t matter, then why feel the need to keep up the secrecy and suspense for two years, when the final product is ultimately disappointing? (Point not withstanding, Kylo Ren tells Rey that Snoke showed him that her parents were buried in a pauper’s grave on Jakku. Why her parents would actually return to Jakku, or whether Snoke was actually telling the truth, is a matter that JJ has yet to resolve.)

It’s not wrong to be a critical consumer of the media that we consume. It’s not wrong to say that we deserve something better. Minorities and women can and should demand to be treated with more respect than they were shown in this film, and the overwhelming amount of racism and misogyny in this film is something that most avid fans of the film have not provided an answer for.

People who claim that The Last Jedi is a good movie, while at the same time acknowledging how deeply misogynistic and racist it is, are contributing to the larger problem we have as a society. It’s saying, “I know it’s racist and misogynistic, but it entertained me, so I’m okay with it.”

It might just be fiction. It might just be a story. But all media we consume influences us, subconsciously or not, in ways that we may not even be aware of. Star Wars may not be real. These characters may not be real.

But it still affects how you feel, and that seems pretty real to me.

[the-viking-goddess]

This is super salty re: the 'New Jedi Order' film, so be warned. I have tried my absolute ALL to avoid even thinking about this announced forthcoming film and am desperately trying to pretend it doesn't exist with every fiber of my being. However, I've been letting in my TROS grief and anger a little bit recently (I mostly keep it boxed away but every now and then I have to let myself feel it a little bit) and it unfortunately got me thinking about this new film. And you know what? I hope it fucking bombs. I hope it is diabolical and crashes and burns at the box office. I don't have anything against Daisy Ridley or the potential team involved (the creative team) but I fucking despise DLF for what they did/allowed to happen with TROS and most specifically Ben Solo and the Skywalkers and I want them to SUFFER as much as possible for it. I want it to be obvious to them after this film loses eye-watering sums of money that killing Ben and just the absolute travesty of TROS was a mistake they can't sweep under the rug or come back from, not in this timeline with these same characters. I want the film to do terribly because, surprise, no Ben, no Skywalkers and the annihilation of Rey's character into a flat, empty OP superhero-cutout who stole Ben's life and identity is not an interesting character to build a new film around.

But of course, life isn't fair and I'm sure this film will make bank and a shit ton of people will see it because it's SW. But I can still HOPE. I mean hope is what it's all about, right? I hope this film is a travesty and is torn to pieces by everyone in every way possible.

And like... I'm trying to be mean and peppy and zingy about this and I meant it, but genuinely the idea that they'll make a new film off the back of TROS without Ben and after every knife in the heart that film delivered... and make money and do well? It actually makes me feel broken. It breaks my heart to think of a new film with 'Rey Skywalker' happily teaching kids with uncle Finn popping in (and ye gods if she has moved on romantically I will kill someone) like Ben never existed and the Skywalkers, Han and Leia didn't all suffer and die for nothing. It makes me FERAL with anger that the films and characters I loved are going to be desecrated even worse than before and this film will be a dance on the grave of everything that TFA and TLJ was.

Anywayyyyy, that's my rant and now I'm going back to trying to pretend it doesn't exist.

[harrowscore]

it's amazing how every time i come across a *insert recent sw content* on my dash it's always about old characters' cameos, references to the original movies/tcw etc. - basically an echo. not an ounce of originality. every new media is built on the shoulders of some older and more popular media. everything in this galaxy of billions is about the same 8 people and has been for decades. nobody knows how to move on and they seeks out the crumbles of their lost childhood/rose-tinted glasses/happier and simpler times instead of approaching to new characters and stories and let themselves be actually challenged. this is the mcufication of sw. thanks i hate it

[coulson-is-an-avenger]

i can't believe the knives out movies have made me respect rian johnson

[bangthedoldrums]

Ikr?! Rey gets an entire trilogy about her lazily rehashing Luke's journey and she still is given another movie, while we hardly see screentime of his Jedi order and students besides Kylo Rat. She poaches so much (Luke's last name, lightsaber, X wing, his damn legacy) from a better written character that preceded her... and it doesn't matter that she doesn't have much of a defined personality or unique arc, we're just supposed to congratulate Disney and love it because she's a girl. That's insulting to female fans and actual good female characters.

And people fixate on any criticism of her as sexism, while ignoring the racism of how Finn was screwed over in a bait and switch. We could have gotten such a cool story about a black Jedi leading a rebellion but no, he's pushed aside to highlight another boring white girl protagonist. I will never forget how John Boyega was mistreated.

I also still believe that just making Rey Luke's daughter would have fixed a lot of those flaws, along with not hurting Luke's legacy. But since they were sooooo against that I don't get why they didn't let them bond at all. Nope we got a shell of a character who is instantly good at everything and we feel like we can't even criticize it because then "oh you don't want female stories then?" Ughhh

And the sidelining of Finn..... Oh boy the way that shit boils my blood. They set him up to be a main character, then walked it back after tfa but continued to act like they were so progressive for having a diverse cast. And Finn's story became so... I don't even know??? Sorry I didn't think the ex stormtrooper torn from his family and basically put into slavery would need to have the "bad guys are everywhere" lesson taught to him. They gave him nothing.

[larothoughts]

anti-ship adjacent ships: liujiu and qijiu

so there's this weird thing that's happening in svsss of all fandoms that reminds me a lot of voltron's klance and sheith fiasco AKA the formation of what i like to call anti-ship adjacent ships

basically, when someone's favorite ship is more indicative of them being an anti-shipper of another ship.

i've had to start excluding liujiu in my ao3 searches because more often than not, the fics that come up are yqy-bashing and what?? this is svsss, right? mxtx's trashiest, most problematic, harem-bicycle-shen-yuan svsss? what is this moral outrage doing in my degenerate danmei fic space, and why are you mischaracterizing yqy just to make an excuse to hate on him??

i've had a few thoughts on the rising dichotomy of shen jiu sympathizers both validating sj's bad behavior and hating yqy for enabling the same behavior. and then shipping him with lqg because liujiu is 'less toxic.' As an old lady fanfic reader who's trawled through all the godforsaken dead dove ships of the old livejournal kink_meme, i'm writing these out because making sense of things helps me cope and i am too old for this shit

(this is actually more 'why anti-qijiu' word vomit than liujiu specific--it just so happens that so many liujiu fics are bizarrely anti-qijiu.)

narrative reasons for anti-yqy liujiu fic:

aka why an author finds it easier for the plot to bash qi-ge

accepting either romantic or platonic qijiu means trying to fix qijiu. this is hard. yqy and sj already have a proven history of failure, while sj and lqg (aka author's ideal white-knight love interest) would be the perfect do-over. making yqy a clear abusive villain sj must cut off ties with 'for his mental health' solves the problem without having to fix things. it frees the author to write what they thought qi-ge should have done to 'save shen jiu right.'

on the same note, liujiu have nearly no canon crumbs. the author can write them however they want without being constrained by their canon relationship.

why lqg over other possible ships? other than yqy, lqg is one of the few characters with any sort of previous relationship with sj. lqg is canonically hot, has strong (even if negative) feelings towards sj, and has no textual or subtextual canon ship (beyond a one-sided crush on shen yuan, with lbh getting in his way lol.) he is also the same generation as sj and thus avoids any age gap squicks like with sj's other ship partners (looking at you tlj)

yqy is the only person in cang qiong with higher authority than shen jiu. while other peak lords are antagonistic, all are ranked lower and can't get in liujiu's way the same way as yqy can as a sect leader. not even the old palace master has the same power because he's the head of a different sect. so if you really want to write a villain abusing their (implicit) power over shen jiu, yqy is the only one that fits the bill.

lbh, as sj's disciple, does not fit the same abuse of power trope even if he becomes an op demon lord. as for bingjiu, lbh's brand of diabolical stalkerish yandere is so over-the-top it's hard to equate him to any real relationship. it's easier to twist yqy's passivity to villainy because it's closer to reasonable human behavior.

if one is coming from the tgcf fandom, yue qingyuan is the closest junwu-adjacent character in terms of personality and rank (on the surface.) so it's easy to transfer any junwu hate to yqy by giving him all of junwu's worst traits and making him 'junwu-lite'

same thing as above but with mdzs and the lan xichen hate for his inaction regarding his own little meowmeow (jgy).

personal author-reasons for anti-yqy liujiu fic:

aka when the character himself doesn't matter

let's get a silly one out of the way: maybe the author only headcanons top shen jiu and most qijiu has sj being a bottom. lqg gives off better hot twinky bottom energy than submissive-but-still-tops yqy. this does not explain the anti-shipping though.

less silly: an author is projecting either themselves or other people in their real life onto their fic, and changing the character's personalities to match their real life projected counterparts (even if ooc). sj is a clear abuse-survivor insert, which shoe-horns other characters into roles that real people in the author's lives have. i think yqy is often seen as the insert for someone who 'could have helped but didn't.' there are many valid reasons why someone would be more mad at the person who averted their gaze rather than their actual abuser, but that doesn't change the fact that qijiu's relationship in canon is so much more complicated.

(it's easier to hate enablers instead of abusers, because hating abusers and inviting confrontation is dangerous. most of the time, enablers won't hurt you directly. they are the safer person to hate.)

an author thinks they could have saved sj better, that qi-ge had more than enough time to fix things and his failure not to do so must be punished by taking away his sj-simp-card and throwing him into the villain bin. this is similar to the phenomenon where an author hates the wife of canon anime couples b/c the author could clearly wife him better. and then writes a fic bashing said wife.

an author sees a messy relationship and equates messy with abusive. in reality many relationships can be messy but not abusive, messy but still fixable, but due to their personal experiences they see any attempt to do so as toxic. in this scenario yqy is often the abuser-insert and his ooc characterization takes after the author's own abuser.

specifically in fics where lqg has the personality of a cardboard cut-out: using liujiu to tell others they are still pro-ship, when in reality they dislike qijiu for their own reasons (and can't help but write it in their fic). it really reminds me of middle school lol like kids trying to find their identity by hating another identity. the whole 'ew pink is overrated, i hate preps which means i must be a nerdy rebel' and then two years later you realize you're not a nerdy rebel after all, you just based your entire identity on what you thought was the opposite of what you hated.

why i try not to read anti-qijiu liujiu fics:

aka write whatever you want, but sometimes i have to choose not to read

authors can write whatever they want. we're all doing this for free, so it's expected that a lot of fanfic have venting and some self-imposing onto a fictional character. i don't expect authors to NOT put themselves in their fic in some way. at the same time, however, i hope authors are self-aware enough to not bash another character just because that character reminds them of someone irl.

aka i get uncomfortable when i read a fic that has an author's obvious real-person insert. i'm not reading svsss fic anymore, i'm reading the author's version of punishing their abuser using fiction. i love transformative media that adds onto the canon! i love different interpretations even! but i'm here to read svsss? where are the svsss characters??

i'm not into character-bashing in general. i think the point of svsss and all of bingqiu's misunderstandings is the fact that good/evil is not a binary. sy spent the whole series fearing the 'evil' binghe despite the fact that post-abyss binghe was a complex person, causing a chain reaction of disaster. hell, shen jiu is the king of gray characters! he is a scum villain, evil and misunderstood, to be a sj-fan means to understand that no one is entirely good or evil. so it's even more cognitively dissonant when a pro-sj fic is so categorically anti-qijiu, as this often paints sj as good/misunderstood and yqy as bad.

(the only character-bashing i don't care about is the old palace master mxtx clearly wrote him to be bashed so throw him in a fire)

i don't mind liujiu actually, i think the dynamic has potential (see all the sj harem fic i've read lol) but qi-ge is such a big part of sj's character that vilifying/getting rid of him does sj a disservice too? sj has a shit ton of bad coping mechanisms, these aren't going to be magically fixed if yqy gets his limbs chopped off as 'just punishment' (??) for not stopping sj from abusing his own students (????)

in conclusion

there is no point to this rambling, and you don't need to agree with me on anything. these are just thoughts i had when trying to figure out why anti-ship adjacent ships even exist. the moral outrage is giving me war flashbacks of anti-sheith klance fans using their age gap as justification for their own ship, rather than liking klance for... being klance.

(I briefly considered going over all liujiu vs qijiu morality arguments, but if you're an sj fan i feel like morality arguments are pointless. he is an angry feral scum kitten who hits kids, no sj-fan has the moral high ground here.)

it's always unfortunate to see so much anti-shipping spilling into fandom, since by default most of us are living in the fringe minority anyway. further dividing us is just going to sink the whole ocean ala the death of livejournal and chinese ban on ao3. there's no point in ships if there ain't an ocean to sail in! aren't we all here because we are fans of these stories???

bonus

to make up for what must feel like a huge anti liujiu wall of text, here are some of my general thoughts on how their relationship would work. i'm more familiar with sj so most of these are from his pov.

while sj often has schemes upon schemes upon schemes, when it comes to anger/criticism/negativity, he's scathingly honest. lqg, a fellow honest asshole, is often on the same wavelength. once misunderstandings are cleared up and lqg realizes sj will do whatever it takes to protect big bro yqy (and thus the sect), they're able to work together as a ruthless team against cang qiong's enemies.

let's also assume fixing sj's emotional issues stops him from the worst of his scumminess aka whipping his disciples half to death.

teamwork -> enemies to lovers -> only one bed trope???

sj needs someone who will overtly believe in his goodness, and lqg, once he realizes the mistakes in his assumptions, is a loyal wall of support. unlike qi-ge who must always play diplomat, lqg blazes over all social cues. who cares if this looks bad on cang qiong, he'll throw down with anyone if his boo is insulted.

lqg is upfront and honest. there are no hidden plots for sj to be paranoid about in lqg, he's a Good Man through-and-through. if lqg has problems, he'll tell him. if he needs to apologize and sj tells him why, he'll do so. and if sj asks him a question, he'll always do his best to answer.

while lqg knows sj has trauma and a dark past, he will never truly understand what it was like. and that's exactly what sj wants. he likes how lqg knows him more as he is now in the present vs. someone who has lived through the same past. being with him is a reminder that he is now a powerful peak lord, not the starving street rat he once was.

for lqg, sj is like a complex puzzle box. an enigma so outside of his understanding of how the world works, he can't help but be drawn to it. he used to equate scheming with evil, but once he realizes much of sj's scheming was for the good of the sect, he lets himself be impressed by sj's intelligence. the fact that sj became a peak lord from nothing shows a certain type of strength-- and lqg has always appreciated strength.

a big roadblock in their relationship was sj's antagonism towards yqy (their sect leader whom lqg respects.) once qijiu reconcile (or sj stops being so disrespectful to yqy in public) lqg is better able to see him as an ally vs. an enemy.

sj rewards this loyalty by taking care of lqg's hidden enemies, because straightforward brutes are especially susceptible to devious snakes like that. sj would know. whether or not he tells lqg can go either way. he tells lqg if only to stop lqg from hearing it elsewhere and assuming the worst; or he doesn't tell lqg because he knows lqg trusts him and confusing his mind with schemes would just make him grumpy for not understanding.

...even if he's cute when he's grumpy.

[trashquisitor-shirozora]

*enables you* what happened with TLJ 👃

After all these years I still can't properly find words to explain how deeply betrayed I felt after the credits rolled and I shuffled out of the movie theater with everybody else. There was a TON of hype surrounding this movie, an absolute fuckton. I only saw positive reviews about it, the cast, the director, the plot. I got excited to see where Rian Johnson & Co. would take the ST.

The only remotely negative comment I saw before watching the movie was a fandom blog saying they didn't like what happened to Poe. Since this blog was about racism in fandom, I knew something was off. That was my only warning.

And y'know, it was like, five minutes in? Ten minutes? And Poe makes a "Yo mama" joke at Hux? I used to go into movies with an open mind and spent days gathering my thoughts about them because I was always slow to react, slow to gather my thoughts into coherent strings of words. It's how I enjoyed Michael Bay productions and JJ Abrams' love affair with lens flare. I never got actively angry with a movie I was watching, and I was fucking angry by the time the movie ended. I still remember texting a friend while standing out in front of the theater because I was so confused. The response to TLJ was so positive so why did I come out of the movie so frustrated and confused and dissatisfied with the whole thing?

It's been years and we all know how this movie divided the Star Wars fandom and just... broke Fandom Spaces in a way I never expected. We all know what TLJ did and didn't do, and how TROS provided the final nail in the coffin that was the ST experiment. But back then, all I saw was positive commentary about the themes and messages of TLJ, how it portrayed failure and the dangers of putting someone like Luke Skywalker on a pedestal, how the Force was female, how... important it was to see Poe get characterized as a hotheaded hotshot who needed to be demoted, slapped around, and stunned in order to learn some kind of lesson, how important it was to see Finn lose everything he gained in TFA so that he could relearn how not to be selfish or something while starring in a fucking incredibly tone-deaf B plot, how Rey... I'm not sure exactly what because she didn't need training anyway and then spent most of her time trying to bring Ben Swolo back to the light????? Rose was so promising as someone who grew up under the FO's thumb but she and Kelly were fucking abandoned by Disney so I don't know if Rose existing was actually a good idea if it meant giving Kelly unending trauma. Mark slipped up by calling Luke "Jake" and expressing his displeasure in front of cameras, and I was so fucking baffled and alienated by his character after knowing how his story ended in ROTJ that I couldn't connect with whatever lessons I and he are supposed to be learning. JJ set up Snoke like a mystery box and Rian just yeeted him off without so much as a fucking explanation so what was the point of that? Hux was a fucking joke. Phasma was barely there. The only character that Rian cared about was fucking Kylo Ren and Adam says years later that he was never supposed to get a redemption arc anyway.

Like, this was the movie everyone hyped up? This was the movie that didn't answer any questions left unasked by TFA and didn't bother to move forward with character development for any of the known characters? I spent money watching a slow space chase that ended on a planet made of salt and killed off Luke for Reasons? Am I stupid? Am I dumb? Am I a peasant incapable of understanding the masterpiece Rian directed, this so-called Best Star Wars Movie Since ESB?

But I couldn't say anything. I couldn't be dogpiled for hating such a empowering movie for women, a diverse and inclusive movie that had the likes of John and Kelly and Oscar. I couldn't be lumped in with the Star Wars dudebros with their raging misogynistic and racist takes on the movie, the cast, Kathleen Kennedy and Lucasfilm, Disney, etc. I couldn't be seen as one of them just because I didn't like a movie that I should like, I'm supposed to like. So I sat in silence, read meta, witnessed the fucking catastrophic explosion around some wild ass AO3 fandom essays written by a racist OG member of OTW about Finn/Poe, saw hate piled on black and bipoc fans, saw r*ylo fans come for John and John clap back at them, just saw an absolute fuckton of hate, and so by the time TROS came around I just... checked out. There was no way JJ could salvage what Rian had done and I was right. TROS was a corporate-run soulless garbage end to the Sequel Trilogy, but it ended just as The Mandalorian finished its first season and regained a lot of good will with this small story about a lonely Mandalorian bounty hunter who encountered a Force-sensitive Baby Yoda.

And then TBOBF/Season 3 of the Mando Show happened, just like how TLJ happened. All the promise, all the unanswered questions of the previous movie/season, all fucking dropped or provided with the worst, most unsatisfying answer. I'm sure others have found better answers and can live with what Star Wars gave us, but I haven't been able to. TLJ came out years and years ago, and I am still so bitter today. I'm still so bitter because TFA had such an incredibly compelling setup with such promising characters, and then TLJ Did That.

I got so heated while writing this. I'm still so mad. I'm still so bitter. I bury my head so deep in the sandbox I built for myself so that I don't have to think how Disney is twisting and contorting all these Mando'verse shows so that they all eventually lead to the ST, their precious hot potato child that just... didn't have to end the way they did if they actually had a fucking plan and fucking stuck the landing. I'll give the MCU this - their Phase 1? They fucking stuck the landing. I fell off the train tracks and haven't really watched the MCU since Captain Marvel, but at least they had a fucking plan and didn't fucking derail themselves like Disney did with the Sequel Trilogy.

I could be nice to people who like this movie but I'm not going to be. They can be nice on their own blogs.

Man, I can't even watch Knives Out or Glass Onion because my blood starts boiling. Just. TLJ did a lot to ruin what I hoped would be a positive and creative connection with Star Wars, and it took the Mando Show and the 2 minutes where Din and Luke locked eyes on the Imperial light cruiser to bring me back.

I'm gonna stop before I get way too heated for sleep.

[swsequelsalt]

The unfortunate legacy of The Force Awakens and the Star Wars sequels

The fact that The Force Awakens made so much money in 2015 has been a lead weight around Hollywood's neck for the better part of a decade now. 

We're *STILL* seeing decades-late sequels that imitate the Star Wars sequels' WORST elements. 

Specifically:

Make sure your classic character(s) has/have been totally miserable and/or failures since they were last seen. Yes, even though it’s been at LEAST a decade, they should’ve been suffering the whole fucking time.

Erase at least one character's growth (or sometimes even their base character traits) entirely, resetting them back where they started in their first film (or, alternatively, rendering them unrecognizable). 

Kill off some of those legacy characters ASAP to ensure they have no hope of ever achieving the happy ending you once promised/implied.

Work in obvious repeats of prior movies’ events and scenes so the audience can be like “Oooh, I remember when they said/did that in the other movies,” resulting in them feeling like they’re in on something and are therefore validated.

In fact... maybe just copy/paste the entire plot from an earlier entry? No surprises means MAXIMUM NOSTALGIA.

These things were all present in The Force Awakens and even repeated for The Last Jedi. But they wound up just being pioneers of a shitty trend.

Some examples:

Terminator: Dark Fate

Ghostbusters Afterlife

The Matrix Resurrections

Scream (2022)

Clerks III

The degree of the severity of these things varies, at least. Maybe not every single legacy character has been completely miserable since we last saw them; it might be only some or even just one of them. I’ll also grant Ghostbusters Afterlife that killing off Egon was the only reasonable choice available to them. Situations like these can help soften the blow... and for those reasons, I don’t hate ALL of the movies I just listed. There’s even one or two I kinda like!

But make no mistake: All of the above lessons/tropes are still shitty ones. The legacy of the Star Wars sequels (TFA most specifically) is still a damning one. I honestly believe that ALL the movies I cited would all be better off if they hadn’t taken ANY cues from TFA’s template.

[the-viking-goddess]

Fucking hell, just heard about the New Jedi Order film that's been announced. 15 years after TROS, starring Rey. I guess they just had to find another way to spit on Ben's grave, huh? More salt in the wound, another gut punch. I actually feel kind of sick... it's brought back bad memories of everything TROS related.

And I mean, I'm sorry but who TF will go and watch this? There'll always be some GA folks who'll see anything SW related but the consensus on TROS and the trilogy is that the former was a dumpster fire and a lot of people think the whole ST was a dumpster fire, so who are they pleasing here? Rey was nor many people's favourite character, and I say that as someone who loved Rey in TFA and TLJ. She was a cardboard cutout in TROS, they ruined her, and without Ben the heart has been ripped out of this story. This just sounds like absolute nightmare fuel...

[harrowscore]

Your point about the only thing Rey people being interested in was her relationship with Kylo and how that paralleled the Luke/Vader relationship is interesting. It would have added a lot of depth to the story if they'd been twins. Rey goes for the kiss. "No Rey, I'm your brother." lol. Awkward. Insanely awkward.

Hey, sorry but since I ship them and SW has already had enough soap opera-like "i'm your secret twin" last-minute revelations for my tastes I prefer them to be a romantic enemies to lovers pair - something that in SW (at least the movies; the EU was a bit different with Luke/Mara Jade and Revan/Bastila etc.) has never been seen before, so it adds an element of originality in what is basically Poor Man's OT. Same themes as Luke+Vader (love and compassion as a redemptive force) but not make it a family thing, please. That would have been uselessly redudant imo. What I meant with the Luke+Vader parallel is they're a similar brand of "the protagonist shares their most important relationship with an antagonist who turns to the Light thanks to their influence; said dynamic also challenges the main character's naive and black/white beliefs on evil&good, it challenges them to see the world under a different light". Rey didn't need to be a literal Skywalker, Kylo/Ben could have been enough for that as "one half of the protagonist/one side of the coin" - also because he has had to live with that legacy/lovable dysfunctional family for all his life while Rey struggled in a desert and Luke was "a myth" to her. She doesn't even know them; Vader&co. mean nothing to her (that's one of the many reasons the Rey Palpatine revelation feels so hollow - are we even sure she knew what a Palpatine was? lmao). The Vader Is Luke's Father plot works so well because he's the antagonist Luke has been fighting since Film 1, and Luke has been idolizing his dead dad since forever. This forces the kid to grow up - his world shatters, so he has to find a new sort of belief code. Similar to what her relationship with Kylo does (or should do) to Rey, but in a romantic key. Maybe a romance that redeemed the original star-crossed space lovers (Anidala) - this is all about Vader's legacy after all. In fact, it's all about that and how Leia couldn't (understandably) cope with it, and her son getting targeted by Snoke. Anakin's ghost should have definitely made an appearance in TROS and had an overdue talk with his grandson and his daughter but alas, "Palpatine somehow returned" but Anakin can't be bothered about his family I guess lol (that's deeply OOC of him - I'm saying this as a fan of the character).

But I agree with your point about Rey never failing/fucking things up/needing others' help. That's one of the reasons the audience feels like she's never really matured and changed. She needed to face her own demons, not someone else (specifically a man)'s. The angst about her parents abandoning her and treating her like shit should have sufficed: if she's shown her parents were Good People All Along and they were really coming back for her - well, that only reinforces her childish beliefs and never really puts her in the position to challenge them. Same as if Luke's dad had been a good guy, like he dreamed, and not literally Satan's right hand man. That's How To Write Protagonists 101 but I don't think Disneylucas ever cared about creating a somehow coherent story.

[sexcromancy]

hii what is men love orphans in ali h world <3 and !! whats its application to louis in your opinion :)

^ first ever mention of men love orphans in the tags of this post. my own joke still makes me laugh tbh

men love orphans is a concept I developed to help me describe some of the dynamics I was witnessing in alibooks/hetromance, and then I started to see it everywhere. it also synthesized some other ideas I'd been working on for a long time. I'm going to give some context, pin down the explanation of the concept, and then apply it to LDPDL. okay let's go!

I first identified the idea of dadgender in the character of Joel thelastofus: someone who defines themselves completely by their relationship to a child, a dependent, someone to take care of. this idea was really compelling to me; it's obviously not new in tlou or my imagination but it connected well with my John theories and my general fascination with how men operate within and react to the patriarchy.¹

as I read more Ali novels and other hetromances, I began to notice a trend. many, many of the main women characters were orphans, or otherwise abandoned or unloved by parents/family. this is nothing new in literature - Harry Potter is the most obvious example, but there's plenty of writing about the allure of being an orphan, how it frees you from the family ties that might keep other heroes from their fate, etc. it's a very simple and straightforward tragic backstory. my whole goal with AHU is to interrogate the choices Ali makes in her books, and to respect those choices as legitimate, intentional, and deserving of analysis. so once I noticed this, I wanted to figure it out. off the top of my head: olive, bee, elsie, rue, and misery are all orphaned or have one dead parent and a difficult relationship with their surviving parent. family is rarely a significant plot point; it serves only as color and tragic backstory. now, of course, rey starwars is an orphan. rey is famously the original aliheroine, the first character she wrote fic about. one of the biggest reylo scenes in tlj is kylo negging her about being an orphan. ali does gradually distance her own orphans from rey,² but she is really only reinventing it. the loneliness, the isolation, the feeling of being unloved and unloveable, is a constant for all the girls. it is essential that these girls be "orphans" to the varying degrees that they are, in order to facilitate the fantasy.

and what is that fantasy? well, it depends who you ask. the fantasy is the attractive validation of looking after something small, weak, needy. taking care of someone. or, the fantasy is being taken care of, your hurt being acknowledged and treated seriously. the "who did this to you" trope is about protectiveness, yes, but it's also about someone seeing that you got hurt and that it matters! or, the fantasy is about daddy kink going both ways: a woman who needs a strong older man because she was abandoned by her father, but also a man who needs the affirmation of "fatherhood" to feel good about himself. dadgender!³

men love orphans is all of this, and in alibooks it manifests in some specific ways. as mentioned above, there's the literal orphanhood of some of the girls. there is also the control aspect, manifesting in the repeated fantasy of being locked up and treasured and used. another repeated fantasy is found family: that a woman would find not only an adopted father in her lover, but also a new cadre of loveable misfits to belong to as well. Eli has his coworkers and little sister, levi has a best friend and a goddaughter, Jack has useful colleagues and Adam and olive, and lowe, of course, has his literal wolfpack.

AS FOR LDPDL, I think that iwtv plays with men love orphans tropes in some fun and creative ways. when lestat is courting Louis, it's not because he's pathetic and vulnerable. it's actually sort of the opposite; he's attracted to his rage, initially, and his slippery sexy unforgettableness. lestat brings louis down on purpose, systematically taking away everything he loves, in order to draw him into vampirism. but i think the distinction is important; lestat doesn't want to actually take care of a needy man, he just wants to create circumstances where he will be needed. I say all that with the caveat that our version of their early relationship is canonically based on louis' recollection of the time. not that I think our gorgeous princess would ever lie to us, but, well, that is sort of the point of the show. all that being said, I think the turning Claudia scene (both versions) has strong men love orphans themes in multiple directions. Louis is experiencing a strong dadgender moment, needing Claudia to live in order to validate his own existence, but he is also using his own terror and despair to compell his daddy (lestat) into saving this sad and needy thing (Claudia). that goes all the way back around to this post and the idea that a husband-daddy can give you not just his own love and care, but also an entire family. rich text!!!

and loumand: I think that the show is always contrasting the two relationships and the way Louis falls headfirst into both, headed straight for the megalodon headless of consequences, etc. and I think he is partially repeating the patterns of above. in Paris he is more actively pathetic, and Armand does get off on that, but the thing that is so thrilling about loumand is they're sort of doing Tetris to each other. like, "yes, maitrê" scene. no one has painted me for centuries. the obvious constant back and forth seesaw of power and control in Dubai, and the occasional reminders that that seesaw is itself a fantasy to keep Louis mollified. anyway. what I'm saying is a) loumand crazy b) they're sort of doing nesting dolls men love orphans but it never ends c) with the slight variation that any external "family" is treated as an existential threat and terminator'd. 

ultimately, I think that any relationship with a power dynamic could have some amount of men love orphans going on in some direction. I definitely love to put the goggles on. I love that straight women (and anyone else) can make anything hot as a cope. great time to be alive if you love seeing what makes other people horny

footnotes

1. this has always been an interest of mine; I had a phase where I was obsessed with incels. brand new is one of my favorite bands. etc.

2. as discussed in this post, she becomes a better writer in real time as her books get further from her fic.

3. I made a men love orphans lbxd list if you'd like to see more, linked in this post

[curlytheintrovert]

Why I Love Reylo (Pt.2)

(My old post for reasons unknown got deleted😭)

One of my other favorite parts of this couple is that they are atypically gender reversed. It’s one of the many reasons this ship is so intriguing and unique compared to others. Let me explain. Typically in most hetero romances the man is the abrasive, closed off one at first and is generally a prickly little shit. While the girl is typically softer, a little more compassionate and open minded. This not the case with Rey and Kylo.

Rey’s first interaction with Kylo is shooting a blaster at him multiple times in succession. Granted she does have a Force vision of Kylo at Maz’s which makes her justifiably hostile and afraid of him. During the interrogation scene Kylo reads her mind and speaks her thoughts out loud: she wants to kill him. Rey calls him a creature in a mask and angrily tells him to get out of her head. And then proceeds to spit Kylo’s greatest fear back in his face with such venom. I love how she snarls: “You. You’re afraid.”

Kylo on the other hand only defends himself from her blasts and force stops her from shooting any further. He gently says: “The girl I’ve heard so much about.” Kylo easily could have dragged her away or thrown her into the hands of the troopers beside him—but instead he makes Rey sleep and scoops her up into his arms bridal style. In the interrogation room Kylo sees Rey’s fear and says she’s his guest. He takes off his mask. Then explains things calmly—never raising his voice above a murmur. The curiosity about her is strong as Kylo probes her mind and the responses to what he finds there are emotional. I love so much how he says “Don’t be afraid, I feel it too.” It just feels so incredibly kind considering the circumstances—like that was the first little glimpse of Ben we got.

The shift that happens when Rey uses the force back on Kylo is what really sets the tone for the rest of their relationship. Rey attacks and responds negatively—Kylo gently deflects and tries to connect. If you watch throughout the rest of the films this dynamic doesn’t really change. Almost all of their force bonds in TLJ are similar: Rey being barbarous and Kylo being benign. A majority of their saber fights are like this too—Kylo plays defense, is hesitant to pull out his saber multiple times or looks like he’s doesn’t want to fight her period.

See what I mean?! Rey is hostile and prickly—Kylo is open minded and gentle.

The other gender swapped aspect is that in a way Kylo is the damsel of this pairing. He’s trapped far away, lonely and miserable, in a figurative tower. Rey fights Luke for his cause and goes to rescue and save him if she can. But I also see Kylo as an emotional damsel too. He’s so lost, and hurt and twisted. Rey offers him a way back—she’s the only one who can—and in the long run is the very reason he is able to become Ben Solo again. But it’s when Rey lets her guard down and mellows her prejudice that their relationship flourishes. Kylo/Ben is already ready and waiting to love and be loved…

Man, this pairing is complex and fun to analyze!

[david-talks-sw]

any new Star Wars essays in the making, or are you moving on?

I don't know, honestly.

Part of it is "life gets in the way," I'm working a lot and so whatever time I have left is spent just messing around or meeting with my loved ones.

I've got a bunch of stuff in my drafts. I don't mind sharing it here, most recent to oldest:

Sort of a joke post of me pointing out how stressful being George Lucas' producer must've been, like this guy really DIDN'T WANT to write his fucking scripts, did he? Poor Rick McCallum. Abandoned because who gives a crap.

'Ask' reply on how EU-fueled fandom perception of the Jedi was flipped by the prequels.

'Ask' reply about the themes in Ahsoka and why the show doesn't know what it's about. Problem is, I go about it starting from the basics, so nobody's gonna sit through reading a tematic breakdown of the first Pirates of the Carribean movie, The Batman and the original six Star Wars films before I even get to the show at hand.

"Part II" post about what Ahsoka, Rebels and TCW get right about lightsaber duels, which the Prequels never did.

Quote collection & analysis on just how complex the Prequels were meant to be (in the late 80s, Lucas intimated that the Sequels were the story that was supposed to have gray morality, not the Prequels)

Quote collection on how the themes and principles of Star Wars align with Lucas' own opinions and philosophies.

Quote collection on Lucas defining Anakin's flaws.

Quote collection on Lucas talking about the fact that we need to be more proactive, which aligns with what Lumi points out sometimes about the Jedi: they should've been more politically engaged because we all should be.

Why I approach Lucas as "word of god".

Personal life/joke-y post dating from the time of the WGA strike about how Jack Black's School of Rock lyrics "In his heart he knew, the artist must be true, but the legend of the rent was way past due!" applied to me. Abandoned because I didn't wanna bum everyone out.

Correcting the notion that Dark Times-era Jedi such as Kanan or Ezra or Ahsoka represent what Jedi were supposed to be.

A comprehensive end-all outlook on how Anakin's flaws all tie together. I've written this one twice and I don't know how to differentiate it from my other posts.

A secret "Part 3" to my TLJ Luke post, in which I point out that RJ's being too "indie", while being a strong point for a big chunk of the film, hampers the film's ability to make Luke feel as badass as he does on paper. I want to illustrate a storyboard for this one, but that takes time.

The evolution of Star Wars' approach to transmedia.

Debunking Star Wars myths: a (very) comprehensive outlook on children in the Jedi Order.

Problem is that only like 2/3rds of these are fully-written... and I still need to find the relevant clips, turn them into GIFs, etc etc.

There's many other interesting Asks in my inbox btw. But I'm already behind on all these, so I haven't begun to touch them.

Then there's the drawings.

I wanna draw a comic of the meeting between Yoda and Dooku in Dark Rendezvous. I wanna finish the comic fight between Maul and Ben. I wanna draw Mace, Shaak Ti, I've got a Luminara fan-art that was supposed to be ready for Jedi June 2022 and an Anakin drawing that looks weird. No time, nor am I skilled enough. (Like, I trace, that's what I do, it's not a secret I've said so before... but it takes me a long while to do so. I'm not fast at drawing, let alone coloring.) I could commission some of these, but there are obvious obstacles there.

There's fun tidbits I've discovered here and there but nobody will care about them and I usually try to not drown my blog with bs posts.

Then there's the bigger problem.

All the things I've listed above? I'm not 100% motivated to finish. But a lot of the new stuff I wanna write about is hella negative.

I had a lot of stuff I wanted to say about Ahsoka. But it wasn't all good. It was mostly me bitching, be it about the show or the fandom's reactions to it.

I've also got more stuff to say about Filoni's take on Star Wars, but I've talked about why it's inaccurate like 8 times already, and I don't actually dislike the guy, like there's plenty of things he knows and does that I think are awesome but also people won't stop putting him and his takes on a pedestal and--

oh shit, there's Acolyte too, I forgot about that, gray morality galore, here we come. But here too, like... I've talked a couple of times about why this entire gray morality thing is actually just the gen X-ers trying to make the prequels "cool" and "complex". but I've never explored properly, with quotes and research and shit. but i've talked about it so many times that at this point it'd end up like the Filoni rants, redundant. "we get it already." as if this show didn't have haters lined round the block for absolutely sexist reasons.

Don't get me started on the mountain of lies and/or idiocy that is the YouTuber Star Wars Theory.

And yet he said one thing a few months ago which struck a chord within me and it's the fact that Andor is awesome, excels on all levels because it's treated seriously, like a proper show, not a Disney Plus one... why wasn't Obi-Wan Kenobi? Why wasn't Book of Boba Fett? And I've already established multiple times that I enjoyed Kenobi (yes, including the Reva parts) and I've established that I know what they were going for in Fett and I've established that this is mainly a "Disney Plus didn't know how to structure a fucking show pre-WGA strike" issue more than anything else... but when I think about how these could've been treated instead? When I look at the characterizations and emotional stakes of like Fargo Season 5? It's infuriating. Because it's not bad (talking about Kenobi, BOBF is awful)... but it could've been EXCELLENT and instead it was just "okay" to "good".

I just miss live action lightsaber duels, man. Like, good ones.

and i dunno. maybe I should just let it rip on all this. "go off, king!"

but I think there's so much negativity re: Star Wars that adding my thoughts on these subjects, no matter how structured and reason, will just blend into a wave of needless, un-constructive hate.

maybe I should finish the writings in the drafts and just post them with no gifs, maybe just still images?

but doing any of that feels like a step back.

So that's where I'm at right now.

[stonegoldsxcrxt]

Okay so I honestly haven’t been active on tumblr in forever. But if I’m ever thinking of star wars, I like to take a peek at your blog because I feel like you are one of the few who loves Luke as much as I do. But what I want rn is to give my two cents on this whole acolyte thing. And I hope you don’t think I am trying to come at/attack you or anything of the sort. This is just my (somewhat complicated?) take on things. Sorry if this gets super long. I have many thoughts. And I hope I don’t confuse at all while trying to explain! Unfortunately, I’m not very eloquent lol. Anyway:

Personally? I’m kinda intrigued by the Osha/Qimir dynamic. And this is coming from someone who honestly severely disliked the sequels—especially kylo and reylo (but a lot of it was due to fandom bs as well). I mean, I’ll admit some of it is due to my own bias because this time around I’m glad both of the actors are hot and they are both absolutely acting their asses off. And maybe there hasn’t been enough for you in the show (I get it tbh, the episodes are short and there’s only so much you can do with 8 episodes and this is honestly a problem with D+ and a lot of streaming services now), but I can see what Leslye was aiming for with the dynamic. Crouching Tiger, Hidden Dragon is one of my fave movies so I definitely see the influence. But Headland did also point out that a lot of enemies to lovers is about one character going “I know there’s good in you!” or what the hell ever—and Osha didn’t do that. That’s something I can appreciate whereas in TLJ it seemed like Rey was all about freaking Kylo and was convinced there was still good in him even though the literal day before he had nearly killed both her and Finn.

I do disagree about there being no manipulation, though. Qimir IS being honest and vulnerable, but clearly he hopes to gain something with Osha from that. But whereas I didn’t buy any of it with Rey and Kylo, I can see how and why Osha might fall to the dark side. She is clearly conflicted about everything from her emotions to her very own identity. But Qimir is offering her a sense of clarity about that AND on her past. Osha loves and admires Sol deeply of course, but he has obviously been keeping something huge from her. And if it turns out he was majorly involved with whatever happened to her coven, it makes sense that Osha would then embrace whatever negative emotions that are brewing within her (even if Sol was slightly less involved the fact that he knew and never told her should rightfully make her angry). It will obviously destroy whatever faith she had left in the Jedi, but imo she might begin to question how it makes the Jedi any different from Qimir.

And now that I’ve explained that, I also wanted to say how I felt about some of the discourse. Fandom feuds are always annoying, but now that I’m essentially on the other side...? I’ve gotta say I am low-key offended and high-key pissed over it. I mean, if ppl don’t like Qimir or the relationship between him and Osha—fine. But I’ve seen some absolutely disgusting comments over this. Like someone on twitter (who ss a post of yours too) who was calling Leslye Headland’s lesbianism into question. Like idc if you don’t like the ship but there is literally no need for discussing her sexuality like that just because she likes a problematic ship you hate (which she literally created so idk what ppl expected anyways)!!! And then there are the “fans” (I use that term lightly) insulting Manny Jacinto’s looks (which is ridiculous cause the man is hot idgaf). And I honestly think that shit is hypocritical af since a lot of these ppl are fans who were rightfully upset at reylo/kylo stans for saying similar disgusting things about actual people.

I like quite a few villains in multiple fandoms, so to me it seems like the same ridiculous arguments. There’s nothing wrong with liking a fictional character who happens to be a villain. As long as no one’s trying to make excuses for their heinous actions (jokes are another thing) I don’t think it matters. It’s literally not that deep imo. And liking said problematic characters does not have anything to do with people’s real life morals. That’s just bullshit.

And again, it’s actually INCREDIBLY fucking hypocritical, ESPECIALLY coming from star wars fans who have been sexualizing villains like Darth Maul, Thrawn, and a young freaking Darth Vader for YEARS. But now it’s a problem with Qimir????? Not to mention the romanticization of other literal problematic ships like anidala or reylo. And I’ll be honest—as a Filipina????? I do feel like some of this is racially motivated because literally WHAT is the difference with Qimir and Osha/Qimir versus all of these other characters and ships?????? I think that’s what gets me heated is the hypocrisy of it all. And of course the fact that it’s all fictional anyway so I don’t know why it should fucking matter to some people if fans like a character or ship that they don’t.

Anyways...I think this is essentially all of my thoughts on the matter. Again, I hope I didn’t come across as rude or like I was attacking you. Like I said, it IS a bit complicated for me. Because as someone who hardly liked anything from the sequels, I was definitely cringing at the multiple mentions of reylo and kylo in Leslye’s recent interview. And yet....I see the vision.

hey!! so, there's a lot here and I do actually want to talk about all of it! I really appreciate you approaching this with nuance and being open to have a conversation. I'm gonna number my responses just so I know I covered everything I wanted to talk about and everything you mentioned.

One: I don't think there's anything wrong with being intrigued by a character dynamic like Osha and Qimir's, in fact I actually do find it very interesting from a psychological standpoint myself. I also don't think there's anything wrong with depicting a character dynamic like Osha and Qimir's, with one caveat, which is that you have to recognize it for what it is. I truly would LOVE star wars to approach it with the angle of "hey, this is how people can weaponize your own emotions against you, especially how a man may try (and even succeed) in manipulating a woman this way," and particularly what that looks like with the Force, because a LOT of Jedi and Sith principles are based around the acceptance (or aggravation!) of emotions. I think that's a totally interesting plot line that would actually be super fascinating to see. I also find it believable that Osha could, theoretically, be convinced by Qimir and turn (in fact I think your entire third paragraph is a very valid interpretation of what has happened so far). It's not that I don't think these are fascinating possibilities to explore. It's not that I don't think Osha joining the dark side is out of the question or even unreasonable, whatever the reason.

In fact, pre-interview, almost all of my criticism was pointed at the way the fandom immediately jumps to believing everything Qimir is saying without thinking critically about how he could be lying to Osha to get her to act the way that he wants her to. This comes from an intense place of frustration dealing with fandom in general who excuse the violent actions of men towards women (which is the reason why that one post doesn't actually even name Qimir or Osha, even though I did tag their names, since it applies to like a half dozen ships I can think of off the top of my head). In fact, I praised the writing of the acolyte in my breakdown post, assuming that Headland was purposefully creating all the cunning ways Qimir talks to Osha and all the tactics he appears to be using to manipulate her, and that this would be plot relevant. Whether Osha realized she was being manipulated and snapped out of it, or whether she never realized it, and fell to the dark side, and what that would mean for her, etc.

However, post-interview, things are different. No more am I simply dealing with a fandom that is willfully misinterpreting a toxic relationship as romantic, I am now dealing with the showrunner herself saying lots of things that disturb me. I can give her credit for not pulling the "there's good in him" card, but that's about as good as I can do. Headland may say that she does not intend the relationship to be manipulative, that she intends for Osha and Qimir to be equals, but if what she has presented to us onscreen does not read that way, then she has failed to accurately convey her message as the showrunner. You and I agree that Qimir is manipulating Osha, yet Headland says the opposite. I now have a showrunner for Star Wars, a massive franchise viewed by thousands, giving interviews saying that there is nothing wrong with this man's relationship with this young woman, but continuing to show the opposite. She can't have it both ways. The statement "Osha and Qimir are equals," is simply so far removed from the reality of what Headland has presented Qimir to be (a conniving man who is strong enough in the Force to eliminate a dozen Jedi at a time, and is so callus that he calls a girl an "it" after he's murdered her) that it's such an unbelievable statement I actually can't even believe people are buying it. I'm not saying that to be mean; what makes Qimir and Osha equals? Genuinely? That he cooks soup sometimes? That he disrobed in front of her? What about this relationship is equal?

Here's my bottom line when it comes to this discourse: I am sick of seeing young women getting treated like shit by men, and it getting romanticized as hot and desirable instead of what it is. I am sick of it whether the fandom does it, I am sick of it whether the showrunner does it, I am sick of it whether people in real life or in fiction do it, and I am allowed to feel that way.

Two: I won't be insulting Manny Jacinto in any capacity. He's doing a good job as an actor. I have acknowledged in past posts that he is obviously an attractive man.

If you think Qimir is hot, please, by all means, feel free to sexualize him in the manner that others sexualize Thrawn or Maul or anyone else. I'm an advocate of self insert fanfiction and of course (within reason), would find nothing wrong with that.

I am generally not a villain-lover, but there is nothing wrong with finding villains attractive or compelling! I haven't said there is. I have said that there's a problem within fandom and now literally within the media itself, with recognizing when a young woman is being mistreated by someone, sometimes because a lot of you are far more lenient on attractive men. The reylo fandom took this about twenty steps too far from 2015-2019 to the point where if you ask some of them, they still don't think Kylo even WAS the villain, and Headland is rapidly encouraging fans to take that angle with Qimir though I have given evidence to the contrary in spades.

There is a lot to be said about whether or not fiction affects reality. I believe it does, but I obviously do not believe that liking an evil character makes you evil. That being said, while not all fiction has a moral, all fiction has a theme, and you as the audience do take lessons from themes, whether you realize it or not; it sticks with you and may help you form your opinion on a similar set of circumstances you may come face-to-face with later. Fiction affects our feelings on a situation. A disturbing theme I'm seeing a LOT of in Star Wars lately is men being cruel to women in one way or another and the women finding it attractive and acceptable. Of course, depiction is not automatically endorsement... until we have now literally seen this type of relationship fully endorsed by Lucasfilm showrunners and directors twice in a row. Tweens and teenage girls *will* watch the sequel trilogy and the acolyte... what are they taking away from it? From what the director or showrunner has said about it? Honestly, this is much less about fandom to me now, and more about how official creators are treating these dynamics.

Three and finally and most important: I'm sorry that you've been seeing things like that being said about Headland, I think that's bizarre, rude, and uncalled for. I often do not go looking in fandom spaces anymore so I have not seen this, but that doesn't mean it's not out there. I generally do not trust Headland's creative input anymore, nor do I necessarily even like her, HOWEVER, I have not and will not make any such comment on her sexuality as it has nothing to do with any of this. I don't know which post of mine they screenshot, and I'd like more information actually, if they are using my post to say I think those things too, but regardless, I would not say this about her, or about anyone, and I don't condone it.

This is absolutely not racially motivated from me and I want to make that absolutely clear. I have been vehemently anti-reylo since the day I learned it existed, so I hope that you do not feel as though I am speaking out against the way that the Osha and Qimir storyline has been handled out of such a place, and I would never want anything to come across that way in any of my analysis or critiques. You will find I usually have less to say about anidala, seeing as the majority of the fandom does not depict Anakin as "doing nothing wrong" in that relationship, nor does the source material, so I feel I do not have to explain as much as I do with reylo and now Osha/Qimir. I want to make that absolutely clear that this type of relationship being presented in this type of way is a huge red flag for me regardless of the races of the characters involved. If you refer to the fandom at large, I don't want to invalidate your experiences, and don't know what other people are saying or what their reasons are. Unfortunately the acolyte fandom has been riddled with homophobia and racism since before the first episode even aired, and I want to make it clear that I think all of that is entirely unacceptable and that my critiques have nothing to do with either of those hateful ideologies.