The values of the nearly half a century-old series desperately needed a re-assessment what may have been progressive in the 1970s is certainly not revolutionary today. The Last Jedi, especially, saw a return to form for the franchise, because, like A New Hope, the film itself reconsidered what it means to be a blockbuster epic. Star Wars has always, always, been deeply political. Even Ewoks, for all their toy-obsessed frivolity, represented a minority rebellion that was downright furious to be heard. Luke Skywalker was a Hippie, an alternative type of sensitive male hero that boldly deflected the stubborn shortcomings of traditional macho heroes. When Princess Leia kicked ass and stunned Stormtroopers in A New Hope, she swung the movement of second-wave feminism along with her. The corrupt establishment ruled the galaxy with a metallic first, and it was up to a group of young, desperately hopeful rebels to overcome the Empire and smash the establishment to space-dust. Similar to the then-unresolved existential slog of the Vietnam War, Lucas’s original vision for the series depicted a world that had been at war for what felt like forever. When George Lucas released A New Hope in 1977, his shaggy, death-to-fascism blockbuster blew a Death Star-sized hole in a deeply divided culture that was still grappling with aftershock of Richard Nixon, the Civil Rights movement, women’s liberation, and Vietnam. It may seem surprising that a cartoonish space franchise like Star Wars could get so absorbed into the tractor beam of our ever-agitated socio-political divide, but in a time when the term “social justice warrior” is considered an insulting thing to call a progressive-minded person, it’s only natural that a series founded on the principle of forward-minded thinking could fall victim to regressive neckbeards. And thus, they sounded off, on every outlet available, saying the new films have a “racial agenda,” unleashing laughable Twitter campaigns such as #BoycottStarWarsVII, with now-suspended accounts like tweeting hateful messages such as “The new Star Wars movie.barely has any whites in it. Longtime Star Wars fans who may have seen themselves in the negative, anarchic recklessness of Luke Skywalker-or the smug, dickhead antics of Han Solo-felt the new franchise alienated white men from their new mission statement. Her new vision for the franchise, which by no means is revolutionary, at least brought the blockbuster films into the modern age, pulling the reins away from tired, masculinity-obsessed, circuses of violence like Transformers or Clash of the Titans, and ushering in a refreshing sense of uplifting, inclusive values to the big screen.īut despite The Force Awakens’s unprecedented success at the box office, a positively stunning film hailed by audiences and critics alike, the manbabies felt forgotten. When Kathleen Kennedy took over Star Wars back in 2012, she successfully revitalized an irrelevant franchise, breathing new life into a series that had been long deemed obsolete after the problematic failures of the early 2000s prequel trilogy. She better die in the coma because she is a dumbass bitch” The abuse ranges from tiresome petitions on to blatant discrimination, such as on the Star Wars Wikipedia (Wookieepedia) entry page for Tran’s character, which Huffington Post reported had been revised in December of 2017 to read, “Ching Chong Wing Tong is a dumbass fucking character Disney made and is a stupid, retarded, and autistic love interest for Finn.
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