Despite being a life long Star Wars fan I had some time ago decided that I would be sitting out the latest installment, “Rogue One.” I wasn’t boycotting the film per say, I simply don’t go out of my way to pay people or businesses money to insult me. It turned out that my girlfriend wanted to see it and we’d been having a nice evening so I relented under the condition that we purchase tickets for a different movie. I recommend this maneuver for anyone who despite being fully aware of the overt, offensive politically correct messaging contained in the film just can’t pass up on the opportunity to see Darth Vader again. The power of “Star Wars” is not lost on me, in fact I’m actually a pretty big fan. Believe it or not, I’m such a big fan of the saga that I actually like the movies, including the oft ridiculed prequels. Spare me your trollish outrage, those were the “Star Wars” movies I grew up with and will gladly hold “Revenge of the Sith” up against any of the originals.
But beyond a handful of superficial connections such as titles, numbers, opening crawls and fleeting cameos these really aren’t “Star Wars” movies anymore. “Star Wars” died the moment Lucas sold his namesake company to Disney. I regard Lucas as a wildly under appreciated visionary and I have spent a good portion of my life defending his name and work against a handful of belligerent internet bullies obsessed with ridiculing his audacity to create. The idea that the prequels, which were meticulously crafted to keep the pacing, style and tone consistent with the originals are somehow fundamentally inferior is simply absurd. I know that my refusal to go along with bogus narrative may be costing me credibility with some people reading this review but I frankly don’t care. I’m used to having unpopular opinions placing me at odds with my peers. The same 15 year old me who knew that “Attack of the Clones” was a great movie also knew that political correctness was liberal fascism—something that many professional conservatives just started to figure out last year. I have a pretty good track record against group think so come talk me about the prequels in 5 or so years after you’ve had a chance to enjoy a few more Disney renditions.
Unfortunately while I cannot blame Lucas’ decision to sell Lucasfilm to Disney I cannot defend it either. On paper, it made sense. First and foremost, Disney is one of only a handful of brands on the planet that is large enough to house Lucasfilm and Star Wars. Furthermore, the company’s long standing reputation for creating family friendly entertainment seemed consistent with the sensibilities of the “Star Wars” saga. That reputation however, is no longer deserved. The writing has been on the wall for quite sometime that Disney, like virtually every major entertainment company is now completely under the thumb of social justice warriors. SJWs who not only deviate from the family friendly values of the works of men like Lucas and the original Walt Disney himself but actively seek to ridicule, destroy and dismantle them. If nothing else, SJWs are extremely predictable. As we’ve highlighted in earlier pieces, regardless of the professional enviroment they infest everything previously understood as the organization or company’s primary function becomes secondary to the higher calling of perpetuating the values of political correctness. This is the main reason why colleges are no longer places of learning, Saturday Night Live is no longer funny and news networks no longer report actual news.
When it comes to the movie business SJWs have proven to be pretty lousy at creating new content and characters that resonate with audiences. Luckily for them, prior generations of Americans have created countless iconic characters and series for them to endlessly pilfer. Whether its Avengers, Star Trek or Spiderman an examination of the top blockbusters of the 20th century reveals that the vast majority of them are movies about characters created decades earlier. Rather than creating new brands of meaning the SJWs simply smear their simplistic, predictable ideas on prior creations. Even their ideas are limited, which generally consist of either replacing men with women and replacing whites with minorities. The irony here is twofold because the content used to vilify white men are virtually all pilfered from, you guessed it, white men. The original “Star Wars” featured groundbreaking special effects but the real reason for film’s remarkable success and lasting cultural impact stems from the fact that deep down, the movies tell us things that people all around the world know are true. The problem with the Disney movies is that they are being created by people who are obsessed with telling the audience things that are not true. Ideas that when presented on their own have time and time been rejected by audiences around the world. They only way they can get audiences to consume their poisonous ideas is when they disguise them inside of things they loved when they were growing up. The end result is that people eventually lose interest in these classics brands and the cancerous SJWs are forced to dig up other host works to apply their intellectual graffiti.
For these reasons it should have been fairly obvious what a new Disney “Star Wars” movie would look like. “The Force Awakens” is nothing but a clumsy, feminist retelling of the original movie only where white male protagonists have been replaced with women and minorities. White men have not been altogether excluded from the film however, they have simply been relegated exclusively to the remnants of the Empire who have ironically grown less diverse. A “New Order” of the Empire which is nothing but a crude charicature of conservative Americans. This idea clearly was not lost on the film makers of Rogue One which places hatred of white men front and center. If you think I’m making this up you can take Rogue One’s writer Chris Weitz’s word for it. "Please note that the Empire is a white supremacist (human) organization,” he tweeted back in November. "Opposed by a multi-cultural group led by brave women.” Since the election he has since posted a picture of the rebellion insignia with a safety. Clearly, his political views and contempt for white men is a central element in the film. Mind you, amongst the “multi cultural group led by brave women” there are a few white men sprinkled in amongst them. You see, not all white men are evil—but all that are evil are white men. Where the film obsessively depicts the rebellion as reverse their obsession with making every member of the empire a white man who are led by progressively more sniveling, hitlerian white men. Ironically, this directly contradicts the actual movies since the clone army that served as the first round of storm troopers were cloned off of a man of mixed race.
To say that “Rogue One” is a bad movie isn’t quite fair, in fact it gets a lot of things right. The story fits neatly, cleverly and unobtrusively into the storyline of the saga. Lucas is famous for creating the concept of a “lived in future” where everything doesn’t look it had just been built 5 minutes early. Rogue One clearly honed in on that idea and has a gritty, war movie quality to it that actually reminded me at times of such classics as “the Battle of Algiers.” The photo realistic CGI reconstructions of prior characters is also very impressive and could prove invaluable if the saga were ever handed back to creative people. There is a robot character that is absolutely terrific and the scenes with Darth Vader will give you chills. But ultimately the film is done in by the smallness of mind of its creators. George Lucas created 6 movies that continually pushed the boundaries of technology to bring audiences increasingly vibrant and unique visual feasts. In a world full of aliens, space wizards and laser swords Disney has decided to examine and expand upon the war room where rebellion generals looked at blinking triangles and circles as Luke Skywalker destroyed the original Death Star during the very first movie. Ofcourse, the original is a great film but the saga has come so much farther. The Empire in fact, was destroyed. Like “The Force Awakens” “Rogue One” seeks not to explore new areas of what world appear to be a limitless galaxy—but rather to prolong and drag out the originals whilst simultaneously injecting it with heavy handed doses of leftist brainwashing.
Ironically, in the Director’s commentary of “Revenge of the Sith” Lucas alluded to the fact that the original 6 movies create a cyclical pattern of the rise and fall of civilization. That in a sense, Return of the Jedi seaways into episode 1 because the end of the Empire would lead to the rebirth of a Democracy. We could extrapolate, he added that if the saga concluded the rebellion would become the Empire. Not only has the saga moved forward but so too has the world. George Lucas modeled the Empire after the authority of his day, fathers that made their sons get buzz cuts and gym teachers who made them do push ups. The fundamental issue with the post Lucas “Star Wars” movies is that they are woefully out of touch with reality. The authority of the 60s and 70s were long ago defeated and replaced by the rebels. Rebels who as the original 6 informed us would themselves become the Empire. An empire of secular progressive fascists who are far more likely to chastise and humiliate you for failing to correctly address them by a gender pronoun they created yesterday than for failing to climb high enough on a rope.
The more this politically correct Empire insists on framing themselves as a noble rebellion the more preposturous it becomes. And that is precisely what “Rogue One” ultimately becomes. A preposturous story about a now cliche galaxy full of aliens and droids that is somehow reduced to a struggle about supremacists, not humanoid supremacists mind you, but white, male supremacists. Towards the end of the movie tom boy heroine Jyn Erso, finally growing into her destined role as a tough leader of multi colored delivers a terse speech on the eve of their battle with the old, white men Nazis. This is supposed to be a real turning point in the movie, a tense emotional moment leading us to the film’s final third. I cringe a bit and look over at my girlfriend who is falling asleep. In that moment I’m struck by the strange relationship that the film has with its audience. On the one hand the film maker is obsessed with creating nostalgia for a 40 year old film. On the other hand, the films central message is that the people who that movie was originally marketed and sold to, white men like myself, are essentially the scourge of the universe.
My girlfriend would later tell me that she didn’t like the movie. She didn’t really get it and the various nostalgic elements were lost on her. She wanted to see the movie because it was successfully marketed to her but ultimately the film contained nothing that interests her. You see, she’s not really a big fan of gritty war pictures. Towards the end of the film Jyn embraces her male sidekick who has evolved from the butt of her jokes to someone who earns her trust in combat, they look into each other’s eyes warmly. But there’s no kiss, of course because how dare you assume that a woman would want or require the comfort of a man. Disney is not concerned about things like this. Over time women like my girlfriend will learn to like feminist retellings of films designed for men while men like me will learn to enjoy them as well. Instead, their massive braintrust is being applied towards far more important tasks. Tasks like figuring out how to make their upcoming Han Solo movie into yet another referendum on white male privilege. Given the nature of the character it might seem like a tall task—but these people are pros at this stuff. When my girlfriend asked me what I thought of the movie I agreed with her that it sucked, though I felt no need to explain why. Hopefully this silliness will pass so that companies like Disney can go back to making movies that both, or at least one of us will enjoy.
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