Star Wars: Nexus of Failure

A recent exchange in Gab:

Naturally, Rivers didn’t respond: why gainsay a solid argument that nobody read? After all, his entire modus operandi is to attract attention (and subsequent subscriptions) by paraphrasing what his readers already know with scant if any elaboration. Much of his initial contention is correct (though the notion that Star Wars was exclusively intended for or enjoyed by white males is pure poppycock), but its querulence and his response once again substantiate that the naysayers of Disney Wars have done nothing to significantly oppose it or the noxious trends it represents.

My calculated distance from most sects of the dissident right was measured equivalent to that from mainstream conservatives, and for the same reasons: most of them are either conformable, culturally nescient incompetents who achieve nothing of worth, or controlled opposition bought with our elites’ pocket change. Whether the general public discountenances them offensive or otherwise unacceptable is as pissant as any other consensus. In the Anglosphere, lumpen, psychotic and volatile leftist coalitions are sustained at exorbitant expense and exhaustive effort by those same elites simply to maintain a corrupt status quo. That fissiparous, squabblingly internecine rightists are scarcely more united than those dupes bodes ill for the future of their nations.

Nobody possessing an I.Q. exceeding room temperature expected features in this franchise helmed by Abrams (an uninspired, perpetually propagandistic fortunate son) or Johnson (a twee mediocrity) to be at all good. Any sensible theatergoer who suffered their first ten minutes of Jar Jar Binks twenty years ago realized then that Return of the Jedi was the last episode of this series that was worth watching. Lucas ruined Wars years before Abrams, Johnson and Kathleen Kennedy’s coven of cat ladies conjointly debased it and cost Disney untold fortunes. (That a movie concerning the early exploits of Han Solo would be misdirected by godforsaken Ron Howard, then rightly flop would’ve been unimaginable to those of us who adored Lucas’s world in our formative years!)

Conceit is the only reason why critics of any political persuasion pay money to view Disney’s latest vitiation of what was once the greatest phenomenon of popular culture. They arrive early to their local theater to sit through this dreck, then produce scathing textual or video critiques to feed their egos. I haven’t seen one of these pictures, and certainly wouldn’t condescend to pay for them. Rivers’ declamation was easily presaged by The Force Awakens, wherein Solo was dispatched and the unappealing leads were cast to represent a propagandistic dyad embodied by so many televised news anchors. If anything, rightists who pay money to view this trash should be ashamed of themselves — if not for viewing pictures in which most of the original heroes are senselessly slain or stultified, then for patronizing a rapacious and obdurate corporation that coerces its terminated employees to train their inept foreign replacements.

Lucas, Kasdan, Kershner, and their collaborators wanted boys and young men to dream of adventure, spiritual fulfillment and a righteous republicanism; Bob Iger and his minions only seek to crush those dreams and indoctrinate their most impressionable patrons with fecklessly recycled concepts, pedestrian craftsmanship, bloated productions, thematic insipidity and a hopeless poverty of invention. However, those who bemoan this for years with periodic jeremiads have for hits and hubris chosen to overlook what’s obvious. If you want Luke, Leia, Han, Chewie, the droids, Lando, et al. — you can have them any time! Whoever hasn’t the trilogy’s original theatrical cuts on VHS or DVD can obtain video files, or DVD or Blu-ray images of Harmy’s Despecialized Edition. Scores of novels based on the films have been penned and published since 1976, and many of these — Alan Dean Foster’s adaptation of A New Hope and his original Splinter of the Mind’s Eye, a trilogy of Han Solo Adventures, and Timothy Zahn’s Heir to the Empire/Thrawn trilogy — are as enjoyable as any popularly marketed pop novels. That so many fans submit to Disney’s morbidly revolting perversion of this property rather than disregard such drivel to concentrate on its far more engaging, imaginative expanded universe (or any number of other properties) only confirms that the fretful defeatist, ever more prominent and clamant among boomers, Xers and millennials, would rather whine than act constructively.

Further, sweeping anti-Semitism in this instance can’t survive even cursory examination. Nobody can reasonably contest that Iger, Abrams, Shearmur and the rest share a common, destructive sociopolitical agenda, and that it’s partially meditated to quell an unhinged collective neurosis. Nevertheless, this notion that “Jews destroyed Star Wars” is as singularly risible as enduring, since most of the “creatives” in this endeavor are gentiles, and this series wouldn’t have attained its greatness without Jews. How do these people neglect how Irvin Kershner, selected by Lucas to direct The Empire Strikes Back on the strength of Eyes of Laura Mars, produced the rare exceeding sequel with a slick yet deliberate emulation of Lucas’s idiom? How do they disregard the histrionic contributions of Harrison Ford, Frank Oz and especially Carrie Fisher, all of whom are partially Ashkenazic? Finally, Zahn’s aforementioned novels demonstrate a comprehensive grasp of Lucas’s spiritual and political themes with a complexity that the filmmaker failed to similarly dilate in his prequels. As usual, we can only conclude that the institutional problem inheres not in “Jews,” but in “those Jews.”

Progressives cant fatuously of “white male fragility,” exhibited not in the strain but tone of widespread reprehension against Disney’s maliciously substandard products, and the overtly recreant, peevish or tearful comportment of public figures such as Jordan Peterson, Kevin Smith, Christopher Cantwell, Michael Moore, Matt Forney and many others. (Over 1K predominantly white disputants wept pettishly at Ian Miles Cheong for this objective criticism of Peterson’s ludicrously lachrymose behavior regarding mean tweets during an interview.) Be it bigotry, illiberality, thuggishness, calumny or intemperance, progressives regularly indulge in every vice or frailty that they impute to others. Nobody is as petulantly “fragile” as progressives, who can’t cope with even the insinuation of dissent from their dogmas, bleat over fantasies such as “hate speech” and contemporary “fascism” or “white supremacy,” and demand “safe spaces” hermetically free from counterargument and heterodoxy. If white, right-wing males are emotionally fragile (and they often are), then a fortiori are progressives doubly so.

In the course of the past 130+ years, hundreds of thousands of features and shorts have been produced. At least 50,000 of French, American, Japanese, British, Korean, Italian, German, Russian, Iranian, Austrian, etc. provenance are worth watching. Perhaps 8,000 of them are masterworks. For whoever’s read, heard and seen their fill of Star Wars, as many as 200 successfully marketed alternatives in the genres of science fiction, fantasy and space opera are readily available, and many more obscure, akin works are waiting to be rediscovered. With this overplus of options available via books, videocassettes, optical discs and streaming services, one can be certain that nobody needs Star Wars so much as Disney needs them to perpetuate their abuse of oligarchical power.

Those addicted to their geeky furor would be wisely counseled to stop whining, withdraw from what’s left of mainstream popular culture, and seek fictions that reflect, affirm and enlarge on their values, culture and society.