Marvel Studios’ Phase Four is sure to be just as successful as the previous three, and will almost assuredly rake in just as much, if not more, money for the studio and legendary producer Kevin Feige. So I don’t doubt that, no matter how much bad publicity may plague Phase Four right now, everything will work out just fine for Marvel and Disney: it always does. That being said, bad publicity is so rare for the Marvel Cinematic Universe that I think we should take a moment to acknowledge that, for the time being, the studio certainly seems to be experiencing some difficulties when it comes to crafting their next big master-plan, and piecing together dozens of converging subplots and story-threads. Just recently, Doctor Strange In The Multiverse Of Madness director Scott Derrickson quit the project over “creative differences” and concerns that he wouldn’t be able to meet his deadlines. Tonight, the Hawkeye series on Disney+ is the latest Marvel project to experience setbacks, as it has been put on the back-burner and shifted off the studio’s busy production schedule, despite earlier reports that it would begin filming in July.
No official reason has been given for the series’ delay, but it looks like Disney is trying to make room for alleged star Hailee Steinfeld to fulfill her current commitments to Apple TV before joining the superhero streaming series that will (supposedly) see her suit up as Hawkeye’s young protege, archer extraordinaire Kate Bishop. According to other sources, Disney is determined to win Steinfeld, but also isn’t afraid to move on from her, if she can’t work out her own schedule to accommodate both Hawkeye and her zany historical-fiction comedy Dickinson.
It is not being reported, but some fans are already speculating that the delay is in part caused by star Jeremy Renner’s own personal scandals, which erupted into the spotlight several months ago, leading to widespread concern (or excitement, depending on how you feel about the actor) that Renner would be recast, or written off the series, with the entire focus being redirected on his younger costar. This is not something that has come up since, but it’s still worth keeping in mind.
And, if the delay drags on with no start-date in sight, Agents Of S.H.I.E.L.D star Adrianne Palicki already has an idea for a substitute: the actress posted on her social media that Marvel has her phone number, and should take this opportunity to contact her with the intention of writing a streaming series based around her S.H.I.E.L.D character, Bobbi Morse a.k.a Mockingbird. I’ve speculated in the past that Morse, who has a strong connection to Kate Bishop in the comics, could be a fun supporting character on the Hawkeye series, especially played by Palicki – but I have to admit, Palicki’s own suggestion sounds even cooler (I’ve never really been a fan of Hawkeye himself, to be honest).
Considering that the series premise has only had a lukewarm reception so far, even with the casting of Renner and Steinfeld, it doesn’t look like anyone is going to be biting their nails in breathless anticipation, waiting to see when the show will finally go into production – but when it does, I’ll be sure to report on it.
How do you feel about the delay, and do you think Mockingbird should get her own series instead of Hawkeye? Share your thoughts, theories and opinions in the comments below!
Appropriately, it was Once Upon A Time In Hollywood, a movie which celebrates a bygone era of film-making, that won big at the 77th annual Golden Globes awards last night, taking home three Globes in major categories. In many ways, the ghost of Hollywood Past was haunting the tired, slow-paced ceremony, which saw a mostly white and male ensemble of winners take the stage, during an event that felt unfocused and uninspired, barely held together by comedian Ricky Gervais, who looked bored to be hosting one of the most important events in the entertainment industry, and whose attempts to keep the audience’s attention off world politics felt sadly misguided.
Thankfully, his plea for political neutrality was steadfastly ignored by the majority of winners, many of whom took the stage to deliver impassioned speeches addressing a number of notable issues: from Best Actress In A Mini-Series Michelle Williams calling upon women to exercise their right to choose, Best Supporting Actress In A Series Patricia Arquette using her brief time onstage to demand that viewers vote in the 2020 U.S. elections, Best Actor In A Drama Motion Picture and animal-rights activist Joaquin Phoenix thanking the Golden Globes for serving an entirely plant-based dinner to the audience (a decision that was apparently met with mixed reactions), Australians Russell Crowe and Cate Blanchett bringing attention to the deadly bush-fires currently raging across the country, and Best Actress In A Musical/Comedy Series Phoebe Waller-Bridge invoking the name of former U.S. President Barack Obama, who just recently included Waller-Bridge’s hit comedy Fleabag on his annual Presidential Favorites list. LGBTQ+ issues were at the forefront during Kate McKinnon and Ellen DeGeneres’ speech to honor the latter’s acceptance of the special Carol Burnett Award.
But in between these brief highlights, the ceremony still appeared outdated and backwards-thinking: outside of female-exclusive categories, women were handed a bare minimum of awards, with Icelandic composer Hildur Guðnadóttir being the exception to the rule, becoming the first solo woman to accept the award. People of color were also suspiciously absent from the proceedings, except as presenters – the exception in this case being Ramy star Ramy Youssef, and comedian Awkwafina, who became the first woman of Asian descent to win the Golden Globe for Best Actress In A Musical/Comedy. Small moments like these help to give the impression that progress is being made in Hollywood, but don’t make up for a list of nominees that is overwhelmingly representative of a long-gone period in Hollywood history – one of Gervais’ few on-point jokes was his callout of the all-male lineup of directing nominees, and his satirical suggestion that soon, Hollywood would go back to simply never hiring women directors: “problem solved”.
Anti-Disney and anti-Netflix sentiment ran strong at the ceremony, which witnessed an embarrassing turn of events for frontrunners Frozen II, The Irishman, Marriage Story and The Two Popes. Disney suffered their biggest loss of the night in the Best Animated Feature Film category, where they had not one, not two, but three nominees – all of which lost out to underdog Missing Link, a clay-mation movie from Laika Studios, in a move so shocking it even startled the Missing Link directors into near-speechlessness. Later, in the Best Original Song category, Disney was once again stunned by the surprise victory of Elton John and Bernie Taupin, who won for their work on “(I’m Gonna) Love Me Again” for Rocketman, beating out two Disney contenders, “Into The Unknown” and “Spirit” (both, admittedly, weak contestants). But Netflix’s film division was the biggest loser of the evening: going into the event, the main competition in both the Best Director For A Motion Picture and Best Drama Motion Picture fields had been The Irishman‘s Martin Scorsese versus Todd Phillips for Joker – but in both categories, it was neither man who took home the coveted prize, as Sam Mendes and war-drama 1917 won both times. That wouldn’t have been so humiliating if Netflix had been able to claim Best Supporting Actor In A Motion Picture (which they lost to Brad Pitt for Once Upon A Time In Hollywood), Actor In A Musical/Comedy Motion Picture (which they lost to Taron Egerton for Rocketman), Actress In A Drama Motion Picture (which they lost to Renée Zellweger for Judy, despite strong competition from Scarlett Johansson), Actor In A Drama Motion Picture (which Joker star Joaquin Phoenix easily won, beating out Adam Driver and Jonathan Pryce), or Screenplay Of A Motion Picture (an award that clearly belonged to either The Irishman or Marriage Story, but went instead to Once Upon A Time In Hollywood). Ultimately, only Laura Dern was able to carve out a small victory for the streaming service, winning the award for Best Supporting Actress In A Motion Picture for her fan-favorite role as a sassy, no-nonsense divorce lawyer in Marriage Story. A small win, but a win nonetheless, and one that Netflix Film desperately needed as they continue to fight against Hollywood bias.
The event should have been high-stakes, especially with the amount of surprises, snubs and gasp-out-loud upsets that occurred, but low-energy humor from the host and presenters, coupled with slow, largely repetitive victories (winners often had to walk absurdly long distances to the stage, and a few nearly got lost weaving through the crowd, making the ceremony move even slower) made the 77th Golden Globes an unmemorable footnote in awards season history. Here’s hoping that the Oscars will repeat last year’s surprisingly effective no-host format, and give us a more rousing, entertaining, and relevant ceremony than the Globes was able to offer.
The Mandalorian has concluded its first season’s massively-hyped run, and now everybody seems to have one question, and one question only: what do we watch on Disney+ now, while we wait for the second season of the Star Wars serial?
Well, for the moment, you’re going to have to stick to whatever else you’ve been watching on Disney+ in between Mandalorian episodes: you could catch up on The World According To Jeff Goldblum, or binge-watch a gazillion old movies that you never even knew existed. You could just rewatch The Mandalorian, if that appeals to you. But don’t worry: Disney+ has some particularly exciting new content coming next year – Marvel Studios’ The Falcon And The Winter Soldier will drop on the streaming platform in the fall of 2020, and I’m here with all the latest updates and info to tell you why you should be excited for the series.
The Falcon And The Winter Soldier (or TFATWS: the series’ title is absurdly long, and I have no idea who came up with it) will follow the adventures of Anthony Mackie’s Sam Wilson and Sebastian Stan as Bucky Barnes in a post-Avengers: Endgame world crawling with villains and criminals of the worst sorts – Baron Zemo, the mastermind behind the Avengers’ downfall, will make an appearance, having apparently escaped from prison since the events of Captain America: Civil War; alongside him will be white Southern conservative John Walker, a homegrown hero turned brainwashed zealot who, in comics published during the Reagan administration, unofficially donned the Captain America moniker in response to Sam Wilson, a black man, carrying the hero’s title – just as there will be multiple Black Widows in Black Widow, TFATWS could introduce a conflict between the two Captain Americas, and explore the larger question of what it means to be the face of the USA, and who has the right to earn that honor. It’s unclear just how deeply Marvel wishes to dive into this political discussion, but if done correctly it could be a risky, important story that demands to be told at this moment in American history.
While unconfirmed, it looks like Zemo and Walker will be joined by a third villain – Arnim Zola, the disembodied conscious of the Nazi scientist who set up the foundations of the HYDRA organization after the Second World War. Zola’s functional brain/super-computer was destroyed in Captain America: The Winter Soldier, but it seems that the evil genius could have found a way to live on, perhaps through the form of his children, Jet and Leo. Minor antagonists could include Battlestar and Songbird. But the biggest surprise of all, and the most recent one, is the revelation that parts of the story may take place on the fictional island of Madripoor.
Madripoor, a wealthy island paradise located off the coast of Singapore, is a crime-capital in the Marvel Comics Universe, having attracted numerous villains to its sunny beaches and seafront cities – and, thus, just as many heroes. And, interestingly, many of the characters who have visited the island in the comics are characters with upcoming Marvel movies and Disney+ shows: Hawkeye and Kate Bishop staged a daring raid on a Madripoor hotel to save Hawkeye’s reputation from being publicly ruined; Shang-Chi defeated a dragon dwelling in the ocean beneath the island; and the X-Men, including Wolverine and Magneto, have also visited on occasion. We don’t yet know who will inhabit the island in TFATWS, but it wouldn’t surprise me any if Baron Zemo had set up shop there to recruit his very own team of villains – possibly the legendary Thunderbolts, possibly a different group. Characters who could show up on Madripoor include crime lord and martial artist Tyger Tiger, who was installed as governor of the region by Tony Stark, and the mysterious vampire Sapphire Styx; both characters would provide good opportunities for Southeast Asian diversity in the Marvel roster.
Madripoor is such a fascinating location, it would also be exciting if it continued to feature in future Marvel projects – while the Hawkeye series could potentially make a stop at the island getaway, I’d love to see it as a prominent location in Shang-Chi And The Legend Of The Ten Rings, where our hero could get into some crazy fights and action sequences amongst all the casinos, hotels, and dazzling beachfront villas and boulevards.
The final episode of The Mandalorian‘s first season on Disney+ is quite appropriately titled Redemption – for not only does the title work in-universe, but it’s also an amusingly apt reflection on the fact that Redemption very literally redeems the slow-paced series’ many mishaps. The plot itself often seemed like an afterthought while Mando (Pedro Pascal) and his tiny, adorable sidekick Baby Yoda traveled the galaxy, stopping in at random planets to marvel at the visual spectacle and meet new friends – or enemies. But in the season finale, masterfully directed by Taika Waititi, the story is rich, thrilling, entertaining and emotional; the characters feel more fleshed-out than they have appeared previously; and, most importantly, Baby Yoda is the cutest we’ve seen him yet.
And that’s all I’ll say in the non-spoilers section. If you haven’t watched the episode yet, but plan to, then turn away now! SPOILERS AHEAD!
The finale is chock-full of plot twists and gasp-out-loud revelations, but none more bewildering than the fact that Taika Waititi, who has never directed a Star Wars property previously, is somehow able to ease into the director’s chair for Redemption with all the graceful assurance of Dave Filoni, who at first glance would seem the natural choice to bring this series home to its epic (and thankfully, only temporary) conclusion. Waititi’s work here is surprisingly understated: you’d be hard-pressed to find any clues that this episode comes from the mind that brought you crazy, colorful comedies like Thor: Ragnarok or Jojo Rabbit (though it is amusingly unsurprising that the finale stars Waititi’s own character, assassin turned nurse droid IG-11, in a particularly prominent role). Obviously, directing a single good episode of TV doesn’t warrant immediately getting a three-picture deal with Lucasfilm, but hey, why not give Waititi a shot at his very own Star Wars trilogy?
Another surprise that boggled my mind, at least, was that Mandalorians are cool – for what I feel is the first time, despite everyone else in the world idolizing the very ground that Boba Fett walks upon. And one of the coolest things about them (apart from jetpacks and flamethrowers) is that they’re not a specific race of people, as Cara Dune (Gina Carano) reveals during an emotional moment in the episode: they’re a creed. Not only does it reinforce a particularly Rian Johnson theme in Disney’s Star Wars, that anyone can be a Mandalorian without having to have been born one, but it also makes the Mandalorians seem a lot more noble – in an extended flashback sequence which haunts our protagonist’s mind, we witness a squad of the flying, armored warriors acting as human shields for wounded refugees trying to escape from brutal droid-warfare: and it is revealed that during this battle, a young orphaned boy named Din Djarin was rescued by these Mandalorians and taken to safety with them – that boy was our very own “Mando”, whom I guess we can finally call Din Djarin? We’ve actually known that name for a while (Pedro Pascal ever-so-slightly spoiled it last month), but it’s only now canon, meaning I can only now use it. Yes, the Mandalorians are still vaguely cultish, and more than a little creepy, but at least they’re not solely defined by characters like Jango and Boba Fett anymore, or even just the term of “bounty hunter”. Djarin’s other biggest secret, his face, was also finally revealed in this episode…and, well, it’s Pedro Pascal’s face. I’m not entirely sure what we were all expecting, but honestly, that reveal was a bit underwhelming. It’s not like his face was even altered in any way: he didn’t have any scars or third-degree burns to speak of, no missing eyes or other distinguishing facial features. Not even a different hair color.
Djarin’s secrets weren’t the only ones brought to light: IG-11 is revealed to have been entirely reformed by Kuiil’s repairs, riding in to rescue Baby Yoda from a couple of monstrous stormtroopers who amuse themselves by punching and mocking the adorable little infant – the droid then straps The Child into a baby-backpack and goes on a killing spree around Nevarro, mowing down stormtroopers. He later sacrifices himself to rescue the whole team, self-destructing and blowing an entire legion of enemies sky-high. Baby Yoda himself is given his own hero moment when he faces down a flamethrower-wielding stormtrooper and deflects the attacker’s fire back at him: there’s a couple more reveals about his character, but I need to address those separately. Then there’s Cara Dune, whose home planet is revealed to be Alderaan (Princess Leia’s planet, infamously blown to pieces by the Death Star in A New Hope), thus explaining her undying grudge against the Empire. Greef Karga (Carl Weathers) turns out to have been an ex-Imperial himself, though that big secret falls a little flat due to the fact that we barely even know Karga, and have always been on-the-fence about whether or not to trust him and his Bounty Hunters Guild, anyway.
The person doing a lot of this dramatic-revealing is none other than Moff Gideon (Giancarlo Esposito), who is being set up to be the series’ big bad, and Din Djarin’s arch-nemesis. Gideon toys with his victims as they shelter in the burnt-out rubble of Werner Herzog’s lair, spilling their secrets to the world and promising them tantalizingly good deals if they’ll only hand over Baby Yoda. We never do find out what Gideon or Herzog wanted with The Child (and, come to think of it, we never even found out Herzog’s character name or purpose in the story, before he was unceremoniously murdered in the assault on his hideout), but considering how despicably evil Gideon is revealed to be, I’m going to assume it’s not because either of them just wanted cuddles and hugs. Gideon is also shown to have an alarmingly dangerous arsenal: not only can his tiny little handgun pierce through beskar steel, but the Moff is also a trained TIE-fighter pilot capable of handling his own in a dogfight. Oh yeah, and he just so happens to be in possession of the one black lightsaber in the entire galaxy, no biggie.
The lightsaber in question, better known as the Darksaber, has never been seen in live-action before this day, though it was seen in the animated series, Star Wars Rebels, which gave us a couple clues about the saber’s history. It was crafted by Tarre Vizsla, the first Mandalorian Jedi, during the reign of the Old Republic, and has since meandered across the universe, through the hands of a number of notable peoples and individuals, including the belligerent Mandalorian Clan Vizsla (to whose ranks Din Djarin appears to belong), the legendary Sith Lord Darth Maul, and Nite Owls leader Bo-Katan, who was the last known person to wield the blade, almost a decade before we seen Moff Gideon crawl from the wreckage of his TIE-fighter with the weapon in hand. The Darksaber is something of a mystical item, bestowing upon its wielder the title of Mand’alor, or leader of the Mandalorians – Gideon certainly has a fascination with the religious order, having been personally involved with eradicating them during the Great Purge and keeping tabs on those who survived. And now that he’s back on his feet, we can safely assume Din Djarin and Baby Yoda won’t be safe from his murderous rage anytime soon.
But for the moment, Din has a more urgent problem to worry about: while visiting his old friend The Armorer (Emily Swallow), he was gifted a number of odds-and-ends, including his very own jetpack, a personal sigil, and custody over Baby Yoda – which, apparently, is something that The Armorer can just hand out to anybody she feels like. But there’s a catch: while she tells Djarin to protect and train the baby (and even bestows upon them a title, the “Clan of Two”, which seems to hint at Star Wars’ common theme of duality), she also instructs him to seek out the child’s people – it’s not clearly indicated whether she’s referring specifically to Baby Yoda’s birth-family, or the Jedi in general, but it’s obvious that this will be a central plot-point in the series’ second season. But honestly, as much as we all want to see a whole planet of Baby Yodas, I think I’m just as excited to see The Child training as a Mandalorian – just so long as Din Djarin doesn’t try to make him wear a ridiculous helmet of his own: Baby Yoda’s adorable, expressive little puppet-face will not be hidden from the world, not if I and the internet have anything to say about the matter.
For the record, I think there’s a decent chance that we do actually see the home-planet of The Child’s species in The Mandalorian, and that the Jedi sage Yaddle will be revealed to be his mother. I know, I know, Yaddle is presumed dead – but there’s never been any conclusive evidence that that is the case, and honestly, she deserves so much more recognition than she gets. You know what, I’m just gonna say it: I think Yaddle is a better character than Yoda. Come at me, Yoda stans!
We’ve been left with a number of pressing questions from the season finale, but a bunch of mysteries have also been resolved, and we’ve left Din Djarin and Baby Yoda in a good place, all things considered. What did you think of the finale? Are you excited for Season 2? Share your thoughts and theories in the comments below!
Minor SPOILERS For Star Wars: The Rise Of Skywalker Ahead!
First up, an apology: in my Star Wars: The Rise Of Skywalker Spoiler Review, I made the fictitious claim that a couple depicted kissing near the end of the movie was a lesbian couple. There is, in fact, no clear indication of the sexual orientations of either Commander Larma D’Acy or her partner – they could be lesbian, but there’s also nothing to suggest they aren’t pansexual, bisexual, or a different sexual orientation entirely. And that is part of the problem with Star Wars‘ small, misguided attempt at LGBTQ+ representation.
For years now, but especially since the release of Star Wars: The Force Awakens in 2015, fans of the series have been urging Disney Studios and Lucasfilm to introduce meaningful LGBTQ+ representation into the franchise – emphasis on “meaningful”, as in: an LGBTQ+ character with an established identity, whom audiences actually know and care about. Star Wars has long been near the forefront of the push for diversity in genre fiction, much fellow sci-fi series Star Trek (which, overall, has actually done a better job, though not always with LGBTQ+ representation specifically): even back in the 70’s and 80’s, Star Wars was including women (or rather, two white women) in positions of power and strength, and including dynamic and complex people of color (or rather, one person of color) in the central narrative. The prequel trilogy gave us memorable characters such as Mace Windu, Padmé Amidala, and Jango Fett, while also introducing a number of other problems; the racially insensitive Gungans, the racially insensitive Neimoidians, and the fact that Jango Fett’s army of clones were little more than expendable cannon fodder, among them. The Disney-produced sequel trilogy, on the other hand, started off with a female protagonist, alongside prominent black and Latino characters – naturally, it seemed like the perfect place to try and include some LGBTQ+ representation.
And it’s not like there wasn’t room in the story for that representation to emerge in a natural, organic method. Fans have long sensed an undercurrent of semi-romantic tension between Star Wars leads Finn (played by John Boyega) and Poe Dameron (Oscar Isaac), and even the actors themselves have made it pretty clear that they would have had no problems if the story had headed in that direction. Boyega himself has been a bit back-and-forth on the subject, and has made friendly jokes about the pairing, while also suggesting that he doesn’t “know how that would work”. But nobody has been onboard with the popular coupling like Oscar Isaac, who has been the unofficial voice of the LGBTQ+ Star Wars fanbase for years: at first, his support seemed like the typical sort of vague hand-waving, with comments like “Poe’s open to any kind of adventure”, but starting this year, the actor has been avidly on the side of Finnpoe fans: “I think he takes his love for Finn very seriously”, Isaac said of his character at Star Wars: Celebration. Since then, he’s noted that a gay romance between the two would be “a great way for the story to go”, admitted that “if they would’ve been boyfriends, that would have been fun”, and just yesterday confessed that, though he tried to advocate behind-the-scenes for a love story between the two men, “Disney overlords were not ready to do that”. Isaac’s strong approval is encouraging, but unfortunately, he’s only an actor and can’t really do much to influence the film’s scripts.
Abrams’ comments should sound eerily (auto-correct suggested wearily, which also works) familiar to fans who may remember Avengers: Endgame directors Joe and Anthony Russo saying virtually the same thing about the LGBTQ+ representation in their blockbuster hit back in April: “It was important to us as we did four of these films, we wanted a gay character somewhere in them…it is a perfect time, because one of the things that is compelling about the Marvel Universe moving forward is its focus on diversity”.
The similarities don’t stop there, though, because when it comes down to it, the LGBTQ+ representation in both films is also strangely identical. In Endgame, a minor, unnamed character played by Joe Russo himself, mentions dating another man in a throwaway line: this character has no purpose in the story, nor any significance beyond being gay, and is only shown this one time – the fact that he’s played by Joe Russo also makes the moment into a surprising cameo, distracting attention from the significance of his words. In Star Wars, the crucial representation is even less noticeable, though technically more significant: here, Commander Larma D’Acy, a minor character portrayed by Amanda Lawrence, is shown kissing another woman in an exceedingly brief moment – due to taking place in a crowd shot, during an emotional scene, you could easily watch the film without even noticing that you had just witnessed LGBTQ+ history. And I’m left wondering…was that the point?
A same-sex kiss of any kind is a strikingly powerful statement in a big franchise film such as this one, but Disney’s use of the kiss feels cheap, as if it’s reducing what should be important into a meaningless moment that, on the surface, looks like great representation. The audience has no emotional attachment to D’Acy and especially not to her girlfriend, who isn’t even named in the film (the newest Star Wars Visual Dictionary apparently does give her a name: Wrobbie Tryce). They have no reason to care about these two women or their two-second long relationship – and since the characters are so minor, and so deliberately overshadowed by other, more important characters, audiences don’t even have any good reason to notice them or their kiss. If it had been Finn and Poe kissing, even if only for two seconds or one, you would notice because it’s Finn and Poe: they’re lead characters, and the audience is familiar with them. Two extras somewhere in a crowd shot? Not so much.
Disney has just proven that simply including a gay kiss isn’t enough to constitute meaningful representation. People around the world have been rightfully outraged, since the film’s release, that this moment was what Abrams was referring to when he claimed that LGBTQ+ representation was one of his priorities when making The Rise Of Skywalker.
And here’s the thing: Abrams didn’t need to put LGBTQ+ representation into the film at all. As far as we know, this was his decision: nobody was forcing him to do it. And that should be applauded, because it is a step forward. What shouldn’t be applauded is the fact that Abrams, knowing full well just how brief and insignificant the kiss was, went around claiming that the two-second snippet of footage could or would make up for all of the lost opportunities with the Finnpoe relationship, or even amount to anything more than what it was – a two-second snippet of footage. Why not just admit upfront that there would be a small nod to the LGBTQ+ community, without stirring up more controversy and trouble for himself?
Because this is queer-baiting 101. Queer-baiting refers to the process of luring LGBTQ+ audiences to consume a product, be it a movie, TV show, book, etc, with the promise or hint of LGBTQ+ representation, only to reveal that there was little to no representation to begin with. Endgame was heavily criticized for queer-baiting, prompting the Russo Brothers to respond with the claim, as yet unverified, that more major Marvel characters will come out as LGBTQ+ in future movies. 2017’s Beauty And The Beast faced queer-baiting critiques after an “exclusively gay” scene hyped up in the film’s pre-release marketing turned out to be a single shot of two male characters dancing. Fantastic Beasts: The Crimes Of Grindelwald was one of those especially awful cases where a director actually tells the truth and goes on record to say that a character will not be depicted as LGBTQ+ in his movie, only to have his working partner release a tweet disputing that claim – the latter being J.K. Rowling, who apparently didn’t realize she was lying, or simply didn’t care: the promised LGBTQ+ representation in that case actually referred to a single line of dialogue with only slightly gay connotations.
And now Star Wars faces those same complaints, for good reason. By promising something he couldn’t deliver, Abrams dug himself into his own grave. He wasn’t obliged to make any statement at all, but he did – and now he’s paying the price, as audiences riot against the director.
What could he have done to rectify the situation? Well, the easiest solution would have been to make D’Acy and her partner more prominent in the film. If that would have taken time away from the main cast, then why not have it be one of the main cast who turns out to be gay? Finn and Poe are literally right there. But if neither option was viable, then Abrams should simply have kept his mouth shut and not said anything at all. His idea of representation is outdated and honestly offensive, making it an unnecessarily problematic element in a movie that already has plenty of those.
I really don’t want to make a scene, and we know Larma D’Acy wouldn’t want me to (that’s her only significant line in two movies: you thought I wasn’t going to use it in some way?): I wish I could simply talk about how nobody, no matter how far away their galaxy is, should have to live with a name with Wrobbie – or Larma, for that matter. But I can’t stay silent when directors and filmmakers continue to shamelessly bait and trap LGBTQ+ audiences, taking their money in exchange for empty, unfulfilled promises. Hollywood is making progress, or at least, I hope that they are: Disney is making a big deal out of having their first openly gay character in next year’s Jungle Cruise (though the fact that the character is played by a straight comedian and described by test audiences as “hugely effete” isn’t exactly encouraging), and Marvel has promised their first gay character in The Eternals – rumored to be the demigod Phastos, a happily married man with children. But until these claims are backed up by hard facts (i.e. the films themselves), be wary of could be just another queer-baiting incident.
For now, let’s just take a moment to acknowledge that, no matter how briefly their relationship may be depicted onscreen, Larma D’Acy and Wrobbie Tryce are, canonically, Star Wars‘ very first same-sex couple, and the two characters deserve a little more respect and congratulatory praise than they received from J.J. Abrams. Hopefully they’ll be joined in the near future by a number of other LGBTQ+ characters: ones who aren’t betrayed by their own creators.