Rewatching The Last Jedi, it astonishes me how many opportunities the movie chose to squander. I have never seen a sequel so determined to do absolutely nothing with any of the setups or characters from a previous installment, or to remove the scenes that would carry the most emotional weight, and it’s really, really depressing to me.
It retreads the Empire-Rebel conflict. The setup was there for a small, outmatched First Order, which had lost most of its resources with Starkiller Base, up against a mostly-intact New Republic, but I guess no one in the NR cares enough about the state of the galaxy to fight back. The NR is completely ignored and never even seen as a functioning entity, and everyone seems to use “Rebels” and “Resistance” interchangeably.
A Force-using protagonist was introduced who’s shown to be quite aggressive and reckless, potentially making her a more morally-grey character, then she turns out to be good by definition no matter what she does because she only exists to balance out the evil antagonist.
A former member of the Evil Army of Evil, who turns out to be one of the most empathetic characters in the saga, who used to be a cog in the machine, deserted them on moral grounds. You want subversion, there it is. A faceless, disposable mook became the deuteragonist. Or he was. Now he has his experiences as a child soldier played for laughs by making it seem like he was the entire First Order’s janitor instead of an capable, promising soldier who rejected them.
They had an antagonist who’d modeled himself after Darth Vader and was deliberately shown to reject redemption when offered, then the second movie is devoted to showing he’s potentially redeemable only to reiterate the same point.
There’s a journey to the first Jedi temple. Nothing is learned about the origins of the Jedi, or who the first Jedi were. The original Jedi texts are present. They are never read from. Very little information about the Jedi can be gleaned from this location, aside from what appears to be a focus on balance between the light and dark, judging from one mosaic. Luke’s criticisms of the Jedi apply to the order during the prequels, he doesn’t explain anything about how they began.
The temple has been watched over by a group of caretakers for an unknown amount of time and for unknown reasons. They appear in two scenes, both of which are comic relief, and answer next to nothing about them or their culture.
Rey’s training under Luke consists of two lessons (out of three he had promised, the third was deleted) and swinging a lightsaber around, unsupervised, for about thirty seconds.
Rey picking up the use of the Force so easily was a waste. Characters training in fiction is a great opportunity to see how they face and overcome challenges, and in the case of fantastical settings, to build up the mechanics of the world and how scifi/magical elements work. This is why Luke’s training with Yoda in ESB was so interesting. We can’t see Rey siphoning the skills from Kylo’s brain, we need to be told that’s what’s happening to explain how she got so strong so fast. The fact there’s an explanation for it doesn’t make it interesting to watch.
They didn’t even go all in with making Rey a completely independent character. If you want to contrast her with Kylo, being someone with no significant background or family vs someone born to a legacy and loving family who spat on it all, show why she’s worthier of it. Now instead of showing she’s a better heir than Kylo while having no blood relation to Luke, her interactions with him are tense at best and physically violent at worst. Instead of the expected outcome of her being important because she’s related to Luke, she’s important because the Force made her Kylo’s antithesis and dumped a bunch of power on her. Another character is still the source of her involvement in the narrative, just for a different, less-interesting reason. Instead of having the torch passed to her by her father, Rey gets shackled to a Neo-Nazi school shooter.
They wanted to show a hero coming from an unassuming background, and did nothing with Finn, whose background is unknown, never implied to be important, and considering the FO probably doesn’t bother to keep detailed records of its child soldiers, potentially impossible to find out.
Didn’t have Leia mourn Han at all, and removed his funeral from the film despite initial plans to include it.
They deleted the scene showing Luke grieving over Han’s death.
They deleted the scene that develops Phasma by exposing her cowardice, develops Finn by letting him be the one to confront her over Starkiller’s destruction, and develops the stormtroopers by depicting them as real people with their own doubts and the potential for revolt. All that was gone in favor of “Let’s go, chrome dome”.
They deleted the scene set during the evacuation depicting Connix warning Poe that they needed more time to escape, which is what motivated him to go against the FO fleet and buy time, showing his devotion to his comrades and willingness to throw himself in danger to protect them. This is cut, and Poe is repeatedly implied to be hot-headed and glory-seeking despite his actions being based around the aforementioned motives and no alternative scenes were included, we’re just told he was being reckless despite his behavior in both movies being inconsistent with that. Poe’s actions cost the bombers, but it took out the dreadnought and saved the people on the transports.
With all the talk about the core theme of “failure”, instead of having the Resistance attack on the dreadnought fail, it succeeds. They could’ve shown the plucky, rag-tag fighters utterly fail against the First Order’s indomitable war machine, but instead, they accomplish their goal. Yeah, they lost their bombers. Costing about 50 casualties and the most incompetently-designed ships in the franchise doesn’t matter much compared to 215,000 enemy combatants and the FO’s second-largest warship getting taken out. That’s a damn good resource exchange and I don’t know how much better than a 4000:1 kill ratio Poe would need for people to stop criticizing him. It’s probably higher than that already depending on how many people went down with Starkiller Base. The attack on the first Death Star cost all but three of the fighters sent to destroy it, suffering heavy losses doesn’t make it a defeat.
With Paige dead, and the movie treating the successful destruction of the dreadnought as a disaster and entirely Poe’s fault, Rose never confronts him about how he led her sister into the battle that killed her despite interacting after Rose’s introduction focused on her grief.
Rose is established as a mechanic, and never shown making use of those skills.
Admiral Ackbar is killed after giving him a single line anyone else could’ve delivered. Yeah, he’s liked by fans almost solely because of the “It’s a trap!” line, but that’s no reason to do absolutely nothing with him.
Jessika Pava and Temmin Wexley are just gone, apparently. They were minor characters, but they were still there, they could’ve been interesting, and now they’re gone. They’re either dead, which sucks, or they’re off with other Resistance forces elsewhere, which undermines the FO’s single-minded focus on the fleet we’re shown. A sequel should not rely on people being ambivalent to characters from previous installments to make sense.
Finn and Poe are prevented from interacting by separating them.
Rey and Finn are prevented from interacting beyond a hug, and they deleted a scene where Finn sees Rey’s parting promise to meet him again, shown to him by BB-8, who tries to comfort Finn. Like with Poe’s deleted scene, this provides context to his actions and was removed to make the character look worse, even though we can infer his motives from his development in the last movie.
Luke and Leia are prevented from interacting by putting Leia into a coma.
Leia is put into a coma so she can’t do anything else, either. When she’s finally out of the coma and calls for help from her allies across the galaxy, no one responds. Leia Organa, the last princess of Alderaan, who was present at the biggest battles of the Galactic Civil War, who led the Resistance against the galaxy’s would-be oppressor, can’t inspire anyone to action.
It’s asserted that the Jedi do not own the Force, which is a well-established aspect of the universe in many other Star Wars works. Then no new insights into it unconnected to Jedi teachings are provided. The film ends with Rey carrying on the Jedi’s legacy anyway.
Maz Kanata, a Force-sensitive non-Jedi, appears for a brief cameo and is not connected to the whole anti-Jedi bent the film’s on at all.
Both Rey and Kylo state they’ve had visions of each other’s future which inform their actions and expectations of each other. Neither are shown or described in detail. In Kylo’s case this might be understandable because he’s almost never the viewpoint character, but Rey was shown visions of herself by the Force in that cave, something could’ve been added there.
What happened to Luke’s green lightsaber? I assumed it was destroyed when that hut collapsed on him in the flashback, but I can’t find any confirmation of that. It’s the saber he constructed himself and wielded after losing his father’s, it’s relevant to his character, but it’s completely forgotten. Including by Luke himself since he Force-holograms up the old blue one.
No information is provided on the Knights of Ren and the film doesn’t even acknowledge their existence. They are presumably other students of Luke’s, but neither they nor the other Jedi-in-training they presumably killed are seen. Apparently they were considered as replacements for the Praetorian Guards, but were cut because that wouldn’t make sense and there was no room for them otherwise. Here’s a thought: if Kylo Ren is taking over the First Order from Snoke, have him fight the guards alongside the knights.
No information is provided on Rey’s parents aside from their irrelevance. If what Kylo said was true, have the guts to show the damn drunks explicitly and stick to that explanation if you’re going to do it. It also doesn’t address who was on that ship in Rey’s flashback in TFA.
No information is provided whatsoever about Snoke, including him being completely absent from the flashback scenes showing the moments before Kylo Ren destroyed the new Jedi despite his explicitly-stated relevance to Kylo’s development around that time.
It’s nothing. This movie is nothing. The problem isn’t “subverting expectations”, the movie actively doesn’t use what it’s given and then replaces potential payoffs with nothing. These are all setups provided either by The Force Awakens or The Last Jedi itself, and the movie either ignores them or cuts them out for the sake of time. It’s become a cliché criticism to bring up the milking scene, but the fact they left that in while cutting out all those deleted scenes shows how monumentally fucked up Rian Johnson’s priorities are. What really hurts is that it could’ve been great, but everything that could’ve had emotional weight and character depth was deliberately stripped out.
Just saw the extended version of The Handmaiden and it was worth every single minute. It wasn’t always easy to watch, as per @jewishcomeradebot’s warning, particularly when the story moved to Hideko’s viewpoint. But it was a beautifully crafted story with a happy ending and I loved it.
Spoilers abound from this point onward. TW sexual abuse, suicide
Sook-Hee and Hideko’s first night together was both heartrendingly moving and hilariously funny–funny, in large part, because they had to rely on the paper figure (in so many ways) of Count Fujiwara to initiate sex at all. Of course, the humor works only because of a darker underlying truth; that women are so socialized to see themselves as objects of pleasure and not agents in their own pleasure, that these women had to invoke the male gaze and male pleasure in order to fulfill their own desire for each other.
Having her sexuality subsumed by the male gaze was especially and brutally true for Hideko, of course, who was groomed and abused from childhood to perform the fantasy of men against her will. As Fujiwara points out jocularly to Kouzuki, but with deadly seriousness, she was so well trained she had no desire of her own left. Isn’t her treatment just a grotesquely amplified version of how women are “trained” under patriarchy, though?
This is one reason Hideko’s masturbating before Fujiwara on their “first night” shows how she has changed by claiming her own feelings and desire with Sook-Hee. Rather than perform Fujiwara’s fantasy for him as she had before, she invites him to be a spectator of her own sexual pleasure instead. Hideko’s flashing the knife at Fujiwara before she gets into bed has several layers of meaning. Korean audiences would recognize the symbolism immediately, because highborn Korean women traditionally carried silver-decorated knives to kill themselves with in the event of threatened rape. Much like the act of refusing sex with him, the knife was symbolic of her fidelity to Sook-Hee–though that symbolism would have been lost on Fujiwara and likely on Hideko herself, who was not a Korean woman. She and Fujiwara would have intended and received it as a threat to him if he tried anything. And, of course, it was a continuation of the ruse on Fujiwara, that Sook-Hee was still their unknowing mark.
There’s another level of the masturbation scene that really gets to me: In addition to being a power move on Hideko’s part, it was also an act of intimacy toward him. It was revealing in a way the sex shows she was forced to perform for him and the other guests never could be, because as abusive as those performances were she also revealed nothing of herself in them. As Fujiwara himself commented, she was trained to the point of being dead inside. By refusing to do his desire but instead showing him her own, she had revealed herself more fully to him than she ever had before–as a person with her own will and her own pleasure that had nothing to do with him. If he had realized what it meant and taken the gesture as offered, if he had accepted her as an equal human being and not an object for possession, then his story could have ended very differently.
On that note, I’ll discuss the tragedy of “Count Fujiwara” in the next reblog.
The tragedy of “Count Fujiwara,” of course, begins with the fact that both words are lies. I couldn’t find any source on this character’s actual name, and I suspect that’s the point. The lie has consumed the man so thoroughly that nothing is left of the original identity except the shame of his origin.
I suspect that the man who became Fujiwara, the illegitimate son of a Jeju Island servant and shaman, had no name. At best it would have been something demeaning like “dog turd.” I don’t know if I can even convey to non-Koreans the crushing lowliness of Fujiwara’s background. His father was a servant, which meant pretty much functionally a slave or at best a destitute manual laborer. His mother was a shaman, which carried some spiritual power but also meant she was despised as spiritually unclean and sexually loose living outside the bounds of patriarchy.
And his parents weren’t just lowlives, they were lowlives from Jeju Island. To the extent people outside of Korea know about the place they think of it as a tourist hotspot, but traditionally it meant poor farmland, crushing poverty, and a distinctive culture that was systematically marginalized and destroyed. Jeju Islanders were crushed underfoot by the mainlanders, and the Japanese happily carried on the exploitation; due to the geographical proximity, Jeju Islanders were taken away en masse to be forced laborers in Japan and elsewhere during the Pacific War. The brutality didn’t end with liberation from Japanese occupation, either. It was the Korean military and right-wing militias sanctioned by them who slaughtered and tortured civilian islanders from 1947 (two years after liberation) to 1954 (after the Korean War) while the U.S. military government looked the other way.
That’s the kind of place Jeju Island occupied in Korean history. That’s the context–endless poverty, marginalization, exploitation, and violence. Fujiwara reinvented himself from the ground up, wiping away that boy who was dirt or turd, the lowest of the low.
(It’s worth noting that the gold mine Kouzuki got in exchange for selling out his country was in Hamkyung Province, which is on the opposite end as Jeju Island–in the far north to the Island’s far south. Hamkyung is another poor and heavily exploited area, and has suffered badly under North Korean rule as well. The cruelty of Japanese occupation reached across the whole of Korea, in other words, and continues in the hands of the Korean elite both North and South.)
I hope this background places Kouzuki’s torture of Fujiwara in perspective as well. Here was a Korean collaborator of Japanese rule who had made his fortune off the explotation of his countrymen, mutilating and torturing a man from one of the worst-affected areas. Much like Kouzuki’s favored transport of riding on a traditional Korean A-frame carried on a Korean servant’s back, the torture scene was a microcosm of that oppression.
The genius of The Handmaiden, of course, and what makes Park an incisive commentator instead of a dull macho nationalist, is that Fujiwara is a villain. The movie resists the extremely easy exit of making Fujiwara the noble sufferer and Kouzuki his diabolic tormentor. Nope, actually, they are ideological twins. Fujiwara is a misogynist and rapist who approached Hideko with the promise of freedom only to try and lock her in another cage, who used Sook-Hee’s trust to not only deprive her of her freedom but kill her in captivity. His attempted violations might not be as outlandish as Kouzuki’s, but are just as horrific.
Fujiwara, then, is the marginalized man who, in the face of exploitation and brutalization, chooses to exploit and brutalize women in turn for his own gain. You see him in just about any community that is targeted by discrimination.
Fujiwara’s real tragedy is that he was actually halfway there to true liberation. When he told Hideko he was no Japanese nobleman but the son of a Jeju Island servant, that was a mirror image of Hideko masturbating in front of him on their marriage night. They both revealed their most vulnerable selves, their deepest secrets to each other and that could have been the basis of a powerful alliance. They could have set Sook-Hee free and plotted Kouzuki’s downfall together. He could have had Hideko’s friendship and respect, something he would have valued if he had seen her as a person in her own right.
Instead Fujiwara chose to become Kouzuki. Rather than challenge the oppressive structures of racism and sexism he wanted to climb it to the top. He didn’t hate the fact that Koreans were discriminated against; he hated the fact that he was Korean, one despised even by other Koreans. He didn’t hate the fact that Hideko was Kouzuki’s prisoner; he wanted to make her his own prisoner.
Still, he was tantalizingly close to being an actual liberator. He was the one who gave Hideko the opium as the ultimate out should Kouzuki get his hands on her. The fact that she ended up using it against Fujiwara instead, of course, showed how he had taken Kouzuki’s place as her would-be abuser.
It’s telling that Fujiwara had prepared the same exit for himself as he had for Hideko, and it’s also telling how limited his imagination was, as was hers: For both of them the plan of last resort was self-destruction. The structures of brutality were so ironbound, so absolute, that it was easier to destroy themselves than the system. Sook-Hee was the only one who had the imagination to smash the structure itself in destroying the books that were the instruments of Hideko’s abuse, Sook-Hee who was the life her mother had stolen from the iron grip of death, who was the victory that great thief had smiled over.
It’s fitting that Fujiwara killed Kouzuki, then, and doubly fitting that he killed himself in the process. A victim of the occupation destroyed his oppressor, but death struck them both because symbolically they were the same by this point, both of them racist, misogynistic abusers.
It is in this context that Fujiwara’s last line is both comical and deeply sad. “At least I got to keep my dick.” He had nothing else at this point, no future, no freedom, and only a few more moments to live, but at least he was still a man in his own eyes. As long as he had that he had something to hold onto.
The tragedy of Fujiwara is that he chose to hold onto the domination his idea of manhood symbolized to him rather than taking Hideko’s and Sook-Hee’s hands in friendship. But then again I suspect that, to him, standing in solidarity with women really would have felt like losing his dick.
Black Fangirls Reviewing: A Wrinkle in Time(Spoiler free)
Okay so I just saw A Wrinkle in Time and decided to do a SPOILER FREE review. I haven’t done one of these in a minute so I’m just going to jump in.
As someone who hasn’t read the books, this was a great movie. The effects and the cinematography was amazing. Ava had a clear, colorful vision that really brought the book to life. The backgrounds, character designs, and imagery was top notch. It’s a visual feast that really uses every opportunity to convey feeling in every scene. Some of my favorite are the Misses extravagant figures among ordinary things and the making of the mirror dystopian worlds.
The writing was good, some places it was a bit preachy, but overall it had some great moments and nuggets of inspiration. Reese Witherspoon’s character was hilarious and all of the Misses were preformed beautifully. I especially liked Mindy Kaling despite her having the least lines of the three. Storm did a great job at a wide range of emotions and the boy that played Charles Wallace also did phenomenal.
I think the beginning got off to a rough start because hey needed to get the story going quickly and the narrative suffered/was clunky. How they got from point A to point B in the story didn’t make a lot of sense and there was some like “…okay but why?” Thoughts in regards to character motives. Despite this, once the story took off it was enjoyable.
The target audience, preteen girls, need to hear the message in the movie. Like it was really beautiful and I loved how none of the guy character scoffed at the “power of love”(in general there was no douchbag “lol you care about things princess” type wise guys which was refreshing). The story really didn’t hold back on hitting home and I think some of it was pretty radical in terms of self love politics.
Overall it was a fun and easy watch that will really hit you with some hilarious movements and moving scenes. I cried twice(take this with a grain of salt I cry easily😂). The highs really outweigh the lows of the movie and make it worth the watch.
To the comparison between AWIT and Black Panther that people have been making, I think it’s pretty clear: these are two very different movies and comparing the two just doesn’t work on several levels. Its like comparing flowers to Christmas lights, both are very beautiful and important but they serve radically different purposes.
Ava Durveny really creates a beautiful movie and utilized every cent of that budget to make something gorgeous and heartfelt in a way that’s completely different than Black Panther. In my humble opinion, I give the movie a 7/10 and would definitely recommend all go out and watch it.
When you read a review in comic form that has nothing good to say about TLJ, is critical of the treatment of Finn and Poe, points out the numerous continuity and plot holes, thinks Kylo Ren’s shirtless scene was terrible forced humor and sees nothing sexual about it whatsoever, and is blistering about just how incoherent Rose’s character was:
OMG this is amazing! I laughed so hard! This chicken with the ??? around it that seems to be suffering throughout the entire comic strip LOL
(and good lord, this Finnrose kiss is so awkward… Finn is truly looking like “what the hell??”)
We are all the suffering chicken. It’s even funnier when you get the full text–the author mentions that he was terrified Phasma was going to tell Finn she was his mom, because this fucking awful movie was more than capable of it.
The author also reports that the Finn/Rose kiss came so much out of left field, the entire theater burst into laughter.
When you read a review in comic form that has nothing good to say about TLJ, is critical of the treatment of Finn and Poe, points out the numerous continuity and plot holes, thinks Kylo Ren’s shirtless scene was terrible forced humor and sees nothing sexual about it whatsoever, and is blistering about just how incoherent Rose’s character was:
This show is definitely NOT afraid to shake things up create seismic change, is it? I love it!! No pussyfooting around here, TGD actually goes there with the consequences. The rest under the cut for spoilers.
– And here I thought, was hoping in fact, that Boo-Boo’s drug dealing was the one plot point that was going to end without consequence and hoo boy… I thought, didn’t I. They sure showed me.
One interesting thing about Cadillac is that, evil as he is, he’s a genuine believer in disco and its culture. It isn’t a combination I’ve often seen, the overlap of murderous crime lord and fanatic for his art. Both sides are genuine aspects of his character, making for a complex and layered characterization.
– After seeing the Season 1 finale (I refuse to call it the show finale, okay?) I can see that this was actually a conflict within the character, the part that wanted to break free.
– I am naming “You find something melodic about this situation?/The whole thing’s off-key to me” the best villainous exchange of all time.
Who would have thought the character crossing their Rubicon would be Lydia even more than Mylene? If I had any doubts about Ramon being an abusive piece of shit (I didn’t), his violence toward his wife and daughter sealed it. I mean, when people think of abuse they usually think of violence, but that’s not always true. A lot of abusers use violence as a last resort, when they feel their control slipping.
On a related note, I love that this show doesn’t shrink back from the complexities of freedom–criminality, objectification, commercialization, drugs, it’s all presented without sanitization. The Get Down Brothers and the Soul Madonnas each fought in their own ways to be free without selling out, to succeed without compromising who they were as people.
– I squealed when, backstage at the Ruby Con, Zeke gave Mylene pretty much the exact speech she game him in Part 1–that he could not be with her if she did not fight for her ambitions, that he loved her too much to watch her give up on herself. These two support each other and hold each other up so much, my heart melts every time I see them together.
– Some, of course, didn’t make it out. It was gutwrenching when Shaolin, who convinced Cadillac to break free by confronting his own history of abuse at Annie’s hands, himself ultimately went back to Annie to save his friends. This, when we already knew how he was affected by the abuse in the way his rage at Annie found its outlet in violence… just… no words.
– They were missing part of the footage in Mr. Books’s show, all right? They didn’t get to the part where the lights shone on the other side of the stage and there was Shao behind his turntable. I refuse to believe otherwise.
I think Jackie’s learned something about himself and his creative process from writing “Set Me Free.” Creative isolation is out, big, communal, spiritual party is in. It also looks like he’s kicked his addiction, or at least cut down/switched to less hard drugs? It may be amusing to think of the assortment of drag queens and musicians holed up in his hotel room as his church, but I think it serves pretty much the same function as Jackie himself told Ramon.
Papa Fuerte’s fall was an understated epic. He was used, betrayed, and
discarded, a visionary whose ambition came smack up against capitalistic greed and systematic
racism. He has a lot to say, indeed. He is called a criminal but I understand him more as a big man, a leader who takes responsibility for his constituents and allocates resources. Look at the way he provided for the community when the blackout happened. A lot of criminality in underserved areas can be understood as filling the void left by governments, I think.
Hearing the man moan like a wounded wolf at the sight of Lydia’s wounds may have been one of the most emotional moments of the show for me. The good-bye in her kitchen, her telling him she loved him, it was so heartrending and perfect.
– So like was anyone surprised at Mylene’s parentage reveal? …Anyone? No hands, I see. It was obvious from the moment her mother’s relationship with Papa Fuerte was shown and should have been obvious sooner, she really is a mix of them.
– I remember wondering more than once what the attraction to Ramon was and why Lydia couldn’t have been with the guy she loved in the first place. Ramon probably convinced her that she was a sinner who needed him to save her, and he can be very charming when things are going his way, i.e. when she was suitably submissive. The stability he represented, emotionally and socially if not financially, may have been a draw, too. And of course, if she was already committed to Ramon before she met his hot brother that would have presented impossibilities of its own.
– It was probably for the best anyway, she would have been put through unimaginably more shit as Papa Fuerte’s wife rather than his sister-in-law. Maybe that’s why he didn’t press the issue, he knew this would happen sooner or later.
– This is terrible of me but “pillaged my nest” may be the hottest euphemism for cheating I have heard.
Ra-Ra is autistic, right? I mean, I thought so from Part 1 but it became even clearer in Part 2. Watched Star Wars 57 times? (And I thought my watching Crimson Tide 17 times was a lot…) Finds it easier to explain concepts through pop culture? Talking sounds stilted, as though he’s taking the wording from books and movies which he’s all but memorized as references? Like, it’s so obvious. I’m pretty sure Dizzee is on the spectrum too.
I wish we’d seen more of the Zulu Queens because we did not see nearly enough female MCs and b-girls. I wish there was more of everything from this show, basically.
My husband saw TLJ yesterday, thinks the movie had a great concept that sacrificed cinematic enjoyment for the sake of upheavals to the SW mythology. This sounds like a fake-deep excuse to me. Since when were making a good movie and shattering idols mutually exclusive, especially in a mass-market movie franchise?
On the shipping front he got the impression that Rey was more romantically interested in Finn than he was in her, which is saying something in a movie where Finn’s first line was literally Rey’s name.
He’s now calling TLJ a piece of “avant-garde performance art that critiques SW on a meta level” and I am screaming
L.J.'s Obsessions 