Tag Archive for The Minority Report

How Foggy is Too Foggy? The Minority Report, Year Three

jyn-sausagefest

One in three named Star Wars characters is a straight, white human man. Three in four are male.

I know that because I’ve done the math—both before the reboot and ever since. If you’ve followed this blog for a while you probably know that, but I find it helpful every so often to restate my case for people who haven’t kept up with this particular project of mine (though the older pieces are of course still available). Once a year, I take it upon myself, with a big boost from Wookieepedia, to tabulate every named character from the previous twelve months1 of Star Wars novels, films, and television, and calculate how many are straight, white human men (hereafter WHMs), and separately, how many are males of any kind.

The percentage of a story’s cast that does not quality as WHMs is what I call its diversity score—for example, one WHM in a cast of ten would means a score of 90. The percentage of non-male characters I call the parity score, with an implied “ideal” score of around 50.2 Diversity scores have much less of an objective “ideal”—the occasional story with no WHMs would hardly be the worst thing to happen, but in a perfect world I’d say an average score in the high eighties/low nineties would be pretty good.

That said, we are nowhere near either of those targets, and that’s why I do this. The numbers can of course be broken down much further and endless productive discussion can be had over how intersectional the human cast should be, the ideal amount of LGBTQ representation, the ideal amount of aliens and droids, and most important of all, the strength of the characters as conceived and portrayed—but the bottom line is we’re not where we should be, and this is my way of looking at the big picture of representation and whether things are moving in one direction or another, so that we might decide how to move forward. That is a question with many, many good answers, none of which I claim to offer here. » Read more..

  1. Note that since the new canon effectively began with A New Dawn, I use that as my rough “zero point” rather than calendar years. []
  2. Nonbinary characters do count toward a work’s score, but there’s so few of them thus far that statistically they barely even register. []

Making Diversity Seen and Heard: Why Star Wars Must Fully Embrace its Multimedia Identity

sloane-vader

A long time ago, in a galaxy far, far away…

While George Lucas’s famous introduction to the Star Wars universe tells viewers they are light-years away from anything they’ve ever known, one of the reasons the film immediately resonates with such a broad fanbase is because, despite the starships and futuristic setting, children and adults alike see themselves in Luke, Leia, and Han’s struggle. We see not just a story about a rebellion fighting for freedom—we see a coming-of-age tale, and characters lifting themselves up to fulfill their destiny. Or, at least, white fans have been able to see themselves reflected on screen; the franchise’s millions of fans of color, and particularly femme-identifying fans of color, have been forced to make do with a love of the stories and the strength of their imaginations. Until recently, the only place fans could see major characters of color play a leading role was in various novels or spin-offs that never made it into the mainstream consciousness. But with the diverse casts of the new Disney-owned films, and the recent photo (courtesy of director Ron Howard) of Thandie Newton in what appears to be an Imperial uniform, there’s never been a better time for Lucasfilm to not only start featuring women of color in starring roles, but also to draw those characters from a familiar source – the canon Star Wars novels and comic books.

Lucasfilm’s galaxy far, far away used to be a much messier place. Disney’s purchase of Lucasfilm and the formation of the Lucasfilm Story Group in 2013, however, changed the game for Star Wars fans. Previous Expanded Universe stories, known for their sometimes incongruous storylines and for George Lucas’s indifference to their plots, were jettisoned in favor of a cohesive, multimedia approach to the new canon. This initiative did more than clear up Star Wars “fact” and “fiction”; for the first time ever, various franchise media could overlap in timeline, characters, and plots, allowing for truly multi-media storytelling and opening the door for characters of color to play a more prominent role. Fan-favorite non-white characters who previously only existed in the Star Wars: The Clone Wars animated series began to appear in novels or comics of their own, or, in Saw Gerrera’s case, on the big screen in 2016’s Rogue One.

At this point, however, fans have mostly seen movie characters cross over into the non-film media. Few original characters from Star Wars non-film media have appeared on the big screen, which is hugely disappointing not only because it does a disservice to the Story Group’s mission and efforts since its creation, but also because the franchise’s largest strides in representation, especially of women of color, have been made in the non-film media. Because we feel passionately about this issue, we’re working in conjunction with #SWRepMatters, an upcoming social media campaign highlighting diversity (or lack thereof) in the franchise through volunteer podcast discussions, blog posts, tweets using the hashtag, and Twitter threads focusing on specific nonhuman characters and characters of color. Our goal with this post is to highlight how Star Wars can improve its cast diversity to match its enthusiastic audience by bringing beloved non-film characters to the movies and, of course, hiring more femme-identifying actors of color. And there would be no better place to start than by confirming the hopeful fan theory that Thandie Newton is playing Rae Sloane in the upcoming Han Solo movie.
» Read more..

Queer Representation in Star Wars: More a Starting Point Than a Final Destination

aphra-sana

There’s a lot to be said for how quickly Star Wars went from no canonically queer characters to more than a handful. Considering that Star Wars had an Expanded Universe that carried on for over thirty years with barely a mention of gay characters,1 the last few years have had a veritable boom of queerness. There was a point in the past where I could count the number of queer characters on one hand, but that’s not where we are anymore.

So: the canon representation is better than before. We can all agree that it’s better than nothing. But better enough? Not quite.

I think that for many of us—queer fans in particular—it’s been a long time coming to see characters like Sinjir Rath Velus, Kaeden Larte, and even Moff Mors in such a beloved universe. Long enough that, understandably, characters and stories that resonate with fans end up on pedestals of a kind. When underrepresented fans find a character they can see themselves in for the first time, it’s not uncommon for them to then turn around and find a large chunk of fans railing against the existence of so-called “forced” inclusivity. Cue sighs.

Except, when even unremarkable diversity is vehemently defended from all objections, the universe isn’t given a chance to grow in a better direction. We butt up against two main issues here: implicit representation—AKA author headcanon, or Word Of God—and just generally average writing that isn’t always given room to be criticized. (And I think it’s not exactly difficult to figure out which trilogy I might be talking about here.) » Read more..

  1. Yes, I know about the married Mandalorian guys. []

Too Much of a Good Thing? – On Alien “Diversity” in the Star Wars Films

zuzuzuvio

One of the more interesting recurring critiques of The Force Awakens around this time last year was the lack of established alien species. The film’s species diversity was tough to contest in pure numerical terms (I’d have loved to see more aliens in the Resistance, but it was roughly on par with Return of the Jedi in that area—and it certainly turned out to be better than Rogue One), but a notable number of the film’s detractors specifically expressed regret that amidst all the Hassks, Frigosians, and a sudden onslaught of Abednedos, not a single Twi’lek or Gran or Mon Calamari was seen.

What recurring species did appear came in the form of returning established characters like Chewbacca and Ackbar and Nien Nunb, with one hilarious exception: Constable Zuvio, likely by happy coincidence more than the designers’ intent, ultimately turned out to be a Kyuzo, the same species as The Clone Wars‘ bounty hunter Embo. And Zuvio, famously, is barely in the movie at all—about three frames, according to Wookieepedia.

Leaving aside for a moment the question of whether this is a good thing or a bad thing, this has been rolling around in the back of my head all year: just how does TFA really compare to the other films in terms of its alien population? And is Rogue One, for all the emphasis on its contingent of Mon Calamari, really much different? Did the latter film do something right, here, that the former did wrong? Now that we’ve got a pretty solid amount of data on RO, I decided to find out. » Read more..

Rogue One, Representation, and the Problem with Rationalizations

RogueOne

About one and a half years ago, we got the first cast picture for Rogue One, and the general consensus (myself included) was celebration of the ethnic diversity, followed almost immediately by dismay at the heavily male cast. But after the first trailer surprised us all with the appearance of Mon Mothma I was hopeful for Rogue One and optimistic that there would be more women. Unfortunately, my fears were proven right when I finally sat down in the theater to watch the movie and it turned out to be a pretty big sausage fest. An ethnically diverse (and quite attractive) sausage fest, yes, but still a sausage fest. 

It’s disappointing because I had high hopes for a movie whose cast represented a range of countries and ethnicities. I was hoping it would continue in the thread of The Force Awakens and make a concerted effort to show a wide range of women as well; I’ve written before on the lack of women of color in Star Wars and I was hoping Rogue One would prove me wrong. But it goes to show that allyship in one area doesn’t always translate to allyship in another. We should definitely celebrate when Star Wars does well. But we should also accept that it will make mistakes…and as fans we should hold it accountable when it does.

It’s hard to admit when things we love aren’t as perfect as we’d like them to be. I’ve found this to be especially with something like Star Wars, where people tend to structure their entire identity around the fandom. So I understand wanting to rationalize away the flaws rather than admit that our favored franchise didn’t put its best foot forward. And there’s been a rash of rationalizations as of late: Leia’s slave bikini is empowering because she uses it to kill Jabba. Padmé didn’t die of a broken heart, Palpatine actually drained her life essence to save Anakin. Rogue One doesn’t show a lot of women in the Rebellion because they were trying to be faithful to how it looked in A New Hope. » Read more..

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