Fan Backlash: What’s wrong with Star Wars?
I’ve been watching several YouTube channels recently… yes, I do watch YouTube. And yes, there has been a huge fan backlash against the latest Star Wars installment, The Last Jedi. Some of these channels outright blame the social justice warriors for the fundamental problem. I don’t agree. The SJWs aren’t to blame, Disney and Kathleen Kennedy are. Let’s explore.
The Original Trilogy
Episodes 4, 5 and 6 are arguably the best of Star Wars. These films were created and conceived by George Lucas. We got a tiny taste of the cutesy characters the Jawas and R2D2 in A New Hope and again with Yoda in The Empire Strikes Back, but these characters were tempered to avoid becoming cartoons. As fans, we were able to mostly ignore these cutesy characters because they were limited in scope and/or served a genuine purpose (more than being cute). George then pushed the bounds again in Return of the Jedi with the Ewoks. These little cutesy bundles of fur were almost entirely “for the kids” and very much cartoons. Thankfully, the introduction of these cuddly characters didn’t entirely ruin the plot of the film. Yes, they were cute, but most of us were able to get over the cute-cuddly teddy bear nature of them. However, George was skating on thin ice with these characters. Many fans weren’t impressed. Still, Return of the Jedi worked as a sufficient ending to the original trilogy.
Thankfully, at the time, social media was non-existent. The only people who could effectively and loudly complain about it were the newspaper critics. The fans had no outlet for their own outrage. The Internet was just budding, email didn’t exist and neither did Twitter, Facebook or any other social site. Fan complaints traveled almost entirely by word of mouth (or via the convention circuit).
The Prequels
By 1999, when Episode 1 — The Phantom Menace premiered, email, text messaging, blogging and even early versions of social media began their rise to becoming ubiquitous. This is the time when fans finally had not only an outlet for their words, but people to read them. Not long after this period of time is when the term ‘social justice warriors’ would be coined. At this time, they were simply called, ‘keyboard warriors’.
When George introduced Jar Jar Binks, he took the cutesy cartoon idea to extremes producing one of the biggest pop icons of the era and simultaneously one of the most derided characters ever to grace the silver screen, let alone a Star Wars film. Many people have a love-hate relationship with Jar Jar.
Not only is Jar Jar very much a cartoon character, he’s also a politically incorrect figure in so many different ways. Not only in his voice, but in his manner of speech and in simply what he says. This is through no fault of the voice actor who portrayed Jar Jar. This is the fault of George Lucas. This is also where Star Wars effectively “jumped the shark”, but not solely because of Jar Jar. Oh certainly, Jar Jar heavily contributed to this, but writing a trilogy long story about the origin of Darth Vader is, well, pretentious. It really doesn’t take 3 films to show the entire Anakin Skywalker story. That could have been condensed into one film leaving two others to show Darth Vader doing nasty things and birthing the rebellion. Instead of boring senate scenes about trade blockades (*yawn*), we could have been watching Darth Vader and the Emperor fighting the beginnings of the rebellion (much more interesting).
This is where George has not only fallen on that thin ice, he fell through it. This is where George finally got a taste of fan backlash. Backlash that he would have gotten a whole lot faster had social media existed when the Ewoks showed their cute little faces on screen the first time. No, he had to wait until the prequels were released to finally get a taste of what would become Social Justice.
It also didn’t help that George’s revisionist tendencies led him to re-release the original trilogy with updated CGI visuals and modified scenes. In combination with the prequels, this led fans to begin their disenchantment with the direction of the Star Wars film universe. Did it really need to be revised who shot first in the cantina scene?
The Disney Films
Because of George’s less than stellar trilogy story in the prequels (Episodes 1, 2 and 3), George felt downtrodden and unable to produce more Star Wars films. Ultimately, he sold the franchise to Disney.
By 2015, with the release of The Force Awakens, fans were more excited than skeptical. By this time, not only had social media well matured, we now have instant access to it anywhere. Yes, even in the theater while watching it. It was inevitable that people would post their reviews within minutes of exiting the theater, possibly writing it while they were watching. Initially, fan reviews of The Force Awakens were positive. However, as fans mulled over the film on social media and via other means, it became clear just out vacuous this first new installment really was.
Yes, The Force Awakens feels like a Star Wars film, but it isn’t a Star Wars film in structure. It’s a J.J. film. After a few months of mulling over what The Force Awakens meant, it was quickly clear that it simply wasn’t what fans wanted.
Hollywood’s Affirmative Action Plan Initiative
Since at least 2014, the gender and ethnic equality war began in Hollywood in earnest. Since then, Hollywood has been sacrificing its screenplays and film profits (and projects) to the Hollywood Affirmative Action Plan Initiative (HAAPi — pronounced “happy”). Instead of telling stories as written with characters as created, directors and producers now feel the need to rewrite and cast politically correct ethnic and/or gender bending casts at the expense of producing a high quality entertaining film that will become a box office success.
Here are are two examples:
- 2016’s Ghostbusters reboot was recast entirely with women in the lead roles
- 2015’s Johnny Storm was recast as a black male against his white female sister in the latest failed Fantastic Four… not how the comic was written.
Both of these films I’d classify as box office bombs sacrificed to HAAPi. Bill Cosby and Harvey Weinstein have additionally been sacrificed to this movement. I’m not sure if the women of Hollywood intend to bring down the entire film industry or what exactly is their agenda, but trying these silly shenanigans in an effort to force a cast of women and ethnic minorities at the expense of a logical story is insane.
I am 100% for gender and ethnic diversity in casting … When. It. Makes. Sense. Don’t do it because you can, do it because the story requires it.
Do you want to make money or do you want to make a point? Let’s hope this trend ends before all of the studios in Hollywood end up bankrupt. On the other hand, perhaps it is time for Hollywood’s day to end.
The Last Jedi
To some extent, The Force Awakens’s sacrifice to HAAPi was both inevitable and thwarted. Because this was the first installment and these were brand new characters, we ignored HAAPi (for the most part). As excited fans, we were able to look past HAAPi and ignore any specific casting defects in starring roles.
However with The Last Jedi (helmed not by J.J. Abrams like The Force Awakens, but by Rian Johnson), this film not only succumbed to HAAPi, but slapped us fans in the face with it like a dead fish. Instead of casting smart, Johnson (and Kennedy) cast HAAPi. With Rose Tico, we ended up with an Asian female. There’s nothing specifically wrong with this casting choice if it had happened in The Force Awakens. Instead, because of HAAPi, this character was shoehorned into a main character role at a time when the character was not needed. This character was also shoehorned into a plot device that just didn’t work. In fact, the entire romp between Finn and Rose was entirely pointless for this film and wasted about 15-20 minutes of screen time. Perhaps the resistance ring Rose handed to the boy may have some level of significance in the final film… or it may not. That ring could have been given to the boy in so many other better ways by already established characters.
Also, why introduce Rose at all? She’s a wrench jockey who fixes things. She doesn’t appear to have force powers. What is she likely to bring to the story of any real importance? You can introduce a Rose-like character in a series like Clone Wars or Rebels because it’s a multipart series. There are so many episodes, characters need to come and go. In a trilogy, every character introduction counts. And, such an introduction takes away character development time from other characters. We already don’t know enough about Finn, Poe and Rey, we don’t need yet fourth character to have to get to know.
The reason Star Wars the original trilogy worked is primarily because of the triangle lead roles of Luke, Leia and Han. We had that triangle going with Finn, Poe and Rey. Yet, now we have Finn, Poe, Rey and Rose (?). This character has upset that triangle. If you’re going to do that, then the story should have introduced this character in the opening film to this trilogy.
The Rose problem exists entirely because, like 2016’s Ghostbusters and 2015’s Fantastic Four, The Last Jedi has been sacrificed to HAAPi to solve a perceived film deficiency, not because the story needs it. This time, however, fans were able to lift the HAAPi veil and see through it for what it is… sad. And so, the fan backlash ensues.
Star Wars is a fantasy series. Bringing Hollywood casting agendas into a film’s story isn’t what fans want to see. This not only insults the fans’ intelligence, it insults the fans. What else would Disney expect to happen? Using a franchise like Star Wars to further a Hollywood agenda is entirely insane. Disney and Kathleen Kennedy, you need to get your shit together and wake up. HAAPi is trying to solve a problem that doesn’t exist and it doesn’t belong in Star Wars.
The Final Film
This film has not yet released as of this article. However, it’s almost certain that not only will this film bomb at the box office, it may end the franchise entirely. Disney would be wise to shelve this last film and any future Star Wars film projects until this whole thing blows over… and Disney, you need dump the current team working on it including Kathleen Kennedy.
Let the final film stew for a few years. Make the fans wait until they clamor for it. Make the fans want it. Putting it out right now is a recipe for box office failure. This franchise is already skating on thin ice because of HAAPi. It’s almost certain that the final film will also be sacrificed to HAAPi. Abusing HAAPi makes me (and many other Star Wars fans) very, very sad.
Why was the V TV series (2011) cancelled?
As Randocity had predicted in this earlier Boycott V Series article, V has officially been cancelled by ABC as of May 13, 2011 (Friday the 13th). Let this article serve as a cautionary tale for future producers. This was not a good day for the V series cast and crew as they had just lost their jobs. Oh well, such is life in show business. However, this cancellation goes to prove yet another experiment turns into a failure at the expense of what started as a good TV series. Why was the V series from 2011 cancelled? That’s quite a story story in and of itself. Let’s explore.
Why was the V TV series cancelled?
Since V’s (V stands for Visitor) second season launch in January, the producers and/or ABC had made the insane choice to not allow V back onto Hulu, iTunes, Amazon or any other streaming media service (including ABC’s very own streaming TV web site). That meant that there was no way to watch back episodes or catch up on missed V episodes. This also meant as people began missing episodes, they couldn’t catch up and said, “f-it” and moved on. This choice effectively forced people to watch the series on TV live the night it broadcast or buy a recorder to time shift it.
Lessons Learned?
When your TV series targets the exact age demographic of people who watch their shows via Hulu (or any other streaming site) and then when you decide to cut these exact viewers off from your show, it’s ultimately the kiss of death. Ultimately, this is the reason the series failed. V is, unfortunately, also a perfect example of what not to do with streaming media when promoting a TV series. Don’t shun streaming media, embrace it. Embrace it with open arms and nurture and foster its growth. As a producer you want, no, you need viewers. The more viewers the better. It doesn’t matter if you have to rip the video of each episode and personally seed the file on bitorrent yourself. Do it!
What you don’t want is, well, exactly what the producers did to V. Don’t bite the hand the feeds you. Worse, the show began to feel the effects of its lower and lower viewership (and ratings) and began making more and more desperate, drastic and insane story choices to try and recover that lost viewership. It didn’t work. These “creative” choices saw main characters killed off from the show, yet didn’t do anything to increase viewership. This only made the show worse and more pointless. But, these story choices were simply a side effect of the stupidity of not allowing streaming sites to stream (or store back catalog) this series. You can’t change a story to attempt make up for that poorly conceived ‘no streaming’ decision. To get viewers back, the producers would have had to rescind that decision and allow the show back onto Hulu, iTunes and Amazon. By April, it was already too late to rescind that decision and gain back that lost viewership. Ultimately, the series was doomed.
Cost Per Episode
One must recognize that this TV series was quite costly to produce. While I am unable to find an exact figure to place on the cost per episode, because this series relied almost entirely on CGI to handle the interior shots of the Visitor ships, this only added to the mounting pressure of producing this series. I’m positive that the cost per episode directly contributed to ABC’s decision to pull the plug, but only because of a drastic drop in viewership. The exceedingly questionable decision to remove the series entirely from streaming services left a huge gaping viewership hole that the producers couldn’t fill. In essence, it tied the producer’s hands and simultaneously left the series effectively without an audience. Meaning, the age group who would tune in to watch V wouldn’t be willing to do it solely on an over-the-air broadcast. That meant forcing viewers to sit down at a specific time in front of a TV or buy a device like a recorder to record the series. Both were unpleasant propositions, especially when you could formerly tune in at your leisure on your phone, laptop or tablet device. Thus, the viewership drastically tanked. With that drastic a viewership drop, ABC was left with no choice but to pull the plug on the series.
Back Catalogs & Advertisers
Any show should always allow a back catalog of episodes to be available on streaming sites for even just a few months to allow viewers to keep up with a show in progress. A back catalog of older episodes allows viewers to take their time catching up and feel good about the time when they watch. Sure, these views may not give the immediacy of the Neilsen ratings for over-the-air TV, but so what? That system is so antiquated, it needs to die. Instead, we need a new ratings system that takes into account real viewers from streaming sites and next day views. Skip the ‘night of’ viewership numbers and go with a model that resembles how people are actually consuming TV today. Internet enabled TVs are not going away and neither are mobile devices. Hello advertisers like Proctor and Gamble, get with it. Same day viewership of TV shows is over. That day has passed. The future of TV is through next day viewing or even month later views. That’s where the advertising revenues will be had.
So Long ‘V’
It’s unfortunate that the producers felt the need to make stupid choices like ‘no streaming’. It was a gamble that simply didn’t pay off. It turned the series into a shambles through poor story choices. Oh well, V has had its short-lived day. Tomorrow is another day and with it new TV shows to sink your time slots into. But, let’s just make sure they continue to do it on our, the viewer’s, terms.
To the producers, embrace change or perish. That’s the prime lesson to take away from the ‘V’ experiment. Yes, the V ‘no streaming’ experiment was truly a failure.
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A call to boycott ABC’s V series
[Update: V has been cancelled as of May 13th. Bye ‘V’.].
I have personally decided to boycott watching the new V series. No, not because the series isn’t good. It’s a reasonably good series, so far. No, it’s also not for any creative or story reasons you might think. The reason I have decided to boycott the V series is that whomever owns the rights or produces this series has decided to no longer allow streaming of new episodes in any form or on any Internet site, like Hulu or iTunes.
No more V on Hulu?
It’s not just Hulu that’s cut out of streaming for this show. It’s all streaming sites including ABC’s very own ABC.com site. You would think that since ABC owns the broadcast rights to the series and, in fact, are the ones who make the very decision whether V lives or dies as a series, that ABC would have the rights to stream this program online. No, apparently they do not. Very odd. It’s also not available on iTunes or Amazon either.
It almost seems like the producers are biting the hand that feeds them (in more ways than just one). Seriously, not even allowing ABC.com to stream episodes of V on their own site? This seems like the kiss of death for this series.
Rationale behind this decision
I have no inside scoop here, so I really have no idea what the producers were thinking. But, I can only guess that the reasoning is to force viewers to watch the show live on ABC (the TV channel) and only on the TV channel for its first run. So, on the one hand, this seems like a ratings bonanza. On the other hand, let’s explore the downside of this decision.
Viewer Demographics
Because V is very much a long continuous story arc format, if you miss even two episodes, you’re hopelessly lost. V isn’t a one-off monster-of-the-week series where you can watch an episode now and then. No, it is a long deep story arc that needs to be watched one episode at a time in order.
On top of the long story arc format, it is a science fiction program involving heavy uses of technology and intrigue. This genre choice automatically limits the types of viewers. So, the types of viewers that V tends to draw in are those who tend to be younger, tech savvy, internet knowledgeable types. Basically, the kind of viewers who tend to watch things on Hulu and download content from iTunes.
Producer miscalculation
So, on the one hand, the appearance is that this decision should allow the program to get higher ratings by forcing people to watch it live. On the other hand, Hulu and iTunes (and others) no longer have the rights to carry the back catalog of episodes to allow people to catch up. If viewers can’t catch up, they’ll not watch it live either. If you get lost, there is no reason to watch as you can’t understand what’s going on anyway. So, turn the channel and watch something else.
By alienating the exact demographic who tends to watch programs on Hulu combined with the lack of back catalog of episodes on Hulu for people to catch up with missed episodes, my guess is that this decision will seriously backfire on the producers. The ratings will, instead, drop and drop precipitously as the season progresses. In fact, I’d venture to guess that this decision may, in fact, be the sole reason for the death of this series. It’s clear that ABC won’t keep V on the air without viewers. We know that. But, you can’t keep viewers watching V by trying to appeal to the wrong demographic or by pissing on the fan base.
The streaming and Internet genie is out of the bottle. You can’t go back to a time before the Internet and Hulu existed. The producers seriously need to understand this. It’s unfortunate that the producers chose V for this experiment. So far, V appears to be a good series and is probably worth watching. But, the producers also need to realize that removing choices of where and how this program can be viewed is not the answer. You need more viewers, not less.
Underground distribution
Of course, that just means that people will create xvids or mp4s of the show and distribute them via torrents. Instead of seeing legitimate views on legitimate sites with legitimate ad revenue, the whole thing now gets pushed underground where there is no ad revenue and views don’t help the show or the producers at all. Not smart. Not smart at all.
What is the answer?
The answer lies with Neilsen Ratings. In a time where streaming and instant (day after) releases are nearly common place, Neilsen still has no strategy to cover this media with ratings. TV ratings are still and only counted by live views. This company is seriously antiquated. It still solely relies on active Neilsen households watching programs live. Hulu views, DVR views and iTunes downloads do not count towards viewership or ratings. Yet, these ‘day after’ views can be just as relevant (or even more) today than live views. Today, counting only live views is fundamentally wrong.
Change needs to come with the ratings companies, not by producers trying to force the 70s viewing style in 2011. Neilsen needs to count all views of a program no matter where they are or when they are. The ratings game needs to change and must change to accommodate the future of TV. As TVs become Internet connected, this change will become even more important. Eventually, TV programming will be seamlessly delivered over the Internet. In fact, there will come a time when you ‘tune in’ and you won’t even know if it’s streamed or over the air. In fact, why should you care? A view is a view whether live or a month later.
Understanding Neilsen’s antiquated system
Of course, once you understand Neilsen’s outdated model, you can also understand why Neilsen is not counting any ratings other than live TV. Why is that? Because counting any other medium than live TV threatens the very existence of Neilsen’s service. Once broadcasters realize they can gather these numbers through Hulu, Roku, Slingbox, Netflix and other DVR and on-demand technologies directly, there is no need for Neilsen. That is, once we’ve moved to streaming TV 100% it’s easy to get accurate counts. Neilsen’s service was born out of the need to track viewers in a time when the Internet did not exist. With the Internet, it’s much easier to track viewer activity and data in real time. It’s also easy to get this information right from the places that have rights to stream. So, with these real-time reporting methodologies, Neilsen really is no longer necessary.
Neilsen has always used an extrapolation methodology for its ratings statistics, anyway. That is, only a tiny subset of homes throughout the country are Neilsen households. So, when these Neilsen households watch, these small numbers are extrapolated to the larger population, even though there is really no way to know what non-Neilsen households are watching. So, Neilsen’s ratings systems are actually very inaccurate. Counting the numbers of views from Hulu, iTunes, Amazon, Roku, Slingbox, Netflix and other streaming sites and technologies are exact and spot-on accurate. In fact, these numbers are so exact, they can even be traced back to specific hardware devices and specific households, something Neilsen’s rating systems have never been capable of doing. This is why Neilsen is scared to count online views. This is why Neilsen is no longer needed.
Goodbye V
It was nice knowing ya. My instincts all say that the fan backlash from this decision will be swift and final. If this series manages to make it to the end of the 2011 spring season without cancellation, I’ll be amazed. However, if ABC cancels this show before June, that won’t surprise me. So, unless the producers make an about-face really fast with regards to this no-streaming experiment, this series is likely already cancelled… it just doesn’t yet know it. I’d also urge anyone reading (and especially Neilsen households) to boycott the new V series and send a message to the producers that not offering streaming options is not acceptable and that your program is dead without them. I can tell you that I won’t watch this series again until streaming options become available. This is not really a problem for me as there are plenty of other TV shows available. The problem here is for the cast and crew. These people are dedicating their time, effort and livelihoods to putting this series together only to be screwed over by the producers. Such is life in Hollywood, I guess.
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