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‘Rise of Skywalker’ gets a pass from Chinese censors – but not from toxic fans

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Joonas Suotamo, Oscar Isaac, John Boyega, and Daisy Ridley in “Star Wars: The Rise of Skywalker” (Image courtesy of Lucasfilm/DIsney)

The opening weekend for “Star Wars: The Rise of Skywalker” brings a mixed bag of news – some of it good, some not-so-good, depending on how you look at it.

In the former category, as reported in Variety, a same-sex kiss between two female characters slipped by censors in China, allowing the film to be released uncut in a country where government censorship has been historically strict about LGBTQ content, despite the decriminalization of same-sex sexuality and the declassification of homosexuality as a mental illness.

The kiss, which takes place late in the film and could easily be described as a “blink-and-you’ll-miss-it” moment between minor characters, was teased by the film’s director and co-writer J.J. Abrams a few weeks ahead of the movie’s release, when he told Variety he has always wanted the people of “Star Wars” to look “more the way the world looks than not,” and that, regarding the LGBTQ community, “it was important to me that people who go to see this movie feel that they’re being represented in the film.”

The representation can be seen an important step in the struggle for global advancement of LGBTQ acceptance, indicating an erosion of a key roadblock that traditionally serves as an excuse for major studios to balk on featuring LGBTQ characters or storylines – the accepted notion that such material would be denied release in lucrative international markets, resulting in the loss millions of dollars in profits.

Speaking with the Blade in 2018, GLAAD President and CEO Sarah Kate Ellis questioned the validity of this argument, saying, “I’ve never seen the science or the methodology behind that and I think if they ever did those studies, they probably did them decades ago,” Ellis says  “There are these false narratives that live within the entertainment community that we all buy into and we’ve all taken them on as the truth.”

The moment in “Rise of Skywalker” is the first time in “Star Wars” history that a same-sex romantic relationship has been depicted in one of the franchise’s films, though a 1999 comic book, “The Bounty Hunters: Aurra Sing,” featured the first LGBTQ character within the “Star Wars” universe, and several LGBTQ characters have since been depicted in “Star Wars” video games.

Onscreen, 2018’s “Solo: A Star Wars Story” featured the character of Lando Calrissian, who was confirmed by both screenwriter Jonathan Kasdan and actor Donald Glover as pansexual. More recently, Justin Ridge, executive producer of the kid-friendly “Star Wars Resistance” TV series, said on a podcast that two fan-favorite characters from his show are “absolutely a gay couple,” and Queerty published a story reporting on rumors that an upcoming “Star Wars” series on the Disney+ streaming service will “feature an out-queer lead.”

While most commentators have acknowledged the historic importance of the lesbian kiss in “Rise of Skywalker,” many have also expressed a less-than-positive perspective. An article in Variety lamented that the brief onscreen moment has “zero impact on the story” and features “characters who barely register within the vast tapestry of the ‘Star Wars’ creative galaxy.”

The Hollywood Reporter went even further, publishing an article that characterized it as “a step back for LGBTQ representation” and called out Disney for a history of “queerbaiting” LGBTQ fans, citing as an example this year’s earlier “Avengers: Endgame,” which included a similarly brief and non-essential scene as its sole nod toward LGBTQ inclusion.

Critical response to the film, which is the final installment of the so-called “Skywalker Saga” which originated with the first “Star Wars” film in 1977, has been mixed; audience reactions have been predictably divisive, reflecting a trend in fan culture that was explored in a recent essay in Esquire, which suggests the aggressively hostile reaction of some fans over the newer installments is a response to their frustration “that heroes in ‘Star Wars’ – and in other massive properties – are no longer exclusively straight, white, and male.”

Earlier this month, former Trump advisor Sebastian Gorka made comments on his “America First” radio show decrying Abrams’ hinted revelation of an LGBTQ moment, saying, “Well, you know, if you couldn’t destroy the franchise already, let’s destroy it a little bit more. The last installment of the ‘Star Wars’ saga would include a member from the trans — is it trans? Let’s just say the alphabet soup community.”

His derisive comments echo many of those made by angry fans around the franchise’s most recent rebooted trilogy, which have each featured an increased number of prominent characters who are female or people of color; the backlash reached a peak with the release of “The Last Jedi” in 2017, when disgruntled fans mounted campaigns to have the movie removed from the “official” canon, and some even calling for it to be remade.

In addition, Vietnamese-American actress Kelly Marie Tran was driven to delete her social media accounts when she was beset by sexist and racist insults by “a legion of trolls,” as detailed in a 2018 Yahoo article which describes the increasing trend toward virulent grassroots activism as “toxic fan culture” and links “ the vile online behavior of a vocal minority” of fans to “elements of the far-right and the misogynist ‘incel’ men’s movement.”

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Photos

PHOTOS: Denali at Pitchers

‘Drag Race’ alum performs at Thirst Trap

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Denali performs at the Thirst Trap Thursday drag show at Pitchers DC on April 9. (Washington Blade photo by Michael Key)

Denali (@denalifoxx) of “RuPaul’s Drag Race” performed at Pitchers DC on April 9 for the Thirst Trap Thursday drag show. Other performers included Cake Pop!, Brooke N Hymen, Stacy Monique-Max and Silver Ware Sidora.

(Washington Blade photos by Michael Key)

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Arts & Entertainment

In an act of artistic defiance, Baltimore Center Stage stays focused on DEI

‘Maybe it’s a triple-down’

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Last year, Baltimore Center Stage refused to give up its DEI focus in the face of losing federal funding. They've tripled down. (Photo by Ulysses Muñoz of the Baltimore Banner)

By LESLIE GRAY STREETER | I’m always tickled when people complain about artists “going political.” The inherent nature of art, of creation and free expression, is political. This becomes obvious when entire governments try to threaten it out of existence, like in 2025, when the brand-new presidential administration demanded organizations halt so-called diversity, equity and inclusion (DEI) programming or risk federal funding.

Baltimore Center Stage’s response? A resounding and hearty “Nah.” A year later, they’re still doubling down on diversity.

“Maybe it’s a triple-down,” said Ken-Matt Martin, the theater’s producing director, chuckling.

The rest of this article can be found on the Baltimore Banner’s website.

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Books

Susan Lucci on love, loss, and ‘All My Children’

New book chronicles life of iconic soap star

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(Book cover image courtesy of Blackstone Publishing)

‘La Lucci’
By Susan Lucci with Laura Morton
c.2026, Blackstone Publishing
$29.99/196 pages

They’re among the world’s greatest love stories.

You know them well: Marc Antony and Cleopatra. Abelard and Heloise. Phoebe and Langley. Cliff and Nina. Jesse and Angie, Opal and Palmer, Palmer and Daisy, Tad and Dixie. Now read “La Lucci” by Susan Lucci, with Laura Morton, and you might also think of Susan and Helmut.

When she was a very small girl, Susan Lucci loved to perform. Also when she was young, she learned that words have power. She vowed to use them for good for the rest of her life.

Her parents, she says, were supportive and her family, loving. Because of her Italian heritage, she was “ethnic looking” but Lucci’s mother was careful to point out dark-haired beauties on TV and elsewhere, giving Lucci a foundation of confidence.

That’s just one of the things for which Lucci says she’s grateful. In fact, she says, “Prayers of gratitude are how I begin and end each day.”

She is particularly grateful for becoming a mother to her two adult children, and to the doctors who saved her son’s life when he was a newborn.

Lucci writes about gratitude for her long career. She was a keystone character on TV’s “All My Children,” and she learned a lot from older actors on the show, and from Agnes Nixon, the creator of it. She says she still keeps in touch with many of her former costars.

She is thankful for her mother’s caretakers, who stepped in when dementia struck. Grateful for more doctors, who did heart-saving work when Lucci had a clogged artery. Grateful for friends, opportunities, life, grandchildren, and a career that continues.

And she’s grateful for the love she shared with her husband, Helmut Huber, who died nearly four years ago. Grateful for the chance to grieve, to heal, and to continue.

And yet, she says of her husband: “He was never timid, but I know he was afraid at the end, and that kills me down to my soul.”

“It’s been 15 years since Erica Kane and I parted ways,” says author Susan Lucci (with Laura Morton), and she says that people still approach her to confirm or deny rumors of the show’s resurrection. There’s still no answer to that here (sorry, fans), but what you’ll find inside “La Lucci” is still exceptionally generous.

If this book were just filled with stories, you’d like it just fine. If it was only about Lucci’s faith and her gratitude – words that happen to appear very frequently here – you’d still like reading it. But Lucci tells her stories of family, children and “All My Children,” while also offering help to couples who’ve endured miscarriage, women who’ve had heart problems, and widow(ers) who are spinning and need the kindness of someone who’s lived loss, too.

These are the other things you’ll find in “La Lucci,” in a voice you’ll hear in your head, if you spent your lunch hours glued to the TV back in the day. It’s a comfortable, fun read for fans. It’s a story you’ll love.

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